REFLECTED REFLECTIONS OF THE PLEATED PLEATS
UG2 Project 1 Kenneth Yuqi CAI
Phil Cu
London-based designer, Cuttance and home furnitures, c His moulds are made of polypropylen
uttance
e, has handmade lots of products casted with jesmonite. ne sheets. Above are a few of his work.
Olafur E
Eliasson works with his tea to develop, produce, and install ar Above are some of their installations, playi
Eliasson
am, Studio Olafur Eliasson, rtworks, projects and exhibitions. ing with reflections, refractions and spaces.
Traditional Or
Using polypropylene sheets to create ori and can be stretche
rigami Making
igami moulds that are reusable, flexible, ed and contracted.
Initial Analo
Freezing the process of stretching and co Representation of three
ogue Studies
ontracting through casting with plaster. e points of the process.
Pouring plaster into the mould
Material Stud
Studying a different material t Representations of thre
dy - Concrete
to understand the properties. ee points of stretching.
Ingredients used in mix
Plastic mould
Resulting cast
Plastic mould
Resulting cast
Three-Dimension
Exploring different trad With plastic moulds Clean folds created sharp contr
nal Shape Making
ditional origami types. s casted with plaster. rasts between light and shadow.
Folding Techniques for Designers From Sheet to Form By Paul Jackson
Richard Godwin
Faceture Vases - Phil Cuttance
Digital representation Plastic mould
Perspective
Manipulating O
Further study Manipulating and configuring in a way tha
Resulting cast
Confiduring multiple moulds in formation for casting.
Origami Sheets
y on origami. at the pattern becomes modular, like above.
Two moulds padded with clay inbetween, ready to be casted with alginate to create negative space.
Creating She
Using clay as filling, two sheets of or which I attempted to use algin Though failed, interestin
ell Structure
rigami mould were padded together, nate to create a negative mould. ng shapes were formed.
Desired effects were barely shown in the resulting cast. Unsuccessful, but resulted in almost a cave-like structure.
Force
Force Flat sheet - Perspective
Pleated sheet - Perspective
Flat she
Application of plaster in order to strengthen folded surface
Original shape
Experimenting with St
By painting layers of plaster onto I was able to ‘soli However the cast could not be demou
eet - Side
tructural Performance
o the plastic mould and let it set, idify’ the surface. ulded in one piece due the thickness.
Pleated sheet - Side
Initial Digi
Initial attempts to cre
ital Studies
eate patterns digitally.
1 2
5
6
9
10
13
14
Digital Si
Similar to earlier shapes are extracted du
3
4
7
8
11
12
15
16
imulation
r analogue studies, uring a simulated process.
1 2
5
6
9
10
13
14
Digital Si
Similar to earlier shapes are extracted dur
3
4
7
8
11
12
15
16
imulation
analogue studies, ring a simulated process.
Mom Taken from
ments simulations
Simulation
Resulting g shapes extracted fr stacked on top
Ali Rahim
experiment
geometry of rom the simulation p of each other.
Close-up E
Close up moments taken from structur rendered in Maya,
Experience
re of Maya Blend Shapes Development, , Arnold Renderer.
1_0
Step 3 Set edge
1_1
Step 1
Step 2
Step 3 Set edge
1_2
Step 3 Triangulate
Patterns Transitions
Step-by-step procedure showing how d (Refer numbers to pro
Step 4 Transform
Step 4 Transform
Step 4 Set edge
- Digital Simulation
different patterns are created digitally. oduced patterns page)
Step 5 Transform
2_0
Step 3 Set vertex
Step 4 Set edge
2_1
Step 1
Step 2
Step 3 Set vertex
Step 4 Transform vertex
Step 3 Set vertex
Step 4 Transform vertex
2_2
Patterns Transitions
Step-by-step procedure showing how d (Refer pattern numbers to
Step 5 Transform vertex
Step 5 Set edge
Step 5 Adjust
- Digital Simulation
different patterns are created digitally. o produced patterns page)
Step 6 Transform edge
Step 6 Transform edge
Step 6 Set edge
Step 7 Transform edge
1_0
1_
2_0
2_
Produced
Resulting patterns produced With these renders, it is intriguing to see the li (Refer pattern numbe
_1
1_2
_1
2_2
d Patterns
d with working procedures. ighting contrasts created with different depths. ers to previous pages)
Morphin
By exporting patterns during simulation morphing pattern
ng Studies
n of transforming one pattern to another, ns can be created.
1
60 °
Create plane
2
Bend
-30 °
+80 °
Create plane
Twist
Manipulating Pat
Procedures of applying for distorting and creating n
Sine
Wave
tterns with Force
rce to manipulate patterns, non-uniform geometries.
Add division
Add division
Apply pattern
Apply pattern
Ali Rahim
Fro
Fro
Fro
Comparing Shapes an Resulting geometries of patterns and
ont
Side
ont
Side
ont
Side
nd Patterns Produced comparison of non-uniform surfaces
1
2
5
6
Pavilion Study -
Step-by-step diagram showing the pr Realising the potential and relevanc
6
- Shell Structure
rocess of the creation of the structure. ce of pleated surfaces to architecture
3
4
7
1 3
4
5
6
2
Top
Front
1
2
Close Up Studies
Studyies and moments of frag showing different config
3
4
Perspective
5
Side
s - Shell Structure
gments of the pavilion study, gurations of the pattern.
6
Frosted Glass
Brushed Aluminium
Material Vi
Digital creation of a distor and exploring
isualisation
rted and tweaked structure of materiality.
Concrete
Polished Aluminium
Polished A
Pavilion S A variety of different sizes surfaces A surface that almost brings y
Aluminium
Scale 1:100 s reflecting light at different angles. you to an endless dimension.
Designing and th
Designing a Vi
How could a device create an environ How to portray the feeling of bein
hinking process
Viewing Device
onment that the user can experience? ng inside a reflective 1:100 model?
Triangle
Triangle
Square
Pentagon
Pentagon
Hexagon
Studies of K
Studying the reflections with the
Kaleidoscope
s within a kaleidoscope, letter L.
Square
Hexagon
Long Length Triangle
Long Length Pentagon
LongLength Triangle
Short Length Hexagon
Prototype Kaleid
One-sided reflective paper u They are hand-folded Results are slightly blurry, but cre
Long Length Triangle
Short Length Hexagon
doscope Outputs
used to produce prototypes. d into desired shapes. eates desired effects and emotions.
Long Length Triangle
Short Length Hexagon
Simulation of
Generating the image of what a hexagon kaleidosc
Kaleidoscope
cope would produce with my 1:100 pavilion model
Origami Surface
M5 Threaded rod
3mm Perspex Mirror Mirror holder
Rotation mec
Final Viewing De
Exploded perspective of device t
chanics with M5 wing nut
evice - Exploded
to show clearly individual parts.
Kaleidoscope stand M5 Nuts M5 Threaded rod
Joints tightly fitted, no glue needed
Stand support
3mm Plywood base
M5 Threaded rod
Reflected Reflections
My final device that is used t It transforms one’s p and creates an environment that will make on
s of the Pleated Pleats
to view my origami patterns. perception to scale, ne feels as if they are inside the origami model.
Kaleidoscope options
Viewing Dev
A manual to using the device
Pattern options
Origami pattern Kaleidoscope
Mirror
Scope holder
Threaded rod
3 Align device so that the mirror is on the far end. 4 If neccessary, unscrew wingnut slightly and adjust mirror to a desirable angle. Screw wingnut after. 5 Select an origami pattern from the selection and place it on the threaded rods surrounding the mirror. 6 Select a kaleidoscope from the selection and place it on the three Y-shaped holders. 7 Adjust yourself to look into the scope. For best effects, cover eye socket with the end of the scope. 8 Imagine yourself looking up at the ceiling.
Device designed to be most comfortable for people with height of around 5�8.
900 mm
e correctly and for best effects
2 Sit comfortably on a chair.
800 mm
vice - Manual
1 Place device on a desk.
Outputs of the V
Different scopes create different that will affect one’s e
Viewing Device
t environments and experiences, emotions differently.
This is a drawing of my emotions and th One would not normally feel intrigued by a mirror, for it is involve look into the mirror, how can we tell that the image is the reflecti dimension? And that a mirror is not a portal or a wormhole to ano myself to a place that does not exist in our world, an infinite, endless
houghts evoked when using the device. ed in almost all our daily lives, and we are used to it. But when we ion of our present world and not a refracted image from another other place? When using the viewing device, my imagination took s reflected environment. My presence in this world became blurred.
TACUBAYA RESID
UNIT 2 PR
Kenne
DENTIAL GALLERY
ROJECT 2
eth Cai
CHAPTER ZERO
CHAPTER ONE
CHAPTER TWO
CHAPTER THREE
CHAPTER FOUR
CHAPTER FIVE
CHAPTER SIX
CONT
TENT
PROJECT ONE
SITE
PROGRAMME
FIRST STAGE DESIGN
SECOND STAGE DESIGN
FINAL STAGE DESIGN
FINAL DRAWINGS
CHAPTE
PROJEC
ER ZERO
CT ONE
CHAPTE
SIT
ER ONE
TE
MEXICO
Site location relati
O CITY
ive to Mexico City
SITE CO
ONTEXT
200m
50m
20m
BIRD’S E
EYE VIEW
SITE P
PLAN
30m
Street Parque Lira
Private courtyard
LABOR (art gallery)
Site
SITE SE
Perpendicular sec
Site
ECTIONS
ctions across site.
Street Francisco Ramírez
Motorway Av Constituyentes
Archivo diseño y arquitectura (art gallery)
Major roads
Luis Barragan House
CLOSE UP
Different views seen from diff
1
2
3
4
5
6
7
8
SITE PLAN
ferent points around the site.
Sun path diagram (data from sunearthtools)
Wind rose (from meteoblue) The sun path diagram on the left shows the summer (21 June) and winter (21 December) solisitce and equinox sun paths.
The wind rose for Mexico City shows how many hours per year the wind blows from the indicated direction. Example SW: Wind is blowing from South-West (SW) to NorthEast (NE). As this diagram suggests, wind blows from north (N) and south (S) the most frequently, followed by north north east (NNE) and south south west (SSW).
DATA AN Data collected about sun path, wind
Average temperature and precipitation (from meteoblue)
Relative humidity (from WeatherSpark)
The “mean daily maximum” (solid red line) shows the maximum temperature of an average day for every month for Mexico City. Likewise, “mean daily minimum” (solid blue line) shows the average minimum temperature. Hot days and cold nights (dashed red and blue lines) show the average of the hottest day and coldest night of each month of the last 30 years.
The average daily high (blue) and low (brown) relative humidity with percentile bands (inner bands from 25th to 75th percentile, outer bands from 10th to 90th percentile).
As the diagram shows, the hottest time of the year for Mexico City is between April and May, and the coldest time between December and January. Highest precipitaion being in June and July, above 75 mm.
The air is driest around March, at which time the relative humidity drops to around 20% (dry) three days out of four; it is most humid around September, exceeding 82% (humid) three days out of four.
NALYSIS direction, precipitation, temperature.
The relative humidity in Mexico City averagely ranges from 18% (dry) to 87% (humid) over the course of the year, rarely dropping below 11% (very dry), or exceeding 94% (very humid).
CHAPTE
PROGR
ER TWO
RAMME
CERAMIC ARTIS
The site is situated in the neighbourhood of Tacubaya i gathers’ or ‘vase for the water’ in Aztec. Initial concept for it gathers people, people being the ‘water’. This means em the flow of people within and/or outside of the build
The site sits next to the ‘Triangle of Tacubaya’, a cultural ARCHIVO D.A.- and Luis Barragan House and Studio. Alth to Mexico City, it is very private an
To connect the initial building concept with the ‘Triangle ceramic artist residence. My intent is to add a semi-publi artworks (including but not limited to ceramic pottery an advanced booking or reservation, but to also provide resid temporarily, in an attempt to bring them together to this Mexico City’s culture and its artworld, and to occupy the g Mexico-inspired ceramic art during their stay. Visitors, lo perspective of t
ST RESIDENCE
in Mexico City. The word Tacubaya means ‘where water r the building is to have the building act like a vase, where mphasising the fluidity and continuity of the circulation of ding, as well as the exterior surface of the building.
l destination consisting of two art galleries - LABOR and hough the ‘Triangle of Tacubaya’ is of cultural importance nd enclosed from the public world.
of Tacubaya’, I decided that the programme should be a ic art gallery space in the area to not only exhibit ceramic nd vases) that are available to the general public without dence for national and international ceramic artists to stay s space next to the ‘Triangle of Tacubaya’, to experience gallery space or even provide for other galleries with their ocal or not, can see Mexico City and even Mexico in the talented artists.
ART GAL
Site location and identificat
LLERIES
tion of nearby art galleries.
RELEVANT B
The locations of my site, two art galler
BUILDINGS
ries/studios, and Luis Barragan House.
AXONOMETRIC SITE
3D representation of the site with r
E REPRESENTATION
relevant nearby buildings coloured.
LABOR Private gallery. Founded in 2009. Exhibits contemporary art. Art spaces dedicated to promote national and international contemporary artworks every year. It represents artists who create critical projects that quetion and/or reflect our current circumstances.
NEARBY ART
LAB an ARCHIVO disen
T GALLERIES
BOR nd no y arquitectura
ARCHIVO diseĂąo y arquitectura (ADA) Private museum and gallery. Founded in 2012. Collects and exhibits various forms of art. A space dedicated to collecting, exhibiting and rethinking design in its various forms. It is home to a vast national and international collection of masterworks of industrial design and architectural bibliographical resources.
Film exhibitions of a single artist at a time, consisting of a single or multiple channels of projection.
Solo installation exhibitions of a single artist, consisting of a indoor and outdoor scuptures.
LABOR EXH The transformable space allows the gallery Above are examples of what kinds of
Solo art exhibitions of a single artist, consisting of canvas and paper drawings.
Art exhibitions of a group of artists, consisting of different forms of art including photographs, drawings, paintings, films, sculptures, crafts and installations.
HIBITIONS to change for different types of exhibitions. art were displayed in LABOR Gallery.
Exhibition of bicycles that portrays the relationaship between bicycles, the city, and the way of life in Mexico, showing the big role bicycles play in the city.
ARCHIVO DISENO Y ARQ
Home to a vast collection of over 1500 nat the gallery space mo Above are two examples
An exhibition that provides an intimate look into the work of of the berlin studio manuel raeder. Various products and objects were displayed, as well as a substantial colleection of books designed by studio manuel raeder.
QITECTURA EXHIBITIONS
tional and international industrial designs, ostly exhibits objects. s of the past exhibitions.
DAY 1
Depending on the type of modelling clay, the overall duration of the process producing a ceramic piece can vary.
DAY 2 DAY 3
‘Beating’ the clay to get rid of air bubbles trapped and prep it for the potter’s wheel.
The clay is then throw potter’s wheel to have stabled.
The very first stage is called Bisque firing. It turns the clay into a ceramic material, known as bisqueware, making it less fragile, but porous enough for application of glazes. For this process to be successful, the kiln needs to reach about 950 °C at a slow and controlled rise. If heated too quickly, water would turn into steam inside the clay body, causing the clay to burst. Once the process is completed, the kiln is turned off. The cooling is also slow, to avoid the pots breaking due to stress from the temperature changes. After the kiln is completely cool, it is opened and the newly created bisqueware removed.
TRADITIONAL PO
The process from modellin
wn onto the e it stuck and
The clay is centred and worked on the potter’s wheel to the artist’s desired shape.
When it comes to painting and decorating the piece, all most artists need are acrylic paint and their creativity. However, some artists prefer working with glaze, which can be used as a decorative layer, or a waterproof coating. Depending on the type of glaze, it can create a transparent or an opaque white glaze, or even coloured layers, after firing. Many techniques can be used to apply glaze onto the piece, and using glazes require a lot of practices and experimentations. Once glazes have been applied to the bisqueware and have had a chance to dry, the ware is carefully loaded into the kiln for the glaze firing. Pots cannot be allowed to touch at all, or the glazes will melt together, welding the pots together.
OTTERY PROCESS
ng clay to ceramic pottery.
The clay is then removed from the wheel, placed on a drying rack and left to air dry for at least 24 hours. When the clay is air dried to leather hardness, meaning damp but can be handled without changing its form, the pottery is called greenware at this stage. Any excess clay can be trimmed off and details can be carved into the piece. After the form is finalised and the clay is in the desired shape, it can then be fired in the kiln.
As temperature rises in the kiln, the process is split into many stages and are defined with temperature ranges. Stage 1: 100 °C atmospheric water is evapourated. Stage 2: 300-800 °C Carbon and sulphur is burnt off. Stage 3: 350-800 °C Chemically combined water is driven off. Stage 4: 573 °C Quartz inversion occurs. Change in crystalline structure of clay. Stage 5: 900 °C Sintering. Clay permanently transformed into a ceramic material. Stage 6: 1000-1800 °C Vitrificationa and maturity. Change in molecular structure that strenghtens the ceramic material. Stage 7: Cooling.
Museo Soumaya Private art museum. Opened in 1994. Architect: Fernando Romero It has a collection of over 66,000 works from 30 centuries of art and an extensive repertoire of works by European old masters and modern western art. It is one of the most visited museums in Mexico.
y
t r e q w
CIRCULATION ANALYSI
Museo Soumaya is an art museum in Mexico, exhib Interior consists of six floors con Each floor showcasing a d
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t
y
IS - MUSEO SOUMAYA
biting a collection of objects by a Mexican collector. nnected with looping pathways. different type of artworks.
Solomen R. Guggenheim Museum Public art museum. Opened in 1959. Architect: Frank Lloyd Wright It is the permanent home of a continuously expanding collection of Impressionist, Post-Impressionist, early Modern and contemporary art and also features special exhibitions throughout the year. Situated in New York, U.S.
SOLOMEN R. GUGG
Spiralling pathway leading from the ground A continous showcase of art The museum also has a second smaller
GENHEIM MUSEUM
floor to the top with an atrium in the centre. tworks throughout the spiral. spiral with cafes, restaurants and shops.
FREUD PAVILION The Freud Pavilion has a very distinctive language where surfaces emphasise continuity and fluidity. Surfaces are controlled and manipulated to suit the function and programme. Wall becomes seatings, which becomes walkways.
The total control of a continous surface is what I am interested in doing.
REFERE
ENCES
MAAT MUSEUM The MAAT Museum has a facade that is visually gripping but also serves a function. The cladding on the facade reflects the reflected light from the water on sun down (top left). The facade also proves that cladding of a complex pattern on a curved surface is possible.
This means I can apply some of my origami patterns studied in project one onto surfaces, exterior and interior, which may serve different functions depending on the pattern.
CHAPTER
FIRST STAG
R THREE
GE DESIGN
Plot
Extruded upwards
GALLERY
Rough iterations of bounda
Y VOLUME
ary of design of art gallery
Extruded outwards
Refined adjustments
To better suit spaces for different purpose such as projector room, ramps, reception, sculpture space, etc.
Floor plate
Elevated space to provide an overlooking position into the gallery and outwards to the views as well as privacy.
Extruded upwards
Initially planned to have one artist living in each unit.
ARTIST RESIDE
Rough iterations of boundary
Refined adjustments
Added ceiling height to fit certain rooms such as a private studio.
ENCE VOLUME
y of design of artist residence
Circulation
Entrances and exits added.
One Atrium
Two Atriums
Three Atriums
EXPLORING GALLE
Variations of interior circulation w
ERY CIRCULATION
with one, two, and three atriums.
Two Atriums
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TWO AT
Two atriums means two light wel which provides a suitable bal
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TRIUMS
lls and two loops for circulation, lance of light and circulation.
1:200 WORK
Top view close-up
View from NE close-up Top view
KING MODEL
View from N close-up
RED indicates development WHITE indicates existing. RED indicates development. BLACK indicates existing.
q
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w
Initial circulation model. Having two atriums and a series of ramps looping up. Workshop on the ground floor, gallery above and residence overlooking both the workshop and the gallery space. Blue arrow shows entrance and exit.
e
First a sunken ground floor is added for the workshop, so the visitors immediately overlook the workshop as soon as they enter the building and can start enjoying the making process of pottery. An opening to the north side is added to allow diffused light to enter the workshop.
Rough kiln positions are defined. Locating the kilns on the outside means that artists have a bigger working area and could work outdoor if they wish to. The journey from clay to ceramic is emphasised by having an artist-only tunnel where they carry wet clay to be dried or fired. The walkway rises from underground to portray the properties of clay of ‘from earth’ or ‘of earth’. Residence removed from circulation model.
Rough workshop plan developed. Half the workshop is sunken down slightly and separated to provide some privacy for the artists to work isolated from the public, dividing the workshop into the upper workshop (public) and the lower workshop (semi-private).
Primarily the initial stages of pottery-mak ing would be done in the lower workshop and as the pieces become more developed, they would be transferred to the upper workshop, where the painting and sculting is done, and eventually outside the kilns. The emphasis of the idea of cla being ‘from earth’ and ‘of earth’ become clearer.
FIRST STAGE D
Digital development from
t.
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e
r
t
r
t
y e
r
kp, -
d to ay es
DEVELOPMENT
m initial circulation model.
Tweaking heights of ramps to allow sufficient head heights for visitors. Partial roof is added and room heights adjusted accordingly.
Complete roof is added and an access to the roof is deployed for further development of the flat roof space. Initial thoughts for the rooftop space were a cafe and a green roof for leisure for both the artists and the artists. Opening on the north side is added for diffused north light to enter the gallery space. Kiln entrances added and ground plane added for potential further development of the outdoor kiln space. Initial thoughts were an outdoor workshop and an enclosed kiln space.
EVOLUTION FRO
Development of the des
OM EXTRUSION
sign so far with context.
Top v
1:200 WORK
view
KING MODEL
View from N
Roof removed
Close-up with roof
Close-up without roof
CH
SECOND
HAPTER FOUR
D STAGE DESIGN
TOP
SIDE
BLEND SHAPE SIDE
TOP
SIDE
BLEND SHAPE SIDE
POTTERY BL
Studying the changing shape of clay to p
LEND SHAPE
pottery using the two different techniques.
BLEND SHAPE FRONT
BLEND SHAPE FRONT
CURVED SURFACE EXTRACTED FROM BLEND
SHAPE
ITERATED
PUBLIC GALLERY AND WORKSHOP CIRCULATION ARTIST RESIDENCE PUBLIC PATHS AND GREEN SPACE RESIDENTIAL BARRIER
MASSING
q t
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q SKETCHED LOOP
q q
WAY IN
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GROUND FLOOR PUBLIC WORKSHOP
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GALLERY FLOOR ONE
r
GALLERY FLOOR TWO
t
WAY DOWN - KILN YARD
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e w
q
REFINED LOOP
REWORKED C
By reworking the circulation, the floorplate
CIRCULATION
es and programmes became more defined.
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Separate circulations for the public (visitors) and the pri defines the public and the private parts of the building,
The building is primarily divided into offices for the empl of two structure connected with bridging walkways for the only on the
I find the circulation of the Dutch embassy particularly in idea onto my next iteration of design, separating the publi circula
DUTCH EMBA
Studying the separate circulations of public and Plans from FROZEN MUSIC STUDIO, ‘Dutch
ivate (employee) and a shared circulation. This not only , but also optimise the movements within the building.
loyees and the embassy for the visitors, with a separation e employees to rotate between the two, having the visitors public side.
nteresting and efficient, and I thought I would apply this ic (visitors) and the private (artists and staff) with defined ations.
ASSY, BERLIN
d private of the Netherlands Embassy in Berlin. h Embassy in Berlin, Germany’, 31 Jan 2011
G/F
ROUGH WOR
A follow up of the study of Dutch Emb Ground floor and first floor working plans were drawn to f my de
1/F
RKING PLANS
bassy, Berlin, to refine my circulations. further iterate my previous reworked circulation and push esign.
1:200 sketch model of the iteration
1:100 wor
EARLY WORK
Early working models keeping the idea of ha Residential and g Many aspects of the design needs to be reconsidered. T move fo
rking model top view
KING MODELS
aving two atriums and a looping circulation. gallery separated. This working model opened up new questions for me to orward.
1/F
Cloakroom (bagdrop)
2/F
Atrium space of gallery
Atrium space of residential block
Relationship of residence and gallery
Outdoor public ramp
REFER
Ceramics and other casted artw Shigekazu Nagae (left), Ken Mihara
RENCE
works by YUFUKU Gallery artists, (middle), Kanjiro Moriyama (right).
PAPER CONC Folding and bending paper using the wet
CEPT MODELS folding technique to form various shapes.
FURTHER EXP
Using the wet folding technique on wat
PLORATIONS
tercolour paper to fold and manipulate.
FORM FINDIN
Using the wet folding technique on wat
NG STUDIES
tercolour paper to fold and manipulate.
w
First iteration of roof canapy a the building from direct su diffused light fro
A slight overhang is added fo the sunlight form the south b to enter th RED indicates development. BLACK indicates existing.
A noise barrier is to be instal the motorway q
Consisting of three floors. Ground floor with double height (6 m) which acts as a lobby space and the main exhibition space. Other floors have a ceiling height of 3 m. First floor consists of an exhibition space and a workshop shared with two artists. Second floor has the same facilities: a workshop for two and an exhibition space. The reason for having separated workshops is to have artists working on that floor occupy the gallery space on the same floor, thus having distinctive characteristics and style of art on each floor. Artist residence has five floors with each floor having the ceiling height of 3 m. Each floor above gound floor allows the occupance of one artist and the ground floor acts as a reception and provides space for an office for the administrative team of the gallery.
DEVELOPMENT OF
r
e
Roof removed to allow third floor development in the gallery. Some design language from previous visual studies applied onto the entrance of the gallery space and also the interiors of the building. Walkways connecting gallery and residence refined.
added. Roof designed to shield unlight from the south and let om the north enter.
or the residence to again shield but allows sunlight in the winter he building.
lled to isolate the building from next to the site.
CURRENT DESIGN
Second iteration of the roof made. A canopy that is less fragmented than the last iteration. Consists of glazing tilted to the north to allow diffused light to enter.
DETAIL 1 3D OVERHAND WALL STRUCTURE AXONOMETRIC q w
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i o 1)
CLADDED WALL ATTACHED
1! q w e r t y u i o 1) 1!
VERTICAL STEEL BEAM HORIZONTAL STEEL BEAM 2/F CONCRETE WALL 2/F CONCRETE FLOOR SLAB STEEL BAR STEEL ANCHOR NODE (FIXING STEEL BAR TO STEEL BEAM) STEEL ANCHOR NODE (FIXING STEEL BAR TO CONCRETE WALL) 1/F CONCRETE WALL 1/F CONCRETE FLOOR SLAB G/F CONCRETE WALL PORCELAIN CLADDING
DETAIL 1 2D OVERHANG WALL STRUCTURE SECTION q
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e STEEL
CONCRETE
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PORCELAIN t
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u q w e r t y u i
STEEL BAR STEEL ANCHOR NODE STEEL H BEAM 2/F CONCRETE WALL 2/F CONCRETE FLOOR SLAB PORCELAIN CLADDING 1/F CONCRETE WALL EXTERNAL CONRETE WALL
i
1:20
DEVELOPED EN
Two of the details f
NVELOPE STUDY
for current design.
DETAIL 2 3D
EXTERNAL CLADDING SYSTEM
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EXPLODED AXONOMETRIC w
e r t y
ASSEMBLED
q w e r t y
EXTERNAL CONCRETE WALL VERTICAL STEEL RAIL ANCHOR BOLT (FIXING VERTICAL RAIL TO CONRETE WALL) HORIZONTAL STEEL RAIL STEEL BOLT (FIXING HORIZONTAL RAIL TO VERTICAL RAIL) PORCLAIN CLADDING TILE
DETAIL 2 2D EXTERNAL CLADDING SYSTEM q
SECTION
w e
r
STEEL
CONCRETE
PORCELAIN
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ANGLE OF EXTERNAL WALL y
u i
q w e r t y u i
HORIZONTAL STEEL RAIL VERTICAL STEEL RAIL ANCHOR BOLT (FIXING VERTICAL RAIL TO CONRETE WALL) STEEL BOLT (FIXIING HORIZONTAL RAIL TO VERTICAL RAIL) EXTERNAL CONCRETE WALL PORCLAIN CLADDING TILE 20 MM GAP BETWEEN CLADDING AND WALL TO PREVENT CONDENSATION 2 MM GAP BETWEEN TILES TO ALLOW VENTILATION
34 °
1:2
CHAPTE
FINAL STAG
ER FIVE
GE DESIGN
1:100 work
1:100 WORK
Some moments of my working model du which have led me to a realisatio
Collage of the curved noise barrier
Close-up
View from the NE
king model top view
KING MODEL
uring the process and the overall model, on of scale and my next iteration.
Bird eye view from the NW
q w
Working model digitally modelled. General layout: Artist residence Kiln room Outdoor workshop Indoor workshop Entrance Gallery space Noise barrier
Adjusted noise barrier to have roof lights. Side openings would mean that visitors would have views on the motorway, which would be distracting especially for a gallery space. Roof lights ensure that the barrier maintain its efficiency on reflecting sound but also allows light to enter the space. The curved surface of the barrier increases its efficieny of deflecting sounds.
Envelope iterated. Design language a to the envelope to emphasise continu well as take in previous surface studies done. It works well with my deisgn as manipulate the surface further, which I done, to suit my needs.
Certain slits are created on the envelo ensure the interior of the building rece plenty of natural light.
At this point I have also started to think the interior layout and the room arran ments. Artist residence is roughly div into four bedrooms for four artists
DEVELOPMENT O
e
added uity as s I have s I can I have
ope to eives
k about ngevided s.
OF FINAL DESIGN
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Enveloped continue to be developed and refined. Glazing and frames added to roof lights.
Overall building fleshed out.
Envelope continued to wrap around the artist bedrooms. I have also orientated the bedrooms more towards the east, to ensure more sunlight enters the space in the morning as the sun rises. This allows the sun to also warm up the space in the morning from cold nights.
Envelope continues to create a private courtyard and an overhang for the balcony. Rooflights added for bedrooms. Ramps added. Outdoor and indoor workshop defined and populated. Timber canopy added for the public path. The canopy creates an effect on the walkway with sunlight, which improves the experience of walking by the building. The canopy also allows the pedestrians to have glimpses of the inside of the gallery as well as let some sound from the workshop through. It extends to provide some shading for the outdoor workshop.
OVERALL EVOLUT
TION OF DESIGN
1/F
G/F
CIRCULATION OF
F FINAL DESIGN
ARTISTS’ MOVEMENT STAFF AND VISITORS’ MOVEMENT PUBLIC’S MOVEMENT STAFF’S MOVEMENT DESTINATION
PERSPE
Perspective view wit
ECTIVE
th context (in black)
NAVIGATION
Using the origami patterns as a navigation system. The c and theme as well as the speed of flow of peopl Above is one o
N SURFACES
changing pattern indicates the change of exhibition space le. The smoother the pattern, the faster the flow. of the surfaces.
MOM
Transition of pattern from smooth to a pattern to a differen of exhibiti
MENT
nt pattern, indicating a slower flow of people and a change ion space.
CHAPT
FINAL DR
TER SIX
RAWINGS
GROUND FL
LOOR PLAN
N
1:200
FIRST FLO
OOR PLAN
N
1:200
TOP V
Rendered building from
VIEW
m top orthographic view.
N
1:200
N
1:200
LONG S
SECTION
FIRST FLOOR ROOF OPENING
FIRST FLOOR ROOF LIGHT
I applied some design language studied earlier in the course into the design. These studies allowed me to manipulate and control these surfaces the way I want, serving different functions and programmes in different areas.
NOISE BARRIER Origami pattern cladding applied
Envelope with a wall acting as a noise barrier on the north-west side. Origami patterns applied to reflect sound. Patterns morphing into different orientations allow me to effectively reflect sounds coming from different directions, i.e. reflecting sounds from left and right and sounds from below on different parts of the noise barrier.
GROUND FLOOR ROOF LIGHT Windows avoided for better acostic privacy
With a usually noisy motor way next to the site, I deployed slits for roof lights instead of windows on the envelope, which means a better acoustic quality but still allowing light into the building.
FIRST FLOOR ROOF LIGHT
RESIDENCE ROOF LIGHTS Windows avoided for better acostic privacy
OUTDOOR EXHIBITION SPACE PUBLIC PEDESTRIAN WALKWAY LIGHT WELL For ground floor EXIT OUTDOOR WORKSHOP
ATRIUM Allowing natural light on ground floor
KILN ROOM
PEDESTRIANS’ RAMP Connecting public pedestrian walkway and courtyard
INDOOR EXHIBITION SPACE
The first floor is mainly where the visitors get to interact with the artists. With an outdoor and indoor element to the workshop and gallery space, this provides the artists more room to create a larger artwork collection of different variety, from intricate pieces that are visually gripping, to ceramic sculptures that only become more beautiful as it decays in the sun or rain.
BRIDGE WALKWAY Between artists’ residence and indoor workshop
INDOOR WORKSHOP ARTISTS’ BEDROOMS
LIGHT WELL AND SCULPTURE SPACE
CLAY DRYING ROOM KILN WORKSHOP GROUND FLOOR EXHIBITION SPACE KILN ROOM RAMP From ground floor to first floor ARTISTS’ RAMP Between outdoor workshop and kiln workshop
TICKETS AND CLOAK ROOM
The ground floor is where the main gallery space is. Since ceramic artists ocassionally produce other types of art, such as rough sketches and paintings, I have left the ground floor enough room to showcase all types of art, from paintings and drawings to installations and scuptures. It could also exhibit artworks of non-resident in this artist residence.
ARTISTS’ COMMON SPACE ENTRANCE
PRIVATE COURTYARD
The building is designed to have a different circulation for the following groups: visitors, artists and staff. Staff and visitors have a majority of circulation shared as gallery needs monitoring and maintained, especially where visitors are mostly gathered. Artists however have a different set of circulation. Although the building is a public gallery and is where the public interact with the artists, creating artworks is a creative process, and the building is also a place of residency for the working artists, and so 100% transparency is not desired. Certain artists may also not agree to share their techniques to produce certain pieces with the public, and so there are spaces where artists can work in solitude.
TACUBAYA RESIDENTIAL GALLERY AXO
RESIDENCE ROOF LIGHTS Windows avoided for better acostic privacy
FIRST FLOOR ROOF LIGHT
NOISE BARRIER Transition of origami pattern
ARTISTS’ COMMON SPACE ENVELOPE
BRIDEGE WALKWAY ROOF COVER
GROUND FLOOR ROOF LIGHT Windows avoided for better acostic privacy
PUBLIC PEDESTRIAN WALKWAY
EXIT
ARTISTS’ BEDROOMS
INDOOR WORKSHOP BRIDGE WALKWAY Between artists’ residence and indoor workshop
ATRIUM Allowing light to enter the ground floor
PEDESTRIANS’ RAMP Connecting public pedestrian walkway and courtyard
KILN ROOM OUTDOOR WORKSHOP
OUTDOOR EXHIBITION SPACE
PEDESTRIAN WALKWAY CANOPY Plays with light. Improve experience of pedestrians OPAQUE WALL Plays with visibility. Allows glimpes into the gallery from pedestrian walkway.
PRIVATE COURTYARD
ARTISTS’ COMMON SPACE
RAMP From ground floor to first floor
FIRST EXHIBITION SPACE
ARTISTS’ RAMP GROUND FLOOR MAIN EXHIBITION SPACE
KILN ROOM
CLAY DRYING ROOM KILN WORKSHOP
LIGHT WELL AND SCLUPTURE SPACE
Since complete transparency is not desired, the following spaces are isolated from the public: artist residence, including both bedrooms and common space and kiln workshop. Entrances of those spaces require keys which will be given to the working artists as they start their residency. Most entrances of those spaces are also hidden from the public, for example, the kiln workshop. To access the kiln workshop, one needs to either take the ramp from the outdoor workshop, or go through the door underneath the public ramp.
TACUBAYA RESIDENTIAL GALLERY AXO
BALCONY Orientated towards the east to allow the morning sun to provide warmth and sunlight. WORKING / READING SPACE
BEDROOMS Each bedroom furnitured with a double bed, a bathroom, wardrobe and drawers.
PRIVATE COURTYARD Envelope wraps around to continue providing a barrier for acoustic purposes, and in this case, also creates a semi-enclosed space. READING SPACE
ARTISTS’ COMMON SPACE Includes kitchen, dining space, living room. ENTRANCE AND SHOES
BEDROOMS ROOFLIGHTS Windows avoided to maintain acoustic quality.
ARTIST RESI
Descr
IDENCE AXO
ription
Bedrooms are isolated by walls and curtains which users can draw if they wish to have privacy. All four artists would ‘feel’ more like a co-living space for a community or a team rather than four individual bedrooms for four individuals. Balcony faces eastward to bring in the East light in the morning.
Ground floor of artist residence consists of a reading space, an open kitchen, dining space, a living room, a toilet, shoe space and a private courtyard. As a co-living space, the ground floor act as a socialising and relaxation space for all four artists. Although not used usually during the day, it should be a private and comfortable space.
Overall the artist residence is designed to be a co-living space, to encourage the artists to socialise and work together, making their stay more enjoyable, homely and comfortable. The artist residence is designed to provide privacy to the residence as a whole,
INDOOR WORKSHOP Equipped with precision and light work work benches, as well as storage for tools and clay. Main sculpting area. OUTDOOR WORKSHOP Equipped with light and heavy work work benches, potter’s wheels, sinks, tool benches, and storage for tools. Primarily for wet clay work.
OPAQUE WALL Provides some privacy for artists to focus while allowing visitors to peek through.
PUBLIC PATH CANPY Improves experience for pedestrians using the public path. Canopy also extends to provides some shading in the outdoor workshop. CLAY DRYING ROOM Dedicated room for clay to air dry. Humidity and air movement controlled. A transparent glass allows visitors to view the work-in-progress clay pieces.
KILN ROOM Dedicated space for clay firing. Equipped with three natural gas kilns, storage for tools and a heavy work work bench.
KILN WORKSHOP ENTRANCE Hidden from the public and only accessible for artists and staff.
ARTIST WOR
RKSHOP AXO
Upper floor workshop consists of an indoor workshop and an outdoor workshop. Wet clay is primarily worked in the outdoor workshop, and dry clay the indoor. Wet clay working requires potters’ wheels and various tools, but mainly require the artists creative minds and their imagination, thus an opaque part see through wall is provided to ensure they have enough headspace and concentration, while letting visitors have a glimpse of the making process. The indoor workshop is almost like a performance space, where artists work dried clay with sculpting and painting. Thus only a half wall separates the visitors and the artists.
The lower floor workshop consists of a kiln room, a kiln workshop and a drying room. TWhile wet clay can still be worked here in case of bad weather, this space mainly deals with processing and curing. A transparent glass allows visitors to enjoy the work-in-progress art on the drying rack, which may inflict a feeling of anticipation, having them look forward to the next exhibition.
Overall the double floor workshop is equipped with the essential tools and facilities for the artists to enjoy their working time there. Facilities such as potters’ wheels (kinetic and electric, sitting and standing), working benches (for light work, heavy work, and precision work), storage, sinks, and three gas kilns. A full-time working ‘kiln man’ will be working with them to ensure the safety and provide his/her expertise for the optimised outcome of artworks.
MOM
First floor exhibition space looking at indoor an
MENT
nd outdoor workshop as well as open courtyard.
MOM
Walkway between artist’s residen
MENT
nce and artist’s indoor workshop