Transient Relic by University for the Creative Arts MA Architecture/MA Interior Design

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Transient Relic

by SHU-MIN SHEN

Generative Folly

CSA Research Report

Project Details Project Lead:

Shu-Min, Shen MA_Architecture

Design Participants:

Owain Caruana - Davies Lucy Jones

Title:

Transient Relic

Type:

Public architectural installation

Location:

University for the Creative Art Canterbury campus

Project Dates:

02 july - 17 August 2018 Composition build 24 August -31 August 2018 MA show

Design Period:

31 May - 17 August 2018 Design schematic

Budget:

ÂŁ800

Scale:

3m x 4m x 2.4m

Support:

University for the Creative Art

Transient Relic Generative Folly

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Transient Relic Generative Folly

Research Agenda and Process Overview This installation represents a way which for people to experience and understand the transformation of historical spaces, using digital scanning tools and soft materials which change dynamically. Soft space is trying to breakthrough the limitation of the traditional material and using the soft and temporary material to structure and resist the solid and physical architecture. Looks like it is resisting the traditional space, but it is just trying to break through the traditional thinking of the space and free the limitation of the architecture. The soft space is easy to form, it can have any functions, any materials and any in spaces, which means the space and material can have more choices and imaginations. The theory of soft space comes from the extension of three architectsâ&#x20AC;&#x2122; architectural theories, there are Kango Kuma, Toyo Ito and Jonathan Hill, respectively. The project responds to the theory of soft space through 1:1 practice and material testing.

Research Questions 1.

How can the concept of soft space inform a design approach?

2. How to using material transformations ephemeral materials to explore or draw attention to historical traces? 3. How to use time, temperature, materials and space to let people understand the transformation process of historical sites in different periods?

Research Statement

Significance and Contribution Developing this idea about soft space that through test materials respond to time, temperature and space. In beginning, the traces are digitized by 3D scanning and measurement. Through transient materials and a temporary structure, the project lets the ruins of representation be fragmented and become another type of coexistence with humans. This installation not only provides a rest space to bring people closer to the ruins but also provides a place to let people know about the history of Greyfriars at different times, through repaired objects, which becomes evidence of past scenes and uses a transient material to complete the representation space.

Methodologies 1.

Through the 3D instrument to scan the relics, the historical relics are converted into accurate 3D models, and the 3D printer is used to print the same Molding.

2. The projected image is projected onto the structure and combined with the wax wall that continues to collapse, further creating a continue happening experience.

Transient Relic Generative Folly

Design Proposal The project reproduces the remains using transient materials and a temporary structure. it attempts to break through the traditional relationship between historical sites and people. The installation is an open space that allows people to get closer to the recreated ruins. The research discovered the location of the 13th century ruins through historical resources, and the 17th century ruins above the 13th century ruins were scanned using 3D scanning instruments. After 3D scanning the incomplete parts of the ruins, the wax mould was made and the wax wall was cast, placed in the relative position of the relics, that symbolizing the repair of the

incomplete parts of the ruins. As time and temperature change, one can observe changes in the wax wall, and the melted wax will flow into the mould, which is the mould of the thirteenth century ruins. When the wax wall is completely dissolved, the foundations of the 13th century Greyfriays will reappear. In addition, in the portion of the brick wall, the 3D scan is used and converted into a 2D pattern as a spatial boundary for reproducing the ruins, and the boundary in the space is blurred in a gradually disappearing state.

Key technological outcomes of proposal 1.

The melting point of the wax cannot be completely melted under natural conditions and must rely on the heating system. A casting method was used to combine the wax with the flint stone to form the unique wax wall.

2. Making a water-heated container into a free form. Keeping the temperature so that the wax can remain in a liquid state to water the mould.. 3. 3D scanners sometimes have errors that must be combined with on-site people measurements.

Proposal & Context

Design Research Context Field of Work

Work by others

The project uses the theory of soft space to interpret the space for representation, The soft space theory is based on the spatial theory of three different architects. It explores how to represent when the remains are reproduced and the possibility that it is given another meaning.

British artist Alex chin neck has set a life-sized, two-storey house made from wax. ‘A pound of flesh for 50p’ was erected has been slowly softening into the city streets. built from 8,000 wax bricks, the installation mimics the scale and design of a candle making factory based in bankside a few centuries ago.

Using 3D scanning to make real remains to be digitized. The ruins are reproduced with a temporary structure and wax is used as a repair material.

Fig.01 A pound of flesh for 50p, 2014 by Kieran Kelly

As each individual volume drips down the building’s facade and the entire structure begins to warp in shape, the architecture becomes completely unrecognizable — in a few weeks time, only the roof will remain on the floor, bathed in a pile of molten material.

Transient Relic Generative Folly

Design Methodologies First, looking for past literature to confirm the location of the 13th century ruins, and use 3D scanner to scan the 17th century ruins above the 13th century ruins, digitize it, and increase the accuracy with on-site measurements. Representation the relics with the previous theory of soft space, try to break through the limitations of the past relics, and use the transient wax and temporary wood structure to reproduce the remains and reverse the current state of it. Restore the condition of the remains through 3D printing and laser cutting.

Analyze the different sizes of the red bricks and rearrange them to create an immaterialized wall. When the wall is formed, the wax will fill the damaged part of the wall. A heating system is installed behind the wax wall. The melted wax will flow into a mould, which is the mould of the 13th century ruins. When the wax wall was completely dissolved, the foundations of the 13th century Greyfriays will reappear.

Critical Design Elements 1.

Making a mold for the wax.

2. Heating system that can melt wax. 3. 3D scanner accuracy. 4. Responding to the new wall.

Process & Methods

Prototyping and testing Over this period, the project is extended with the development of the thesis and the development of the second term. At first, I went to the wilderness to collect flint stones, and used wax to cast it into a prototype of a wax wall, and then tested its transmittance and the state after melting. It is then further to reproduce the remains with wax and temporary structures. The research discovered the location of the 13th century ruins through historical resources, and the 17th century ruins above the 13th century ruins. The Canterbury Archaeological Trust provided an archaeological record in 1992. In order to restore

the site of the relic, I used 3D scanning to create a digital file, and use the 3D Printer to print a 1:20 site model to plan the site. In the part where the wax wall was made, the melting state was tested with two different waxes of different melting points. After that, a wooden box with a metal backing plate was used as a prototype for testing, and a stable and safe heating system was designed. In the part of the wall, select a part of the wall as a model, use the three different sizes of bricks in the base to rearrange the sequence of the bricks, and then use the laser MFD to model as a 1:1 prototype.

Fig.02 Testing wax transmittance

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Process & Methods

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03g First Concept: Each wax wall represents a different level of melting every week. People can feel the changes of wax at different times.

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14 04b The site of location

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Process & Methods

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Fig.06 The site of project combine 3D scan

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Process & Methods

Fabrication Techniques

A. The modelling software is used to simulate the junction of structural and the number of screws during construction, so errors can be reduced and save the time when building the construction. (Fig08a-08f)

foundation. Because It is also necessary to heat the mould to evenly pour the wax, I use the copper sheet under the bottom of the watering container, and the melted wax will flow into the mould along the external copper tube. In order to keep the wax B. Scan three to five different warm, the copper tube will be shapes of morter joint which covered with a layer of foam between the brick and the brick, insulation. (Fig.10) print them out with the 3D printer and then replicate these types D. In order to simulate the ruins of with wax. (Fig09a-09f) the wall, first use the 3D software - Rhino to draw 3mm of each C. After testing, I decided to use layer of MDF, and do the Bolin a water heating system, which operation with the 3D scan file will make the temperature rise of the site, and convert it into a steadily, so that the wax that 2D stacked wall. After this, the repaired the damaged wall in the wax block will be placed in the seventeenth century gradually 2D stacked wall to form a new melted and flowed into the mould representation wall. (Fig11) of the 13th century Greyfriars

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20 Fig.08 Material of Structure Timber 44x44 mm 3000 mm x 5 2400 mm x 13 1400 mm x 4 1000 mm x 2 800 mm x 7 700 mm x 6 500 mm x 1

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Process & Methods

Corner Brace 75mm x 40

Co r n e r M e n d i n g P l a t e 75mm x 18

Corner Brace 50mm x 40 Coach Bolt & Nut M8 x 100mm x 12 Hinge-Tite Countersunk Chrome Plated Pozi Screw 4 x 25mm x 400

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24 Fig.10 The heat system

CNC 18mm Prime Wood

50mm Copper Sheet 4mm Acrylic Sheet

Wax

Heat Plate x 2

1:3 13th century foundation CNC 18mm Prime Wood

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15mm Copper Pipe with foam insulation

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26 Fig.10 The representation brick wall

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BooleanUnion

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Process & Methods

Control Systems This project consists of a structural construction, a wax melting system, a 3D scanning component, a reproduction of the brick wall, and then a combination of various elements. A. The construction of the structure is primarily made of 46mm x 46mm timber, and the part of junctions is fixed with screws and steel brackets.

heating system. Because copper has good thermal conductivity, a copper plate is used as the bottom of the water-heated container. Two hotplates are placed under the water container to maintain stable heating. The mould of the Greyfriars foundation is made of wood because the wood is easy to construct and can maintain temperature stability.

C. Use 3D software-Rhino to cut the height of each 7 cm ruin brick. If the wall height is 175 cm, 25 different 2D lines will be drawn, each representing a different height texture, and Cutting MDF with laser cutting to cut out different textures. The cast morter joint by wax will overlap The wax melting system is a water with the MDF to form a new wall.

B. The wax in the project consists of two waxes of different melting points, 45 degrees Celsius and 56 degrees Celsius. The wax with a lower melting point is used as a mould for casting the Greyfriars foundation.

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Transient Relic

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Occupation and Interaction The installation is a representation of relics. Using soft and transient materials to inspire people to imagine the reappearance of historical relics, and also to use the characteristics of wax which ongoing dynamics to let people know that There are still relic of 13th century hidden under this relic. The reconstructed brick wall retains only the two-dimensional lines of the height of each layer of brick and the â&#x20AC;&#x153;lime intervalsâ&#x20AC;? reproduced with wax. Although the bricks of the original entity became virtual and the solid wall became a virtual wall, but still retained the message of the past

on the new wall. The installation responded to the soft space theory, breaking through the established impression of the remains and releasing restrictions on space and materials. The transparent brick wall will create a conversation with the background of the exhibition through the eyes of the exhibitor. The wax that originally filled the destroyed brick wall will be transformed into another reappearing remain over time, so that the material of the space is always in a non-fixed state.

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Review of Outcomes

Transient Relic Generative Folly

Dissemination and Future Work If the daily routine spaces are stable, the soft space is the intermedium that can infiltration and criticism the stable situation, and it create more possibilities. In the process of practicing a 1:1 project, the installation provides a closer interactivity between historical relics and 3D scanning technology. In terms of materials, transient waxes also offer more possibilities for interpreting space. In the future, I will continue to implement the concept of soft space in space design, and explore the relationship between materials, design objects, and the environment. When I have accumulated two or three works, I will hold a solo exhibition to let more people know the theory of soft space.

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Appendix

Materials and Suppliers List Timber 44x44mm (from Timberite, Canterbury, 01227 765011) 3000 mm x 5 2400 mm x 13 1400 mm x 4 1000 mm x 2 800 mm x 7 700 mm x 6 500 mm x 1 4mm Acrylic Sheet A2 (UCA, Canterbury) 18mm Prime Wood 2400mm x 1200mm x2 (UCA, Canterbury) 3mm A1 MDF x 16 (UCA, Canterbury) Heat Plate x 2 (UCA, Canterbury) Wax 20Kg (Soap Supplier, Doncaster) 5mm Copper Pipe 2000mm (Amazon, Goods-for-less) Corner Brace 75mm x 40 (Tool Station, Canterbury) Corner Brace 50mm x 40 Corner Mending Plate 75mm x 18 Coach Bolt & Nut M8 x 100mm x 12

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Bibliography Hill,

(2006)

Immaterial

architecture.

London:

Routledge.

Ito T, Daniell, T. (2011) Tarzans in the media forest. London: AA Publications. Kuma, K. (2012) Anti-object. London: Architectural Association Publications. London : Architectural Association

Image Credits All figures are copyright the author unless noted as follows: Fig.01 : A pound of flesh for 50p, 2014 by Kieran Kelly

Appendix

Transient Relic Generative Folly

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Credits MA Architecture Course Leader: Lucy Alice Jones MA Architecture Design Tutor: Owain Caruana - Davies Lucy Alice Jones Kim Trogal Anna Holder

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