4. 44
FLOWER IN THE DESERT
Nigeria, the most populous country in Africa and the seventh most populous
country in the world, is home to over 500 ethnic groups varying in languages
and cultural practices. Although Nigeria’s population and economy is one of the
largest in Africa, the country still has many problems that need to be addressed.
In Nigeria, just over half the population has access to sanitary water. The
shortage of potable water has lead to over thousands of deaths across the
country, allowing the life expectancy to reach as low as 52. In order to unite the
people of Nigeria, I proposed a tulip inspired structure to capture dew and provide
drinkable water to its inhabitants. In order to find an optimal location where dew
could be collected, I looked to Nigeria’s climate and geography. Because Nigeria
is located between two contrasting air masses, the country experiences a wide
range of climates. Air masses blowing from the north travel along the Sahara
and down into Nigeria’s northern half. Here the air is hot and dry, allowing mostly
grasslands and small canopies to exist. In the southern half, air masses blow
in from the ocean causing the air to be damp. This allows dense forests and
mangroves to thrive. Because the Southern half of Nigeria experiences wetter
climates, I chose to place my structure farther north where the weather permits
little rain. In the mid-western region of Nigeria three distinct ethnic groups share
borders. Here a structure could collect a necessity that all three groups need. By
bringing people together under a common resource, water could unify the the
country of Nigeria.
NIGERIA AIR MASSES
NIGERIA
SAHARA DESERT
TROPICAL MARITIME
AIRMASS
(WET)
HAUSA AND FULANI
GWARI
NUPE
MARGINAL SAVANNA
SHORT GRASS SAVANNA
WOODLAND/TALL GRASS
SAVANNA
RAINFOREST
MANGROVE
TROPICAL CONTINENTAL
AIRMASS
(DRY)
SITE LOCATION
7. 7
Air Flow
Condensation
With its waxy coated petals, a flower effortlessly funnels water down to its roots. By
concentrating the water flow directly below its stem, the flower grows by maximizing its
water intake. Applying the same concept of water and growth to the people of Nigeria,
I designed a structure that mimics this natural asset. Built to replicate the topography of
Nigeria, a base structure made of wood houses three dew collecting units. Each dew
unit is constructed of bamboo into a flower shaped funnel. Tied to the bamboo is a
nylon mesh that can be salvaged from orange bags. As the dew collects on the nylon it
drips down its microfibers into the basin. Because Nigeria experiences drastic changes
in temperature from day to night, the dewpoint rises increasing the chances for dew to
form. Each flower can harvest up to 20 gallons of water.
dew collection
FLOWER INSPIRED COLLECTION
9. 9
Approaching this project I wanted to figure out a way for a design to bring aid to
a specific cause. After doing a little research on Nigeria I learned about Nigeria’s
water crisis. I also found information on how Nigeria’s wide range of cultural
practices has caused conflict among some ethnic groups. Creating a solution
that was able to remedy a nation wide epidemic, while simultaneously giving life,
hope and unity to a community has dramatically impacted the way I think about
design today
11. 11
BUILDING A BALANCE
1 2 3Sturdy, yet elegant were the instructions. “Remember!
Compression, torsion, tension,and shear,” were his last words.
The class separated into groups of four and everyone began to
work. To begin my design process I gravitated toward an arch
shaped design. My first physical model, a 2’ x 1’ chip board
construction, consisted of two arches with one reflected vertically
above it creating a spherical shape. After placing 30 pounds of
sand on the structure, the bridge collapsed down the center.
After testing out each group members model, we came together
to create a new arced system using the same reflecting concept
only with smaller arcs that reflected horizontally as opposed
to vertically. On the interior of the structure was a triangulated
brace system to strengthen the core of the design. The model
withstood 34 pounds before giving away to torsion centered
at the models legs. Our final test model consisted of the same
reflecting arc exterior with an arc bracing system at its interior.
This model was than built a 1”=1/2’ scale. When working at a
larger scale, our group used various wood joinery techniques
such as finger joints, mortise tenon joints, and pegging to
decrease as much motion as possible to the interior bracing
system.
STRESS TEST MODELS
process photos
FINAL MODEL
wood joinery
12. 12
The final model was able to withstand 650 pounds before torsion twisted the bottom
leg, causing the model to tip and collapse.
13. 13
By color coating the model pieces the arc bracing system
becomes more apparent. Dividing the model in half, the
blue centerpiece acts as a reflecting plane causing each
piece to flip horizontally to the other side.
REFLECTION
bracing assembly
17. 1717
METAMORPHOSIS
The Artillery knot, a name that derives from a knot soldiers
used to carry pieces of artillery into battle, was used as
the basis of my design. After learning how to tie the knot,
I then applied the assembly process to a piece of wire
which gave the knot a sense of structure. While bending
the wire to fit the knots shape, I quickly began to catch
onto the fact that the knot must be abstracted in some
way in order to keep it from falling over. Separating the
knot into 4 pieces allowed me to replicate the tying
process with intersecting planes. This gave the knot a
weighted presence. While extracting various planes from
the wire structure, I arrived at a solid figure resembling a
furniture piece. By increasing the scale of the design, the
furniture piece became habitable.
2 3
4 5 6
1
ARTILLERY KNOT
assembly process
WIRE FRAME
knot interpretation
19. 1919
After recreating the artillery knot into a three dimensional form I modeled its
design out of card stock. Giving the model a physical presence allowed me to get
an idea of how someone could interact with the space. I envisioned someone at
the park reading a book using the structure to shade their self from the summer
heat.
APPLICATION
park installation
20. 2020
Compared to the semi-exposed seating areas on the perimeter, a more personal
space provides visitors with cover from sun or rain. Local artists are permitted
to display their art on portions of the structure in order to encourage community
interaction with the installation.
22. 2222
FITTING IN
Ceiling
Wall
Floor Rapson
Addition
Old + New Rapson Hall
+
+
Rapson Hall, the building that houses the college of design at
the University of Minnesota, was designed in the 60’s by Ralph
Rapson. The design is a simple rectilinear layout that utilizes a
square courtyard as its centerpiece with studios and classrooms
circulating around its perimeter. The courtyard is used on a day
to day basis to hold presentations, workshops, or display student
art. In 2002 Steven Holl was appointed to add an addition to
Rapson Hall. The addition would provide the college of design
with space for offices, classrooms, and a large auditorium.
Utilizing a cruciform design, Steven Holl’s building branches
out to the surrounding campus providing outdoor courtyards
between each arm. On the interior of the building a central
corridor filled with an ample amount of natural light, directs
students to the central courtyard of the old building. In order to
understand how Steven Holl arrived at his design, I broke the
building down to its rudimentary elements; floor, wall and ceiling.
Separating the building into these three parts allowed me to
identify how each piece was influenced by the site.
Rapson Hall
Courtyard
Rapson Addition
Site Influences
Corridor
23. 2323
FLOOR
1
2
3
To conceptualize the use of floor in the
buildings design, I chose to highlight the
buildings arms and how they reach out to
the surrounding site. Black paper signifies
pathways to campus buildings, brown
paper signifies the courtyard, and orange
represents the corridors central space. String
was used to depict the views out of the large
bay windows from the central space.
Moving to my second model I chose to layer
the color coated areas to create a sense that
the surrounding site was being pulled into
the buildings center. Two elevated planes
replaced the role of the string in the previous
model.
Branching in all directions, the Rapson Hall
addition absorbs the surrounding site to its
center. This allows for the addition to blend in
to the Universities campus.
24. 2424
Prompted by the buildings floor, the
walls of the Rapson Hall addition help
guide visitors to the central courtyard
in the old building.
1 2 3
WALL
Separating classrooms, outside
courtyards, and offices from the
building, a clear plastic frames the
space of the central corridor.
Zooming in on the central corridor one
can see how the space welcomes
and directs its visitors.
25. 2525
CEILING
I layered each ceilings footprint on top of one another
leaving out areas with elevated ceilings.
To add depth to each elevated area, a clear plastic was
used to line the perimeter.
Steven Holl’s design follows a certain pattern where
areas of particular interest such as the central corridor,
the library, and the auditorium all have elevated ceilings
giving the space a larger feel.
26. 2626
The Rapson Hall Addition is an example of how site informs structure. Branching out
to its surroundings, Steven Holl’s design has rooted itself into the Minnesota campus
