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Designing from Scale to Scale:

éclat[é]

With this project, I desired to try going from something graphic to something architectural; and where better to start than with none other than the brilliant bauhaus artist Anni Albers? Working to make something new of Anni Albers' graphically iconic textile artwork, Éclat, is no easy feat — and utilizing it in designing different functions at different scales is something that I recognized, as a designer, to be difficult to design with a work so graphically intense.

Never backing away from a challenge, I committed to designing and prototyping real pieces that may work differently at different scales; here, moving from furnishing to furniture and finally to the scale of a pavilion.

Here, I was set on going from something graphic to something architectural; and where better to start than none other than brilliant bauhaus artist Anni Albers? Working to make something new of Anni Albers' graphically iconic textile artwork, Éclat, is no easy feat — and utilizing it in designing different functions from scale to scale is something that I recognized, as a designer, to be difficult to design with a work that is so graphically intense.

First, I started drawing and re-drawing the pattern both physically and digitally. I realized that the joints of the figures, would be the key to how the figures could build/ build up volume.

I started with designing joints that would let the pattern to work as a pliable lace-like material. While the results were beautiful and, indeed, the lace-like material worked in making volume, I felt the results did not make utility of the logic of the figures/ arrangement of the figures present in the pattern.

I decided to separate the figures from the pattern, while bringing the logic of the pattern to life in 3D. For that, I started designing and prototyping different joint typologies in 3D, and the results provided for better control on how to build/ build up volume — so much so that it delivered the vessel in a way that lets people assemble it as they would assemble a puzzle. In doing so, it also lets people play and puzzle their way to demystifying these complex patterns.

I decided to separate the figures from the pattern, while bringing the logic of the pattern to life in 3D. For that, I started designing and prototyping different joint typologies in 3D, and the results provided for better control on how to build/ build up volume — in fact, it delivered the vessel in a way that lets people assemble it as they would assemble a puzzle. In doing so, it also lets people play and puzzle their way to demystifying these complex patterns.

Now, moving from furnishings to furniture, I discovered some mathematical properties about the figures in the pattern. As I perceived the figures are quadrilaterals, I worked out that these figures, if arranged for it, could tesselate — and if the figures could tesselate, I could make furniture that could transform itself and, therefore, transform the spaces it exists in.

Now, moving from furnishings to furniture, I discovered some mathematical properties about the figures in the pattern. As I perceived that these figures are only quadrilaterals, I worked out that these figures could potentially tesselate — and if they did tesselate, I could find a way to make furniture that transforms itself and, therefore, transforms the spaces that it exists in.

In testing arrangements of the figures, they could, in fact, tesselate. I preserved the figures from the original pattern; yet, made them into a geometry that lets them tesselate — the new form would transform from table to partition. I also realized that a piece could be used to 'lock' the form in both positions.

In testing arrangements of these figures, I found some that did, in fact, tesselate. I preserved the figures from the original pattern; yet, made them into a geometry that lets them tesselate — the new form would transform from table to partition. I also realized that a piece could be used to 'lock' the form in both positions.

I prototyped two forms at 1:1 scale, where they did transform from table to partition. Better, I used the 'lock' piece — the 'key' — as a peg to attach another unit. Now, users could attach a side table to a partition as desired. This system could allow for infinitely more configurations/reconfigurations.

I prototyped two forms at 1:1 scale, where they did transform from table to partition quite beautifully. Better, I used the 'lock' piece — the 'key' — as a peg to attach another unit. Now, users could attach a side table to a partition as desired. This system could allow for infinitely more configurations/reconfigurations.

With the research making this system, I had the logic needed to go from furniture to pavilion. While the joints could work similarly, they could not be continuous without sacrificing interiority — the most critical part of making the pavilion. With that, I modified the forms again by making the 'columns' into umbrella 'columns', whereby umbrella 'canopy'/joints are defined by these familiar figures.

With the research making this system, I had the logic that was needed to go from furniture to pavilion. While the joints could work similarly, they could not be continuous without sacrificing interiority — and that is really the most critical part of making the pavilion. With that, I modified the forms again by making the 'columns' into umbrella 'columns', whereby umbrella 'canopy'/joints are defined by these familiar figures.

Here, I modelled this umbrella system with hinging at the joints similarly to the partition. The whole pavilion transforms, therefore transforming the interior space — as well as lighting and air.

Here, I modelled this umbrella system with that hinging at the joints similarly to the partition, allowing the whole pavilion to transform — and allowing several qualities of the interior space to transform along with it.

Inside the model, there is a visible contrast between the lighting and air conditions depending on how open/closed the pavilion is.

In entering the model, there is a visible contrast that is highlighted in the lighting alone, depending on exactly how open/closed the configuration of the pavilion.

By utilizing these figures, the forms — and the whole pavilion — may be transformed by opening and closing, just as it did at a furniture scale. At architectural scale, it not only transforms itself and the space that it exists in; it transforms the space created inside.

By utilizing these figures, the forms — the pavilion — is transformed by opening and closing, just as it did at furniture scale. At architectural scale, it not only transforms itself and the space that it exists in; it transforms qualities of the space inside.

Tags:

+architectural design

+concept design

+concept art

+3D-modelling

+rendering

+illustration

+prototyping

+video editing

+presentations

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