*즐거운 공간 소셜 네트워크 해먹 [ Studio 400 ] White

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시작

소셜 네트워크의 실질적인 공간적 접근의 또 다른 방향을 봅니다.

정기적인 건축 북쇼에서 설치물의 방향은 시작합니다.

'어떻게 하면 사람들이 보다 편안하게 대화를 나누면서 서로의 정보를 나눌 수 있는

 공간을 만들 수 있을까?'

이곳을 방문하는 이용자들에게 편안한 좌석 또는 분위기를 만들어

심리적 거리를 없애는 것의 핵심은 즐거운 공간을 만드는 것입니다.

이러한 브레인스토밍을 통하여 발전된 설치물은 유기적이며 플렉서블한

공간을 형성하는 네트워크 해먹으로 구현됩니다.

연속적인 외피를 따라 형성되는 즐거운 공간은 북쇼의 주인공이자

사람들을 연결해주는 중요한 커뮤니티 오브제로 사용됩니다.


step 1

구축에 대한 다양한 방법론이 연구되었습니다. 여기서 중요한 것은

유연한 동시에 강성을 지니고 공간자체가 즐거워야 한다는 것입니다.

그리고 재활용이 가능해야 하며 이것이 구조적으로도 실현 가능한 메커니즘이 구현 가능해야

하는 것입니다. 플라스틱 계열의 비닐수지고전적인 직물의 직조방식으로 구현함으로써

실질적인 설치물의 구현이 가능해졌으며 또한 저렴한 비용으로 설치가 가능해 졌습니다.


step2

컴퓨터 시뮬레이션을 통하여 원하는 형태의 모델링을 진행합니다.

여기에 패브릭케이션이 가능한 형태로 모델링 하는 것이 중요하겠죠.

연속적인 외피-surface-에서 추출한 UV방향의 선분은 향후 비닐을 이용한

직조 연결방식으로 프레임을 구성하며 실질적인 설치물의 볼륨을 만듭니다.


step3

비닐의 직조-꽈배기 형태-를 보다 수월하며 정확하게 구현하기 위해서

일정간격으로 철봉이 심어진 데스크위에서 비닐을 연속적으로 꼬아서 연속적인

꽈배기형태를 만듭니다. 그리고 먼저 제작한 꽈배기형태의 비닐을 천정면에

부착하여 전체 설치물의 인장력을 담당할 수직기둥으로 구현합니다.

이렇게 구현된 수직기둥들을 수평으로 직조하여 연결함으로써

다음과 같은 네트워크 해먹이 완성됩니다.


건축에는 다양한 방향성이 있습니다. 진중하며 깊은 공간이 있는 반면에

이와같이 즐거운 공간도 있습니다. 어쩔때 보면 즐거운 생각이 즐거운 공간을 만들고

즐거운 공간이 즐거운 환경을 만든다는 생각이 듭니다.


reviewed by SJ


A few days ago, we posted a video of the gallery installation White, the thesis book show by the 20 fifth-year architecture students of Professor Karen Lange at Cal Poly San Luis Obispo College of Architecture and Environmental Design. Now we have also received plenty of exhibition photos from the students, as well as images of the construction process.

Quote from one of the team members: "We wanted to create a continuous surface that would bring spatial interest and social interaction to the gallery. The woven installation is a solution to providing students and faculty a setting to not only read about our projects, but also to enjoy the space."





Project Description from the Students:

"White" was a gallery installation produced by the 20 students of Studio 400, a fifth-year architectural design studio at California Polytechnic State University, San Luis Obispo. The installation, which served to present each of the student's research books, was designed, developed, fabricated, and installed by the studio in a collaborative effort. The students developed the design over a period of about a month, with fabrication and installation occurring over a five day period.  80,000 square feet of plastic sheeting was sliced, loomed, woven, stapled, taped and tied to provide a climbable and malleable surface in the 4,500 square foot gallery.  "White" supported a variety of interactive experiences above and below this dynamic surface, opening and exploring the relationships between book, user, material, space, and collective group.


Design Intent

The installation design began with a brainstorming session that involved direct participation by each of the studio's 20 students. After proposals were presented, it was decided that a climbable surface would divide the space, providing seating for the comfortable reading of the books.  An exploration of materials looked at rope, tape, and plastic to create the surface; sheet plastic was ultimately chosen for its flexibility and strength, economic viability given the large space, and its abilities to be easily modified and reused. Once the material was chosen and acquired, studies of traditional weaving methods and full scale mock-ups helped determine the characteristics of the surface. This resulted in a woven surface that could hang in the gallery as well as support the weight of users on it. It was determined that a flexible system of pre-fabricated hanging columns and infill panels would allow the surface to form to specific constraints of the gallery site.

Fabrication and Installation

Students participated in a collaborative, two-day effort to construct the components for the piece. Circular and straight weaving looms (assembled from re-used materials) allowed for the quick and precise weaving of the columns and panels. Round steel rod was hand-bent into five foot diameter rings that provided a transitional structure between the gallery space and the woven vertical columns. The foresight of using of pre-fabricated elements allowed the piece to be custom-fitted to the gallery space within a three-day time period.

Installation began with placing the vertical columns where the existing structure of the gallery could support them, creating a staggered plan. A sheet of plastic was then hung from the ceiling, the first piece of several that would entirely wrap the gallery space, effectively separating the piece from the distinct characteristics of the Brutalist-style gallery. The pre-constructed infill panels were then woven between the vertical columns, fitted to provide the desired tension and surface form. When the surface was finally installed, the remaining walls and floors of the gallery were covered in sheet plastic. Videos of student work could also be projected onto one of these walls and extra plastic sheeting was woven into various shapes and sizes of pillows that were used as seating under the surface and beneath the vertical columns.

Fabrication of the book's slipcases also occurred during the installation period. Laser-cut, clear acrylic panels served as the faces of these hanging elements that would be the interface between the installation and the user. The front of each case was laser-etched with a wave-like parametric pattern that complemented the compound curves of the woven plastic surface. The clear front allowed the identity of each student's book to reveal itself, while the chartreuse back cover served as a unifying element that subtly distinguished the books from their white surroundings.



Book Show Opening

The opening of "White" was a great success. Students and faculty were introduced to the studio's research books in an interactive and novel environment. As one faculty member stated, "[White] effectively separates the book show from the gallery. Where other shows seem to be installations occurring within the distinctive gallery, this one seems like a totally different space." Users were encouraged to crouch or crawl under the surface, rising into the vertical columns where the books were located. They could then engage the books in the intimate space under the surface, or take the books to the more socially interactive space created above the surface.


Project Credits:

Advisor: Professor Karen Lange

Studio 400 Team (in no particular order): Annie Bui, Ben Hait-Campbell, Ian Carney, Hanya Chen, Dion Dekker, Christina Hackett, Nathan Kiatkulpiboone, Mariko Kobayashi, Emily Kirwan, Mike Loree, Ross Majewski, Isshin Morimoto, Ryan Nevius, Nick Pappas, Alma Padilla-Iriarte, Farnoosh Rafaie, Pablo Sandoval, Shanna Sullivan, Joe Varholick, Cory Walker­



from  bustler


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