FLOCK
Bethnal Green, London
2013-2014
Competition entry
The fluid geometry of the ‘Flock’ pavilion mimics a murmuration of Starlings at play. ‘Flock’ shrouds its occupants in a sweeping array of faceted, reflective panels; suspended by a delicate modular structure of tapered, interlocking pinwheel components. Light fractures as it encounters the pavilion’s surface, and momentarily disguises the curious occupant to the outside eye… In this moment, the occupant is allowed to dream, free from watchful eyes, as they become enveloped in a contorting enclosure of shadow and light.
DING, STOMP, RING, THONK
Strafford, New Hampshire
2015
Competition entry
A gigantic musical instrument, played by running up and down its ramps bashing and strumming the pipes and strings!
It is designed with a forest context in mind, to be enjoyable to build and to have broad scope for structured and unstructured play.
The proposal has inherent flexibility and could be tailored to suit a particular site, and scaled to vary the build time.
Our proposal is an instrument designed specifically for the Beam Summer Camp, emerging from our shared passions for musicality and buildability.
Three ramps spiral together, through the forest. Each carries a different type of musical component, ascending in tone as many musicians run up the ramp. Metal pipes, plastic pipes and taut strings range from waist-height to gigantic, and are played with sticks, hammers and bows.
Visual, spatial and musical complexity arise as the many simple components are lashed together.
While the instrument is tuned to scientific principles of frequency, wavelengths and octaves, and has some instructional value, campers are ultimately in charge of how it’s played. Whether composing and recording compositions together, or participating in some improvisational bedlam, the choice is in the hands of the makers.
Thonk! Stamp! Ring! Doing! Whoop!
The ramps can be tailored to their context, elongated or shortened depending on desired build time. As an additional level of complexity, actuators could allow parts of the instrument to be programmed and played through a digital interface.
GUST
Toronto, Canada
2015
Competition entry
“I saw you toss the kites on high And blow the birds about the sky;” – The wind, by Robert Louis Stevenson
‘Gust’ is a lightweight, static, triangulated plywood canopy, depicting the moment a wind-blown cloth becomes moulded to an object (the lifeguard stand). The surface geometry was ‘thrown’ against a surface in a 3D simulation / animation & processed as a structural object using a flexible, parametric algorithm which allows aspects such as panel size, material thickness & support points to be re-configured. The resultant canopy is realised as a repetitive, component – based structure which becomes rigid as it is assembled. The triangulated canopy is designed to be CNC or laser cut from thin plywood & assembled by hand. All other components can either be cut from wood batons by hand with a mitre-saw or by a standard 3 axis CNC machine as there are no compound cuts. The canopy surface is designed to be self-supporting as the hinges are made rigid once locked into place with a tightening bolt. The gaps between the hinges allow for wind to pass through the structure, however the triangular surfaces could also be perforated to relieve wind loading, if required. Once assembled and hinges have been tightened, the canopy is lifted onto 4 spider mechanisms (made from a kit of 2D, cut component parts), connecting the canopy to the Lifeguard Station. The design of the spider mechanism is flexible, allowing for more support points where required. The canopy is modelled to”wrap” around the lifeguard station, making it easy to fix back to the structure in a range of locations.
CHRYSALIS
2015
Competition Entry
‘Chrysalis’ is a folly which conveys the theme of transition; from one stage of life to another. In plan, the radial arrangement of rotating frames is analogous to a clock-face; marking the passage of time & tracing a fluid form which gently envelopes the viewer.
The incremental increase in the size of the frames symbolises growth. The variation in size is most apparent at the spiral’s end points, where the smallest and largest frames are offset, but subtly meet to signify a repeating cycle. Delicate fabric ribbons are then woven between the frames to suggest the boundaries of a spatial envelope, displaying artwork which intensifies the central notion of “transition”
AERO
Bethnal Green, London
2012
Competition Entry – in collaboration with Michelle Hudson
The subtle curvature of the Aero pavilion, slowly rises and envelops visitors at torso-height. Once inside, the upper body is cocooned in a permeable form that floats on all sides like a cloud. Larger perforations allow glimpses out of the pavilion. Aero is constructed from recyclable plastic tubes, which are durable and easy to transport and assemble. Tubes are combined into sections off-site, which are then clipped together on-site to form the completed pavilion. The pavilion is easy to construct, making it easy to involve community groups such as local universities and schools, who could contribute to the off-site assembly.