Inflorescence  / sculptural seat installation

by Weng Ya Yu & Lau Yi Wen (Group 07)

External link: https://drive.google.com/drive/folders/1RnoVQ5c-KcP0jkowQIgnbQUNHg65nKKs?usp=sharing 

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In the final revision, we decided to arrange the seats according to the spiral Fibonacci sequence ratio. Clusters of seats will be loosely dispersed around the space to allow individual groups of 2, 3 and 5 to gather within the space at a comfortable distance.

Adjustments:

Fibonacci circular pattern sequence will demarcate the floor tiles to suggest the density of seat placement. This also gives a clean visual canvas to complement the main Fibonacci arc as illustrated by the overall seat arrangement.

Proposed Location:

Communal plaza of NTU North Hill, dimension at 6m by 11m.

Material Application:

1. Frosted fibreglass shade for light shades / seats 

2. Assembling lamp shade to pole

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We are currently working on the model rendering and poster layout. In the meanwhile, we’ll be printing model parts and construct the prototype over the weekend.

Stay tuned!

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We decided to review why our previous design looked very much like Peter  Opsvik’s Garden, here are the key ideas:

Analyzing Garden into elements
A. Thick and thin supports
B. Branching out from one main support
C. Multiple circles in the whole installation
D. Seats are very high off ground
E. Use of different pattern to differentiate leg rest/seats and backing

What we have in previous design
1. Branching out from main body
2. Multiple elliptical shapes in whole installation
3. Use of different form to differentiate leg/seats and backing
4. Seats are high off the ground
5. Have one really high light source
6. Almost similar size for all the support

We made this to compare what did we have in similar with Gardens so that we can fine tune our next version and make sure it does not look too much like Gardens but still echo the form of tree.

Form of Tree that we are echoing:
A. Branching
B. Thick Trunk VS Thin Branch
C. Crown-shaped canopy with center being the highest

Below are some sketches that we have done up in experimenting to change the forms for seat/seats:

The main concern was the form of ‘branches’. Curvy branches made it looks less like a tree, so we went for straighter cut (refer to second last rows).

Connectivity between seats is an important design element we’d like to emphasize on, as it brings out the characteristic of Fruitfulness.

Gradual height ascendance towards the center defines the characteristic of Positive Outreach.

Seat form/sitting posture was intended to represent the element of Nurturing. However, we are unable to visibly translate it into the composition (we’ll be reviewing the seats).

Here is the revised version –

Moving forward, we would like to explore

1.  Contrasting thickness/tapering of the ‘branches’
2. Enhance characteristic of Nurturing – form of seat backing

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This week’s agenda: Form ideation of seating sculptures.

The initial idea was to complete a series of seating sculptures inspired by the more prominent form in trees: Banyan’s vertical canopy, Tanjong’s long and wavy-edged leaves and Binjai’s fruit.

KS suggested that we redefine these elements into a singular piece instead. We also keep in mind of the purpose of seat is to invite social interaction.

Research

Peter Opsvik’s Garden (1985) demolishes the typical sitting position and allow people to sit freely in their most comfortable postures.

Globe Garden (2014) with a more natural colour palette.

We find this piece of work inspiring as it allows users to sit anyhow they’d like to, just like how we behave in nature – we can choose to sit on the floor, a rock, or lying on sand by the beach for example.

Ideation

In our case, we have a general idea of colliding nature (represented by the 3 types of trees) with human interaction (repopulating the communal plaza as main objective). Interactiveness is kept analog and simple, solar panel technology will be included as a providence of light source during night time.

Here are the primary sketches in form exploration (very random sketches that helped us think):

Integration of three elements into one is challenging and we found ourselves separating them as we further explored. We tried to simplify our form into:

*Fruitfulness from Binjai is changed from its fruits to the bundle of leaves (presence of collective mass), another characteristic from the tree. 

We formed simple sketching equations to steer away from our mindless combination of the three elements.

> adding two elements together: 

> adding 3 elements together:

Further explorations:

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Proposed Materials:

^ As example shown, planar cut wood and bent steel for possible organic curvy forms.

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UPDATE!!!!!

Here’s a quick prototype after this morning’s consultation.

Interpreting elements in an abstract way; kind of like a hybrid-like tree form that expresses positive outreach, nurturing and fruitfulness.

**Model scaled at 1:10

Till next week, we’ll be exploring more forms of seat, height, composition as a whole. A refined model will be done on 3D rendering.

Stay tuned! (☞ (͡◕ ͜ʖ ͡◕)☞

-Recap from last week –

PSD matrix was constructed based on the characteristics of the north hall heritage trees: Banyan = Fluidity, Tanjong = Vitality, Binjai = Transience.

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This week we aim to transpose the three design elements into meaningful visual forms that represent its characteristics.

Multiple types of green are already scattered around the communal plaza. Positioning the actual plantation of  Tanjong, Binjai and Banyan via sculpture/installation may be seen as a common sight. The question we’d like to ask ourselves – how do we differentiate the existence of these trees from the rest while not making them look out of place?? 

The possible executions were narrowed down to:

A) Allows nature to grow accordingly to the form of sculpture(s) or

B) Sculpture that takes on the form of nature (e.g. growth of trees / seasonal process of leaves shedding / blossoming of flowers)

We found an artist who works on a similar concept that uses tree as part of his installation in a public space along Crown Street Mall, Wollongong, Australia. Mike Hewson uses misshapen palm trees and sandstones to create ‘tree seats’ and a children’s playground. He hopes to bring the city’s landscape into the mall, while providing identity-forming icons for the city. (source)

However, we want it being more than just an aesthetic ornament. There’s more significance value if we look into the environmental considerations of the communal plaza (space, current facilities, limited light sources at night etc).

We decided to drop the idea of involving the actual trees as part of our sculpture, as it does not serve to invoke the sense of common identity within audiences (i.e residents). Their characteristics will rather be expressed in an abstract form with a purposeful function. Our design focuses to facilitate more social interaction among the residents.

Site Observation

We find the seats were sparsely scattered around the communal space. Awkward placements of the geometrical seats make them less inviting to sit on as an individual or a group. Light source shines at the trees rather than the pathways.

This leads us to looking at comfortable seats that lights up during night time. Public benches that looks homely and comfortable enough to take a moment to rest on before heading back home.

Research References

Seats that looks invitingly comfortable to snuggle in ( ͡~ ͜ʖ ͡°)

CHITCHAT: Designed to inspire social interaction – Strangers break the ice to interact as they join in to balance the seat.

Quick Prototypes of Seating Sculptures

*green marked tapes illustrate the seats

Extra thoughts:

• lights will run at the bottom of the sculptures, shining on pathways.
• changes colour of light when motion sensor detects the presence of physical movements from the passerby.
• trail of light lights up as people walk along the sculpture (motion sensor too)
• possibility of making them modular pieces to unify style, rather than random swirls.

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This week we dive back into the research of the three north residential halls: Binjai, Tanjong and Banyan. Our initial idea was to create a light sculpture based on the element forms of flowers from the trees. The purpose is to design a statement piece that people can identify with the NTU heritage trees.

The challenge we encounter was to integrate these three elements that is so diverse. Then we questioned ourselves, “why flowers??” What are the eminent qualities in them?

In addition to the last week’s insights on discovering nature through a medium, we first need to identify the characteristics of the representative trees of north halls.

Banyan Tree

• Burmese Banyan (Ficus kurzii) species in Singapore
• Strangler Fig that begins its life as an epiphyte (grows on other trees)
• Envelopes and kills host tree as it decomposes. Banyan eventually leaves a hollow central core which is desirable for animals to take shelter in the wild.
• Unable to germinate on ground but more on woodland
• Leaves are large, leathery, glossy and elliptical
• Circumference of 30 m and a height of about 35 m

 Characteristic: Fluidity/Adaptability in growth 

Binjai Tree

• Mangifera caesia tree (Binjai in Malay) is native to Singapore, endangered species
• Dome shaped crown, dense
• Edible brown-yellowish fruit (part of mango family tree), used in sambal chilli and rojak
• Grows on lowlands
• Deciduous: Seasonal leaves shedding 
• Leaves are rounded, large and leathery
• Height of 30m tall

 Characteristic: Transience/Momentary 

Tanjong Tree

• Tanjong (Mimusops elengi) tropical tree in SEA region
• Evergreen
• White star-like flowers produce sweet scent. Used as adornment, stringed them into necklaces
• Red-orange fruits with velvety skin, eaten by birds
• Medical values: leaves are used to ease headaches, the bark for the treatment of pimples and the roots used to sooth sore throats
• Leaves are glossy, oval-shaped with wavy leaf margins.
• Height of 20m, circumference of 1m

 Characteristic: Vitality 

We identify the design elements to be Fluidity, Transcendence and Vitality. To translate and communicate the elements into visual form.

The possible ideas to present the 3 elements are:

• Interactive seat
• Water fountain
• Sheltered seating area
• Light sculpture
• Kinetic sculpture

Reference works 

We look into how nature themed installations/sculptures are used as a medium to represent/give meaning to places.

1. Warde by HQ Architects

Located in Valero Square, Jerusalem, the interactive light installation aims to revive a dead urban space that is lacking human crowds. They chose poppies as the form as poppies often thrive in neglected and disturbed environment. The poppies will open and close when there are any passerby, which will ignite the curiosity in them to come and interact with the space.

Source: Can Art Revive a Dead Urban Space?

2. moistSCAPE by Freecell

The installation featured geometrical planes of steel structures with different species of mosses growing on it. The whole space provides an opportunity for viewers to walk in and experience the combination of nature and artificial materials.

Source: Moistscape – 3D Geometric Moss Art Installation

3. Living Pavilion by Ann Ha & Behrang Behin

The concept of this pavilion is to bring back nature into the city by adding some “green” into the space. This was constructed using milk crates and shade tolerant plants which enable the place to maintain cooler temperature and easy disassembly of the pavilion.

Source: FIGMENT 2010 City of Dreams: Living Pavilion

Feedbacks

> Two ways of execution: Actual integration of three plantations, symbolic form of the 3 characteristics

> Cohesiveness of combining three different characteristics

> Hybrid tree?? Research!!

> Co-habitat space for the trees

> what kind of first impression you want to project upon looking at the sculpture/installation

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Reference links:

Burmese Banyan in Singapore

The Banyan Tree: A tree of elegance, superstition and even murder

Binjai Tree in Singapore

Singapore Heritage Trees (Binjai tree)

Tanjong Trees in Singapore

Tanjong Trees – Tress from Seeds