Tree of Turin / Bull’s Emporium| Turin, Italy | Unit 21 | 2018
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The Tree of Turin was constructed through various historical and modern data mining, and so it is broken down again to produce a genetic instruction for form growing.
The research project dwells on the attempts to compile composite data in relation to the city of Turin. The city boundary growth over four hundred years is gathered through historical maps and available online archives. As the experiment goes on, more data are gathered, such as elements constituting the industrial eras of the city as well as it’s downfall along with urban planning and environmental protection zone. Together they form a vertical organism that stands for the city’s past, present and future state. This serves as a process to construct a three-dimensional object that was shaped by its rich contents. The second part looks at the final object from an observational standpoint. Various analysis is done on the product to understand as well as post rationalising its relationship of data with architectural qualities. Interestingly, the Tree of Turin is dissected, deconstructed and zoomed to discover the fascinating phenomenon.
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Leading up to the first part of the design project is the trials of procuring the architecture theory of data and spatial qualities. The building project triumphs on designing a future auction house with blockchain technology. A strategic location for the building project is picked through the analysis of the Tree of Turin. The project will be built on a vacant land near the busiest central area. This arrives from the vibrant activities as shown on the above. Previously, the Tree is seen as a physical ledger of the city and so, the juxtapose between the anticipating intangible ledger of block was deemed as a challenge. Throughout the project, the Tree of Turin is rescaled and analysed to create a new environment for the building site. The scrapped online data raisonne’s is labelled as: Artwork, Year, Height, Length, Width, and Material. Quantitative data, such as the measurement of the artwork dimension, is translatable into vectors. The form (done by grasshopper) becomes more complex when there’s a bigger composite of data (height + width + length + year) being fed into the generating logic. It became a more abstract piece. This is categorised as a qualitative representation. We can now grasp the artist’s reasons, opinions, and motivations.
The final form generated from a wide range of scraped information as well as the juxtapose of the Tree of Turin is then rationalised into habitable architecture.
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