1

s1455066

2

3

Get it?

4

Index

Introduction 1

Form and Space 8

Organisation 14

Circulation 20

Wax Model experiment 28

Proportion, Scale and Principles 30

Exhibition 36

Material Studies: Translucent concrete 38

Reference and Sources 44

5

6

7

Having a second perspective is sometimes crucial to the develop-ment of a design or project. So this portfolio is accompanied with text written to another person, to describe what I’ve done and in do-ing so, it allows me a chance to think about and challenge my ideas of architecture. Since I truly do not know who I am yet, I decided to write this to myself, to allow for the different people mixed in my personality a chance to converse about what is architecture? How should it be? Thereby finding my identity in the architecture field.

It shouldn’t be considered as a diary, but rather as a map recording my paths of ideas and areas i have explored, want to explore and am exploring in search for a good understanding of architecture within myself.

This portfolio is structured as a documentation of spatial qualities, characteristics and ideas studies as well as material testing. Nothing is left out, but in the writing process, some reflection arises that adds another point of view to my original one.

8

Form and SpaceI personally believe that Ching’s book is a very simple condensation of “rules” or guides and effects achieved without any context. In real-ity, many facets of a space plays into creating its atmosphere, not just only one.

So I set to challenge his claims where I dis-agree and through the first week I recognized a key characteristic of design that I lack: the distillation of a design to its core concept.

1

9

Lack of mental command of space

Ching argues that columns gives us a sense of proportion and scale. But is it true? I believe it could be tweaked to confuse the viewers. In-spired by the pavillions at the Milan Expo 2015, which I’ve had the chance to experience first hand. Firstly by the Polish pavillion that uses mirror walls to expand the space visually and repeat the image of trees in its space. It was also inspired by the UAE Pavillion by Norman Foster with its convoluted processional pathway, this gives a directional quality to the space. As the viewer progresses towards the center, the sizes of the columns increases while the walls lean closer to increase the confusion.

Poland Pavillion, Milan Expo 2015, by Studio 2PM

United Arab Emirates Pavillion, Milan Expo 2015, by Norman Foster

10

Inspired by Ilya Utkin’s drawings above, this model tackles how elevated base planes , recessed planes are only relative to each other. An elevated base plane is merely a plane that is surrounded by plane(s) lower that itself. It also challenges Ching’s argument that eleavated base planes are more extro-verted and recessed base planes are introverted. For elevated spaces provide privacy from prying eyes while recessed base plane corners the users of the space.

In retrospect these ideas could have been demonstrated much simpler. And this is a goal of mine over the next weeks: to condense and distill my ideas.

11

In this chapter, Ching argues that a 4 planes enclosure create a sense of introversion. Yet I believe that this does not depend merely on the type of enclosure but also on the quality of light and the material in that space.

Density creates a different sense of openess, a concrete box will admit less light than a wooden frame box, and that wooden frame admits less light than a glazed cube.

Interestingly, the type of opening affects the atmosphere as well as the frequency of the material that is used as well, such as in the case of the wooden frame.

12

Ching scarcely mentioned movement in his third chapter of Form, Space and Order but he did talk about the idea of activating a space. It could be done by creating a landmark there or by the types of enclosure around the space we want to activate. Therefore I set out to create one vast com-mon space to turn it in to a space one must pass through to get in or out or from one place to another.

The forms of the masses here are inspired from a project in Year 1 that suggested movement to me, and since I be-lieve the enclosures suggest movement, I use these triangle walls to suggest an rising movement. Some of the triangles are transparent so they provide a visual continuity but cre-ate a physical barrier between two sides, which is another theme I tried to explore.

13

The last model is about establishing relationships be-tween openings of a space or multiple spaces. Taking a astep further based on the idea that something can suggest movement I wanted to make the windows con-trol in a space.

The model has three layers, with every layer suggesting movement differently. Some of them have fluid linear openings, on the outer skin they have openings that do not suggest as much flow. The materials used in the lay-ers are also meant to tackle the idea of visual continuity but with a physical barrier (like in the previous model) for they were transparent “walls”.

In hindsight this model was too complicated and messy and did not convey the idea properly.

14

OrganisationThis part of the project is a study on the at-mosphere that different organization has on a space or a series of spaces. Personally, it has proved to be difficult to truly condense and distill my ideas into physical models. Despite the setback of my over-complication tenden-cies, this part allowed me to discover new ma-terials, play with the abstraction of elements as well as providing me a chance to test out how to make diagramatic models that com-municate effectively the idea.

2

15

As a play with plaster and wire mesh, this model is inspired by the nautilus in its forms. The process behind it involves the abstraction of the Nautilus’ structure to its spiral curves and it linear separating “walls”.

This model is about how adjacent spaces can be divided not with a physical obstacle but by a change in its surface, material, construction method and light quality.

Although the abstraction process was a fun sketching exercise, there was a much more efficient way to demonstrate the sep-aration of two spaces through their surface texture and mate-rials.

16

This was one of my first moving model. It involves three plat-forms where two are revolving around one center point. Here the inspiration was taken from fractured light as you drive by a colonnade of trees. And in the center space, the viewer will experience shifting fragmented light from the re-volving colonnades.

The space within spaces are contrasted by their forms relative to each other and also because a squared space has different qualities than a rounded or curved space.

I could have simply demonstrated this with a diagram but I want to play with atmospheres and lighting since architecture is for me something that evokes visceral (to an extent) emo-tions.

17

This model is about flexibility of intermediate space.How a linking space is in fact molded by its surrounding spac-es. At one point this took a turn and instead of translating the flexibility of a space, I left it open and gave the linking space its own independent articulation.Is our circulation the true flexible space? If it is, then the cir-culation space in a building are just following the spatial field that one’s path left in its wake. If so, then the linking space itself is merely an articulation of our traffic and it can be as open as we want it to be.

18

First attempt at diagramatic model.As an experiment with air hardening clay, it was fun. As a con-ceptual challenge against Ching’s claim that a radial organiza-tion is extroverted it was even more interesting. I disagree with Ching, for it truly depends on a buildings surroundings.

If a space is a positive element in its surrounding e.g a building spreading out like a starfish on its surrounding, then yes, it can be an extroverted space. But this then creates nooks and crooks within it that is a bit more reserved.

If a space is a negative element in its surroundings: e.g a point where are the streets gathers among tall buildings, then it be-comes an introverted space. Note that the height of the sur-roundings compared to the radial organization matters as well.

19

A grid organzation according to Ching is very adaptable, and thats quite true to a large extent. It can be rotated, its rows can slide relative to one a another, creating spaces in between. Moreover, it can adapt to a topography, rising with the land and turn with it. Lastly, it can provide the users of such space a mental command over their surroundings, perhaps that is why it is used to organize cities and urban areas.

This model is simple but I consider it to be one of the most effective models at communicating my core idea

20

CirculationIn this project I start to be more at ease with condensing my ideas and demonstrate them in simpler manners without compromising the aesthetical aspect of it that I am attached to. Plus it allowed me to expand my experi-mentation with more materials, such as wax., which is insteresting due to its light diffusing quality and its translucence.

3

21

Yoga Studioby AYC/ DX ArquitectosChile2012

This is the precedent from which all of the circulation them models are based on. This design is a great example of spatial organization: of how the timber frame provides a rigorous modulated grid that informs the organization and space.

In terms of circulation, the studio provides a path that psy-chologically transport the users from their daily life to a space where they practice midnfulness as they climb the stairs to the practicing area. It provides a kind of processional pathway that is fluid.

Moreover, all details are designed according to the human body, the activities of the space and the movement of people. This is seen in the way windows on the second floor are located at the bottom part of the walls, so that as they stand up, the us-ers have a sense of privacy, but as they have to get down on the floor to practice, they are allowed a connection to the natural outdoors, which is important in yoga.

22

This diagramatic model is to demonstrate how a flush en-trance, a recessed entrance and a corridor can be considered as one :1. simply one element repeated at different intervals.2. simply one element that is prolonged at different extent, a type of extrapolation.3. or finally as one plane punching through masses with dif-ferent thickness/depth.

Interestingly, the corridor space provides a hovering atmo-sphere due to the foam board letting in light at the junction between wall and roof.

23

This model is to demonstrate how walls that encloses a circula-tion space can affect the flow and the directional quality of that space. The taller and closer the walls are together, the more the directional sense that pushes traffic through, the further apart and the lower they are, the less they feel like a corridor but merely as screens in a greater, much more vast space. This model activates the center space much in the same way as the activating space model in the first week.

24

This is a first attempt at casting wax model. It is a study on circula-tion through a tall building where the blue threads represent public circulation, and therefore has a gentle slope and is more abundant. Meanwhile, the red threads represent private circulation, or service stairs and circulation, and thus much steeper.

It links to the Yoga studio as the first flight of stairs that allow members to come is gently sloped while the second flight of stairs that brings them up to a social space for more frequent members is steeper, creating a psychological separation.

25

This first model is a synthesis between a network circulation scheme and a grid scheme, creating a composite scheme. Simple enough when described as such, but if we consider the clay part of the model to be walls and the voids to be spaces, then this will become a model that demonstrate a circulation pathway that cuts through spaces.

I tried to keep it simple here and through sheer luck I found a way to combine two of the ideas I want to explore into one simple diagram, which is successful in the way that I’ve started to find distilling ideas much easier.

26

This is an attempt at demonstrating the spatial quality of a circu-lation space opened on one side. and how it can frame a specific side of the space the viewer is passing through. It is also an exper-iment on the contrast between the strong clay and the fragile wax. Interestingly, the wax’s texture can only be seen on the side where the texture is located. This is because de-spite its translucence, wax diffuse light very well.

27

This model tackles the possibility of view framing in a closed circulation space. It is based on the yoga studio as it has a slope that will vary the viewer’s eye level. That and the constant line of window will help in varying privacy, view and atmosphere as the viewers pass through it. Simply put, the viewers’s per-ception of the space varies as they walk through this space.

28

Wax model experiments

29

Here I am testing wax’s capability of transmitting light, and showing surface texture by doing so. I also found that they help enhance light diffusing qualities when they are soaked into fabric or paper. And as massing materials, they are exceptional.

To give it a real life use would be difficult for it is extremely heat sensitive, but I believe that its translucence quality can be reproduced (to a very limited extent) with translucent concrete. Or perhaps by creating pockets of wax in concrete walls that are not in heated spaces/climates.

4

30

Proportion & Scale + PrinciplesWhat is proportion and Scale? Why should it have its own topic for it was included into every other model that have been made in the past few weeks.This chapter’s model was a chance for me to push forward on my wax and clay experiments as well as creating more diagramatic models. In hindsight, they could have benefited from a wider range of materials as well as a greater scale.

Ching touched on the topic of Hierarchy quite lightly in his book yet it is quite the important factor in order to organize elements in a chaotic environment. Although the environment in this model isn’t particularly cha-otic but the hierarchy system I put in place ordered them any-way.

I tried to create a hierarchy based on:The locationThe complexityThe sizes

The biggest shape here dominates all other elements, it is the furthest set apart, the most complex and obviously the biggest.Then for the array of shapes around this leading figure, they are set up to orientate themselves towards this big figure. All corner shapes are more complex - they comprise of more elements - and the closer corner to the leading figure is greater than the one right behind it.

This model is also an opportunity for me to test out the differ-ence between wax soaked paper and wax covered paper. My findings are that wax soaked paper maintain the paper’s shape and is more rigid while wax covered paper loses its sheet like quality although it does become more rigid when it cools down too.

31

32

I was already familiar with the idea of Rhythm in Art, for a well places and spaced rhythm can help direct the view towards a specific focal point.

In Architecture, it has a similar effect as well. Inspired by blinds and louvre systems, this model is to test how rhythm can adirect the viewer’s gaze toward the opening/view. Rhythm is decided mainly by the frequency at which mate-rials are used. The higher the frequency, the denser the ma-terial, the more wall like it has, thus shielding the viewer from the view. As the frequency lowers, the material becomes more sparsely spaced, and the view then starts to open up. The viewer gaze would first be directed towards this opening.

In hindsight this was a simple yet effective model, but it could have benefited from being at a greater scale and it could have spanned the window in the studio space. Orig-inal size could be fitted on a hand. The choice of material here could also benefit from more considerations, perhaps if done at a greater scale, fabric would be a great substitute.

This model is linked to the introversion model on page 11 in the sense that they both test the effect of material frequencies.

33

A Datum is a piece of information, the singular form of data. In this case, the datum is used to tie multiple elements together. In another attempt to make a diagramatic model that can be moved, rearranged, and shifted, I tested three ways a datum can be used to organise:

Datum as a hovering plane over the elementsDatum as a plinth plane below the elementsDatum as a shape cutting across all elements.

During the model making process, perhaps too much water was added so the clay became a bit sloppy, but as it hardens the shape became much clearer.

34

TransformationHow I interpret the use of transformation in architecture is that it is not really just a principle, it is a tool, a process that allow to design the building from basic elements to the grand scheme to respond to the uses, requirements, function, aethetics and site condition to its best abilities. This model tests transformation as a tool to react to site topography. We start on the right with a flat plane where there is a lot of freedom in terms of shape. So the first part is a simple shape/element, and it increases in complexity to accomodate the uses and users as necessary. Yet when it starts to see interference with rising landscape it starts molding itself to it. At one point it would start to become a mixture of tesselated shapes and organic mass, until is reaches cliff like topography and fully inserts itself into the landscape.

35

Perhaps the most well know principle of all things de-sign and visual is symmetry. Here i am testing symme-try in both plan and elevation so that in elevation there is a radial symetry (when put on a reflective base plinth); and in aerial plan it would have a linear symmetry.

The model was also an experiment to see the abil-ity of wax to uphold a mass. It didn’t perform very well so a bracing skeleton of metal was putin place.

36

Exhibiting wax experiments in drawers.

37

ExhibitionReflecting back on this project it is quite clear that the model at the beginning were not as succint and clear as the ones at the end of the project. The former ones showed a lack of material range and lack the experimental facet as well. Personally I felt myself becoming at ease with making models and testing ma-terials and things unknown at the end of the semester than at the beginning.

It is when the exhibition was set up that as a studio we realize we were influenced by each other as well. I was influenced by Tasos’ diagramat-ic models that aren’t just objects but explanatory tools and Do’s glass work (especially their transparency). I took a more abstract approach but hopefully it will contribute to the process of designing an actual building.

38

Material StudiesTranslucent Concrete

My experiments with wax and its translucence led me to finding other malleable translucent material that can be used architecturally. Although wax has impres-sive light diffusing qualities, it’s limit to bear load and low melting point make it hard to be applied architec-turally, unless it is mixed with another material or used for decorative effects. To find a substitute for wax, I turned to translucent concrete, a fairly recent concrete development that is now starting to enter the market.

39

Material StudiesTranslucent Concrete

Italian Pavillion, Shanghai Expo 2010, Shanghaiby Giampaolo ImbrighiTranslucent concrete panelling manufactured by ItalCementi Group.

Here the concrete is used as a cladding material, to let light in and out, creating a loghting exchange between day and night, helping to express the building subtly on its facade.It was built in Shanghai, a very warm climate, so there was a need to shield from intese solar radiation but still required light to get in. The concrete performs well in this way since it helps decrease the direct solar radiation going into the building during the day and diffuses it inside (such as the im-age above). Moreover, translucent concrete is not as dense as solid concrete, it is more lightweight and this is preferable in such near tropical climate.

Interior of Italy pavillion, Shanghai Expo, 2010

40

How it works

Translucent concrete is created by inserting layers, masses, strands of light conducting materialds withing a concrete slab. It can then be cut into panels or the concrete mass can be poured into a mould in which a mess of light conductors is spanned.

The light conducting material can be anything, but for best re-sults, manufacturers uses optic fibres that transmit light from one surface to the other. Optic fibres are such great light conductors that there is virtually no losses of light through the concrete slab. Making it possible to see the color even through the concrete slab.

The ratio of concrete to fibre can vary depending on the use of the slab and the amount of light one want it to trans-mit. But to maintain a decent structural quality, a ra-tio of 95% concrete to 5% light transmitors is suggested.

41

Optic fibres can be inserted one by one in the process, but for mass production, they are now mostly inserted as a mesh and then they would have the concrete poured over this mesh.

There are other ways to put in light transmittors according to the type of trans-mittors. Resin can be used and layered into the concrete pouring process. Lay-ers of tranparent materials can be inserted into the concrete slab when pouring. All of the possibilities allow for some variation of density and light transmit-tance that in turn can be controlled to create patterns, motifs and even figures.

To achieve full effect, most of the time, translucent concrete requires an evenly diffused light source on one of its surface. It is best seen when there is a stark contrast in light levels between the two surfaces.

Procedure

1. Make mould - make sure it is sealed2. Spray release agent on mould 3. (If using optic fibres strands) Position them into the mould as mesh or individual strands. If individual strands: a system to hold them inplace is required.4. Mix concrete mix, using cement and fine aggregate.5. Pour part of mix into mould6. Add in next layer of the light transmittors7. Add in another layer of concrete8. Repeat step 6 and 7 as necessary9. Finish with a layer of concrete10. Let dry11. Free slab from mould12. Cut as necessary

42

Experimentation

43

First Attempt Reflection

Making translucent conrete turned out to be much more challenging for we must find the right ratio of solid and transmit-tors as well as finding the right spacing to allow the concrete to pour in between the transmittors so as to prevent it from getting on the edges and blocking the light. I find the solution is to make the concrete mixture extra soupy. Part of why the first attempt didn’t work is also the fact that the mould was taken away too early. Normally it takes 20 minutes for concrete to set at 20 degrees Celsius, but since the mix was runnier, it should be given more time. I also discov-ered that rod shaped transmittors work better than layers. If layers are used, then a minimum thickness of 3mm is required.

44

References and sources

All images are mine unless otherwise stated on the page or listed below.

Page 38, 39, 40, 41

Image 1 Inventables youtube, translucent conreteImage 2 dornob.com/see-though-light-transmitting-concrete-material/Image 3 disd.edu/blogImage 4 dailymail.co.uk/i/pix/2011/01/05/article-1344383-0CA7A307000005DC-611_62Image 5 dornob.com/see-though-light-transmitting-concrete-material/Image 6 elvoledeisgnbuil.com/2013/11/03/innovative-concrete-transparent-concrete/Image 7 assests.inhabitat.com/files/translucentconcrete3.jpgImage 8 s-media-cacheak0.pinimg.com/236x/70/c6/9d/70c69d00713b40d41aa3c65a7a2b3e87.jpg

Research sources for translucent concrete:

inventables youtubecement.org/for-concrete-books-learning/materials-applications/architectural decoratice-con-crete/applications/light-transmitting-concrete

45

46

47