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Crater Lake
Crater Lake
Kobe, Japan
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Crater Lake
Kobe, Japan
Firm
YEAR
2011
SIZE
25,000 sqft - 100,000 sqft
Crater Lake, an
installation project by 24° Studio (www.24d-studio.com) will be exhibited at Kobe Biennale 2011
from October 1 through November 23. The project was one of the winners for
Shitsurai Art International Competition organized by the city of Kobe.
This multi-use environmental installation serves as a meeting place where
every area can be used as seating for visitors to contemplate the surroundings,
thus invoking a social interaction within and around.
The design motive was influenced by the
history of the Great Hanshin-Awaji Earthquake of 1995 that led to inevitable
changes within built environment sparring only the nature that surrounds
Kobe. This devastating experience is remembered by Kobe residents
making them a persistent and tight community, but remaining open and friendly
to the visitors of the city. Strong social ties between people helped
them to overcome the disaster and rebuilt the city making it a better living
environment. However in the everyday life without problems and crisis,
the face to face social interaction between people is decimating and it is one
of the biggest problems in our technology driven time.
Crater Lake, an installation - environment
where people have a place to meet to observe the beauty of the surrounding
environment and more importantly to call forth an emphasison sustaining social interaction, which was the important
catalyst that brought Kobe residents to revitalize their city after the
disaster. The installation is situated in the man-made Port
Island, Shiosai Park that provides a vast view of the Kobe urban center,
its surrounding mountainscape and seascape.
Design intent of Crater Lake installation
is to take this unique location into advantage; by creating an undulating
wooden landscape that provides a variation of open and unconstrained settings
with 360° viewing vista.
Every surface may be utilized as seating and lying down
surface. Additional seating stools are set in the middle of the
space that can be reorganized accordingly to the user’s preferences.
The gentle hill surfaces invites people of
multiple generations by providing spatial conditions that allow to interact
with the landscape space like a playground device, relax in the shade of the
mount, and socialize by seating in preferred order.
Multiple ideas and
materials were tested to realize the complexity of smooth and undulating form.
Wood was chosen for its strong structural capacity, ease of work with,
and natural qualities. One of the main issues was to express continuous
and smooth surface without using costly techniques of wood steaming, bending or
digital fabrication. The solution was to divide the circular surface into
a number of radial parts, with optimal number of 20 parts. Factors that
determined this optimal number were, overall surface expression, production
schedule, and transportation method (vehicle bedsize). These 20 radial parts were preassembled off
the site and transported by a vehicle to the main site of Shiosai Park.
Standard wood and off-the-shelf hardware were used in construction to avoid any
costly customized fabrication process. 2x4 studs were used for all structural
members and 30x60 mm treated cedar wood was used for the surface. The
structure of radial parts consists of series of free-form ribs composed in
segmentations with horizontal support and cross bracing for rigidity.
Each radial segment has 64 surface planks that are attached to three
structural ribs that are rigidly connected between each other with horizontal
supports. The surfaces with the most anticipated traffic flow have narrow
spacing between each plank. And as the mount becomes higher, the spacing
distance of surface planks increases, allowing users to climb the mount.
The rising mount resulted from understanding the site and seasonal
conditions, functioning as a sun shading and wind protection from the bay winds
when sitting at inner area.
installation project by 24° Studio (www.24d-studio.com) will be exhibited at Kobe Biennale 2011
from October 1 through November 23. The project was one of the winners for
Shitsurai Art International Competition organized by the city of Kobe.
This multi-use environmental installation serves as a meeting place where
every area can be used as seating for visitors to contemplate the surroundings,
thus invoking a social interaction within and around.
The design motive was influenced by the
history of the Great Hanshin-Awaji Earthquake of 1995 that led to inevitable
changes within built environment sparring only the nature that surrounds
Kobe. This devastating experience is remembered by Kobe residents
making them a persistent and tight community, but remaining open and friendly
to the visitors of the city. Strong social ties between people helped
them to overcome the disaster and rebuilt the city making it a better living
environment. However in the everyday life without problems and crisis,
the face to face social interaction between people is decimating and it is one
of the biggest problems in our technology driven time.
Crater Lake, an installation - environment
where people have a place to meet to observe the beauty of the surrounding
environment and more importantly to call forth an emphasison sustaining social interaction, which was the important
catalyst that brought Kobe residents to revitalize their city after the
disaster. The installation is situated in the man-made Port
Island, Shiosai Park that provides a vast view of the Kobe urban center,
its surrounding mountainscape and seascape.
Design intent of Crater Lake installation
is to take this unique location into advantage; by creating an undulating
wooden landscape that provides a variation of open and unconstrained settings
with 360° viewing vista.
Every surface may be utilized as seating and lying down
surface. Additional seating stools are set in the middle of the
space that can be reorganized accordingly to the user’s preferences.
The gentle hill surfaces invites people of
multiple generations by providing spatial conditions that allow to interact
with the landscape space like a playground device, relax in the shade of the
mount, and socialize by seating in preferred order.
Multiple ideas and
materials were tested to realize the complexity of smooth and undulating form.
Wood was chosen for its strong structural capacity, ease of work with,
and natural qualities. One of the main issues was to express continuous
and smooth surface without using costly techniques of wood steaming, bending or
digital fabrication. The solution was to divide the circular surface into
a number of radial parts, with optimal number of 20 parts. Factors that
determined this optimal number were, overall surface expression, production
schedule, and transportation method (vehicle bedsize). These 20 radial parts were preassembled off
the site and transported by a vehicle to the main site of Shiosai Park.
Standard wood and off-the-shelf hardware were used in construction to avoid any
costly customized fabrication process. 2x4 studs were used for all structural
members and 30x60 mm treated cedar wood was used for the surface. The
structure of radial parts consists of series of free-form ribs composed in
segmentations with horizontal support and cross bracing for rigidity.
Each radial segment has 64 surface planks that are attached to three
structural ribs that are rigidly connected between each other with horizontal
supports. The surfaces with the most anticipated traffic flow have narrow
spacing between each plank. And as the mount becomes higher, the spacing
distance of surface planks increases, allowing users to climb the mount.
The rising mount resulted from understanding the site and seasonal
conditions, functioning as a sun shading and wind protection from the bay winds
when sitting at inner area.
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