Spatial Pixel

SPATIAL PIXEL A VIRTUAL DISPLAY SPACE AS AN EXTENSION TO THE EXPLORATORIUM

SPATIAL PIXEL A VIRTUAL DISPLAY SPACE AS AN EXTENSION TO THE EXPLORATORIUM

Info Name

Alireza Arabshahi

Student ID

03632145

School

Academy of Art University

Degree

M. arch (63 units)

Semester

Spring 2016

001

SPATIAL PIXEL

TABLE OF CONTENTS_

Items Description

Pages

[1.01]

Concept Statement

008

[1.02]

User Group Narrative

012

[1.03]

precedent Studies

016

[1.04] Research

058

[1.05]

Research Summery

070

[1.06]

Site and Context Analysis

074

[1.07]

Existing Site Condition Site Plan

088

[1.08]

Area Master Plan

094

[1.09]

Spatial and Function Program table

098

[1.10]

Spatial Analysis

120

[1.11]

Building code Analysis

126

[1.12]

Conceptual study diagrams

130

[2.01]

Study, Process, and Massing Models

140

[2.02]

Site Plan

178

[2.03]

Floor Plans

182

002

TABLE OF CONTENTS

[2.04]

Building Sections-Cross

192

[2.05] Elevations

198

[2.06]

Partial Elevation & Wall Section

204

[2.07]

Building Detail

208

[2.08]

Stainability Strategy

214

[2.09]

Egress Diagram

218

[2.10]

Structure Diagram

222

[2.11]

Mechanical Diagram

228

[2.12]

Building Sections

232

[3.01] Model

262

[3.02]

Exterior Perspective

236

[3.03]

Interior Perspective

240

[3.04]

Photos of Physical Model

248

[3.05]

Bibliography

254

003

SPATIAL PIXEL

004

PROJECT ABSTRACT

Project Abstract The Embarcadero is the eastern waterfront of the Port of San Francisco along the bay, and it is constructed on top of a seawall.

Embarcadero means “the place to embark on a journey”in Spanish.

Piers 15 and 17 are old piers in San Francisco that were built in 1931 and 1912 respectively. In 1954, the area between the piers was infilled and paved over. Recently, the Exploratorium was relocated from the Palace of Fine Art to Piers 15 and 17. “The Exploratorium is a public learning laboratory which explores the world through science, art, and human perception. Its primary goal is to create inquiry-based experiences that transform learning worldwide.”

My proposal is a virtual display space as an extension of the Exploratorium. Its primary purpose is to connect San Francisco and Silicon Valley by creating habitable pixels.

Figure 1

005

SPATIAL PIXEL

TIME LINE OF STUDY_ Graduation Date | May 2016

Fall 2012_ FA 601 [3 Units]_

Drawing

Carol Nunnelly

Spring 2013_ LAN 605 [3 Units]_

Drawing as Process

ARH 609 [6 Units]_

Intermediate Design Studio 1

Owen Lang Alexandra Neyman

Spring 2014_ ARH 601 [3 Units]_

Spatial Composition

Alvaro Bonfiglio Bardier

ARH 602 [3 Units]_

Structures

ARH 605 [3 Units]_

Environmental Control

Leticia SooHoo

ARH 620 [3 Units]_

Digitally Generated Morphology

Benjamin Rice

Francisco Castillo

Summer 2014_ IAD 611 [3 Units]_

Building Information Modeling

Mark Cruz

Fall 2014_ ARH 604 [3 Units]_

Material and Methods

ARH 608 [6 Units]_

Advanced Design Studio 1

006

David Gill Mark Mueckenheim & Nicole Lambrou

TIME LINE OF STUDY

Spring 2015_ ARH 619 [6 Units]_

Advanced Design Studio 2

ARH 641 [3 Units]_

Architectural History

David Gill & Benjamin Corotis James Mallery

Summer 2015_ ARH 614 [3 Units]_

Professional Practices

Elizabeth Tippin

fall 2015_ ARH 606 [3 Units]_

Construction Documents

ARH 690 [3 Units]_

Thesis Preparation

Fumio Suda Janek Bielski

Spring 2016_ GR 650 [3 Units]_

Design Seminar/Portfolio

ARH 801 [6 Units]_

Thesis

Marry Scott Mark Mueckenheim

Total [63 Units]_

007

SPATIAL PIXEL

01 Concepts Statement

008

Figure 2

009

SPATIAL PIXEL

P.O.R.T_ Problems

Response

San Francisco’s historic Embarcadero waterfront edge is not well activated for public use, and it needs to be improved for locals and tourists. Moreover, there is a lack of a visible connection between San Francisco and Silicon Valley.

My response is to create a hybrid platform across the existing Exploratorium and Pier 9. Also, it is important to improve the Embarcadero’s edge by optimizing activities.

Opportunity

My thesis connects San Francisco and Silicon Valley by creating a cloud of habitable pixels. The building proposal is a virtual museum, a display space, and an habitable screen as an extension of the Exploratorium.

My thesis takes as opportunities existing Tech companies in San Francisco as well as Pier 9 and The Exploratorium (Pier 15), on the waterfront Embarcadero. The Embarcadero is a departure and an arrival node for different types of public transportations.

Also, Pier 15 is located between Ferry Plaza and Fishermans Wharf.

010

Techniques

1.1 | CONCEPTS STATEMENT

Concept statement This museum is going to be an extension of the Exploratorium in San Francisco. The proposal will be a hybrid technology museum with the goal of updating people’s knowledge about technology. Technology has many benefits in people’s lives such as providing easy access to information, encouraging innovation and creativity, allowing for convenience in education, improving communication, bringing convenience to traveling, improving entertainment,and increasing efficiency and productivity in the health industry.

This new platform will become an experimental technology museum and multi-functional public plaza that will serve the existing community of San Francisco and the Bay Area.

For my thesis, I’m proposing a temporary installation; that consists of small modules of 8’x 8’ “pixels”. These unique spaces/modules allow a certain freedom of use. They are programmed to increase the connection between spaces which in return create the possibility for endless routes of circulation.

I’ve researched the impact of technology on modern life and mainly looked at how technology can improve human life. The disadvantages of technology are as follows: job loss, due to lack of technical competency, and increased alienation and loneliness. By overusing the technology people are beginning to lose physical interaction (face to face interaction); therefore, my proposal acts as a device that will allow people to explore the technology. Human serves as media, and the media are the catalyst for the program that will connect the museum with people.

Considering both Mies van der Rohe’s proposal of a Universal Space and Fujimoto’s book Primitive Future and their spatial stances; both theories are about the freedom, adaptability and flexibility in the use of space, but the difference is that Mies’ Universal space adapts to its users while Fujimoto’s users adapt to the space. I am positioning my thesis statement in between these two theories; which is to create open spaces with dynamic circulation.

011

SPATIAL PIXEL

01 User Group Narrative

012

Figure 3

013

SPATIAL PIXEL

014

1.2 | USER GROUP NARRATIVE

User Group Narrative The site is located on the middle of the Embarcadero, between Pier 39 and the Ferry Building. This area is where many of the city’s tourist activities go on every day.

There is also a nearby cruise terminal at Pier 27. These attractions draw more than 15 million visitors annually to San Francisco’s northern water front.

There are three main site users at Pier 17: tourists, Bay Area residents, and workers in the tech industry.

According to the Pew Research Center’s statistics, 86 % of people who are using the internet and social networking, are between the age of 18-29. Furthermore, the use of this online technology increases with increased education and income level.

015

SPATIAL PIXEL

01 Precedent Studies

016

Figure 4

017

SPATIAL PIXEL

TEK Technolog y, Entertainment & Knowledge Taipei, Taiwan By – BIG 2009 ‘TEK’, which stands for ‘technology, entertainment and knowledge center Taipei’, takes full advantage of its site by coiling together the public street within its volume.

Leading the public from the street level to the roof garden, the ascending spiral serves as the anchor to a number of programs, including shops, showrooms, offices, conference rooms, exhibition spaces, restaurants and galleries. The layout is organized to best provide for each facility: daylight sensitive programs such as hotel rooms and offices resides on the perimeter, while retail and exhibition spaces occupy the core.

The entire volume is finished in concrete lamellas, a system of stacked plate-like pieces that provide solar shading as well as aid in public access. featuring moments of wide recession, the facade becomes a generous public staircase while on the roof level, the inward form accommodates an arena-like space for informal social gatherings.

018

GREEN AREA

G RE E N A RE A

PUBLIC PATH

P UBLI C PAT H

Green area

Public path Figure 5

Figure 6

Tech n o l o g y, E n t e r t a i n me n t & K n o w l e d g e C e n t e r ( T EK ) , TA IP EI TA IWA N

BY BI G 2009

15 8’

15

15 8’

15

8’

8’

158’

158’

1.3 | PRECEDENT STUDIES

‘TEK’, whic h sta nds for ‘te chnology, enter tainment and knowledge c enter Taipe i’, take s full advantage of its site by c oiling toge the r the public stre et within its volum e. Lea ding the public f rom the stre et le vel to the roof ga rden, the as ce nding spir al se r ve s as the a nc hor to a ‘TEK’, whic h staands chnology, tainnumber of progr m s,for inc‘te luding shops,enter showment and knowledge c enter Taipe take s full rooms , offic es, c onfere nc e room s,i’,exhibition of ur itsants site and by cga oiling toge the layout r the is sadvantage paces , resta ller ies.

The public stre to et best withinprovide its volum Lea the organized fore.e ac h ding fa cility: public f rom the stre et leavel the ga rden, daylight se nsitive progr m s to suc h aroof s hotel room s the as ce nding spir alon sethe r ve speas the a ncwhile hor to a and offic es re sides r im e ter, re tail number of progr a mce s,s inc shops, and ex hibition spa ocluding cupy the core.showrooms , offic es, c onfere nc e room s, exhibition s paces , resta ur ants ga llerinies.

The layout The entire volum e is and finished conc rete lam eis lorganized to best provide forte-like e ac h piec fa cility: las , a s ystem of stac ked pla es that daylight sola se nsitive progra as mwe s llsuc hotel room s provide r shading ash aaids in public and offic esatur re sides the pe e ter,rewhile re tail acces s . fe ing m on om ents ofr im wide ce ssion, and facade ex hibition cupy thepublic core. sta ir the becspa om ece s sa oc generous cas e w hile on the roof le vel, the inwa rd for m The entire volum finished in conc reteinfor lamme al laccommoda tes aen is a rena-like spac e for , a sgather ystemings. of stac ked pla te-like piec es that slas ocial provide sola r shading a s we ll as a id in public acces s . fe atur ing m om ents of wide re ce ssion, the facade bec om e s a generous public sta ir cas e w hile on the roof le vel, the inwa rd for m accommoda tes a n a rena-like spac e for infor m al s ocial gather ings.

FO O D Figure 7

H OO TE FO DL

Food

Hotel HSOTA T EDILUM

Stadium S TA RE TADI I LUM

RE TA I LT I O N E XH I BI

Retail

Exhibition Figure 8

E X H I BI T I O N

019

SPATIAL PIXEL

SENDAI MEDIATHEQUE Sendai-shi, Japan By – Toyo Ito 2001 Ito’s proposal was conceptually rooted in an idea of “fluid” space of technology discussed in his 1997 article Tarzan in the Media Jungle. Rather than viewing media as a foreign element to nature, Ito embraced new media/ computing as forming an integral part of the contemporary urban environment “ I compared man to ‘Tarzan’. in the jungle creates his body and develops it in contact with nature, in relation to the surrounding environment. Modern man is a sort of Tarzan who lives in the world of media, within a very developed technology. Architecture should be a sort of media-clothing, which is necessary in order for man to have a relationship with and integrate himself into the environment. idea of media-clothing is a metaphor.” -Toyo Ito

Figure 9

020

PA R K I NG

1.3 | PRECEDENT STUDIES

FL UID SPACE

Bri ant Street Pi e r, Sa n Francisco, CA

BY SO M 2000I to’s pro po s al was co n ce pt ual l y ro o ted i n an i d e a o f “ fl ui d ” s pace o f te c h n o lo g y d i s cAR usT s eST d in h i s 1 9 9 7 ar t i c l e Tar zan in UDIO t h e M e d i a J un g l e. R at h e r t h an v i e w in g m e d i a as a fo re i gn e l e m e nt to n at ure, I to e m brace d n e w m e d i a/ co m put i n g as fo r m i n g an i nte gral par t o f t h e co ntem po rar y ur ban e nv i ro n m e nt.

GALLERY

LIBRARY

IN FORM AT ION C ENT ER “ I co m pare d m an to ‘ Tar zan’. i n t he j un g l e c re ate s h i s bo d y an d d e ve l o p s it i n co nt ac t w i t h n at ure, i n re l at i o n to t h e s ur ro un d i n g e nv i ro n m e nt. M o d e r n man i s aPLAZA s o r t o f Tar zan w h o l i ve s i n t h e wo r ld o f m e d i a, w i t h i n a ve r y d e ve l o pe d tec h n o l o g y. Arc h i te c t ure s h o ul d be a s o r t o f B riamnt S t re e t P ie r, S a n F r a ncisco, CA e d i a- c l o t h i n g, w h i c h i s n e ce s s ar y in B Y oSrdOe rM fo r m an to h ave a re l at i o n s h i p PARK G grate h i m s e l f i nto t h e env iw i t h an d IN i nte 2000 ro n m e nt. i d e a o f m e d i a- c l o t h i n g i s a m e t aph o r.” -Toyo I to AR T STUDI O Art studio

T U B E S - T R E E L I K E E L E ME NTS GAL L E RY

Figure 10

AR CHITE CTUR E AS A M E DIA CL OTHING

FLUID SPACE

Gallery

I to’s proposal was conceptually rooted CI R CU L AT I O N in an ideaL of “fluid IBR ARY ” space of technolog y Library discussed in his 1997 ar ticle Tar z an in the M edia Jung le. R ather than v iewing media as a foreign element to nature, I to embraced Lnew media/computing as Info Center I G HT I NFintegral OR M ATIpar ONt CE NTEcontemR for ming an of the porar y ur ban env ironment.

A I R CO ND I T I O NI NG S YS T EM Plaza PL AZA

Parking

PAR K I NG

Figure 11

“ I compared man to ‘ Tar z an’. in the jung le creates his body and develops it in contac t with nature, in relation to the sur rounding env ironment. M oder n man is a sor t of Tar z an who lives in the wor ld of media, within a ver y developed technolog y. Architec ture should be a sor t of media- clothing, which is necessar y in order a relationship I to’s pfor ro pman o s a l to wahave s co ncep tua lly ro o ted with integrate the env i n a nand i dea o f “flui d ”himself s p a ce ointo f techno lo gyironment. idea of mediadi s cus s ed i n hi s 1997 a r ticlothing cle Ta r za is n ian metaphor.” the M edi a -Toyo Jungle.I toR ather tha n vi ewi ng medi a a s a fo rei gn element to nature, I to emb ra ced new medi a /co mp uti ng a s fo r mi ng a n i ntegra l p a r t o f the co ntemp o ra r y ur b a n envi ro nment.

FL UID SPACE

ARCHITECTURE AS A MEDIA CLOTHING

TU BES- TREE LIKE ELEMENTS

Tree-like Elements

C IRCULATION

Circulation

“ I co mp a red ma n to ‘ Ta r za n’. i n the LIGHT jungle creates hi s b o dy a nd develo p s i t Light i n co nta c t wi th nature, i n relati o n to th e s ur ro undi ng envi ro nment. M o der n ma n i s a s o r t o f Ta r za n who li ves i n the wo r ld IONIN G SYSTEM o f medi aAIR , wiCON thi n aDIT ver y develo p ed techno lo gy. Archi tec ture s ho uld b e a s o r t of Air Conditioning medi a - clo thi ng, whi ch i s neces s a r y i n System o rder fo r ma n to have a relati o ns hi p wi th a nd i ntegrate hi ms elf i nto the env iro nment. i dea o f medi a - clo thi ng i s a meta p ho r.” -Toyo I to

ARCHITECTURE AS A MED IA CL OTHING Figure 12

T U B E S - T R E E LIKE E LE M ENTS

CI R CUL ATI ON

021

SPATIAL PIXEL

ACADEMY OF SCIENCES San Francisco, California By – Renzo Piano 2008 while inside the glass-covered ceiling and facade elements in the piazza provide visitors with a view into golden gate park, the outside of the building looks just like part of park from a bird’s eye view. this is due to the fact that a majority of the roof areas comprise a green roof covering about 10,118 square meters occupied by 1.7 million native plants. according to renzo piano, the CAOS is intended to integrate into the scenery of the park like a gentle rolling hill and to use its striking domes to invoke the feeling of the seven hills that san francisco is famous for.

Figure 13

Figure 14

022

1.3 | PRECEDENT STUDIES

Figure 15

Exhibition

Lobby

Food

Office

Store

Figure 16

01 02 03 04

| | | |

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023

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1.3 | PRECEDENT STUDIES

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025

SPATIAL PIXEL

MUSEU BLAU

A series of courtyards that intersect the elevated structure establish a complex interaction between the covered open spaces and the various levels of the Forum building, constantly creating new viewing angles and changing light effects.

Barcelona, Spain By – Herzog & de Meuron 2012 Facades spiced up with cut-outs and jerky glazed strips. These strips are striated with mirrors trying to reduce the weight of the ‘floating blue cheesecake A series of courtyards that intersect the elevated structure establish a complex interaction between the covered open spaces and the various levels of the Forum building, constantly creating new viewing angles and changing light effects.

Figure 23

facades spiced up with cut-outs and jerky glazed strips. These strips are striated with mirrors trying to reduce the weight of the ‘floating blue cheesecake

Figure 24

A series of courtyards that intersect the elevated structure establish a complex interaction between the covered open spaces and the various levels of the Forum building, constantly creating new viewing angles and changing light effects.

026

1.3 | PRECEDENT STUDIES

The core of the Museum is its permanent exhibition.

This is organized along a route which meanders, like a canyon, between the existing patios of the Forum and the new cells in the exhibition, slowly descending the ramps and drawing the visitor deep within the heart of the exhibition.

at intersect the elevated structure establish a complex overed open spaces and the various levels of the Forum ng new viewing angles and changing light effects.

at intersect the elevated structure establish a complex covered open spaces and the various levels of the Forum ting new viewing angles and changing light effects.

ut-outs and jerky glazed strips. These strips are striated uce the weight of the ‘floating blue cheesecake

cut-outs and jerky glazed strips. These strips are striated uce the weight of the ‘floating blue cheesecake

Figure 25

Figure 26

The core of the Museum is its permanent exhibition.

This is organized along a route which meanders, like a canyon, between the existing patios of the Forum and the new cells in the exhibition, slowly descending the ramps and drawing the visitor deep within the heart of the exhibition.

The core of the Museum is its permanent exhibition.

This is organized along a route which meanders, like a canyon, between the027 existing patios of the Forum and the new cells in the exhibition, slowly descending the ramps and drawing the visitor deep within the heart of the exhibition.

SPATIAL PIXEL

POMPIDOU Paris, France By – Renzo Piano &Richard Rogers 1977

PUBLIC PLAZA PEOPLE SEE PEOPLE SOCIAL EXCHANGE Figure 27

PUBLIC PLAZA PEOPLE SEE PEOPLE SOCIAL EXCHANGE

• • • • • • • • • •

Public Plaza People see people Social exchange Big screen Consistent change Massive floors No vertical interruption Dynamic structure Inside out Place for ages

Figure 28

BIG SCREEN

028

BIG SCREEN

1.3 | PRECEDENT STUDIES

Figure 29

PUBLIC PLAZA PEOPLE SEE PEOPLE SOCIAL EXCHANGE CONSISTENT

CHANGE MASSIVE FLOOR NO VERTICAL INTERRUPTION

BIG SCREEN

CONSISTENT CHANGE MASSIVE FLOOR NO VERTICAL INTERRUPTION

DOMINIC STRICTURE INSIDE OUT PLACE OF A AGES

Figure 30

DOMINIC STRICTURE INSIDE OUT PLACE OF A AGES 029

SPATIAL PIXEL

TECH MUSEUM San Jose, California, US By – Ricardo Legorreta 1998

EXHIBITIO N

By contrast, the rest of this facade is a long wall with a series of apertures allowing access to the cafeteria, gift shop, and a terLO BBY race leading to the park.

The other facade is more abstract, functioning as the secondary access for groups coming by bus, and therefore less visible. It also provides access to temporary exhibits FO O D and to the 300-seat IMAX auditorium.

Figure 32

O FFICE

STO RE INNOVATION GALLERY

TEMPORARY GALLERY

TECH STORE

PLANET GALLERY

Cyber Detectives

INNOVATIONS IN HEALTH CARE

EXHIBITION

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Figure 31

Figure 33

TECH AWARDS GALLERY

TICKET

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1.3 | PRECEDENT STUDIES

INNOVATION GALLERY

TEMPORARY GALLERY

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THEATER

Cyber Detectives

INNOVATIONS IN HEALTH CARE

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THE TECH MUSEUM OF INNOVATION

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MEDIA-TIC Barcelona, Spain By – Enric Ruiz Geli 2010 Enric Ruiz Geli designed this innovative building with a net-like steel structure, avoiding pillars on the ground floor, introducing the public spaces to the building.

NET SOLAR PANEL FACADE NITROGEN FOG FACADE

Figure 35

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MEDIA TIC

CITA, ROYAL ACADEMY OF FINE ARTS, SCHOOL OF ARCHITECTURE COPENHAGEN, DENMARK BY,ENRIC RUIZ GELI

Figure 36

NET SOLAR PANEL FACADE NITROGEN FOG FACADE

NET STRUCTURE SUSPENDED FLOORS OPEN FLOOR PLAN (FLEXIBLE )

NET STRUCTURE SUSPENDED FLOORS OPEN FLOOR PLAN (FLEXIBLE ) Figure 37

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TYPICAL PLAN By – Rem Koolhaas “Typical Plan is an American innovation.

Its zero-degree architecture, architecture stripped of all traces of uniqueness and specificity. It belongs to the new world.”

The notion of Typical Plan is therapeutic and is known as the end of architectural history.

It is a segment of unacknowledged utopia.

Figure 38

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Figure 39

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THE FUN PALACE The Fun Palace as Virtual Architecture By – Cedric Price 1964 In his Fun Palace project, Price turned not to traditional architecture or fantasy but to the discourses and theories of his own time, such as the emerging sciences of cybernetics, information technology, and game theory, as well as Situationism and theater, to develop a radically new concept of improvisational architecture capable of negotiating the uncertain social terrain of postwar Britain. As socially interactive architecture, the Fun Palace integrated concepts of technologicalinterchangeability with social participation and improvisation as innovative and egalitarian alternatives to traditional free time and education, giving back to the working classes a sense of agency and creativity. The three-dimensional structure of the Fun Palace was the operative spacetime matrix of a virtual architecture. The variable ‘‘program’’ and form of the Fun Palace were not conventional architecture but much closer to what we understand today as the computer program: an array of algorithmic functions and logical gateways that control temporal events and processes in a virtual device.

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1.3 | PRECEDENT STUDIES 1. Cedric Price’s drawing of the interior of the Fun Palace, circa 1965. It would be constantly under construction: Users would rearrange wall panels to create new spaces from old spaces as the program changed and evolved. Cedric Price Archives, Canadian Centre for Architecture, Montreal.

Figure 40

2. The Palace,kind drawingof of theater. the Lea RiverThis Valleywould Scheme. Cedric Canadian Centre for Architecture, Montreal. planning office bureaucrats in the local Newham dreamt ofFun a new be Price Archives, halted the project, and the Fun Palace was never a theater beyond anything even Bertolt Brecht twe completed.2 Though unbuilt, the Fun Palace was info had envisioned—not of stages, performers, and audiences but a theater of pure performativity, widely admired and imitated, especially by the Ind a space of cultural bricolage where people could young architecture students who formed the core cen experience the transcendence and transformation of the avant-garde Archigram group. They were New of the theater not as audience but as drawn to Price, who in turn acted as a guru to theand players. Price had already been exploring ideas fledgling group, offering them advice, counsel, andrela Hei for an interactive and improvisational introducing them to the ideas of Buckminster Fuller. par architecture, and Littlewood’s dream became the However, unlike Archigram’s science fiction–inspired gam program for his new Fun Palace. By 1966, it had fantasy designs, or those of Constant, the Fun ind become a rallying point for scores of English Palace was a real project, carefully designed and rec intellectuals who saw the Fun Palace as a vast very nearly built.3 Although the Fun Palace would a n social experiment in new ways of building, serve as a model of high-tech formalism for the reg thinking, and being. People as diverse as 1976 Centre Pompidou in Paris, it was also very its Buckminster Fuller, orchestral conductor Yehudi different from that project. The explicitly pro Menuhin and Member of Parliament Tony ‘‘mechanical’’ imagery of the Fun Palace was not and Benn volunteered their services to the an aesthetic treatment but the bare bones 037 of project. structural armature on which its interactive and fluid Figure 41

and nascent information technology to create

inspiration from Trocchi, and planning for the Fun

Con

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the FunPalace would be a virtual architecture that couldlearn, anticipate, and adapt to changing conditionsand needs. Of course, ‘‘learning’’ in this case would have amounted to the algorithmic extrapolation of data, rather than the cognitive behavior of an intelligent being, and Price would have claimed only r sponsiveness for the Fun Palace, not‘‘intelligence’’.

3. Cedric Price, preliminary sketch of the Fun Palace floor plan, showing areas of variable activity. Cedric Price Archives, Canadian Centre for Architecture, Montreal.

Figure 42

programming experts. By 1966, the project had become so collaborative an effort that its very authorship is indeterminate.

It developed as a network of multiple events, a space of oscillation between incongruous activities 038 simultaneously played out like some Dada

programmatic change, and alter its physical configuration in anticipation of probable patterns of use. Price’s aspiration was that the Fun Palace would be a virtual architecture that could learn, anticipate, and adapt to changing conditions and needs. Of course, ‘‘learning’’ in this case would

cybe comp organ them Pask ‘‘con syste prom essen Pask, perpe hand their cyber role o the fo socia this t

1.3 | PRECEDENT STUDIES

4. Cedric Price, Fun Palace notes and drawings. Cedric Price Archives, Canadian Centre for Architecture, Montreal.

4. Cedric Price, Fun Palace notes and drawings. Cedric Price Archives, Canadian Centre for Architecture, Montreal.

Figure 43

By 1964, the many Fun Palace consultants had formed individual committees to complete planning Figure 44 for the project.

Each committee was responsible for developing a specific aspect of the project, such as By 1964, the many Fun Palaceand consultants had structure, programming, sociology, cybernetics. formed individual committees to complete planning for the project. Each committee was responsible for developing a specific aspect of the project, such as structure, programming, sociology, and cybernetics.

Pask agreed to head the Fun Palace Cybernetics committee, which became the most powerful of the consultant groups. He compiled his initial thoughts on the project in a manuscript entitled, ‘‘Proposals Pask to head the Fun Palacehe Cybernetics for a agreed Cybernetic Theatre,’’ in which defined committee, which became the most powerful of the consultant groups. He compiled his initial thoughts on the project in a manuscript entitled, ‘‘Proposals for a Cybernetic Theatre,’’ in which he defined 039

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PRIMITIVE FUTURE By – Sou Fujimoto Serpentine Gallery Pavilion_ 2013 “Fujimoto’s goal isn’t just to make spacesthe basic function of architecture but to make people relate to spaces in new ways,”

• • • • •

Transparent structure Diversity of space Artificial landscape Dynamic Wall become a floor

Figure 45

House n_

• • •

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Open caveIn between space Transitional space Ambiguity

Figure 46

1.3 | PRECEDENT STUDIES

Wood house_

•

Intimate scale

Figure 47

Future house_

•

Cave or Nest Figure 48

Nest: designing a space for human Cave: space not design for people.

Space that already exist and human find way to using it Figure 49

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ART MUSEUM Berkeley, California, USA By – Toyo Ito and Associates 2008 Ito’s design calls for a three-story building with an unexpectedly fluid steel exterior that curves to meet dramatic, towering windows. The interior will comprise a loose grid of interlocking spaces with gently curved walls that wind and bend throughout the structure. In places, the gallery walls will part, as if pulled aside like curtains, to allow passage between the varied exhibition areas.

Figure 50

Figure 51

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EYEBEAM MUSEUM Museum of Art and Technolog y New York, USA By – Diller Scofidio + Renfro 2002 In that way, while immersive and intense, their work is also well viewed in a book, where artifact and text are side-by-side and maintain equal status. It is an issue that I imagine will be resolved, addressed and invited in their built architecture as an extension of their critical and performavit practice. It asks us to address their work as lived virtually -read with the body- not just seen (as so much of their work has to do with the optical model). This would call for an interpretation of Walter Benjamin in that architecture is a unique practice wherein architecture is seen optically and felt hectically. D+S intuit and practice this question in series of performances. It affects their working in a museum as an installation where the real and the fabricated slip from one to the other.

Resident

Figure 55

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COLUMBIA UNIVERSITY Medical Building y York, USA By – Diller Scofidio + Renfro and Gensler 2012 “The new Medical and Graduate Education Building will be the social and academic anchor of the CUMC campus,” said Elizabeth Diller, principal-in-charge of the project Diller Scofidio + Renfro. “Spaces for education and socializing are intertwined to encourage new forms of collaborative learning among students and faculty.”

Figure 57

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MIRROR MIRROR TENTS New York,USA By – Davidson Rafailidis 2013 Mirror mirror tents are extremely lightweight, portable street festival / event structures with a double-sided mirrored canopy. The simple, gabled roof, angled at 45 degrees, reflects urban activity on the ground in multiple ways and offers a radically new and intensified view of street life.

The exterior of the mirrored roof reflects higher parts of the city skyline and the sky.

Figure 62

Figure 63

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SERPENTINE PAVILION London, England By – Smiljan Radic 2014 The pavilion, a glass-fibre reinforced plastic shell resting on large quarry stones, was inspired by a papier mâché model which Radic created four years ago as a response to the Oscar Wild story.

The resulting structure, a seemingly impossibly thin translucent shell, will attract passers-by “like moths” during the evening hours, as the amber-tinted light glows from within. From inside, “the natural setting will appear lower, giving the sensation that the entire volume is floating,” He went on to explain his intentions for the first structure he has built in the UK: “Burda means crude in Spanish…I would like to express the sensation of masking tape, or Papier-mache models that I made four years ago. And this crude architecture, I would like people to feel that crude architecture.

Figure 66

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“I wanted to make it look like it came from the hands of a giant,” says Radic, standing in front of 60 tonnes of rocks that seem effortlessly scattered like gravel. “In the tradition of the English garden folly, it should be something that surprises the public and draws their attention, providing a spatial experience that you don’t get every day.”

Unless you are familiar with life as a moth in the pupal stages, it is unlikely you’ll have been in anything quite like it. Layering fibreglass sheets over a doughnut-shaped mould, Radic has built up a translucent shell of impossible fragility, forming a skin just 10mm thick, which seems to hover above its rocky foundations.

Figure 67

“In England, you build with lots of layers of structure and insulation and waterproofing,” he says. “I’m interested in more fragile structures, creating an enclosure with a single thin skin.” During the day, this rough-cast blob, which was made in Yorkshire, has the solidity of a pebble. But once inside, or when seen by night, it glows with a yellowish tinge, its fibrous surface giving it the look of shed skin. It is jagged and smeary, a texture offset by fine steel wires that hang a zigzagging lighting rail through the space, and an angular window, sharply sliced out to capture views of the lake beyond. It is a careful assembly of things that are both ragged and refined, contrasting roughly hewn with smoothly polished.

Figure 68

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SERPENTINE PAVILION London, England By – Seglgas Cano 2015 The pavilion formed from layers of ETFE plastic (the kind used for the Eden Project domes) stretched over an undulating cage of steel ribs, the structure wriggles its way across the lawn, bulging outwards in four contorted tentacles. In places, it looks like a chrysalis has been torn open then bandaged with plastic webbing, as if patching up the holes where the creature squirmed its way out. Elsewhere, the tunnels stretch out into gaping orifices, supercharged wormholes ready to suck you into a parallel dimension.

Step inside and it feels like exploring the intestines of a slippery deep-sea creature, with stretchy membrane walls giving off an opalescent glimmer.

Figure 69

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1.3 | PRECEDENT STUDIES

Selgas Cano’s work revels in playful use of cheap components, taking materials like extruded plastic and corrugated sheeting and deploying them in a brilliant, bright bricolage. They’ve built a congress centre in Spain that stands like a crystalline meteorite in the landscape, and a centre for skateboarding and climbing whose bulging orange roof floats above a faceted terrain.

In London they have followed the Serpentine’s brief for a festive folly to the letter: the pavilion could well have been fashioned from leftover balloons and party-popper streamers, woven together in a celebratory tangle.

Figure 70

Figure 71

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SERPENTINE PAVILION London, England By – Sou Fujimoto 2013 It looks like a 1980s vision of a computer mainframe or a 3D garden trellis on steroids.

A cloud appears to have dropped out of the sky and landed among the trees in Kensington Gardens, in west London. This hazy lattice of spindly white rods, which hovers above the ground like a digital apparition, is the 13th annual Serpentine Gallery pavilion, designed by the Japanese architect Sou Fujimoto.

“I wanted to create a structure that was somewhere between architecture and nature,” he says, “something like the primitive beginnings of a building.”

His pavilion is not composed of walls or roofs, but rather is seemingly grown from a steel matrix that extends upwards and outwards in all directions, like a garden trellis on steroids. It forms a shape-shifting mass with no discernible edges. Here and there, it rises into pert peaks and swells outwards in dramatic overhangs; from other angles, it appears to slump like a deflated meringue.

Figure 72

Figure 73

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1.3 | PRECEDENT STUDIES

As you walk around, over and through the structure, the layered grids play games with your eyes, creating ever-changing patterns in a three-dimensional tartan weave. In some places it seems solid, forming dense, rocky crags; in others, it is barely there at all.

Stepping inside, surrounded by this all-pervasive grid, feels like entering a computer mainframe, as imagined in the 1980s. It is a dazzling, Tron-like landscape of infinite white lines, the modular, cubic units of which form terraces of seating and steps, side tables and a coffee bar, as if Fujimoto has revealed an invisible geometric order of which the whole world is made. The cubes are not closed, but rather extend in projecting rods, like the frayed edges of fabric, suggesting the network might continue to grow. On an overcast day, it’s hard to tell quite where it ends.

Figure 74

Relating his design to a distinctly Japanese conception of nature, Fujimoto describes how the process of crafting the form was “like clipping a bonsai tree”. Working from hand drawings and large-scale models, he “pruned” sections of the grid to provide nooks and crannies, creating a multi-levelled terrain of places to perch and explore.

“Architecture,” he says, “should provide a background structure that allows people to behave in a different way. I want visitors to find cosy spaces here.” It is an idea that runs through all of his buildings, which he compares to caves and nests, trees and forests: natural landscapes to be inhabited.

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PS1 STIMULATOR New York, USA By – PARA Project 2009 This finalist proposal for the annual P.S.1 Warm-Up series is conceived as an inhabitable, fuzzy lumber stack – an off-the-shelf resource only provisionally located at P.S.1 before distribution to the public for entrepreneurial uses. Challenging the convention that minimizing material creates efficiency, the P.S.1 Stimulator proposes that the maximum accumulation of material can yield excess as resource.

We propose a new attitude toward the culture of excess. Unlike the past, excess is not waste. And unlike the present, excess is not simply reuse or recycling. Excess must be thought of as a resource. At P.S.1, we address excess as utility. Excess should activate. Excess should stimulate. As such, our proposal aims to place P.S.1 in a chain of three stimulus packages: Economic, Sensorial, and Cerebral.

The PS1 courtyard acts as a temporary holding area for the inhabitable lumber stack before the resource is distributed to public and private, non-profit and for-profit institutions to be used for further entrepreneurial projects. The lumber stack will slowly disperse over the course of the summer as the public is invited to propose alternate uses for the material.

Figure 76

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T O P A DVA NC E T E C H C I T I E S I N T HE WOR L D

S T O C K H O LSweden M,SW EDEN Stockholm, NE W York Y OR K New S A N Francisco F RANCI SCO San IIndia NDIA TA IPEI Taipei H O NGKong K ONG Hong S E O U LSouth , SOUTH KO R E A Seoul, Korea S I NG A POR E Singapore TTokyo, O K YO Japan , JAPAN Figure 81

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1.4 | RESEARCH

TO P A DVA NCE TECH C I TI E S I N

STOCK HOLM,SWEDEN NEW YORK

S IN T HE W O R L D

SAN FRANCISCO INDIA TAIPEI HONG K ONG SEOUL, SOUTH K OREA SINGAPORE

01 | Top advanced tech cities in the world

TOK YO, JAPAN 061

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ADVANTAGES_ Encourages innovation and creativity

Convenience of Traveling

When people see more creativity it will be encouraged innovation creativity.

Modern transportation technology makes it very easy to travel long distances. Transport is a very important both in our lives and in the business world.

Easy Access to information It has become very easy to get access to relevant information at any time anywhere.

Social Networking Modern technology has made it simple to discover our old friends and also discover new people to network with. This is a benefit to both individuals and businesses.

Changed the health industry Now days most hospitals have implemented modern technology.

Improved communication Communication is like water to life. We can not develop without communication.

Modern technology has blessed us with advanced communication technology tools.

Improved building and lifestyle This is another great way how modern technology has simplified our lives. New architectural technology has improved the types of housed we build now days.

Convenience in Education Modern technology has made it simple for students to learn from any where through online education and mobile education

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Improved Entertainment Modern technology has played a big role in changing the entertainment industry. Home entertainment has improved with the invention of video games and advance music and visual systems like smart televisions which can connect live to internet so that a user can share what they’re watching with friends.

Efficiency and Productivity Modern technology has helped businesses increase production. Humans are slow and some times they fail to deliver on time.

1.4 | RESEARCH

DISADVANTAGES Job Loss Modern technology has replaced many humans; robots are doing of the jobs which used to be done by humans.

Competency Increased dependency on modern tools like calculators has reduced on our creativity.

Increased loneliness Social Isolation is on the increase, people are spending more time playing video games, learning how to use new modern technologies, using social networks and they neglect their real life.

01 | Advantages 02 | Disadvantages

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UP DAT ING PEO PL E WIT H NEW T ECH CO NSIST ENT LY

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TECHS COM ING BACK TO C ITY

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D IS C ON N E C T ION P E OP L E C A N N OT B E T W E E N P E OP L E E X P L OR E N E W T E C H

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OP P OR T U N I T Y

BET T ER USE O F T HE SIT E NOT HAV ING OUTDOOR P LA Z A FOR E V E NT S

UP DAT ING PEO PL E WIT H NEW T ECH CO NSIST ENT LY

TEXploratorium

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TO URIST AT T RACT IO N

BRINING MON EY TO CIT Y/CO UN TRY

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TE X p loat oium

01 | Problem & opportunities 02 | Benefits of technology

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SOCIAL NETWORKING

INTE

SOCIAL NETWORKING 100%

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100%

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Pew Research Center Internet Science Tech RSS

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INTE

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While L Their In

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100%

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INTERNET USE BY AGE

Young Adults Are Most Likely to Use The Internet, But Seniors Show Faster Adoption Rates

INTERNET USE BY AGE

Young Adults Are Most Likely to Use The Internet, But Seniors Show Faster Adoption Rates

100% 100%

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INTERNET USE BY EDUCATION LEVEL While Less-Educated Adults Are Catching Up,

Their Internet Adoption Rates Are Still Below Those of College Graduates INTERNET USE BY EDUCATION LEVEL While Less-Educated Adults Are Catching Up, Their Internet Adoption Rates Are Still Below Those of College Graduates

100% 100%

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RESEARCH SUMMARY_ In “Primitive Future” Fujimoto speaks of the “tree-like place” meaning a house; he looks to see how connective things and disjunctive things work between natural elements.

He looks at a house that is a city- and vice versa. He also has a tree metaphor where he considers a garden as the origin of all architecture, looking for what must have been there before there were buildings; since a place to live is not necessarily architecture. Therefore, he develops the notion of resolving physical space. Fujimoto’s main philosophy is to create spaces free of constraints and open for possibilities which consist of spontaneous moments in the process of design.

The term “Universal Spaces” was first proposed by Mies Van der Rohe and describes a type of long span single volume flexible enclosure. In other words, this single volume enclosure is the ultimate flexible space that can be modeled or adapted to suit almost any user requirement. Mies was emphasizing on a kind of space that can house a wide variety of uses.

The three precedents that played significant roles in my research were: Rem Koolhaas’s Typical Plan, Pompidou Center, and Fun Palace. Particularly, the idea of dynamic structure and social exchange were both considered as essential features of my proposal.

As a result, my project has led to a temporary and dynamic installation mainly because of the fast pace of technology’s advancement.

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Main tech area

Tourist pass

Tourist attractions Figure 98

01 | Tourist Attractions 02 | Tourist and tech area

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1856: DE CLA RE D CITY OF S A N FRAN C ISC O W ITH COUNTY S TATUS

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Ferry lines Main highways

Main train/bart

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Main bart stations Figure 101

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P O P UL ATIO

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1.3 - 1.8

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299 - 10,0608

$6,538 - $28,

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10,740 - 20,608

$28,275- $44

2.2 -2.5

20,609 - 31,097

$44,490 - $61

2.5 - 3.1

31,098 -52,795

$61,994 - $91

3.1 - 4.3

52,796 -92,210

$91,468 - $14

0

56: DE C LA R E D C I T Y OF S A N F R A N C I S C O ITH C O U N T Y S TAT U S

0. 5

1

2

Figure 103

M I LE S

1 8 8 0 : P OS T “ S E COND GOL D RUS H”

0

0 .5

1 9 0 5 : PR IO R T H E G R EAT EART H QUAKE

CI VI C CENT ER / CI T Y HAL L REL OCAT ED POPUL AT I ON : 1 5 0 , 0 0 0

1

2

MILES

1 9 5 0 : PO ST WO R L D WAR II

Po p u la tio n liv in g & Wo r k in g

ZONING

T O U R I S T AT T R A CT I O N S COMMERCIAL

T O U R I S T PA S S A N D T E C H A R E A

50% - 62%

BAY BRIDGE 63% - 73%

RESIDENTIAL

MAI N TECH AREA 74% - 85%

TO U RI ST PASS 85% - 87%

TO U RI ST ATTRACTI O N S

Figure 104 MI L ES 0

01 02 03 04

| | | |

0.5

1

2

MIL ES 0

0 .5

1

2

Transportation Average household size Population density Population living & working

081

SPATIAL PIXEL

L O C AT I O N T O E X P L ORE N EW T EC H

AUT O DE SK GALLE RY PROPOSED SITE

CONV E NT I ON CENT ER

T ECH COM PANY NO R ETA IL

T ECH RE TAI L

Autodesk gallery

Convention center

Tech company no retail

Tech retail

Figure 105

082

1.6 | SITE AND CONTEXT

H I S TO RY O F SAN F R A N C I S C O

1850: S E TTLE M EN T O F Y E RBA BU E N A P OP U LATI ON : 50 0

1856: D E C LA R E D C I TY O F S AN FRAN C I S C O W I TH C OU N TY S TATU S

1880: P OS T “ S E CO N D G O LD RU S H ” C I V I C C E N TE R

1905: E A RTH QU AKE

1950: P OS T W ORLD WAR I I

1850: Settlement of Yerba Buena, Population: 500 1856: Declared city of San Francisco with county status 1880: Post “Second Gold Rush” Civic center 1905: Earthquake

1950: Post World War II

Figure 106

01 | Location of tech companies 02 | History of San Francisco

083

SPATIAL PIXEL

Figure 107

084

1.6 | SITE AND CONTEXT

Figure 108

Figure 109

01 | Transportation 02 | Bus stop locations

085

SPATIAL PIXEL

Figure 112

R

PIE 23

E

R

PIE 19

E

TH R R

PIE

FRONT

ST

17

ST

PIE

O

ER

AD

RC

BA

EM

UNION

15

GREEN

ST

ER

PI BA

Y

BR

ID

G

E

9

Figure 111

086

e

nc

a ntr

Figure 110

1.6 | SITE AND CONTEXT

60 FEET 45 FEET

35 FEET

60 FEET 75 FEET Figure 113

01 | Entrance (main path) 02 | Require heights (view)

087

SPATIAL PIXEL

01 Existing Site

088

Figure 114

089

SPATIAL PIXEL

BATTERY ST

SANSOME ST BROADWAY

THE EMBARCADERO COLUBUS AVE

JACKSON ST

PURPOSED SITE PIER 14 EXPLORATORIUM PIER 9 PIER 17 Figure 115

090

1.7 | EXISTING SITE

40’ 50’ 60’ 45’

45’ 75’ 30’ 35’ 35’ Figure 116

01 | Main streets & landmarks 02 | Height limits

091

SPATIAL PIXEL 260’ 260’ 320’ 320’ 175’ 175’

Figure 117

092

1.7 | EXISTING SITE

Figure 118

01 | Proposed site in relation to the existing topography 02 | Views around the proposed site

093

SPATIAL PIXEL

01 Area Master Plan

094

Figure 119

095

SPATIAL PIXEL

Figure 120

PIE R 23 R PIE 19 E TH RC

BA EM

R R

PIE

FRONT

ST

17

ST

PIE

O

ER

AD

UNION

15

GREEN

ST

ER

PI BA

Y

BR

ID

G

E

9

Figure 121

096

LEVIS PLAZA CAFE

1.8 | AREA MASTER PLAN

RECORDING STUDIO OFFICE

KRON 4

OFFICE Figure 122

01 | Important existing landmarks 02 | Existing site program

097

SPATIAL PIXEL

01 Spatial and Functional Program

098

Figure 123

099

SPATIAL PIXEL

room#

pub.

Y/N semi

room size sqft

qty.

total sqft

comments total sqft

I. FOYER & LOBBY

8,900

I.01.

Entrance foyer

Y

5000

1

5000

open space connected to galleries

I.02.

Ticket sales and shop

Y

800

2

1600

connected to Entrance 400

N

200

2

400

directly connected to shop

I.04. Cloakroom

Y

600

1

600

connection to conference rooms

I.05.

Cloakroom lockers

Y

100

1

100

lockable cabinets

I.06.

Restroom area F

Y

500

1

500

I.07.

Restroom area M

Y

600

1

600

Y

100

1

100

I.03. Shop

I.08. Restroom,ADA

wheelchair-accessible and equipped

II. THEATER

5,700

II.01. Theater

semi

5000

1

5000

connected by moveable

II.02.

N

200

1

200

for assembly hall

N

500

1

500

adjacent to assembly hall

Auxiliary rooms

II.03. Storage III. MUSEUM LAB

2,500

III.01.

Museum lab facilities

III.02.

Mus.lab. background space N

semi

2000

1

2000

accessible through foyer

500

1

500

adjacent to museum lab

IV. RESTAURANT & KITCHEN

3,300

IV.01. Restaurant

Y

2000

1

2000

view

IV.02.

Preparation kitchen

N

500

1

500

direct access restaurant

IV.03.

Restaurant’s local storage N

300

1

300

+cooler/freezer

IV.04

Staff room

200

1

200

break area/changing room

N

V. EXHIBITION SPACES

26,000

V.01.

Temporary exhibition

Y

5000

1

5000

flexible and available for renting

V.02.

Tech and art

Y

4000

1

4000

open space, some partition

V.03.

Robots

Y

5000

1

5000

high ceiling

V.04.

Visualization

Y

5000

1

5000

V.05.

Sensor and interaction

Y

5000

1

5000

V.06

Cyber and network security Y

2000

1

2000

high ceiling open space, some partition open space, some partition

100

1.9 | SPATIAL & FUNCTIONAL PROGRAM

room#

pub.

Y/N semi

room size sqft

qty.

total sqft

comments

VI.01. Archives

N

200

1

200

open space connected to galleries

VI.02.

Artwork storage

N

500

1

500

connected to Entrance 400

VI.03.

Delivery space

N

60

1

60

truck accessible

VI.04. Unpacking

N

50

1

50

VI.05.

Delivery Trash Storage

N

50

1

50

VI.06.

Restrooms F/M

N

15

1

15

total sqft

VI. COLLECTIONS & STORAGE

875

cabinets

VII. OFFICES, CONFERENCE ROOM

3,380

VII.01.

Offices Administration

N

130

10

1300

daylight

VII.02.

Offices Director

N

200

2

400

daylight

VII.03.

Open office space

N

250

3

750

daylight

VII.04.

Break room

N

600

1

600

daylight

VII.05.

Copy room

N

100

1

100

VII.06.

Storage

N

200

1

200

VII.07.

Restrooms F/M

N

15

2

30

VIII.01. Mechanical room

N

300

1

300

VIII.02. Service equipment

N

500

1

500

VIII. OTHER FACILITY

Total:

350

51,005

01 | Program analysis

101

CALE 1”=64’-0” SPATIAL PIXEL

MUSEUM 51000 SF

FOYER 8900 SF

THEATER 5700 SF

LAB

2500 SF

RESTAURANT 3340 SF

EXHIBITION

26000 SF

TEMPORARY 5000 SF

TECH &ART 4000 SF

ROBOTS 5000 SF

VISUALIZATION 5000 SF

SENSORS 5000 SF

STORAGE 875 SF

OTHER 350 SF

102

OFFICE 3380 SF

CYBER & NET 2000 SF

1.9 | SPATIAL & FUNCTIONAL PROGRAM

01 | Program analysis

103

SPATIAL PIXEL

1900

1950 OFFICE USE TYPEWRITERS FOR MAKING DOCUMENTS

1970

1963 BELL INTRODUCES THE TOUCH TONE PHONE 1971 THE 8’ FLOPPY DISK IS INTERDICTED

1969 BELL CREATE THE FIRST VIDEO PHONE

1 F IS

Figure 124

104

1.9 | SPATIAL & FUNCTIONAL PROGRAM

1980

1990

1983 3.5” FLOPPY DISK IS INTERDICTED 1984 CELLULAR PHONE ARE MADE

2000-05 1983 GAVILAN COMPUTERS CREATE THE FIRST “LAPTOP”

2005-10

2010-15

2000 IBM INTRODUCE THE USP FLASH DRIVE 1984 CELLULAR PHONE ARE MADE

2003 MOTOROLA DEVELOPS THE RAZE

2014 FIRST APPLE WATCH RELEASED

1984 APPLE RELEASES MACINTOSH

1971 FIRST EMAIL S SENT

1995 DVD STORAGE IS INTERDICTED

INTERNET

2006 AMAZON LUNCHES COMPUTER CLOUD 1991 FIRST WEB PAGE IS CREATED

2007 APPLE RELEASES FIRST IPHONE

2010 APPLE RELEASE THE IPAD

01 | Devices–Time line

105

SPATIAL PIXEL

1900

Figure 125

106

1970

1.9 | SPATIAL & FUNCTIONAL PROGRAM

1980

1990

1984 APPLE RELEASES MACINTOSH

2000-05

2000 POWER MAC CUBE

1990 MAC LC

1987 MAC II

2005-10

2010-15

2014 FIRST APPLE WATCH RELEASED

2000 IPAD

2002 IMAC G4

1998 IMAC

2015 IMAC

1989 MAC POTABLE

1991 POWER BOOK 100

INTERNET

2005 IPOD NANO

1993 NEWTON

2007 APPLE RELEASES FIRST IPHONE

2006 MACBOOK

01 | Apple devices–Time line

107

SPATIAL PIXEL

THE EVOLUTION OF EVOLUTION IMAC THE THE EVOLUTION EVOLUTION THE THE OF IMAC EVOLUTION OFTHE IMAC OF EVOLUTION THE IMAC OF EVOLUTION IMAC OF IMAC OF IMAC

2000

Figure 126

108

2000

2000

2002 2000

2002 2000 2002 200020022004 2000 2002 2004

2004 2002

2005 2007 2004 20092007 2004 2002 2005 2004 2005 20042005 2007 2005 20072005 2009 2005 2007 2009

NOW 2007 2009 NOW 2009 2007 NOW

2009 NOW

2009 NOW

NOW

NOW

1.9 | SPATIAL & FUNCTIONAL PROGRAM

TIMELINE

COMPLEX OUTSIDE

MULTIFUNCTION

COMPLEX INSIDE

USERS

01 | Time line

109

SPATIAL PIXEL

1900

1950

110

2020

1.9 | SPATIAL & FUNCTIONAL PROGRAM

2020 2020

2030 2030

01 | Transportation–Future

111

SPATIAL PIXEL

Today

No automation

Drive Assistance

Partial automation

A human driver performs all driving

Drive-assistance system either steers or controls speed using information about the driving environment. A driver is expected to preform all other aspects of driving.

One or more driver-assistance system both steer and control speeds using information about the driving environment. A drive is still expected to perform all other aspects of driving.

Figure 127

112

1.9 | SPATIAL & FUNCTIONAL PROGRAM

5-10 years

5-10 years

+10 years

Conditional automation

High automation

Full automation

An automated driving system can preform reform all tasks, even if a passenger does not respond to a request to intervene.

An automated driving system can preform all task, even if a passenger does not respond to a request to intervene.

The automated driving system preforms all driving tasks, full time, under all road and environment condition that can be mange bu human driver.

01 | Driverless cars–Evolution

113

SPATIAL PIXEL

DEVICES

TRANSPORTATION

PUBLIC

114

PRIVET

1.9 | SPATIAL & FUNCTIONAL PROGRAM

SUSTAINABILITY

FABRICATION

ROBOTIC

CO2

nest

01 | Technology–Categories

115

SPATIAL PIXEL

8’

116

1.9 | SPATIAL & FUNCTIONAL PROGRAM

nest

CO2

CO2

01 | Display catalogue–Based on program 02 | Program circulation

117

SPATIAL PIXEL

8”

8”

118

1.9 | SPATIAL & FUNCTIONAL PROGRAM

01 | Module variations

119

SPATIAL PIXEL

01 Spatial Analysis

120

Figure 128

121

SPATIAL PIXEL

122

1.10 | SPATIAL ANALYSIS

01 | Process–Sketches

123

SPATIAL PIXEL

124

1.10 | SPATIAL ANALYSIS

01 | Process–Sketches

125

SPATIAL PIXEL

01 Building Code Analysis

126

Figure 129

127

SPATIAL PIXEL

PROPERTY INFO_ Parcels ( Block/Lot) 010 / 002 Seawall Lot 321

Zoning District C-2-Community Business

Height & Bulk Districts 40-X

Special Use District

30’–45’

Waterfront 3

46’–58’

Neighborhood

59’–75’

North Beach

76’–110’ Figure 131

Residential/ Commercial Commercial Transit district

Commercial Community Business Commercial Downtown office

Low density residential

Light industrial Figure 130

128

1.11 | BUILDING CODE ANALYSIS

Figure 132

01 | Zoning 02 | Height map 03 | Landmarks & plazas

129

SPATIAL PIXEL

01 Conceptual Study Diagrams

130

Figure 133

131

SPATIAL PIXEL

132

1.12 | CONCEPTUAL STUDY DIAGRAMS

01 | Study models–Analysis

133

SPATIAL PIXEL

134

1.12 | CONCEPTUAL STUDY DIAGRAMS

01 | Process–Sketches

135

SPATIAL PIXEL

136

1.12 | CONCEPTUAL STUDY DIAGRAMS

01 | Study models–Analysis

137

SPATIAL PIXEL

138

1.12 | CONCEPTUAL STUDY DIAGRAMS

01 | Process–Sketches

139

SPATIAL PIXEL

02 Study, Process and Massing Models

140

Figure 134

141

SPATIAL PIXEL

142

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | Study models

143

SPATIAL PIXEL

144

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | Study models

145

SPATIAL PIXEL

146

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | Conceptual rendering

147

SPATIAL PIXEL

148

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | Hologram studies

149

SPATIAL PIXEL

150

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | Conceptual rendering

151

SPATIAL PIXEL

152

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | Study models

153

SPATIAL PIXEL

154

2.1 | STUDY,PROCESS,& MASSING MODELS

155

SPATIAL PIXEL

156

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | Study models

157

SPATIAL PIXEL

158

2.1 | STUDY,PROCESS,& MASSING MODELS

159

SPATIAL PIXEL

160

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | Study models

161

SPATIAL PIXEL

162

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | Conceptual rendering

163

SPATIAL PIXEL

164

SOUTH SOUTH

EAST EAST

SOUTH

EAST

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | South sections 02 | Study models

165

SPATIAL PIXEL

East sections

166

EAST EAST EAST

2.1 | STUDY,PROCESS,& MASSING MODELS

EAST

01 | Sections 02 | Study models in urban context

167

SPATIAL PIXEL

168

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | Study models

169

SPATIAL PIXEL

170

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | Study models

171

SPATIAL PIXEL

172

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | Stair studies in different modules

173

SPATIAL PIXEL

174

2.1 | STUDY,PROCESS,& MASSING MODELS

01 | Ramp studies in different modules

175

SPATIAL PIXEL

176

2.1 | STUDY,PROCESS,& MASSING MODELS

177

SPATIAL PIXEL

02 Site Plan

178

Figure 135

179

SPATIAL PIXEL

180

2.2 | SITE PLAN

Main Entrance

Exploratorium Exit

Exploratorium Entrance

0

25’

50’

100’

181

SPATIAL PIXEL

02 Floor Plans

182

Figure 136

183

SPATIAL PIXEL

Egress

Egress

Restroom Front Desk Entrance

Level 1

184

2.3 | FLOOR PLANS

0

4’

12’

28’

01 | Level 1

185

SPATIAL PIXEL

Level 2

186

2.3 | FLOOR PLANS

0

4’

12’

28’

01 | Level 2

187

SPATIAL PIXEL

Level 6

nest

CO2

Level 5

188

2.3 | FLOOR PLANS

0

4’

12’

28’

01 | Level 5

189

SPATIAL PIXEL

Level 8

Level 6

nest

190

CO2

2.2 | SITE PLAN

01 | Level 6 02 | Level 8

0

4’

12’

28’

191

SPATIAL PIXEL

02 Building SectionCross & Transverse

192

Figure 137

193

SPATIAL PIXEL

194

2.4 | BUILDING SECTION-CROSS & TRANSVERSE

195

SPATIAL PIXEL

196

2.4 | BUILDING SECTION-CROSS & TRANSVERSE

197

SPATIAL PIXEL

02 Elevations

198

Figure 138

199

SPATIAL PIXEL

200

2.5 | ELEVATIONS

201

SPATIAL PIXEL

202

2.5 | ELEVATIONS

203

SPATIAL PIXEL

02 Wall Section & Partial Elevation

204

Figure 139

205

SPATIAL PIXEL

2x2 Steel Frame

Reflective Plastic Film

Wire Mesh

Concrete Foundation Gravel Earth Concrete Panel Sand

206

2.5 | WALL SECTION & PARTIAL ELEVATION

Reflective Plastic Film

2x2 Steel Frame

Reflective Plastic Film

Wire Mesh

Wire Mesh

2x2 Steel Frame Sex Bolt Sand

Concrete Foundation

Gravel Concrete Foundation Earth

Gravel

Earth Concrete Panel

Concrete Panel Sand

0

2’

4’

8’

Par tial Elevation | Wall Section

207

SPATIAL PIXEL

02 Four Building Details

208

Figure 140

209

SPATIAL PIXEL

2x2 Steel Frame

Sex Bolt

Wire Mesh

210

2.7 | FOUR BUILDING DETAILS

211

211

SPATIAL PIXEL

2x2 Steel Frame

Sex Bolt

Reflected Plastic Film

212

2.2 | SITE PLAN

Wire Mesh

Sex Bolt 2x2 Steel Frame Concrete Panels

Sand

Gravel

Concrete Foundation Earth

213

SPATIAL PIXEL

02 Stainability Strategy

214

Figure 141

215

SPATIAL PIXEL

STAINABILITY STRATEGY_ Solar panels Located on the roof and it transfers the energy to the electrical room on the second floor.

Natural ventilation The open facade louvers create natural ventilation.

Reflected plastic film The reflected facade prevents interior spaces from overheating.

Recyclable materials The steel frames use as the main structure will all be recyclable.

216

2.8 | STAINABILITY STRATEGY

Solar Panel

Reflected Facade

Natural Ventilation

217

SPATIAL PIXEL

02 Egress Diagram

218

Figure 142

219

SPATIAL PIXEL

220

2.10 | EGRESS DIAGRAM

01 | Egress Diagram

221

SPATIAL PIXEL

02 Structural Diagrams

222

Figure 143

223

SPATIAL PIXEL

224

2.10 | STRUCTURAL DIAGRAMS

01 | Joint system

225

SPATIAL PIXEL

226

2.10 | STRUCTURAL DIAGRAMS

227

SPATIAL PIXEL

02 Mechanical Diagrams

228

229

SPATIAL PIXEL

Mechanical Room Restroom

230

2.11 | MECHANICAL DIAGRAMS

Cold Water

Hot Water

Sewage Pipe

231

SPATIAL PIXEL

02 Public Space Section

232

233

SPATIAL PIXEL

234

2.12 | PUBLIC SPACE SECTION

0

2’

4’

Public Space Section

8’

235

SPATIAL PIXEL

03 Presentation Model

236

Figure 144

237

SPATIAL PIXEL

238

3.1 | PRESENTATION MODEL

239

SPATIAL PIXEL

03 Exterior Perspectives

240

Figure 145

241

SPATIAL PIXEL

242

243

SPATIAL PIXEL

244

245

SPATIAL PIXEL

246

247

SPATIAL PIXEL

03 Interior Perspectives

248

Figure 146

249

SPATIAL PIXEL

250

251

SPATIAL PIXEL

252

253

SPATIAL PIXEL

03 Photos of Physical Model

254

Figure 147

255

SPATIAL PIXEL

256

3.4 | PHOTOS OF PHYSICAL MODEL

257

SPATIAL PIXEL

258

3.4 | PHOTOS OF PHYSICAL MODEL

259

SPATIAL PIXEL

260

2.2 | SITE PLAN

261

SPATIAL PIXEL

03 Bibliography

262

Figure 148

263

SPATIAL PIXEL

Figure 1 | 005

Figure 8 | 019

“Here’s What Lyft’s Driverless Future Might Look Like.” BuzzFeed. N.p., n.d. Web. 24 Mar. 2016.

Big.TEK[Technology, Entertainment & Knowledge]. 2009. designboom. Mar. 2016. < http:// www.designboom.com/architecture/big-architects-tek-building/ >

Figure 2 | 008 Person, and Lynn Peril. “Atomic Cars of the 1950s.” Io9. N.p., 25 June 2008. Web. 01 May 2016.

Figure 3 | 012 “THE FUTURE AIN’T WHAT IT USED TO BE.” Simanaitis Says. N.p., 14 Jan. 2015. Web. 01 May 2016.

Figure 4 | 016 Mullen, Enda. “A Look at How 1950s Town Planners Envisioned Birmingham City Centre - Birmingham Post.” Birminghampost. N.p., 23 Aug. 2013. Web. 01 May 2016.

Figure 5 | 018 Big.TEK[Technology, Entertainment & Knowledge]. 2009. designboom. Mar. 2016. < http:// www.designboom.com/architecture/big-architects-tek-building/ > Figure 6 | 018 Big.TEK[Technology, Entertainment & Knowledge]. 2009. designboom. Mar. 2016. < http:// www.designboom.com/architecture/big-architects-tek-building/ > Figure 7 | 019 Big.TEK[Technology, Entertainment & Knowledge]. 2009. designboom. Mar. 2016. < http:// www.designboom.com/architecture/big-architects-tek-building/ >

264

Figure 9 | 020 Ito, Toyo. Sendai Mediatheque. 2001. designboom. Mar. 2016. < http://www.designboom. com/architecture/toyo-ito-designboom-interview/ > Figure 10 | 021 Ito, Toyo. Sendai Mediatheque. 2001. designboom. Mar. 2016. < http://www.designboom. com/architecture/toyo-ito-designboom-interview/ Figure 11 | 021 Ito, Toyo. Sendai Mediatheque. 2001. designboom. Mar. 2016. < http://www.designboom. com/architecture/toyo-ito-designboom-interview/ > Figure 12 | 021 Ito, Toyo. Sendai Mediatheque. 2001. designboom. Mar. 2016. < http://www.designboom. com/architecture/toyo-ito-designboom-interview/ > Figure 13 | 022 Piano, Renzo. Academy of Sciences. 2008. designboom. Mar. 2016. < http://www.designboom.com/architecture/renzo-pianos-california-academy-of-science/ >

3.5 | BIBLIOGRAPHY

Figure 14 | 022

Figure 20 | 025

Piano, Renzo. Academy of Sciences. 2008. designboom. Mar. 2016. < http://www.designboom.com/architecture/renzo-pianos-california-academy-of-science/ >

EHDD. Exploratorium. 2013. architectmagazine.

Mar. 2016. < http://www.architectmagazine. com/design/buildings/exploratorium-designedby-ehdd_o>

Figure 15 | 023

Figure 21 | 025

Piano, Renzo. Academy of Sciences. 2008. designboom. Mar. 2016. < http://www.designboom.com/architecture/renzo-pianos-california-academy-of-science/ >

EHDD. Exploratorium. 2013. architectmagazine.

Mar. 2016. < http://www.architectmagazine. com/design/buildings/exploratorium-designedby-ehdd_o>

Figure 16 | 023

Figure 22 | 025

Piano, Renzo. Academy of Sciences. 2008. designboom. Mar. 2016. < http://www.designboom.com/architecture/renzo-pianos-california-academy-of-science/ >

EHDD. Exploratorium. 2013. architectmagazine.

Mar. 2016. < http://www.architectmagazine. com/design/buildings/exploratorium-designedby-ehdd_o>

Figure 17 | 024

Figure 23 | 026

EHDD. Exploratorium. 2013. architectmagazine.

Mar. 2016. < http://www.architectmagazine. com/design/buildings/exploratorium-designedby-ehdd_o>

Herzog & de Meuron. Museu Blau. 2012. inexhibit. Mar. 2016. < http://www.inexhibit.com/ case-studies/barcelona-blue-home-science/>

Figure 18 | 024 EHDD. Exploratorium. 2013. architectmagazine.

Mar. 2016. < http://www.architectmagazine. com/design/buildings/exploratorium-designedby-ehdd_o> Figure 19 | 024 EHDD. Exploratorium. 2013. architectmagazine.

Mar. 2016. < http://www.architectmagazine. com/design/buildings/exploratorium-designedby-ehdd_o>

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