Drawing from the research and testing throughout project_01 and _02, I began to compile and implement the system I created in order to give architectural form to the space filling curve that is the dragon curve. The path and control points of the test M1 from project one inform the grid along which both the walls and roof structure are set, thereby enforcing a direct correlation between section and plan. Altering parameters such as thickness, scale and spacing of the walls and roof, with respect to desired lighting, movement, material etc. can easily be navigated as the structure and form are resolved thanks to the connection in plan and section
After experimenting with a range of different input curves to see the different outcomes produced, I began to analyse the different types of spaces produced depending on the magnitude and type of curvature. From this I classified 5 different situations below, and started to visualise how the differing geometries affected the views within the spaces, the views out, and the conditions of the spaces.
From this I selected three of these conditions and started to explore the materiality and thickness of the spaces. I became interested in forced perspective and how I could apply this to the generated spaces to make shallow spaces feel deeper and vice versa. But also distort and effect the users experience of the space in different ways.
Within the three sectional models below, I explored both in section and perspective. Looking in section at how the beams and and roof could connect and sit within the walls, but also how the spacing could change to play with forced perspective. Then the sectional models would be combined to allow myself to visualise the views within the spaces and the views out from them. I took a step back from the previous model where I was looking at a continuous roof system and looked at each of the 3 modules individually to look at different ways I could structure the roofscape and play with the lighting of the spaces.
To begin the process of thickening the section within the project, I traced the path of the generated curve to identify four instances; 1, 2, 3, 4. Grouping the repetition of these instances, three distinct spatial conditions with aspect to the program were identified: exhibition – a, b, c; structure – column; circulation – corridor/ buffer spaces. Working in parallel with the roof structure, the control points and the path of the curvature is used as the defining grid for the roof. An instance of the curve geometry was used to generate the profile for the roof.
Each of the identified groups hold a combination of spatial characteristics such as flat, concave and convex surfaces. Without giving a set program to these, there is an opportunity to play with volume and the relationship to the ground and roof to provide a series of spaces with unique architectural qualities and views.
Adding thickness to the sections brings about the question of materiality. Keeping the idea of reflectivity and blending in the landscape, a sheet metal finish along the length of the exterior would enforce the sense of continuity. An exposed brick interior could be offset with sheet metal panels to provide different experiences of the space. The sectional model/ drawings, at a scale of 1:50 explore the spatial and tectonic characteristics of the roof and curve such as light, movement, thick and thin.
The final presentation for project_01 brought about the exploration of light and materiality through the medium of models. Working through sketches, I began exploring the roof grid and it’s correlation to the curved plan with an experimental approach to how their relationship is articulated in the physical form.
I worked through three card models using the laser cutter to achieve the curvatures of the dragon code, investigating the materiality of the curves, the spacing and placement of the roof.
The flow of movement through the building was a direct response to the location on site. Using the pond as a feature and arrival point, the Konsthall starts as a bench into a curved wall that sinks down into the ground and leads you back up into the waterfront.
The challenge of using the curved walls as a guide without the roof structure deterring from the spatial experience was a balance difficult to navigate. The design needs to be explored at multiple locations within the curvature, based on site variations and the specific spatial qualities created at each chosen point. How the spaces are occupied, what potential it holds for exhibition purposes etc.
Looking into the Venn Diagram roof structure, it has several parameters that can be varied. The angle is defined by the direction of the path, however the spacing, thickness and depth of the beams can be varied to achieve a certain level of light, or a certain atmosphere in the space below. By using Grasshopper the parameters can be quickly tested.
This set of 3D printed models of the roof system keeps one circle constant while changing one parameter in the other circle. This shows the difference in the shadow effect, and how the appearance of the overlapping area changes. (Scale – 1:200)
In this model, at a larger scale (1:100), I am investigating a more complex Venn diagram with three intersecting circles. By varying all three parameters in each circle, the different levels of lighting can be observed in the shadows.
The paths that generate the spaces provide more opportunity to express themselves. As they travel across the boundary, they can take the form of indoor and outdoor paths, windows, roof structure and ground level features such as steps or seating:
An alphabet: laser cutter operations
Plan generation with nesting shape grammars in the Forsythia editor, written by John Greene:
Going from plans to laser cut sheet:
From plans to cavities and elevations:
From grammar to building:
It it getting there! 1,8 meters long, 0,9 meters wide. And there will be a top too!
To be continued…