Look into the following methods for applying signage systems to the building facade and interior in order to dramatically enhance the visual appearance and the interactive information strategy of the building.
books reserved in library:
1.Richard Rogers-Zip-up system, 1968;
2.Rocio Romero
3.Benthem Crouwel Architects – Benthem house;
4.KFN systems – two family house;
5.Shigeru Ban – Furniture house;
6.David Hertz – Tilt up house;
7.Choi-Campagna – The Slide rule house
8.Anderson-Anderson - Kennedy Residence
9.Marrowstone Island house
10.Arboretum of the Cascades
11.Cantilever house
12.Everglades Swamp house
13.Wurster Workshop
14.Chameleon house
15.Abiquiu house
16.Yosemite cabin
17.Organic Urban Living field
18.Amber Block
19.S.W.E.L.L.
20.Alchemy Architects, Wee house
21.Hanse Colani Rotorhaus
22. Peter Haimerl – Cocobello
23.Craig Konyk – up! house 1500
24. Craig Konyk – Hydra house
25.Office of mobile design, Siegal Jennifer - Ecoville
26. Suzuki, T – Atelier in a mountain
Study the structural concept with particular focus on the assembly of structure and skin. Copy the diagrammatic presentation of the assembly process for your own presentation.
Work by scanning info from books, present a summary in 11x17 format printed & digital. due nov 7
Work in research groups of a maximum of 2 people per topic.
1. Cardboard, Paper composites
2. Ceramics, ceramic composites
3. fiberboards
4. Foams, hard & soft
5. Foils
6. Membranes (teflon, nylon..), ultra strong textiles…
7. Metals, ultra light metals
8. Plastics, fiber reinforced plastics..
9. Wood, Composites…
Work in research groups of a maximum of 2 people per topic.Present a summary in 11x17format. We will combine the research into a reference book for use by the entire studio. You will not be limited to your research topic during the design phase.
1. curved trusses
2. Rigid Frame: space frames
3. Rigid frame: geodesic surface
4. Rigid frame: lattice surfaces
5. Self-supporting shells – compressions surfaces
6. Tensile Structures/Membranes – tension surfaces
7.Domes
8.structural honeycombs
9.pneumatic structures (optional)
print 3 copies each structure research
print 3 copies each design research (last assigm pavilions)
all due wed 24 (day of midtern review)
Now you are asked to make a proposal for the actual counterpart, the Infobox to be situated on the south-plaza of former “Lehrter Trainstation”.
The whole site development (see copy “city masterplan”, MK1-MK9, train station) proposal envisions areas of total 220.000qm, with 33% of it used as residential areas. Approximately 100.000qm office space, ~11.000qm retail spaces on all ground floor levels, leave ~20.000qm for residential use in most of the blocks. The trainstation itself is considered to provide for an additional 20.000qm retail areas.
-exhibition space (digital & traditional media)
-conference/ media hall
Optional:
-cafeteria
-shop/ kiosk
-functional areas/ circulation areas/ construction space
Total area should not exceed 500 qm
building / unit - typical plan – and sectional conditions; aspects of infrastructure (circulation- vertical and horizontal connections) and programmatic distribution (unit/s and building); space for structure- material- mechanical services.
Building system/ components – construction system needs to fit in industrial shipping containers!
Requirements: (teamlevel 2 persons) scale 1/16”~1:200
· digital sketch drawings, draw up your first concept thoughts about the Infobox! Consider it to be the extension of the vitual site!
· diagrams; plan & sections diagrammatic - scale 1/16”~1:200
· mass models/ 3D-pattern models/ parties; scale 1/16”~1:200; minimum 3 schemes;
· design presentation: one architects “pavilion” selected from the list (analog 11x17 pdf & digital ppshow), analyse general dimensions, exterior cladding, cladding joint, structural system & material, structure joint details, floor-wall connection, daylight system, program, access, infrastructure& circulation system etc..
1. V. Acconci, River
2. B. Tschumi, Video Gallery,
3. K. Oosterhuis, E-motive house
4. K. Oosterhuis, Web of
5. L. Spuybroek, Nox, Freshwater-Saltwater pavilion
6. Toyo Ito, Serpentine Gallery
7. Toyo Ito, Parque de la Relajacion
8. Renzo Piano, IBM traveling exhibit pavilion
9. Berhard Franken, BMW pavilion, the bubble
10. Bernhard Franken, BMW Dynaform
11.
12. Shigeru Ban, Paper Studio 2003
13. Shigeru Ban, Centre d’Interpretation du Canal de
14. Monika Gora, Octatube, Greenhouse
15. M.Goulthorpe, decoi, Miran Gallery
16. Anish Kapoor, The Cloud
17. Siza & Souto de Moura, Serpentine Pavilion 2005
18. Future Systems, Lords Cricket ground
Still visible is however the tabula rasa executed on the city through different political systems: from the razing for the “Welthauptstadt Germania”, the bombings of world war two, the postwar execution of the Charta of Athens with western super-highways and communist neo-klassizist magistrals to the new towns of the sixties and seventies and the critical reconstruction of the eighties.
Urbanism in Berlin is “a mindless pendulum movement where the acceptance of one particular doctrine leads - as surely as day follows night- to the adoption of its exact opposite a few years later: a negative sequence in which every generation ridicules the previous one only to be annulled by the next…it condemns the discourse of architecture to become an incomprehensible chain of disconnected sentences.” Following this analysis of
Already in the mid eighties, set under pressure for reasons of political party ideology and demographic statistics,
Against the backdrop of two political systems and their ambitious urban planning and architectural competition, the reunification challenged the new ruling power. Huge prefabricated housing slabs in the communist part of the city were still under construction and the outdated city infrastructures, until now separated and neglected, needed to be joined again. While any planning coordination by the municipality for rushed international Investor-projects and additionally urgent necessary competitions were still unorganized, 300 milliards of DM have already been invested in major constructions. The historic Friedrichstadt, Potsdamer Platz and the Spreebogen and its major representative projects were under construction when in 1996 the “Planwerk Innenstadt” was presented to the public as an overall planning strategy for the center of the city. As an effort to get at least some influence onto the already investor-generated city development in Berlin, out of control since the early 90’s, the municipalities and the planning authorities set up in a working process of three years the new zoning regulations as a kind of historic beautification program. Already heavily criticized during its inception, the proposal is a historic interpretation of the “urban city” according to Habitat II, with densification and mixed use at the level of the 19th century
However, since 1990, just after the reunification of the two German states and due to the reclaimed freedom,
With focus on housing in the new rural areas,
The fast pace of development in Berlin needs to involve the citizens in a more immediate and direct manner in order for the administration and public policy to have continuous feedback and address the “real problems” of the city. The Infobox at Potsdamerplatz was a small but successful step forward to keep not only residents, but also international visitors “up to date” on one of the biggest building projects in city history.
You are asked to develop an organizational concept for the virtual space and a potential link/s between your actual project and the parallel web project. You start by building your project for virtual space first (it might be built in second life) and at the same time decide how and what might be transformed to the actual site.
Can one push the underlying principle to its limits? What is the right tactic to get to the point where the systemic behavior proliferates variations?
Peter Eisenman’s term of repetition with difference is certainly one determining criteria.
a) Inversion: An exterior surface is programmed on both sides, example: the roofscape being populated and having surface characteristics related to access and connection to other surfaces and planes below.
b) Continuity: A project engages predominantly multiple surfaces, which are interconnected such that the project utilizes as an example “roofed-over” facades, where one single surface receives a multitude of functions and properties. Like it fluently changes from roof to façade to floor and back etc..remember Ito…
c)Incongruity: A geometry emphasizes an inscriptive procedure of free massing with strategies like volume-within-volume sections. Some of the characteristic spatial results are incongruous and residual spaces, which are either constant in their succession or interrupted into separated and non-regular parts. ..remember the artists box…poche or not poche…
techniques:
the pleat/ the fold: folds in the surface might create not only a deformation but lead to structural rigidness
the layers: either an offset to stack sheets, or a slice in the surface to attach to other sheets-stripes
the weave: bended stripes, or twisted bands form mesh assemblies which also lead to structural stiffness
the eggcrate: multiple perpendicular surfaces joined for a common seam create light but stable structures
1.Develop the three major pattern generations further, by increasing now the scale according to the following dimensions:
Minimum distance between floor-floor/ roof-floor/ wall-wall about 3m.
2.Prepare Video clip of 3D pattern assembly from individual units to wholes for each of the 3 = pattern transformations as of last assignment in an animation. Choose one of the four schematic strategies A,B,C,or D for each pattern tree generation. due m10-01
An important question to answer will be: When does surface become deep? You should specifically refer to surface modulations. This means that surfaces get informed or inflected by an extendable variation of interventions on the material and detail level -folded, cutted, sliced, pleated, laminated, layered etc..
Surfaces are initially either smooth or broken, depending on their tangency behavior being continuous or not. Modulations then effect changes in the surface such as folds foster structural rigidity, or such as weaves of bands supporting each other. Surfaces may be manifold in the beginning or get cut and sliced from an initial larger surface into single elements.
Modulations might be
-bending, slicing, bifurcating as some vertex manipulations.
-Extruding via joining vertex points or doubling
-displacement via translating a selections set of vertices
Assignm.:
3D shape designs of three selected parties following the three individual pattern generations.
shape design needs to be scaled for one of the two following applications:
1. interior design application size (select appropriate product designs..)
2. exterior, façade modul size.(60x60cm to 70x70cm)
>maximum relief height 1.5cm
Print:
-3D development in 11x17 “ sheet
air at an unexpected location
The aggregation of air filled voids, springs from a questionable victory over the solid, and as a foam like structure, appears to turn upside down the natural order within nature. It seems to be a bastard of material, emerging from an illegitimate marriage of elements. As opposed to this common disrespect of the seemingly vague, the latent, the close to arbitrary, and the irregular, the studio will take the foam model serious and work on a rehabilitation of its inherent processes and expressions.
In order to complement the widely used methodologies of becoming, such as drift, repetition with difference, processes of catastrophy or creative recombination, we will explore the term explication, in the sense of a discrete move from one condition to the next, like a continuous escape from the status quo.
Continue to develop individual transformation paths and correct any past non successful transformations with ones not considered yet. Consider further the underlying hidden movements, since it is especially the upcoming potential 3D development in the next phase III, which will implement various techniques for further exploration to uncover new organizations.
Explain how the different modules come into perfect place, how they fit into the slot and how they form larger aggregations. A good way is to animate the modules like we saw in the 3DS car component assembly.
Print:
2D development in 11x17 “ sheet
Digital:
2Ddevelopment in .pdf in - letter size, saved in folder.
Prepare Video clip of pattern assembly from individual units to wholes for each of the 3 = pattern transformation in an animation.
The use of conceptual diagrams is a technique in design that helps to outline the virtual evolution of a project.
Its implementation generates a development of possibilities and potentials in nonlinear progression.
Important for the activation is its stage of non-deterministic, open orientation to the design process.
As one of the primary influences on organizational developments the use accelerates dynamic forces, behaviors and relationships. It is a ‘function’ to the process similar to a generative expediting device or catalysator. It is a performative device rather than based on merely representational characteristics.
Assignm.: due friday sept 12:
Advanced 2D-shape design of selected parties. Each of three pattern geometries needs be understood in its tiling strategies and show evolution through transformation.
2D development in -36x48 “ sheet
The design research phase continues and you will accumulate 2D patterns, which form the genetic pool to generate evolutions of material systems later on. The field of exploration of geometries and patterns covers an open range along today’s discussion.
Analysis and representation methods chosen are in a first step digital images and adjacent diagrams uncovering the underlying geometry as a 2D figure. Individual sets of selected geometries and patterns are chosen depending on their different rules of repetition and multiplication. What is the inherent principle according to which the single module proliferates.
Magic number: choose 5
“Do you not see the greatness of our age resides in our very inability to create new ornament? We have gone beyond ornament, we have achieved plain, undecorated simplicity. Behold, the time is at hand, fulfillment awaits us. Soon the streets of the cities will shine like white walls” Adolf Loos, Ornament and Crime (1908)
Adolf Loos dogma, postulated a century ago, established a modernist style code to be reassessed by entering into the realm of ornate pattern.
Print:
-2D development in -36x48 “ sheets
Digital:
2D development in .pdf in - letter size, saved in folder.
Take one of our containers, with dimensions below, that contains a void space. (for the exercise we thicken the walls to exaggerate)
address light movement on a vertical surface, one on a vertical and a horizontal surface, and one on a horizontal surface. Develop strategies how the surfaces need to be cut in order to create a pattern of light.The following is an excerpt from the upcoming acsa conference which touches our current discussion topics on the non-place realm:
Cities are expanding, exploding, their centers becoming scattered in the margins of mind and space.
Cities and civilization have been inextricably linked throughout history, and the architecture of the city has been an expression of civilization’s highest collective achievements. But in recent decades cities have become hollow: Shifting social and economic pressures are challenging traditional urban forms and rituals, while new communications technologies have changed the nature of the social and physical network within which people dwell.
A global and generic megalopolis is the city’s future.
The city exists at a collision of forces of power. Globalization has given rise to a search for identity in a world of blurred boundaries. Spatially, this teeming agglomeration of people densely accommodated does not follow conventional planning methods; the ubiquity of electronic communications replaces face to face contact, and the non-place realm grows with an energy that eludes control. Corporations see the city as a commodity and aggressively deploy their brands everywhere, draining away diversity while defending their profits at all cost. Meanwhile, classes of citizens struggle to find their place in the economic and social milieu of the metropolis, challenging globalizing forces with grassroots, community-based efforts. Architects and planners play only marginal roles of corrective interventions.
How can we understand the emerging city and mitigate cultural, economic and spatial conflict in the fluid and pluralistic society? What roles can architecture and architects play? What visions will emerge from the margins to nurture sustainable dwelling places and promote diversity of people, of ideas, and of possibilities?
In a few months, access to the web, by cable or satellite, will ensure a download time for images, sounds, and videos equal to that of texts. In the meantime, computer speed, memory and power will continue to increase, while phone rates will continue to decrease due to competition. It will then be possible to take maximum advantage of rendering, animation and immersion softwares such as those currently used in film production, using smaller and smaller files than those used for video. Web art development, net-art, art-of-the-net and their new virtual exposition environments can only become more complex and advanced while at the same time easier to use. If one were to recall the dawn of the desktop and compare it to those of today, the metaphor of a simplified version of the actual desk on the screen - the 'desktop' -has been enriched to become increasingly functional and elegant. It is now the time to think of non-linear developments for interfaces that can guarantee an appropriate complexity and allow for the exhibition of any kind of art.
Several browsers or meta-browsers such as Netomat, Iod, Riot and Hullpointer exist as alternatives to Netscape and Explorer and are trying in different ways to broaden the options of visualizing, reading, and connecting web pages. Browserday, a convention of the cutting-edge minds of the digital world, is one of the major events that puts forward the latest artistic and technological developments. Cube is the first example of a refined technique and immediacy which allows for traditional web-browsing with a conceptually fresh and easy interface; the user moves fluidly amongst five pages (represented as faces of a cube) displayed concurrently. Could all of these examples be thought of as virtual museums of information? Or could the transition towards increasingly smaller technological gadgetry such as palm-pilots, wireless communication systems, gps (global position system) continue their trajectory from portable, to wearable, to perhaps eventually nested within our bodies and minds become the real virtual museums?
The continuing computer science revolution explores worlds we know to exist and perhaps are always on the brink of discovering other worlds. Man, Art and Science can once again become inextricably tied - perhaps we can bring to life another type of 'Renaissance Man'. The characteristics, the abilities, the instruments and most of all, the interests of the new artists will inevitably keep transforming, interminably. So, each time we will find ourselves thinking of places we have never seen, we might even try bending our mind to create art we have never imagined. (virtual museum competition 2001).
Assignment 2:
virtual environment
Teams of two people (the same teams involved with Assignment #1) are asked to browse the web and look for sites as suggested and also of your choice, such as virtual worlds, social communities, city homepages, public chatrooms etc.; Web-sites that allow you to interact, socialize with others, move in 3D, chat, slip into other indentities, see real-time information (video-images of on-site cameras projected on your computer screen) or even join live discussion groups (you could also be present via video conferencing). You might be able to see other people or their avatars and hear their conversations and be present in the virtual space via a projection of yourself onto your screen.
This short exercise should make you aware of the possibilities with current technology to interact within virtual sites and through virtual sites (web-pages) with actual sites, in case you are not yet a frequent user…I guess that’s a rare case!
Operate with the idea in mind, that you are later asked to develop in depth a concept for a potential link/s between your actual project and a possible parallel web project. You will further build your project for virtual space first (it might be built in second life) and then decide how and what might be transformed to the actual site. (The infobox is from 1995!) Here are some suggestions on how to analyse the websites. Add other parameters according to your convenience. This is the first step to develop a strategy for your virtual site concept.
Emphasis is on the making of diagrams as an instrument to understand and mediate collected information effectively between us and to the potential users, and as a strategy to translate selected critical data later into the proposed project/s. You should focus on clarity and organization of visual and written information!
You find some links here on the right. Besides second life, my space etc.., there are some recent architectural realizations, mostly for large public projects, such as the Seattle library by Koolhaas, the Guggenheim virtual sites, and the New York Stock exchange by Asymptote, or institutional developments such as ETH world. Typically there is specific software involved such as Blaxxun, Virtools etc.., which implements the interfaces and the technological background.
Format:
The collected information is to be printed (format: A3, 11x17”) for pinup
And to be made available for the class on the webserver.
The Infobox was opened in October 1995 on Potsdamer Platz and soon became a favorite of the public.
Architects: Schneider+ Schumacher
Classic reading on
In groups of two you elaborate the following 2 case studies; you will collect data-information, through the web or library. All necessary information is to be textually & visually displayed.
A) INFOBOX
1. Infobox site: the Potsdamer Platz and its recent history; urban aspects; siting of the Infobox; access to the Infobox;
2. Infobox program: spatial distribution of program (axonometric diagram); plans (scale 1:200, 1/16”); infrastructure, circulation (axonometric diagram);
3. Infobox structure: the main structural skeleton; materials used; footings; construction technique; manufacturing technique; (scale 1:200, 1/16”);
4. Infobox skin: cladding materials; façade layers, structural section of skin (axonometric diagram); construction details; elevations (scale 1:200, 1/16”);
B) MOBILE CONTAINER
5. construction site and info building/ demountable mobile containers: typology and examples; You should focus on general dimensions of the typically small building, on floor height (analyze the structure-skeleton with a diagram), on depth and width, and how it is manufactured and transported to the site; analysis of material, function and form; collect industry brochures; (scale 1:100, 1/8”)
online info help:see other links right
The collected information is to be printed (format: A3, 11x17”) for pinup, and to be made available for the class on the webserver.
Materials: Each student is supposed to have an appropriate scale in metrics!
Studio CD
All the files of research and design are to be organized in a folder hierarchy on the CD.
Create a main folder that you will call yourname_Public2Info, with subfolders ResearchDesign and bookmarks; Research has subfolder TheActual, and TheVirtual; TheActual then will have the folder of your research topic, f.i. Infobox site; subfolders at your choice; Design on the other hand has subfolder Arch, which has as subfolder the title of the architect you choose from a list, f.i. Tschumi; Here you will add other folders at your choice (2d-design; 3d; images; etc.); and
Bookmarks
During your research you will also visit a lot of webpages. You are asked to collect all the bookmarks in the appropriate folders in Microsoft Explorer or firefox. Similar to the above strategy of organization, these need to be copied into the folder on the CD-ROM.
Bibliography
Compile and continuously update a written bibliography of the books that you will consult in the library. Include a list in the CD-ROM.
MEASUREMENT CONVERSIONS:
Sq meter in sq feet > multiply with 10.76
Sq feet to sq meters > multiply with 0.09290
cu meter in cubic feet > multiply with 35.31
Cubic feet in cu meter> multiply with 0.02832
Kilometer in meter > multiply with 1000
Meter in centimeters > multiply with 100.
Both is intended to provide an idea and understand the maximum scope and dimension of the “actual part” of the semester project.
All studio research will be collected and made available to all the class.
THE PROJECT DESIGN PHASE
Based on generated research data of the structure, programmatic distribution, efficiency etc., accumulated during the research phase the students will start to assemble their own proposal, which will develop from physical 3D-pattern models.
Students are required to make 3D-parties as successive models of a generative design process.
Importance is laid onto the recording of each successive step, the parameter changes that lead to differentiation between the models.
The studio will refer to:
a. Patterns, development rules (see booklist)
b. industrial product design, product manufacturing strategies and assembly (references)
c. selected examples of architecture (links)
d. materials
e. structure
f. signage
Users:
The project will address the Typology of users, such as
Program:
The proposal will cover a range of programmatic spaces/ units to be determined.
Site:
Student teams will insert their proposal into the Lehrter Bahnhof plaza, a large open space with view over the river
Public@INFO seeks to create a center, the Infobox, for mediating the changes of the development at Lehrter Bahnhof during the upcoming construction period and involve citizens and visitors early on to participate in what will evolve into one of
The Infobox at Potsdamerplatz built by architects Schneider & Schumacher in 1995, was a temporary and successful precedent with the goal to keep not only residents, but also international visitors “up to date” on one of the biggest building projects in city history. Since the studio project is intended as an architectural commodity ready to flexibly fit different environments, we will look into several sites, such as
The site’s importance within a constantly evolving urban fabric and its dynamic relationship to other nodes within the city should be made transparent with a “platform”. The project platform/s will be present in both “real” worlds, a temporary structure in actual space and an info-forum in virtual space.
The actual space (physical building) and the virtual space (web-site), both will allow for information, meeting and exchange, marketing, sales, construction supervision, presentations and contemplation. Each of the programmatic “rooms” are represented in both worlds and equipped for interaction.
The task is to create a temporary building as an interactive environment that merges the two worlds such that it allows the visitor to experience a fluid transition from one world to the other. On the other hand, a visitor to the web-site will find an organizational principle similar to the physical building. The structure/ interface allows anyone to “browse” or navigate through the building and access the “rooms” to participate on-line.
Public@INFO is the Design Studio that will explore the potential of current technology to mediate information effectively between design and construction and engage public space with temporary structures in both actual space and virtual space
