Levitate Design Report

L E V I TAT E Kiki Jirapojaphorn Ela Owen Alexander Whitwell Luke Barnsley Adam Ruffle Cadi Hicks Jones Jake Oldham

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CONTENTS 4 6 8 10 12 14 15 16 18 20 22 23 25

introduction + concept early ideas interim review developing the final design elevations + section in-situ plan perspective drawing isometric structural design construction process sustainability evaluation image sources

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CONCEPT What is levitation? We believe it is both a physical and spiritual condition, and this has informed our design ideology throughout this project.

We began our project by giving ourselves three extra conditions. These were; our design shouldn’t be a seat, it should prioritise user experience over literal levitation, and there should be moving elements. These have dictated our design process and served as measures against which to judges our designs.

The map on the right displays our creative journey. Beginning with the brief title - ‘levitation’ and ending with our final design. Throughout the project we explored a variety of avenues, sometimes leading nowhere, but more often than not joining up into the project one way or another.

This iterative process helped us create the final design, but perhaps the most valuable lesson was to always refer back to the original idea.

Our final design includes both facets of levitation. Two or more participants work together to reform the structure from its closed to open positions. In doing so, the make it levitate physically, as well as spiritual lifting each other through their combined effort.

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OTTO FREI WIND

CANOPY

ENGAGEMENT LEVITATION

STAIRCASE

DELICACY

TRUST FALL

MOVEMENT

SANTIAGO CALATRAVA

CHALLENGE CRADLE

CASCADING SHAPES

“THE CASCADE”

ETIENNE JULES-MAREY

BRIDGE VISIBLE TENSION

REPETITION REFINEMENT FIBONACCI SEQUENCE

ROTATION GEOMETRIC PERFECTION

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EARLY IDEAS ‘Cascade’ by Santiago Calatrava [left] was one of our foremost influences. The delicate, almost invisible supports and subtly changing angles have informed our designs from the early stages of the project. fig.2

Challenge was a key concept for us early in the design process; we were interested in how a subject might feel elated following a period of catharsis. With this in mind, we theorised a staircase in which each step is at a different, and increasingly vertical, angle.

The user would struggle to walk up this this, finding themselves falling forward onto a platform suspended over the lake. In this more supportive position, they would experience the spiritual levitation from overcoming a challenge.

We were heavily influenced by the sculptures of Santiago Calatrava, particularly Cascade and Running Torso. These sculptures both seem to capture a snapshot of movement, and through delicate and precise structures create an improbable suspension. That this feeling we felt looking at Calatrava’s gravity-defying work would become what we sought to recreate for the user of our own structure.

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fig.1

We drew parallels with Jorn Utzon’s work on the Sydney Opera house. The geometrically derived shells appear to cascade out of each other.

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fig.5

fig.6

Through a range of models we explored the design possibilities of the staircase

fig.7

concept. We found ourselves intrigued by the cascading steps, and it would be this element which was ultimately taken forward into future designs.

fig.4

The cascading spiral of the nautilus shell was another inspiration. Indeed, we explored incorporating the golden ratio into our own design.

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INTERIM REVIEW

Building on the staircase design, we began to look at the idea of repeated geometries in the cascading motion we’d already started to explore. This led us to the bridge design shown on this spread. It comprises six identical boxes held together only by the rope and canvas. The participant would, as with the staircase design, walk over the structure and find the changing angles make it increasingly difficult. Upon completing the bridge, the sense of catharsis would be spiritual elevating.

Ultimately this design was aborted as it strayed too far from our original vision of delicate cascading shapes. Moreover, we began to question whether we had deviated too much from the original concept: levitation. We felt the arch design was too closed off, and decided instead to search for something more open ended.

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fig.8

The

photographs

of

Etienne

Jules-

Marey [right] formed a major part of our inspiration for the repeating shapes concept. His images show the same subject in many stages of motion - all in one image.

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This was our first design to fully account for all materials from its inception. We were led by the properties of each material in our design, such that there are no superfluous elements. This would go on to become a crucial design imperative for us as we moved through the remainder of the project.

The spirals of the nautilus shell continued fig.9

to inspire our forms, with early concept sketches of the bridge design [top] actually following the golden section.

fig.10 page 9

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DEVELOPING THE FINAL DESIGN

The interim design review revealed that we needed to think deeper into the theme of levitation thus going ahead with a more opened structure design. We adapted our idea of using ‘perfect geometry’ and the ‘stopmotion’ effect in a way so that the structure curled over with only one

fig.11

point of contact with the floor, while

Searching

for

direction

immediately

continuing to think about how we

following the interim review, we returned

can use each material’s individual

to our original inspirations to re-evaluate

strengths to keep our new design

what about them enchanted us. In the

together and levitate off the ground.

works of Santiago Calatrava, for instance, it was the structural improbability of his

The design went through a number

designs which we felt makes them so

of iterations, and we explored ideas

intriguing.

both conceptually - in discussion and with drawings - as well as through the process of rapid prototyping. Indeed, the angles between the boxes were decided not through calculation at first, but by testing our 1:5 model to the limit of its balance. We were then facinated to discover that these angles corresponded to an arithmetic sequence.

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Below: 1:5 scale model [closed position]

fig.12

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As each block is identical, it is as if the structure represents different phases of motion of a single block in different fragments of time. The top block that hangs in suspension and tension is where it is in a state of levitation, at the top of a projection, like it has been thrown into the air a paused in that position

As set out in our initial three criteria, user participation was a goal of ours from the beginning. In this design, the interaction was part of the concept from its inception.

The drawing on the left shows how we imagined participants interacting.

As the design took shape, we experimented with the Fibonacci sequence as the source of the angles between each block. As the sketch above illustrates, this would have been both impractical and unattractive.

Instead, our angles were derived naturally, through physical experimentation.

Left: 1:5 scale model [open position]

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north west elevation - 1:10

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north east elevation [opened position] - 1:10

Back

south west elevation [opened position] - 1:10

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north west section - 1:10

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plan [closed position] - 1:10

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perspective [opened position] - 1:10

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isometric - 1:10

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STRUCTURAL DESIGN In order to maintain the visual image of eight boxes suspended impossibly, we wanted to make sure the support elements of the structure were both minimal and aesthetically attractive. There are two main forces at play within our design. On the inside of the structure, the boxes compress. On the outside, the rope is in tension.

To avoid unnecessary metal use and consequently to cut down on the project’s carbon footprint - we developed a hinge from the canvas and softwood. This attaches the boxes on the inside, and ensures they don’t slip. Essentially, each hinge [shown right] is a microcosm for the structure as a whole.

When the structure is in the closed position, the boxes are self supporting. We calculated the centre of mass to find the furthest overhang possible.

exploded isometric showing the makeup of each box.

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Below: the canvas brackets, attached using eyelets and washers, during the construction process. The canvas is in tension in the internal section of the boxes, which pulls it tight at the joints.

This ensures the integrity of the joints and prevents slipping, which could stop the structure from being able to be opened and closed as easily.

We investigated a number of potential

screws due to their re-usability and ease

ways assemble the boxes [brackets and

of removal, which enables our structure to

dowel joints for instance] but settled on

be completely demountable. page 19

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CONSTRUCTION PROCESS With regards to the construction process, we wanted to utilise the materials according to their strengths; for instance, using the OSB in compression and rope & canvas in tension. The use of the rotatable canvas hinge, connected with eyelets, aids the movability of the structure and facilitates the kinetic element of our project, thus allowing the participant to change the state and form of the structure at will.

Below: boxes under construction

Trial and error, and experimenting with loading on our 1:5 model, allowed us to determine the angles of rotation of each element, whilst the calculation of the centre of mass helped us to decided upon the distance between the boxes (6cm apart).To reinforce the structure, we incorporated two parallel ropes to prevent any unwanted rotation. Moreover, we used square clamps during construction to keep the boxes perpendicular to ensure that the boxes were made with precision.

Above: canvas being fitted to the boxes to create the joints.

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Right: construction of the 1:5 scale model.

Below: completed structure in the studio.

Above: before beginning construction we experimented with the form of the structure in 2D using the OSB pieces.

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SUSTAINABILITY What could be next for our structure and its elements? Once the design project has come to an end, our structure must be taken down and dismantled. However this does not have to be the end of its life as each and every part has numerous potential uses. The 10m length of rope is completely uncut and therefore extremely versatile as it can be cut to any subsequent lengths, or left at full length, to meet different needs.

The rope could also potentially be unwound to create 3 different strands of 10m rope with a smaller diameter. Smaller strands may be better suited for tasks that require more intricacy and hold less load.

As we made a small number of cuts in the canvas, it allowed us to form it into two large sheets that are very adaptable, and can now be trimmed and cut into smaller shapes. For example these could form bags that utilise the strong and durable properties of the material created by the tightly woven structure. The screws throughout the structure can simply be unscrewed and reused as they are completely undamaged.

The 8 boxes we constructed (from soft wood and OSB) all have an identical, regular shape and can therefore be reused to construct a range of other structures, similar to using lego blocks. from a stool to shelves or a bed to a table. They are page 22

constructed with great precision and are consequently very strong so could be suitable for objects such as a stool, shelving unit, bed (which a mattress lies on), table or chair. As the boxes are made from wood, they would be suitable in the natural environment. A vegetable patch could be made from the boxes if they were rammed with earth. They could also be repurposed to provide shelter for birds nests such as ducks that promote a healthy environment and an increase in biodiversity.

To summarise, there are a broad range of possibilities for the materials we used to have another life after our structure, made possible by the minimal interventions we made to each material, and the regular way in which we did this.

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EVALUATION Following our research, experimentation and design iteration, we believe our structure meets the criteria of the brief.

During the final review of our structure, most of the feedback we received was positive, and the improvements that were suggested we make to our design were minor details which could easily be done if we were to redo this project (changes such as the uniformity of screw placement and knots in the rope). The key strengths of our project are the combination of the simplicity and geometry in our structure with the quality of construction and execution of our ambitious requirements for the structure.

During our final review, we located a few areas where improvements could be made. One of the key issues that arose during the final review was that the visible knots in the rope disrupted the fluidity of the structure when in its final form. This problem could easily be solved by creating holes in the softwood for the knots to sit in when the rope is in tension. Doing this would not only enhance the aesthetic look of our structure, but also emphasize the impossibility of the structure. By hiding the knots in the softwood, the design would become even more like an illusion.

Additionally, were we to redo this project, we would investigate alternatives to screws when building the boxes to minimize our metal use, and hence cut down the carbon footprint of the project. It was suggested during our product review that we use wooden dowels, but we had explored this possibility previously in the design process and decided against it. Dowels would have made disassembling the structure impossible which, while reducing metal use, would have made reuse of the structure much more difficult.

The project has been an invaluable experience. We have learned countless new skills, not to mention much about ourselves too. We enjoyed working as part of a team, and while we are elated to complete our first project, it is twinged with sadness that we will no longer be working together.

Now, we look toward to the next project with excitement and anticipation.

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IMAGE SOURCES fig.1 Calatrava, S., Cascade [Online].Vatican City: Santiago Calatrava Architects and Engineers.

Available from: https://bustler.net/news/3209/santiago-calatrava-exhibition-now-open-invatican-city [Accessed 17 November 2021] fig.2 Utzon, J., Sydney Opera House [Online]. New South Wales, Australia. Available from: https://search.records.nsw.gov.au/primo-explore/fulldisplay?docid=ADLIB_ RNSW110013068&context=L&vid=61SRA&lang=en_US&search_ scope=Everything&adaptor=Local%20Search%20Engine&tab=default_ tab&query=any,contains,NRS-12825&sortby=rank&offset=0 [Accessed 17 November 2021] fig.3 Utzon, J., Sydney Opera House [Online]. New South Wales, Australia. Available from: https://search.records.nsw.gov.au/primo-explore/fulldisplay?docid=ADLIB_ RNSW110013068&context=L&vid=61SRA&lang=en_US&search_ scope=Everything&adaptor=Local%20Search%20Engine&tab=default_ tab&query=any,contains,NRS-12825&sortby=rank&offset=0 [Accessed 17 November 2021] fig.4 Kingcome, G, Nautilus Shell [Online]. Place of publication: Unknown. Available from: https:// photos.com/featured/2-nautilus-shell-gavin-kingcome.html [Accessed 17 November 2021] fig.5 Calatrava, S., Musical Star [Online]. New York Metropolitan Museum of Art. Available from: https://the189.com/sculpture/santiago-calatrava-sculpture-into-architecture/ [Accessed 17 November 2021] fig.6 Calatrava, S., Running Torso Drawing [Online]. Place of publication: Unknown. Available from: https://bioinspiredarchitecture.wordpress.com [Accessed 17 November 2021] fig.7 Calatrava, S., S241 A [Online]. Marlborough Gallery, New York. Available from: https://www. marlboroughgallery.com/exception/info [Accessed 17 November 2021] fig.8 Marey, E.J., Flapping Herons [online]. Paris. Available from: http://www.betterphotography.in/ perspectives/great-masters/etienne-jules-marey/48592/ [Accesses 17 November 2021] fig.9 Kingcome, G, Nautilus Shell [Online]. Place of publication: Unknown. Available from: https:// photos.com/featured/2-nautilus-shell-gavin-kingcome.html [Accessed 17 November 2021] fig.10 Eakins, T., Pole Vault [Online]. University of Pennsylvania. Available from: https:// fineartamerica.com/featured/pole-vault-1885-science-source.html [Accessed 17 November 2021] fig.11 Calatrava, S., Serreria Bridge [Online].Valencia, Spain: Santiago Calatrava Architects and Engineers. Available from: https://calatrava.com/projects/serreria-bridge-valencia.html [Accesses 17 November 2021] fig.12 Calatrava, S., Spinning Helmet [Online]. New York’s Metropolitan Museum of Art. Available from: https://www.architectmagazine.com/photos/artwork-and-models-by-santiago-calatrava [Accessed 17 November 2021] fig.13 Eakins, T., Motion Study [Online]. University of Pennsylvania. Available from: https:// thingsworthdescribing.com/2013/07/25/the-photography-and-painting-of-thomas-eakins/ [Accessed 17 November 2021] page 25

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