Weekly Progress Update – Page 4 – Studio 9: Architectural Notations

Curves through thick and thin.

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.

Some examples of thinking about code and drawings.

Balliet_Kristy_Possible Volume_2017.ai

POSSIBLE VOLUMES by Kristy Balliet

http://digitalcraft.cca.edu/research/drawing-codes

Exploring the detail

Since the last time, I decided to focus on solutions to problems pointed out on the last crit, which would be tight corners and misalignments of the “skeleton” structure. I started from building up a hypothetical scenario with four overlapping modules:

built up.jpg

Possible ways to solve tight corners:

Introducing the new materiality to my configuration:

Zoom in on two tests:

Option with skylights, maximizing display area for the gallery.

Option without skylights, allowing the visitors to look out towards the courtyard and the surrounding.

Roof intersections from below.

And finally the final section:

Conditions – Scenarios, movement, narrative

When examining different conditions, the first natural step was to categorize, test and design different ways of utilizing the glades for various types of exhibition.

St9_P2_Diagrams-02

But when working in section, the roof/wall/floor relationship – the dome structure, and the movement through the building, in and out of the Glades, became the main focus.

St9_P2_Diagrams-01

Using narrative as a thought process was useful for finding out what qualities the different spaces needs. By creating a storyline for moving through the building, new interesting ways in which the building can serve as a wholesome experience was revealed.

S9_P2_Task1_section-models

Sectional models for some of the exhibition situations/storyline conditions.

task 2.2

Extrusion_01

The site

The plan

Module diagram

5 types

double height.png

View from below:

worm eye.jpg

Materiality

The model

Extrusion

Looking further into adaptation I decided to focus on the code that uses points to impact the size of its surrounding elements. Having this script I changed the size of my element, allowed it to intersect and then randomly rotated with a step of 15 degrees.

Understanding spatial qualities of configuration.

Test 1 – Extrusion of squares with width <2m. Each element is a separate pavilion with skylight.

Manipulating the roofscape

After producing the axonometric development drawing , I used this as a snapshot to analyse how the code was generating spaces and controlling circulation. But most importantly to reflect on how the walls, beams and roof were working together through manipulation of the code. I started to alter the logic of the code to create a controlled circulation route through the spaces. By randomly deciding whether to shift a wall and creating an opening, or leave the wall untouched.

Final presentation.indd

I then also explored how different input curves could create different spaces and variations by using the same script.

Final presentation.indd

Below is an example of one of the many unique generations that can be produced on the exact same curve. If used on different input curves I could create even more unique variations.

Final presentation.indd

I started to look at the roof form in more detail by considering how it could vary in different ways to affect the environment and experience of the space below. I would then use this to dictate what spaces could be used for. I considered how the spacing and arrangements could be altered to let through different amounts of light, or no light if you want to project video installations. They could even be used as acoustic buffers in tall spaces. Whilst I was exploring the variations of roof form and the transparency of the walls to shut off and expose views, I still wanted the roof form to appear as one cohesive system.

Final presentation.indd

Inhabiting the curve.

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.

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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.

Site 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.

Plan

Curvature from Rotation

The final design in this project comes from a combination of results from the original Python code. The standard grid of points was moved and rotated around the mid-point of the grid along the x and y axis. This created two different sets of spatial organisations between the dots. Meshing between these points revealed two interesting shapes.

The more captivating outcome, however, was when circles were used to join the points that would have been equidistant in the original, two-dimensional grid.

The interesting spatial configuration was not only the shapes themselves, but the residual space between them. The undulating surface works as a natural floor plan with gradual curvature, while the shape with more accentuated curves serves as a roof structure.