OBSERVE
celestial observation as a basis for form
scott townsend 500283394
CONTENTS
abstract concept shoji generation permutation imagery appendix
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Celestial navigation mainly concerns itself with the angular positioning of stars in relation to a specific position on the Earth's surface. Due to inefficiencies of calculating latitude and longitude separately, the circle of position technique was fully developed in the 1830s after centuries of navigation at sea, incorporating both latitude and longitude simultaneously. In short, this strategy incorporated at least two stars in the sky, where the angle from the horizon would be calculated and drawn across the Earth. If one measured the elevation of a number of stars at a particular location, they would find a place on the globe where all these circles would cross paths. Where these 'rings' would cross on the Earth's surface would be the pinpointed location of the observer. Using these older methods of angular way-finding as a generative form-finding technique, I wish to design an amateur observatory that will house an observation deck. This will be intended as a small studio designed in a setting removed from the urban environment, as is the nature of astronomy and other observational sciences. Through research conducted on the mathematical relationships common to way finding, a series of screen assemblies will be produced. These screens will essentially play heavily on lighting conditions within the studio, as well as explore a variety of spatial qualities that will provide views essential to the observational nature of the design.
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conception
realization
derivation
calculation
abstraction
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In Japanese culture, Shoji are used within the architectural realm as a sensory catalyst; delineating spaces not just on a physical level, but on a psychological and spiritual level as well. Depending on the direction of illumination, the surface of the wood or bamboo material of the Kumiko (wooden lattice) reveals a beautiful grain and casts its diffused shadow within the space.
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The Kumiko lattice pieces are typically woven to provide the sliding screens lateral stability and strength. Shoji screens are free of mechanical fasteners. Each set withhold hundreds of mortises, tenons, and dado joints which require a certain constructed precision; especially when using traditional hand tools. Precise craftsmanship is achieved through good posture, inner calmness and an unwavering attentiveness. photography: joy fajardo 5
GENERATION
In essence, the screens are designed to observe and generate themselves from an initial reference point. As the parameters evolve, their overall porosity can be manipulated in order to create unique viewing conditions through the assembly.
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The reference point initially generates a circle which will become the base geometry for the overall design.
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Based on a randomized function of distance to the reference geometry, multiple circles are shifted in the Y-axis to initiate a cluster.
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In a similar fashion, another randomized function is applied to the X-axis in order to complete the basic cluster geometry for the form generation.
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Centre points are calculated from the cluster of circles. This defines a new reference factor for the point system. As the geometry begins to take shape, the generation of form will pay homage to the ‘circle of positions’ method as the circles begin to overlap and intersect.
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Another randomized function is applied to scale the circles based from their center points. As star clusters are naturally random, the magnitude and distance from one another begin to play a large role for natural way-finding.
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Intersection points are derived from the overlapping geometry. The circle of positions method is largely based on the intersecting conditions of circular patterns derived from star locations. A navigator would use these points and their distances from one another to deduce their position within the celestial sphere.
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Star formations are usually key components to identifying patterns within the sky. It is from these patterns or constellations from which stars are commonly used for way-finding purposes. Based on proximity, linear formations are drawn between clusters in proximity to each other. This basic linear geometry will be the influence for the fractured screen designs.
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As the dimensions are drawn for the panel sizing, the linear formations are extended to the boundaries of the screen. Clusters found close together generate a much thicker pattern which can be manipulated in accordance to the point clusters, ultimately varying the porosity of the screens.
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The linear geometry is offset to create a constructible slat system that will compose the screen. While generating unique lighting conditions within the studio, views from both inside and out will be managed with the point cluster data unique to each screen. While paying homage to the basic principles of the circle of positions, these elements of the design will create unique spatial conditions within the observation studio.
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This particular form is generated and rendered in 3RD space. The density of the Kumiko and directional light become a key component to the sensory experience. The script that generates the screen can be paramatized to construct an infinite number of variations based on the random cluster functions.
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PERMUTATION
Through a series of iterations, a general form was constructed for the design. In triple-panel systems the assemblies will compose each of the 5m by 3.5m high walls that enclose the observatory. What follows is a portion of the iterative process underwent to realize these goals.
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Initially, a very basic screen density was utilized to discover certain material properties. What was desired was a light paper thin material that was transluscent in nature; a material that could diffuse the light and views but simultaneously create a dynamic shadow battern both on the exterior as well as the interior.
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A certain screen density was chosen for the purposes of the imagery. This perticular density (unique to each panel per wall system) was chosen due to its high density at the closed condition, but relitavely permeable condition while open to the environment.
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As a general spatial parti diagram, an orthagonal design was used in order to maintain the purity of the concepts. This will draw attention from the actual structure to the screens themselves. A strictly orthagonal design also plays contrast to the underlaying form generation as well as the angular Shoji screens.
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AKARI-SHOJI
Traditional Japanese architecture is composed in preference from easily inflammable materials such as earth, paper, wood and bamboo rather than their more permanent counterpart such as stone. Interior spatial elements such as Akari-Shoji sliding components become a movable form; devices that compose a continuum with the outdoor environment in which they can sometimes be located. These elements possess an uncertain quality that adheres to the Japanese aesthetic. 23
KA
Ka; the sense of temporary and transient. Ka reflects the willingness to live confidently by entrusting oneself to the flow of nature while keeping an appropriate distance. It is derived from a view of the ephemeral universe and a sense of order; it accepts that everything is essentially temporary and transient simultaneously. Adoption of this belie is to willingly trust the flow of nature.
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NIGHT
During dark hours the structure acts as a shelter for viewing. While the shadows cast from the Akari-Shoji screens are not apparent on the interior, they do however cast a glow on the exterior. The density of the screens is also altered as they begin to push and pull within the space.
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NIGHT
While the interior environment is closed, the density of the Akari-Shoji generate a sense of intimacy and privacy for studies or other interior functions. This also allows for a hermetic seal in order to keep out harsher elements during study.
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DAY
During daylight hours, the interior condition is transformed. Lighting and shadows generate a certain dynamism that is configured with the orientation of the screens. The shadow density and daylight intensity can be altered by the occupant directly.
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DAY
In the closed condition, the interior is just as dynamic. The interior space can be used for leisure and acts as a shelter from the sun.
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