Glory - Tech

THE GARDENER’S HANDBOOK

FOR SHAPING

A GARDEN OF REBIRTH

IN THE FOREST OF DEATH

GLORY KUK UG3

BARC0109 DESIGN TECHNOLOGY TECHNICAL DISSERTATION

TUTORS

DANIEL WILKINSON

IFI LIANGI

MARTIN REYNOLDS

CONTENTS.

ONE. PREPARING THE SOIL

1.1 ABSTRACT

1.2 PROGRAMME CONTEXT: THE GARDEN OF REBIRTH

1.3 THE GARDEN RITUALS

1.4 THE GARDEN TIMELINE

1.5 SITE: AOKIGAHARA, THE FOREST OF DEATH

TWO. GATHERING THE SAPLINGS

2.1 SITE MASSING

2.2 TREE SHAPING & GARDEN REFERENCES

2.3 TREE SHAPING METHODS

2.4 HISTORY OF TECHNIQUES

2.5 TOOLS REQUIRED

THREE. 10 YEARS OF GROWTH

3.1 SAPLINGS TEST SET UP

3.2 GRAFTING

3.3 FRAMING/BENDING/SHAPING

3.4 PLEACHING

FOUR. 1,000 YEARS OF GROWTH

4.1 ARMATURE DESIGN

4.2 FRAMING/BENDING/SHAPING

4.3 CANTILEVER DESIGN

4.4 SOIL CONNECTION POST

FIVE. 10,000 YEARS OF GROWTH

5.1 FIXINGS DESIGN

5.2 OLD AGE TREE MANIPULATION

5.3 DEATH OF TREES

5.4 SELF MANAGEMENT OF TREES & GARDENS

5.5 THE CHOREOGRAPHY OF MAINTENANCE

5.6 WALL BUILDING JOINT DETAIL

5.7 CONNECTION DETAILS

5.8 ASSEMBLY DETAILS

5.9 THATCHED ROOF DETAIL

SIX. INHABITING THE TREES

6.1 STRUCTURAL STRATEGY

6.2 FOUNDATIONS (BUILDING & GARDENS)

6.3 FRAMEWORKS (TEMPORARY & PERMANENT)

6.4 FRAMEWORK DETAIL

6.5 CLADDING & ENCLOSURE

SEVEN. NURTURING THE TREES

7.1 VENTILATION

7.2 HEATING & LIGHTING

7.3 RAINWATER COLLECTION

7.4 IRRIGATION

7.5 COMPOST

EIGHT. CONCLUSION

8.1 CONCLUSION & THE GARDENER’S LEGACY

NINE. BIBLIOGRAPHY

ONE.

PREPARING

1.1 ABSTRACT

1.2 PROGRAMME CONTEXT: THE GARDEN OF REBIRTH

1.3 THE GARDEN RITUALS

1.4 THE GARDEN TIMELINE

1.5 SITE: AOKIGAHARA, THE FOREST OF DEATH

THE SOIL

Recoreded by the Gardener

Aokigahara, known for its unusual geography and abandoned objects, a Garden of Rebirth will be constructed in this forest of death, to transform the forest into a growing garden of the everyday. It is a building that never ends and grows, to be stood for all of eternity at least 10,000 years.

As a hybrid between a garden, monastery, hotel, the building records the passing of time. Maintained by the Gardener, the garden also acts as a refuge for visitors and lost souls that wander in the forest seeking for an end; a place for the dead and the living to exchange moments. The embedding of the garden within the forest will be derived from Japanese Gardens and structures from the Buddhist and Shinto religion, such as Villa Katsura and Ryoan-Ji.

The building will be informed by the Pine trees in the forest, with the technical investigation into the study of shaping trees (pleaching), inspired by bonsai gardening, to construct desired elements and harvesting furniture as a self-sustained structure. Hence, physical tests of grafting, framing and bending will be carried on tree saplings to incorporate and fuse different types of gardens into the building, and to explore the notion of the evanescence of life and the essence of Zen.

THE GARDENER’S DIARY GLORY KUK UG3

“The more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates; the more perfectly will the mind digest and transmute the passions which are its material.” - T. S. Eliot

Borne from ‘The Gardener’s Diary’, the gardener discovered a way of healing mentally and physically between her psyches through architecturising nature and the garden, and in return, gardenising the architecture. A drawing language and detail methodology was devised to capture the sense of divine nature.

Dear Diary,

I recently rummaged through my old series of diaries and found some melancholic entries that sparked an idea for a project.

It will be on appreciation and gratitude in the form of a drawing diary in response to mental health issues, such as depression.

Following this practice, she brought this hope of life into fruition through a Garden of Rebirth located in the heart of Aokigahara, the Suicide Forest in Japan. As a hybrid between a garden, monastery, hotel, the building records the passing of time. Maintained by the Gardener, the garden also acts as a refuge for visitors and lost souls that wander in the forest seeking for an end; a place for the dead and the living to exchange moments.

Located in the ruins of Renwick Hospital of Welfare Island, an island that used to house the undesirables of the city through its asylums, hospitals and prisons, much like our rejection of mental health problems.

The project is informed by my list of small details in life and on the site that gets overlooked, which will be spatially translated in the architecture prototype.

The drawing grows as more details are noticed, the drawing itself acts as a growing diary where it gets reconditioned daily by me who will tend, care and maintain the space. I always have this feeling that there is a visitor within me that visits the space, who might create chaos within the garden based on their emotions, she is the other side of my psyche. We shall leave traces for each other as we will never meet.

The drawing is where the garden is architecturised, and the architecture is gardenised.

I have always wanted a safe haven for my thoughts, a garden to defuse my worries, hopefully through this

Conceptual Collage

Timespans: Human Life: 100 years

The Afterlife: 49 days

Aokigahara/The Forest: 1200 years

Lost Souls: Uncertain

Kami: Uncertain

The Gardener: Infinity

No. of Suicides annually

Building Parameters:

No. of People: Few Hundred + Gardener

No. of Souls: Few Hundred

Kamis: Below 100

Tapes + traces of abandoned objects leading up to the Garden.

Programme:

• Recording deaths in the suicide forest, giving respect rituals to the bodies

• For lost souls and lost kamis to find refuge + peace in the garden

• Communications between the living and the dead

• A Garden enclosing a hybrid of a monastery, shrine, hotel

Spaces:

• Teahouse

• Death poem writing rooms

• Refuge spaces for lost souls and kamis

• Gardener’s lodges

• Paths and walks to conceal vistas

• The Tree clock/hourglass (capturing of petals/leaves)

• Death Records Room

• Communication Rooms between the living and the dead

• Kitchen

• Death Temple

• Bonsai Gardens

• Purification Bathhouse

Inhabitants of the space:

• Kami of the dead

• Lost souls of the visitors

• The Gardener

1.3 THE GARDEN RITUALS

Due to the organic nature of the building, the activities and rituals happening within the building builds the framework to shape the trees. These include morning and night rituals and seasonal rituals in spring and winter.

A grand hall grows over time, featuring different tree shaping techniques, also acting as the place where spirits, dead bodies, and the souls of the dead trees would go.

SEASONAL RITUALS TIMELINE

WAKE UP

LIGHTS OUT BREAKFAST

Meditation (Sutra Chanting)

Prayer Wheels

Watering (Private Gardens)

Poem Writing Nature Walks

Appreciation (Grand Hall)

Meditation & Mala

Lighting Candles

Furniture Flowering Viewing

Paper Fortunes

Night Sitting Pruning Plants

Cleaning Gardens

Bathing/Washing (Purification)

Seasonal Produce Harvest

Harvest Furniture Clearing the Snow

Bending/Shaping Dormant Trees

Grafting Dormant Trees

Establishing the timeline and aging of the buidling in the forest, to create infrastructures for trees to grow into spaces; creating fragments where part of the buiding may just be a floor and armatures, an outline of where things will potentially grow.

More active care would be needed for the building in the beginning up to 1,000 years, as most trees in the forest are fully matured (around 800 years); the second half of the timeline would be one where minimal care is needed, as the garden becomes self-sustaining and maintains itself, hence knowledge of maintenance can be passed onto the next generations.

MORE ACTIVE CARE NEEDED (KNOWLEDGE PASSING ONTO NEXT GENERATIONS)

MININAL CARE NEEDED (KNOWLEDGE PASSING ONTO NEXT GENERATIONS)

Bending the younger branches and grafting young trees together. Some spaces are built with timber frameworks temporaily to faciliate stays of residents, these will be taken over by trees shortly.

Guiding younger branches to frame the space. When most trees are fully mature, most spaces are developed, old age tree manipulation. Spaces fully developed, interchanging trees of different ages, active pruning & care.

SEQUENCE PLANS

0 YEARS

10 YEARS 1 YEAR

The forest as it is, ready to be landscaped and for the building to be inhabited. Landscaping/excavating the site and felling necesary trees to build foundations.

Initially established non-tree structures are built through timber frameworks, while marking out the areas where the tree structures will be grown.

100 YEARS

Temporary/permanent timber frameworks erected for trees to grow into spaces.

1,000 YEARS

Timber frameworks are meticulously maintained and repaired overtime to allow trees to grow into them successfully.

10,000 YEARS

Spaces mostly developed with trees maturing, thorough maintenance and care is needed everyday. Irrigation systems are intergrated, furnitures are harvested while structures start flowering.

FOREST OF DEATH, AOKIGAHARA

Tokyo

Mt Fuji

Aokigahara

Name: Aokigahara Jukai, The Suicide Forest

Location: Narusawa, Fujikawaguchiko, Minamitsuru District, Yamanashi 4010300, Japan

Date: Since 864 CE,1158 years old

Site Access

The site lies around 123km from the nearest city of Tokyo. A car ride is around 1.5 hours whereas public transport with train would take just over 3 hours. Aokigahara itself has a nature trail for tourists to visit, whereas the forest gets thick once you derail from the path.

Lava flow between Mt Fuji and Aokigahara.

Ice Caves

Movement of Water

There are three main water sources in Aokigahara: Lake Motosu, Lake Shoji and Lake Saiko. These water sources are quite far away from the site, with a 1.5 hour walk to the closest Lake Shoji.

The caves are around 0-3ºC inside with icicles hanging, even during summer, and are home to the native bat species.

SITE

OBJECTS LEFT BEHIND

Many attempt to end their lives in the forest while leaving trails of abandoned objects behind, highlighting the issue of unspoken mental health problems. In Japanese culture, it is said that people who are not properly buried, wander the area forever as tormented spirits.

The relationship between man and nature is questioned in this site of death, whilst the focus on architecturising roots or branches of trees on site (pine and tsuga) will be essential to craft spaces and forms for this technical report.

GROUND CONDITIONS

Aokigahara is at the base of Mount Fuji. Past eruptions have created a rich layer of soil for the forest, but the volcanic rocks and magma have hardened the soil so the roots cannot penetrate the ground, causing them to twist and turn above ground. Furthermore, the heavy iron content in the ground disrupts compasses. The soil is very thin due to the uneven lava flow in the ground, causing the roots to spread over the surface of the volcanic rock and soil.

A winter landscape, covered with snow.

The Aokigahara forest is about 13.5 square miles and was formed around 1,000 years ago. The ground is uneven and covered with moss.

A tangle of wild grape vines growing inside the forest.

Because of the dried magma on which is the forest is formed, tree roots aren't able to reach deep into the ground.

The ground, formed on top of an ancient lava flow, is uneven, making hiking treacherous.

LAKE MOTOSU

LAKE SHOJI

LAKE SAIKO

Narusawa Ice Cave

Fugaku Wind Cave

Lake Saiko Bat Cave

Bicycle Plastic tapes Shoes Clothes Sneakers Tools Cell Phone

As a forest mostly consisting of Japanese pine trees, it is also home to many local Japanese species, including bats that are located in the ice caves. Various small animals inhabit the forest, with mice, moles and various birds such as great spotted woodpecker, Japanese bush warbler. The nesting of these birds and other animals could also further impact the growth direction of the trees.

Seasonal Changes on site

The site is mostly cool throughout the year, with winter temperatures between -4ºC to 4ºC, and summer temperatures of 10ºC to 24ºC. Despite changes in weather, the pine trees in the forest are evergreen and continue their life cycle and ecology.

During spring, herbaceous flowering plants including Artemisia princeps would blossom, allowing smells to travel within the forest. As winter approaches, most fauna would be hibernating, especially the mammals, hence the forest would be more quiet than warmer months. When the temperatures drops below 0ºC, lakes would freeze and snowfall would also occasionally occur.

Height: 45 – 63m

Height: 45-65m

Height: 20-68m

Tree Pollination

As a forest mostly consisting of Japanese pine trees, pines are wind-pollinated and peak production of pollen occurs in trees of 30 years and older, which happens between end of January and mid-February for Eastern Japanese areas like Tokyo. The cryptomeria pollen season peaks in the second half of March, which may cause hay fever in certain individuals

Pinus Tree

Tsuga Tree

Chamaecyparis Tree

Asian Black Bear

Japanese Deer Willow Tit

Japanese Squirrel

Japanese Mole

Cryptomeria stamens and pollen

Chamaecyparis pollen cones

Great Tit

Japanese Squirrel

Japanese Bats

Flora and Fauna

A winter landscape, trees covered with snow.

Visitors during summer time.

Japanese Pine Trees

Lifespan: 800+ years (250-300 years to mature)

When to bend/graft: Late winter when tree is dormant

Conditions: Must stay moist and well-watered

Objects to make with: chairs, tables, lampshades, handrails, window/door frames, roofs

SEED SEEDLING SAPLING YOUNG TREE MATURE TREE DECLINING DEAD LOOSE BARK CLEAN BROKEN DECOMPOSED DOWN MATERIAL STUMP

Complete in natural development or growth; fully developed in the middle half of its usual life expectancy and is still retaining good vigour; full height but still spreading its crown.

Key characteristics include a small canopy and a wide trunk which is likely to be hollow, both of which show great age. A snag is a tree in the final stages of its life: dead and decaying trees are a vital part of a wood’s biodiversity.

DEATILED SITE AREA | TREE PLACEMENT

Tree Placement Analysis

A1-N14: Low Density

A14-N21: High Density

L4-N14: Clear

Considering at the tree placement can allow better placement of the building on site. There are different densities of trees grouped in clusters; e.g. a larger cluster of trees are present near North-East, therefore the building would be placed towards South-West, where some clearer areas with no trees are present. The enlargement of the trees’ crowns are also considered overtime in the diagram.

Inclinations of land does not affect tree growth, hence big drops in the ground does not have a significant effect on building placement. However, when the building is placed on site, parts of the site can be landscaped to include more trees to frame the building and forest.

This part of land will be landscaped for more tree growth to frame the building due to the less drops in the ground.

The actual site lies in the heart of Aokigahara forest.

SUNLIGHT ON SITE

The precipitation can get quite high due to the moisture in the forest, but is still essential for the trees to thrive and get enough water throughout the year.

Sunlight is crucial to the growth of trees, and the site receives sufficient sunlight throughout the year, although the pine trees in the forest will provide shade throughout the hotter summer months. Light wells can be brought into consideration as the trees is guided to grow in certain directions. It is shown that most plants grow more at night as new tissue synthesis is better at night for the energy captured during the day, as conditions can avoid heat stress and water loss. However plants grow both during daytime and night time.

The orientation of building should face South-East to gather most sunlight for warmth and glimmer of lightwells, based on the sun angles of winter and summer solstice.

Site section facing North (overlooking Mt Fuji); Tree growth overtime; Soil thickness & Volcanic Rock.

Site section facing East with Sun Angles of Winter and Summer Solstice.

Summer Solstice 75º

Winter Solstice 30º

Most prevailing winds come from North and South at an average speed between 3-7 mph, with infrequent winds that can go up 12-17 mph. Factoring in the directions of wind suggests different placements of cells and community spaces in terms of ventilation. Wind itself also affects the growth of trees, as it creates stress in the wooden load bearing structure of the tree. To compensate, the tree manages to grow something called the reaction wood, allowing it to contort towards light and survive in different shapes.

Consideration will placed into channeling winds to spread smells and attract spirits to the building. As most winds come from the East, these winds can be guided towards the building, whilst short walls and screenings can also be built around the cells to block the winds, while incorporating materials for inhabiting animals.

Site section facing North (overlooking Mt Fuji) showing prevailing winds from the East.

Prevailing winds from East

TWO.

2.1 SITE MASSING

2.2 TREE SHAPING & GARDEN REFERENCES

2.3 TREE SHAPING METHODS

2.4 HISTORY OF TECHNIQUES

2.5 TOOLS REQUIRED

Recoreded by the Gardener

1. The Great Hall

2. Stone Zen Garden

3. Food Garden

4. Garden Cells

5. Tree Entrance Archways

6. Water Gardens & Rills

7. Water Pavillion

8. Enclosed Gardener’s Lodges as a Relic

1. Entrances

2. Tree Placement

3. Armature Plcement

4. Water Sources

5. Irrigation Systems

1. Site for main building as no trees are growing within the area

2. Big drop in land hence less tree growth

3. Flatter Piece of Land for better tree growth

4. Channeling the wind for spirits and ventilation throughout the building

5. Part of land for growing more trees and produce

6. Landscaping this area for more trees

7. Orientation of building for maximum sunlight and wind

1. Tree Root, Rammed Earth

2. Tree armature shape

3. Grafted Tree Support

4. Entrance

5. Spirit Entrance (Winds & Smells)

6. Thatched Roof, Intertwined branches

7. Rock Foundation

8. Pleached Tree Walls

9. Cells

Process isometric drawing showing simultaneous timelines of tree growth and armatures/joints to hold the building in place. Characters and gardeners appear at different ages to convey the building’s growth.

Backyard garden connection Inhabitants moving felled tree Transition between spaces: young saplings growing

Intertwining twigs as enclosure for roof Different growths for entrance arch & bench w/ armatures

Pleached & bifurcating trees on walls

FULL GROWN | A FURNITURE GARDEN

Full Grown grows trees into chairs and other furniture. The concept is to train young trees to grow over plastic molds until maturity, thereby creating no wood waste, taking up from eight to ten years.

The technique used to shape trees forms the main basis of this technical dissertation; more insight is also gained through conversations with Gavin Munro, the gardener in charge of the garden.

WATER GARDEN | JUNYA ISHIGAMI

The Water Garden imported 300 trees from one island to another, intended to be a site for meditation and contemplation. Ishigami created an oasis made of small, shallow pools of water and twisting waterways, nestled among the variety of trees. All of them were carefully and precisely observed and examined to be sure of their ecological longevity.

SPATIAL STRATEGY | RYOAN-JI TEMPLE

SPATIAL STRATEGY | VILLA KATSURA

TOMBA BRION | CARLO SCARPA

Tomba Brion is a collection of concrete components, gardens and water features joined together by narrow walkways, allowing visitors to discover the series of objects. Plants take over the concrete to give the contemporary building a feeling of weathering, while natural light softens the austerity of concrete.

‘The Brion couple’s tomb is located in the heart of the L, in a tomb combining concrete, metal, marble and glass. This place is staged by landscape elements specific to Scarpa, a superimposition of water and vegetation on different levels that calmly guides the visitor in his introspection.’

INAGAWA CEMETRY | DAVID CHIPPERFIELD

Relying on indirect sunlight from the gardens on either side, the chapel visitor finds seclusion and their focus is drawn to the essential rhythms of time through the natural indicators of daylight fluctuation and seasonal foliage changes. The planting of all the gardens is inspired by the palettes and textures of Japanese meadows and woodlands and a selection of grasses, shrubs and wildflowers are carefully juxtaposed. Following the axial link between the two ends of the site, a rill carries water down the middle of the staircase from the top of the mountain directly towards the building.

Inagawa Cemetery is located on a steep site in the Hokusetsu Mountain Range of the Hyogo prefecture, approximately 40 kilometres north of Osaka.

SHAPING POTENTIAL & METHODS

Using the knowledge of shaping bonsai trees and applying it to life-sized trees, through methods of pruning, wiring and replotting.

TREE SHAPING BONSAI SHAPING

Learning methods to shape life-sized trees into desired shapes, and furniture. These include coppicing, grafting and espalier; using a plastic framework to shape the shoots into a desired shape and growing it overtime.

2.3.1 CUTTING & PRUNING MANUAL

Methods of cutting and pruning young branches to encourage desired growth.

For alternating budding plants, cut above a bud at an angle, sloping down from the bud.

On opposite budding plants, the cut should be straight.

The last bud on the branch tends to be the dominant bud, so pruning encourages growth in a certain direction.

Cut thicker branches with a pruning saw; their weight can cause splitting before the cut is completed. Cut further along the branch first before cutting off the stump.

Different options for cutting branches and training the branches.

Formative Pruning is where one cuts back the leading growth on each side branch to form a horizontal fork, and continuing the process as new buds develop to consolidate the density of the branches.

Monkaburi (welcome branch) is usually placed next to a gate. The branch is fixed to a stout bamboo pole placed horizontally over the gateway with rope. (a) Any new growth should be tied down to the pole (b), and side growth should be cut back to encourage dense growth. (c) (d) A support strut can be used when the weight of the branch increases (e), These techniques could be implemented for other purposes in the building such as pleaching.

Analysing grafting as a means of combining different branches and shoots together to frame spaces and create frameworks.

Reasons for grafting:

• Propagating

• Join plants each selected for special properties

• Repair damage

• Elucidate problems of structure, growth and disease

• Enable multiple root and branch systems

• Substitute one part of plant for another

GRAFTING ANGLES

Grafting needs to be done AT AN ANGLE, as this results in greater survival of grafted plants. Bausher’s study of graft angle provides evidence that ‘pull force of the graft increased significantly with the increased graft angle’ by doing tests of tomato plant grafts of 20º, 45º and 70º. ‘Fifteen commercial rootstocks grafted at 70º had survival percentage rates between 97% and 100%. These studies demonstrate that the angle can significantly impact graft integrity and plant survival.’

70º is deemed to be the best angle to graft plants as this yields best plant survival

Bracing limbs by encouraging natural grafting: Limbs being held by a cord until the two shoots are united through natural grafting.

Natural Grafting between two young stems:

a) outer rind is ruptured

b) new tissues meet and the cambia join

c) union is complete

STAKING MANUAL

Tree staking is considered on site due to the thinness of soil, and securing the trees as a structural element.

Situations where staking is necessary:

• Bare root trees

• Trees that cannot stand up on their own

• Unstable soil, waterlogged or subject to seasonal flooding

• Windy planting sites

• The ball of soil surrounding the roots is very small in relation to the height of the tree or the width of all of its branches.

Bending the trunk should be performed on young trees when the trunk have not thickened up yet. Pines are commonly used for this practice in Japan.

Plant and stake at an angle (around 45 degrees), adding different stakes or stout poles to bend the trunk.

Pinus Tree

Pinus Height: 45 – 63m

Pine trees are among the most common types of trees used for bonsai worldwide, although they are usually enjoyed by bonsai enthusiasts as they are not a great beginner option. Since pines grow in many different shapes, sizes, and colors, pine bonsai can be shaped into nearly every known bonsai style successfully.

TREE TYPES IN AOKIGAHARA

Tsuga Tree

Hard pruning is best done in late winter. Hemlocks grow slowly and branches which are supposed to thicken must be left to grow freely for at least a year.

Wiring can be done at any time of the year except spring, when the tender new foliage would likely be damaged. Guy wires are a good option to shape the branches.

Chamaecyparis Tree

The trees can grow up to the height of 20 to 68 m in height.

Pruning is essential otherwise there can be rapid growth in a single direction. In absence of frequent pruning, the branches of the tree eventually die. The only part of the tree that may require constant wiring are its branches, If not properly wired there are chances that the bark may get damaged. Wiring should be performed after 4 to 5 months of repotting.

CanyaViva is an architectural technique using Mediterranean cane, as the main construction material. Different techniques of combine cane and creating parabolic shapes are used, which references the idea of organic architectural materials to create bespoke shapes.

A sketch showing the potential of combining multiple cane or tree stems together to reach various apatures and further bending, increasing the strength.

Finding the moment when the stems will snap.

Various

REQUIRED, INFECTIONS & WOUNDS

trees on site, including uekibasami (garden scissors), hakaribasami (topiary clippers) and tripod ladders. Friction generated by fixings on trees can cause wounds and lead trees to be prone to infections; the diagram on bottom left shows sites where borers are most likely to enter. To prevent wounds, wire should not be used for fixings are they will grind into the tree, hence some padding or fabric should be considered. Sealants can also be used to treat wounds, although the tree can heal naturally as well.

Trees grow vertically due to statoliths, which are granules of calcium carbonate that are pulled downwards due to gravity. As a result, this bends roots towards the vertical axis, whether the plant itself is bent or not, or whether it is sitting on a sloping surface.

tools required to prune and shape

THREE.

Recoreded by the Gardener

3.1 SAPLINGS TEST SET UP

3.2 GRAFTING

3.3 FRAMING/BENDING/SHAPING

3.4 PLEACHING

3.1 SAPLINGS TESTS SET UP (WILLOW & PINE)

Willow Trees (Salix Viminalis) are used to mimic Tsuga Pine Trees in the forest, due to its malleability and fast-growing nature, and easy access in the UK. Similarities between the two is where Willow is used commonly as a building material while Pine Trees are used commonly for bonsai/tree shaping in Japan.

INDOOR

Humidity

Soil

Materials used for saplings tests

15cm Willow cuttings are first submerged into water to promote root growth, then placed into a compost blend, leaving 10cm above ground.

Tests of framing, bending and grafting will be carried out at this 1:1 scale and interpret older ages based on the saplings’ growth.

Willow (Salix Viminalis) Pinus (Pinus thunbergii) & Tsuga (Tsuga diversifolia)

Willow saplings Compost soil Styrofoam box

A tongue graft is performed on the young willow saplings using a scalpel to expose the green area of the trunk, then sealed with grafting tape to ensure ventilation and prevent infections. All buds underneath the graft will be removed; the tape is replaced once a week to give space and provide moisture.

Tongue grafts and sand paper grafts were both considered; however tongue seemed to be most efficient and effective.

Willow saplings

Grafting tape

Scalpel

Tongue graft Slotting grafts together Sealing with grafting tape

Small shoots growing, height of 250mm.

First week, height of 200mm.

Shoots growing rapidly, total height of 300+mm. Shoots growing rapidly, total height of 300+mm.

Grafting Findings & Design Drawing

Tongue grafts are proven to be successful in combining different saplings together and continue growth, which can also be done with different pine species in the forest.

Orthographic drawings are produced to inform the language of the building design drawings, also to show the indication of time as the plant and building grows. The grafts would inform the different tree joint placements on site, in relation to the details.

The saplings need to be bent by hand first, while being careful of not placing too much force at once, otherwise snapping may occur. However, despite a mild snapping on one of the saplings, it still continued to grow, as grafting tape was applied on the bend.

A flat sheet framing test is performed on young willow saplings using cardboard as a support, with twisty wire fixings to hold the saplings in place. All buds under the bend will be removed.

Sletches showing different methods of framing and bending.

Wire Cutters

Cardboard

5mm Twisty Wire

Willow Saplings

Grafting tape on wound

No visible changes apart from buds appearing.

First week.

Buds starting to sprout but slow growth compared to other shoots. Shoots continuing to grow vertically. Cardboard support removed, saplings successfully bent.

Flat Sheet Framing Findings & Design Drawing

These tests demonstrate how trees prefer to be vertical but can tolerate being bent. It shows the limits of tree shaping technology as it slows down growth. Furthermore, as the shoots start growing, they maintain their growth in the vertical direction despite the main trunk being horizontal. However the flat sheet bend approach is not optimal due to the scale of the building, therefore more to-scale fixings will need to be considered for tidiness easy maintenance.

Drawings of the building would showcase locations of bends and how these bends would uphold the building and produce different forms to frame the building. Fixings will also need to be considered and be to scale.

In comparison to using a flat sheet as support, this test looks at wooden armatures as scaffolding that can be removed at a later stage. Fixings are tied together using thread and wire. Sletches showing different methods of framing and bending.

Willow saplings before bending.

8mm Wooden Dowel

5mm Wooden Dowel Thread Thread

5mm Twisty Wire

5mm Twisty Wire

Willow Saplings

First week.

Growth slowed down, support met with some resistance.

These saplings took half the time to be bent compared to the flat sheet test, yet saplings are still bent quite successfully, this means that any support scaffolding on site for the building can be temporary and removed at any point to be reused.

Wooden dowels support removed, saplings successfully bent.

WEEK 0 WEEK 1 WEEK 2

Armature Framing Findings & Design Drawing

In response to the flat sheet test not being to-scale, the wooden dowel supports appears to be more plausible as a support system for the saplings and trees as the building grows. This system also shows how the saplings can also be bent for a shorter amount of time and move to a different bend as long as some form of structure are in place to hold its shape.

The locations of these support are considered on site in relation to the tree positions to support the trees and hence the building. These fixings will be inspected regularly in order to replace them if needed, as they are served as a temporary support system.

Pleaching is a method of training trees to produce a narrow screen or hedge by tying in and interlacing flexible young shoots along a supporting framework.

8mm Wooden Dowel

Thread Joint

5mm Wooden Dowel Emerald Spire

Twisty Wire Fixing Compost Soil

Styrofoam Box

PLEACHING TEST: EUONYMUS ‘EMERALD SPIRE‘

Ends

the

tends to shoot upwards due to new growth.

Separating the plant more to create a more complex bifurcating tree shape, with more to-scale fixings and removing larger leaves.

Continued side and upwards growth.

of

plant

Using twisty wires for fixings. Using thread for to-scale fixings instead .

Holding down ends of the plant that goes upwards.

Using twisty wire to hold the plant in place to the wodden frame with some separation.

Pleaching Findings & Design Drawing

The pleaching test demonstrates how the ends of the plant tends to grow upwards overtime and will need to be constantly trimmed or tied down with fixings. The fixings will also need to be to-scale with the wooden framework for the plants.

These pleaching tests and bifurcating tree can be utilised for wall enclosures, hence timber frameworks will be integrated into the walls for the plants to grow onto, for easy pruning and maintenance from the exterior as well.

WOODEN DOWELS

LEAF GROWTH (BEFORE) ELEVATION VIEW

TWISTY WIRE FIXINGS

WOODEN DOWELS

WAX THREAD FIXINGS

LEAF GROWTH (BEFORE)

FOUR.

4.1 ARMATURE DESIGN

4.2 FRAMING/BENDING/SHAPING

4.3 CANTILEVER DESIGN

4.4 SOIL CONNECTION POST

1,000 YEARS OF GROWTH

Recoreded by the Gardener

Point

looking at designing armatures to create more controlled shapes with tree shaping for testing; creating a catalogue of possible shapes and objects the trees can create.

Creating a more designed and bendable armature using wire, waxed thread, nuts & bolts as an anchor point.

3 armatures with different joints.

Sketches

2mm Wire

2mm Wire

Waxed Thread

2x Anchor Points 1x Anchor

Cross; 3x Anchor Points

Waxed Thread

5mm Nut & Bolt

5mm Nut & Bolt

Armature Design

The pleaching test demonstrates how the ends of the plant tends to grow upwards overtime and will need to be constantly trimmed or tied down with fixings. The fixings will also need to be to-scale with the wooden framework for the plants.

These pleaching tests and bifurcating tree can be utilised for wall enclosures, hence timber frameworks will be integrated into the walls for the plants to grow onto, for easy pruning and maintenance from the exterior as well.

Creating more bespoke shapes with the grown saplings with the bendable armatures and wax threads. Using the armatures to frame the trees.

GROWTH AFTER 2 WEEKS GROWTH AFTER 2 WEEKS

Curating a scene/shape with different aramtures to bring the saplings together.

Below is a simple diagram/sketch to consider the different forces acting upon the armature. In terms of adjustments, an armature with a base of a larger diameter can be used, decreasing as the top goes up to reduce weight for the moment.

M = WL

Moment=Weight x Length

Clamp/Fixing

Force=Weight

Compression

Tension Compression

Tension

Small Top

A Bigger Base

Soil Connection

Also dependent on how deep the soil connection post goes

Tension

5N/mm2

Compression + Weight

Looking at the armature as a cantilever column, sketches to look at the forces acting upon it. Grafted sapling

Armature Design Findings & Design Drawing

The armature design illustrates desired qualities in an armature, including flexibility, strength and durability. The materials of metal wire, wax thread, nut and bolt proves to be a good combination at this specific scale with young saplings; however a larger armature design and fixing system will need to be devised as the sapling grows into a mature tree.

Considering the armature as a cantilever column, a base with larger diameter can reduce weight for the moment and force required to hold the tree in place. For a tree trunk of diameter of 1m, a general force of around 5kN will needed for the armature to hold the tree in place. The diameter of 1m will also have enough force to hold a roof that spans 4m. In general, the longer the depth of the armature underground, the more force it can withstand, and be adjusted overtime.

Wax Thread Fixing Bent Armature

Soil Connection

Soil Connection: Armature Design Update

The design process of the armatures have been intuitive, hence more thought was added to the bending and adjustment to the armature overtime as the tree grows and moves. A soil connection was added to join the armature and the soil through another stake, so that the gardener can adjust this connection regularly to manage the tree growth and the tree shaping progress.

The soil connection is made with metal wire at this scale, but will be thought through at a larger scale when the tree matures.

Sapling

Soil Connection: Armature Design Update & Drawing

The soil connection added to join the armature and the soil through another stake allowed the possibility of self-tensioning armatures where minimal attention is needed to maintain the shaping process.

5.1 FIXINGS DESIGN

5.2 OLD AGE TREE MANIPULATION

5.3 DEATH OF TREES

5.4 SELF MANAGEMENT OF TREES & GARDENS

5.5 THE CHOREOGRAPHY OF MAINTENANCE

5.6 WALL BUILDING JOINT DETAIL

5.7 CONNECTION DETAILS

5.8 ASSEMBLY DETAILS

5.9 THATCHED ROOF DETAIL

Recoreded by the Gardener

Woven Fabric

Plan View (Laminated) Plywood Armature

Wire Hooks Tensioner Tensioner Soil Connection

Reference: Tent posts Kerf Bend

Sketch looking at fixings design for larger fully grown tree trunks, with the incorporation of woven fabrics, hooks and tensioner attached to a bendable armature with the possible material of laminated plywood. The armature may also require a soil connection inspired by tent posts staked into the soil.

Materials needed for the tree fixings test

Wire Cutters

Woven Fabric

Hacksaw

Wire

As the timber armature will need to be bent at different angles throughout the building’s timeline, a kerf bend was done on a plywood armature of dimensions 90mmx40mmx15mm with cuts of 40mmx10mmx3mm. This always flexible bending of the wood armature at any angle given the force exerted on it.

Plywood

Piece of Plywood

Creating Kerf Cuts

Cutting Machine

scale fixings tests were carried out on a grown mature tree; the kerf bend allows the timber armature to be bent to a maximum of around 90 degrees. This can be adjusted depending on the depth of soil connection post inserted into the soil. Elements are connected using garden twine with wire hooks as joints too.

Woven Fabric

Wire Hook

Woven Rope

Woven Rope Soil Connection Post

Kerf Bend Joint Timber Armature

1:1

FABRIC TENSIONER & WIRE HOOK

ELEMENTS OF TREE FIXINGS

KERF BENT TIMBER ARMATURE & CONNECTION JOINTS SOIL CONNECTION POST

Large Tree Fixings Design Findings & Design Drawing

The fixings test showcases the flexibility of timber as an armature support using a kerf bend.The different components also show how different parts comes together and work as a system to hold a mature tree in place. Materials from the tree itself can also form the woven ropes that hold the system together, for example shimenawa rope (made of laid rice straw or hemp rope used for ritual purification in the Shinto religion). The spacing of the kerf bend joint can be determined used a spacing calculator, and the angle bent can be altered through how deep the soil connection is pushed by, observed everyday by the gardener to monitor tree growth.

As the saplings grow into larger trees, the armatures can change overtime and be replaced regularly as they wear out. The armatures, fixings and support system will follow the same principle as the building continues to grow.

VARIOUS BEND ANGLES (0-90º)

FABRIC

ARMATURE (KERF BEND)

Utilising the same fixings from the previous test to haul a branch of a slightly mature tree. Movement from the branch is observed and can be placed and incorporated into the building design. The white box shows the change in position of the hauled branch.

Soil Connection Post Hauled Branch Timber Armature

5.3 DEATH OF TREES

After 8 weeks of growing, one box of saplings died, shown through wilted leaves and dried out branches/trunks.

This could be caused through various reasons due to dehydration, insufficient sunlight, unsuitable soil etc., but these are not the case as the same conditions were provided for another box of saplings that are still thriving. Hence, possible deductions can be the fact that they are different species of willow, (Salix Cinerea vs Salix Viminalis).

This scenario also shows what can go wrong during the tree shaping practice, when saplings die. This process of death can be incorporated into the structure to indicate time and sacrifice, and also about planting things during the process of growing the building.

Collection of dead saplings

Wilted leaves and dried up branches/trunk

The death of trees (snag) can be incorporated into the structure to indicate time and sacrifice, and also about planting things during the process of growing the building.

It can take up to 100 years or more for a tree to fully decompose depending on the species. Dead wood provides a good breeding ground for new life to develop, including fungi, bacteria and new saplings; it aids new plant growth by returning important nutrients to the ecosystem.

When a tree dies, it can be converted into multiple objects:

• Dust, woodchips & mulch for gardening and landscaping

• Split into firewood

• Nesting site for fauna

• Hollowed trunk for furniture

• Woodchips mixed with natural resins (tree saps) to create insulation

Thatched roof from dead twigs - 2x Adult Trees

Branches for roof support - 5x Adult Trees

Nesting Site for Fauna - 4x Adult Trees

Twigs to hold outer fabric - 2x Young Trees

INCORPORATING DEATH OF TREES

Different uses of dead trees incorporated (& quantity needed) into the structure.

Wood Panels - 4x Adult Trees

Firewood for Central Fireplace - 1x Adult Trees

Hollowed Trunk for Cooling Food - 1x Adult Trees

Inulation with Woodchips & Natural Resins - 3x Adult Trees

Tree Sap of Pine Trees Tree Sap of Pine Trees

Nesting place for Wildlife

Woodchips/Wood Dust

Firewood

As the saplings grows, temporary fixings and armatures will need to be in place to support the growth and shape the saplings. Overtime, as the saplings matures into trees, less rigour can be placed in maintaining the fixings as nature will self-manage itself. This brings the notion of the tension between controlling nature and letting it take its course over time.

Self-tensioning armatures can be envisaged where they work in conjunction with the training of a tree into a shape. A post is tensioned to the tree and the earth to train the tree, as demonstrated in the previous tests.

A series of diagrams showing how the trees would grow and how armatures would be placed on them to facilitate growth and show what is temporary and what is permanent.

5.5 THE CHOREOGRAPHY OF MAINTENANCE

Relating to the notion of self-management, the diagrams below show the cyclic nature of processes happening the building, including food/compost/waste, water, and the oxygenation cycle of the trees. These processes relates to the healing process of the inhabitants using the building, and also the self-sustaining nature of the building.

Food Grown in Gardens

Human & Food Waste

COMPOST/ FOOD/ WASTE

Compost Toilets

Residents Food

Rainwater

Fixings

Bifurcating Tree Soil Connection Post

Evaporation

Respiration

Drinking Water

Storage Tank

Bathwater Resevoir Irrigation Systems Compost

Carbon Dioxide

WATER TREE

Photosynthesis

Oxygen

PHASE 1 PHASE 2 PHASE 3

Controlling

the Growth of Tree Roots

Japanese pine tree has a tree to root ratio of around 5:2; restricting roots size may affect tree growth itself. Pine trees follow a tap root system where a primary root grows vertically downwards as secondary roots sprouts from it.

Although Japanese pine trees are considered safe trees to be planted next to a structure some roots may still be invasive, hence a rammed earth base is used to protect the neighbouring structure.

Thistle

Secondary Roots

Branch Framework

Tap Root

Japanese Scarf Joints

Japanese scarf joints are used for the connection point between stone to timber, tightened with a pin and held together with a metal bracket.

Sketch showing how the pieces fit together with the pin that will be hammered in and sawed off.

Pleached Trees

Timber/Stone Joint

Floor

Beams

Insulation

Ground/Soil

Rammed Earth Foundation

Tree Fixings

Outer Fabric

Trunk Clamp

Wooden Armature

Soil Connection Post

Rammed Earth Cage

Detail sketch looking at a building joint elevated just above the ground with rammed earth foundations and cage to hold the tree roots in place. Combining tree fixings tests, shaping and pleaching together to create a formwork to hold the building in place.

Different Garden Knots

An array of different garden knots that can be utilised throughout the building:

• Clove Hitch

• Timber Hitch

• Square Lashing

• Diagonal Lashing

• Tripod Lashing

CLOVE HITCH

1. Wrap the rope around the spar, then under itself and over, then pass the rope through the loop that has formed.

2. Twist the end of the rope a few times around the part of the rope to the front of the spar.

3. Push the timber hitch against the spar, then pull hard on the rope to tighten the hitch.

TIMBER HITCH

1. Wrap the rope around the spar, then under itself and over, then pass the rope through the loop that has formed.

2. Twist the end of the rope a few times around the part of the rope to the front of the spar.

3. Push the timber hitch against the spar, then pull hard on the rope to tighten the hitch.

DIAGONAL LASHING

1. Start by tying a clove hitch to the vertical spar, just below where the horizontal spar will be.

2. Twist the end of the rope around the vertical part of the rope for a clean look, then wrap the rope around the horizontal and vertical spars, binding them together.

3. Continue by wrapping the rope three or four times around the vertical and horizontal spars.

4. Make two or three frapping turns between the spars, around the rope itself. Pull these frapping turns very taut. Finish by tying a clove hitch to the horizontal spar.

SQUARE LASHING

1. Start by tying a timber hitch around the crossing of the two spars.

2. Wrap the rope three times around the spars alongside the timber hitch, placing the rope turns side by side, not on top of each other.

3. Wrap the rope three more times around the spars, crosswise to the first turns. Be sure to pull each turn taut.

TRIPOD LASHING

1. Place three spars side by side. Tie a clove hitch to an outside spar.

2. Wrap the rope, loosely, seven or eight times around the spars.

3. Next make two tight frapping turns between each of the spars, around the rope itself.

4. Make two or three frapping turns between the spars, around the rope itself. Pull these frapping turns very taut. Finish with a clove hitch tied around the most convenient spar.

4. Finish with a clove hitch tied around an outside spar. Stand the spars upright and spread them apart to form a tripod.

DETAIL LOCATION

1. Column Branch Framework

Size of Column: Dependent on the Trees

Fixed to based & top with wooden dowels

Lashed to frame structure using 6mm minimum natural rope with square lashing

2. Pleached Trees

Held to frame with natural rope and knots

3. Timber Stone Scarf Joint

Carved stone inset into foundation

Column base formed to mirror stone

4. Metal Clasps for Scarf Joint 2x fixed with bolts

5. Floor Plane Wood

6. Joists

7. Insulation Moss or Hay

8. Ground/Soil

9. Rammed Earth Blocks Foundation

200mm of base stone on compacted earth

Interlocking rammed earth blocks reinforced with straw/flax

Backfill around foundation with gravel for drainage

Inset column stone into rammed earth blocks

10.Tree Fixings

Fabric tensioner anchored with metal hooks to 6mm min. natural rope

11.Outer Fabric

Combination of branches, bark, earth and moss.

12.Trunk Clamp

Metal Clamp fixed with bolts

13.Wooden Armature

Connected with 6mm min. natural rope

14.Soil Connection Post

15.Rammed Earth Cage

Base stone on compacted earth

16.Floor Openings

For grafted trees to grow through and support the building

17.Shoji Walls

18.Tap Root System

Controlled by rammed earth cage

1,000 YEARS

10,000 YEARS

DETAIL

CONNECTION DETAILS LOCATIONS

1. Shaped Tree

2. Fabric Tensioner

3. Fabric Eyelets

4. Metal Hooks

5. Wooden Connection

6. Dead Knot

7. 10mm Natural Rope

8. Timber Hitch Knot

9. Kerf Bend

10.Wooden Armature Linked to Soil Connection Post

11.Soil/Ground

4: TIMBER STONE SCARF JOINT

1. Timber Half

2. Stone Half

3. Peg

4. Flooring

5. Joists

6. Floor Support

7. Stone Foundation

8. Metal Clasps w/Bolts

9. Metal Bracket

10.Timber Column

11.Outer Fabric Bark, Branches, Earth w/ Moss

12.Internal Fabric Shoji Walls

The scarf joint must be secured with metal clasps fixed with bolts as stone expands when temperature increases. The peg in the middle also ensures the joint is tightened fully.

DETAIL 2: PLEACHED TREES

1. Timber Column

2. Pleached Tree

3. Wooden Wall Panels

4. Timber Support

5. Horizontal Pleach Frame

6. Diagonal Pleach Frame

7. Square Lashing Knot

8. Timber Hitch

9. Diagonal Lashing

10. Ceiling Joists

11.Shoji Walls

“Inverting the traditional pitched roof, the thick thatch roof reinforces climatic comfort by providing an effective insulation against extreme heat. A stack effect allows hot air to rise into the peak of the roof while inviting cool air into the spaces. With a roof pitch consistently 45 degrees or greater, the unique form also maximises rainwater runoff, diverting water into a channel that encircles the building and empties toward an existing aquifer.”

Twigs & Leaves

Interwoven sticks

Tree Branches

Woven Fabric

FASS SCHOOL AND TEACHERS’ RESIDENCE FASS, SENEGAL | TOSHIKO MORI

Potential roof fragment sketch

GASSHÔ-ZUKURI ARCHITECTURE: JAPANESE THATCHED ROOF

Village of Shinto Priests near Mitsumine Shrine, Chichibu

Gasshô-zukuri architecture are traditional local secular houses, with steeply thatched roofs that can support heavy snowfall during winters. In these historical homes, entire families lived on several floors, heated by fireplaces located in the center of the ground floor (both to spread the heat and to limit the risk of fires). The covering straw on the roofs must be changed every twenty years, at which craftsmen work on these roofs.

Thatch Combs

Curved Timber

Branches coming through Interwoven sticks/ branches

Timber Joint

Bamboo Gutter

Tree holding things in place

Outer Fabric

Detail sketch of the thatched roof, combining the timber joints and frameworks together with the growing tree to hold it in place, while a bamboo gutter collects rainwater.

DETAIL LOCATION

1. Thatch Combs

Sealed with seaweed and mud to prevent leakage

3. Interwoven Sticks/Branches

Held with 6mm min. natural rope

Combination of Timber Hitches and Square Lashings

Held with metal clasps x2

5. Bamboo Gutter

Held with small braces

Bolted to hold in place as tree grows

6. Tree Holding Gutter in place

Sealed with wax to prevent growth for certain branches

7. Outer Fabric

Combination of branches, bark, earth and moss

Insulated with weeds

8. Waterproof Fabric (to catch leakage)

Held with clamps

9. Metal Clasps

10.Outer Facade

Combination of branches, bark, earth and moss

11.Tree Fixings

Held with natural rope

12. Staircases for Maintenance

Metal steps bolted to the trunk

2. Curved Timber

4. Timber Scarf Joint

1,000 YEARS

10,000 YEARS

Intertwined sticks for coverage Thatched Roof

Nesting Sites for Birds

Branches laid out Wood Panels Horizontal Beams Thick branches holding

Columns held together with rope Branches held together with rope

Inspired by Shirakawago, historical Japanese villages located in Shokawa Valley, in the northern part of Gifu Prefecture in central Honshu

INTERIOR OF ROOF

EXTERIOR OF ROOF

SIX.

6.1 STRUCTURAL STRATEGY

6.2 FOUNDATIONS (BUILDING & GARDENS)

6.3 FRAMEWORKS (TEMPORARY & PERMANENT)

6.4 FRAMEWORK DETAIL

6.5 CLADDING & ENCLOSURE

Recoreded by the Gardener

STRUCTURAL STRATEGY

Devising a structural principle for the building between a short term and long term framework.

STRUCTURAL FORCES DIAGRAM

KEY Understanding the structural forces and load paths throughout the building and they transfer from tree to non-tree architecture.

Short-Term Strategy: Timber Framework

A curated timber framework to support the trees and the building, including platforms and walkways to support the floors. Temporary spaces built at the beginning of the timeline that would require constant repairing as the trees grow into the framework and disrupt the original timber framework, and eventually replacing the frame.

Long-Term Strategy: Tree Framework

A base timber frame to support the growing trees that would gradually grow into a framework for the building. Constant pruning and shaping and tweaks will take place everyday depending on the growth; woven twigs and sticks would form the enclosure.

Components of Structure

Primary #1: Tree

Primary #2: Timber assissting structure

Secondary: Joining timber elements

Interwoven: Other plants/vines/moss

Structure Consideration

Considering what is temporary and what is permanent in terms of structure, and how the forest would take over overtime. The structure itself is one where constant maintenance will be needed, which aligns with the monastic nature of the building programme.

GLASSHOUSE | BILL & RUTH LUCAS

JAPANESE STONE FOUNDATION

A minimal lightweight construction sitting high up in its natural bushland setting like a treehouse. A building reduced to bare essentials: a timber frame on a simple steel platform supported by four steel columns with steel tension rods.

The house used to move considerably in the wind prior to 2003 (up to 8cm of movement side to side) due to loose and missing cross-struts and beams that originally braced the house. Remedial work in 2003 replaced and repaired the cross-struts and beams, and installed new foundation fittings for the five small pillars that support the house on the rock foundations, replacing the previously rusted and weakened fittings.

Focusing on the contact with the ground as a delicate touch between artificial and natural, and also between wood and stone.

KAMIICHI MOUNTAIN PAVILION | PETER SALTER

and also timber frameworks to support the structure on a remote site.

Components of Structure

Primary #1: Tree

Primary #2: Timber assissting structure

Secondary: Joining timber elements

Interwoven: Other plants/vines/moss

Structure Consideration

Considering what is temporary and what is permanent in terms of structure, and how the forest would take over overtime. The structure itself is one where constant maintenance will be needed, which aligns with the monastic nature of the building programme.

Peter Salter’s Kamiichi Mountain Pavilion uses rock foundations

Exterior materials are primarily copper with some wood, while inside wood predominates with bamboo being used for the railing infill.

Detail sketch of a building fragment, with the necessary structural components to hold it in place, and create spatial qualities for the tree and timber framework to co-exist.

Rammed Earth Foundation

Interwoven Branches

Tree Frameworks

Timber/Stone Joint

Beams

Thatched Roof

Floor

Traditional Japanese Timber Houses

6.4 FRAMEWORK DETAIL

1. Thatched Roof Sealed with seaweed and mud to prevent leakage

2. Interwoven Branches Held with 6mm min. natural rope Combination of Timber Hitches and Square Lashings

3. Pleached Tree Frameworks

4. Floor Plane Wood laid with Leaves & Flowers & Branches

5. Joists

6. Pleached Trees Held with rope and fixings

7. Timber Stone Joint Carved stone inset into foundation Column base formed to mirror stone

8. Rammed Earth Foundation 200mm of base stone on compacted earth Interlocking rammed earth blocks reinforced with straw/flax Backfill around foundation with gravel for drainage Inset column stone into rammed earth blocks

9. Arched Frameworks Trained with grafting and bending

10. Canopy Shelter Holder Fabric Shelter

11. Grafted Trees for Support Trained since saplings, pruned overtime for 10,000 years

12. Zen Garden Balcony

13. Zen Stone Garden Filled with sand and pebbles

14. Tree Fixings Held with natural rope

15. Staircase for Maintenance Metal steps bolted to the trunk

16. Tree Archway Trained since saplings, pruned overtime for 10,000 years

17. Tree Furniture Chairs & Tables

18. Growing Window & Door Frames

19. Tree Irori Fireplace

20. Chimney Openings

The outer fabric of the building is made of natural materials found on site, including a combination of moss, branches, bark and earth. Weeds can also be accquired from the lakes in Aokigahara: when mixed with mud, can be used as a sealant for the outer fabrics and roofs to prevent leakage. Insulation for the enclosure can be made using tree sap and wood dust.

Woven Fabric to prevent leakage

Weeds as Insulation

Walls can be designed without frames, so window and door frames grow on the walls overtime

The map shows the location of the 3 lakes within Aokigahara, where weeds, seaweed and mud can be collected for insulation and sealant. Distances are around 1 hour of walking time.

Bark, Earth, Moss, Branches as Outer Fabric

Twigs & Leaves

Interwoven sticks Tree Branches Woven Fabric

Walls can be sealed off after approx. 10 years

Potential roof fragment sketch

Tree Sap + Wood Dust as Insulation

Seaweed + Mud as Sealant

NURTURING THE TREES

7.3

SEVEN.

Recoreded by the Gardener

Passive ventilation strategies will be put in place due to the remote nature of the site and low energy demands for the building. A chimney stack can be used to draw air through, separating smoke from heat; this stack effect also allows hot air to rise into the peak of the roof while inviting cool air into the spaces. Sealing the building also controls the draft within the spaces to allow better air flow.

Winds & smells are able to enter through the crystal staircase entrance for the spirits to notify the residents of their presence.

The breeze passes throughout the building and exits through the back entrance.

Roof openings for hot air ventilation to remove condensation dampness.

7.

8.

Chimney Adjustment 1 10

2. 2 4 5 7 8 9

1. Crown 3

Flue 6

3. 1 10

6. 9

7. Damper

4. 2 11

5. 5 14

Ceiling 3 12

Smoke Chamber 4 13

Mantle 7 8

Smoke Shelf 6

1. Round Top

2. Stone Collar

3. Flashing

4. Roof Support

5. Veneer Panel/Cap

6. Double Chimney (500mm)

Double Chimney (1000mm)

Flange Support

9. Support (+150mm Spacing)

Firebox

Lintel

A fireplace can be put into place in the central part of the building with an air inlet to provide heating during low temperatures (-4ºC) in winter and also cooking; however this means the smoke will need to be funnelled through a chimney. The chimney itself can also be lined with tubes with water running to other spaces to provide heating.

Minimal lighting will be needed in the building due to the monastic nature, and letting nature determine the inhabitants’ schedules and routines. Hence, the fireplace itself can provide majority of light during the night, while candles can be used in specific lamps to provide light in cells.

Insulation for the building can be provided by using materials such as dry moss, or combining wood chips with tree sap, which may also help with acoustics.

1. Fire Shelf

2. Hook Handle

3. Stopping Wood Piece

4. Hook

5. Iron Pot

6. Stove

7. Stove Edge

8. Timber Frame

9. Floor

Tatami Mats Kamachi

Wood Ash

Iron Tub

20cm

Empty space under floor to dissipate heat

IRORI DIAGRAM

IRORI: SUNKEN HEARTH

The irori fireplace will be able to provide underfloor heating as the heat dissipates and the hot air rises upwards.

HEAT DISSIPATING

MINIMAL SMOKE FUNNELED THROUGH CHIMNEYS

The chimney stack effect allows hot air to rise into the peak of the roof while inviting cool air into the spaces.

The irrigation/water system allows water flowing through the building to potentially warm and cool the space depending on the season.

SOLAR GAIN

HEAT FROM IRORI FIREPLACE

HEAT FROM CELLS

Tatami Mats Kamachi

Wood Ash Iron Tub

20cm

Empty space under floor to dissipate heat

HEATING STRATEGY DIAGRAM

Most of the heat dissipates through the roof which can cause lots of energy waste. The hatch roof is sealed with fabric for insulation.

7.3 RAINWATER COLLECTION

The precipitation can get quite high due to the moisture in the forest, but is still essential for the trees to thrive and get enough water throughout the year.

A rainwater collection system will be designed to harvest as much water as possible to sustain the building. Water channels will be placed around the building’s flat surfaces or staircases, as well as gutters on the roof to feed the water system

A system will be devised to separate clean water for drinking versus water used for bathing, toilets and irrigation. These will all form a constant recycling process of water, strategically placed and analysed in the section.

KEY

IRRIGATION SYSTEM

WATER SOURCES/RESEVOIRS

TREES

ARMATURES

ENTRANCES Rainwater

STAGES OF

1.

2.

3.

WATER

4.

5.

An irrigation system will be placed to control the water aspect of growing, also in line with the rainwater harvesting system. Potential systems can include furrow irrigation, drip irrigation or a sprinkler mist system that can be potentially incorporated into the roof to keep the trees moisturised.

IRRIGATION SYSTEMS TO GARDEN TYPES

Furrow Irrigation Public Food Gardens

Drip Irrigation Cells Private Gardens

Sprinkler Mist Irrigation Building Trees Support

POINTS OF IRRIGATION SYSTEMS

KEY

IRRIGATION SYSTEM

WATER SOURCES/RESEVOIRS

TREES

ARMATURES

ENTRANCES

BUILDING TREES SUPPORT IRRIGATION

PRIVATE GARDENS IRRIGATION

Furrow Irrigation

PUBLIC FOOD GARDENS IRRIGATION

Drip Irrigation

FURROW IRRIGATION

Supply Pipeline (buried or surface)

Different pipes (mainline pipe, distributor pipes, sprinkler supply pipes) will be connected to a water source and pump to sprinkle water across the plants through nozzles.

Set 1

Sprinkler Mist Irrigation

Water

Furrows are small, parallel channels, made to carry water in order to irrigate the crop. The crop is usually grown on the ridges between the furrows.

Pipes Cross Sections Showing Water Levels Upstream from Plug

Set 2

Hydrant or Discharge Outlet Water Supply Ditch

Air Reel for Cable with Speed Control

Water Level Supply

Water Water Water Pulley Travelling Plug

PVC Pipe (partially or fully buried) Outlet Cable

Concrete Stand Pipe Furrows Previously Irrigated Being Irrigated To be Irrigated

POINTS OF IRRIGATION SYSTEMS

KEY

IRRIGATION SYSTEM

WATER SOURCES/RESEVOIRS

TREES

ARMATURES

ENTRANCES

DRIP IRRIGATION

Sand Filter Air Valve

Main Line

BUILDING TREES SUPPORT IRRIGATION

PUBLIC FOOD GARDENS IRRIGATION

PRIVATE GARDENS IRRIGATION

Lateral Flush Valve

Screen Filter

Ball Valves

Polytube/Lateral

Submain Line

Backflow Preventer Valve

Pressure Regulator Filter

Tubing Adapter

Drip Tubing

Pump

By Pass Valve NRV Dripper/Emitter End Stop

Water Source

Flush Valve

500 mm between Dripper/Emitters

NRV End Cap Dripper/Emitter

Drip irrigation or trickle irrigation is a type of micro-irrigation system that has the potential to save water and nutrients by allowing water to drip slowly to the roots of plants, either from above the soil surface or buried below the surface.

This will be applied to the private gardens of cells as the distance between each garden are quite long and spread out.

POINTS OF IRRIGATION SYSTEMS

KEY

IRRIGATION SYSTEM

WATER SOURCES/RESEVOIRS

TREES

ARMATURES

ENTRANCES

BUILDING TREES SUPPORT IRRIGATION

Gate Valve

20-30 mm

Water Source

Delivery Line Filter

Pressure Regulator

24V Solenoid Valve

20mm Poly Pipe

PUBLIC FOOD GARDENS IRRIGATION

PRIVATE GARDENS IRRIGATION

Sprinklers

Sprinkler/spray irrigation is the method of applying water to a controlled manner in that is similar to rainfall. The water is distributed through a network that may consist of pumps, valves, pipes, and sprinklers.

This will be used throughout the building to ensure the tree supports receive enough moisture throughout the year without too much water going into the spaces.

Incorporating compost toilets into the cyclic nature of the building; human and food waste can be mixed together to create compost for feeding the gardens in the building. The toilet itslef would need to be ventilated with pipes and incoming air ducts to reduce smell. Waste itself can also be used as biomass to potentially generate power to heat water and spaces.

1. Water Collection Tank

2. Rainwater Collection Roof

3. Sink

4. Stone Foundations

5. Window

6. Ventilation Pipe & Incoming Airducts

7. Compost Toilet

8. Human Waste mixed with Kitchen Waste

9. Opening for Compost Collection

The solids are digested and vermi-composted with earthworm Eisenia Fetida and other macro-organisms resulting in high mass reduction and pathogen removal, a process that has proven to be superior to traditional latrine microbial composting. The resulting compost is harvested every 2–3 years.

Recoreded by the Gardener

8.1 CONLUSION & THE GARDENER’S LEGACY

CONCLUSION.

The philosophical aim of this project was to question the relationship between man and nature, and how a garden can heal the mental trauma of men. With rigorous research into the culture of death, soul and spirits in Japan, specifically related to Aokigahara, the suicide forest, a series of parameters are set in place on the site for the building to embrace the forest and act as a Garden of Rebirth and refuge for visitors seeking for an end.

The series of willow saplings tests to experiment with tree-shaping techniques, formed the basis of a structural strategy for the building where tree and non-tree architecture can grow throughout time and inform the changes of each other. Through the process of testing, I was able to recognise the potentials of tree-shaping and the benefits it offered, including reducing carbon emissions and providing a place to heal the mind, while I was shaping the trees and translating them into drawings. Unique forms were devised from experimentation, creating a library of tree forms that can be used to inform the design of the building. The research acquired along the results of the tests informed the language of the follow-up detail drawings, showcasing unexpected moments of growth and fixings. This pushed the limits of what I believed was possible with the traditional notions of gardening, and giving the building itself space for how it might develop for the next 10,000 years.

Given that the project’s timeline exceeds my lifetime, it gave me a new understanding of space, and how it can develop and grow over time with natural materials and forms. Without these investigations, it would not have led me down the path of learning about different cultures, gardening and relating to my personal mental health experiences, in a world and time of needing peace and healing more than ever. The report gave me a deep understanding of showing the technical side of the building in a poetic way, also the design possibilities of pushing an organic material to shape a space, which also forms the rituals happening within the space to uphold the sacredness and soul of the building.

LEGACY.

As the building will stand and grow for more than 10,000 years, the required knowledge needs to be passed onto the next generations.

The Gardener sincerely hopes and believes this report will be a manual to continue the legacy of their role and The Garden of Rebirth.

1,000 YEARS

10,000 YEARS

Recoreded by the Gardener

9.1 BIBLIOGRAPHY

ONE. PREPARING THE SOIL

Dahl, Elisabeth. “The Effect of Darkness on Photosynthesis.” Sciencing, 22 Nov. 2019, https://sciencing.com/effect-darknessphotosynthesis-5840286.html.

Li, Qing. “The Benefits of ‘Forest Bathing’.” Time, Time, 1 May 2018, https://time.com/5259602/japanese-forest-bathing/.

Stokes, Alexia. “Responses of Young Trees to Wind : Effects on Root Architecture and Anchorage Strength.” White Rose ETheses Online, University of York, 1 Jan. 1994, https://etheses.whiterose.ac.uk/2438/.

Paul.stonjek. “Simulated Historical Climate & Weather Data for Narusawa.” Meteoblue, 22 Apr. 2022, https://www.meteoblue.com/ en/weather/historyclimate/climatemodelled/narusawa_japan_10799597.

Info@sunearthtools.com. “Sun Position.” Calculation of Sun’s Position in the Sky for Each Location on the Earth at Any Time of Day, https:// www.sunearthtools.com/dp/tools/pos_sun.php.

How to Stake a Tree | Space for Life - Espacepourlavie.ca. https://espacepourlavie.ca/en/how-stake-tree.

TWO. GATHERING THE SAPLINGS

Bausher, Michael G. “Graft Angle and Its Relationship to Tomato Plant Survival.” HortScience, vol. 48, no. 1, 2013, pp. 34–36., https:// doi.org/10.21273/hortsci.48.1.34.v

Senses Atlas. “The Brion Cemetery, Carlo Scarpa.” Senses Atlas, 11 Dec. 2020, https://www.sensesatlas.com/territory/the-brioncemetery-carlo-scarpa/#:~:text=The%20arcosolium,the%20visitor%20in%20his%20introspection.

Easton, Mrs J. “How to Treat and Prevent Tree Wounds: Th Trees Ltd Essex.” Tree Surgeons Essex | T.H Tree Services | Tree Care, 17 July 2019, https://thtreeservices.co.uk/how-to-treat-and-prevent-tree-wounds/.

Franklin-Cheung, Alexandra. “How Do Trees Grow Straight up, Even on a Slope?” BBC Science Focus Magazine, BBC Science Focus Magazine, 15 Apr. 2020, https://www.sciencefocus.com/nature/how-do-trees-grow-straight-up-even-on-a-slope/.

“A DIY Tree Grafting Handout.” Autonomy Acres, 17 Apr. 2015, https://autonomyacres.wordpress.com/2015/04/17/a-diy-treegrafting-handout/.

Publicdelivery. “Junya Ishigami’s Water Garden - Is This Architecture?” Public Delivery, 4 Sept. 2021, https://publicdelivery.org/junyaishigami-water-garden/.

“Architecture and Sacred Spaces in Shinto.” ORIAS, https://orias.berkeley.edu/resources-teachers/architecture-and-sacred-spaces-shinto.

Pant, Author Anupum. “The Role of Wind in a Tree’s Life.” Awesci, 29 Dec. 2014, http://awesci.com/the-role-of-wind-in-a-trees-life/.

“David Chipperfield Architects – Inagawa Cemetery Chapel and Visitor Centre.” David Chipperfield Architects –, https://davidchipperfield. com/project/inagawa-cemetery-chapel-and-visitor-centre#:~:text=Inagawa%20Cemetery%20is%20located%20on,that%20orients%20 the%20whole%20project.

Stern, Michael A. “Passages in the Garden: An Iconology of the Brion Tomb.” Landscape Journal, vol. 13, no. 1, 1994, pp. 37–57, http:// www.jstor.org/stable/43324115. Accessed 22 Apr. 2022.

公益社団法人やまなし観光推進機構. “Charm of Mt. FujiYamanashi Umaii.net サイト閉鎖のお知 らせ.” 【公式】富士の国やまなし観光ネット 山梨県公式観光情報, https://www.yamanashi-kankou.jp/kokuritsukoen/en/ miryoku/aokigaharajukai.html.

FOUR. 1,000 YEARS OF GROWTH

Yadav, Raghabendra & Chen, Bao-Chun & Yuan, Huihui & Pantha, Subhash. (2018). Parametric Study on the Lateral Load Carrying Capacity of CFST Columns. 4. 57-66.

FIVE. 10,000 YEARS OF GROWTH https://www.blocklayer.com/kerf-spacing.aspx

“Core Kyoto Mini Kitayama Cedar: Lending a Quality of Polished Dignity and Beauty - Core Kyoto: NHK World-Japan On Demand.” NHK WORLD, https://www3.nhk.or.jp/nhkworld/en/ondemand/video/6024009/?fbclid=IwAR1OV31KxlTvx366T-qQglfuRhzEXpKav5sS pZ28bR7nkfJYcpM3Gsr_YRo.

“A Japanese Forestry Technique Prunes Upper Branches to Create a Tree Platform for More Sustainable Harvests.” Colossal, 4 Jan. 2021, https://www.thisiscolossal.com/2020/10/daisugi-trees-japan/.

Box, Olivia. “What Happens to a Tree When It Dies?” JSTOR Daily, 31 Mar. 2021, https://daily.jstor.org/what-happens-to-a-tree-when-itdies/#:~:text=It%20can%20take%20up%20to,on%20the%20nutrient%2Drich%20bark.

Associate, Sheereen, Othman, Communications, et al. “6 Ways to Upcycle Dead Trees.” Arbor Day Blog, 8 Nov. 2016, https://arbordayblog. org/uncategorized/6-ways-upcycle-dead-trees/.

“Tree Roots and Trenching.” Forest Research, https://www.forestresearch.gov.uk/tools-and-resources/fthr/urban-regenerationand-greenspace-partnership/greenspace-in-practice/practical-considerations-and-challenges-to-greenspace/tree-roots-andtrenching/#:~:text=Severing%20roots%20completely%20along%20one,the%20tree%20much%20less%20stable.

“Rabbeted Oblique Scarf Splice.” Building, Repair and Construction Tools, 28 Aug. 2015, http://zhclg.com/wood-joints-in-classicaljapanese-architecture/rabbeted-oblique-scarf-splice.htm.

“Shirakawa-Go - Traditional Thatched Roofs Villages.” Kanpai Japan, https://www.kanpai-japan.com/shirakawa-go#medias-gallery.

“Learn Lashing and Make Your Own Garden Trellises.” FineGardening, 2 Apr. 2020, https://www.finegardening.com/article/learnlashing-and-make-your-own-garden-trellises.

SIX. INHABITING THE TREES

Hill, John. Mountain Pavilion, Blogger, 23 Feb. 2015, https://archidose.blogspot.com/2004/10/mountain-pavilion.html.

“Fass.” Toshiko Mori Architect, https://tmarch.com/fass.

Michl. “Lucas House.” Sydney Living Museums, 26 June 2020, https://sydneylivingmuseums.com.au/documenting-nsw-homes/lucas-house.

SEVEN. NUTURING THE TREES

“Passive Stack Ventilation Explained.” Eco, https://www.eco-home-essentials.co.uk/passive-stack-ventilation.html.

“Sound of Wind.” Architect, 28 Sept. 2020, https://www.architectmagazine.com/project-gallery/sound-of-wind.

Uematsu, Hiromasa. “ Irori (Sunken Hearth) - Japanese Encyclopedia.” Japanese Encyclopedia - Matcha-JP, 12 June 2016, https://matchajp.com/en/1534.

Nagy, J. & Zseni, Aniko. (2016). Swot analysis of dry toilets. 257-268. 10.2495/EID160231.

THREE. 10 YEARS OF GROWTH

“Pleached Trees Information.” Pleached Trees - A Guide For Above-Fence Screening Trees, https://www.hedgesdirect.co.uk/acatalog/ Pleached-Trees-Information.html#:~:text=Pleached%20trees%20are%20trees%20that,natural%20alternative%20to%20high%20 fencing.

Brouwer, C. “CHAPTER 3. FURROW IRRIGATION.” Irrigation Water Management: Irrigation Methods, https://www.fao.org/3/ s8684e/s8684e04.htm.

As the building will stand and grow for more than 10,000 years, the required knowledge needs to be passed onto the next generations.

The Gardener sincerely hopes and believes this report will be a manual to continue the legacy of their role and The Garden of Rebirth.