Wednesday, December 13, 2017

Daria's 'Fiesta de la Caña' experience

'Reed Experience'
That is what it all has lead to...
An experience rather than a dwelling, an infinite possibility rather than a prescribed program,
freedom of form rather than limitation of construction.
And one can say that it is speculative, it won't work, it is not real;
but here I am - creating my own reality.


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My project is a festival.
A festival of cultures, tribes, folklore, like Fiesta de la Candelaria I based it on, but
with a modern twist of music, dance, art, design, food and all things festive.
My dwelling is an area.
An area where dwellers create their own spaces, program them according to their wishes and are able to modify them
throughout the festival, throughout a day or within an hour.
My design is a suggestion.
A suggestion that is provided by the means of columns, spans of grid 'ceiling' and cores,
where the utility channels, such as water, electricity, gas, are located.
Integration of the dwelling

step 1
.know your dwellers.
Learn the people who will be interacting with your community. Anticipate what they need.
Speculate on what kind of people they are.
Be wrong yet thoughtful.

Install columns and grid spans over the area. Use ground profile to imagine what the space can be.
Create a surface - grass or gravel - to further suggest the possible use. Add cores, where the additional structural support is necessary.
They will provide 'points of attraction' that will guide the design of the dwelling.

step 3
Make walls (reed) accessible. Give it to people to use and modify. Allow walls to become a ceiling, a floor.
Let it bound, separate, define, join, capture, hide, enclose and whatever 'walls' are meant or not meant to do.

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step 4
Be a spectator of the natural phenomena. As a designer you've done your job. Now the dwelling 'grows'.
It emerges with the people, it arranges itself in clusters, it attracts to the points - cores.
The festival is live. People enjoy the music, performances, they meet each other, and with that - the dwelling changes.

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step 5
.join in.

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This dwelling, or whatever you may call it, is experiential. It allows you to interact with the component - the wall, with the system - the grid, and with each other - the dwellers.
Materiality and form here play a big rule as one becomes surrounded by reed, similarly to the vernacular community of Uros. Just like in the vernacular architecture the dwellers are the architects and have a power to create. They add and form the reed walls, attaching them to the provided grid. They choose what those spaces act like and what they are meant to be doing in them.
Moments are important. In the moment I understand that I have the power to create the situation right here, right now. I could walk past and say nothing, I could stop and talk, I could do whatever, and create a moment. Every moment is my moment to create.

Moments of interaction


The aim of the project described in this prospectus is to define the main ideas and methods of the vernacular housing and apply them to the dwelling in the urban city. Based on the research of the Uros tribe of the floating islands of lake Titicaca, Peru, the project attempts to re-appropriate the traditional use of totora reed plants as a primary material, it reflects on the inevitable temporarily of the structure and questions the role of an architect in the arrangement and organization of the dwelling.

In an attempt to use the vernacular ideas of self-arrangement, where a role of an ‘architect’ was given to the dwellers of the housing, this project becomes suggestive. In its’ essence, based on the ideas of Stan Allen, the structure of the dwelling creates a ‘field’ defined by a set of conditions and rules to which the ‘boids’ or ‘flocks’ of people are released. Spaces within this field are meant to be formed by people's collective behavior naturally, without a thought of spacial relationship, similarly to the regulation system in ants nest which isn’t purposefully designed but emerges from uncoordinated decisions made by individuals - swarm intelligence. This field is allowed to spread further into the city, creating more possibilities of aggregation. Structures that can be created vary in scale and degree of temporarily.

Located on the outskirts of the small city of Puno, Peru, this project becomes a part of a two week festival of folklore. A large span steel+rope structure with a grid ‘ceiling’ is set up in an open field where areas are prescribed for each of the arriving communities. The community is given a set of flexible flat reed walls modified with the wire mesh. They are used to create an infinite numbers of components - tents, walls, dividers, covers, shelves, doors etc. Those components are then attached to the any point of the grid to create spaces - individual or communal. Only the span, grid, occasional utility cores of water and electricity supply (points of attraction) and the natural elevation and materiality (gravel, grass) of the ground ‘dictate’ or rather ‘suggest’ the arrangement of the dwelling. Within the two weeks of the festival spaces are naturally modified, as people get to know each other, they join in their communities or on the contrary - divide themselves further. The rope grid also appears at points within the city center, where parades and performances take place.  It suggests that some components of the dwelling can be brought to the city and modified for the temporary use - shelter, resting area, sun shading, etc. Therefore, there are numerous relationships and scales in which the dwelling functions throughout the festival. 

‘Fiesta de la caña’ is a created reality. It is a two week festival in the folklore capital of Peru - Puno. It is more than a touristic attraction, more than a ‘weekend off’; it is a celebration of community, of reed tradition, of suggestive design and freedom. It is an instance where people, movement, space, music, form and functions are captured in a series of moments along the timeline and are spread across the ‘veins’ of the city in metastasis like way.

Tuesday, December 12, 2017

Yamin's Folk Dwelling: In the Core

In the Core
Core zone
Core of Nature

Parc National de Waza, Far North, Cameroon

Visual Manifesto

In the Core is an eco-dwelling project that is closely intertwined with nature, including climatic conditions and soil qualities

full resolution .pdf

Flooding Diagram

Due to the construction of Maga Dam, flooding in the area, including Pouss (Mousgoum's site) and Waza National Park (40km, NW from Pouss), has reduced by 30%

The occurrence of flash flood is due to the soil quality of high clay content, which is unable to drain water easily

Waza National Park

Environmentally classified into 3 areas: woodland, acacia and grassland (flood plain)
Politically divided into 3 zones:

Core  protected ecosystems
Buffer  eco activities conducted to help conserve the Core (eg. research facilities)
Transition  more activities allowed, to foster economic and human development both socio-culturally and economically sustainable

Site Diagram

Tensions in the Waza National Park:

Man vs. Nature
Grazing Intrusion

Man vs. Wildlife

Man vs. Man
Power distribution


Semi-arid with distinct wet and dry seasons  rotations of activities
Dry (Jan - May): Grazing
Wet (Sep - Dec): Fishing

Soil Typology

Climatic conditions result in different soil typologies, mainly composed of greysols/hydromorphic soil (silt clay loam), vertisols (clay loam) and fluvisols (silt loam) that are respectively found in, near and along the natural water stream

Site Plan

In respect to soil qualities, the aggregation is being crafted into the site along and across the water stream, generating variations between unit conditions, and subsequently program distribution and circulation

Water Experiment
(extended ver.)

Revised Mousgoum patterns in an attempt to reformulate new language of their identity

Exterior Plan

Introduction of Mousgoum Water Field for the purpose of directing water to the water holes

Interior Plan

Derived from traditional Mousgoum's
Notion of overlapping spaces create the path for water to travel down to respective storages
The underground water storages then connect the units together

full resolution .pdf

Condition 1
(along water stream)

The under-constructed-ground idea is introduced, where living spaces are located underground while the spaces above become shared, allowing wildlife to roam through

full resolution .pdf

Condition 2
(across water stream)

Conversely, living spaces are elevated to allow water to flow through at the ground level
Spaces below can be utilised as temporarily shelters for wildlife

full resolution .pdf


Overall Section

Intervals between private, semi-private, shared, public spaces, resulting from site conditions
+ activities conducted in shared spaces

Soil Construction

Mousgoum's intricacy was applied in the constructed soil foundation in terms of the arrangements of soil types; their qualities + techniques of densification and containment

Atmospheric View

Integration of man and nature

Interior Instance

Intimate relationships with natural elements: light and water

Interior Instance

Connecting water storages

Interior Instance

A boy in his private space


Naipaporn's Folk Dwellings : समग्रता Threshold of Inclusivity

Threshold of Inclusivity

The project is an inclusive framework to appropriate domestic thresholds. It's related to a specific but extremely relevant social group - Tamil war widows and their children. However, it can be open up to different appropriation such as modification throughout time. 
Its aesthetic and technical choices are related to the extreme complexity of the situation, proposing an intervention that is shared, cheap, ordinary, rough and soft at the same time.

Concerning with contextual issues, including discrimination, sexual abuse, children education, and quality of life,
the project aims to improve and create different atmosphere for this group of people by supporting empowerment and encourage war widows to learn and use their woman skills to create “local products” and able to support themselves.

zoom isometric of living space

zoom isometric of shared space

 link to full resolution

  According to the war, economy, demolished construction and solid waste are also highly in concern. In this case, the construction of

this dwelling are mainly prefabricated concrete structure made of recycled C&D waste combined with contextual material like Palmyrah palm timber. This kind of construction make on-site execution faster to support this urgent demand of living spaces, and at the same time, saving cost and allows flexibility.

first floor plan

second floor plan

The project is a collective courtyard typology where “strips” of units are intertwined and create variety of courtyards with exiting trees where each are functioned differently depends on the dwellers. Each strip consists of private and public spaces, where most of the privates are located on the second floor. Shared spaces, including collective kitchen, and  work spaces, along with few living units are located on the ground floor in order to provide more accessibility for disabled widows.

The aggregation is designed to comprising also existing tree which considered sacred in Hinduism, Bodhi and Banyan tree. These tree along with contextual tree such as palms are providing shades, sense of space and material resources. 

Although, it is the war widows who is the majority of the dwellers, a high number of widows will last for only 2-3 generation, the layout plan with an open-edge of the designs will allow the aggregation to serve other type of user in the future too, For example, a typical family of the children generation as they grow up. It could also allow future expansion for women empowerment project.  

Since an objective of this project is to provide inclusivity to everyone including children, interior of the dwellings are not standardized. The kitchen counters with holders are hanging from the ceiling in order to be able to adjust used by people with one arm since it will be different from typical cooking session. Height of children also can be apply. Therefore, the interior is designed to be adjustable to serve different conditions of users, in this case, widows, people without legs or arms, and children. It is to include those who are excluded.


Monday, December 11, 2017

Aimer's Folk Dwelling : In-Between

Folkroom Dwelling



Axonometric Drawing
Link to Full Resolution

The building is constructed with the collection of 'niches' which plugged in into the different layers of blue walls. The colors unify the context from outside and slightly change layers by layers by the shades of blue.

Plan Drawing (1:125)
The plans show the spiral public structural walls that was full filled with the plug-in niches and create many possibility uses if free space to become both exterior and interior or public and private. The unit was defined by the size and type of family; The co-singular living unit is at the ground floor, easy access to shared public space at the courtyard and elevator to reach to shared rooftop. The upper floors are the units for many sizes of family.

नील {nila} : Indigo Blue
  Free document&Elevation Drawing

The random position of variety of openings on the facade corresponds to the plan and the type of special niches carved from the local Jodhpur sandstone 'Chitar Pathar' . From the street, people may get the sense of 'blue' from the layer of walls that appear through the opening, understand the depth by the shades and see the change of shades even in a minimal changed of angle and eye position.

सड़क {sadak} : Street Life
Section Drawing

The whole space is overflow with the Indian lifestyle, the provided spaces and circulation may not intersected directly but people always be able to interacted through out the spaces, across the building, up-down to the double spaces or skylight, by shifted half-level floor and through the various  opening.

मकान {makaan} : Home
Axon-Zoom Drawing
Visual Manifesto Drawing
Link to Full Resolution

The variety opening along these walls perform in many distinct ways, creates various situations of both physical interaction and visual experience through the openings along the corridor. The design breaks the fine line between spaces and re-interpret the transition and definition of spaces; exterior-interior or public-private.