natnaree ruethaivanich BARCH + BFA canditate rhode island school of design
from feral to new wilds
exposĂŠ sculpture garden
analysis of la tourette
I am currently enrolled in the BARCH program at the Rhode Island School of Design. Coming from a broad ďŹ ne arts background, I entered my undergraduate program wanting to try everything; a sentiment I still carry to this day. Thus I am interested in narratives about places and structures, and ďŹ nd excitement in pursuing them across diďŹ€erent disciplines. I love working with my hands, but am still wandering in the conversation between analog and digital tools. I hope these sample of works will be able to help you understand my interests, processes, and intentions.
from feral to new wilds A mixed-use project that includes housing, public programs, and ecological infrastructure in Olneyville Square, situated along the Woonasquatucket River, RI. How can we create an architectural narrative that simulatnaeously tackles questions about ecology and sustainability?
Jane Mcquitty describes Feralness to be a sibling of wilderness. Feral, in deﬁnition, applies to animals that have left a state of domestication for self-direction . Feralness is deﬁned in the particular site as a departure from industry; Olneyville, a town in the Rhode Island state was formerly colonized by mill complexes that utilized the Woonsaquatucket river for transportation and power. With its decline in the 1950s, the site was left unmanaged, making way for new, self-directed wilds to occur. Atlantic Mills, Paragon Mills, and the latter, are now randomly occupied by diﬀerent users who divide the complex amongst themselves in an indeterminate manner, and foliage began to reclaim the edge of the adjacent river whose pavings were left unmaintained. Alas, the site s industrial past leaves behind issues to resolve; river water that has undergone contamination and mill typologies that pose challenges of programmatic lifespan due to its monolithic scale. The architecture hopes to encapsulate these ideas of the emancipation of the land and settlement of people, making key the conscious coexistence of mixed programs and reassserting indeterminacy of both ecological systems and human occupation. At the same time, natural systems were introduced in order to clean up the site for habitation and comfortable public programs within the mill typology, in attempts to raise questions about what they could become. In essence, the parts come together to form an ecological statement that describes an ecotone between urban versus wild, and ﬁxed versus ﬂexible.
A M N TO N E. AV
LA AT S
LO W E IS
-R O C L IA C
The architecture itself is scaled to that of a mill complex, consisting of
The position of the bars in relation to each other generate a sequence
two bars that closeley frame the site s urban edges. The bars are joined
of aperatures that describe a movement from urban to wild (closer and
by a visual connector, one stemming from the commercial area, and
further apart bars). This is experienced by the bike path, which begins
one from the green (a ﬂexible public program and a living machine).
at Manton as a continuation from the existing Delanie street route, and
The river topography is opened up to generate room for a wild wetland
bisects the site towards the front of Atlantic Mills. Pedestrian walkways
landscape in ﬂux, which stems from the rising and falling of water of a
of more intimate scales also share the experience of these diﬀerent
ﬂood-prone river and potentially unmanaged conditions.
ILLE SQ UAR
1. The bar dissected, looking from Hartford Avenue. Notion of ﬁltering from street presence, to human dwelling, living machine, then wild. 2. The Woonsaquatucket river is prone to ﬂooding, calling for the management of rainwater. In this scheme, the landscape will create a lower run-oﬀ coeﬃciency and manage greater amounts of rainwater as the land is further reclaimed by foliage over time. 3. The aperture widens, moving in section from urban to wild. 4. Shading masks describe decreasing infrastructural presence as one moves into the wild.
Mixed-use typologies reconcile the present-day random occupation of the mills. Disrelated, yet adjacent, programslive, work, wildlife- consciously co-existwithin the unit and the aggregation. Work touches the public ground, and living is raised- the acsension ceremonialized and made aware through a half-drop mediator. These halfdrops also create half-scale openings for the occupation of wildlife bleeding into the mass, and living machines that ďŹ lter river water entering and leaving the units.
A solar roof is made from PV panels that follow the grid of the aggregation, which is tilted to a single-sided parapet to collect solar gains from the south. Lightwells feed outside into the public hallway, making possible a natural ventilation system. Questioning the longjevity of automobiles, parking is not compartmentalized, but rather co-exists as empty space adjacent to closed spaces, so that it can welcome programmatic change and thus exist as a more sustainable structure.
The hallway is in flux. The light wells create a public. The occupants reside above. A buffer space mediates the programs, always visually aware. The wild is adjacent.
1. Interior void, and paths that cross the river to allow dwellers to experience the green landscape. 2. Elevation relating to programs and their privacy. 3. Extending bar end to face as street frontage into Olneyville square. 4. Green and commercial publics meet, further activated with intersecting circulation. 5. A partial bar diagram of parking- reading as planes in which solids above hover over the ground.
The drawing board which navigates the problem at multiple scales. Exploration through each scale sparks the re-consider-
ation of another. The process is thus non-linear, involving multiple departures and
2. Mass/Schema 3. Natural Systems
re-visitations of decisions.
4. Circulation 5. Aggregation
ink distillation Observing phenomena and constructing design principles. 1
The simple behavior of ink distilled in a jar of water was observed, which gave rise to a structural syntax. This vocabulary was constructed from compression, tension and surface members. The phenomena was ďŹ rst observed as a system of physical forces. A single droplet enters a container, which holds an existing body, and pulls on its surface. The droplet separates and transforms, though still anchored at the origin (which itself, begins to dislocate). This system was explored through diďŹ€erent means of framed representation. The event was then understood through the path; the movement ink and water represented through an animation of lines. Extrapolated curves were explored as a system that can continue to grow and mimic the two players. Curves were extrapolated from previous curves, resulting in tighter curves. The expansion of inner curves have a direct impact on the outer ones, resulting in an expansion of two interdependent elements. The path was explored through various drawings (eg. cut plans to reveal initial central density, the dispersion of substance over time, and the directionality of the movement). The combination of these understandings make up the new tectonic, constructed with interdependent compression, tension, surface elements. Wooden dowels are erected by tension and ground the structure. Looping surfaces resist the compressive force of dowels meeting.
Cutting the path
Framing compression and tension
Building the body
The logic is explored through the sequence and density of lines; by means of animation (left) and image-making (top).
Behavior from 100,000 lines
New tectonic that can expand to occupy space, and
contract to compact-ness (superimposed). 9.
Sequence of ink viscosity in the container.
10. Sequence of ink tectonic (from superimposed).
Ink droplets descend from the surface of the water in a rotational movement,
releasing pockets of substance into the body.
Water becomes bone, ink becomes skin. Or is it the other way round?
Separate strands are bounded together by tension, and thus form a common swirling rhythm.
The strands collapse as they reach the bottom, axnd proceed to deflect upwards.
The substance, once viscous, begins to thin as it further occupies the container,
dispersing into translucency.
ultimate frisbee An investigation of space as the product of the ritual that occupies it. The spatial conditions of a single game of ultimate frisbee was explored through a series of drawing and modeling exercises. These explorations arrive at a new way to understand the space of the game.
1. The notation of a single frisbee game where spatial conditions of players and frisbee are unraveled into a single sequential, musical score. 2. The superimposition of these movements into one axonometric image, demonstrating overlaps and central density. 3. A model deploying the tectonics of these spatial observations.
Framed movements co-existing and collapsing into one another generate a tectonic vocabulary. This becomes the precursor for a physical model that encapsulates the playing of ultimate frisbee.
spatial adjacencies A library in downtown Providence, which generates a new idea or commentary on the library of the present.
The driving concept of the project is the sense of the other , which is deďŹ ned as the awareness of spatial adjacencies between opposites, without a revelation of the whole. Spaces indirectly participate with one another through the logic of openings and cuts, giving the inhabitant a constant sense of spaces beyond. These adjacencies program the library by consolidating two of it s opposing programs; the book and non-book. The notion of the book as a governing entity of libraries is disappearing, and thus in this particular library, the action of pushing back books is explored through spatial adjacencies. The awareness of its presence always exists, although not directly encountered.
1. Initial diagram of openings and their tectonic order. 2. Interior cuts and adjacencies. 3. The library in downtown, the non-book elevation as more visually accessible, and the book as more elusive. 4. Plans and Grounding 5. Split section of library
< Openings allude to parts of other spaces without a revelation of the whole. The ground slips in, and the building is lifted to allude to street walkers of the books within. > The building in the context of its green and infrastructural surroundings, and the relationship of book-ness to circulation on the street and upper levels.
Upon entry, book-ness is in hiding. Small revelations anticipate their discovery. The path leads a journey into the library.
The drawing board used to test the logic of openings and cuts against perspectives, and to structure and conceptualize working cores and egress. Spatial adjacencies, and penetration of light and air was also imagined through sketching.
the exposé sculpture garden A proposal to transform the existing space of 2nd life store into a sculpture garden for the Exposé gallery- with the intervention itself being sculptural.
Inhabiting the ground ﬂoor of 204 Westminster is 2nd life, a student-run secondhand materials store. It sits directly underneath a student-run gallery called Expose, which is accessible by a small elevator located in the space adjacent to the store. 5 columns exist as structural support for the building and the ground ﬂoor is separated into store and basement. The design aspires to generate an unspoken invitation between the two spaces, and become a sculpture in itself. Gallery mongers of Exposé overlook into the garden from above. Streetmongers wandering into the garden are also able to look up into the gallery. Without a physical mode of access, the two spaces connect through visual accessibility and are able to merge programmatically. The inhabitation of the above space thus animates the cloud and shapes the environment of the garden below.
1. Looking into the cloud from Expose, and into the space below. 2. Diagrammatic model showing a cut portion of the concaved cloud space and its relationship to the ground. Several panels jut upwards to transform the ground into an interactive landscape; hardscape becomes more softscape.
3. The building made up of 4 storeys, with the cloud as a habitable space and concavity of the upstairs gallery.
4. The cloud illuminates the space from above and casts a shadow. Cuts in the ﬂoor break the shadow, disrupting the geometric cloud and turning its projection into a more ethereal, ﬂeeting presence. 5. The structure of the cloud made from tensioned steel cables anchored to various points of the space. 6. Pre-intervention space. 7. As the installation carves away at the ceiling, pre-existing light ﬁxtures diminish. The lighting of the garden space is therefore dependent on the room above. It is a perpetually dim space, but the curation of gallery
lighting activates the environment of the garden below; they are always in sync. 8. The current gallery entrance is separate from the store-front. 2ND LIFT STORE FLOOR PLAN SCALE : 1/8"=1'-0"
analysis of la tourette
The journey of this particular analysis was about discovering the building through means of drawing, and reconstructing the things
Knowing through drawing
that were discovered without necessarily having visited the building itself. All forms of records of the spaces; plans and sections,
Sainte Marie de La Tourette is a Dominican Order priory on
photographs, writings aided in the construction of understanding.
a hillside near Lyon, France designed by architects Le Cor-
Experience therefore was the product of a drawing process, which
busier and Iannis Xenakis and constructed between 1956
included both digital and hand-drafted means, from orthographics,
and 1960. Inhabited by silent monks, it contains all the parts
to axonometrics, exploded axonometrics, and hybrid drawings to
that construct a place of worship and home.
ďŹ nd a sense of place.
Hand exploded axonometric
projections A conversation between the dialog and the digital, which spurred a reflection about the perception of measured data.
The process began with composing a still life from a set of objects. These objects were then depicted in a drawing, and the image created was projected back into the still life. An analog measuring tool
was developed to measure this phenomenon, and the conversation began. A grid coordinate established in a cube was put on top of the still life in order to take measure. Strings were used to measure around the object, and the data was transferred into a digital model. The combination of measured sections began to frame a void in which objects previously stood. The limitations of the measuring tool results in the inability to measure in crevices. Objects could not be removed from the still life. Measurements thus could only be taken around the object, in hopes of generating the tightest possible geometry around the object (in some cases, large planes). Known geometries cut into other planes originating from other sections. The excess was then removed to generate the most precise form. In the still life, the main interests perpetuated around the object. The means of arriving at the object, a scaďŹ€olding of 2D lines that together form a 3D world, becomes excess.
1. Digital model as a summation of all measure. 2. Measuring process by placing the instrument over the phenomena. The act of measure creates a 3-dimensional, tangible projection. 3. Using previous information as a way to cut at and ďŹ nd form. 4. The phenomena as not just form, but the intangible. Light, shadow, transparency and anamorphism were also mapped. 5. Core model taken from a 2-inch wide portion of the model. Linear elements of measure become structure, and voids become planes of building opacity, which map out the spatial conditions of the apparatus. Excess becomes bone, object becomes skin. This recreation of the digital model becomes a new projection.
Questions to end withIs this a metaphor for how we build? What do we do with what we would consider to be excess? object
Is it waste, or something different?
Repeated visits to the greenhouse over a 3 week course led to a close encounter with several plants. DiďŹ€erent moments, experienced over diďŹ€erent days with the same plants were recorded and collaged into one composition.
1. Pines, charcoal powder
50 x 40
2. Honeysuckle, graphite bar
40 x 50
contemplating spectacle Recollecting and reflecting upon observations throughout Kyoto and the Seto Inland Sea, which were invesgtigated through collage, as both medium and idea.
A spectacle is a striking performance or display that provides corporeal engagement for the viewer. It can derive from a conscious act of curation, but
also can occur by chance. Opposite of normalcy and ordinariness, spectacles are foreign to regular routine. Contemplation, a component of, but not synonymous with spectacle involves a thorough, introspective reﬂection of what is being spectated to generate an understanding of more intangible ideas. As an outward performance of tangible things, the spectacle propels this understanding. While the entertainment component of a spectacle may only be experienced a few times before it is no longer so, it is the contemplation of it that lingers. Kyoto and the art islands, as sites of observation are meccas for tourism populated with spectacles that are curated for consumption and leisure, as well as ones produced from pre-existing local routine. Both activate the ﬁeld in which they lie, and distills for the traveler subjects of contemplation. For instance, one is propelled to contemplate the presence of nature in Teshima museum, whose curated openings isolate an image of foliage, and string installation materialises the visually imperceptible movement of air. One may run into contemplation by circumstance in a site of Machiya removal, where lingering infrastructural fragments propel a imaginary reconstruction of previous inhabitation. Taking the trajectory of observation as a ﬁeld of spectacles, the technique of collage is employed to re-compose another for the spectator to move through. Through compositional cues, the work attempts to investigate the relationship between curated and circumstantial spectacles, how their spatial conditions activate the ﬁeld in which they lie, and the ways in which they give rise to contemplation.
Collage composition translating places of observation into a set of formal relationships.
The Machiya is a wooden townhouse typology found throughout Kyoto. They are usually narrow, long houses that exist next to others of its kind, the adjacencies making up a fabric of the city. Alas, they are currently diminishing in presence with diďŹƒcult maintenance, their demolitions resulting in houses being carved away in between others. I was intrigued by the infrastructural, material traces that were found on the sides of Machiyas, now exposed because of the demolition of its neighbors. These traces begin to re-construct the infrastructure that was there before.
3. Sketches done on site, and editted from a personal recollection of the place. Subjects include: Yokoo House Katsura Imperial Villa Chichu Art Museum Fushimi Inari Taisha Sagawa Museum Sereinsho Art Museum Teshima dumping site Port of Naoshima Kawai Kanjiroâ€™s House
Published on Feb 27, 2018
Published on Feb 27, 2018
Developing body of work from my BARCH experience at the Rhode Island School of Design. CV upon request.