Field-Controlled Experiential Spatial Systems
Volcanic eruptions at all scales produce droplets of molten lava, which are thrown into the air at high velocity, drawing them into long, delicate strands.
These volcanic glass strands are carried by the wind, often becoming embedded within the basaltic flows from which they originated.
The strands can be carried over long distances by the wind, often accumulating in particular locations. These basaltic glass fibres can be deciphered to give information about the volcano from which they came.
The loosely-ordered entwinement of delicate vol
Pele’s
Produced in today’s society at an industrial scale, glass fibres are often thou Goddess - is a naturally occurring glass fibre. Created when small droplets long, thin strands, Pele’s Hair accumulate in particular lo
lcanic fibres around solid objects
s Hair
ught of as a synthetic material. However Pele’s Hair - named after a Hawaiian of lava are ejected through the air which are then subsequently drawn into ocations and even become embedded in basaltic flows.
Loosely-packed thick optical fibres
Densely-packed mixed optical fibres
Densely-packed thin optical fibres
Translucent Concrete
Light Transmitting Su
The embedding of glass fibres into solid material allows light to be transmitted from on strated here position the fibres in clusters, with little
urface Material Tests
ne side to the other by the principle of internal refraction. Initial experiments demoncontrol over the individual orientations of the fibres.
Light S
A series of studies showing the transform
Studies
mation caused by changing levels of light.
2 Charges: Positive - Negative
Shayna Leib Glasswork: ‘‘Sirocco’’: a mediterranean wind that comes up from the Sahara and can reach hurricane speeds in North Africa and Southern Europe.
4 Charges: 2 Negative, 2 Positive
Field Line E
Field Lines created within Grasshopper form the basis of an orderly control o charges can begin to determine the overall quality and performance of eac patterns o
3 Charges: 2 Negative, 1 Positive
5 Charges: 1 Positive, 4 Negative
Exploration
over the positioning and densities of the fibres. The positionings of the point ch panel. Shayna Leib uses glass to create the flowing, often nature-inspired on the left.
The distribution of the extrusions as seen from above.
The topography is determined by the path which cuts through the base plate; the distance between the path and the extrusions determine the height and the thickness of the fibre.
Variable E
The extrusions of fibres from upon a base plate become controlled in both which carves through the base plate. The topography as crea
Extrusions
thickness and height, as determined by the ‘‘attractor’’; an imaginary path ated by the fibres creates a panel with perspectival viewings.
A rendered view of a panel, imagined as a horizontal surface.
Test 1
Side Approach
Test 2
Impact of Orienta
Further development of the attractor graph experiment shows the potentia
ation on Viewing
al for perspectival views to unfold, either as a vertical or horizontal surface.
Front View
Tit
tle
Textural
The field lines give rise to various levels of texture when viewed from the fro the fib
l Studies
ont. The introduction of more charges creates visually chaotic movements of bres.
Trompe
Teatro Olimpico is a theatre in Northern Italy, contructed between 1580-85. T antiquity. Each street uses Trompe-l’œil false perspectives to provide the illus
e-l’œil
The stage set creates the illusion of looking down the streets from a classical sion of long street views, when in fact each street only extends a few metres.
Viewing angles as seen from the audience.
Auditorium Vi
The theatre is designed such that from any point withi
The archway visible in the background appears to be a similar height to the archway in the foreground from the audience’s perspective; in fact, the diagram above shows the actual difference.
iewing Angles
in the audience, at least one of the streets are visible.
Perspectives & V
Using a simple 2 point charge field pattern, the static fibres that
Viewing Angles
t arise can be experienced differently from each viewing angle.
A view of the fibres from above the panel, with the corresponding field lines shown below.
Field-Forg
Fibres whose characteristics are forged by the properties of the magnetic fie amongst the chaos. The result is a panel whose feeli
ged Fibres
eld lines. Negative charges repel the fibres, creating a predetermined order ing and texture is determined by the viewing angle.
A rendered view of the panel from a potential viewing angle, revealing the ordered yet chaotic movement of the fibres.
Convolutio
The field lines created by the point charges influence the properties of the fi viewed from particular angles. The interaction of th
Fibres interlock and cascade over eachother in highly dense regions, created by their attraction to the positive charge.
Negative charges repel the fibres, creating areas of sparsity. Field lines created by the repulsion of multiple like charges give rise to sweeping movements of the fibres which clash with other movements of fibres.
From particular viewing angles, the fibres appear to descend into chaos, whereas from other angles, the fibres transcend into order.
on of Fibres
ibres, creating flowing, ordered movements which descend into chaos when hese flowing movements create distinctive regions.
Evolving Pe
As a panelized surface, the emphasis is upon creating a static yet performativ entanglement of fibres into a su
erspective
ve wall; a play upon perspective, in which the surface evolves from a chaotic urface of highly ordered fibres.
Tit
tle
Tit
tle
Large-Sca
The charges are positioned such that the flowing patterns of the fibres can be ally pos
ale Fields
egin to create the illusion that the surface has a far greater depth than it actussesses.
Translucent Fi
With reference to the field line systems, surfaces of translucent (glass or
Section through a possible piece of wall, The wall is naturally illuminated from one side
ibrous Surface
r acrylic) fibres/rods create a highly ordered, light transmitting surface.
Horizontal Extrus
Horizontal extrusions allow for dramatic shifts in viewing experience when creates a strong juxtaposition betw
sion Investigation
one moves from one position along the wall to another. Directional lighting ween the two extrusion directions.
Mapping Colour Acc
A different colour is mapped onto each side of the strands, emphasising the experience o
cording to Direction
e clashes between the field lines and further linking viewing angle with the of the surface.
Movement o
Flowing Wall
Cartridge paper is used to create extrusions of variable height from a flexibl pattern, creating insights into the w
of the base plate, along with the viewing angle, changes the quaity of the strips.
Investigation
le base plate; the curvature of the base plate alters the quality of the flowing wall from particular viewing angles.
The Strips are hooked into the base plate, allowing the angle to be controlled
Extrusio
Extrusions are folded, hooked
on Detail
d and fixed into the base plate.
Missing Extrusions c face, visible benea
Inbetween
Missing Extrusions create ‘‘windows’’ through the surface; the
create ‘‘windows’’ through the surath the fibres at the correct angle
the Fibres
ese create an interchange of light between the two surfaces.
Light perforates the outer shell of the building, illuminating the strands and drawing on
Bruder Klaus Field Chapel - Peter Zumthor
Translucent Surface
The extrusions are mapped around simple geometric spaces, positioned suc nated by the bright lights of the city, light is siphoned into the structur
ne’s attention to the flowing movements of the field strands as seen from different angles.
es; Internal Spaces
ch as to create different viewing experiences from different posititons. Illumire; the source of the light is obscure until viewed from a certain angle.
The field line pattern from which the above facade was carved.
Field-Contro
The field lines project their language onto simple facades and surfaces, car Horizontal field lines give rise to the extrusions which, depending upon the v ing of the field lines into vertical movements be
olled Facades
rving out architectural details according to the properties of the field lines. viewing angle, conceal or reveal the windows through the surface; the bendegins to form more distinct cavities and louvres.
The Noctur In this consideration, the lights from the opposite side of the
rnal Facade surface form the basis for the illumination of the extrusions.
Facade View
As one moves from one side of the facade to the other, the perception of the s upon the field pattern which dicta
wing Angles
surface changes as windows either unveil or conceal themselves, depending ates the topography of the surface.
The Nocturn
The complex geometries created by the field lines are combined to form a lighting; by night time, the vibrant, dynamic light of the city is cast through the rien
nal Pavilion
pavilion whose internal experience is highly dependant upon the external e windows, illuminating the strands and creating a constantly changing expence.
A View from Insi
ide the Pavilion
Centre of Cinem
Situated on a site which is experienced by users moving both at low and high language to create a collection of cinema spaces whilst integ
Samuel
UG
matic Projections
h speed, the centre of cinematic projections adopts a particular architectural grating the site’s original use as a major advertising location.
l Martin
G2
1 km
N
Site Location
Site Lo
ocation
Site Location: An
The site is positioned upon the exposed edge o pollution created by two of Mexico City’s busi trance to the Contituyentes Metro Station. and i rou
n Exposed Route
of a quiet neighbourhood; subject to noise and iest motorways. The site presides over the enis consequently also a highly active pedestrian ute.
1:500
Site P
Plan
Existing Site
The site is currently utilized both formally and large volume of commuters
Advertising Board
Existing Tenements; Derelict and/or Storage Space
Overall Site Footprint
Entrance to the Constituyentes Metro station
e Functions
d informally as an advertising position, with a s passing the site each day.
A Stepped Topography
Site Segm
The site operates in stages, resulting from both the metro station, and hence the site divides int which will be used to help defin
Stage 1: Primary Site / Internal Spaces
Stage 2: Secluded (From the Urban City) yet Outdoor Area, for Public Performances
Stage 3: External Landscaped Area; Entrance to Metro
mentation
h the topography of the site and the entrance to to 3 segments at varying topographical heights ne the circulation of the building.
Metro Entrance
Pedestrian Routes
Motorists
Site Circ
As a result of the site’s location, the site is experienced by people moving at pedestrians moving at a slow
culation
t various speeds, whether that be the motorists moving at high speed, or the wer pace throughout the site.
Pedestrian Routes Pedestrians, many of whom leave or enter the metro, experience the site at a slower pace than the motorists and hence there is a closer interaction with the site, often beyond the visual elements.
Motorist Route Motorists often experience the site at a high speed, experiencing only a momentary glimpse of the site. As a result, the interaction between the site and the motorist is mostly visual.
A motorist’s experience of the site; advertisement boards reach into the sky above the concrete retaining walls.
N
Scenes from t
As the traveler passes beneath the motorway bridge, a momentary glimpse visi
The viewing positions corresponding to the four scenes below, from left to right.
the Motorway
of the advertising board is witnessed before it quickly fades from the line of ion.
Pedestrian Route
Vehicular Route
Cineteca Nacional creates a public outdoor cinema space within its g ‘‘amphitheatre’’, whilst simple in layout, creates a unique viewing envi
Cineteca
The grounds of Cineteca Nacional act as a public route, whilst also containing people, as shown in th
grounds, as well as hosting numerous indoor cinemas. This outdoor ironment suited to Mexico’s warm climate.
Nacional
g an outdoor screening area; this public space is popular with small groups of he above photograph.
Facade View
As one moves from one side of the facade to the other, the perception of the s upon the field pattern which dicta
wing Angles
surface changes as windows either unveil or conceal themselves, depending ates the topography of the surface.
Missing Extrusions c face, visible benea
Inbetween
Missing Extrusions create ‘‘windows’’ through the surface; th
create ‘‘windows’’ through the surath the fibres at the correct angle
n the Fibres
hese create an interchange of light between the two surfaces.
An initial sketch showing the variation in program throughout the building and the general form
A section showing the program with reference to the ground level
Initial Sk
ketches
INITIAL PROGRAM
Indoor Cinema Space; sunken into the ground for acoustic isolation
Outdoor, private performance / screening stage; used for organized live music or for a private outdoor film screening
Landscaped public screening gardens; an area which acts as a through-route for pedestrians, designed with a more casual relationship between the film and the pedestrians
FACADE SKETCH Advertising boards, which vary in scale depending upon the speed of viewer who it targets, conceal a night-activated facade. Using the language from the first project, light from within the cinema illuminates strands on the outside of the cinema.
Small-scale outdoor performance space
Performer’s residences
Metro Ent
Initial Proposal: a
The facade is hidden to sh
s
Entrance
trance Indoor Cinema
a Basic Diagram
how the internal program
Plan view of an initial proposal
Potential Stag
The original design included a flexibility between p
Larger stage; accessed only at certain times of the day.
A small stage connects the outdoors with an indoor public space at the ground floor level. Above the stage is a cone which points towards the evening sun, which casts a spotlight onto the main stage.
Public Stages for small scale, often casual performances, particularly music performances hence the circular format.
N
ging Formats
performance stages and spaces for screening films.
‘‘The Wave’’ public performance space; using derelict land within urban locations to create small communal spaces
Entrance
Views towards stage / screening area, and across Mexico City.
Plan view with the rooflines drawn over
Potential Ro
oof Design
Roof Design The thin beams which have been extruded from the outline below are shaped as such as to control the flow of the space, affecting to spatial qualities of the interior, with glass placed strategically above the structure to allow light into the space.
Roof Outline The lines which are drawn over the original roof follow the flow of the building, terminating at key destinations throughout the space; for example, the facade which overlooks Mexico City, the route which leads to the cafe garden, or the route that takes one through to the viewing deck, from which one can see the outdoor cinema.
Original Roof The original roof is shaped strategically, however it does not incorporate the intended architectural language. It is intended that the roof could blend into the facade’s panels.
Roof Struct
A physical model of the roof struc
ture Model
cture for the first building outline.
Initial Roof - Facad
de Interface Model
The roof structure flows upwards at the entrance to create a l
The roof follows the circulation throughout the building, link circulation, and speed of viewing.
Roof Lan
As as a continuation of the facade’s language, glulam beams flow through
larger, more open space.
king back to the site’s observation regarding movement,
nguage
hout the space and integrate into the facade to create ‘‘viewing windows’’.
Roof Str
Maintenance Catwalk Gutter
Glulam
Fabric Light Diffuser
A section briefly describing the light’s entrance into the cafe through the roof structure. The light could be diffused by the curved glass panels, and further diffused by fabric panels which are suspended from the roof.
ructure
Outdoor Cine
ema Fragment
Concealed
Openings which are concealed beneath the outdoor cin
Projections
nema’s walls are used to fire the screening projections.
Viewing W
Windows periodically extrude from the building’s envelope, creating space into the outdoor
Windows
es in which one can seat themselves and look either across the Metropolis or r amphitheatre.
Plan View showing part of the facade in relation to the motorway below.
Site observation precedent
Roadside P
Private projection spaces are contained along the facade of the bui
Projections
ilding, which project advertisements onto the larger facade panels.
Outdoor Cinema Space
Access to indoor Cinema
PRIVATE SPACE Cinema Offices + Projection Spaces
Circulation
This fragment shows a key circulation space throughout the building; the a space, and the private space from which
Cafe, Building Entrance
Fire Escape
Road
n Fragment
access to the outdoor cinema, the route through the building to the internal the outdoor cinema projections are cast.
Development from model; roof structure ‘‘cascades’’ towards the low of ground.
Fragment Development; C
The building’s roofing structure cascad
wer levels
Cascading Roof Structure
des down towards the landscaped area.
Roof structure forms windows upon meeting the facade; views pointing towards Mexico City & Chapultepec Park
Entrance to Metro
Fire Escape, visually concealed from the outside by the strands
Short section through the Entrance to the building / the cinema.
Fragment Model, Exterio
or / Interior Relationship
Strands increase in size towards the roofline, forming windows in the cafe / communal area. Concealed Cinema Windows
Pedestrian Path
Light-emitting
Small windows perforate the auditorium’s outer wall, which are covered by pa by these panels, creating a shimmering
Building Entrance, above the facade
Viewing the facade
g Auditorium
anels coated with copper sheets. Light from within the auditorium is reflected facade display visible from the outside.
Copper plating allows for the light to easily bounce off the surface, whilst also confronting the
Brass pieces layered onto balsa wood strips, which are hinged to the facade
Facade M
e adjacent motorway.
Materiality
The plate is hinged to a base plate which is cast into a concrete wall, supported by rebar
Night-time
Day-time
Peering into
o the Cinema
Roadside Elevation
Auditorium / Metro Entrnace
Building Envelope
Model including outdoor area