How can planes modify light? How do the corners of a frame alter the view out? The experience out? Do floating planes deteriorate the frame? Can floating planes break down visual interpretation and explore the experiential perception of space? How can we make planes float? How can we instill an idea with bunch of matter? How can we take a cloud and pin it down? How do we hold water?
As three dimensional rotations of planes, architectural systems of "plinth" "wall" and "canopy" allowed us explore the lit qualities of a structural system. A pattern of gap and overlap between two parallel concrete masonry unit walls varies to organize light by spread and intensity. These two qualities were evaluated in many study models, light studies, and eventually became a sculptural aspect of our final design for the Saco Lake Bathhouse. A "Cagian" method of letting the CMU walls fall into place was used to cement our desire for the inmaterial/ the ephemeral to play an integral role in determining the form. Using grasshopper to randomize points in a landscape, placing center-points and quickly iterating through scalar variables with the use of "sliders." This method of designing and evaluating moved beyond plinth, wall and canopy and was used to determine the location and rotation of "floating plywood planes": bunk beds and panelized screen walls. As we iterated through these wooden sculptures, we looked for thresholds, a geometry that invoked haptic potential and inconvenient spaces. The word attach usually holds a functionalist, positivist weight that we fought in the construction of our furniture joint. A simple half-lap construction, two steel plates slip into each other and allow for three dimensional, 90 degree rotations between plywood planes. The simplicity and modularity of the joint avoids the elitist curvature of contemporary architecture and injects references to the De Stijl. We chose to "paint" the birch plywood sheets with a varnish to celebrate the grain and the brilliance of this particular sheet material. The strength of our joint is largely reliant on steel's material properties, yet the half lap is already a convenient solution to the strength to weight ratio.
As three dimensional rotations of planes, architectural systems of "plinth" "wall" and "canopy" allowed us explore the lit qualities of a structural system. A pattern of gap and overlap between two parallel concrete masonry unit walls varies to organize light by spread and intensity. These two qualities were evaluated in many study models, light studies, and eventually became a sculptural aspect of our final design for the Saco Lake Bathhouse. A "Cagian" method of letting the CMU walls fall into place was used to cement our desire for the inmaterial/ the ephemeral to play an integral role in determining the form. Using grasshopper to randomize points in a landscape, placing center-points and quickly iterating through scalar variables with the use of "sliders." This method of designing and evaluating moved beyond plinth, wall and canopy and was used to determine the location and rotation of "floating plywood planes": bunk beds and panelized screen walls. As we iterated through these wooden sculptures, we looked for thresholds, a geometry that invoked haptic potential and inconvenient spaces. The word attach usually holds a functionalist, positivist weight that we fought in the construction of our furniture joint. A simple half-lap construction, two steel plates slip into each other and allow for three dimensional, 90 degree rotations between plywood planes. The simplicity and modularity of the joint avoids the elitist curvature of contemporary architecture and injects references to the De Stijl. We chose to "paint" the birch plywood sheets with a varnish to celebrate the grain and the brilliance of this particular sheet material. The strength of our joint is largely reliant on steel's material properties, yet the half lap is already a convenient solution to the strength to weight ratio.
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