Just to let you know what I'm doing at the moment.

Surface Push

This is a small script I used to create the bumps in the surfaces which were the first step in shaping the passages between the different layers. Here’s what it does:

pseudo code:

input surface
input start points and direction vector
input threshold level
for each grip on surface:
- check mean distance to start points
- scale vector according to distance in relation to threshold
- add vector to grip
update surface

// download script: surface-push.rvb


4 Seasons

This is something I thought about while working with the different layers of the pavilion and the connections between them. I have previously only really thought about the interior forest in terms of appearance and detailing. A new outset is to think about the different layers in terms of seasons.

The forest is then autumn, dusky and foggy. The upper landscape is, as it’s outside, during summer, an undulating summer meadow, with spots of long grass to hide in. The inner caves below the forest will be frosty winter, gleaming of ice and snow, while the outer caves are the first days of spring, coming back to life as you exit the pavilion, into the bright summer again.


Forest Mythology

Folklore and ritual connect man to his landscape, dancing through the liminal zone between the everyday and the spiritual. Kiedler is a forest wilderness devoid of the history of mythology coursing through the ancient boreal zones. It is a prosthetic landscape - a graft - where the connection to the mythological and ceremonial practices of native man has never been established. Mythology can be thought of as a way of expressing intangible truths, and forest mythology has its roots in a primal response to the immersive environment of the forest. This is not a wilderness of bracing physical exposure like the mountain, but instead a dark internal wilderness of quiet psychological exposure.

Kate Davies and Emmanuel Vercruysse, Prosthetic Mythologies, AD 2008/4


Turns out that the pavilion will take on a crystalline shape. After trying to solve the problem with the passages between the different layers, I decided to divide the surfaces into facets. This makes it a lot easier to manipulate the layers as they are made up of many flat surfaces which all can be manipulated individually, folding to make connections, adding and deleting surfaces as it’s needed. Openings are created automatically while folding and bending the layer instead of having to be cut out of a smooth surface. However, there are new problems that arise because of this new method. The trees, for instance, are a bit more complicated in their constitution and their connections with the ground and roof. But that will be solved in time. I hope.

To make the transformation from smooth to faceted surfaces a bit easier I wrote a small and simple script that creates points from a surface and then apply a delaunay method to the points. This script requires the point set reconstruction tool plugin that can be downloaded from mcNeels rhino labs.

//download delaunay script: delaunay.rvb


Work in progress

A quick update on the hill. This is a rough 3d-model I made with the help of my landscaping scripts. Now I need to focus on the openings and passages between the different layers. I have an idea of what these might be like, more on that soon.


The Hill

New ideas. After struggling to get the outer envelope of the pavilion right I came up with a new idea. Instead of letting the building be a “blob”, which you enter from the side, I decided to do it as terrain all the way. Now the entire pavilion is a sloped hilly landscape, on top of which the queue area is located and from which you descend into the interior forest. I think this is a better solution which integrates the pavilion into its surroundings in a much more interesting way, with the entire building rising up from the ground. This also means that I need to work out a couple of new scripts, especially one creating the folds which connect the upper landscape with the interior.

Some sketches:


Landscaping 2.0

A few updates to the landscaping script: The script now inputs connection curves between hills, offsets the starting curves instead of scaling them to create contours to patch and continues to create contours for larger hills until a defined area is left on the top. Finally I added an option to levelize the patched surface so it can't drop below a defined value along the z-axis.

// download landscape script: landscape2.rvb


If the trolls looked anything like the widespread image of a grotesque creature with a tail and pointed ears, clad in fur and with big noses, as painted by John Bauer for instance, it would be easy to recognise them. However, it’s not always that simple. The trolls are very clever and were able to change shape as they please. Normally them looked quite like common people, only better dressed. If you would encounter a luxurious dressed couple in the woods, you better watch out.

Much like the älvor, the trolls could kidnap and capture people in their mountain dwellings. Captured people had to work hard for their new masters, but were normally treated well. The best way to break the enchantment is to speak the name of Jesus or if the local priest would let the church bells ring loudly, as the trolls can’t stand christianity. Another crime trolls might commit is to kidnap newly born babies or exchange if for one of their own.

// Source: Älvor, troll och talande träd by Ebbe Schön
// wikipedia on troll



These are pictures of two ribbed models I made last week. Though they were rather unsuccessful due too the low rib resolution it’s a promising technique to use at a larger scale in the future. To create the sections and notches I used a combination of found scripts, follow the links to download them.

// links to ribbing scripts: un didi, legil.org



To create a pavilion that promotes tourism to Sweden, encouraging visitors to seek out the Swedish wilderness, emphasising the mysterious qualities of the untouched nature.

My intention for the exhibition in the pavilion is not to display objects or products. It’s more to provide a sensation of being in a dense and dark Swedish forest, allowing visitors to experience the influence a rich and untouched nature can have on the senses. What tricks natural phenomena can play on the mind and how and why people have believed in the mysterious creatures of Swedish folklore to explain the unknown through the ages. The exhibition will be the pavilion itself, a dark forest with caves underneath, helped by projections, sound, light and fog to transmit a full experience.

The pavilion mainly consists of two parts. The interior forest and the caves/hills underneath. Hills, roof, walls and trees are all shaped from a single self-bearing surface. This surface is closed from the outside with the exception from the entrances and exits which will be formed like rips and tears in the material. The interior forest will be very dark, with only patches of light shining through from above, enhancing the darkness. The surface is irregular and rough, providing seating and a richer and more detailed environment. The caves in the hills of the interior landscape contain the rest of the exhibition as well as auditorium, shop and a bar. These spaces will be partly lit from above, through the hollow trees, which also act like supporting pillars. The queue area takes up around 20 % of the 50 x 60 meter site and is also a hilly landscape. There might also be trees here, so that arriving visitors gradually makes it deeper and deeper into the woods until finally ending up in the forest on the inside of the pavilion.

Required Spaces:
Exhibition - the forest and caves
Bar - in half-open cave/hill, seating on top
Auditorium - in larger hill, for lectures, screenings etc.
Shop - in cave, with separate entrance and exit as well
VIP - a cave close to auditorium and bar
Queue area - with small hills, several entrances to forest
Exits - through caves

Below are some photos of some diagrammatic models I built last week:

On trees and caves

I came across the images above in my search of the essence of the Swedish forest. In order to create a forest of my own, I’ll need to know which elements that are important for capturing the special atmosphere of a dense and dark forest. One of the first things to notice are of course the trees. And how many they are. They are tightly packed standing in each others way, obscuring both the light and the view. The sheer number of trees is important to re-create the denseness and closeness I’m looking for.

Then there’s the light. Tiny rays of light breaking through the overall darkness of the forest, illuminating small patches of ground, creating contrast which makes the dark parts seem darker. Another thing is irregularity of the ground. The green and soft floor is covered with small stones and rocks and branches, partly hidden under a blanket of moss. These irregularities are vital ingredients in the atmosphere of the forest. They break down the play of shadows and light into smaller fragments, introducing more detail and interest to the otherwise smooth surfaces and might also offer seating possibilities. To re-create these elements I’ll need to manipulate the interior surface of the pavilion by adding more noise in to the mix.

Another problem which needs some looking into are the openings between the forest and the rooms underneath the hills. As I’ve seen these rooms as something not very unlike caves, I think it best to turn to real cave openings in order to find good examples to model my solution on. Unfortunately, people seem to be very fond of taking pictures of these opening from the inside and out, and not the other way around.

I’ll need to find a way to represent this passage between inside and outside, maybe something like ripped fabric, or slits cut in a blanket. Hopefully I can create a script that replicates this kind of tear in a surface.


Surface Climb

Another script for manipulating my landscape surfaces. This script lets the surface climb from one point to another one, to a specified height, creating a slope.

Pseudo code:

input surface
input start and end points, height and resolution of new surface
get points from surface at specified resolution
for points after start point
- derive climbing height in proportion to distance to end point
- add height to point
patch points to create new surface

// download climbing script: surface-climb.rvb



The Swedish älva is a creature quite similar to an English elf. However, there are many different opinions regarding their appearance. Sometimes they are small, with wings, but these creatures are in general referred to as féer. The most common view is that they are beautiful girls in white gowns, dancing in the meadows during dusk or dawn, appearing from and disappearing into the milky mist. Even though they often are invisible, it’s quite common to hear their chattering voices, and you can never be certain of you have met an älva, as they can change form into a small animal or insect.

In contrast to how they look, älvor can be quite nasty Anyone who get seduced into their dance gets sick or dies. Even someone resisting the dance might turn mad just by hearing their music. It’s really important not to offend älvor, or you might catch a skin disease called älvablåst or älvaeld. This especially can happen if you pee in the woods without first warning the älvor, who often live in the ground. To avoid their anger, you can always sacrifice small things to them such as needles or coins.

// Source: Älvor, troll och talande träd by Ebbe Schön
// Wikipedia on älvor