PORT FOLIO Tobias Herman Hendrik Feltham 2 0 1 9 _ 1
TABLE OF CONTENTS
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TITLE PAGE ------------------------------(-02) TABLE OF CONTENTS ---------------------------------00 ABOUT ME ---------------------------------01 BIOGRAPHY
CONTACT INFORMATION OTHER COLLECTIONS OF WORK
INDIVIDUAL WORK ---------------------------------03 IMPLANT-SCAPE ------------------------------------------05 LEVIATHAN ------------------------------------------11 SPATIO-TEMPORAL EXPLORATION ------------------------------------------21 ARTISAN’S RESIDENCE ------------------------------------------27
GROUP WORK ---------------------------------33 INFINITE CHOICE ------------------------------------------35
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ABOUT ME My name is Tobias Herman Hendrik Feltham. I am a third-year student on exchange at CTU Prague, from the University of Waterloo School of Architecture, in Ontario, Canada. CONTACT ME PHONE: +420 608 792 095 eMAIL: tobias.feltham@edu.uwaterloo.ca LOOK AT MY OTHER COOL STUFF WEB: www.tobias-feltham.ca INSTAGRAM: tobias.feltham SOUNDCLOUD: user-209995845
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INDIVIDUAL WORK
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MEDIA:
-Rhinoceros -Adobe Creative Suite -Arduino -Datamoshing/Avidemux
IMPLANT-SCAPE
- Bruno Latour, We Have Never Been Modern, p.11
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‘So long as we consider these two practices of translation and purification separately, we are truly modern--that is, we willingly subscribe to the critical project, even though that project is developed only through the proliferation of hybrids down below. As soon as we direct our attention simultaneously to the work of purification and the work of hybridization, we immediately stop being wholly modern, and our future begins to change.’
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Site Analysis Diagram
Implant-Scape is a network of anthropogenic injections in a decommissioned gravel quarry. It aims to revitalize the post-industrial landscape by galvanizing the successional process and increasing biodiversity, while also making the landscape valuable once again, to human agents.
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The function of this network is not to act as a superstructure, a brace for the ecosystem to grow into, but rather to saturate the postindustrial site with agents (those that are valuable to humans) that stimulate the dynamic system to move towards states that are ecologically healthier and more valuable to human visitors to the site.
Site Plan
Plants can be distributed over time by animal agents like bird species or humans, or by nonorganic agents like wind or river flow
In-Situ Column Placement Isometric
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The injections consist of a columnar unit and a planting strategy that extends in a 10m-diameter circle around the unit. The unit is outfitted with sensor arrays, LIDAR systems, animal sheltering/feeding systems, water collection systems, &c., and the planting strategy that surrounds it incorporates plants that are forageable by humans for either food or functional purposes and respond intimately to site conditions.
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1.TOWER FEATURES i. LED Panels for Collected Data Expression ii. Floor 1: Foraging Information Space iii. Floor 2: VR/Data Visualization Space iv. Access Elevator 2
2.UNIT SYSTEMS i. Animal Propagation Strategy Bird Houses: (Seed propagation, increased biodiversity, species control) ii. Planting Strategy Miyawaki Method: (Early-successional species, bird/wind propagated, pollinator-attraction) iii. Non-Riverine Monitoring System iv. LIDAR System v. Water Storage and Distribution System vi. Computer and Memory Storage vii. 10cm Indentation of Initial Planting Area 3.RIVERINE UNIT SYSTEMS i. Riverine Monitoring System ii. Non-Riverine Monitoring System iii. LIDAR System iv. Computer and Memory Storage
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Conceptual Collage 1
‘If we are to be realist in the one case, we have to be realist in the other; if we are constructivist in one instance, then we have to be constructivist for both. Or rather, as our investigation of the two modern practices has shown, we must be able to understand simultaneously how Nature and Society are immanent—in the work of mediation—and transcendent—after the work of purification’ - Latour, p. 96
Conceptual Collage 2
Conceptual Collage 3
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Gesturo-cyborg Model
Clay Unit Rendering
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Gesturo-cyborg Model
- Marcos Novak, “Liquid Architectures in Cyberspace”
MEDIA:
-Rhinoceros -Adobe Creative Suite -Laser Cutter -Projection -Datamoshing/Avidemux -3D Scanning -Digital Motion Picture/Photography
LEVIATHAN
‘[Liquid Architecture] is a symphony in space, but a symphony that never repeats and continuous to develop.’
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‘cyberspace represents the acceptance of the body in the realm of the mind, it attempts to escape the mortal plane by allowing everything to be converted into a common currency of exchange.’
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Leviathan is a symphony of dissent and uncertainty. Leviathan is a broadcast media hub, a node in a rhizomatic web of information that saturates the under-city with visual media, internet coverage, cellphone service, AM and FM radio coverage and television coverage.
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Exterior Panorama
Interior Panorama 1 Leviathan is inhabited. Built off of the servicing catwalks hung behind the skin of screens and arrays, are squats. And these are inhabited by the “other�: artists, anarchists, rebels. Those who want to escape the favelas, those who have nowhere else to live. Hackers, cyber-criminals, people in hiding.
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Interior Panorama These squatters live in a world dissociated from any ground plane, without an origin in 3D space. A space understood in the experience of its rhizomatic structure. An experience of interiority that is no more comforting than the dizzying world of information consumption and imposed ideology outside.
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17 Stills from Datamoshed Visual Sequence
The data-moshed clip was created in Avidemux, by combining clips from Tarkovsky’s Stalker, Antonioni’s Zabriskie Point and Hitchcock’s Vertigo. The clips were manipulated in order to distort the pixels at the transitions between scenes.
18 Much of the model was lasercut and then assembled. A large, plexi-glass screen was constructed as a surface onto which a data-moshed visual sequence could be projected.
Physical Model
Physical Model: Projection Still 1
Physical Model: Projection Still 2
Physical Model: Projection Still 3
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Here the screen of the model is shown with the visual sequence projected clearly onto its translucent surface. The pixels of Zabriskie Point morph into a face and hills of sand from Stalker.
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Physical Model: Projection Still 4
-Rhinoceros -Adobe Creative Suite -3D Scanning -Hand-drafting
SPATIO-TEMPORAL EXPLORAITON EXPLORATION SPATIO-TEMPORAL
MEDIA:
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This project investigates how architecture is understood in a spatiotemporal sense by drawing from spaces created in cinema. The project interprets scenes that evoke distinct spaces from Tarkovsky’s Stalker, Hitchcock’s Vertigo and Antonioni’s Zabriskie Point, and strings them together into an experiential sequence.
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The threshold between Stalker and Vertigo / Zabriskie Point.
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Interior Render
Exterior Render 1
Exterior Render 2
Zabriskie Point’s nebulousness
Vertigo’s ascent.
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Still from Antonioni’s Zabriskie Point
Still from Hitchcock’s Vertigo
Still from Tarkovsky’s Stalker
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Exterior Render 3
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Var. 3
Var. 2
Var. 1
Base Cycle (motive)
Elevation
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-Hand-modelling -Hand-drafting -Digital Photography
ARTISAN’S RESIDENCE RESIDENCE ARTISAN’S
MEDIA:
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This project is a proposal for an Artisan’s residence on the banks of the Grand River, in Cambridge, Ontario, Canada. A significant element of the history of Cambridge is the Grand River that runs through its downtown, and the industry that developed on the river’s banks. This history is still present today in the stone and brick mills that line the riverbanks, evoking a culture of craft and industrious-ness waiting to be reinvigorated in the city.
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The translucent channel glass is paired with wood, and specific, framed views to inform the interior of the residence.
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Interior Collage
Physical Model View 2
Frosted channel glass is used for the exterior for the second storey, and for the walls of the first storey not directly facing the street.
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The Residence overhangs a public walkway, and opens directly onto views of the Grand River and the greenery along its banks.
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Physical Model View 1
North Section
Wood is used for interior partitions and surfaces, particularly the intimate core of the second-storey that contains the bedroom and the washroom.
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Stone, hewn and laid in a similar fashion to the historic building which is adjacent to the residence, is used on the ground level to separate the public zone from the private.
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West Elevation
GROUP WORK
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Project in collaboration with Salman Rauf
MEDIA:
-Rhinoceros -Adobe Creative Suite
INFINITE CHOICE CHOICE INFINITE
(Archigram – Peter Cook, pg. 68)
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“The determination of your environment need no longer be left in the hands of the designer of the building: it can be turned over to you yourself. You turn the switches and choose the conditions to sustain you at that point in time. The ‘building’ is reduced to the role of the carcass – or less.”
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Axonometric Projection
Elevaiton
Infinite Choice is entirely fabricated from steel. The main platform is elevated from the ground on a space frame, and it is navigated by manipulating a number of panels that either rotate or slide. These plateforms can be aggregated ad infinitum in three dimensions.
Plan
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Floor Plate Assembly Detail
Floor Plate - Space Frame Assembly Detail
Sliding Door Hanger Detail
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Sliding Door Hanger Detail B
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Sliding Door Floor Guide Detail
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FIN
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