Bartlett UG2 2016/17_Sam

Field-Controlled Experiential Spatial Systems

Volcanic eruptions at all scales produce droplets of molten lava, which are thrown into the air at high velocity, drawing them into long, delicate strands.

These volcanic glass strands are carried by the wind, often becoming embedded within the basaltic flows from which they originated.

The strands can be carried over long distances by the wind, often accumulating in particular locations. These basaltic glass fibres can be deciphered to give information about the volcano from which they came.

The loosely-ordered entwinement of delicate vol

Pele’s

Produced in today’s society at an industrial scale, glass fibres are often thou Goddess - is a naturally occurring glass fibre. Created when small droplets long, thin strands, Pele’s Hair accumulate in particular lo

lcanic fibres around solid objects

s Hair

ught of as a synthetic material. However Pele’s Hair - named after a Hawaiian of lava are ejected through the air which are then subsequently drawn into ocations and even become embedded in basaltic flows.

Loosely-packed thick optical fibres

Densely-packed mixed optical fibres

Densely-packed thin optical fibres

Translucent Concrete

Light Transmitting Su

The embedding of glass fibres into solid material allows light to be transmitted from on strated here position the fibres in clusters, with little

urface Material Tests

ne side to the other by the principle of internal refraction. Initial experiments demoncontrol over the individual orientations of the fibres.

Light S

A series of studies showing the transform

Studies

mation caused by changing levels of light.

2 Charges: Positive - Negative

Shayna Leib Glasswork: ‘‘Sirocco’’: a mediterranean wind that comes up from the Sahara and can reach hurricane speeds in North Africa and Southern Europe.

4 Charges: 2 Negative, 2 Positive

Field Line E

Field Lines created within Grasshopper form the basis of an orderly control o charges can begin to determine the overall quality and performance of eac patterns o

3 Charges: 2 Negative, 1 Positive

5 Charges: 1 Positive, 4 Negative

Exploration

over the positioning and densities of the fibres. The positionings of the point ch panel. Shayna Leib uses glass to create the flowing, often nature-inspired on the left.

The distribution of the extrusions as seen from above.

The topography is determined by the path which cuts through the base plate; the distance between the path and the extrusions determine the height and the thickness of the fibre.

Variable E

The extrusions of fibres from upon a base plate become controlled in both which carves through the base plate. The topography as crea

Extrusions

thickness and height, as determined by the ‘‘attractor’’; an imaginary path ated by the fibres creates a panel with perspectival viewings.

A rendered view of a panel, imagined as a horizontal surface.

Test 1

Side Approach

Test 2

Impact of Orienta

Further development of the attractor graph experiment shows the potentia

ation on Viewing

al for perspectival views to unfold, either as a vertical or horizontal surface.

Front View

Tit

tle

Textural

The field lines give rise to various levels of texture when viewed from the fro the fib

l Studies

ont. The introduction of more charges creates visually chaotic movements of bres.

Trompe

Teatro Olimpico is a theatre in Northern Italy, contructed between 1580-85. T antiquity. Each street uses Trompe-l’œil false perspectives to provide the illus

e-l’œil

The stage set creates the illusion of looking down the streets from a classical sion of long street views, when in fact each street only extends a few metres.

Viewing angles as seen from the audience.

Auditorium Vi

The theatre is designed such that from any point withi

The archway visible in the background appears to be a similar height to the archway in the foreground from the audience’s perspective; in fact, the diagram above shows the actual difference.

iewing Angles

in the audience, at least one of the streets are visible.

Perspectives & V

Using a simple 2 point charge field pattern, the static fibres that

Viewing Angles

t arise can be experienced differently from each viewing angle.

A view of the fibres from above the panel, with the corresponding field lines shown below.

Field-Forg

Fibres whose characteristics are forged by the properties of the magnetic fie amongst the chaos. The result is a panel whose feeli

ged Fibres

eld lines. Negative charges repel the fibres, creating a predetermined order ing and texture is determined by the viewing angle.

A rendered view of the panel from a potential viewing angle, revealing the ordered yet chaotic movement of the fibres.

Convolutio

The field lines created by the point charges influence the properties of the fi viewed from particular angles. The interaction of th

Fibres interlock and cascade over eachother in highly dense regions, created by their attraction to the positive charge.

Negative charges repel the fibres, creating areas of sparsity. Field lines created by the repulsion of multiple like charges give rise to sweeping movements of the fibres which clash with other movements of fibres.

From particular viewing angles, the fibres appear to descend into chaos, whereas from other angles, the fibres transcend into order.

on of Fibres

ibres, creating flowing, ordered movements which descend into chaos when hese flowing movements create distinctive regions.

Evolving Pe

As a panelized surface, the emphasis is upon creating a static yet performativ entanglement of fibres into a su

erspective

ve wall; a play upon perspective, in which the surface evolves from a chaotic urface of highly ordered fibres.

Tit

tle

Tit

tle

Large-Sca

The charges are positioned such that the flowing patterns of the fibres can be ally pos

ale Fields

egin to create the illusion that the surface has a far greater depth than it actussesses.

Translucent Fi

With reference to the field line systems, surfaces of translucent (glass or

Section through a possible piece of wall, The wall is naturally illuminated from one side

ibrous Surface

r acrylic) fibres/rods create a highly ordered, light transmitting surface.

Horizontal Extrus

Horizontal extrusions allow for dramatic shifts in viewing experience when creates a strong juxtaposition betw

sion Investigation

one moves from one position along the wall to another. Directional lighting ween the two extrusion directions.

Mapping Colour Acc

A different colour is mapped onto each side of the strands, emphasising the experience o

cording to Direction

e clashes between the field lines and further linking viewing angle with the of the surface.

Movement o

Flowing Wall

Cartridge paper is used to create extrusions of variable height from a flexibl pattern, creating insights into the w

of the base plate, along with the viewing angle, changes the quaity of the strips.

Investigation

le base plate; the curvature of the base plate alters the quality of the flowing wall from particular viewing angles.

The Strips are hooked into the base plate, allowing the angle to be controlled

Extrusio

Extrusions are folded, hooked

on Detail

d and fixed into the base plate.

Missing Extrusions c face, visible benea

Inbetween

Missing Extrusions create ‘‘windows’’ through the surface; the

create ‘‘windows’’ through the surath the fibres at the correct angle

the Fibres

ese create an interchange of light between the two surfaces.

Light perforates the outer shell of the building, illuminating the strands and drawing on

Bruder Klaus Field Chapel - Peter Zumthor

Translucent Surface

The extrusions are mapped around simple geometric spaces, positioned suc nated by the bright lights of the city, light is siphoned into the structur

ne’s attention to the flowing movements of the field strands as seen from different angles.

es; Internal Spaces

ch as to create different viewing experiences from different posititons. Illumire; the source of the light is obscure until viewed from a certain angle.

The field line pattern from which the above facade was carved.

Field-Contro

The field lines project their language onto simple facades and surfaces, car Horizontal field lines give rise to the extrusions which, depending upon the v ing of the field lines into vertical movements be

olled Facades

rving out architectural details according to the properties of the field lines. viewing angle, conceal or reveal the windows through the surface; the bendegins to form more distinct cavities and louvres.

The Noctur In this consideration, the lights from the opposite side of the

rnal Facade surface form the basis for the illumination of the extrusions.

Facade View

As one moves from one side of the facade to the other, the perception of the s upon the field pattern which dicta

wing Angles

surface changes as windows either unveil or conceal themselves, depending ates the topography of the surface.

The Nocturn

The complex geometries created by the field lines are combined to form a lighting; by night time, the vibrant, dynamic light of the city is cast through the rien

nal Pavilion

pavilion whose internal experience is highly dependant upon the external e windows, illuminating the strands and creating a constantly changing expence.

A View from Insi

ide the Pavilion

Centre of Cinem

Situated on a site which is experienced by users moving both at low and high language to create a collection of cinema spaces whilst integ

Samuel

UG

matic Projections

h speed, the centre of cinematic projections adopts a particular architectural grating the site’s original use as a major advertising location.

l Martin

G2

1 km

N

Site Location

Site Lo

ocation

Site Location: An

The site is positioned upon the exposed edge o pollution created by two of Mexico City’s busi trance to the Contituyentes Metro Station. and i rou

n Exposed Route

of a quiet neighbourhood; subject to noise and iest motorways. The site presides over the enis consequently also a highly active pedestrian ute.

1:500

Site P

Plan

Existing Site

The site is currently utilized both formally and large volume of commuters

Advertising Board

Existing Tenements; Derelict and/or Storage Space

Overall Site Footprint

Entrance to the Constituyentes Metro station

e Functions

d informally as an advertising position, with a s passing the site each day.

A Stepped Topography

Site Segm

The site operates in stages, resulting from both the metro station, and hence the site divides int which will be used to help defin

Stage 1: Primary Site / Internal Spaces

Stage 2: Secluded (From the Urban City) yet Outdoor Area, for Public Performances

Stage 3: External Landscaped Area; Entrance to Metro

mentation

h the topography of the site and the entrance to to 3 segments at varying topographical heights ne the circulation of the building.

Metro Entrance

Pedestrian Routes

Motorists

Site Circ

As a result of the site’s location, the site is experienced by people moving at pedestrians moving at a slow

culation

t various speeds, whether that be the motorists moving at high speed, or the wer pace throughout the site.

Pedestrian Routes Pedestrians, many of whom leave or enter the metro, experience the site at a slower pace than the motorists and hence there is a closer interaction with the site, often beyond the visual elements.

Motorist Route Motorists often experience the site at a high speed, experiencing only a momentary glimpse of the site. As a result, the interaction between the site and the motorist is mostly visual.

A motorist’s experience of the site; advertisement boards reach into the sky above the concrete retaining walls.

N

Scenes from t

As the traveler passes beneath the motorway bridge, a momentary glimpse visi

The viewing positions corresponding to the four scenes below, from left to right.

the Motorway

of the advertising board is witnessed before it quickly fades from the line of ion.

Pedestrian Route

Vehicular Route

Cineteca Nacional creates a public outdoor cinema space within its g ‘‘amphitheatre’’, whilst simple in layout, creates a unique viewing envi

Cineteca

The grounds of Cineteca Nacional act as a public route, whilst also containing people, as shown in th

grounds, as well as hosting numerous indoor cinemas. This outdoor ironment suited to Mexico’s warm climate.

Nacional

g an outdoor screening area; this public space is popular with small groups of he above photograph.

Facade View

As one moves from one side of the facade to the other, the perception of the s upon the field pattern which dicta

wing Angles

surface changes as windows either unveil or conceal themselves, depending ates the topography of the surface.

Missing Extrusions c face, visible benea

Inbetween

Missing Extrusions create ‘‘windows’’ through the surface; th

create ‘‘windows’’ through the surath the fibres at the correct angle

n the Fibres

hese create an interchange of light between the two surfaces.

An initial sketch showing the variation in program throughout the building and the general form

A section showing the program with reference to the ground level

Initial Sk

ketches

INITIAL PROGRAM

Indoor Cinema Space; sunken into the ground for acoustic isolation

Outdoor, private performance / screening stage; used for organized live music or for a private outdoor film screening

Landscaped public screening gardens; an area which acts as a through-route for pedestrians, designed with a more casual relationship between the film and the pedestrians

FACADE SKETCH Advertising boards, which vary in scale depending upon the speed of viewer who it targets, conceal a night-activated facade. Using the language from the first project, light from within the cinema illuminates strands on the outside of the cinema.

Small-scale outdoor performance space

Performer’s residences

Metro Ent

Initial Proposal: a

The facade is hidden to sh

s

Entrance

trance Indoor Cinema

a Basic Diagram

how the internal program

Plan view of an initial proposal

Potential Stag

The original design included a flexibility between p

Larger stage; accessed only at certain times of the day.

A small stage connects the outdoors with an indoor public space at the ground floor level. Above the stage is a cone which points towards the evening sun, which casts a spotlight onto the main stage.

Public Stages for small scale, often casual performances, particularly music performances hence the circular format.

N

ging Formats

performance stages and spaces for screening films.

‘‘The Wave’’ public performance space; using derelict land within urban locations to create small communal spaces

Entrance

Views towards stage / screening area, and across Mexico City.

Plan view with the rooflines drawn over

Potential Ro

oof Design

Roof Design The thin beams which have been extruded from the outline below are shaped as such as to control the flow of the space, affecting to spatial qualities of the interior, with glass placed strategically above the structure to allow light into the space.

Roof Outline The lines which are drawn over the original roof follow the flow of the building, terminating at key destinations throughout the space; for example, the facade which overlooks Mexico City, the route which leads to the cafe garden, or the route that takes one through to the viewing deck, from which one can see the outdoor cinema.

Original Roof The original roof is shaped strategically, however it does not incorporate the intended architectural language. It is intended that the roof could blend into the facade’s panels.

Roof Struct

A physical model of the roof struc

ture Model

cture for the first building outline.

Initial Roof - Facad

de Interface Model

The roof structure flows upwards at the entrance to create a l

The roof follows the circulation throughout the building, link circulation, and speed of viewing.

Roof Lan

As as a continuation of the facade’s language, glulam beams flow through

larger, more open space.

king back to the site’s observation regarding movement,

nguage

hout the space and integrate into the facade to create ‘‘viewing windows’’.

Roof Str

Maintenance Catwalk Gutter

Glulam

Fabric Light Diffuser

A section briefly describing the light’s entrance into the cafe through the roof structure. The light could be diffused by the curved glass panels, and further diffused by fabric panels which are suspended from the roof.

ructure

Outdoor Cine

ema Fragment

Concealed

Openings which are concealed beneath the outdoor cin

Projections

nema’s walls are used to fire the screening projections.

Viewing W

Windows periodically extrude from the building’s envelope, creating space into the outdoor

Windows

es in which one can seat themselves and look either across the Metropolis or r amphitheatre.

Plan View showing part of the facade in relation to the motorway below.

Site observation precedent

Roadside P

Private projection spaces are contained along the facade of the bui

Projections

ilding, which project advertisements onto the larger facade panels.

Outdoor Cinema Space

Access to indoor Cinema

PRIVATE SPACE Cinema Offices + Projection Spaces

Circulation

This fragment shows a key circulation space throughout the building; the a space, and the private space from which

Cafe, Building Entrance

Fire Escape

Road

n Fragment

access to the outdoor cinema, the route through the building to the internal the outdoor cinema projections are cast.

Development from model; roof structure ‘‘cascades’’ towards the low of ground.

Fragment Development; C

The building’s roofing structure cascad

wer levels

Cascading Roof Structure

des down towards the landscaped area.

Roof structure forms windows upon meeting the facade; views pointing towards Mexico City & Chapultepec Park

Entrance to Metro

Fire Escape, visually concealed from the outside by the strands

Short section through the Entrance to the building / the cinema.

Fragment Model, Exterio

or / Interior Relationship

Strands increase in size towards the roofline, forming windows in the cafe / communal area.

Concealed Cinema Windows

Pedestrian Path

Light-emitting

Small windows perforate the auditorium’s outer wall, which are covered by pa by these panels, creating a shimmering

Building Entrance, above the facade

Viewing the facade

g Auditorium

anels coated with copper sheets. Light from within the auditorium is reflected facade display visible from the outside.

Copper plating allows for the light to easily bounce off the surface, whilst also confronting the

Brass pieces layered onto balsa wood strips, which are hinged to the facade

Facade M

e adjacent motorway.

Materiality

The plate is hinged to a base plate which is cast into a concrete wall, supported by rebar

Night-time

Day-time

Peering into

o the Cinema

Roadside Elevation

Auditorium / Metro Entrnace

Building Envelope

Model including outdoor area