Surface Connection

This is a script under development, intended to be used for creating the “fold” between the floor and roof landscapes. The script needs some further work, I especially would like to create fillets between the existing surfaces and the new connection.

This is what the script does:

input roof and floor surfaces
input curves to define start of connection
project curves to surfaces
create vertical curves along start curves
create surface from network of curves
trim (and fillet) surfaces

// download connection script: surface-connect.rvb



This is something not directly connected to my ongoing thesis project, however, it’s a small project I did during summer to learn rhinoscript. The idea was to develop a parametric under roof, each one uniquely designed for a every space after the customers wishes. A surface, curved or flat, gets divided into two sets of intersecting triangles, which are then unfolded, annotated and laser cut in polypropen plastic. The triangles arrives in a package to the customer who puts it all together with cable ties. These images are from a cardboard concept model.

The scripts might be somewhat buggy, a little bit more work is needed. The biggest problem is to figure out a way to keep the right surfaces after intersecting them.

// download scripts: tria_create.rvb, tria-combine.rvb, tria_unroll.rvb


The Night of the Living Forest

While discussing the project with my tutor this week we decided that I really need to decide on the nature of the exhibition in the pavilion. While I had already decided upon the more general theme for the pavilion, darkness, I hadn’t really taken any stance in what the actual exhibition would be like. Well, now I have. I was already thinking of the interior space as not a pitch black one, more like a mystical Swedish forest in twilight. I will now take on this road completely, the whole exhibition will be all about the mysterious side of the Swedish nature. The main interior space pretty much stays the same, but sound, light and projections will enhance the experience, materialising the mysterious creatures of the night among the visitors. Something that at first glance is a small hill could in fact be a stone troll in the next, and the mist around the trees suddenly looks like dancing elves. A manifestation of the rich nature of Sweden and its supernatural side that comes out after dark.

Underneath the undulating floor of the forest, inside the caves in the hills, will an accompanying exhibition be located. Visitors can admire Swedish artists, such as August Malmström, his Älvalek pictured above, or John Bauer, and many more who have worked with painting the various creatures of Swedish folklore. Separate rooms, or hills, will house the work of various writers, directors and sculptors. Visitors can read and listen to amazing stories about encounters with trolls or watch films about the small gnomes living underneath us.

In addition to these two aspects of the pavilion, the interior forest and the exhibition underneath, there will also be some more general spaces. A bar, where you can buy a drink and something small to eat inside one of the “caves” and then sit down on top of it, looking out over the living landscape. A shop in which you can buy reproductions of the artwork displayed along with books and films and music. A larger auditorium for readings and lectures in which longer movie features also can be displayed. All together, an exhibition with a strong theme, encouraging visitors to travel to Sweden and seek out these phenomena themselves.


The Eyes of the Skin

The eye is the organ of distance and separation, whereas touch is the sense of nearness, intimacy and affection. The eye surveys, controls and investigates, whereas touch approaches and caresses. During overpowering emotional experiences, we tend to close off the distancing sense of vision; we close our eyes when dreaming, listening to music, or caressing our beloved ones. Deep shadows and darkness are essential, because they dim the sharpness of vision, make depth and distance ambiguous, and invite unconscious peripheral vision and tactile fantasy.
- Juhani Pallasmaa, “The Eyes of the Skin, Architecture and the Senses”

In his book “The Eyes of the Skin...”, Juhani Pallasmaa writes about the bias towards vision in our culture as a whole and in the architectural practice in particular. Buildings are foremost conceived based on the way they look, not how the body interacts with them. By dimming the light and restriction vision, we are able to take in the full extent of our surroundings, the way it smells, sounds and feels. In this way, the experience of an architectural space can penetrate our consciousness, letting our body feel the full extent of a place and strengthening our existential experience.

Twilight is the time before sunrise, called dawn, and the time after sunset, called dusk. Sunlight scattered in the upper atmosphere illuminates the lower atmosphere, and the surface of the Earth is not completely lit or completely dark. The sun itself is not actually visible because it has not yet come over the horizon (sunrise) or it has passed below the horizon (sunset).
- Wikipedia

From early autumn, twilight grow longer and longer in Sweden. Then the nights come quicker, until they, at least in the north, dominate over the day. During these months, as daylight becomes scarce, not only do our bodies become more and more open to our other senses, but our imagination is also stimulated. Pallasmaa continues:

Homogenous bright light paralyses the imagination in the same way that homogenisation of space weakens the experience of being, and wipes away the sense of place. The human eye is most perfectly tuned for twilight rather than bright daylight.

This full involvement with a space is what I am hoping to achieve with the design of the dark inside of the pavilion. A space not necessarily completely dark but with little enough light to be able to feel the space to completely. By being in a “forest” is the peripheral vision as important as the direct gaze and the structure of the trunks, echo from the walls and the sense of the body climbing up and down the hilly landscape all form equal parts in the spatial experience.

// "The Eyes of the Skin" on Amazon
// Wikipedia on twilight


A Forest

The next step in the development of my tools is a script that creates the “trees” that pierce through the dark inner space. Something that will work with very different sets of variables as I haven’t yet decided on their appearance. However, I have decided on which variables the script will take as input: trunk start and end radius, number of segments between floor and roof and the displacement of these, branching probability and number of recursive generations, twig length, width and angles. These inputs can create very differentiated trees.

Here’s the script in pseudo code:

input variables
pick tree starting points
for each point
- find corresponding point on roof

- find points in between

- draw a line between points
- draw circles along line based on input radius
- loft these circles
- start branching recursion
- - start point along tree line
- - random against branching probability
- - if under - find branch end point
- - draw branch and loft
- - boolean trunk and branches
- - continue recursion until generation limit
boolean trees with roof and floor

The script is still quite far away from being finished but it’s at least a good starting point. The major issues are concerning stability, it still crashes a lot, and the final boolean of the trees with the roof and floor.

//download tree script: create-tree.rvb


More Landscapes

This is a concept image for the pavilion based on last week’s landscaping script. The volume appears to be solid from the outside, created between two undulating surfaces. As the site reserved for the building is a 50 by 60 meters wide rectangle, I’ve been thinking about letting the pavilion expand to at least two of these corners, and end the volume with a straight cut on those sides. But I will need to investigate the required spaces more in plan before making any certain statements about their whereabouts. Below is a laser cut physical model of the same volume:

Finally two other concept models, investigating different possibilities to articulate terrain:



This past week have I been working with the dark inner landscape inside the pavilion. I would like it to be a exciting terrain, experienced both from underneath as an undulating roof and from above as a landscape to explore. For now this landscape is pretty straightforward, a surface created from a set of defined areas which then forms the “hills” in the terrain under which the programmatic spaces will be located. Though I’ll need to experiment with different ways to manipulate this surface, such as adding noise, I have included a delaunay triangulation of the result.

// download landscaping script: landscaping.rvb

// update: I added some surface noise to the mix. It’s a simple script that modifies the surface grips by a specified noise factor.

// download surface noise script: addnoisetosurface.rvb