• ‘Horror Vacui’ explores the ways in which we structure the ‘space in between’, a genesis for adaptive design solutions applied to the built environment.
    Roderick Bamford
  • The project explores the "horror vacui" concept as the lack of light; so we intervene the empty spaces in the park where the density of the trees doesn't allow direct light to hava any contact with the human space. You don't find in the park more than 5 or 6 users at the same time, a kid playing with the babysitter or a casual runner walking the dog. There are no permancences in it. In a city like Bogotá with a burning sun, you look in the public space for a semi translucent space, dark enough to protect you from the burning sun but translucent enough to allow you to feel the sun and be warm.
  • You can spot how the treetop footprint is "printed" in the soil, theres no grass growing there, the place was death.
  • The given brief besides of being based on the intervention of public space, included the exploration of modularity, tessellations, ceramics work processes, user confort and management of natural conditions such as wind and light. Also the relation with the location in different scales, from Bogotá as a city to the park's elements itself.
  • Our intention was to atract people to the place and to incentivize new activities. Explorations with form and materiality were done parallel to the development of the workshop.
  • Tessellation and modularity. The start point was the hexagonal tessellation, the presence of this kind of pattern is important in some natural structures. With this tessellation we're able to explore organic shapes in order to make the modules and the space more fluents.
  • Laser-cut model for final presentation 1:10. Also used to made scale models for casting with clay, so we could explore how to produce them in a big scale.
  • Once the 2D tessellation was determined, we explored shapes to intervene the 3D space. A semi-sphere was used to create two modules, just by changing the orientation of it in the Z axis. The inspiration to use it were some of the trees of the park; while they're growing some branches are cut and the bark of the trees has grown creatin a semi-sphere in the trunk creating an special texture in it.
    As this shape was produced by the tree as a way of healing itself, we though we colud use it to heal the lack of grass or greenery in some spots in the park.
  • The size of each module was thought to be used as urban mobiliary. The upside down characteristic of the location of the modules involved moving part of the soil. The soil is used to give a suport to some of the modules, that helped by the perfect semi-spherical shape gave more strengh to the furniture when a person's weight was added.
    The modules that are semi-buried have some holes in the bottom that work as a filter for stagnant water, allowing the growth of grass in specific points.
  • Intervention in the chosen site.
  • The final pieces were thought to be made from the same kind of clay that bricks are made of, creating a more personal relationship with the city, a city built in the last century of bricks that are now an important part in the image of Bogotá. We want to create a new relationship between the urban space and the people of Bogotá, being a solution that colu be replicable in other spaces with similar conditions.
    Equipo de trabajo
    Lina Ceballos, Daniel Díaz, Juan Camilo Salazar and Pedro Tovar
    3D Printing and the Digital Ceramics Studio (Summer Course)
    Universidad de los Andes