A very interesting method of working by Perry Kulper. This a link to some of his drawings from The Central California History Museum Competition. Very expressive, and something I’d like to experiment with further if I can find the time.
I’ve been thinking about the kind of atmosphere and environment that I would like my fabrication studios to convey. The pictures here indicate a number of projects that work with the principles that I’m going to try and adopt.I’ve begun experimenting with Grasshopper to try and create such a computer model.
1. They are predominantly wood gridshell structures which would build upon the environmental aspects of such a scheme (locally sourced timber is possible from the Forest of Avon to Bristol)
2. They are naturally lit spaces which would provide for an appealing working environment for such machines.
3. There is the possibility of natural ventilation through opening up the lower sides of the structures.
Clockwise from the left: Saville Gardens by Glen Howells, Downland Gridshell by Edward Cullinan, Forestry Branch by Phillipe Samyn + Partners, Ville Hara by HUT Wood Studio Workshop.
As part of the exploration of tessalation (the remaining digital fabrication technique I hadn’t examined in detail) I began looking at the infinite possibilities that can be created from a common grid matrix. Complex patterns begin to occur when the grid serves to locate forms, yet does not dictate their shape or borders.
Here are some shots of the massing model I added to the slate 1:1250 etching to enable an understanding of the site. Unfortunately it was a little more fiddly than expected due to the scale but very useful in terms of urban context.Now on to the 3D computer model…
Just a quick post regarding the work I had for the last crit, to allow comparison as to where I’m heading…
This model was a further investigation into the digital production techniques I identified. Conceived as an experiment with tessalation, this evolved into a folding excercise. The model is a combination of the sites of underground historic interest in bristol and that of present day point of interest.
This diagram rearranges the elements of my programme under four major groups (Education, production, presentation and research) , and looks at the relationships that each element requires.
This diagram is an attempt to understand the connections necessary between different programmatic elements of the institute. The circulation can be broken down in respect to different users, something that I’m currently working upon. There is a dispersal of breakout and studio spaces throughout the programme to bind the spaces together and encourage collaboration.
This was a detailed study into the dimensions of the local roads that would restrict the movement of anything produced within the facilty. The result being that I now know it’s possible to deliver an ISO container on a artic lorry to the site. Therefore component construction would be limited to this size (unless I propose an additional facility elsewhere in the city with enhanced transport links) although any building component can generally be unassembled for transportation.
This map communicates the relationship between the past secret underground caves/storage/mines of Bristol and the present day vistas and points of interest. I am using it to try to get an understanding of the layering of the history of the site, coming from a rich Industrial past and trying to identify the requirements of future Bristol.
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