Project 2B: Model & Scale
DDWO001
Teacher: Christie Cooper
Joyce Mok
Chosen Strategy: An object in Multiple units that allow for extreme geometries - Heatherwick
Heatherwick Information:
Thomas Heatherwick, born in 1970, in London, who is internationally recognised as "one of the most influential and innovative designers today". He was always around the creative world as both of his parents dove into design, as his mother was a bead collector and his father actually introduced him to design and architecture (Cooper Hewitt, n.d.).
Then, Thomas would go on and founded the "Heatherwick Studio" in 1994, where he also had a group of architects, designers and also engineers who have all worked on around 200 projects together (Cooper Hewitt, n.d.).
Architecture
United Kingdom Pavilion - Seed Cathedral
The Heatherwick Studio was selected to design the "United Kingdom Pavilion" for the World Expo, which occurred in 2010 in Shanghai, China. One of the requirements of building this structure, was that it had to be made with limited budget and also had limited space. They only had the size of a 'football pitch' to use with creating their structure. The overall influence that the Heatherwick Studio has used is to be focused on the United Kingdom's pioneering history of the urban parks and also gardens. They also were influenced the botanical research heritage and also the "Kew Garden's Millennium Seed Bank" which was a plant conservation program that is one of the largest globally (Heatherwick Studio, n.d.-c).
Figure 1.
Seed Cathedral
Note. This is the United Pavilion, located at Shanghai China, 2010.
Source: http://www.heatherwick.com/projects/buildings/uk-pavilion/
Figure 2.
Note. This is the close up photograph of the individual rods that were placed all around the structure, where viewers can see plant seeds inside.
Source: http://www.heatherwick.com/projects/buildings/uk-pavilion/
Figure 3.
Note. This is a photograph, showing the entire structure with the foundation shown here.
Source: http://www.heatherwick.com/projects/buildings/uk-pavilion/
Information:
Here in Figure 1. and Figure 2., where it shows two different pictures of the structure, where it shows how the rods appear close-up and also from a distance. Figure 3., shows the foundation of which the structure is on, showing that it was not just the structure of the cube but rather, including the entire foundation (Heatherwick Studio, n.d.-c).
This Structure was called the "Seed Cathedral" where it was a wooden cube structure that are pierced by around 60,000 acrylic rods. The rods were approximately 7 and a half metres long, which could transmit light through them. There is seeds that was placed on top of the tips of the fibre rods. Overall, this structure won the Expo's top prize which was a gold medal for Pavilion Design (Heatherwick Studio, n.d.-c).
Analysis:
- Here I think that they have chosen to show how plants grow, showing that all life is essentially all connected together (seen in Figure 1. and Figure 2).
Workshop:
Figure 4.
Spatial Analysis Drawing - Seed Cathedral
Note. This is a drawing that showed the layers of the structure "Seed Cathedral" created on Procreate.
Analysis:
Here shown in Figure 4, shows the layers that I have drawn that I have noticed throughout the structure. I started to look at the spikes and started to lessen the spikes for more isolation. I then started to draw a visual representation of the rods and also then drawn the seeds that were inside the tip of the rods (seen in Figure 2.).
Figure 5.
Note. This was a photograph showing the plan with the shape of the foundation that was made out of aluminium and other metals.
Source: http://www.heatherwick.com/projects/buildings/uk-pavilion/
Analysis:
Here in Figure 5., it shows the development of designing the foundation in which the structure would be on the top of it. Through the image of Figure 5., it shows that Heatherwick Studio has used a smaller version of what the cube would be like and started to wrap the small cube in paper. After that, they have used a ruler to mark out the lines that was created by the repeating folds.
Experiments
Figure 6.
Experimentation
Note. This is my experimentation of the techniques the Heatherwick Studio has used (seen in Figure 5.).
Analysis:
In Figure 6., I have experimented with the techniques that the Heatherwick Studio has used which is shown in Figure 5.. At first I wanted to replicate what Heatherwick Studio has done, so I decided to use a round rock as a representation of the wooden cube. I soon realised it is better to use a square object rather than using a rock, just because Heatherwick Studios has seemed to done (seen in Figure 5.). I finally found sound old styrofoam I have around my home, in which I have cut it into a square and used that instead. I placed this square on the top right hand side of the paper just like what the Heatherwick Studio has done. This was successful, as I folded the paper into a shape and also used a ruler to go over the folds that I have made.
Figure 7.
Note. This is the process of my model making, by documenting this through photography. Timeline from left to right.
Analysis:
Here I have tried think of ways to replicate the 'spikiness' of the Seed Cathedral (seen in Figure 1. and Figure 2.). I had to think of ways that I can replicate this, which I have finally found toothpicks. I first cut a piece of styrofoam into a square and then started to insert the toothpicks into it. I realised that I had a limited supply of toothpicks, then I decided to cut the square in half and use it as a foundation base. I also then set up a little photoshop area and started to photograph my model (seen in Figure 8.).
Figure 8.
Final Model 1 - Experiment
Note. This is a series of three photographs that I have taken on my camera.
Analysis:
Here I have tried to use different angles to show the the extreme geometries that are created here in Figure 8.. I have tried show the different ways Model 1 has shown the different geometrics within. This is seen in the layer of the foundation styrofoam where you are able to see the zig zag pattern of the toothpicks, thus, showing the different geometrics within this model.
Bund Finance Centre
The Studio, Heatherwick Studio, had won a competition, where they were invited and allowed to develop a 4 million square foot architecture building in the Bund in 2017. This site was the last empty site in Shanghai, China. The Heatherwick Studio partnered up with Foster + Partners, where this was a scheme that was created on the client's requirement for offices, a hotel and also retail shops that sell luxury items. This architecture was influenced by Chinese culture that was seen in Shanghai. One of the influences was the layers, where it resembled the opening of curtains at chinese theatre stages which was a prominent performance culture in China. The tassel looking pipes resembles the Chinese weaving of traditional Chinese bridal headdresses. This building also was influenced by the historic buildings that surrounded that area (Heatherwick Studio. n.d-a.)
Figure 9.
Bund Finance Centre
Note. This is the Bund Finance Centre, developed in 2017, in Shanghai, China.
Source: http://www.heatherwick.com/project/bund-finance-centre/
Figure 10.
Note. This is a diagram on the mechanics and the visual representation of the rotating pipes.
Source: http://www.heatherwick.com/project/bund-finance-centre/
Information:
In Figure 9. and Figure 10. it is noted that the building is able to rotate and move, creating dimensions within. In Figure 10. it shows a mechanical diagram of the pipes and it illustrates how it was designed and made.
Analysis:
Through Figure 9. and Figure 10. it allows for extreme geometric along with the representation of Chinese culture that is embedded.
Workshop:
Figure 11.
Spatial Analysis Drawing - Bund Finance Centre
Note. This is a drawing that showed the layers of the architecture "Bund Finance Centre" and also a drawing of the pipes created on Procreate.
Analysis:
I have drawn the layers that where places around the building and basically deconstructing them separately to clearly outline the geometric dimensions within. I then drew the pipes, showing a zoomed in effect in my drawing, where I demonstrated how the pipes would look like together.
I have drawn the layers that where places around the building and basically deconstructing them separately to clearly outline the geometric dimensions within. I then drew the pipes, showing a zoomed in effect in my drawing, where I demonstrated how the pipes would look like together.
Figure 12.
Process of Making Model 2A - Influenced by Bund Finance Centre
Note. This is the process of my model making, by documenting this through photography. Timeline from left to right.
Analysis:
Seen in Figure 12., I first started to cut up two styrofoams and using toothpicks as a stabilising pillar that held them two together. I then added a third one to give it more depth. I liked the idea of having layers in this model as it would reflect the architecture of Bund Finance Centre. I then coloured tissues with highlighters and started to layer them on top of eachother to create dimension. This is a failed experiment as I thought it looked boring and wasn't what I liked aesthetically. Therefore I decided to redo this model making.
Figure 13.
Process of Making Model 2B - Influenced by Bund Finance Centre
Note. This is the process of my model making, by documenting this through photography. Timeline from left to right.
Analysis:
Here in Figure 13., I have used a different materials to develop a sculpture that reflected the lovely layers that Bund Finance Centre has. I started to think about other ways to illustrate different layers. I then used a toilet roll and started to stuff styrofoam inside for stability when it is standing. Finding different cloth materials which included some coloured felt cloth and also a hair net that I used in year 7 to demonstrate the layers. I cut them into organic shapes and then started to pin them into the styrofoam using toothpicks again. All together, I created a mushroom-like sculpture, which shows the different materials where you are able to see all layers clearly.
Figure 14.
Final Model 2B - Experiment
Note. This is a series of three photographs that I have taken on my camera.
Analysis:
Here in the series of 3 images (seen in Figure 14.) I have shown the layers within my model. You can see that I see through material (hair net) to demonstrate the other coloured layers behind it. This shows an organic geometric which is more prominent through my close up shot of the layers. I used a close up shot to show the 'furry' like material making it more soft geometric shapes.
London Olympics Cauldron
This sculpture was made for the London Olympics which occured in the year 2012. This was a new and innovative way to represent the "bowl of flame" as the Heatherwick Studio did not want to go for a traditional way of making this. It was a distinctive part of the opening ceremony for the Olympics as it was a way to show the community of countries together, as they all competed in the Olympics (Heatherwick Studio, n.d.-b).
Figure 15.
London Olympic Cauldron - Close-up
Note. This is the London Olympic Cauldron up close, developed in 2012, in London.
Source: http://www.heatherwick.com/project/olympic-cauldron/
Figure 16.
London Olympic Cauldron - Lit up
Note. This is the London Olympic Cauldron lit up in the Opening Ceremony, developed in 2012, in London.
Source: http://www.heatherwick.com/project/olympic-cauldron/
Information:
This sculpture made by the Heatherwick Studio, was in a massive size that weighed 16 tons. It was designed for all countries, meaning the petal like individual torches was carried by every country that participated in the Olympics. The children would carry 204 copper piece for each country during the ceremony. The words "London 2012" was engraved into each copper piece and was placed into slots (during production) for each country. After when the olympics ended, all the countries who attended was allowed to take one copper piece back to their country, as a reminder of this event (Heatherwick Studio, n.d.-b).
Analysis:
This can be interpreted as a blooming flower, as it metaphorically refers to the growth and the beauty of the olympics. It also ties with the sense of unity of all countries no matter what conflicts that may be going on, it is a way for countries to be together as a community. This shows the different extreme geometric stages as the progression of this sculpture goes in a sort of timeline/storyline.
Workshop
Figure 17.
Spatial Analysis Drawing - London Olympic Cauldron
Note. This is a drawing that showed the progression of the individual copper pieces of the "London Olympic Cauldron" created on Procreate.
Analysis:
Here (seen in Figure 17.) I have drawn a bit of the diagram of the torch and then the progression of how it is placed into the right position for it to be lit up. I then drawn the torches all together in a little bunch, because I didn't think it was that necessary to draw 204 pieces, but rather a little demonstration of how it was places before it was light up. Finally, I drew the torches all light up, using colour this time to show the fire.
Here (seen in Figure 17.) I have drawn a bit of the diagram of the torch and then the progression of how it is placed into the right position for it to be lit up. I then drawn the torches all together in a little bunch, because I didn't think it was that necessary to draw 204 pieces, but rather a little demonstration of how it was places before it was light up. Finally, I drew the torches all light up, using colour this time to show the fire.
Experiments:
Figure 18.
Process of Making Model 3 - Influenced by London Olympic Cauldron
Note. This is the process of my model making, by documenting this through photography. Timeline from left to right.
Analysis:
I started to look at how organic the London Olympic Cauldron was, as it kind of represented a living thing through a innovative and metaphorical way. I started to find a metal material to replicate the techniques Heatherwick Studio has used. Finding scapes of wire i started to bend some of the wires into a pedal shape, replicating the flower-like sculpture cauldron. I then used a square styrofoam to be the foundation of where I place these wires into. I cut the pedals out and left some straight wires as well for variety in geometric shapes. Then, I started to layer different types of wires to create a bouquet-like shape, to represent and reflect the sculpture (seen in Figure 18.).
Figure 19.
Final Model 3 - Experiment
Note. This is a series of three photographs that I have taken on my camera.
Analysis:
In the image above (seen in Figure 19.), this shows the final experiment of Model 3, where I have used the documentation of photography, capturing three images (seen in Figure 19.). I am trying to convey the extreme geometrics through photography methods of having different angles to photograph the wires and the geometrics that the wires create in different perspectives. This also reflects some of the process making that the Heatherwick Studio has done, as making individual pedals and then placing them to make a collective sculpture where it is able to be taken apart with ease.
In the image above (seen in Figure 19.), this shows the final experiment of Model 3, where I have used the documentation of photography, capturing three images (seen in Figure 19.). I am trying to convey the extreme geometrics through photography methods of having different angles to photograph the wires and the geometrics that the wires create in different perspectives. This also reflects some of the process making that the Heatherwick Studio has done, as making individual pedals and then placing them to make a collective sculpture where it is able to be taken apart with ease.
Final Model
Process of Thinking:
I started to think about something that has repetitive motives with the materials that are surrounded with me. Unfortunately, due to COVID-19 restrictions, I had limited supplies, as my family usually throw away useless materials that we do not use. I wanted to do something with wires seen in Figure 19., where I can also apply motifs of unity because that's what we want in society due to the circumstances.
Figure 20.
Process of Final Model
Note. This is the process of my model making, by documenting this through photography. Timeline from left to right.
Analysis:
The process of my Final model (seen in Figure 20.), I wanted to show how I made my model step by step. First, I cut the wire using the wire-cutting-tool, making it into a stick like form, making them all unique, as each of their geometrics are different to each other. I then started to snap toothpicks and stick them into a square styrofoam as well as the cut wires. I added the toothpicks for more variety, to show the extreme geometrics within this model. I then used a leather string, in a dark brown colour and started to weave my way through the entire wires and toothpick, creating organic shapes.
Figure 21.
Final Model
Note. This is a series of three photographs that I have taken on my camera.
Analysis:
Through the 3 images (seen in Figure 21.), I have conveyed through my final model in multiple units that allows for extreme geometries. Through photography, I have shown the types of shape forms that is seen throughout Figure 21., showing both organic shapes and the repetitiveness of motifs throughout my model. With different types of materials that I have used, which included wood (toothpick), metal (wires), leather (string) and also the foundation (styrofoam), where all together gave a sense of unity of all materials. This can be symbolically mean the unity of the community. The string going around the toothpicks and the wires is a metaphor of 'tying the knot' of all materials together.
Feedback:
I have received feedback in regards to this project, where I was able to develop my model more. One of the comments made is that I should have a larger model for the final one that we are supposed to do. Something that is repetitive just like the Heatherwick Studio's techniques. Unfortunately for this assessment I wasn't able to apply this feedback, as I actually do not have the resources to do something like that. I wasn't able to make a model that was 15x15x15 due to restrictions of lockdown and also no resources at home. Therefore I had to just use the draft model (seen in Figure 20. and Figure 21.) as my final submission.
References:
Heatherwick Studio. (n.d.-a). Heatherwick Studio | Design & Architecture | Bund Finance Centre. http://www.heatherwick.com/project/bund-finance-centre/
Heatherwick Studio. (n.d.-b). Heatherwick Studio | Design & Architecture | Olympic Cauldron. http://www.heatherwick.com/project/olympic-cauldron/
Heatherwick Studio. (n.d.-c). Heatherwick Studio | Design & Architecture | UK Pavilion. Retrieved August 20, 2021, from http://www.heatherwick.com/projects/buildings/uk-pavilion/
Thomas Heatherwick. (n.d.). Cooper Hewitt. https://collection.cooperhewitt.org/people/35459769/bio
