EXISTENZ MINIMUM · EXISTENZ MAXIMUM
On the Aesthetics of the Relief Tent
A intensive three day workshop responding to the economies of survival during natural disasters; to extend the bare necessities of existence to the largest group of people at the least possible cost- <i>minimal technologies delivering maximum results.
Formally speaking, architecture in this calculus has little or nothing to contribute, the aesthetic dimension of emergency shelter is [appropriately] not aesthetic at all. Instead, the design perspective was filtered through the blind indifference of generic industrial practice, unencumbered by aesthetic desire. Nothing, not even the considered curvatures of a classic emergency device like the Eames splint could cloud this universe of non-form. We set out to create a relief tent prototype that supersedes current solutions by embedding simple intelligence into the concept that, then, resonates through its production and application.
Our goal was to create a prototype that embodies all of the aforementioned characteristics while being adaptive and comfortable to its inhabitants. Placing an emphasis on volumes created with surface active composites that are durable, light and malleable- a novel approach to the design of disaster response tents, one that inverts the traditional values associated with this building type. Qualities assumed to be inherent to tents – minimal aesthetics and maximal function – were questioned in the context of a geological and cultural landscape defined by the recurring need for these systems. Our solution was effectively simple: an internal frame is skinned with a dynamic double layered composite that provides substantial flexibility and thickness for durability and insulation. Working through symbiotic connection of structure/skin, issues such as posture, shape, feel, and texture were foregrounded; our intention was never to create a specific form, rather for the form to be a reflection imprinted by its inhabitant.The frame and skin are bonded with careful consideration so that in-between space that’s created is utilized for necessary functions of survival. These poche volumes can be stretch to create pouches that engulf objects which then informs the shape of the tent. The shape varies depending on quantity of inhabitants’ items, and the shape of those objects. We took into consideration further auxiliary functions, such as inhabitants that many not have many things and need basic support such as sleeping pouches. Modeling the tents in 3d interpolated the complexities of embedding these performative panels within the prototype and assisted our design by translating select set of material qualities into digital representation.
Given the frequency with which natural disasters visit the Japanese archipelago, the reality of this situation is not if earthquakes will happen but when.This existential reality has historically not led to apathy nor despair but on the contrary sustains the highest accomplishments of Japanese culture. Unlike in the west, the temporality of man’s existence, thoughts, and works are celebrated. Our project therefore acquires a similar outlook of hopeful mode of preparedness. In fact this stance resonates profoundly with Japanese culture which holds aesthetics, even at the gravest extremes, to be an essential dimension to all works of the will and verily to life itself. Taking the inevitability of future earthquake and tsunami damage as a given, we imagined tents for use in coming relief efforts designed to the highest standards of ingenuity and aesthetic determination.
