Aesthetic of Rain

1

Section title

Aesthetic of Rain

by MINGHAO LIU

Generative Folly

3

CSA Research Report

Project Details Project Lead:

Minghao Liu

Design Participants:

Lucy Alice Jones Owain Caruana-Davies

Title:

Aesthetic of Rain

Type:

Collaborative build and public architectural installation

Location:

UCA Canterbury Central Quad

Project Dates:

16 August - 17 August Structure installed on site 18 - 24 August Show Build 25 August Structure open to pubilc

Design Period:

2 June 2018 - 10 August 2018

Budget:

ÂŁ400

Scale:

3m x 4m x 1.6m

Support:

University for the Creative Arts

6

Aesthetic of Rain

Research Agenda and Process Overview This installation aims to change people's experience on rainy days by engaging their interest through the use of sound ďźŒand exploring traditional technique of bamboo and timber constrction.

It is well known that the weather affects people's mood. But in fact, different people may have different experiences under the same weather conditions. For example, some people don't like dry weather expecting rain because over-drying is not good for the skin. However, some people like to dry, and the dry climate can support them to go outdoors. Similarly, people in different regions have different feelings in the same weather conditions.

Research Questions 1.

How can water form rainfall be used to generate movement and sound to create an experience inside the pavilionďź&#x;

2.

How can a pavilion space change people's experience and produce a poetic experience on rainy days?

3.

How can traditional techniques including "no nails" timber joints be used in small scale construction?

Research Statement

7

9

Aesthetic of Rain

The idea is to explore, record and analyse the water of rain using to create new experience and exploring traditional timber techniques.

To prototype this system, I have chosen to survey and test a material which can maintain in the rain and make people feel frendly---of course it should be nature material. Finally I choose wood and bamboo as my final peoject material.

The “poetic pavilion� would preserve the original history of the timber techniques and maintain that connection of the past and the persent. A water system can be continuously operated, in this case water is recycled harvested from rainfall. water is both harvested from natural rainfall and recycled by a pump.

Methodologies

1.

Design roof area to collect rainfall.

2.

Design gutter-system to collect and distribute water.

3.

Explore and develop traditional carpentry.

4.

prototype and text bamboo Shishi-sodshi device to create kinetic and sound effect from water power.

Research Statement

9

10

Aesthetic of Rain

Design Proposal The peoposed installation is to create a space to sit and relax through the construction of an intervention which connects to rainfall; A common pavilion use for every people who are depressed on rainy days.

are sad or irritable in the rain will come in and are attracted by the unthinkable sound of nature, which will eventually change their irritable experience.

When displayed, the final design will be added to a recyclable The installation will enable people water system. The water system to enjoy the music that bamboo will use water pumps and Shishi-odoshi make. The design movable ditches to connect the will be executed by means of power supply to achieve the woodshop and tool like the water cycle. As a result, the final traditional carpenter can use it. design can operate normally even if it is not rainy, so that visitors Finally, the design should be built can feel the charm of rainy days. on the outdoor lawn. When it rains, the roof can help people to shelter from the rain and let shish-odoshi work. People who

Key technological outcomes of proposal

1.

Use traditional woodworking technology to complete building structureďź&#x;(Without use nails and glue as much as possible)

2.

Build a foundation can support building for a year? (I need exhibit final thing on the ground which in front of our school)

3.

How can safely and effectively channell water for use in kinetic device?

Fig.02 (right) Night TrainďźŒ 2016

11

Proposal & Context

Design Research Context Field of Work Claire Smith(2005) stated that, 'The phrase "light and sound space" appears to represent the artist's preference for space interiors. In this space, the audience's perception of accidents (sunlight, sound and temperature) has become the content of the work. And in Jonthan Brown's(2012) word, light and sound 'The simplest way to stimulate the senses is to stimulate their senses.

Timber and working with rain as a medium or element that is the most expressive combination.

Wood as a natural material can give people a sense of intimacy.

Work by others Participants of the Building Works Unit built a 13–metre bridge with a movable carriage that in four different positions serves various functions and activates the space around it. At one end Night Train is a table that can be used for site meetings, dinners or celebrations, but at the other end — an overhang into the Castle Park. The carriage is a source of sound and light that accentuates one of the symbols of the brewery — the chimney, and blends the border between the brewery and the park. Night Train is built of locally sourced pine timber and metal details.

Fig.02

12

Aesthetic of Rain

Design Methodologies The exploration and development of traditional carpentry skills and techniques has been central to the process of design. Each of those points made by with a cutting machine and a machine that can bend a metal stick in the metal studio. The challenge is how to make the whole building structure strong enough and safe? Because the building will be on display for a long time, and visitors and children will walk in the building .The inspiration for the design comes from the traditional Japanese pillar making tool, called Shishi-odoshi. This tool appeared long ago in farmland in Japan and China, where farmers used them to irrigate, and could make noises to expel animals.

In order to make the whole building strong enough, I studied a lot of traditional wood technology and used it on every node. The nodes of the whole building have 5 different forms, of which 5 nodes have to bear the weight of the whole building and ensure the safety of the people.

Foundation's wood uses the thickest 84*45 to ensure that the building does not shake. On this basis, all joint are interconnected and use traditional technology instead of nails.

Critical Design Elements 1.

A total of 13 different sizes of wood.

2.

Test what kind material can make noise.

3.

Choosing timber materials and creating traditional wood joints to produce 22 different connection types in 30 days will be crucial.

4.

Use pump to create a channellfor use in kinetic device and Recycle water.

Design Methodologies

13

14

Aesthetic of Rain

Design Methodologies

15

16

Aesthetic of Rain

Design Methodologies

17

18

Aesthetic of Rain

Prototyping and testing The aim has been to create a space using this system, on which people can sit and relax under the pavilion and listen the voice that Shishi-odoshi made in rainy day.

The foundation joints aroundd the places where prople would though under the space.So the structure of the connection point must be strong enough, otherwise there will be danger of damaging people.

This design includes 12 foundation bar where the installation touches the grass. Each of those points made by with a cutting

machine and a machine that can bend a metal stick in the metal studio. The challenge is how to make the whole building structure strong enough and safe?

Because the building will be on display for a long time, and visitors and children will walk in the building .The inspiration for the design comes from the traditional Japanese pillar making tool, called Shishi-odoshi. This tool appeared long ago in farmland in Japan and China, where farmers used them to irrigate, and could make noises to expel animals.

Prototyping and testing

19

20

Aesthetic of Rain

Foundation Because the exhibition is on the ground, it is necessary to think of the foundation structure so that the whole building can be safely fixed on the ground. Each joins is connected to the foundation.

21

Fabrication Techniques

Fabrication Techniques Reusable Mould making The design consists of 2 connection roof to produce 22 types of generic different connection types. Each joints will connect fundation or roofs, requiring the connections to support 1:1 scale final project's weight.

The designed joints is traditional carpentry skill made. The first part is to make a model. The model consists of two roofs, a foundation, and all joints. All of these should be made by traditional woodworking technology, and glue should be allowed in the process of making models.

After making the model, we start to cut the wood that has been bought by reference to the scale and size of the model. The newly purchased timber is very long and needs to be cut into 1:1 ratio at woodshop.

Because the timber as a foundation needs to bear all the weight, its size is the thickest among all the timber. After cutting the foundation into 6 2.4m sizes, a 1.5cm grooves are cut out by means of tools at each end of the foundation wood. This is used to inlay the rebar, which is used to fix the foundation.

22

Aesthetic of Rain

Fabrication Techniques

23

24

Aesthetic of Rain

Fabrication Techniques

25

26

Aesthetic of Rain

Control System Final design was originally without a water circulating system. Because he works only on rainy days and brings people different experiences. But considering that it's not going to be rainy all the time, think of a system that allows final design to work even if it doesn't rain on a rainy day - the water circulating system.

The system consists of 5 parts -roof, pump, water gather pool, water tube, shishi-odoshi. The working principle is to make a suitable size reservoir and put it under shishi-odoshi and pump.

Place the other end of the water pipe connected to the pump to the top of the roof (3m).

When the pump operates, the water will leave from the top to the two roof junction, and the water flows down the roof to be collected at the intersection of the two roof and flows down to the shishi-odoshi.

When shishi-odoshi's bamboo tube is full of water, the side of the bamboo pipe falls on the water side, and the water flows into the reservoir. Pump then pumped the reservoir water through the water pipe to the top to achieve the water circulate.

Control System

27

28

Aesthetic of Rain

Occupation and Interaction The installation is located at the lawn square of the creative University of the Arts. Students like to discuss homework and lunch on the lawn, provided that there is no rain. The facility provides them with shelter from the rain, which is in front of the teaching building. Next to the trees on the playground, this is to make people feel relaxed and feel natural.

The installation has minimum aesthetical impact to the site by blending well within the landscape by carefully selecting materials such as transparent resin for connectors, slender pine dowels and raw canvas.

There is no damage or physical modification to the Lawn in front of the teaching building making the installation an interesting space to connect to the water.

Occupation and Interaction

29

30

Aesthetic of Rain

Dissemination and Future Work The installation is designed to change people's experience of rainy days by collecting rainwater from the roof and allowing shishi-osishi to move and make sounds. The challenge is not to use modern woodworking (without mechanical cutting and use), but to refer all structures to traditional woodworking techniques.

As in the Renaissance, artists have brought a renewed focus on Greek sculpture and ushered in a new era of great art. This installation also hopes that people can care more about traditional wood technology and pay more atten-

Dissemination and Future Work

31

32

Aesthetic of Rain

Materials and Suppliers C16 CLS Timber (From UCA, Canterbury) 2200*80*65mm ×5 C16 CLS Timber (From UCA, Canterbury) 3500*20*40mm ×22 C16 CLS Timber (From UCA, Canterbury) 2000*40*60mm ×5 C16 CLS Timber (From UCA, Canterbury) 5000*40*60mm ×5 C16 CLS Timber (From UCA, Canterbury) 4500*84*45mm ×10 C16 CLS Timber (From UCA, Canterbury) 3300*40*20mm ×6 C16 CLS Timber (From UCA, Canterbury) 3090*120*20mm ×25 C16 CLS Timber (From UCA, Canterbury) 2000*40*20mm ×5 C16 CLS Timber (From UCA, Canterbury) 3500*20*20mm ×10 C16 CLS Timber (From B&Q, Canterbury) 1200*60*20mm ×10 CLEAR POLYCARBONATE CORRUGATED ROOFING SHEET (From B&Q, Canterbury) 2000*950mm ×5 Rebar (From UCA, Canterbury) 68*8mm ×12 KARCHER SP7 DIRTY WATER PUMP (From B&Q, Canterbury) 750 W power output with a 15000l/min l/h flow rate

Image Credits & Bibliography

Image Credits all figure are copyright the author unless noted as follows: Figure 02: copy to: https://www.rtusummerschool.lv/Night-Train

Bibliography Ekins(2006) The transgender phenomenon. London ; Thousand Oaks, Calif. : SAGE Publications.

Fuller M, Harwood G, 2010, "Pits to bits: an interview with Graham Harwood," available at http://www.spc.org/fuller/interviews/pits-to-bits-interview-with-graham-harwood/ Klein, N., 2015. Introduction to This Changes Everything. Capitalism versus the climate. London: Penguin. Pp. 1-30.

Gabrys J, Hawkins G, Michael M (Eds), 2013 Accumulation: The Material Politics of Plastic (Routledge, London) Haraway, D. 2016. Selection from Chapter 1 of Staying with the Trouble: Making Kin in the Chthulucene. Durham and London: Duke University Press. Pages 15- 29.

Harwood G, Yokokohi M, (YoHa), 2010, "Coal fired computers," Discovery Museum (AV Festival, March 12-14, Newcastle, United Kingdom) NeĂźmuller(2017) Photobook phenomenon.Barcelona, Spain : RM : CCCB : FundaciĂłn Foto Colectania.

Pieter M. A(2008) Design & emotion moves. Newcastle : Cambridge Scholarsl.

Graver(2007) Stoicism and emotion. Chicago : University of Chicago Press.

Rosenthal(2003) Understanding installation art : from Duchamp to Holzer. Munich ; London : Prestel.

33

34

Aesthetic of Rain

Credits MA Architecture Course Leader: Lucy Alice Jones MA Architecture Design Tutors: Lucy Alice Jones Owain Caruana-Davies Kim Trogal Anna Holder

1