Transitional Environments by University for the Creative Arts MA Architecture/MA Interior Design

Transitional Environments

by Rosanna Leonardi

Transitional Environments

CSA Research Report

Project Details Project Lead:

Rosanna Leonardi

Design Participants:

Owain Caruana-Davies Lucy Jones

Title:

Transitional Environments

Type:

Research Project & Installation

Location:

Canterbury School of Architecture, foyer UCA Canterbury

Project Dates:

01st June 2018 - 27th July 2018 Project Design 31st July 2018 - 20th August 2018 Building and testing on site 24th August 2018 Installation open to public

Design Period:

June 2018 - August 2018

Budget:

800 ÂŁ

Scale:

2.4m x 2.4m x 2.5m

Support:

University for the Creative Arts

Transitional Environments

Research Agenda and Process Overview

Transitional Environments is a project which explores usersâ&#x20AC;&#x2122; experience and the traces they produce as moments of transition. It is a flux of micro spaces of different dimensions and heights made of hard and soft materials that translates usersâ&#x20AC;&#x2122; actions in visible traces. The act of transitioning is then related to both a personal thinking and a tactile experience. From the authors Bennett, Ingold, Coole & Frost, the project is informed by theories of the relationship between organic and inorganic substances, generating an understsanding of materiality. It is the medium by which physical realities are proved by intangible acts that define our social and cultural evolution. From the area between the ground of Greyfriars Chapel and Franciscan Gardens and the river Stour to the foyer of UCA in Canterbury, the built installation will display a dichotomy between natural and unnatural in-between spaces as well as powdered, liquid and solid materials. The act of transitioning from one space to another one determines a physical interaction which involves three levels: 0.00 m soaked bare feet; +1.00 m solid vision; +2.30 body contact.

Research Questions 1.

How has the act of making shaped our cultural environments?

2. How can uncomfortable experience prompt reflection on human practices? 3. What conversation can liquid and solid realities have in fluid environmental conditions?

Fig.01 (previous page) Frame of an hidden Greyfriars Chapel from the river Stour, Cantebury.

Research Statement

Significance and Contribution Investigating sensory spaces and materiality. From a variety of perspective, humansâ&#x20AC;&#x2122; behaviours are effective parameters to better understand and analyse the physical world. In this scenario, through a sensory user experience tangible decisions will be made visible through traces in degradable materials such as latex and chalk. The installation Transitional Environments is composed by a sequence of spaces that are connected by a central path, placing them on the sides. It is informed by Cooleâ&#x20AC;&#x2122;s theory called Heteronomy which defines as everything is connected to one another whatever thing they are. As a cutting-edge project, few direct conceptual precedents have broken the ground even though such inspirational authors have separately employed those materials and ideas. Such connections will be the keystone that allows the installation to open up a new field of enquiry posing new questions for a pioneering scenario.

Methodologies 1.

A Design shaped through a reflective process of making.

2. Testing dimensions and heights at 1:1 scale to identify spatial needs by recording and interacting with project proposals. 3. Time based testing materialsâ&#x20AC;&#x2122; properties and making techniques.

Transitional Environments

Design Proposal Transitional Environments relates to theories made visible by materials that come from the research undertaken. Chalk, latex and Plywood have been tested as being those outcomes able to convey tangible actions. The process of making physical prototypes translates their different nature as well as a possible coexistence. The design itself is linked to an hidden space, the area between the river Stour and Greyfriars Chapel in Canterbury. The site has been investigated and integrated by interacting with spatial requests.

The user experiences a transition of materials that makes the whole journey reflexive and isolated as well as responsive to real actions. The process of making follows a precise schedule. From a previously established knowledge two latex techniques have been tested: pouring and spraying it. Secondly, a mixture of powdered chalk, water and alum is made with different level of wetness. The solid aspect of the project sees flexiply and plywood being tested according to the fluid shape of the design proposal. It is cut by using CNC machine.

Key technological outcomes of proposal 1.

To make layers of latex by using the spray technique and fix them to a support that make them hung.

2. To make different mixes of chalk, water and alum; dry the mixture according to the level of wetness to create different textures/ consistencies. 3. To realise fluid containers by using flexiply and plywood cut by CNC machinery.

Proposal & Context

Design Research Context

Fig.02 (left) J. Otero-Pailos, “The Ethics of Dust” (2016) Fig.03 (right) Barkow Leibinger, “The Serpentine Summer House” (2016)

Field of Work

Work by others

The project sits between Interior Design and Architecture trying to blur the two fields. It investigates two main areas: social practices and design; a connection in loop where human behaviours influence the real world which then conditions our decisions. The project origin is as an excursus of spontaneous habitats that have been translated into projects of any scale except the interior one. In Jorge Otero-Pailos can be found the only one and main precedent that can be related to both the conceptual approach and the physical outcome.

The Ethics of Dust by Jorge Otero-Pailos (fig. 02) shows a successful big-scale use of one of the materials employed. Thanks to its chemical composition, latex is able to make visible traces from its surrounding as well as altering them. The Serpentine Summer House 2016 by Barkow Leibinger (fig. 03) express the potential of plywood to create fluid spaces through a process of bending. Similarly, the project Transitional Environments will try to express fluidity comparing flexiply and normal plywood.

Transitional Environments

Design Methodologies The design is composed by many different making processes happening simultaneously. An assemblage of materials that follow different techniques. A solid base made of plywood lies at 0.00 level and extends over the height of 2.30 m. The challenge to cut rounded and fluid forms will be overcome by using CNC machinery which has a dim of 0.06 m and therefore it allows only cut not less than that circumference.

component is made by using a compressor of 200 L which enable fast spraying. To spray, the tool employed, a spray gun, can contain a good amount of liquid, circa 2 L, with a potential of mixing different fluids at the same time. For the soft component of the project, the challenge is to make a wire net that works as a support for hanging long latex sheets at an height of 2.50 m.

The making sequence involves two separate paths starting at the Shifted by 0.50 m from the level same time. Plywood pieces will of the chalk marsh contained be cut while layers of latex and within the boxesâ&#x20AC;&#x2122; base, the latex acrylic colour will be sprayed one on top of the other one.

Critical Design Elements 1.

Accurate and clean CAD drawings are essential for cutting by using the CNC machinery.

2. On the vertical line, metal wire has to be designed and fixed to the existing interiors to hang long latex sheets. 3. The solidity of the base needs to be fixed firmly to support thin plywood and plexiply faĂ§ades.

Process & Methods

Prototyping and testing CNC drawings The numerical cutting recognize closed polylines that need to be a single form without any other lines below. Several tests have been carried out proving the importance of a clean drawing.

Latex

A water-based liquid material by 60% which needs at least eight layers until it assumes compactness. Tests have been made by mixing acrylic colours, latex and plastic wires (fig. 04). Due to the scale of the project Chalk weight considerations are taking A chalk rock originally from into account. Margate has been carved out, generating a powdered chalk Plywood and flexiplywood which then was mixed with hot Flexiplywood and hard plywood water and a coagulant called have been tested to produce a Alum (fig. 06). Other tests fluid design (fig. 05). Different have been made by mixing the thickness defines a hierarchy substances in different quantities along with proving the feasibility and containers. of the project.

Fig.04 (right) One layer of latex and elastic wire. Fig.05 (left) Connection test of the 8 mm flexiply.

Transitional Environments

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Transitional Environments

Fig.07 (left) Curving flexiplywood by cutting through. Fig.08 (right) Detail of the connection method employed.

Process & Methods

Fabrication Techniques The making process of the design if some sections need to be fixed can be divided into two different otherwise. approaches that are defined by Spraying Latex the tools used. The techniques employed is CNC cutting unconventional for liquid latex. The material is sprayed over The plywood component is a waterproof plastic sheet by designed by cutting with a CNC using a 200 L compressor and a numerical tool. It allows the spray gun (fig. 09). The action of project to be more articulated as spraying does not need a detailed well as fluid. What has to be cut plan beforehand. Quantity of needs to be carefully verified, the layers and dimensions are the drawings have to be clean, fully two main technical data that have joined and in scale. The process of to be considered before starting. controlling the technical aspect is An important aspect is the weight essential for a good outcome. The of the liquid which layer by layer wood sculpture is mostly joined assumes consistency. by not using bolts or screws even

Transitional Environments

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Transitional Environments

Process & Methods

Control Systems University for the Creative Arts, Canterbury School of Architecture, Master Interior Design 2017/2018, CIND 7013, Transitional Environments, Rosanna Leonardi, 1705212

TR Design development 02 CNC

200L Compressor

The machine itself is not a challenge whereas its software and CAD requirements are. It can be used once the starting bottom is on and the file has been sent to the CNC computer. Different Dim can be chosen according to design requirements making them to play an important role during the cutting process. For an effective cleaning erbury School of Architecture, Master Interior Design 2017/2018, CIND 7013, Transitional outcome Environments, Rosanna Leonardi, 1705212 issues have to be considered as an interference with the efficiency of the cutting. Dust is also produced by the CNC at a fast speed, therefore it has to be removed between cuts.

Technical specifications

Production List

28th June 2018 CNC Proposal schedule for Transitional Environments

Project components

Making process

Estimate of number of Plywood sheets to be bought and cut

Flexiply 8 mm 244x122 mm

Plywood 18 mm

Base walls

Base floor

Estimate of days for CNC cutting

Day 1

Base floor Boxes

Wood

18 mm Hard plywood board 2.44x1.22 m – Base floor – £ 51.60 (Timberite); 18 mm Hard plywood – Containers; 8 mm Flexible plywood board 2.44x1.22 m – Base walls – £ 54.33 (Timberite); 8 mm Flexible plywood – Wall on the right; 9 mm Plywood board 2.44x1.22 m – Wall on the left – £ 25.50 (Timberite). Connections Base walls to base floor; Containers to Base floor; Walls to base walls.

Walls

Boxes

Day 2

Base walls Walls

Zinc-plated steel finishing nail 40 mm – £ 6.67 per 1 KG (Screwfix) Phillips Pan Head Machine Screw M4 x 30 mm pack of 25 – £ 1.21 (Toolstation) Corner brace 40 mm pack of 10 – £ 0.93 (Toolstation)

Latex

CNC Compressor 200L Spray gun Wood workshop tools Sculpture workshop tools

Project

(1) Drill (1) A4 Frame for Thesis (1) A1 Frame for one drawing (10) A2 Frames for pictures showing the making process (1) Hammer (1) Hoover (1) Ladder (1) Plinth of H 80/90 cm for leaving mobile phone and (1) plinth of H 40/50 cm for leaving shoes. (1) Projector

Polycraft Latex 5L – Curtains – £ 20.83 (MB Fibreglass) Thickener 250 ml – £ 2.50 (MB Fibreglass) Light duty protective sheet – Base Floor – £ 7.00 (B&Q) White acrylic paint – Leyland – £ 8.99 (Screwfix)

Day 3

Connections Hanging latex.

Walls Rings

Brass wire 50x8 mm – £ 9.52 (Diall) 20 Perla small loop clamp – £ 19.74 (Green Magic) 20 6x60mm Stainless Steel Wood Screw Lag Thread Eye Bolt – £ 34.07 (GSProducts)

Calcium Carbonate Chalk Powder 25 kg £29.99 (WaltersandWalters)

Rings

Environments

t and cut

The compressor of 200L is mainly used in the building sector where a thick layer of industrial materials is needed. Following the same technique, its nature have been employed for spraying latex. The tool needs to be turned on before the actual use as it has to reach the sufficient pressure to get started. Secury valves help not to disperse temperature and pressure inside the compressor. At the end of the usage, the same process occur in a reverse mode; pipes and cable have to be pull off when the pascal units are at a low level.

CNC schedule/drawings

Estimate of days for CNC cutting

Day 1

Base floor Boxes

Technical specifications

Production List

Project components

Making process

Base walls Walls

Extra

CNC Wood Compressor 200L From 17/07/18 to 20/07/18 the pieces have been cut according to the above schedule. Over the Spray gun 18 mm Hard plywood board 2.44x1.22 m – Base floor –have £ 51.60 CNC process changes been(Timberite); applied for a more cost-effective and sustainable project. Wood workshop tools 18 mm Hard plywood – Containers; Sculpture workshop tools 8 mm Flexible plywood board 2.44x1.22 m – Base 54.33 (Timberite); For technical issue,walls due –to£the CNC inability to cut with a rotated dim therefore in diagonal, the 8 mm Flexible plywood – Wall onboxes the right; have been cut only in plain external shapes which have to be cut with other wood tools. 9 mm Plywood board 2.44x1.22 m – Wall on the left – £ 25.50 (Timberite). Project Connections Base walls to base floor; Containers to Base floor; Walls to base walls.

Day 2

Day 4

Latex

31/07/18 Material supplied by Timberite 2 flexible plywood boards 8x2440x1220 mm 3 1/2 plywood boards 18x2440x1220 mm 2 plywood boards 9x2440x1220 mm

Day 3

Connections Hanging latex. Walls Rings

Brass wire 50x8 mm – £ 9.52 (Diall) 20 Perla small loop clamp – £ 19.74 (Green Magic) 20 6x60mm Stainless Steel Wood Screw Lag Thread Eye Bolt – £ 34.07 (GSProducts)

Calcium Carbonate Chalk Powder 25 kg £29.99 (WaltersandWalters) Day 4

Extra

cut according to the above schedule. Over the cost-effective and sustainable project.

with a rotated dim therefore in diagonal, the hich have to be cut with other wood tools.

31/07/18 Material supplied by Timberite 2 flexible plywood boards 8x2440x1220 mm 3 1/2 plywood boards 18x2440x1220 mm 2 plywood boards 9x2440x1220 mm

Examples of CNC layout

Page 6

Fig.10 (left) Example of CNC layouts.

Transitional Environments

Occupation and Interaction Placed in the foyer of Canterbury School of Architecture UCA, the installation aims to attract visitors making them experience a sensory piece. Originally related to Greyfriars Chapel and Franciscan Gardens in Canterbury, the space which hosts the installation tends to reproduce that sitespecific connection through making visible an hidden reality. At the edge of the foyer, The installation does not interfere with the current public flux of UCA Architecture Department. Plywood and latex invites to discover a transition made of materiality and perception.

As stalactites and stalagmites, the user faces two tactile experience: one which involves feet and wet substances and the other one that engages with body and visualing vertical elements such as latex and paint curtains along with plywood fluidity. As the users are encouraged to leave mobile phones and take their shoes off, interacting with the built work means experiencing fully the transition which is happening within the boundary of the project itself. Transitioning in a space of transion, the foyer of Canterbury School of Architecture.

Review of Outcomes

Fig.11 (left) Spatial awareness of the exhibition space. Figs.12, 13 & 14 (right and continued overleaf) Final design proposal in situ.

Transitional Environments

Review of Outcomes

Dissemination and Future Work As research-led project, Transitional Environments has the potential to be developed more site-specifically investigating that relationship between underground and overground realities present in Greyfriars Chapel and Franciscan Gardens as well as in other historical locations. Gathering geophysical data by ground penatrating radar is a developing technology which is new to the world of Architecture and Design, therefore a new path can be opened. It is a very specialized area and as far as I am concerned, only few institutional bodies are working on such field.

Not only the academic world can be the ground for a wider new way of surveying sites and designing with those data, but also architecture combined with technology can be part of the pioneering project. Another possible dissemination sits within the boundaries of three fields: art installation, design and CNC numerical cutting. For its nature and engagement with user experience and reactions, the sensory project, Transitional Environments, could become part of the next Venice Biennale exhibition.

Transitional Environments

Appendix

Appendix Materials and Suppliers List Acrylic paint (from Screwfix, www.screwfix.com) 1no x 10 l Leyland Trade Contract Chalk Powder (from Walters&Walters, www.waltersandwalters.co.uk) 2no x 25 kg Flexible Plywood (from Timberite, Canterbury, 01227 765011) 3no x 8 x 2440 x 1220 m Latex (from MB Fibreglass, Antrim, 028 90 861992) 3no x 5 l Liquid Polycraft Latex 1no x 250 ml Thickener Additive for Liquid Latex Plywood (from Timberite, Canterbury, 01227 765011) 4no x 18 x 2440 x 1220 m 2no x 9 x 2440 x 1220 m Other sundries: Corner brace 40 mm, Toolstation UK Diall Brass wire 1no x 50 x 8 mm, Screwfix UK Perla small loop clamp 20no, Green Magic UK Phillips Pan Head Machine Screw M4 x 20 mm, Toolstation UK Phillips Pan Head Machine Screw M4 x 30 mm, Toolstation UK Stainless Steel Wood Screw Lag Thread Eye Bolt 20no 6 x 60 mm, GSProducts UK Zinc-plated steel finishing nail 40 mm, Screwfix UK

Appendix

Image Credits All figures are copyright the author unless noted as follows: Figure 02: copyright Jorge Otero-Pailos Figure 03: copyright Barkow Leibinger

Transitional Environments

Appendix

Credits MA Architecture Course Leader: Lucy Jones MA Architecture Design Tutor: Owain Caruana-Davies UCA History and Theory Tutors: Anna Wakeford Holder Kim Trogal UCA Wood workshop CNC technician: Robert Roach UCA Wood workshop technician: Simone Nimmo UCA Sculpture workshop technician: Simeon Oliver UCA architectural technician: Christopher Settle

Transitional Environments