Planar Festoons & Heightfields

A brief experimental sketch for creating complex planar festoons using non-scripted logic. Here a semi-regular surface is extracted into a heightfield where the depressions and clefts of the surface become readily apparent. The grain is modulated as a course–while the z-dimensions remain steadily uniform. Overall, this sketch offers a look back at the festoons and lace piece by fashion designer of antiquity, Rouff. [see this post] This single surface represents only one component of a larger issue I'm interested in within the pursuit of fabric/tectonic ensembles.

Image Source: Copyright of the Author

Analogs to Austria: 1of4

One of four analog sketches for Linz, Austria. Shown here is a process shot of a larger set of drawing experiments mediated by Wenatchee digitizaitons of the sketch. I'm interested in the creative translation of the quick 2D analog sketch into the space of a 3D model. Here the sketch can develop into a secondary phase of development as the initial lines of the sketch are projected onto a surface. I simply wanted to share this quick and nascent process – keep in mind it is a preliminary experiment.

Image Source: Copyright of the Author

Goodwood Festival of Speed. Alternative Proposals

 
Alternate proposals I generated for the Goodwood Pavilion, see post below for full description of the project. Overall, I was searching for the spirit and the celebration dynamics, and the visual stimulus of speed within a static structure. The formal/visual considerations revolve around a fairly simple investigation of creating a multi-curved, convoluted, and sinuous surface. I was especially interested how the pavilion touched the ground plane Here, the complex geometry of the surface transitions to a frame condition, which negotiates and blends into the topology of the surface curves. The frame hierarchy is composed of a 100mm set of ribs, a cluster of 250mm columns, and a 600mm external spine which bolsters the structure against lateral forces. I will add more description soon.

Image Source: Copyright of the Author

Lexicon Chain v3

Value Added Tectonics
Post-Brutalist Revival
Flattening Theory & Reciprocity Modeling 
Irreverence. Burning the Guitar
Cold & Warm Digitality



Script-Grabbing

The Best of Austrian Architecture and Urbanism: Linz

On Publication: v1

A small booklet hangs on display after a year's worth of use.
This pocket-sized planner I designed in 2007 and used until the cold London winter of 2008 is a perfect example of living with one's own design. Everyday, I experienced both the flaws and the positive attributes this design entailed. I was afforded a year to ruminate on the changes or improvements I would have made on it for the next iteration, had I not been so busy. When I recall a previous post describing the vernacular architecture of Switzerland, I can imagine the small sense of the "rawness" I was fascinated with in those sheds. Here, the forces of both natural and synthetic entropy have folded and creased the frayed edges of paper. This perception is of course molded by the supposition that the rawness I mentioned wasn't directly designed-into the object but that acknowledgment that it has occurred. At this juncture, the object now also has a sense of patina and oddly seems to elevate its value.
Image Source: Copyright of the Author

Explorations in Digital Sketching v3

Formal/visual digital sketch created explore undulating sections and a multi-layered interior digital space. These reflect the spatial qualities I'm intrigued with.

Lexicon Chain v2

A few fundamentals of architecture which interest me:

Spatial Sequencing
Conceptual Transect
Massing Clusters
Pairings

On Sublime Ecologies: London Courtyards

Was the presence of this space "designed?" I had a wonderful conversation with the owner of the Candid Cafe (courtyard pictured here). Our discussion revolved around the fact that spaces which evolve over time and initiate a sense of community ownership which foster truly memorable spaces.
What I found engaging about this space were the things that I find in all spaces like this – the organic nature of how potted plants are arranged; the strung fabric bringing the sense of intimacy against the building heights; the sectional approach to how humans interact with the space by various datums; the small furniture. And, like most spaces like this, the less ornate flanking and rear faces of buildings carve out a strong enclosed space. In this case, an added value occurred as the narrow metal stairway catwalk circumvented the geometry of the buildings whilst creating a belvedere effect to look into the courtyard. It is my belief that being able to experience a space via different datums is an important quality to enhance the users experience of space. In summary, how can we as designers simultaneously engage in the realm of the experimental whilst engaging in the time-tested fundamentals of spacial landscapes & sublime ecologies?
Image Source: N1 area code behind Angel Station. Shot taken from catwalk en route to the cafe.

Concept renderings created for London artist Gerry Judah for the 2010 Goodwood Festival of Speed.

Situated in South England's country-side, the pavilion design is a longitudinal oval featuring a 15m cantilever at the rear facing a two-storied mansion. The ovals form is a direct reflection of the site's front entry sequence, namely a 30mx45m diameter ellipse. Program-wise, the pavilion has the capacity to display up to 10-12 vehicles and functions as a vehicle brand-promotion point to automobile enthusiasts and visitors alike. In contrast to most pavilions which are erected and dismantled after a single event, this open-plan design anticipates re-use for multiple exhibitions in the future. The form, here is deceptively simple, but the 15m cantilever alone will utilize a monocoque structural frame – a precedent found most notably by UN Studio's Lord's Cricket Grounds in London. Despite the grand-gesture, there are areas of subtle detailing, such as the rounded joint and front-plate which occurs at the large elliptical opening.
 Image Source: the author