Prosthetic Achievement Archive 2019

Prosthetic Achievement Archive 2019 works from STUDIO 2B Computational Building Development and Transformation Aaarhus School of Architecture

content:

Vildana Duzel

Cover: The Jarlshof prehistoric and norse ruin in the Shetland Islands, Scotland and back cover The Hald Ruin site in Viborg, Denmark by Robert B. Trempe Jr..

This publication is published in 2 editions one public and a second for internal use

3

Introduction

5

Mathias Sommer

19

Vildana Duzel

34

Linn Frida Johansson

49

Elise Vanden Dool

63

Kristoffer Holmgaard Gade

77

Sizhe Wang

91

Jens Toft Madsen

105

Haiyang Gao

119

Helene Bredgaard Garde Lind

133

Lanqing Hu

145

Andrea Sara Mariel Rados

159

Jesper Asferg Scheel

173

Saelom Lee

188

Lucía García de la Peña

201

Matilde Møll Helms

215

Hafdís Anna Bragadóttir

229

Lars Erik Elseth

PROSTHETIC ACHIEVEMENT ARCHIVE 2019 WORKS FROM STUDIO 2B COMPUTATIONAL BUILDING DEVELOPMENT AND TRANSFORMATION This publication contains the students portfolios made as the final phase (07) of the Autunm semester of 2019 DOMESTIC PROSTHETICS in the Aaarhus School of Architecture.

Following descriptions of the brief and the studio’s overall fucus. Describtions made by the tutors Robert B. Trempe Jr., M. Arch I, Associate Professor, Claudia Carbone, cand. Arch.

Teaching Associate Professor and Dagmar Reinhardt, PhD, Associate Professor PHASE 07: RECORDING YOUR PROSTHETICS WHILE ARCHIVING YOUR ACHIEVEMENTS From your raw material of the semester, you will organize the essential information of your project to archive your achievements – all through the creation of a portfolio that speaks the story of your semester and project. This portfolio will celebrate your achievements by displaying your process - while projecting and articulating a purposeful reflection. This act of reflection will instruct not only the organization of the portfolio, but also the last step: A graphic reaction to the critique you received at the final review towards the betterment of your project.

Use the last page of your portfolio to create one more graphic, one more drawing, one more piece of content that displays your understanding of the critique you received at the final review and how that critique has inspired you to better your work. This graphic can be a sketch, a render, and mapping, a collage, a...something else. FUN!

THE STUDIPLAN FOR 2019-2020 FOCUS: OF PROSTHETICS AND PARASITES Prosthetics and parasites might seem like diametrically opposed entities: The purpose of a prosthesis is to replace something that is missing or enhance a deficient or misaligned capability of the host, while a parasite often abuses the resources of its host towards its own survival. A prosthesis is often a singular addition to an existing host, while a parasite (or rather parasites) are often microscopic communal entities that extract from the existing host.

Yet, at the heart of these two seemingly opposed entities is a common logic: The exploitation of the host’s characteristics towards something new, instructed by specificity in the host.

Countless architectural logics can be gained and instructed by understanding these entities – employing their rules and qualities as inspirations to architecture. While a prosthetic is meant to replace something that is missing, it does so employing new technologies, new materialities, and aesthetics that might seem to visually clash with the host – all the while being inspired by the host. Moreover, while some parasites destroy their host towards their own survival, others form a symbiotic relationship, a discreet and often gathered coexistence with the host through an intimate understanding of the host’s characteristics that facilitates both connection and autonomy.

This academic year we will examine the rules of prosthetics and parasites as inspirations towards more purposeful architectural futures.

Matilde Møll Helms

ABOUT THE STUDIO To create an environment of exploration at the intersection of emergent (computational) techniques, materials, conditions of habitation, tectonics and beyond, common knowledge is needed to better benefit the studio. As such, we treat the first parts of the semester as a multi-week digital workflow Bootcamp, whereby we will explore emergent design processes beginning with conceptual analysis through to physical production.

SEMESTER PHASES Phase 01 Week 36, 37, 38, 39 1:1 Prosthetics – The Body as an Analog We will begin our semester by using the human body as a host and site for the design of prosthetics meant to better the host – employing emergent techniques in digital surveying and digital fabrication to manifest our ideas.

Beyond Bootcamp, digital fabrication tools, computational media, and emergent techniques will be continually introduced throughout the academic year to instigate our discoveries, analysis, and representations of architecture and all it is influenced by as we seek to understand the influence of digital workflows. Sometimes called throughput or computational pipelines and always considered a process, digital workflow design utilizes the best traits of many different parts linked together to manifest a construction and is very much at the heart of studio 2B’s ethos.

Phase 02 Week 40 A New Body – Evolving the Act of Analysis We will evaluate our analytical process and results in Phase 1 to speculate on its efficacy and instruction towards understanding a building ruin – a new host.

Common knowledge will extend beyond software and digital workflow experiments. Lectures by the tutors at each major phase of the fall and spring semesters will complement and enhance an understanding of why we are exploring these tools and processes, taking into account the interests and passions in research found by the tutors while inspiring and instigating personal research by the studio whole.

As a studio, we continually test, question, and employ emergent workflows (meaning everything from the theoretical to the mechanical) as Architects are fundamentally futurists.

We plan for tomorrow and speculate on the years ahead. When we design, we project a future and the new – the next. We build for tomorrow, with acknowledgment and understanding of the past. We will employ all gained-knowledge in our explorations (from thinking to tools to mediums) as drivers towards our architectural futures.

FALL 2019: DOMESTIC PROSTHETICS In the fall we will focus on the logic of the prosthesis, from the body to the built environment.

First we will create 1:1 prosthetics to better understand the ergonomics (and characteristics) of the human body – a host. Next, we will travel to a remote location in the North Atlantic to scan and understand a building-based host in need of prosthetic assistance. We will create a caretaker’s house and workshop that grafts to an existing and derelict structure – to protect and better the host.

Phase 03 Week 41 Understanding a New Body – The Study Tour We will travel to Northern Scotland to survey our new host.

Phase 04 Week 43 Unpacking a New Body – Defining 21st Century Needs We will determine the primary programmatic needs for the design and articulation of a caretaker’s house for our architectural host while making speculations on tertiary programs needed to better the host.

Phase 05 Week 44, 45, 46, 47 Skeletal Inspirations – Envelope and Structural Logics We will focus on the overall building articulation by taking inspiration from emergent structural logics – accomplished through a multi-day workshop in Karamba3D (parametric engineering for Grasshopper) and physical assemblies.

Phase 06 Week 48, 49, 50, 51, 01, 02 The Domestic Prosthetic – Crafting a Caretaker’s Home We will articulate our final caretaker’s homes, including documentation of important elements down to the scale of 1:1 Phase 07 Weeks 03 and 04 Recording Prosthetics – Archiving Achievements We will take time to reflect upon and record our prosthetics from the first day of the semester to the last day, producing a portfolio of achievement that celebrates the beauty of our work.

Porfolio: from Prosthetic to Building assembly Mathias Sommer Semester 9

Kinematics

Mapping the body

Kinematics IMapping the body in searching for a broadcastl

Analytical process

IThe silhouette: icc.r,,,,ewuo I

MOVEMENT

Mathias Sommer

lsil houette: Irene view 1:1c1

Analysing client through observation of movement of the body. it´s described with a series of pictures of lifting something heavy up such as a kid or child, which will challenge the strengh of the clients back. The prosthetic was evolved from the analysis of movement.

lsil houette: Irene view 1:1c1

Honing

Proposing a site towards intervention and extension

QUADMESH

CONTOURING

PLAN

CHOOSING AREA

SECTION

contouring and mapping the body. observing the body as an act of layering. This analysing made the process going further towards the evolvement of the prosthetic.

AXO

Testing |Material and Manufacturing Notes| Mathias Sommer

The Prosthetic |Perspective |

Testing |Material and Manufacturing Notes| Mathias Sommer

The Prosthetic

ASSEMBLY METHOD: WAS PRODUCED BY LASERCUTTING

|Perspective |

Testing

Material and Manufacturing Testing Notes

|Material and Manufacturing Notes| Mathias Sommer

The Prosthetic |Perspective |

MATERIAL RENDERINGCONDITION: PLYWOOD

ASSEMBLY OF PROSTHETIC ON BACK: PLYWOOD

PROSTHETIC ON CLIENT

distribution of the forces and stresses in the net.

Structure fabrication: Proposing a structural approach for site intervention and extension.

Content Week 2: Fabrication/Hololens Bootcamp.

2.0 DEFINING GEOMETRY The next experiments originate from the first geoemtry trimming test, the second experiment is trimmed according to predetermined grid; an ambition to work with a spiralling height, with a systematical distribution of anchorpoints, gradually growing vertically according to desired height. The results can be found below:

Mathias Sommer

Analog Beginnings

Analog Beginnings

FIG 1.0 DIAGRAMMATIC PROCESS

Testing Structural Strategies vildana duzel_2b_fall 2019

Testing Structural Strategies

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structural model

6

|1:2|

F7

ANCHOR POINTS & SEPARATION

STRUCTURE IN MATERIAL ( nYLON )

1.0 DEFINING GEOMETRY

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height & growth

25 mm

Analog Beginnings | Testing Structural Strategies |

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grid distortion

mm

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original grid 25x25 mm

Stress distribution in a prestressed hexagonal net can be determined by means of the mesh angles. Regular hexagons structural are formed when model the stress is biaxially equal: the relationship between form and stress is determined in the |Photograph | calibration test.

If the desired form can be produced by a fibre net which transports the forces and whose meshes have three-arm nodes, the mesh form allows conclusions to be maxdrawn on the height distribution of the forces and stresses in the net.

Mathias Sommer

3

F5

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51

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E

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Analog Beginnings

2.0 DEFINING GEOMETRY

F9

175 mm

The next experiments originate from the first D geoemtry trimming test, the second experStrategies iment is trimmed according to predetermined grid;Testing anF ambitionStructural to work F with a spiralling height, with a systematical distribution of anchorpoints, gradually growing vertically according to desired height. The results can be found below:

H I

grid after force manipulation vildana duzel_2b_fall 2019 F4

15

10

8

J

17

1.0 DEFINING GEOMETRY

min height

STRUCTURE IN MATERIAL ( nYLON )

a

125 mm

100

c

FIG 1.0 DIAGRAMMATIC PROCESS

mm

20

Stress distribution in a prestressed hexagonal net can be determined by means of the 40 F F POINTS &are SEPARATION mesh angles. Regular ANCHOR hexagons formed when the stress is biaxially equal: the rela-height & growth 39 tionship between formG and stress is determinedFin the calibration test. 38 E If the desired form can be produced by a fibre net which transports the forces and whose F F meshes have three-arm nodes, Fthe mesh form allows conclusions to be drawn on 41the FIG 2.0 DIAGRAMMATIC PROCESS distribution of the forces and stresses in the net.

F5

6

7

b

grid distortion 18

original grid 25x25 mm

25 mm

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structural model |Photograph |

ASSEMBLY METHOD OF GEOMETRY SPACEFRAME 2.0 DEFINING

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box plan

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max height

|Top |

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box roof plan |Top |

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37

FIG 4.0 VIEWtrimming OF STRUCTURE The next experiments originate from theAXONOMETRIC first geoemtry test, the second experF iment is trimmed according to predetermined grid; an ambition to work with a spiralling H Diagram illustrating the shape, forces inD height, with a systematical distribution of anchorpoints, gradually growing vertically I volved in connecting the anchor points to 33 F according to desired height. The results can be found below: each corner of the box (450x450mm)

FIG 3.0 MODULE (PHYSICAL MODEL)

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Points

|placements |

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175 mm

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grid after force manipulation

F4

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the shape appears to have a gradually growing skeleton.

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36

FIG 1.0 DIAGRAMMATIC PROCESS

31 min height

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G

NO. 2.0 ADD MORE EDGES TO STRENGTHEN THE STRUCTURE (GRID)

a

125 mm

F7

ANCHOR POINTS & SEPARATION

STRUCTURE IN MATERIAL ( nYLON )

b

F

30

F6

height & growth

F5

grid distortion

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original grid 25x25 mm

c 25 mm

34 F1

F2

F3

FIG 2.0 DIAGRAMMATIC PROCESS

vvertical growth/sunlight

max height

FIG 3.0 MODULE (PHYSICAL MODEL)

steppi ng

Diagram illustrating the shape, forces involved in connecting the anchor pointsF to D each corner of the box (450x450mm) the shape appears to have a gradually F growing skeleton.

9

H I

175 mm

gradua l

FIG 4.0 AXONOMETRIC VIEW OF STRUCTURE

F4

grid after force manipulation

F10

8

J

in heig

ht

Points

|placements |

min height

FIG 5.0 RELATION TO JARLSHOF

structural model |Photograph |

box plan |Top |

HORISONTAL OPENING

NO. 2.0 ADD MORE EDGES TO STRENGTHEN THE STRUCTURE (GRID)

The structure and its conceptual connection to site (Jarlshof, north) - The idea is to experiment with heights and boxtrimming roof inplan light at this specific point, the circular the middle of the geometry allows for light to break in once |Top | shape is stretched vertically - creates a spiral effect. The lowest point facing the water (water pumping station a view)) b (?) whilst the highest point is facing the ruins (overall 125 mm

c F1

gradua l

d ntrolle ally co

ic

FIG 3.0 MODULE (PHYSICAL MODEL) steppi ng

ht

Points

|placements |

FIG 5.0 RELATION TO JARLSHOF

HORISONTAL OPENING

box plan |Top |

|Top |

NO. 2.0 ADD MORE EDGES TO STRENGTHEN THE STRUCTURE (GRID)

ically

CLOSING?

olled contr

fo

gradu

al step

ping in

heigh

t

Diagram illustrating the shape, forces involved in connecting the anchor points to each corner of the box (450x450mm) the shape appears to have a gradually growing skeleton.

The structure and its conceptual connection to site (Jarlshof, north) - The idea is to experiment with heights and light at this specific point, the circular trimming in the middle of the geometry allows for light to break in once shape is stretched vertically - creates a spiral effect. The lowest point facing the water (water pumping station (?) whilst the highest point is facing the ruins (overall view))

box roof plan

grid distortion (structure)

at stem rces sy

F3

FIG 4.0 AXONOMETRIC VIEW OF STRUCTURE

in heig

vvertical growth/sunlight

emat s syst

force

CLOSING?

F2

FIG 2.0 DIAGRAMMATIC PROCESS

vvertical growth/sunlight

grid distortion (structure)

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Structure fabrication

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Proposing a structural approach for site intervention and extension. Content Week 2: Fabrication/Hololens Bootcamp.

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Structure fabrication: Proposing a structural approach for site intervention and extension.

Content Week 2: Fabrication/Hololens Bootcamp.

Mathias Sommer

12

structural model

6

|1:2|

3 54

45

51

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28

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0

46

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Client

Sax - storytelling

This is a private space for Sax, also he is recovering from fear. Which means this space becomes his security, where “ Another time, thinking about aspects of this same problem, he went down to the corniche and found Maya in He sat on the bench he usually chooses to sit on, he is following his habits. His mind is his own mystery to abstain he can be in control. He is constantly in observation to his surroundings and never in interaction. He’s an observer one of her usual haunts, and they went out to a bench to sit and watch the sunset, bags of food in hand, and Sax from. He sees the memories around him but observes them instead. His minds function is lost by the destruction. announced to her, ‘The thing that makes us specifically human doesn’t exist.’.‘Well, we are just animals, mostly. The qualities of this spaces for Sax is to sit and observe. It’s a space for observation and reflection in the semipublic. of memory. The qualities of the spaces are security, dwelling and view. This is a refuge and home to Sax. But we have a consciousness which sets us apart, because we have language and memory.’”

This is a private space for Sax where he can find his refuge from his recovering from fear. Security matters and a castle of which contain one entreance keeps him in control and secure. He´s an observant, which uses his visual perceptions as an way of under- He sat on the bench he usually chooses to sit on, he is following his habits. His mind standing. He is mentioning memory as an distant thing, which also relate to the idea of history of hald ruin. Hald ruin is a hidden memory which has to be explored. is his own mystery to abstain from. He sees the memories around him but observes them instead. His minds function is lost by the destruction. The qualities of this spaces for Sax is to sit and observe. It’s a space for observation and reflection in the semipublic.

Sax uses a bench to dwell and observe his surroundings, which makes him think more closely about his own mystery of his own memory. Memory is everywhere and he is very conserned about that statement, which also again define that he is relating on his perception or vision of elements or fragtments. Hald ruin is an emminent place for The site fits him well becasuse of his need of dwelling by water to observe, that the site contain fragments of historical pieces of memory. exploring hidden and forgotten memory. It´s a public and private space defined by its season. The main qualities is the fragtments connection towards it´s nature.

Structure analysis: Testing and iteratively refining design under criteria changes.

Content Week 3: Karamba Bootcamp.

Mathias Sommer

Structural analysis

Axonometric |1:200 |

testing and iteratively refinining design under criteria changes. Content Week 3: Karamba Bootcamp.

1300m2

|1:200 |

|NORTH|

Material Conditions: Reflecting on Prosthetic, Site, and Client

Structural analysis

Mathias Sommer

Profiling: Character in Connection

SITE

PROSTHETIC

LAYERING LAYERING

CONTOURING SHEILD

FRAGMENTATION

PROTECTION

DIVERSITY OF MATERIALITY

CONNECTION

|EAST |

|WEST|

Material Conditions: Reflecting on Prosthetic, Site, and Client Mathias Sommer

SITE

PROSTHETIC

LAYERING

OBSERVATION

LAYERING

CONTOURING SHEILD PROTECTION

CLIENT

FRAGMENTATION

VIEW

DIVERSITY OF MATERIALITY

SECURITY CONTROL

CONNECTION

|NORTH|

|SOUTH|

hetic, Site, and Client

SITE

PROSTHETIC

LAYERING CONTOURING

LAYERING

SHEILD

FRAGMENTATION

PROTECTION

DIVERSITY OF MATERIALITY

CLIENT

STEEL FRAME

OBSERVATION

CONNECTION

RESIDENCE

VIEW

CONCRETE

SECURITY

WATER RESISTANCE

CONTROL

WEATHER RESISTANT INSULATION IN STRUCTURE

|WEST|

SITE

CLIENT

RESIDENCE

Process

IDEA 5

IDEA 1

IDEA 2

IDEA 3

IDEA 6

IDEA 7

IDEA 9

IDEA 10

Render Mathias Sommer

Render

Sundiagram

Structure on site

Mapping the site

Render Mathias Sommer

The Influence of 1:1 Prosthetic on a Building Assembly

The Influence of Client on Organization

Posters Testing |Material and Manufacturing Notes|

The Prosthetic

Mathias Sommer

|Perspective |

analysis of your prosthetic and its translation to a material condition.

Kinematics IMapping the body in searching for a broadcastl

Analytical process

IThe silhouette: icc.r,,,,ewuo I

Mathias Sommer

3DF Scan _ Contour

prosthetic & site

material condition: plywood

movement

East elevation 1::100

North elevation 1::100

lsil houette: Irene view 1:1c1

elevation 1:5

plan 1:5

Elevation: Structure meeting the site

assembly method

North section 1::100

East section 1::100

prosthetic & site

dining area

dining area

terrrace

office

office kitchen

kitchen down bedroom down

WC

up down up down

living room

Roofplan 1:100

assembly of materials in your residence.

Second floor 1::100

First floor 1::100

The Influence of Site on Structure

Siteplan 1:200

Kinematics

Mapping the body

The Influence of Structure on Building Articulation

Evaluation

1: There were made the comment about the Danish furniture, which made a lot of distractions.

2: There were made the comment that the roof was not visible enough.

3: If there was more time i would have further developed the project to become more simplified. Instead use customized furniture.

portfolio studio 2b of prosthetics & parasites aarhus school of architecture vildana duzel

2

content phase 1 prosthetic phase 2 A new body: site analysis phase 3 There & back again: narrative phase 4 skeletal inspiration phase 5 Crafting a caretaker’s home

3 01_ANALYSIS OF HUMAN BODY & MOVEMENTS The following analysis has its departure point from the human body, its steadiness and its unsteadiness. The analysis is a series of photos and momentarily mappings over the human body and its focusing whilst trying to balance its whole weight on a skateboard. The analysis is to be read as a documentation of movements .

phase 1 prosthetic

4

MAPPING OF HUMAN BALANCING ON SKATEBOARD

the inner ear, also called the labyrinth plays the leading role in maintaining balance in the overall human body. The balance system is a complex one involving coordination of the vestibular (inner ear) the visual (eyes) as well as the sensory nerves throughout the entire body .

02_MOVEMENT PROJECTION 01_PRESSURE/WEIGHT AND BALANCE

green linear lines; a projection of the total movements made once trying to balance the whole body on the board

density of lines; the amount of weight and ppressure pput to oine side of the body in order to balance the full body

1:10 male with load on right shoulder

IMBALANCE

BALANCE

Once the shoulders are imbalanced there is a clear inclination in the body. Weight put on to shoulder and lifting the other.

The investigation will portray three scenarios in which the person of interest will test his/her balancing abilities, three postions will be performed twice, where the second time the postions will be performed whilst blindfolded.

shoulders take most of the weight in order to stabilize the imbalance of weight once controlled by an outer component (the surfboard in this case)

TRACE OF HUMAN BALANCING ON SKATEBOARD

ANALYSIS OF HUMAN BALANCING ON SKATEBOARD

hands moving to get a grip onto something that might stabilize the imbalance

balance controlled with vision

460 mm

steadiness in natural resting shoulders

730 mm

1830 mm

knees take pressure and weight on to control the imbalance in feet. Knees can take load becuase of the strength and flexibilty in the knee joint.

feet are flexible and moving to maintain a balanced movement wiith the goal not to lose the control of stable movements.

1:5 map balance, weight and pressure

370 mm

1:5 male balancing on skateboard

legs spread to control board

5

1

fluid/circulation tank o2/circulation tank

2

shell protecting body

4 shell protecting shell o2/circulation

fluid/circulation

3

body/core

joint connectiing shells attaching to body

5

detach to attach

center of balance transparency to the circulation

ELBOW 1:2

important to allow flexibility in this regio; by not closing in elbow with material.

important to allow flexibility in this region, since it is moving a lot. Requires an elastic/soft material, which allows movements

6

ES SERI NCE BALA

circulation bespoke to body shell bespoke to circulation spins the dynamic flow to the opposite side of body

phase 2 A new body: site analysis

6

jarlshof

concept & relation to site

VIKING AGE

The located area is seen north from the ruins, found so that the caretaker is in full responsibilty of surveing the activity happening around the ruins. The caretaker is to observe any particular activity around the ruins as well as collecting seashells everyday as his phsyical interaction with the site.

The virtual surveilance system is entirely composed by the caretakers steps and physical appearance on site - the physical presence gets detected by the cameras (sencors), which map out a grid - which has a full overall control of the caretakers every movement. The caretaker is protected in his shell and observatory from distance, placed into the terrrain to avoid any major attractions from outside. Since the terrain is sloped down towards north on site - the caretaker has more privacy and control over whatever might happen around the ruins.

N e w S

jarlshof BRONZE AGE IRON AGE

broch period round house wheel house - early wheel house - late passage house

VIKING AGE

early 9th century early 9th & 10th century 11th century 12th & 13th century

bronze age

iron age

MEDIEVAL AND LATER

grave of late john bruce 1st to discover ruins (1897-1905)

sea

sedimentary rocks

broch

the ol viking age

broch

7

andromeda caph scheder

ruchbah

cassiopeia polaris errai alpheratz

ursa minor pegasus

pegasus square

atmosphere - star constellations vildana duzel, studio 2b

SUNLIGHT

cepheus alfirk

SUNDAY OCT 6 SUNRISE: 07:21 SUNSET: 18:23 SUNDAY OCT 13 SUNRISE: 07:38 SUNSET: 18:02

scheat

lacerta

matar

al kidr

data atitude: 59°52’9.58” N Longitude: 1°17’28.00” W date: oct 6 - oct 13 time: 2:00 am direction: nw max magnitude: 7 (human eye, The dimmest objects visible with the naked eye)

sadalpheris

ld house of sumbourgh earls house

DIFFERENCE: 1H 17MIN

alderamin

existing storage space for caretakers working on site

prehistoric dwellings

bronze age

draco N w e S

entrance to site

8

phase 3 There & back again: narrative

Pangborn Fig. 4

Fragmented into the hybrid, his body in displacement, edges softened. The hybrid has grown small pockets; rooms for the volume to fill (starving). The growth and the ever expansion of the spaces entangled into itself, cellophane. The orthogonal grid structures itself back around the edges of the tiled floors in the bathroom, cuts through the softened corners, trimming twisted curvature, throwing its lines on the entire room to reach for the conquered volume.

9

Nexus Space Fig. 1

Nexus Space Fig. 2

“Who controls the past controls the future. Who controls the present controls the past.�

George Orwell, 1984

The space is fluid, a maze of volumes underneath the ruins, to protect you - the caretaker, from agressive weather, the wind and heavy waves, and to keep you hidden from possible intruders. The space is yours. Inside your cave one door leads to another and the space circulates around your work and observations on site. You are not locked in one position - instead you are lead by the light of screens and the dynamic growth taken place inside and around the ruins - this cave of screens are to be seen as your additional eyes - observing with pristine precision. The daylight and the view towards the horizon can be enjoyed every hour and the end of the cave - facing south. (real world screen).

you are working to adapt to an installed system within a sphere of surveillance. The site is in your overview, your purpose is simply to act in the space of screens you are set to be in and take action in protecting the site. The installed system records the ruins -captures every detail, your task is to act upon this data.

Notice: glitches occur in data, you are to handle these instances within your sphere.

10

phase 4 skeletal inspiration ALTERATIONS_POPULATION

shape condtions & shell definition - spacebox explorations

In order to abstract general view from the surface, a physical model was made to implement the duplication of found geometry in analogue testing - the result having an impact on the parametric design testings which appear on the following page. The twirl in shape has given access to expand the single surface further - allowing it to grow from its resting anchor points.

found geometry: twistedness in shape, vertical growth - circulation

STRUCTURE IN MATERIAL ( nYLON )

F7

ANCHOR POINTS & SEPARATION F

G

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height & growth

F5

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25 mm

geometry conditions

max height

F9 175 mm

H I

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min height

125 mm

a

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F3

11 concept diagram - exploded axonometric view

Diagrammatic approach to organisation based on designed prosthesis constructing a logic based on defined anchorpts on site

defining a program based on character essentials

defining shell structure based on predefined logic

total area: 220 m2

main surveillance areaÂ

den/resting area distanced from working space

private semi private public

constrt mesh anchor pts surfaces intersections

openings/light total area

main lab area with surveillance Â

defining a geometry based on site conditions 6

3

5

2

attach to ground 4

3

1

2 openings creases anchor pts

openings creases anchor pts

total area: 220m2

1

anchor points original structure

12

phase 5 Crafting a caretaker’s home

east elevation1:100

sectiion g-g - VIew into main surveillance space

section d-d - hallway entering the lab

section a-a - open view towards sea

section B-B - look into the water lab

plan 1:1

13 Section g-g

f

ion f-

tion

e-e

Sec

-d

tio

nC

-C

nD

Section a-a

B ion BSect

tio

Sec

Sec

Sect

14

phase 5 Crafting a caretaker’s home foundation detail section 1:10

window detail section 1:10 corten steel Rocks thick sand geotextile membrane

tiled slate thick sand

gravel

geotextile membrane gravel

interior pavement

rigid insulation concrete panel

vapor barrier reinforced concrete

flashing

reinforced conrete welding plate foam insulation aluminium frame

reinforced concrete

geotextile membrane gravel drain

section

extruded polystyrene insulation

exploded axonometry

modelphotos

15

OF PROSTETHICS: portfolio FW19

linn frida johansson studio 2b aarhus school of architecture

https://linnfrida2b.tumblr.com/

01: NECK EM BRACE

FW19 linn frida johansson

01: NECK EM BRACE

FW19 linn frida johansson

02

01 investigation of site movement result of embracement 02 area of investigation 03 proposed cover of prosthetic

01

03

01: NECK EM BRACE

FW19 linn frida johansson

plaster cast of shoulders

fitting mold of shoulder pads

preparation for casting

prototyping of brace

bronze casting

casts

material treatment

01

04

01: NECK EM BRACE

FW19 linn frida johansson

02

05

03

06

01 back protection neck 02 flexibility 03 touch on skin 04 attachement detail 05 details from plaster cast 06 polished pads 07 detail pattern of creation

07

02: THERE AND BACK AGAIN FW19 linn frida johansson

“The boy stands, staring, in the center of the shop’s tiny floor space.

Fontaine closes the door, locks it once only, and retreats behind his counter.”

02: THERE AND BACK AGAIN FW19 linn frida johansson

“Sunlight falls through the bridge’s wrapping of scrap wood and plastic like some strange bension. Fontaine scents the salt air, a source of Corrosion”

“There’s a faint vibration now, though whether of the shop’s flimsy fabric, the bones of the bridge, or at the underlying plates of the earth he cannot tell: but small sounds come from the shelves

03: SKELETAL INSPIRATIONS FW19 linn frida johansson

01 surfaces created from strings overlapping 02 forces + point of anchoring 03 diagram of surface elements 04 applied logic on site 05 existing gable 06 projected gable 07 existing wall

01

03

02

03: SKELETAL INSPIRATIONS FW19 linn frida johansson

04

05 07

06

04: JARLSHOF PARALLEL

FW19 linn frida johansson

01

03 01 shetland isles 02 sumburgh head, jarlshof prehistoric and norse settlement 03 elements of projected lines 04 areas of interaction 05 propesed volumes 06 pre-historic areas of site 07 caretakers occupation: simulating a vistors experience of the different periods and life at site

04

05 02

07 06

04: JARLSHOF PARALLEL 01 11

10

09

08

07

03

06

02 05

04 01 slate tiles rotating as blinds 02 opportunities of interaction 03 opportunities of interction 04 circulation 05 concrete slabs 06 window openings 07 translucent hot air insulated membrane 08 glulam framework 09 timber battens 10 2nd hand scottish slate tiles 11 top copper drain

FW19 linn frida johansson

04: JARLSHOF PARALLEL

FW19 linn frida johansson

section gable - residence

plan ground floor

04: JARLSHOF PARALLEL

FW19 linn frida johansson

plan 2nd floor

elevation residence

04: JARLSHOF PARALLEL

FW19 linn frida johansson

jarlshof: now streaming Elise Vanden Dool semester 9 [exchange]

prosthetic Ditlev’s shoulder: projecting the movement while immobilising it

structural development the spacebox: catenary structures

script logic

1 ‘n’anchor points must be even number

2 form catenaries between ‘n’ anchor points and generate their midpoints

PROCESS 0

3 form mesh from midpoints of catenaries + generate two internal points inside this perimeter

4 connect internal points to closest perimeter points

PROCESS 1

5 form catenaries

6 find midpoints of catenaries

7 form new catenaries between midpoints, apply ‘x;y’ vector for

PROCESS 0

8 combined structure

reversing the structure

structural application from mid critique final structural application

structural model from mid critique

final sectional model

mapping the site recording movement and history at Jarlshof

iron age viking

viking

medieval

iron age

medieval

bronze age

Identifying areas and structures of historical significance + their intersection points primary boundaries/intersections secondary boundaries

Consolidating into grid cells of either 4 or 6 corners

Generating structure using Grasshopper script for each cell

1:1000 @ A4

http://www.jarlshof.com

jarlshof

prehistoric and norse settlement

search

about

contact

now streaming save the site save your time save the planet

select a site to explore

A

wheelhouse late iron age

click to explore >>>

1:500 @ A4

the caretaker: DIGITAL PRODUCER Amelia’s way of caretaking is to restrict public access to the site and instead create a digital experience of Jarlshof for anyone to view online. The super-structure is created to facilitate streaming and content production with its studios, camera framework and coverage across the entire site

tune in to livestream: direct from the platform

WATCH THE LATEST vlog: from the ground

APPLY HERE TO BE OUR NEXT CARETAKER

future caretaker mood board: inspired by film

Stalker (1979)

District 9 (2009)

Stalker (1979)

Cam (2018)

The Matrix (1999)

The Truman Show(1998)

section A

1:200 @ A4

structure + site WORKING PLANE

PRIVATE QUARTERS + SERVICES

1:500 @ A4

STRUCTURE

1:500 @ A4

STRUCTURAL ARTICULATION single tower structure

plan view of model

connection to ground - surrounding existing walls on site

150mm structural steel tube

ground level base screwed to steel plate concrete footing

Footing Detail 1:20 @ A4

base for camera with ball joint interchangeable steel tube

steel plate welded to centre 150mm pre-rolled structural steel tube

Boom Mic

steel pin joint connection welded to tube

Upper Joint Detail to support interchangeable elements on right 1:10 @ A4

Snow Cannon

a study of neck and spine. mapping out the movements and postures of my proposed site. in search of an intervention correcting the site posture.

cast_max_angle cast_laying down

cast_standing

movement of weight following posture pc_sleeping_front

spine extraction

pc_standing_front

spine tweening

prosthetic joinery

pc_sleeping_back

max_angle_neck

pc_standing_back

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 1 of 14.

a walkthrough of production pipeline, from materials to tooling. scanning and digitization to produce mock ups and sketches. the final prosthetic.

pouring bronze

plaster gaze scannings

petg test print

pla test prints

milling a negative in mdf

one cast bronze piece

vacuum forming oak veneer assembled prosthetic

cutting out individual bronze piece

s

the site

extracting shape

assembled prosthetic

assembled prosthetic

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 2 of 14.

a map of the southern part of the shetland isles, positioning my second and major site of the semester. the outlines of northern europe.

shetland

sumburgh airport

sumburgh hotel jarlshof - the new site

rspb sumburgh head

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 3 of 14.

a map of the southern half of the shetland isles with focus on the violent wind conditions the island experience. north is turned ninety degrees left.

lerwick

jarlshof

1 arrow 1 observation

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 4 of 14.

the first two visualizations of how i imagined the house belonging to frank vanderwal from the book “fifty degrees below� by kim stanley robinson

a moon made of cheddar

the matrix 1999

kisho kurokawa, nagakin capsule wower 1970

ron herron, archigram, a walking city 1966 kisho kurokawa, nagakin capsule tower 1970

caspar david friedrich, wanderer above the sea of fog 1818

hokusai, the great wave

off kanagawa 1830

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 5 of 14.

frank monotoring the site through his residence. the residence may resemble a pod or a ship floating above the site, connected to it by a view.

kisho kurokawa, nagakin capsule tower 1970

jarlshof

caspar david friedrich, wanderer above the sea of fog 1818

frank’s pod

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 6 of 14.

xperiments

Studio 2B: Of Prosthetics And Parasites W44: First tests and discoveries KRISTOFFER HOLMGAARD GADE

First step towards creating analogue experiments was to construct a box with a 45x45x45 work area.

We’ve experimented with tensile structures, but have lately focused on caternaries.

On top of creating structures from our box of varibles, we’ve worked towards coarsly defining our needs and physical boundaries for our caretaker.

This logbook should be seen as the first part of a two poster wide experiment, the other half belonging to Elise Vanden Dool.

first invistigations on catenary systems using a spacebox testing methods of branching to create spaces. constructed branching logic for housing. caternary experiments #1

caternary experiments #2

method 0

method 1

creating a x and y vector, to be multiplied with a stand z vector

creating 0.xx uv values on a 0 to 1 surface

ions

space box explorat

5000;5000 means pure levity

creating two inwards branching points

anchor points

caternary final experiment week 1

method 1

method 0

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 7 of 14.

a surface suspended from a network of caternary beams. a grouping of all items needed for habitation. a diagram and model of wind bracing. arrows marks wind direction

proposed column

suspended surface anchor points

anchor points

diagram of needed items for 7 days

blue marks habitation

initial caternary proposal

anchor points

columns derived from above diagram

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 8 of 14.

a cast iron node joint to be mounted into the ruin. a section model of the entry to the observation area. 3d printed building on milled site model.

optimized catenary beams

slide with ribs

frank

anchor point

visitor

3 point mounting

frank’s tree house

ruin/node joint connection beach front and ocean

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 9 of 14.

elevation drawing as seen from the ocean, highligting the connection between my caretakers residence and the unesco heritage ruins at jarlshof

emp museum, seattle, gehry rivet joined segments

observation area

weather station

b29 superfortress

node joint

anchor point

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 10 of 14.

situational plan drawing being overlayed with an exploded plan drawing, highligting the movement through the residence, and the building layout.

office area kitchen

comfort area

bedroom wardrobe

work station

observation area

raiseable staircase

winch for staircase waste water tanks

clean water tanks tesla s3 85 kwh battery

inner stair case

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 11 of 14.

a section parallel to the ocean, showcasing the organization of spaces and machinery needed to sustain life off the grid, and in isolation if need be.

bedroom

work station

slide with ribs

wardrobe

tesla s3 85 kwh battery

waste water tanks

clean water tanks

anchor point

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 12 of 14.

a section orthogonal to the ocean. a view from the observation area. a pesimestic prediction about the future paying reference to frank vanderwal.

sumburgh head

ocean

jarlshof entrance

bedroom

comfort station

winch clean water tanks inner staircase

raiseable staircase

frank’s pod

frank in a boat

sea level +5 meters

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 13 of 14.

a discussion derived from the final critique about the works of lebbeus woods juxtapositioned next to my work, as well as a final form or position of the caretaker’s residence considiring rising levels, this is my response

the new site

the old site

a walkthrough of the 8th semester project of kristoffer holmgaard gade attending studio 2b aarhus school of architecture. fall 2019. page 14 of 14.

P

ortfolio

from 9/2019~1/2020

Sizhe Wang Studio 2B / Aarhus School of Architecture 7 semestuter

INDEX [1] ELECTRONIC

HUMAN

T-shirt quick-shot design

[2] BODY

DYNAMIC TRACING SYSTEM

Prosthetics design

[3]

CATENARY STRUCTURE LOGIC

Karamba workshop

[4] JULIUS

HOUSE

A healing home for an eternal man

Human

cannot

live

without

electronic

[1] ELECTRONIC HUMAN T-shirt quick-shot design

Large amount of using electronic products has become the symbol of people’s modern life. Electronic products have become part of the body. Meanwhile, they also become a medium of knowing each other, communicating with each other, falling in love with each other. Human are not just a Physiological Existence but an Information Existense.

any

more

products.

DYNAMIC TRACING SYSTEM [2] ARTICULATION Prosthetics Design

Honing: Prosposing a site towards intervention & extention Prosthetics: Phase 01 Sizhe Wang - Studio 2B

262

Mapping the body in broadcast

200

10

3° 30

°

80

613

0

908

450

300

Joint 2D-Revolvement 1:5@A2 ree articulations revolvement’s angle limitation

Joint 2D-Revolvement 1:20@A4 Overlapping Projection 1:5@A2 Red shadow part revolvement’s shows the unreachable space of thelimitation body.

Three articulations angle Overlapping Projection 1:20@A4 Red shadow part shows the unreachable space of the body.

308°

360°

177°

Arm’s Stereo Revolvement Taylorian Three-point apparatus projective methodology The three-dimensional arm rotation is clearly displayed in a twodimensional plane. From the top view, left view, and front view, the angle limitations of the arm in these three dimensions are obtained.

The red shadow is the enhanced area of the prosthetic, in order to get a body with no angle limitations.

Prosthetic is designed with a dynamic tracking system for the linkage movement of the wrist, elbow, and shoulder on the arm. Long metal bars are used to connect the different joints of the two arms, and the swept trajectory of the metal bar in the air is used to show the cone rotation of the arm in the Z axis and the linear movement of the XY axis.

Testing: Material and Manufacturing Notes Prosthetics: Phase 01 Sizhe Wang - Studio 2B

M a t e r i a l

T e s t i n g

Robot Hotwire Cutting -foam

A

Cold Vacuum -veneer wood

B

Hot Vacuum -veneer wood

Tips:

a. Make another tool path for straight outline surface of the foam to be more precise b.Don't stop the machine when it's hot,Otherwise you will get a hole

M a n u f a c t u r i n g

M e t h o d s

c. Veneer wooden boards need to be cross-paste

a Hierarchy of stucture and force

Basic deformation

Polygon Footing points Variations

[3] CATENARY STRUCTURE LOGIC Karamba workshop

Vertical & Horizontal Multiply a Hierarchy of structure and force b Basic deformation c Polygon footing points Variations d Vertical & Horizontal Multiply

b

c

d

STRUCTURE LOGIC APPLICATION version 1 7 layers and truss

[4] JULIUS HOUSE

A Healing Home for an Eternal life

STRUCTURE LOGIC APPLICATION version 2 Final Section Model

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O

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F r o m L O G I C t o F O R M - A S PA C E T R A C I N G

â…

EXPERIMENT

ROOF

The necessary control lines, such as symmetrical, adjacent, cross-level, continuous lines, are selected as the final skeleton of t h e f o r m . Us e d i f f e re n t operations, such as loft, intersect, and Boolean operations to generate different arched surfaces.

Therefore, this is a process from logic to form, and also a discussion of space.

C

intersect diagonal f+f

loft

symmetrical f+f

loft

symmetrical c+c

loft

WATER COLLECT

loft

WATER FLOW

NON LINEAR CURVED WALL

Basic skeleton of the building is the layer superposition control line of the inverted c a t e n a r y, a c c o r d i n g t o c o n t ro l t h e e a c h l a ye r’s footing point position, height, inverted or upright direction to determine the shape of the skeleton. The form of the building is inspired by the design intent and methodology of the prosthetic.

E

Create Volume

U

boolean difference

J

proximate e+e+e+e

SURROUNDING WALL

A Skeleton Logic

BATHTUB loft

b

c

d

e

f

a

3

4

ENTRANCE

2

Please Note : Use the diagram a-f in A section to read this explosion axonomatric drawing's annotation.

diagonal a+a loft boolean difference

1

STAIRCASE

1 Logic lines 2 Select lines 3 Connect 4 Form generation

loft

Filt Control Line

B

diagonal a+c

EXIBITION WALL

f

a

proximate b+b

To t h e e n d o f t h e w o r l d - I f e e l s o l o n e l y .

W

E

F r o m

L

C

O

M

N O V E L

E t o

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P R O G R A M

I -

S A

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H O P E F U L

H

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I N T E N T I O N

Jun. 22nd 2020 / Sunny Day / Happy / Julius Diary

D

IDENTITY

Criminal Collectomania

Eternal life

peeping space New Friendship

Authority Care About Nature Sensitive Unhappiness

Ruin caretaker is Julius Deane, a character from a science fiction Neurosorcer. Based on the description of his life in the book, I speculated about the spatial form and function he needed. At the same time, the short plot revealed his lonely, melancholy, sensitive, and eager to get attention to his personality characteristics. A healing house is needed. I try to design a loving home where he can make new friends, pay attention to changes in the weather and nature, and enjoy life.These three parts are shown in detail through the diagrams of the labels F ,G and H respectively.

Program Diagram

Feb. 7th 2020 / Rainny Day / Depressed / Julius Diary

Loneliness Aggressive

CHARACTER

Enjoy Life

new visitors

invitation wall

starry sky sunshine and shadow seascape rain specific furniture & space

bathtub sleep work

site

I N T E N T I O N

I Function & Circulation

H O P E F U L

12

13 12 Ladder 13 Bedroom

-

Third Floor Plan

8

9

8

7 5 Peeping client platform 6 Dressing room 7 Office area 8 Ruin's observation window 9 Kitchen 10 Toilet 11 Bathtub

10 6 11 5

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7

6

10

Peeping at Space _________________ Invitation Letter Wall

t o

Second Floor Plan

11

I

5

N O V E L

G Customized Furniture 3

F r o m

L U J

13

Roof Plan

P R O G R A M

S U

H Nature Collect

12

A

â…Ą E S U O H

F Invite Visitor

E

5

6

2 1

3

5

A

3

4 2

4

2

1 1 2 3 4 5 6

A

N 1 Entrance 2 Invitation letter wall 3 Staircase 4 Pond

First Floor Plan

Egg bathtub Moon working desk Eye window Curved kitchen Concrete Washbasin Ladder to Attic bed

1

Sunshine Starry Sky ________ Sea ________ Rain ________ Site

Please Note : Axonometric drawings and plan drawings use the same annotation number.

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t

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+9.837 r

a

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From SKETCH to SECTION - A RHYTHMIC A R C H I N T U I T I O N ' S L E A R N I N G

h

l

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e

+6.696

+4.407

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Dear friends,

Learning the architectural forms of Jean-Jacques Lequeu and Étienne-Louis Boullée‘s architectures, drawing sketches gave me great design inspiration.

It's hard to say what a particular detail refers to, but to gain a design intuition. The rhythmic arched space sequence is well presented by the section and elevation, and the human scale of different activities is taken into account.

Welcome to my house! When you go upstairs, you can watch from the stripe window to peep at my life. If you can see me, which means I’m waking. You are very welcome to knock the door and have some beer with me. If I’m not here, which means I’m sleeping. Please come here next time.

Julius

±0.000

A-A Section

Load

L Structure Design

STRUCTURE 2.0 Truss Skeleton based on logic lines to suport the dome and roof

As can be seen from a series of architectural sections, the structural change was a correct decision, and the brutalist, sculpture-like architecture was born.

J

U

L

F r o m

I

U

S

Crossed Shells based on logic lines to suport themselves

Shear Wall

Logic Line

Special-Shaped Column

The design of the structure was a difficult negotiation process.

In order to balance the purity of the building space, I had to make a choice. According to the structural workshop, Karamba was used to obtain the logical linebased space trusses, which were used as the building's structural skeleton and roof and dome supporting structure. However, after generating the curved surface of the space, the truss was abandoned, and the umbrellashaped pillars were generated according to the logical lines. The concrete walls that fell on three sides were shear walls to maintain the beauty of the space. Therefore, each component of the building play its due role.

STRUCTURE 1.0

H

O

U

C O M P O N E N T

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E t o

â…Ł S T R U C T U R E

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A

T O U G H

N E G O T I A T I O N

THE ASSISTED MIGRATION II AARHUS SCHOOL OF ARCHITECTURE JENS TOFT MADSEN STUDIO 2B_SEMESTER 8 OF PROSTHETICS AND PARASITES - PROSTHETICS

WEEK_36 KINEMATICS - IN SEARCH OF A BROADCAST

REVISED MOVEMENT DIAGRAM

Density in black colour reveals moments of little to wide range of motion Phase 1 - The back as the main drive

Phase 2 - Force shifts to legs

Phase 3 - Body regulation

Full motion

FIRST MOVEMENT DIAGRAM

The first diagram visualized changes in motion step by step.

The revised movement diagram had to be created in order to better reveal movement pattern of each body part

SITTING DOWN - STANDING UP This analysis was about identifying the movement pattern of a fellow student and to identify the driver of the motion starting from a stitting position to standing position.

PROSTHETIC CONCEPT

AXONOMETRIC 1:10

FIRST CONCEPT The idea behind this prosthetic was to allow the host / site to go into a sitting position (and stay there) without using a chair. This prosthetic would therefore be an enabling / enhancing prosthetic.

REBECCA HORN - REALIZATION This is a prosthetic by Rebecca Horn.

Through this image came the realization of what a prosthetic could also be. Prosthetics are not neccecarily about physical aspects but also very much psychological.

The image documents a prosthetic that alters the experience of moving in space.

SECOND CONCEPT With the inspiration from the prothetics of Rebecca Horn, this prosthetic concept would through restriction change the hosts experince of movement.

WEEK_38 TESTING - MATERIAL AND MANUFACTURING PRIMARY PIPELINE HOTWIRE CUTTING

PRIMARY PIPELINE HOT VACUUM

Shoulder piece bounding box

ANALOGUE TO DIGITAL To digitally fabricate the prosthetics, we had to find a way to bring the analogue measurements (this could be plaster casting, projection tracing etc.) into the digital domain. It was challenging but also very rewarding.

The methods used this project is plaster casting - on the host - 3D scanning the castings and also use castings as a concrete mold.

Tooling path for hotwire cutting

Tooling path

Shoulder made into ruled surfaces

Analog recording: Shoulder plaster casting. Prosthetic sketches was drawn on it

Legs where cast in concrete. Mold was made from plaster casting

leg plaster castings were scanned on the 3D scanner and brought into the digital domain.

WEEK_39 THE PROSTHETIC This prosthetic restricts the hosts movement driver when going from sitting to standing. The prosthetic shifts the driver to the hosts hands and feet, changing his movement pattern and makes him more concious of his limbs.

Leather straps fold around the acrylic shoulder piece, with a leather piece inbetween, holded together with a screw and screw post

The prosthetic also unexpectedly altered the hosts standing posture (to the better) and a more confident body language. Maybe the effect on having a “protective� shell on the body.

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WEEK_43

13 12

CHARACTER - AMELIA BLACK

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11

GS

10 BHG

MAIN INSPIRATION

CHARACTER COLLAGES

9

F BIRD MAPPING ON SITE 8

SE

7 REC

G

34.371.093

5

New York

Yellowstone

S

6

FRANS

S

4 BHG

5M

3

HG

2

CG

CG

1

HG

CG

10 M

BHG 0

25 M

1 BHG 2

CG

3

Airships: construction, shape, skin, deck

HG

SE

GS

5

HG

GBBG

6 7

F

8

BHG BG

9

G

Introducing a fictional character as our client. In this case from a sci-fi novel by Kim Stanley Robinson named New York 2140. Amelia flies across a flooded North America to help animals migrate to safe New Yorkon2140 zones. She flies for months her own in her airship - “The Assisted Migration.”

10

Amelia Black

and Back Again” She is now “There on the Shetland Islands to make a documentary about the shetland Studio 2B birdlife. The Shetland 21-25 October 2019 Islands are one of the most important places for bird migrations. Millions of birds migrate to this place each year but their numbers are decreasing.

Amelias hope is to bring attention to the matter through her documentary.

CG

4

03/09/2140

“Swinging over the world from below her airship was one of Amelia’s signature Amelia moves. now she did it again, leaving Fig. the 1 Assisted Migration in the hands of her very capable autopilot, Frans. Back and forth on the swing’s seat, pulling hard on“Swinging the ropes, intil pendulum there over the worldshe fromwas belowswooping her airship waslike one ofaAmelia’ s signature[...] moves.

Nowshe she didrested it again, like a dryad, looking up at the Assisted Migration and her various camera donres, leaving the Assisted Migration in the hands of her very capable autopilot, Frans. Back and forth on the with a plucky smile.” swing’s seat, pulling hard on the ropes, intil she was swooping like a pendulum [...] there she rested like a dryad, looking up at the Assisted Migration and her various camera drones, with a plucky smile.””

AMELIA BLACK

CG

HG

G

11 FRANS

K

12

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13 14 15

Hamburg Elbphilharmonie: rooftop, open air, “private”

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BG

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18

Amelia Fig. 2 “After that she undid her harness and hauled in the swing line by hand [...].” “when it was all inside told Fransand tohauled shutinthe door rise, “ After that sheshe undid her harness the swing lineand by hand [...].”while she hustled “when backitupstairs some hotthechocolate in her.

Her audience liked it, was all insideto sheget told Frans to shut door and rise, while she hustled back upstairshad to get some feedback indicated, as usual there were sad as viewers hot chocolate in her. Her although audience had liked it, feedback indicated, although usual therecomplaining were sad viewers that she had stayed dressed,[...]” complaining that she had stayed dressed,[...]”

19

BG

20

“Amelia ignored them all [...].” ”[...] the great city quickly came into view in all its watery magnificence, visible as patchwork under a light marine layer of white clouds.” ”[...] the great city quickly came into view in all its watery magnificence, visible as patchwork under a light marine layer of white clouds.”

21 22 23

Because the character was from a science fiction where the world and life conditions are often very different from ours, the surroundings and the needs of the character was something that immediately challenged the way we would normally think of a residence.

24

Scaffolding on the Parthenon, The Acropolis Athens: structure around ruins.

GANNET

25 CORMORANT

SHAG

GREAT SKUA

BLACK HEADE

H: CLIFFS

H: CLIFFS, COAST

H: WETLANDS, ROCKY SHORE

H: COAST, IN LAND RIVER

H: MOORLAND

H: FARMLAND, TOWN, GARDE

FAUNA MAPPING 1:2000

Amelia Fig. 6

K

FULMAR

COLLAGES AND RENDERINGS FRANS

REC 34.371.093

New York

Yellowstone

03/09/2140

“Swinging over the world from below her airship was one of Amelia’s signature Amelia moves. now she did it again, leaving Fig. the 1 Assisted Migration in the hands of her very capable autopilot, Frans. Back and forth on the swing’s seat, pulling hard on“Swinging the ropes, intil she was swooping like pendulum there over the world from below her airship was one ofaAmelia’ s signature[...] moves.

Nowshe she didrested it again, like a dryad, looking up at the Assisted Migration and her various camera donres, leaving the Assisted Migration in the hands of her very capable autopilot, Frans. Back and forth on the with a plucky smile.” swing’s seat, pulling hard on the ropes, intil she was swooping like a pendulum [...] there she rested like a dryad, looking up at the Assisted Migration and her various camera drones, with a plucky smile.””

FRANS

Translations from character collages to final caretakers house Amelia Fig. 2 “After that she undid her harness and hauled in the swing line by hand [...].”

WEEK_44 SPACE BOX - COLLABORATION WITH SIZHE WANG Logic part 1: Create a catenary between the nearest anchorpoints.

This makes basic volume and the border of the construction.

Test 1

Logic part 2:

Test 3 - Used logic

Test 2

Test 4 - Further experimentation

Catenaries were chosen as the structural principle to be less intrusive on the site and to create lightweight structures. Also the analogy to airship structures.

Through our tests we made a 3 step logic which would fulfill the needs for us both. The very controlled and symmetrical logic tests we created allowed us to cover wide distances and build tall structures. when we transferred the logic to assymetrical point positions and at uneven number, the logic didn’t work out just as well.

Combining every second anchorpoint. This makes a space inside the of the border.

Logic part 3: Combining anchorpoints with the top point of catenaries on the opposite side. To join the two spaces with a top. Allows to build higher on structure.

FOOTINGPOINTS AND LOGIC SITE APPROACHES

FOOTING POINT PROCESS

ALYSIS: TESTING AND ITERATIVELY REFINING DESIGN UNDER CRITERIA CHANGES

TION ON SITE 1:100

KARAMBA BEAMS We had created a logic that we controlled, but we realized that the logic also came to dictate how we could process the footingpoints on site.

ON: STRUCTURAL APPROACH THROUGH SCALED PROTOTYPES BUILDING ON SITE - AXO 1:100

e current structure there are nine points on site. The building is split into three sub-structures, that are connected to eachother. The building is static and ve to respond to different parameters which is: Sunligt, wind loads, the ruins and birds.

mmers of shetland are short and cool and on the thought of using membranes and/or other slightly translucent fabrics to create a surface, the caretakuse will have to embrace the sunlight it can get. It will ofcourse be neccecary to determine the middle way between letting light in and keeping out cold.

nds on the site are very harsh because of the close proximity to the ocean and exposed surroundings. The structure should atleast form a windbreaker in ost general wind direction.

Instead of procesing all the footing points at once, they were here split into 3 groups of four, to have more control.

uilding will obey the ruins as much as possibly. It will touch as little as possible and work its way around the corner of the Earl’s house.

are a central part of the caretakers story. She is making a documentary of the wild birdlife in the Shetland isles and therefore bird life and their habitation be taken to concideration. The caretakers house will be a mix between a bird-watching tower, lighthouse and media station. The ruins of the caretakers might even become a new habitable space for the wild bird life.

E DISTRIBUTION

FOOTPRINT

Building_1 25 m2

Building_2 16 m2

Bedroom 10 m2

HT DIAGRAM

Tea-kitchen 5 m2

Toilet/ Bathroom 5 m2

Studio 5 m2

Building_3 43 m2

25 m2

ON SPACE / FOOTPRINT

ON HEIGHT

It was also neccecary to adjust individual catenaries, to make them more suitable for the program. Few unneccecary beams where removed to cover the building easier.

DISPLACEMENT

NEGOTIATIONS WITH THE CLIENT

5 m2 PRIVATE SPACE

BEDROOM 10 m2

5 m2 BATH / TOILET

5 m2 TEA-KITCHEN

5 m2 STUDIO

The residence was design after a vertical composition.

Height meant privacy. This diagram seeks to describe that and tries to categorise space program into levels of privacy.

The sci-fi background of the client (Amelia Black)also meant that she had some specific needs.

It was okay that her living space was compact, as long as she could have a few “escapes.” this was: Her bed, her bath, “the bridge” and the top of the tower.

These escape spaces are assumptions based on the novel.

The major dedicated espace space was the tower. She could elevate her bed and distance herself from the site. The building would cover the site, and it would be just her and the world.

The bridge Outdoor space

Tower space

NEGOTIATIONS WITH THE RUINS

The point was not only to touch the ruins as lightly as possible but also to use them as an inherent part of the design. It was therefore important to fit around the ruins as close as possible, like the prosthetic on the host. Because of that the site has its own will and dictates deck height, deck size and partly circulation. Which created spatial clashes but also great spatial contrasts.

2 1

3

North section showing how beams create openings when placed according to site openings

COVERING THE RESIDENCE The surface on the residence was one of the greatest technical challenges of this project. It was only possible to do with grasshopper and even then it was a time consuming affair.

It was a battle between a vision and trying to control something that was too complex. With the realization and acceptance of that fact a solution came that was for the better.

The surface is ETFE membranes filled with air. This will works as insolation for the residence. The membranes are attached to a metal grid which is then attached to the main structure.

BUBBLE SURFACE SCRIPT

Defining 3 curves

Defining surface planes

surface projection

Bubble structure grid

Extracting mesh faces

kangaroo - making the bubbles

ATMOSPHERE RENDER WORKSHOP

FINAL ELEVATION VISUAL The cladding of the residence is inspired by the texture qualities of the prosthetic, the stone patterns on site, the delicate light framework of a crinoline dress. And also with an airhsip in back of the mind.

To bring out the fantastic dreamy playful atmosphere that the residence needed, the movie Moonrise Kingdom was used as an inspiration. The movie is likewise a world where fantasy and reality seamlessly overlap. The camera composition and color nuances was an inspiration for the final renderings.

Inspirational images from the movie: Moonrise Kingdom

PROSTHETIC

SITE

CLIENT

RESIDENCE

OPACITY REFLECTION ARCH

PLANES PUZZLE HIERARCHY

LIGHT FRAME NETWORK

LIGHT OPACITY MEANDERING

CONTINUATION - DIAGRAM

A R C H I V I N G A R C H I V E M E N T S H E L E N E G A R D E L I N D A A A S E M 9

W O MAN ORLD

B S E R VAT O R Y

OF

øverst højre : konstruktion af visuelle billeder og symboler øverst venstre : ydre / indre hukommelse op : lugt venstre : lydhukommelse højre : konstruktion af lyde og ord centralt fokus : sensorisk syntese nederst venstre : følelsesmæssig hukommelse og følelser

searching for the

PROSTHETIC

nederst højre : følelsesmæssig hukommelse og genkaldelse af kropsfornemmelser ned : smag

visuel kontakt ned 5,8 cm x 9,9 cm fra pupil

registrering af øjets synsgrænser 1 : 1

mapping øjenbevægelser / hele øjet 1 : 10

øjet er kroppens spejl til sindet og sjælen. alt kan aflæses deri. lyserød symboliserer kærlighed. øjet er lyserødt af selvkærlighed. psykisk optimering.

hjernen består af milliarder af nerveceller, knyttet sammen af nervetråde. tanker, drømme og livsfunktioner er svage elektriske impulser, der overføres mellem disse celler. fra hjernen udgår nervetråde. dem bruger sanserne og kroppens organer til at sende og modtage oplysninger til kontrolcentret. konstant udformer, henter og filtrerer hjernen vores indtryk. bevidst og ubevidst. b e v i d s t h e d e n s forarbejdning foregår serielt; vi kan ikke være bevidste om eller koncentrere os om flere ting ad gangen. u b e v i d s t processerer parallelt; forskellige ubevidste processer finder sted samtidig forskellige steder i hjernen. de ubevidste processer er konstante og automatisk. bevidsthed er et produkt af aktivitet i vores hjerne : Et komplekst samspil mellem mange forskellige dele af hjernen ; sanseindtryk, lyde, syn og lugte giver sammen med indtryk fra erindringen mennesket en platform, vi kan reagere ud fra. vi er bevidste om os selv og vores omverden, og vi er i stand til at reflektere over begge dele.

ø j e t ; den visuelle forbindelse mellem den bevidste perceptionen af virkeligheden og det ubevidste underbevidste prosthetic ; DR GLASSES (dream reality glasses) opløse grænserne mellem bevidstheden og det ubevidste, det serielle og parallelle. udvide synsvinklen i forvrængninger. fragmenter af drøm og virkelighed. flydende grænser. en anden virkelighedsopfattelse. en øget virkelighedsopfattelse. ingen ’begrænsninger’. samtidigt fastholdes de serielle og parallelle parametre fysisk i betydningen til bevidstheden og det ubevidste.

øverst højre : konstruktion af visuelle billeder og symboler

osthetics and parasites / prosthetics : phase 01 the body as an analog

øverst venstre : ydre / indre hukommelse op : lugt venstre : lydhukommelse højre : konstruktion af lyde og ord centralt fokus : sensorisk syntese

/ week 36 kinematics : mapping the body in search of a broadcast

matilde 1 : 2 / prosthetic collage no scale

prosthetic / material / process A2 2D prosthetic cutout pre 3D heating. the rectangular cutouts symbolize the serial conscious concentrations. humans can navigate through approximately 7 concentrations at a time +/-. the small circle outcuts symbolize the parallel unconscious subconscious perceptions. facemask outcuts.

transparent acrylic

mirror

heated acrylic

p l a s t e r m o d e l o f m a t i l d e’s h e a d

iridescent paper / tape

date

atlas

031019

mapping my own navigation in search of information on the predetermined theme : p o l i t i c s the mapping consists of several screenshots of my google searches with selections and cutouts of the relevant information. the information is color categorized in

google search latitude 56 23’25.60”N longitude 9 21’20.32”E Hald ruin, Viborg

danmark 1528 kort

historical correct facts and

historical assumptions

the navigation in the mapping is partially fragmented and should be understood both parallel and serial.

politics

follow the trace 041019

hald

hald ruin

niels bugge

SI TE MA PP IN G

valdemar atterdag

tempelridderne

071019

081019

balantradoch

knigths of st john jarlshof

091019

rose line earth grid

171019

hærvejen viborg til jerusalem

AAA STUDIO 2B : of prosthetics and parasites / prosthetics : phase 02 a new body evolving the act of analysis helene garde lind

/ week 40 atlas ruin

M AT E R I A L I T Y prosthetic ; distortion levels parallel serial

site ; signs secret paths

client ; fluid drifting transcending

secrof fo noitcerid detaluceps

FORM FINDING

in a spacebox residence ; ancient sacred geometri steel weather resistant + isolating fabric

’... the bridge’s nearest tower - Skinner’s room is there all lit tonight with torches and carnival bulbs.’ ’... the bridge is a magnet for the restless, the disaffected.’ ’Always keep one hand and one foot on the ladder Skinner told her, don’t think about where you are and don’t look down, it’s a long climb up toward the smooth sweep of cable. Skinner must have done it thousands of times, uncounted, unthinking.’ ’In Skinner’s dream now they all run forward, and the police are hesitating, falling back. Overhead the steady drum of the network helicopters with their lights and cameras. Thin rain falls as Skinner locks his cold fingers in the chain link and starts to climb. Behind him a roar goes up, drowning the bullhorns of the police and the National Guard and Skinner’s climbing, kicking the narrow toes of his boots into chain link as though he’s gone suddenly weightless - floating up, really, rising on the crowd’s roar, the ragged cheer torn from all their lungs. He’s there, at the top, for one interminable instant. He jumps. He’s the first. He’s on the bridge, running, running toward Oakland, as the chain link crashes behind him, his cheeks wet with rain. And somewhere off in the night on Oakland side, another fence falls and they meet, these two lost armies, and flow together as one, and huddle there, at the bridge’s center, singing ragged wordless hymns. At dawn, the first climbers begin to scsale the towers. Skinner is with them.

the

’He admires people who add to the structure. He admires whoever it was built this room, this caulked box of ten-ply board , perched and humming in the wind.’ ’The little pop up television on the blanket across his chest continues its dumb show. The girl brought it for him. Stolen probably. He never turns the sound on. The constant play of images on the liquid crystal screen is obscurely comforting. ... Life is there. He can’t remember when he ceased to be able to distinguish commercials from programming.’ ’His room measures fifteen by fifteen feet, the plywood walls softened by perhaps a dozen coats ...’

Skinner’s room ; fysisk minimums base for menneskelige nødvendigheder. udefra, en kurs, et afgrænset defineret pejlemærke næsten frigjort fra systemet. med afstand og distance til alt tidligere end nuet. en distination i og med flere forbindelser fysisk og psysisk. bevidst og underbevidst. en rejse, bevægelse i flere niveauer og tilstande. testen af muligheder for levevilkår, overlevelse og grænser for en mulig ny art.

CARETAKER

’... Skinner’s jacket. Not the touch that makes her jump so much as the abrupt awareness of how hot she is, a greenhouse sweat, zipped up behind the unbreathing horsehide of the ancient jacket, its seams and elbows sueded pale with wear, a jingle of hardware as she swings around.’ ’She’d like to tell him about going to the hotel but she doesn’t have words for how it made her feel.

She feeds him soup, a spoonful at a time. Helps him to the tankless old china toilet ...’ ’Pulls on her hightop sneakers laces them up. She puts on his jacket ...’

pigen ; emotionel afskåret fra sig selv. et ikke kontaktbart sted. utilgængeligt. en mangel. ingen synlig selvbevidst navigation; Skinner er hendes identitet overført af lædderjakken. opslugt. en underbevidst måske ubevidst energi må føre hende til ham ; de må have noget af udveksle, en lærdom. varetager Skinner.

Skinners livssystem ; astronautens rumdragt, nødvendig for overlevelse. umenneskelig gjort. er hun Skinners ikke bevidst tilgængelige omsorgsfulde selv ?

Skinner’s room ; indefra, et svævende fyldt liv af tomrum overloaded af usammenhængende informationer. modstridende. sammensat systematisk af usystematisk tilgængeligt materiale. forsømt. en selvreflektion. spejling.

Skinner er Skinner’s room.

’Lately Skinner’s hip can’t manage the first twenty feet of ladder, so he hasn’t been down to try the elevator ...’ ’He peeps at it through the hatch in the floor’ ’Often, now, he feels himself a void through whichfacts tumble, facts and faces, making no connection.’ ’Memory flickers like liquid crystal.’ ’Sometimes he remembers building the room.’ ’Skinner surfaces from a dream ...’ ’Sometimes he’ll snap right into focus ...’ ’... his eyes fell lost again ...’ ’He’s there, of course asleep ...’ ’He smiled, eyes sliding out of focus. ”I was dreaming.” ”Dreaming what?” ”I don’t remember.

We were singing in the rain.”’ ’”Skinner, where you here when they came from the cities? When they took the bridge?” He looks up at her with a strange expression. His eyes widen. He coughs on the coffee, wipes his mouth with the back of his hand. ”Yes” he says, ”yes in the rain. We were singing. I remember that.” ”Did you build this place Skinner? This room? Do you remember?” ”No” he says, ”no sometimes I don’t remember - we climbed. Up. We climbed up past the helicopters. We waved at them - some people fell at the top.” ”What happend then?” He smiles. ”Then the sun came out. We saw the city.”

Skinner ; mand. gammel. observerende. han er altomsluttende afspjlende af verden, i en anden dimension, et stadie af distanceret trance. den første i rejsen for nye grænser. en astronaut i hibernation ; LIVING LIKE THE DEAD

A A A S T U D I O 2 B : o f p r o s t h e t i c s a n d p a r a s i t e s / p r o s t h e t i c s : p h a s e 0 4 u n p a c k i n g a n e w b o d y, o r ” t h e r e a n d b a c k a g a i n”

/ week 43

site : hald Ruin, viborg, danmark

LIVING LIKE THE DEAD / DEAD LIKE THE DEAD

the caretaker ; i en tilstand vekslende mellem bevidsthed, drømme og fiktion, næsten konstant, i en portal til en anden dimension, transcenderende, varetages caretakerens i denne verdens fysiske form af det basalt intelligente rum W. O . M . B . hvorfra caretakeren kan forfylde sin mission, forbundet til sten, rum og liv gennem de ældgamle energier. symbiotisk. en parallel og seriel navigation i haptisk perception, en intuiton, forbundet til site, uafhængigt af caretakerens fysisk kropslige funktion. den mødte karakters, the caretaker, fysiske tilstand vurderes ikke med en tilstrækkelig kapacitet at kunne overleve rejsen fra san francisco til hald Ruin med de tilgængelige midler. hvorfor caretaker antages ikke levende. positionen, caretaker, er åben i universet og tildeles den hvis navigation og kropslige frekvens kan aktivere W. O . M . B . t h e c a r e t a k e r ’s p l a c e ; W. O . M . B . formidler rummet for kontakten mellem caretaker og site. en camoufleret station, hvis form findes bag reflektionen af site. standardiseret dvaletilstand hvis funktion og ydeevne aktiveres af caretaker, en afhængighed. indeholder basale nødvendigheder for caretaker jævnfør de behov caretaker havde på opfindelsestidspunktet : sikker ilt, H2O, føde, elektrolytter, sanitet, førstehjælp, hibernation sleep, varme, solenergi. understøtter caretakers fysiske og psykiske form, uanset dennes styrke for videre overlevelse.

W. O . M . B . er womb, instaleret på site af fortidens teknologi foranledt af ældgammel udødelig visdom, overleveret fra ukendte kilder for forevigelsen og videreførelsen af kontakten mellem den øverst herskende livsform og jordens hellige energier.

T H E N A R R AT I V E O F A T R A N S F O R M I N G W O R L D

taking care of a caretaker

W O M B

AAA STUDIO 2B : of prosthetics and parasites / prosthetics : phase 06 a new body – evolving the act of analysis / week 50 evocative enviroments : the nature of character helene garde lind

m 16 0m 0m

m

26°

16

150mm

162mm

903mm

Transforming Prosethetics Lanqing Hu 9th Sem 丨 2019 Fall

Aarhus School of Architecture 丨 Studio 2B

INDEX

BROADCASTING THE MUSCLE MOVEMENT

3

SHETLAND INSPIRATION

7

A HOUSE FOR THE CARETAKER

9

loose

tense BROADCASTING THE MUSCLE MOVEMENT

The prosthetic designed for the site, the body of my project partner, is a kinematic device dedicated to caputuring the movement of the back muscle during the motion of jumping and braodcasting it by translating this trivial muscular movement into an enlarged mechanical movement, enabled by the prosthetic's flexible joints.

original scan

contour x

contour y

contour z

combined reference

mesh regenerated

mesh rebuilding process

DIGITAL DESIGINING PROCESS

During the design stage, a range of digital tools are involved to make the prosthetics match the human curvature. A 3d scanning of the gypsum cast of the shoulder in its loose and tense state is adopted to get the digital model of the human body, which is later used as the base for the prosthetic design.

Grasshopper is used to simulate and evaluate the movement of the prosthetic designed.

Analyzing

Prototyping

Modeling

Testing

The direction of the wood grain of laminated wood veneer is adjusted for several times in order to avoid craking in the vacuum forming process*

PROBLEM-SHOOTING DURING FABRICATION

Fabricating

The fabrication of the prosthetics involves a series of tools and methods.

The acrylic sticks are laser cut, the curved wood base is laminated layer by layer and then put on foam molds which are hotwired by robotic arm.

A plastic tube is embeded in either of the two wood bases as the anchor point of the plastic stick before a final veneer sheet is laminated and then formed. A lot of unexpected things only took place during this process and requireed adjustment on site .

SHETLAND INSPIRATION

The project that takes the idea of the prosthetics a step foward is located on Jarlshof, Shetland, a Viking Ruin to the north of Scotland Island. A caretaker's house designed for a fictional client from a sci-fi novel Anwuli is to be designed right on this UNISCO ruin. The project tries to integrate the site and create a dwelling that frames the natural scenery of the place.

Radar Station

Future caretaker's house Ruin

Hotel Existing caretaker's hosue

Light house

PRIVATE

PRIVATE

Site Observing

A HOUSE FOR THE CARETAKER

wake up washing washing sleep

The building tries to keep a succinct expresssion of the form and resemble its size with the surrounding historic ruins.

The circular shape of the volume is inpired by the ruins on the site. From the bottom up, the program of the 3-storey house goes from public to private, and is catering to the daily routine of the caretaker.

eating social leisure eating

PUBLIC

research prepare shower lecture research

up

up

up to

up

terrace

up to lv3

en tra nce

1/F

2/F

3/F

N

STRUCTURAL DEVELOPMENT

Karamba Workshop

Spatial Complexity

Organizational Simplicity

Rigid

Dynamic

Habitable

Mast + Hanging Plate

Double Layer Truss

Rotating Space Truss

Structure

Infrastructure

Enveloop

- THE END -

ARCHIVING ACHIEVEMENTS reiterated portfolio studio 2B - Arkitektskolen Aarhus Andrea Sara Mariel Rados

The external aid of a friend

KINEMATICS Mapping the body in search of a broadcast

SUBJECT OF STUDY NAME_JØRGEN S.H HEIGHT_188 CM SHOE SIZE_42 REFERENCE POINTS TOP OF SEAM /NECK ELBOW /RIGHT ARM KNUCKLE /INDEX FINGER TOE /RIGHT SHOE

HONING Proposing a site towards intervention and extension Movement patterns of subject of research are very refined in their linearity. Movement of limbs almost reminding the audience of a dance routine.

However, the physical efforts are strongly portrayed by the facial expressions of the subject, which also is in part in contrast to his calm and quiet personality.

TESTING Material and Manufacturing Notes The mask has two primary functions. The first function is for the public to be able to interpret the facial expressions and so the emotions of the site.

A mapping of the highest and the lowest levels of both the line of the lips and the lower forehead/eyebrow line can be seen in the slits of the mask structure.The second function is for the site himself, by adding slight pressure to different acupuncture points in the face, like the ones under the eyes, on both sides of the mouth and inner corners of the eyes, relief of stress and desperation is granted the site while wearing the mask.

The mask is completely fitted in the area around the nose, where only a small amount of action takes place in the process of moving from one facial expression to another, and loose and expressive around the lower forehead and the mouth, to allow maximal action and movement.

More flexibility is added by simple joints that are enabled by the powder printing and the possibility to print two different things that already link together immediately after printing.

Sumburgh Airport

Sumburgh JARLSHOF

Position of full moon in the sky Sunday the 13/10/19

Grutness Voe

ENE E

ESE

SSE

SE

S

Rising / 21:00

ENE

E

ESE

SE

SSE

S

Best view / 22:00

ENE

ATLAS Atmosphere and Stratosphere

E

ESE

SE

Falling / 21:00

SSE

S

ANALOG BEGINNINGS Testing Structural Strategies

B

B

C

B

C A

C

B

STRUCTURE FABRICATION Proposing a Structural Approach

Possible footings of fastening membrane onto site

“THERE AND BACK AGAIN� WORKSHOP Finding the Character of the Caretaker

He could always build it again. Change location, even just by a few meters if he felt like it and in so doing change the weather and his mindset.

With the sun setting over Jarlshof he took a shower outside beside his dwelling, the contraption spraying him with cold, salty sea water in the mornings and rinsing his body with warm, clean water before bed.

The dwelling acted as a cocoon, an oasis of solitude, where Frank could be his own version of himself, the one only he truly knew.

On the edge of Jarlshof, with its entrance in direct contact to the ruins, the dwelling got more and more private the further Frank went in. Mentally his sleeping place was miles away from all else, here there was only nature and Frank, him and the universe.

Sensors sending data about coastal hydrodynamics and pollution studies to the caretakers mobile phone are installed further out in the sea to be reached by kayak if need be.

Overpressure of air pumped into the shell structure insulates the building

Lunar Storage Tidal Storage

Outdoor bedroom Storage

Sleeping nest storage

Hammock

- Batteries for hammock - Emergency food supplies - Clothes - Flashlight - Backpack - Extra duvet and sleeping supplies

Kayak

Sleeping nest structure allowing climbing and varied usage

In order to better convey the research and focus on the caretaker character and his way of life, further elaboration on the sleeping nest and its usages was needed.

Plan of �sleeping nest� 1:25

A PERIOD OF TIME IN A WORLD THAT NEVER EXISTED.

A progress sample of an 8th semester at Aarhus School of Architecture at Studio 2B.

SAFEHOUSE AT JARLSHOF This Architecture entry is a walkthrough of my 8th semester, an especially my semester project – a safehouse at Jarlshof.

Jarlshof, the selected site for their semesters main assignment, is a ancient Scottish ruin, dating circa 3000 years back. There are leftovers from the stone age, Bronze Age, Iron Age, Vikings, Middle Ages all the way up to the 17th century.

The assignment was to design a building or a home for the caretaker of the place.

This caretaker would be a client derived from a sci-fi novelle. This carefree was ex-

plored in both text and collage, as is seen in this archive.

This project has otherwise been influenced by and investigation into structural principles developed in an analogue model, and the digitalized using Grasshopper and a engineerical plugin named Karamba.

They whole process and project is a combination of sci-fi, engineering, history, world building and what ever happened inside my head. Enjoy.

by Jesper Asferg Scheel

Aarhus School of Architecture - 8th semester, Studio 2B

T-SHIRT As a warmup assignment of the semester, I produced a “reconstructed” T-shirt. The t-shirt is inspired by the idea of reflection, executions and active children. Seems like an odd mix… However, the t-shirt is designed to let the user reflect on his/her life, like you do when life flashes you by – as well as being in closed contact with your body, be feeling the tight fabric on your skin.

by Jesper Asferg Scheel

Aarhus School of Architecture - 8th semester, Studio 2B

PROSTHETIC Phase 01 of the semester was to create a prosthetic specifically designed for a partner i.e. a site. This prosthetics works as a pair of utility pants, letting the user unfold the “pants” an creating a chair to sit on. These images are showing the prosthetics in three different situations. The first images show the prosthetics on site – the nest depicts the prosthetics unfolded and the last one, is the prosthetics as an independent structure.

by Jesper Asferg Scheel

Aarhus School of Architecture - 8th semester, Studio 2B

COLLAGE - PRIVATE Scientist believe that the first person to live to be a hundred and fifty has already been born – Deane Julius believes he is that person.

In the morning he rises from his pod, as a newborn descent from his mother. Deane feels renewed and reset after a perfect 6.67 hours of sleep – no more, no less. Deane unplugs the drip from his arm. The salt water has been running all night, keeping his fluid level perfect. Everyday Deane goes through a handful of pills. Vitamins, dietary supplements and natural herbs. He applies anti-wrinkle cream to his entire body. He looks around in his dwelling. Deane is a collector. His dwelling is filled with what appears to be garbage. To an outsider it might seem chaotic, but Deane knows the system, and nothing is garbage. Not in his hands.

His kitchen is sparse. All his food is microwaved superfood. This ensures that he receives the perfect number of calories and protein.

His whole life is collected in this one room. He likes it this way. Nothing is hidden and no one is hiding. One way out, and one way in (except from the hidden entrance behinds his sleeping pod). The closet door opens with a “swoosh” and reveals the suits that have been stowed away in an airtight box. Deane mounts his suit of the day. He doesn’t understand the word ‘practical’, only ‘presentable’. Appearance is everything. Authority is everything.

Deane Julius is a caretaker.

Description of Deane Julius i.e. The Caretaker.

by Jesper Asferg Scheel

Aarhus School of Architecture - 8th semester, Studio 2B

COLLAGE - PUBLIC Deane climbs up into his office. His throne-room.

This is where he works. This is his face to the outside.

Deane looks up at the screens. Every nook and cranny are covered. Nothing gets by Deane. Hi tinkers with what appears to be a large walkie-talkie on his table. It’s a jammer. Deane is of the grid. And so is his life. He looks out the window. He scuffs. The visitors are back. Deane doesn’t care for them. They lack respect. They lack fear. This is his territory Deane Julius is the caretaker.

Description of Deane Julius i.e. The Caretaker.

by Jesper Asferg Scheel

Aarhus School of Architecture - 8th semester, Studio 2B

< [1] World map revealing Deane Julius’ safehouses. *

<

[2] Diagram depicting the flight of Deane Julius.

35°01’37.2”N 135°47’54.3”E SILVER PAVILION

Hideout located on the center island of the Repulic of the Rising Sun.

20°26’50.7”N 97°22’40.4”W

59°52’09.0”N 1°17’27.8”W 33°32’32.5”N 9°58’02.3”E

JARLSHOF

Safehouse located on the remote shetland island off the cost of the formar UN-Region of Scotland.

EL TAJIN PYRAMID

Safehouse located on the eastern cost in the militia controlled Empire of Central America.

SIDI DRISS

Safehouse hidden in the ancient dwellings in the Republic of North Africa.

THE CARETAKER The client of the safehouse (Deane Julius) has several safehouses located around the world. He picks ancient loca-tions, which he then buys and, in that sense, takes care of them. He is then ready to jump on to a helicopter when his enemies come close.

by Jesper Asferg Scheel *Image of Hotel Sidi Driss in Matmata, https://www.architecturaldigest.com/gallery/star-wars-filming-locations - Image of El Tajin Pyramid of the Niches, https://commons.wikimedia.org/wiki/File:El_Tajin,_Pyramid_of_the_Niches_(20498729900).jpg - Image of Silver Pavilion, https://jw-webmagazine.com/silver-pavilion-kyoto-ginkakuji-temple-47c4b92cf62c/ - Image of Jarlshof, courtesy of Robert B. Tremble Jr - Image of World Map – Quincuncial Projection, https://external-preview.redd.it/XbkYYZuAYCLjy-CltfUhGvA-_GhNCEqb2FVioek5ess.jpg?auto=webp&s=d95d26218ff57acca753349aaa8f2aa052214108 **3D model of Jarlshof site, courtesy of Robert B. Tremble Jr

Aarhus School of Architecture - 8th semester, Studio 2B

[6] A polygon tensegrity structure with 7 segments.

[7] Analysing the tension structure (wires).

[8] Analysing the compression structure (beams).

TENSEGRITY EXPLAINED Tensegrity is a binary phenomenon. The compression versus tension is what defines the whole structure. The function of tensegrity can be simplified to Newtonâ&#x20AC;&#x2122;s third law of motion: â&#x20AC;&#x153;For every action the is an equal and opposite action. Larger tensegrity structures can be seen as woven structures. Therefor tensegrity and woven structures share a common principle of the alternating helical directions

of left-to-right. For tensegrity triangulation is key.

Triangulation in the structure, defines weather it will be firm or not. Tensegrity can also be developed into structure with squares, but these structures will then not be firm. A firm tensegrity structure is normally prestressed. That means the that compression and tension elements are applied with the same (but opposite) force, which holds it in place. A tensegriby Jesper Asferg Scheel

ty structure always has a rotation. This rotation can be altered, but only by disassembling the structure completely. Unique to tensegrity structures is the fact that the compression struts never meet but are kept in place and in connection by the tension of the wires. Because tensegrity elements all have some degree of elasticity, all tensegrity structures will be flexible to some degree.

Aarhus School of Architecture - 8th semester, Studio 2B

SURFACE VARIATIONS These surface variations depict a fraction of the combined possibilities for the surfaces. Each surface can be changed in opacity. Ranging from the fully closed surface, that can be used to project information, all the way to the fully transparent â&#x20AC;&#x153;windowâ&#x20AC;? surface.

by Jesper Asferg Scheel

Aarhus School of Architecture - 8th semester, Studio 2B

SPLIT RENDER The above renderings show the safehouse from the inside, and how the different cubicles are used next to each other, as well as the vertical relationship between the structure and the cave.

by Jesper Asferg Scheel

Aarhus School of Architecture - 8th semester, Studio 2B

FACTS Number of surfaces: 118 surfaces Sqm. of surfaces: 625,93 sqm.

Number of beams: 14 Combined length of beams: 65614,69 mm Number of wires: 119 Cobined lenght of wires: 364917,87 mm Flooring area inside the cave: 31,84 sqm.

Flooring area of top platform: 15,56 sqm.

0m

1m

2m

3m

4m

5m

PLAN, SECTION, ISO This page covers a variety of information regarding the structure and the safehouse. Information ranging from a section through the safehouse, and iso of the structure and a plan drawing of the safehouse, as well as a list of facts.

by Jesper Asferg Scheel

Aarhus School of Architecture - 8th semester, Studio 2B

USAGE The isometric collage depicts the usage of the top of the safehouse, inside the tensegrity structure. This is the clients throne room where he feels impowered and has an overview of his surroundings, and thereby know if his enemies are nearing him, and is they are â&#x20AC;&#x201C; he can take care of them. He also has the possibility to project information onto the surfaces of the structure.

by Jesper Asferg Scheel

Aarhus School of Architecture - 8th semester, Studio 2B

COMIC 01 As a walkthrough of the concept and structure, I created some habitational views. I have selected some of theses view, to constitute a comic depicting a day at the safehouse. These images show the client arriving from helicopter, and the entering the safehouse, and â&#x20AC;&#x153;turning it onâ&#x20AC;?.

by Jesper Asferg Scheel

Aarhus School of Architecture - 8th semester, Studio 2B

COMIC 02 This second part of the comic, depicts the client taking the stairs p to the top platform, looking out, and the return-ing to enter his sleeping pod (which also doubles as an emergency exit).

by Jesper Asferg Scheel

Aarhus School of Architecture - 8th semester, Studio 2B

CONTINUATION Based on the comments and questions at my final critique, I created this drawing/collage that depicts a possible continuation of the process. That deals with eh question of the mobility of the structure and how the safehouse would be able to be packed up and moved all around the world.

by Jesper Asferg Scheel

LUCÍA GARCÍA DE LA PEÑA

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Studio 2B: Of Prosthetics and Parasites.

Semester 7th.

A DOMESTIC PROSTHETIC

During four months i have been undertaking a number of explorations or phases, each choreographed to finally design a 21st century caretaker residence for a ruin, a domestic prosthetic that allows the client to work and live on site with all the program needed to undertake activities such as sleep, work, think, reflect on the history of the site or even escape.

In this process, it was extremely important to be able to read the site and work with it as a big part of the whole project.

This site was The Jarlshof Prehistoric and Norse Settlement, located near the southern tip of Mainland Shetland in Scotland.

This site has a complex of ancient settlements which cover more than 4000 years of human occupation. It can be found a wide variety of archeological treasures from Neolitic houses to a medieval farmstead and a 16th century lairdâ&#x20AC;&#x2122;s house.

We started taking the human body as an analog and designing a prosthetic for our partner, so we were able to undertsand the human scale and the different measures of the body.

This phase was continued by other explorations related to the client/the inhabitant,the structure or the materiality until get to the final caretakerâ&#x20AC;&#x2122;s residence.

PHASES Phase 01 ...................................................................................................................................................................................................................................

Prosthetic: The body as an analog

Phase 02 ...................................................................................................................................................................................................................................

A new body: Analysis of the site

Phase 03 ...................................................................................................................................................................................................................................

There and back again: Storytelling

Phase 04 ...................................................................................................................................................................................................................................

Skeletal Inspirations: Envelope and Structural Logics

Phase 05 ...................................................................................................................................................................................................................................

Crafting a caretakerâ&#x20AC;&#x2122;s home as a domestic prosthetic

PROSTHETIC The body as an analog 0.26 m Ø 0.4

m

Ø 0.48

m

0.5

m

1.9 m

Prosthetics can project and compensate for an emotional comditionas well as a physical condition.

The goal of this phase was to create a prosthetic for our partner. We started by mapping our partner’s body in motion, using these drawings to identify an area of interest.

I chose the hands as my area of interest and decided to design a prosthetic that would be the extension of my partner’s hand and would enhance his running, giving him the ability to run faster with less effort.

0.33 m

/PAGE 3/

Fabrication To articulate our prosthetic, each partner group was assigned a primary material for exploration and a primary method of fabrication and a primary machining process.

Primary material:Hardwood and Plastic Machining Process: CNC milling and Vacuum Forming.

/PAGE 4/

A NEW BODY Analysis of the site Continuing with the analytic process undertook to survey our partner during phase 1, now we translate that to a larger condition: a building ruin; understanding this ruin as dynamic as our first site.

This analysis will be inspired by the way we mapped our partner in phase 1, being aware that we were not able to make incisions or break the site in order to gain a deeper knowledge of the site. This will force us to discover the complexity that exists behind a surface.

/PAGE 5/

THERE AND BACK AGAIN StoryTelling In phase 3 we run a workshop that consisted in developing a clearer articulation between client and program through storytelling. It started with a fragment of a science fiction novel and it is build upon elements from this story and others made by our own imagination.

The character of this novel will be the basis of the 21st century caretaker.

My client was inspired by the character from the novel “Anwuli: Mother of Invention”. She is a pregnant woman, excluded from the society and who suffers from a pollen disease. She is going to die due to a pollen storm, but finally her smart home saves her life.

This strong relationship between the smart home and the pregnant woman called my attention and became an important aspect of the project in terms of program and client.

“I have listened to you” Obi 3 said “One day you said you wished someone would protect you like you protect the baby”. Every smart home watches the news, it’s central person and it’s environment.

“I have decided to call it a protective egg” Obi 3 was like an extension of herself” Like part of my immune system.

“Anwuli, wake up...The storm is gone. The sky is blue and the sun is shining as it used to do.”

“Which day is today?” Anwuli asked.

“Who cares about the time?. We are alive” “Lift the house up high, so we can touch the sky”.

/PAGE 6/

SKELETAL INSPIRATIONS Envelope and Structural Logics In this phse we focused on the envelop of the building by taking inspiration from emergent structural logics accomplished through a series of workshops to learn useful tools like Grasshopper and Karamba.

We started by working in partners and fabricating structural analog models using different strategies like tensile membranes tested with textile and elastic materials or compression structures with timber.

After this exploration, we set the parametric logics introducing Grasshopper as an useful tool for this process.

To this extend, the simulation software Karamba was introduced to evaluate the fitness and optimization of our analog models.

Finally, we fabricated a structural model that documents the potential skeleton of the future architectural project.

/PAGE 7/

/PAGE 8/

C R A F T I N G A C A R E T A K E R’ S H O M E A S A D O M ES T I C P R O S T H E T I C After all these phases, the goal is to design a domestic prosthetic inspired by the knowledge aduired in all the explorations and with a better understanding of each tool’s qualities.

From the prosthetic to the client, going through a better knowledge of the site, the structure and the building assembly.

The final purpose is to design a residence where the caretaker could live and work on site.

The program in my project is based on the strong relationship between the smart home and the pregnant woman inspired by the storytelling workshop. In this way, the caretaker’s residence is situated on top of the ruins, so the ruins become part of the woman house. I established two different layers The first layer is inside the ruins and it’s where the woman takes care of the ruins She takes care of the history of the ruins, reseraching and learning about the human occupation of that place in the past. Those spaces host a library/research center and a museum.

The woman is also responsible for comunicating that message to the tourists and visitors, so they become aware of their responsability on site and are also part of the act of taking care, that’s why these spaces are public. The second layer is where the ruins take care of the woman and it is where she can rest, eat, sleep... /PAGE 9/

/PAGE 10/

/PAGE 11/

/PAGE 12/

SHETLAND DRUID

PORTFOLIO - STUDIO 2B / OF PROSTHETICS AND PARASITES AARHUS SCHOOL OF ARCHITECTURE - MATILDE MÃ&#x2DC;LL HELMS

Name: Haiyang Gao Age: 25 Nationality: Chinese Hight: 161 cm Elbow- armpit: 20.1 cm

Voice recording / of prothetics and parasites / 假肢和寄生物 / proteser og parasitter HAIYANG GAO

HAIYANGS STARTS TO MOVE HER HANDS WHEN ASKED ABOUT HER PROJECT.

WILLIAM HU

VOICE RECORDING SHOWS THE LACK OF VOLUME IN HAIYANGS VOICE WHEN SHE SPEAK

MATILDE MØLL HELMS

JENS TOFT MADSEN

WEEK 36

Honing: Proposing a site toward intervention and extension

TEST THE FINGER SPAN SURFACE

BY FILMING HAIYANG FOR AND FREEXING EVERY 5TH SECOND SHOWS HER MOVEMENT. THEREAFTER ISOLATING FACE AND HAND MOVMENT

WEEK 37

OF PROTHETICS AND PARASITIES / Enhancing place toward a more attuned future Testing / Material and Manufacturing Notes

- PLANER FABRICATION

/ ZUND CUTTER

/

ENHANCING HAND MOVEMENT

/

PLASTER CASTING A MODEL OF HAYIANGS HAND. CUTING RINGS TO SEE HOW THEW CAN GET CONNECTED TO EACH OTHER IN AN WAY WHERE THEY REACTED TO HER MOVEMENT

CHANING DIRECTION AND STARTING TO WORK ONE JOINT AT THE TIME. BRIGING IN PUZZLE JOINTS. HAVING TO HAVE A TRY ONS TO MAKE SURE IT FITS 100%

WEEK 38

FINAL PROSTETIC

MAJEUR

AFTER FIGURING OUT HOW TO MAKE JOINTS HOLD UNDER MOVEMENT AND LOOKING ON THE DIFFERENT JOINTS IN THE FINGERES TO GIVE THE FLEXABILITY NEEDED FOR EVERY JOINT. EACH HAND CONTAIN OF 109 PC. HEREIN ARE THERE 3 DIFFERENT KINDS OF JOINTS. FIRST A CIRCLE JOINT THERE ROTATE IN THE DOMINANT MOVEMENT. SECOND, IS THE PULLING JOINT THERE LET THE FINGERS STRETCH. AND LAST ONE IS THE PUZZLE JOINT THERE THERE ARE THE MAIN CONNECTION TO CREATE THE SHAPES OF THE HAND.

INDEX

ANNULAIRE

AURICULAIRE

POUCE

JOINT TYPES // Horisontal puzzel / Round rotation / Small sissor / Long pull

TABA - MAMI GROSS - BROWN GIRL IN THE RING 1

3 Mami followers Sitting room excamnination room Herbs room Kitchen Mami bedroom Ti- Jeanne bedroom Religious place Herbs garden Outhouse

0068 0089

Mami Gros-Jeanne Fig. 1 “Stupidness,” Marni muttered behind Ti-Jeanne’s fleeing back. [...]

“This batch for Papa Butler. He coming Sunday for it. I done tell that man that he must wash he foot every day. He does wear one pair of stinking socks from September to June. Stupidness.” “Yes, Mami.” “What you does put on a cut to heal it?”

Damn. One of Mami’s spot tests. “Ah, aloe?”. “And if we can’t get aloe no more? Tell me a Canadian plant.”

Shit. It was the one with the name like a tropical plant, but it was something different. What, what? Oh, yes: “Plantain leaf” Her grandmother grunted. TiJeanne had given the correct answer, but that grunt was the only acknowledgment she would get. She swallowed her resentment.

Vashti Fig. 4 Riverdale farm house “ You see — the gap in the tunnel had been4mended; the Mending Apparatus; Fig. the Mending Apparatus, was after me. ...

Riverdale Farm had a [white city-owned a Oh, the whole dell was full ofbeen the things worms]. Theyrecreation were searching it space, in working farm constructed resemble onepeeped thatouthad all directions, they were denuding it, and to the white snouts of others of thebeen hole, on those lands the Everything nineteenth century.

Torontonians used to ready in if needed. that could be moved they brought —” be able to come and watch the “farmers” milk the cows and collect eggs from the chickens. The Simpson House wasn’t a real house at all, just a facade that the Parks Department had built to resemble the original farmhouse. There was a front porch that led into a short hallway. To the left and right of the hallway were two small rooms in which the Riverdale staff had led workshops in spinning and weaving. Mami used the righthand room with its fireplace as her parlour/dining room, the left-hand one as her examining room. Upstairs had been two offices. Those she had converted into bedrooms: one for herself and the other for Ti-Jeanne and MiJeanne. Now that MiJeanne was gone, Ti-Jeanne shared her bedroom with her baby son. The back of the house had consisted of male and female public washrooms, but they were no use now in a city without a sewage system. Mami’s followers had built her an outhouse just outside with a cesspit and had converted the two washrooms into a cold-storage room and a ventilated kitchen where she cooked on a wood stove that someone had found for her.

2 Stupidness... Mami is the keeper of the farmhouse, lives as a healer. lives as a caretaker, she helps because she can, because she knows-how. Her knowledge is trusted and she teaches to keep the knowledge going. To keep the community safe. To keep people healthy, not giving up...

On the edge of windy Shetland. Is a ruin, a quiet place. Everybody knows who lives there. In the peace of the old Jarlshof.

Where they can turn, when sick, when it hurts. For a bit of honesty, but nothing more. Mami is the keeper of the ruins.

Converting for her needs. For the needs of the community.

The center.

Jarlshof farm house Fig. 6

On the edge of windy Shetland. a ruin, a quiet place. Everybody knows who lives there. In the peace of the old Jarlshof. Where they can turn, when sick, when it hurts.

Go to Jarlshof. For a bit of honesty, but nothing more.

Mami is the keeper of the ruins. Jarlshof is for the community but she keeps the old brock and wheelhouses for her self. Converting for her needs. Her followers even helpt her to convert the Viking building to herbs fields. she takes care of them and they take care of her.

Finding our way through the herbs field, we are going to see Mami Gross, because she will take care of us. You can see the house on the top of the farm and hear how the wind and sea fight for attention. It doesn’t look like much anymore but you can feel the history in the ground, and people say Mami Gross talks with the generation when she is working in the fields.

JARLSHOF /SHETLAND - SCOTTLAND - FIRST LOOK AT SITE

ON THE SITE, I HAD TO LOOK AT THE DIFFERENT TIME AGES... FROM BRONZE AGE UP TO NOW. AT THE SITE I LOOKED AT HOW THE DIFFERENT AREA OVERLAPED. EVERY NUMBERCODE ON THE MAP ARE CONNECTED TO A SERIES OF PICTURES FROM THE SITE.

STRUCTURE WORKSHOPS

SPACEBOX THE SPACEBOX WERE MADE WITH LUCIA GRACIA WE WANTED TO CREATE MULTIPLE OF SURFACES WITH THE FABRIC WITH OUT THE FABRIC TOUCHING OR PRESSING AGAINST EACHOTHER

KARAMBA THE SPACEBOX WERE MADE WITH LUCIA GRACIA WE WANTED TO CREATE MULTIPLE OF SURFACES WITH THE FABRIC WITH OUT THE FABRIC TOUCHING OR PRESSING AGAINST EACHOTHER

BUILDING LOGIC

A 3-4 POINT SURFACE

CREATE A TRANGULAR MESH

ADD A FORCE TO THE MESH MINIMAL SURFACE, WILL ADJUST ITSELF TO THE SMALLEST POSSIBLE SURFACE WITHIN A GIVEN BOUNDARY

FLIP THE MESH SURFACE 180 CREATES A COMPRESSIVE-RESISTANT SHELL INSTEAD OF A BEING UNDER THE INFLUENCE OF THE OWN WEIGHT, FLAT ELEMENTS SHOW A MORE OR LESS STRONG DEFORMATION WHICH RESULTS IN A MAINLY SYNCLASTIC CURVATURE

PLANS

Celtic trinity knot the power of three - The Trinity Knot or triquetra was used to symbolize and honor the Mother, Maiden and Crone of the neo-pagan triple goddess. It signifies the three life-cycles of a woman in relation to the phases of the moon. In more recent times, it has come to be recognized as a symbol for â&#x20AC;&#x2122;The Father, The Son and The Holy Spirit

PROGRAM DIAGRAM TIME AGES ORIGINAL WALLS

ROOMS

HEATING AREA

GABIONE

1

2

4

3

5 VIKING

3 ELEMENT WINDOWS

ION CONCRETE SLAP FLOOR

2 ELEMENT WINDOWS

7

CONCRETE FOOTINGS

6

8

CIRCULATION 1 ELEMENT WINDOWS

BEAMS

1 1.1 2 3 4 5 6 7 8

PRIVATE AREA BATHROOM VISITOR AREA COLD STORAGE WATERCOLLECTION MAIN ENTRANCE CENTER CHURCH KITCHEN

COVERT HALF INSULATION FULL INSULATION

STRAIGHT CUT MESH

RITUAL / MAGIC THE RITUAL IS CENTRAL OF THE BUILDING. IN THE OLD WHEELHOUSE IS WHERE THE RITUAL HAPPENS THE OLDER DRUIDS STANDS INSIDE THE WHEELHOUSE, AND THE DRUIDS IN TRAINING WILL STAND ON THE TOP, OBSERVATING THE RITUAL. MERLING IS IN THE WHEEL HOUSE, SENDING MAGIC INTO THE AIR.

KITCHEN THE KITCHEN ARE WHERE EVERYBODY MEET AFTER THE RITUAL. THIS IS WHERE THEY COME TOGETHER AS A FAMILIY AND SHARE A MEAL. MAMI IS STANDING IN THE KITCHEN, PREPARING THE MEAL.

THE WALL IS A DESIGNS FOR SHADOWING AND LIGHT-DEFFUSING. THE MAIN KNOT ARE FACING INFINITY GEOMETRY WHICH MAKE THE FORMWORKAND CASTING PROCESS DIFFICULT. ITS STANDARD UNIT IS SEAMLLESS,REPETITIVE AND GENERATED WITH THREE DIMENSIONAL CURVATURE. THESE PATTERNS PROVIDED AN INNOVATIVE LIGT DIFUSING EFFECT. THIS PATTERN ARE BUILD OPON ERWIN HAUER KNOWLEDE AND THE INSPIRED BY THE CELTIC TRINITY KNOT WHERE THE BACK GLASS PANEL ARE INSPIRED BY CHARLES MACKINTOSH

Erwin Hauer 3d concrete

Charles Mackintosh Glas windows GREEN 1.3 1d2315

GREEN 1.2 1d5b29

GREEN 1.1 c6d581

CLEAR

3D CONCRETE CAST/ GLASS WINDOWS WIREFRAME MESH

ISO SHAPE

TOP

RIGHT

BOTTOM

CONCRETE

ION WINDOW

WINDOW

FIG 4 FIG 3

FIG 4

FIG 3

FIG 4 FIG 3

FIG 2

FIG 2

FIG 2

LEFT

END

RENDER

EVALUATION

1. LETTING THE CONCRETE WALLS BECOME MORE OF A PART OF THE MAIN GABIONE SYSTEM INSTEAD OF AN EXTRA ELEMENT. 2, THERE WERE MADE COMMENT ABOUT THE WINDOW ORNAMENT TO HAVE BECOME MORE GOTIC THEN CELTIC. 3. IF MORE TIME I WOULD LOVE TO SPEND MORE TIME ON THE COMBINATION OF THE MAIN GABIONE SHELL AND THE WHEELHOUSE, AND ENHANCE THE MAGIC OF THE RELIGIOUS SPACE

ARCHIVING ACHIEVEMENTS Of Prosthetics and Parasites Studio 2B - Aarhus School of Architecture Hafdís Anna Bragadóttir

The body as an analog

Above: Right shoulder, body standing uppright

The Influence of 1:1 Prosthetic on a Building Assembly

Left: Right shoulder, body deployed on bike Evolving possible joints for the structure

Observations of the subject, Lars Erik Elseth, instigated a further analysis, involving the transition of the body moving from standing to biking. A prosthetic was produced that embraced and enhanced the shoulder motion creating complex spatial arrangements with minimal mechanics.

The prosthetic was made from several pre-manufactured 1020 mm long plastic rods and custom 3D printed joints. The body functions as the mechanism in a deployable structure, which enhances the body and itâ&#x20AC;&#x2122;s movement.

The prosthetic has influenced both building assambly and articulation in various ways. Both touching their sites lightly and being performative through minimal effort.

Understanding the bending character of the material

Purposeful conditions The prosthetic is fitted to the arm specifically within a larger space in the same way the building defines smaller spaces.

Surrounding impacts

Performative extensions

The prosthetic is limited by the body as a whole while the building is limited by surrounding geometry and pathways.

The prosthetic has purposeful joints which guide itâ&#x20AC;&#x2122;s movement while the buildingâ&#x20AC;&#x2122;s joints guide itâ&#x20AC;&#x2122;s compositional elements.

The joints of the prosthetic are carefully adjusted to guide movement much in the same way the buildingâ&#x20AC;&#x2122;s structural footing points direct the buildings organization.

A brace meets a short arch

2:1 Prosthetic joint A

Conditions of site and body in their entirety determine both placement and design of the joints/footing points. Where nothing can be added or taken away without destroying a delicate balance.

A brace meets a module

2:1 Prosthetic joint B

Two modules meet

Soya Jensen. Hald ruin 1900

Hald, Viborg

Situationplan Hald Sø in Denmark Overlooking the caretaker’s residence and Hald ruin

Viborg

The Influence of Site on Structure

Hald

Herning

2 km

The location is Hald ruin, south of Viborg, where flora and fauna prosper.

The site is a peninsula only accessible from one path. Surrounded by a very shallow water level vegetation can easily change the appearance of the site between seasons. The special attention paid to the flora and fauna on site, have highly influenced the decision making process.

Hald ruin

Through the desire to interconnect and bond with the site physically through it’s structure and material qualities. Not dominating the landscape but subtly reflecting it. Relatively discreet even though it is placed at the top of a hill.

1:40.000 Hald ruin in Hald Sø Latitude 56°52’9.58”N Longitude 9°21’20.32”E

Perspective section Formed with the hill, relating both to the landscape and the rebuilt tower

Being a ruin the site has distinct imprints of the passage of time, which is further enhanced by nature. Reflected in the flora where trees and the shore vegetation provide seasonal variation that alter the appearence of the site and add a sense of place as you move in the terrain. Where footprints gathered over time have created multiple pathways.

Reflected in the seasonal migrations of swallows that nest during summer in a rebuilt tower, opposed to the mute swan which resides all year round at Hald lake, seen from the north western part of the site.

Character in connection

Contrary to the rebuilt tower dominating, both in a sense of geometry and memory, drawing people in to enjoy the view, the residence grows slowly and gently out of the soil, much like a tree.

Made from natural materials showing signs af aging, celebrating dents and bumps that further enhance itâ&#x20AC;&#x2122;s character.

1.1000 Situationplan

“I’m in kind of fog all the time, like a heavy half-sleep. Whatever I do remember is scattered, broken down into disconnected bits and pieces”

Robinsons, Kim Stanley. The Martian.

Section 1.100 South entrance and public area seen from north.

The Influence of Inhabitant on Organization The inhabitant is inspired by the character Sax, from Kim Stanleys, The Martian. Sax is an elderly man who suffers from memory loss. He retains focus once he is occupied in his scientific work, but likes to wander and get lost. As he saunters he always returns to a corniche, where he can observe the water and collect his thoughts.

His description has inspired the design of the scholarly residence at Hald ruin. Leading to the creation of an interior corniche between two entrances. Where he greats and works with colleagues in the larger area, then retreats to his desk overseeing everyone. Where his private spaces still offer glimpses of the corniche until he finally retreats to his sleeping area.

Section 1.100 Private residence and “corniche” seen from north

Plan 1:100 The interior â&#x20AC;&#x153;cornicheâ&#x20AC;? follows the northwest side of the building, with entrances/exits on both sides of the building.

Interior view to the north

â&#x20AC;&#x153;Sax left his desk and took a walk down to the corniche to think this over. Also to recover from the stab of fear that had struck him: that they would never understand.â&#x20AC;?

Robinsons, Kim Stanley, The Martians, New York. 2000

West Elevation 1:200 Window panels on the west side, enhance the experience of walking on the corniche where the view alternates between open and closed.

Ventilation Wood batten Wood lamella Site

Prosthetic

Timber board

Order, bundling, consistency

Shingles

The Influence of Structure on Building Articulation

Concrete

Through the study of analog models an structure developed. Composed of a larger and smaller arches, bundled together at flat points of intersection, creating a singular component capable of creating both a larger and a smaller space.

Material assembly

The structure was iteratively refined and optimized through systemization. Where footing points and gradient between arches would create better or worse load carrying structure.

Karamba and model investigations revealed that mirroring the components was the best option but in order to stabilize the building bracing elements needed to be added.

Interstellar poster

Insulation

Site Inhabitant

Space box for analog studies

Structure

Wood beams

Dense, striated, unfolding

Wood board

Bundling a large and a small arch in a single module offers spatial possibilities.

Dowels are placed at flat points of intesections, combining two elements slightly deforming the regular arches.

With the structural skeletal system set up, cladding can be attached to

lamellas, to which shingles are attached in a way that enhances horizontal or vertical movement, further defining the character of the structure.

Bundle point 0.2 & 0.8

Bundle point 0.2 & 0.7

Bundle point 0.2 & 0.9

Bundle point 0.2 & 0.9

Bundle point 0.4 & 0.6

Displacement (cm) 1514

Displacement (cm) 924

Displacement (cm) 1057

Displacement (cm) 1816

Displacement (cm) 1153

Locating the most optimal bundle point

Strengthening By bracing the structure internally it becomes more stable and intricate.

Skin: Wood panels and shingles

Structure: Glue laminated beams and braces

Six modular components in a mirror footing pattern

Six modular components w/bracing in a contrasting footing pattern

Exploded Axonometric 1.200 Six modular components in a mirror footing pattern w/bracing externally

Hierarchical assembly logic Skin/cladding is secured to the structure on boards fixed to the beams

Evolving composition through structural design

Reflection of critique A residence which delicately rests upon the landscape, able to move and respond to it’s “body” just as the prosthetic responded to it’s body.

*typically for emphasis or clarity

REITERATED ÂPORTFOLIO

STUDIO 2B OF PROSTHETICS AND PARASITES AARHUS SCHOOL OF ARCHITECTURE LARS ERIK ELSETH

HONING WEEK 37 STUDIO 2B OF PROSTHETICS AND PARASITES AARHUS SCHOOL OF ARCHITECTURE LARS ERIK ELSETH

1:5 -Sequene of sitting down.

-KEYWORDS BALANCE POINT KNEE-ANGLE LENGTH FACTOR

FRONT-HEAVY

BALANCED

BACK-HEAVY

SELECTING AREA OF INTERVENTION

CALF TO WRIST CONNECTION

603

496

174

29

714

30

4

78

53

101

77

348

4 19

53 DEGREES

174-101-29 DEGREES

DOMAIN OF MOVEMENT

77 DEGREES

PROSTHETIC - 2 OF 14

FROM T-SHIRT EXERCISE: INTIAL WEEK

BULGING AND INDENTATIONS...

SIMILAR APPROACHES!

WHAT DOES THIS PROSTHETHIC DO?

REASONING WEEK 39

TOOL DIVISION

Instrument enables user to increase their mobility through orienting and

STUDIO 2B

attaching end of arm tool into cavities

RANGE OF TOOL DIAMETERS

located around the calf. The indenta-

OF PROSTHETICS

BALL Ã&#x2DC; = 6 to 16 mm

AND PARASITES

tions varies in depth can be accessed

AARHUS SCHOOL OF

by one of four tools.

PRINT SPESIFICATIONS: ARCHITECTURE 1.75LARS MM WHITE ERIKPLA ELSETH 200 DEGREES NOZZLE TEMPERATURE

HOW WAS IT MADE? The primary part is printed as one solid

PRINTED WITH 0.1.MM LAYER HEIGHT AT 65 % INFILL AND NO SUPPORTS

SHAFT 25 mm

body while the tool attachment is

BUILD PLATE ADHESION TYPE: BRIM

broken into three pieces, the wrist

38 MIN 2g / 0.51 M

band, a tool collet and the tool itself.

SE AM

This is to ensure that parts are upright -M ID D

LE

while printing, avoiding supports and z-orientation.

FURTHER DEVELOPMENT

prosthetic calf-cast can be upgraded [MXL HMǺIVIRX GSQTPI\MXMIW EW XLI YWIV

SE

day kit that can be worn when wanted.

The aim is to challenge and increase mobility through playful stretching. The

L

-The evolution from measuring the host to prosthethic precision --

BASE 10 mm

K

RCTO T E D ATTRA

The prosthetics is thought as an every-

ER PATT N B RE A

building contours parallel to the parts

SCALE 4:1

NOTE: NEW IMPROVED TOOL WITH WRIST ATTACHMENT MADE FOR VELCRO.

COLLET (DETACHABLE)

EC

KEYWORDS MOBILITY

WII ǻXW & XLMGO PE]IV SJ [E\ GER FI

WRIST ATTACHMENT

used to register the limits of mobility,

PLAY BALL JOINT

SCALE 2:1

ERH JYVXLIV HIXIVQMRI RI[ XI\XYVEP

TEXTURAL

overrides.

SCALE 1:20

HOLES FOR THIGHTENING STRAPS

PROCESS OF MAKING

CASTING AND TESTING REACHABILITY. USING WAX AS A WAY TO TRACK REGISTRATION MARKS. WHICH CAVITIES CAN BE ACCESSED, AND WHICH CANNOT.

SIDE VIEW

FRONT VIEW

BALANCE AXIS

BALANCE AXIS

SCALE 1:50

MAKERâ&#x20AC;&#x2122;S NOTES Fabrication technique: 3D Printing for surface and skeletal production. Material 2.85/1.75 mm white PLA.

MOBILIZING LOWER BACK MOBILIZING SIDE & SHOULDER

Nozzle temperature set to 200 degrees by default settings. Tools and wrist printed with 0.1.mm layer LIMKLX EX MRÇ»PP [MXL RS WYTTSVXW [LMPI GEPJ TEVX [EW TVMRXIH [MXL QQ ERH MRÇ»PP no supports. Build plate adhesion type used was set to â&#x20AC;&#x2DC;brimâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;raftâ&#x20AC;&#x2122; for wrist and tool prints.

INTERLOCKING MOMENT

PROSTHETIC - 3 OF 14

TOOL ATTACHMENTS SCALE 1: 10 OLD TOOL TO BE IMPROVED NOTE: (SEE NEXT PAGE)

TRAIL PATHS

WALL DEPTH

SCALE 1: 10

SCALE 1: 15

TESTING WEEK 38

WALL THICKNESS 15 mm

h4

15 mm

t0

t1

t2

t3

STUDIO 2B OF PROSTHETICS AND PARASITES AARHUS SCHOOL OF ARCHITECTURE LARS ERIK ELSETH

93 mm

WALL HEIGHT

54 mm

h3

h2

12 mm

h1

-Material and manufacturing notes -KEYWORDS EDGE DEPTHS GROOVES

h0

TOOL DIAMETER SHORE HARDNESS

32 mm

HINT OF TRANSLUCENCY!

PRINT QUALITY MATERIAL TRANSLUCENCY

STEP 1

STEP 2

STEP 3

STEP 4

STEP 5

STEP 6

STEP 7

TEXTURE QUALITY STEP ONE TO SEVEN

TUNING TEXTURE, FROM SMOOTH TO SHARP EDGED. ROCK CONDITION

PROSTHETIC - 4 OF 14

ARM-ATTACTMENT INFLUENCING BUNDLING STRATEGY FOR BUILDING (WORKING AS A TENSION TIE FOR GLULAM-ARCHED STRUCTURES)

BALL-JOINT TO FOOTING STRATEGY GLULAM-ARCHED IS SLOTTED INTO STEEL CAST END SLEEVES

PROSTHETIC - 5 OF 14

MAIN CHARACTER HOPKINSON’S MAIN CHARACTER (‘MAMI’ IN BROWN GIRL IN THE RING) IS CENTRE OF GRAVITY IN A THRILLING DYSTOPIAN

16

m

15 m

17 m

SITE SUBDIVISION

1:500

NARRATIVE FROM TEXT TO IMAGE

STORING ARTEFACTS >> STORYTELLER

FORM DIAGRAM INSPIRED BY CHARACTERISTICS OF CHARACTER AND HOUSE. CENTRAL FIGURE, NESTED, INTIMATE, STRONGHOLDS ETC.

BROCH + WHEELHOUSE SETTLEMENT

CHAPEL >> A RETREAT FOR THE CARETAKER

CHARACTER TO SITE - 6 OF 14

FORM STRATEGY: CIRCULAR CANOPIES SHARING AREA WITHIN IRONAGE SETTLEMENT FROM LEFT: BROCH AND WHEELHOUSE IRONAGE SETTLMENTS

MID SEMESTER BUILDING INTERVENTION POSITIONED IN THE PLACE OF THE OLD BROCH

EXHIBITION SPACE

(NEW CHAPEL)

TRY TO CONTAIN FORM WITHIN THE REMAINS OF THE IRONAGE SETTLMENT

HOME FUTURE CARETAKERS RESIDENCE

CHARACTER TO SITE - 7 OF 14

1- INTERIOR LIGHTING

BUILDING PRECEDENTS: KING-ABDULAZIZ-CENTER-SNOHETTA & CAMBRIDGE-MOSQUE-MARKS-BARFIELD

RENDERS: ONE MODULE SITUATED ON SITE

2- TRANSLUCENCY

3- SHELL CLADDING

SCREEN-CAPTURES: INSPIRING MOVIE SCENES FROM PROMETHEUS

CHARACTER TO SITE - 8 OF 14

A GALLERY FOR STORYTELLER

EXTERIOR - SKIN REVEALS INTERIOR LANTERN

B

CARETAKERS RESIDENCE

LANTERN IN STORYROOM CHARACTER TO SITE - 9 OF 14

MOMENT OF CONNECTION BETWEEN TWO STRUCTURAL MEMBERS

ADJUSTING BUNDLE PT. TO TEST AND IMPROVE STIFFNESS OF STRUCTURE

EARLY ATTEMPT AT BRACING STRUCTURE THROUGH BUNDLING (USING DOWEL JOINTS) STRUCTURE - 10 OF 14

120

500

ARCH TO BEAM CONNECTION I-BEAM (IPE 500)

Fl. Jt. Dim 0ÂÂ Ø ɺɶɶ ÁÁ Içã Ø ɻɶɶ ÁÁ

GLULAM 500 X 120 PROFILE (TOT. LENGTHS 4000 TO 16000MM)

METAL PLATE FIXTURE ON BOTH SIDES OF ARCH

500

0 20

STRUCTURAL FLOWER (1 OF 5) GROUND CONNECTION NOT FINAL. NEEDS TO MEET TERRAIN BETTER!

“EDGE-BEAM”

Ft. Dim 0ÂÂ Ø ɾɶɶ ÁÁ Içã Ø ɸɺɶɶ ÁÁ Õã­ ɹɻɶ ÁÁ

TWO ARCHES INTERSECT AND LANDS ON AN ENVELOPE BEAM THAT RUNS AROUND THE BUILDING FACADE AND IS SUPPORTED TO GROUND EVERY 6 METERS.

ARCH LENGTHS ɺɶɶɶ dI ɷɹɾɶɶ BB

ɺɶɶɶ

ɷɺɶɶɶ

STRUCTURE - 11 OF 14

LEGEND 1 SNOW GUARD 2 METAL FIXTURE, SECURING CLADDING TO RAIL 3 GLULAM ARCH 200 X 90 4 INSULATED WALL 5 TIMBER DECKING 6 I-BEAM 7 BEAM TO ARCH CONNECTION 8 CORRUGATED SCREENING

MOST FIT INSTANCE

HIGHEST POINT ON SITE TYPOLOGY MINDS RUIN HEIGHT

COMES DOWN TO GROUND

STRUCTURE - 12 OF 14

PLUG- / INTERLOCKING DEVICE + BUILDNG STRATEGY

STRUCTURE - 13 OF 14

NORMALIZING SHELL CURVATURE

EXTENDED SHELL TO GROUND GLASS TO RUINS - OPENINGS

FOOTING FOUNDATION ON ANGLE

STRUCTURE - 14 OF 14

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