i-ARCH Focus Studio Catalogue: Museum of Interactive Technology | KSU Fall 2019

i-arch focus studio- fall 2019

MUSEUM OF INTERACTIVE TECHNOLOGY KENNESAW STATE UNIVERSITY I fall 2019

Focus Studio-Interactive Architecture ARCH 5015-02 | Fall 2019

Kennesaw State University Department of Architecture 1100 South Marietta Pkwy Marietta, GA 30060 (470)-578-6000 website: https://www.i-archstudio.com Copyright © 2019 KENNESAW STATE UNIVERSITY. All rights reserved. All photographs in this publication were provided by students and faculty within Interactive Architecture Focus Studio unless otherwise indicated. instagram: i_archstudio

FACULTY ADVISOR/ STUDIO PROFESSOR Dr. Arash Soleimani EDITOR-IN-CHIEF Hala Alfalih ASSOCIATE EDITOR Asbiel Samaniego CONTRIBUTING AUTHORS Jessica Headrick Ana Giron Zach Hart Huy Ho Caleb Lawrence Nhan Luu Nelly Mehrjerdian Michelle Nguyen Asbiel Samaniego

This book was published to fully exhibit the research, design, and speculation of fifth year, focus studio students at Kennesaw State University. We hope this experience will create a dialogue for making buildings more responsive, adaptable, dynamic and engaging.

01|introduction 05|Design activity 1 36|design activity 2 Intention : Research-based Approach

The Device : Exploration Through Fabrication

The Space : Architectural Integration

Dr. Arash Soleimani

Zach Hart

Hala Alfalih

Ana Giron

Nhan Luu

Jessica Headrick

Huy Ho

Nelly Mehrjerdian

Caleb Lawrence

Asbiel Samaniego

Michelle Nguyen

intention

THE introduction intention

“The objects which surround my body reflect its possible action upon them.�

[Henri Bergson, Matter & Memory, 1892]

02

Introduction: Museums have a well-established reputation for creating interactive environments by using both traditional and modern technologies of interaction. Technology centers and science museums are two particular prevalent examples that have quickly integrated interactive technologies to enhance the quality of presentation and level of interaction between both exhibits and visitors. Until recently, the meaning of ‘intelligence’ in the field of architecture has been developed as the model of control, feedback and monitoring to enable efficient operation of the systems. These systems are called interactive environments, which contain spaces with embedded computation and communication technologies intended to enhance ordinary activities. With the emergence of a new wave of digital technologies, museum visitors are no longer satisfied by simply visiting worthy displays of exhibits in glass cases. They expect to get actively involved with exhibits to experiment and informally learn from their own personified experience.

The i-arch studio considers the various ways in which buildings can be designed and theorized as interactive environments. The studio project looks at ways of making buildings more responsive, adaptable, dynamic and engaging through the use of both traditional and contemporary cyber-physical technologies. The project began by considering a series of case-studies of the work of artists, roboticists, architects and designers in order to develop a conceptual framework for the design of a building exploring the future relationships between architecture, technology and the body.

The Fall 2019 i-arch studio focused on creating a ‘museum of interactive technology’ to engage visitors actively in new kinds of experiences in the city of Atlanta, Georgia.

The final design proposals aim to define interactive architectural spaces for consuming, creating and exhibiting information comprised of a cyber-physical core, which blurs the boundary between the digital, physical and spiritual worlds.

03

Figure 01. The pillars of i-arch studio introducing an interdisciplinary studio

04

Design activity 1

THE DEVICE Exploration Through Fabrication

05

Design Activity 01 | THE DEVICE: Exploration through Fabrication After conducting in-depth research to cultivate an understanding of historical and contemporary examples of interactive environments in the context of museums, each design team manifested a definition for the ‘modern museum of interactive technology’. Students sought an understanding of how, why and where we consume and create interactive environments. In other words, they investigated how a limited set of materials can create an intelligent system that has the potential to operate, or to be read at multiple scales of the built and natural environments. Subsequently, students designed and fabricated interactive devices by taking three key steps: I. Highlighting a specific site condition or set of conditions to conduct further in-depth research.

II. Developing the design of a device or an instrument which enhances the link between this condition and the manner in which it is presented to and received by the human body.

III. Fabricating the device at full scale and recording its presence and interaction on the given site.

Link to a video illustrating various devices developed by students: https://youtu.be/EpJLU1Hsd7A

06

THE DEVICE 1.1

EMOTIONAL BUBBLE MAKER Jessica Headrick, Caleb Lawrence https://youtu.be/3RsUY0btkeU

The Emotional Bubble Maker analyzes the user’s current emotional state via a response to a prompt, dispensing a user-specific colored soap liquid. Each prompt answer is tied to a corresponding color that is representative of an emotion. This solution is then input into a bubble machine to paint the artistic representation of each users’ emotion on a larger piece of canvas. Through this process, two pieces of art are created: the stained cup that holds the color-specific solution- representative of the emotion of the individual- and a painted canvas- representative of the emotional collective.

08

comprising parts of the emotional bubble maker

09

The emotional bubble maker is a simplified physical representation of the dynamic between the environment, the individual, and the landscape formed by the collective.

As each user of the device responds to a prompted question, the dialogue of an individual’s response to environmental influences is played out. The colors that each user receives represents the emotional palette with which the individual may act with when reacting to external stimuli. With these colors, the user may exhibit their emotions by expression through colored bubbles. Through the creation of the artwork on canvas, this device allows the user to evaluate how one’s individual emotions may compare to the larger tapestry of emotions in the people around them. This ultimately results in an expression of individual emotion and an understanding of the dynamic collective emotion.

10

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11

pr ev th a

INDIRECT ACTION

p

Unique Colored

OUTPUT Ever-changing Colored Canvas Representing Collective Emotion psychological color chart

I feel...

prompt 1

I feel...

energized lazy

prompt 2

prompt 3

I feel...

prompt 2

secure

sluggish

I feel...

I exude...

prompt 2

secure

trust insecurities

I feel...

prompt 3

growth I exude... loyalty

I exude...

ary

nd

co

se

pr

I feel...

INDIRECT ACTION

ignorance

prompt 3

I exude...

rainy

mysterious

ambition

moodiness

sunny

happy

irresponsibility

creativity

I exude...

prompt 1

I exude... danger growth

I exude...

prompt 2

I exude...

trust

loyalty

insecurities prompt 3

prompt 2

im ary

I feel...

sluggish

OUTPUT Ever-changing Colored Canvas Representing prompt 3 Collective Emotion

balanced

prompt 2

prompt 2

danger red

envy

balanced

INDIRECT ACTION

I exude...

prompt 1

love

apathetic

love

I feel...

I exude...

intelligent

envy

apathetic

prompt 3

I feel...

Distribution of Colored Bubbles

angry

intelligent

I feel...

prompt 1

lazy

prompt 1

angry

blu e

prompt 1

prompt 3

DIRECT ACTION

I feel...

w

each emotion is linked to a specific color on the color wheel which represents the primal impacts the color has on human emotion when percieved in light to those who can percieve color. each invidual is subject to have different perceptions and interpretations with each color. The color chart above represents the standard psychological color chart which dates back to the Egyptians who studied the affects of color on peoples mood and energy.

prompt 2

prompt 1

energized

e

green

Colored Soapy water poured into machine; Machine powered on

I feel...

expe

llo ye

Each emotion is linked to a specific color on the color wheel which represents the primal impacts the color has on human emotion when perceived in light to those who can perceive color. Each individual prompt questions is subject to have different perceptions and interpretations with each color.

The color chart above represents the standard psychological color chart which dates back to the Egyptians who studied the effects of color on peoples mood and energy.

prompt 1

INDIRECT ACTION

ignorance

I exude...

prompt 3

I exude...

rainy

mysterious

ambition

moodiness

sunny

happy

irresponsibility

creativity

12

le rp pu

each emotion is linked to a specific color on the color wheel which represents the primal impacts the color has on human emotion when percieved in light to those who can percieve color. each invidual is subject to have different perceptions and interpretations with each color. The color chart above represents the standard psychological color chart which dates back to the Egyptians who studied the affects of color on peoples mood and energy.

ora ng

blu e

w llo ye

prompt questions

prompt questions

OUTPUT

O

watercololr on the color wheel which represents each emotion is linked tosoapy a specific the primal impacts the color has on human emotion when percieved in light to those who can percieve color. each individual is subject to have different perceptions and interpretations with each color. the color chart above represents the standard psychological color chart which dates back to the egyptians who studied the affects of color on peoples mood and energy.

green

The participant will th bubble liquid and pou the top panel. Then, the p machine by rotating the cr

THE DEVICE 1.2

THE PAINTING MACHINE Nelly Mehrjerdian, Michelle Nguyen

The Painting Machine allows a user to create an abstract painting. The input is the human’s force on a foot pedal which pushes paint out of the spray bottles to create a painting on a canvas.

This device is designed using components of the site such as wind patterns, traffic and pedestrian circulation, views from the site, and the existing trees.

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15

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A B DE F

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Wood Panels for the Frame

Box containing art

Paint Bottles

Wood Studs for the Frame String pulling the Paint Bottles

Seat

Wooden base to allow for movement of seat

side_elevation

front_elevation

top_elevation

exploded_axon 16

initial_study_model

THE DEVICE 1.3

STOMATA Nhan Luu, Hala Alfalih https://youtu.be/ZxHYAjHlZwU

Stomata offers different dialogues to facilitate various outputs onto a canvas with photo-chromic pigment. Different patterns imitate the natural patterns in the environment, allowing the experience of these patterns in a different dimension.

Through this process, the canvas changes colors representing the different patterns for a small period of time before returning to the original color.

19

The device represents a dialogue occurring between the environment and the physical body. The dialogue is both conscious and subconscious; the user is consciously moving different patterns and the sun is subconsciously interacting with these filters to create artwork that is experienced as a result.

20

21

Pattern filter

Structural frame

Canvas

Racks

Kit of Parts

t joint

4 joint

L joint

+ joint

corner rack

middle rack

9’-0”

7’-0”

Exploded Axonometric

6’-0”

3’-0”

the canvas

the filter

the light

22

THE DEVICE 1.4

SPIRO Ana Giron & Asbiel Samaniego https://youtu.be/bz9MDx5ZQjg

Spiro is a dual-drawing machine that took inspiration from the Spirograph, a geometric drawing toy that produces mathematical roulette curves. The device also builds on the concept of stigmergy, which is defined as a mechanism of indirect coordination, through the environment, between agents or actions. In the case of Spiro, two individuals simultaneously operate two 3d printed arms and have full control as to the amount of spins they manually make, speed, and color of the pen.

The central part of the device consists of a central wheel/gear system which is automated through a motor. The motor was programmed through the Arduino software, specifying it to rotate continuously in only one direction. Once the motor spins it would begin to move the central wheel in which the drawing canvas is located. As the two 3d printed arms get cranked manually the central piece is moving on its own. The end results are very abstract line-work art.

01 HANDLE MOTION_

02 WHEEL ROTATION_

25

03 ARM ROTATION_

[01] HANDLE MOTION: At the very top a handle is spun manually around a rod that is attached to a horizontal gear. As the handle is spun the gear also begins to rotate and it begins to move the vertical gears.

[02] WHEEL ROTATION: The central wheel rotates automatically through a motor that when plugged into a power source begins to rotate a smaller gear. That small gear then pushes and rotates the entire central wheel.

[03] ARM ROTATION: The 3D printed arms rotate by pivoting around the top rod that gets activated when the handle motion is in play. Top and bottom rods are anchored to a base with the arms moving around them.

26

01_

02_

04_

05_

07_

08_

27

03_

06_

TRIALS_ Eight trials were run using SPIRO with different users each time. The results varied in terms of the line-weight quality and geometric pattern. The outcome was different each time.

28

THE DEVICE 1.5

THE DRAWING FOREST Zach Hart & Huy Ho

https://youtu.be/swX2CsNnxWg

The Drawing Forest offers an interactive passage in which users can walk through a field of metallic poles that register the users’ motion through art applied to a canvas that serves as the walking surface as well. Depending on the path taken, the speed walked through, and the amount of force used to push through the forest, the resulting swinging motion of the poles varies, in turn, creating unique brush strokes to the canvas below. The more visitors that are allowed to pass through the space, the more dense the painting becomes.

30

31

The device is able to be broken down into 3 main pieces: the top piece acts a lintel that fits onto the two open side walls. The hanging poles that make up the forest are able to be detached and reattached to small hooks on the roof piece. The canvas is easily rolled out from a tube hosted on the right side of the device, and after using the device for a given time the canvas can be cut and displayed as an art piece, showcasing each user that interacted with the device through art. The medium used to create the paintings is interchangeable, with holsters hanging at the bottom of the pole being able to be removed and replaced with materials such as paint brushes, chalk, pastels, or charcoal.

These different media each have unique properties that give the resulting art unique qualities.

32

ALTERNATIVE DEVICE OUTPUTS colored rain This proposal replaces the tube ends with strong magnets, and

This proposal replaces the tubes with a clear pvc material, clear pvc tube for visibility

able to be started/stopped, so that the paint can drip down the tubes like colorful rain, creating an interesting visual experience for the user and colorful canvas art below

sand covered by an acrylic walking surface, so that the sand is pushed & pulled by the magnets depending on how the user travels through the space

paint stop/release

6’8”

3D printed pastel holder

replaceable drawing medium

4’0” exploded paper roll detail

pastel holder detail

33

34

Design activity 2

THE space Architectural Integration

35

Design Activity 02 | THE SPACE: Architectural Integration In this phase, students investigated how the device and spatial exhibitions may inform architectural spaces and how the space may enhance the experience and operation of the device. As a result, students established a tectonic language for a wider architecture and developed their museum based on initial interests coupled with site design. The end results, the ‘museum of interactive technology’, aim to engage visitors actively in new kinds of experiences in the city of Atlanta, Georgia.

36

THE SPACE 2.1

THE COLOR MUSEUM Jessica Headrick, Caleb Lawrence The Color Museum facilitates the discourse between the environments and visitors by offering a space, which affects the body. It facilitates emotional self-expressions through color, and a collective influence of these self-expressions on the space resulting in dynamic architecture.

38

red room restrooms

expression loop bubble room

manipulation loop scintillating grid room

storage

library

halo

checker board room staff room

zen garden

restrooms

multipurpose room

gallery of technology and color

cone of color/ lobby

retail

ticket booth

impression gallery

Feature: emotional control

theory loop

manipulation loop

reflection room

conference room

offices

egress core

blind color room

sculpture garden storage

theory loop

gallery of color psychology

kitchen

interactive emotional exhibit (device)

halo

public

zen garden

guest space

Feature: emotional control

History of color psychology

cafe temporary gallery

private cone

adjacent proximity

multipurpose room

not related loop cafe

adjacency diagram

circulation diagram manipulation loop

development spaces

imposition spaces

expression loop

halo

interactive spaces

zen garden

creation spaces

cone multipurpose room

retail sculpture garden

manipulation spaces

reflection spaces

halo theory loop

temporary gallery

halo cone of color

north elevation

multipurpose room

entrance

office space

multipurpose room

halo section

39

40

The entire circulation area benefits the visitor with the rounded shapes which encourage natural movements and progression.

The cone of color gets daylight from the skylight. The city wide emotional representation of color peaks through the halos space reminding the user of the collective emotion.

The entire circulation area benefits the visitor with the rounded shapes which encourage natural movements and progression.

TheThe entire entire circulation circulation areaarea benefits benefits the the visitor visitor withwith the the rounded rounded shapes shapes which which encourage encourage natural natural movements movements andand progression. progression.

The The cone cone of color of color getsgets daylight daylight from from The circulation encourages the users the the skylight. skylight.

The city city wide wide emotional emotional to continuously flowThe back through the representation representation of color of acolor peaks peaks through through cone of color which is collection of the the halos halos space space reminding reminding the the useruser of of single expressions. the the collective collective emotion. emotion.

The museum actively engages with the city by capturing the collective emotion. It engages with the street presence by altering the sculpture garden and also provides a 180ยบ+ view of the city for further reflection.

The circulation encourages the users to continuously flow back through the cone of color which is a collection of single expressions.

TheThe circulation circulation encourages encourages the the users users to continuously to continuously flowflow back back through through the the cone cone of color of color which which is aiscollection a collection of of single single expressions. expressions.

TheThe museum museum actively actively engages engages withwith the the citycity by by capturing capturing the the collective collective emotion. emotion.

It engages It engages withwith the the street street presence presence by by altering altering the the sculpture sculpture garden garden andand alsoalso provides provides a 180ยบ+ a 180ยบ+ view view of the of the citycity for further for further reflection. reflection.

theory loop

expression loop

halo

manipulation loop

core cone of color

41

expression loop

reflection room

cone of color

theory loop

42

THE SPACE 2.2

THE COLOR MUSEUM Nelly Mehrjerdian, Michelle Nguyen The Color Museum is based off the idea of a museum of interaction which was defined as an environment to stimulate active participation through collaboration, production, and exhibition. The museum attracts social interaction and experiential encounters in order to provoke curiosity, specifically through the play of color.

Conceptual Explorations

LOBBY

CLASSROOM 2

MAKER SPACE

ENTRANCE RESTROOM

CLASSROOM 1

RECEPTION

STAIRWAY EXHIBIT

RESEARCH ROOM

TEMPORARY GALLERY

EXHIBIT 2

PERMANENT GALLERY

COURTYARD

CONFERENCE ROOM

MECH. ROOM

JANITOR CLOSET

EXTERIOR

INTERIOR CAFE

45

RESTROOM

STAFF R.R.

ADMIN. OFFICE

EXHIBIT 3

EXTERIOR CAFE

RETAIL

LIBRARY

RESTROOM

EXHIBIT 1

PARKING

STUDY ROOM 2 STUDY ROOM 1

ELEC. ROOM

Site Plan

East and West Elevations

46

Gallery

Paint-by-step

Elevators

RR Library

RR

Reception

Lobby

Paint-by-step

Third Level

Elavators

RR

Exhibit 2Painting Machine

RR

Exhibit 1Showcase Room

Mech/Elec Room

Classroom

Elevation: -15’

Exhibition Hallway

Maker Space

Elavators

RR Exhibit 4 Painting Chairs RR Kitchen

Retail

Cafe

Classroom Exhibit 3 Showcase Room

Classroom

Elevation: 0’

Conference Room

Office Paint-by-step

Elavators

RR Office RR

Sto ra ge

Office Conference Room

47 Elevation: 15’

48

THE SPACE 2.3

THE MUSEUM OF DIALOGUE Hala Alfalih, Nhan Luu The Museum of Dialogue explores the dialogue between the passive and active circulations. It integrates these types of circulations by embodying physical paths which the user can experience. Through multiple various paths, the visitor can discover different parts of the museum while immersing themselves in the local art.

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Center For Puppetry Arts

THE SITE

Being located in an artistic site; [1.

Center For Puppetry The WSB-TV News Station is located Arts to the Northeast, 2. High Museum of Art located to the Southwest, 3.

Center for Puppetry Arts located to the West, 4. The Savannah College of Art and Design located to the Northwest] The site will use its strategic location on Peachtree Road, it is a prime spot to curate and showcase local talents.

Designated Bike Lane Bike Friendly Bus 110 MARTA Pedestrian Prefered

SCAD

Peachtree Christian Church

WSB-TV News

17 Beverly RD NE William Breman Jewish Heritage Museum

Center For Puppetry Arts

Journalism & Media High Museum of Art

Museum of Design Atlanta

High Museum of Art High Museum of ArtMuseum of Design WSB-TV News Atlanta

17 Beverly RD NE

Museum of Design Atlanta

The Woodruff Arts Center The Woodruff Arts Center

The Woodruff Arts Center

High Museum of Art

Museum of Design Atlanta

The Woodruff Arts Center

Locations dedicated to the Arts Locations dedicated to the Arts Cultural & Puppetry Arts Arts Center Locations dedicated to the Arts Locations dedicated to the Arts [1] Cultural & Puppetry Arts Arts Center

Arts Center

Teaching the Arts

Journalism &

Teaching Arts Teaching the the Arts Teaching the Arts

Cultural & Puppetry Arts

Cultural & Puppetry Arts

Arts Center

Journalism & Media

Journalism & Medi Jour

William Breman Jewish William Breman Jewish Heritage Museum Heritage Museum William Breman Jewish

WSB-TV News

William Breman Jewish Heritage Museum Heritage Museum

High Museum of Art

17 Beverly RD NE

Center For Puppetry Arts

SCAD

High Museum of Art

High Museum of Art

Afoot

Museum of Design Atlanta

Cycle

17 Beverly RD

The Woodruff Museum High MuseumofofDesign Art Center Museum of Design ArtsCenter Atlanta For Puppetry Museum of Design Atlanta Center For PuppetryCenter For Puppetry Atlanta Arts

Arts

17 Beverly RD NE

Arts

AD SCAD SC

Methods of Circulation

The Woodruff The Woodruff Arts Center Arts Center

SCAD

The Woodruff Arts Center

Public Transit

[2] Methods of Circulation Methods of CirculationMethods of Circulation

[3]

Automobile

Electric Scooter

[4]

An Active Dialogue

Afoot

Cycle

17

THE ANALYSIS

Types of Users

25 ft

The Runner Types of Users The Runner

100 ft

The Displaced

25 ft

The Gen Z-er

100 ft

50 Displaced ft The

The Gen Z-er

The Millenial The Millenial

The Nine-to-fivers The Nine-to-fivers

The Artist The Artist

The Baby Boomer The Baby Boomer

50 ft

2525ft ft 2525ft ft

100ft ft 100 5050ft ft

100ft ft 100

5050ft ft Types of Trees Common Hackberry Types of Trees

52 Georgia Oak

Flowering Dogwood

American Holly

ERY

CL CLASSROOASSROOM M

GAL

GALGAL ERYERY

TEM GAGALLLLERTEERYMYPOPORARARYRY CO

LIBR ARY CAFE

LIBR LI ARYBRAR CAFE CYA FE

CONFER ROROOMOMCONFERENENCECE

ROOM NFERENCE

GALLERTEYMPORARY

Entering Precedents the museum from Peachtree Road, you follow a ramp up to the second floor Zaha Hadid Double Curved-Glass Funicular Railwayand galleries. On the second floor you can support Kunsthaus Graz

by Peter Cook and Colin Fournier while experiencing the exhibits local art by buying some of the pieces which are being auctioned off in the private gallery.

There is also an entry from the Eastern side which gives you access to the basement level and offices, this is also where the parking is located.

Site Site

GAL ERY

CL CLASSROOASSROOM M

ROOM NFERENCE

LO

BB Y

ROOM CONFERENCE

Form of building

Site

Entry

Green space Solar diagram

Site

Site

Entry

Entry

Green space

Green space

AUD ITOR IUM

Site

Program Program

Program

Circulation Circulation

Circulation

Formof ofbuilding buildingForm of building Form

GALLERTEYMPORARY

https://worldarchitecture.org/articles/cvnee/zaha_hadid_architectsi_doublecurved_glass_funicular_railway_hits_4_5_million_passengers.html

Form Development Mass

BB Y

AUD ITOR IUM

BB Y

GALLERTEYMPORARY

LIBR ARY CAFE

GAL ERY

CL CLASSROOASSROOM M

AUD ITOR IUM

BB Y

LO

AUD ITOR IUM

ROOM CONFERENCE

LIBR ARY CAFE LO

GALLERCOTEYMPORARY

LIBR ARY CAFE

GAL ERY

CL CLASSROOASSROOM M

LO

AUDAU ITODRITO IUMRIUM

LO LO BBY BB Y

https://www.museum-joanneum.at/en/kunsthaus-graz/architecture

Program

Circulation

Program

Program

Form of building Form of building

Entry FormEntry of building

Entry

Solardiagram diagram Solar diagram Solar

THE MUSEUM Circulation

Exterior circulation Exterior circulation

Circulation

Exterior circulation

Solar diagram

Final design

Solar diagram

Final design

Greenspace space Green space Green Solar diagram

Exteriorcirculation circulation Exterior circulation Exterior

Final design

Final design

elevation - west 1’=1/16”

CLCLASSR CLCLASASSRSROOASOOSRMOOOOM M M

TEM

CL CLASSROOASSROOM M

ERY

elevation - north 1’=1/16”

YERY

on

CLCLASSR CLCLASASSRSROOASOOSRMOOOOM M M

Section Perspective

TEM

Finaldesign design Final

Final design

al design

Final design

Final design

THE MUSEUM FORM

FORM

THE MUSEUM

Plan - Basement 1’ = 1/16”

FORM FORM

FORM

THE MUSEUM

FORM Plan - Basement 1’ = 1/16”

FORM

elevation - west 1’=1/16” FORM FORM

FORM

FORM

Plan - Basement 1’ = 1/16” Plan - Ground 1’ = 1/16”

FORM

Plan - Ground 1’ = 1/16”

THE SPACE 2.4

MUSEUM OF STIGMERGY Ana Giron, Asbiel Samaniego [A Museum of Interactions and Processions] The Museum of Interactions and Processions offers dynamic series of spaces that elicit a response from the human body, through direct or indirect coordination or interaction, to create a feedback loop. In particular, Stigmergy creates a mechanism of indirect coordination, through the environment, between agents or actions.

Site Analysis

Site Forces

Site Forces

Circulation from Forces

Circulation from Forces

Site Forces Site Subtraction

Form Development

Circulation from Forces

Site Forces

Site Forces Exterior Facade Site Subtraction

Circulation Forces Exterior from Facade

Site Subtraction

Site Forces Circulation from Forces

Exterior Facade Roof Articulation Circulation from Forces

57 Roof Articulation Site Subtraction

Circulation Forces Exterior from Facade

Site Subtraction

Roof Articulation

Site Subtraction Additional Periphery Massing

Exterior Facade Additional Periphery Massing

Basement Level Plan

Section A-A

Ground Level Plan

58

Third Level Plan

North Elevation

Fourth Level Plan

59

Exterior View of Third Level Terrace

Exterior View from Peachtree St.

60

THE SPACE 2.5

iMAS Zach Hart, Huy Ho [The Intersectional Museum of Art & Science] The Intersectional Museum of Art & Science (iMAS) is a space designed to let visitors become an essential part of the exhibit themselves. Various aspects of science are displayed both inside and outside of the museum’s walls, each showcased in an artistic light. Properties of physics in the museum create art through a variety of media.

Rotational kinematics become a method of creating unconscious light shows, swinging pendulums become a method of painting that tracks visitors movements, and sound waves become visible on shifting canvases of water.

62

Design Iterations

63

Site Plan

Form Finding Diagrams

Y C ON F

RES S

TEMPO EMPO MPO RARY

Ground Floor Plan

64

Section A

lobby / reception aud. temp gallery

reception library

admin

c.r.

temp. gallery

aud.

lobby / reception

cafe exhibits

basement programming

gallery wing programming

entry wing programming

vertical circulation Program Diagrams

Upper Floor Plan

65

West Elevation

Interior Light Show

Green Roof Interactive Poles

Night-time Faรงade View

Night-time Courtyard View From Green Roof

66

Courtyard View

MUSEUM OF INTERACTIVE TECHNOLOGY KENNESAW STATE UNIVERSITY I fall 2019

web: www.i-archstudio.com insta: i_archstudio