Saturday, May 27, 2017

Phase 3 :Camping Barn - a harvesting landscape device

Phase 3 :Camping Barn - a harvesting landscape device

Synthetic Manifesto

The three camping barns are bamboo tower located in flat paddy field landscape of several area of the old Tung Rangsit land or now in Klong Luang or Nhong Seuy, Pathumthani - suburb of Bangkok Metropolitan Area. The three designs are differentiate by the context; in the far rice fields, near villages and communities, and beside the pond. Being artificially natural, they contains an ecosystemic condition - “Regeneration” which means that elements/quality/function/program of the building change through time and will be replaced by new elements. In a broader scale,the towers play two main functions - hosting a small secular coming of age camp for children of 10-18 years old in camping months, and in off-camping season, accommodating people in nearby communities and preserving and storing rice after harvesting. In each floors, there are provided spaces for camping such as portable toilets, performance room, and dining space. At the ground, there are also plenty of spaces for outdoor activities and also infrastructures for processing rice after being harvested such as rice milling machines.  Those spaces will turn into spaces for relaxing for people in surrounded community when there’s no camp.
Contextual Document - Locations of three towers




Interior Perspective + External Perspective

Looking deeper in detail, these landscape tower are meant to be a pedagogical device that raise people awareness since they contains infrastructures that treat run-off polluted water from the surrounded beautiful rice fields and produce electricity from rice husks, left out waste from the process of rice milling. These infrastructures intervenes spaces throughout the tower and made them more meaningful as also a learning area for campers to learn and discuss about environmental issues as a part of the camp. One important space is the glowing fountain at the top containing clean water after being treated throughout stations in the tower and before sending back to natural water resources that also act as a campfire space at night as glowing bacterias shines in clean water. Moreover, another detail are the facade element that can be hang onto the structure to serve 5 functions due to users at anytime - rice drying, clothes hanging, rain protection, humidity protection for rice storage,  and mosquitoes and flying insects protections. Lastly, the lightness quality provided by constructing bamboo structures allows panorama view to be seen from the tower. They are designed to be reversible with steel bolts and nuts  and to be environmentally concerned as leaving the smallest foot print to the landscape.

Detail I - Water Infrastructures Intervening the spaces

Detail I.II - Rice Production Infrastructures  at ground: 
Rice Milling Machine + Electricity Generator from Rice Husks Wastes

Detail II - Reversible Joints and Bamboo

Detail III - Five Functions of Facades 

Detail IV - Zoom In Elevation View of the buildings

Physical Models
(Pics will come after as model is t the parade)


Friday, May 26, 2017

phase 3


phase 3 

What do we need in our lives?
What does living means?

The teenager Amish might questioned themselves when they are joining 
the “Rumspringa” tradition.
The combination of urban texture, cars, road, crowds, 
voices of honk, the chatty voice of people create new atmospheric 
for those who had never experience this kind of complexity and chaos.

A space for self-estimation 
where the idea has been 
waiting to be sparked,
And need is discovered.

the notion of hierarchy of spaces is interpreted from their life cycle, 
level of ground depends on the privacy and activity. 
The more private the space is, the deeper it becomes,  
the more expose the space is, the higher the ground has become.

from small to large spaces, provided for the various needs, some might wants to
consult with the others, whereas some might prefer to stay alone.

wondering, seeking, considering, deciding, experiencing

Would you return to what consider as "normal" life or seclude yourself to 
live in the world that is designed by former inhabitants?

type 1


type 2


type 3


seclusion tower


- The Junker Reawaken - 


Phase 3

Working within the general framework of regeneration as an ecosystemic condition, the project acting in the vulnerable context of Talat Noi, in relationship with local yet very culturally rich ritual, especially of vegetarian festival. My project developed a strategy on regeneration that work at 2 different levels. At the level of the district, by repopulating the devices that could be related with specific ritual and routines that the district has embedded in its daily life and at more technical level. At the level of devices or individual prototype, using existing resources such as old car components to recreate the prototypes that could invite people to participate and react to the overlooked spaces in the Talat Noi.

With this idea of urban acupuncture, the devices are categorized based on prominent festivals in the context into 3 different categories of consumption, performance and the crafting. Being located into different locations within the district, the effect could be potentially expanded beyond the scale of the individual prototype, reawaken the district once again.

Figure 1: Synthetic Manifesto

Regarding the main idea of ecosystemic condition of ‘regeneration’, the material and construction of the devices came from the use of old car parts that could be found in the context of Talat Noi. The old car parts that are fixed by workers in Talat Noi could be used to assemble to create devices that can be used in different occasions, not only limited to vegetarian festival but also the other four main festivals of Chinese New Year, Dragon Boat festiva, Chong Yang festival and moon festival. Besides specific use in different festivals, the devices could be adapted in more normal days to enhance the connection between the people in the community and make unused space more meaningful.

Figure 2: Supernature Context

Figure 3: Catalog of supernature axonometric

The catalog of supernature axonometric indicated the main elements in each devices that are mainly from the mechanical parts of the car or even using the resources in the festival such as dragon skin as a main material to create different space for dissimilar use. Firstly, the consumption devices that deal that all the eating aspects of mainly vegetarian festival is designed to equip with specific water treatment for both the raw water from the river and the gray water from the households. Therefore, the water would be regenerate within the device itself for hydroponic and rooftop vegetation.  Secondly, the performance devices are divided into two different categories where one is in more smaller scale that could pass through small alley while the other one is designed to float on the river becoming the stage of performance for the different show, especially for that of Chinese opera. Thirdly, the crafting device aim to provide the gathering space for workshop area inside the district to enhance the craftsmanship skills as well as to bond the community. Under the dragon skin roof, the people would arrive to the space by small ferris-wheel like elevator that attached to the existing building. This is also use to carry the objects and store at the extra storage space that is provided by the ring of attachment beside the elevator.

Figure 4: Process of construction/assembling the consumption device
Figure 5: Process of construction/assembling the performance device
Figure 6: Process of construction/assembling the crafting device

Figure 7: Plans of supernature

The plan drawing indicated the relationship of devices with people and the community and the general usage.

Figure 8: Supernature Section

Figure 9: Supernature perspective
Figure 10: Supernature perspective
Figure 11: Supernature perspective
Figure 12 : Supernature perspective

Bonding communities through intensification rituals - the festivals are usually bringing the people together for specific purpose and this could be seen as intensification rituals. activating the unused space within the district to be more meaningful by people within the communities as well as the visitors. The devices are using the mechanical parts as well as the used materials within the festivals allowing the people in the district to modify and alter as time passes.

The individual prototypes, acting as an artificially natural devices and changing depending on the rituals and routines as they could be modified and altered by the hand of the locals. Through the idea of fragmented acupuncture the effect could be potentially expanded to be beyond the scale of the individual prototype and reawaken the district once again.

Thursday, May 25, 2017

PHASE 3 : Space of Public Wilderness

9 Manifestations of goddess Durga 
(Experiential Spaces)

Link to full resolution


The project started developing the program from the intensification ritual of Navratri guided by the chosen
ecosystemic condition. By enlarging the scale of the Navratri festivity and introducing periodic extraordinary
celebrations that would happen every 9 years. The process would imitate the natural conditions and allow those
conditions to define its own outcome. Within 9 years, the process would construct different level of ruins.

The core central space could be addressed as a sort of 'fantastic world'. It is a device-like architecture that generates a
sequence of experiential spaces as physical manifestation of the 9 states/ metamorphosis to convey specific senses of
emotion related to goddess Durga. The creation process of these spaces is very important to reduce the artificiality of
the result: the 'device' only sets conditions for their formation, rather than controlling the outcome. The spaces of the
'fantastic world' would be generated progressively throughout the 9 years, but, rather than being a slow construction,
it is in fact a very accelerated process of formation of a 'ruin', which otherwise would normally take over 200 years.

Link to full resolution


In Thailand, normally the Navratri is held in Sri Maha Mariamman Temple on Silom road where the road has
to be blocked for holding the ceremony. The devotees would make a parade performing several acts along the street.
Navratri is a Hindu festival that celebrate the triumph of god over evil. The festival normally lasts for nine days every
year, in which each day represents one of the nine manifestations of goddess Durga. Each transformation has its own
tale that conveys a specific sense of emotion from anger, turmoil, to happiness. During these days the nine forms of
Durga are decorated and worshipped.

My proposal is to enlarge the scale of the Navratri, gathering participants from all South-East Asia. The location would
be shifted from Silom to Rattanakosin, which is Bangkok's old city bordered by Chaophraya river with plenty of green
public area. The area has a deep historical atmosphere therefore the heart of the project is proposed near the Giant swing,
an important artifact for Hindu culture in Thailand that is surrounded by 3 main Hindu temples that occasionally host
important royal Hindu events.

Link to full resolution

Link to full resolution


The core central space could be addressed as a sort of 'fantastic world'. It is a device-like architecture that generates a
sequence of experiential spaces as physical manifestation of the 9 states/metamorphosis to convey specific senses of
emotion related to goddess Durga. The creation process of these spaces is very important to reduce the artificiality of
the result: the 'device only sets conditions for their formation, rather than controlling the outcome. Some parts of these
occasion like temples from the most formal area will be taken and later collect within the central sacred space to create
temporary sensational sequence over nine years condition.


The typical festival will be held every year but the grand celebration will be celebrated only every nine years
and have a longer duration of several months.

The process of creating conditions is synthesized into 4 major cores:

1. Position existing components / Angles Cables
2. Temporary spaces / Flexibility / pressure Balloons
3. Sedimentation / Location / Density / Quantity Drippers
4. Heating flow / Direction / Wind velocity Nozzles


STEP 1 : Started with positioning the existing component loaded from the basement up to the globe,
hanging it by cable rods from secondary structure.

STEP 2 :  create a temporary space or a sequence gap by inflated on a membrane (balloons), the level of control
relies on how much balloons you add in.

STEP 3 : The dripping process start after the spaces are set, in this phase the idea get inspired from the natural cave
formation; stalactite (points down), stalagmite(points up). These two are formed by water dripping or flowing from
fractures on the ceiling of the cave. Their internal diameter is exactly equal to the diameter of the water drop. If
water flows on their external surface, they begin to grow in thickness and obtain a conical form. Extracting from
this concept, the question is how would I adapt this natural condition into my globe, what are the possible methods
or materials I could use to generate natural artificial atmosphere ? One of the very promising methods to form a
solid space is by dripping chemical; transition metal into sodium silicate solution since the transition metal do not
dissolve but instead form solid precipitates. So I decided to fill in the globe with sodium silicate solution mixing
with water then set up the transition metal filtering through wire screen above.

STEP 4 :   Once the form (structure of atoms) is strengthened, the nozzles surrounded all over the globe separated
into different zones will begin its work by creating a water turbulence in order to sculpt the shape of the space.
This process imitate the global wind patterns blows from different hemisphere where naturally, the rotation of the
earth changes the direction of the flow of air. The point is that each time the wind blows it always creates changes
to the environment in this case “the form of space”.

STEP 5 :  When the form is settled, liquid matter will get drained out through the pipes which is when the heating
nozzles start dry out the space.

STEP 6 : All substances become solid, the fantastic world is now ready for visitors to experience the outcome of
this natural artificial world merging between existing ruins and condition created form. The emotion of 9 
manifestation  has been transmitted through the energy of the wind. The stronger the wind blows, the more 
extreme emotion occurs.

STEP 7 : The clear up process is by changing again the stage of the substances from solid to liquid by melting the
metal transition to its original form then drain the liquid stage through pipe. Existing ruins break
down in parts then remove through basement and the step repeats over and over.


This experiment imitating natural cave formation using chemical ( Iron(III) chloride , Copper Sulfate,
Magnesium Sulfate) as an input to dissolve in Sodium silicate solution. Then leave it grow within the
built conditions (a set of stairs and step well models) wrapped by transparent plastic in order to
create some space before add in chemicals.

Link to full resolution

Link to full resolution

Link to full resolution


Accelerating the process of formation of a 'ruin', with the reaction between Iron and Chloride in an
underwater environment which can bee seen on rebar used in underwater pillars. Water speeds up
the reaction of the rusting process while certain substances, such as metal salt rocks (Iron(III)
Chloride), can also increase the speed of the rusting process.