Tech exp by Austen Scott

Exploration study Advanced technology for design - austen scott - 1 3089554 - 16/02/15

contents Introduction Site Concept Environment Structure & Construction blog

1 10 38 40 55 65

Introduction: generation ‘y’ & the non-brief

The initial stages of this project involved the rejection of the classic design brief and any dogmatic response that would spawn from it. Opting instead to focus on alternate methods of exploring design and technology within architecture. This project therefor starts at ‘Generation Y’, otherwise known as my generation: The generation that was to grow up alongside the birth and rapid expansion of technological consumerism, the dot-com bubble, the growth of the Internet, and the fundamental social, political, and economical changes that have and still are bring brought with the unfolding of a technological revolution. This exploration study will not follow the traditional route of building technology because tradition has little place in the study of Generation Y. It is Sporadic in nature and non linear in form, there are dead ends, gaps and U-turns, It remixes and samples traditional and new thoughts to conceptualise different idea about architecture, some of which have begun to explore what architecture should be in the context of a new and changing culture.

First Thoughts: what is modern? My initial thoughts on Generation Y lead me to question what is currently modern. This question has importance to the project because modernity, in its current and varied forms, is fundamentally driven by technology; To the right are 3 technologies that I believe are at the heart of change in a modern social culture, the project begins with looking at myself in the context of the modern: a digital nomad and the interface. 1. Connectivity: everyone connected to everyone else and everything else. 2. Robotics: cheaper, faster, and more reliable than humans, this not only changes how people work, but also how things are built. 3. Obsolescence and Expendability: our obsession with having the latest forms of the newest things. 1

The digital nomad

The digital nomad is beginning to show the inherent antiquity of conventional architecture in a modern context, as there is no need for a sense of place anymore. Location is no longer relevant to the actions that you are carrying out, weather it be watching movies on a train or sending emails in a park: Your office can now be in a park, on the street, in a coffee shop. Your cinema can be in a train, on a bench: Application and utility of spaces are no longer defined by the space. Theatres, banks, libraries, shops, education, they are all accessed via an interface on one of many devices through our never-ending, Omni-screening connection to it. Libraries of photographs, books, magazines, films, music, are contained within tiny magnetic boxes; the idea of a storage shelf is literally dead. Instead of light coming in through a window in the morning it is light coming out a screen. Your environment is now defined by what you carry; the architecture I experience comes with me. This is an architecture where the only important geographical aspects of your surroundings are access points for both power and connectivity. People seek electricity plugs like water wells in a concrete desert. There is little need for any conventional sense of architecture in this world so how are we meant to consider a technology of architectural design that accounts for Generation Y? To begin I have chosen to examine the technological items that I would take with me should I leave the house any longer than 24 hours (fig 4), these are the components that begin to describe the space I am in; they are modern architectural materials.

10 11

21 20

fig. 4: essential items of the digital nomad, the replacement for architectural features.

1 2 3 4 5 6 7 8 9

Camera Tripod iPod Smart Phone iPod Charger Phone Charger Large Headphones 2 TB Hard Drive 1 2 TB Hard Drive 2 Battery Powered Speakers

10 11 12 13 14 15 16 17 18

Wireless mouse Wired mouse Laptop Charger Hard Drive USB Cable Camera USB Cable GoPro Camera Laptop Telescopic lens DSLR camera

19 20 21 22 23 24 25

Camera charger Film camera Mini tripod Memory stick Go Pro battery Camera battery Portable headphones

7 HOURS AND 51 MINUETS SCREEN TIME PER DAY 163 MIN

112 MIN

70 MIN

126 MIN TV COMPUTER SMART PHONE TABLET

SMART PHONE TABLET

Often within these periods we are dividing our attention between multiple screens, such as TV and Smart Phone or Computer and tablet. This Omniscreening condition creates a space, weather it be lying on your couch or sitting in a restaurant, where information is accessible at any point in time on any subject, creating a completely different dynamic to the way we access process and use information.

‘OMNI-SCREENING’ OTHER DEVICES DURING TV SURFING THE WEB SHOPPING CHECKING SPORTS SCORES LOOKING UP INFO EMAILING/TEXTING READING DISCUSSIONS ABOUT TV BUYING A PRODUCT VOTING/SENDING COMMENTS TO LIVE PROGRAMS WATCHING TV BECAUSE OF TRENDING SOCIAL MEDIA 80% 70% 60% 50% 40% 30% 20% 10% HAS A SMART PHONE NO SMART PHONE AGE DEMOGRAPHIC OF SMART PHONE AND TABLET USERS 18 - 29 30 - 49 50 - 64 65+ 18

26 82

The following data highlights the daily quantity of time that people spend on digital devices. One can see from the data that just under 1/3 of our day is spent looking at our technological devices. However, taking into account the average amount of sleep people aged between 18 and 39 get each night; 7-9 hours (NSF, 2014), we are actually spending close to half our day plugged into our digital world.

Information from: Adults’ Media Use and Attitudes Report, 2014 & Internet trends 2014, Code Conference

Finally the statistics on age demographics highlight the distribution of screen time between different age groups; showing the younger demographics, of which Generation Y is a part of, account for the vast majority of above average time spent on digital devices. This data reinforces the notion that we are now more than ever sharing our daily experiences equally between the physical world and a digital world. This is hugely relevant to the world of architecture as we must now cater to a society that exists beyond physical Cartesian space, we need to consider the digital as an equal aspect of design in both the way people inhabit and interact with architecture. As an initial experiment I have chosen to examine the threshold between these two worlds: The material and building block of the interface and the technological mechanism that creates the window into our digital selves: The Pixel.

The pixel: a material? We stare at pixels during half our waking day and yet we rarely notice their presence. As technology has progressed and the pixel has become small and smaller the images that they project become sharper as the pixel itself disappears from our perception all together, yet in reality, it is still there. When we look at the screens of our numerous devices we see images that are constituted of millions of resonating particles, changing colours rapidly every millisecond; screens are a resonating form of experience that is unique and different from all of our other daily experiences. This experiment seeks to analyze this experience in microscopic detail and understand the fundamental processes that are occurring when we look at our screens. From this I can begin to produce an understanding of how the materials of our digital devices are driving our architectural atmospheres.

fig. 5: Section through setup of experiment.

fig. 6: Position of lens relative to TV

The diagrams in figures 5, 6, 7 describe the setup for the experiment: A large convex compound lens measuring 90mm in diameter and 15mm thick at its center is contained within a cardboard outer ring. This is suspended by nylon string and positioned 300mm away from the 42 inch LCD TV screen in the center. A camera sits directly in line, 70 mm behind the lens on a tripod. These distances were chosen through trial an error to have the most accurate results for a clear and defined image of the pixels. However, It is impossible to focus the entire image due to the nature in which the camera captures the magnified light, for this reason I have chosen to focus on the center of the lens, as this will give the least distorted image of a pixel. The lens will capture direct light emitted from the TV, once light has passed through the lens it converges and then separates again as seen in figure 8. It is at this point that the image will become magnified. And the separation of light within the pixels will become apparent. The image will also be upside-down but this can be corrected in post processing.

fig. 7: Axonometric sketch of setup fig. 8 (Upper right): Refraction of light produced by lens

Figure 9 highlights the layers of componentry that constitute a television screen and shows that the pixel is only one of many components that make up the images we see. A TV was selected for this experiment because of the pixel density or PPI (Pixels per inch) of the particular devices. The vast majority of devices we currently use have a resolution of 1920 by 1080 pixels. However, for all sizes of devices to accommodate this resolution the density of the pixels must change. Figure 10 displays the different in the pixel size of a 40” TV, 21” computer monitor, and a 4” phone screen. The difference in pixel size is determined not by how large a device should be but how far away the device will sit from our frame of reference. As a TV is further away than a Phone during normal use there is no discernable different between the pixel density of either devices. Yet when se look 40” TV ≈ 49PPI closely at images on large format devices the pixels are overtly apparent. This suggests that the size of a pixel is inherently sensitive to the architectural environment that it occupies.

fig. 9: Exploded diagram of pixel components

21” PC SCREEN ≈ 100PPI

4” PHONE SCREEN ≈ 324PPI

1“/ 25.4mm

The following pages show the resulting images from the experiments. The first image displays a single detail of a series of pixels under the lens, highlighting the separation of red, green, and blue sub-pixels that, when combined with the surrounding pixels are able to create a vast number of different colours that constitute an image. The next series of images show the experiment repeated using a series of different images on the screen, which explores the differing atmospheric properties of the pixels when they emit different types of light. Through the use of technology and abstraction the images produced can lead to a further understanding of how we can use interfaces or media surfaces to alter the atmospherics of architectural experiences, this will be explored further in other experiments.

1“/ 25.4mm fig 10: PPI of differing devices

INTERMISSION SITE ANALYSIS The study of the digital nomadâ&#x20AC;&#x2122;s pixel has been temporarily paused as the current phase of the project turns its focus on the analysis of site: IBIZA. Before visiting the site I produced a micro project that take components of my previous initial studies and explores different avenues with respect to how Generation Y should conduct a site visit. Following this speculative study is the legitimate site analysis.

autonomous studio for the digital self The autonomous studio is a project that speculates on how Generation Y and the networked individual could visit the proposed site of the final project without having to physically go there. As the site has been set in Ibiza it had become apparent that we could not visit it any time we wished. This made me consider the possibilities of other means of site measurement.

FIVE METERS

The identity of the digital nomad is extended through the technology that we use, our presence in some partial way can affect spaces we physically donâ&#x20AC;&#x2122;t inhabit, whether it be as simple as a Skype call or a doctor controlling a robotic surgeon from miles away.

ROTORS DRIVE SHAFT STRUCTURAL FRAME BATTERIES POWER UNIT PROCESSOR + CPU SPECTROMETER MICROPHONE SONAR INFRA RED CAMERA VIDEO CAMERA OPTICAL CAMERA COMMUNICATIONS/RADAR OWL PODS

My proposal takes inspiration from drone technology by making a flying studio for the digital extension of ourselves. This studio will be a permanent platform stationed above Ibiza, which will communicate information back to us in Oxford. The following pages depict the different components that make up the autonomous studio.

fig 11: Components of drone studio

60 CENTIMIETERS

ROTORS BATTERY INTERFACE SCREEN PROJECTOR EARS (MICROPHONES) EYES (OPTICAL CAMERAS) INFRA RED CAMERA SPECTROMETER SPEAKER COMMUNICATIONS

fig 12: Personal drones

fig 13: Seeing Ibiza as a datascape

300 METERS

fig 14: Individual drones flying into city

The Autonomous studio is composed of an external frame that acts as the structural support for the components of the drone (fig 15). These components are made up of the different measuring equipment required to map various forms of data from the landscape. Alongside the measuring equipment is an umbilical that connects to a series of 16 smaller drones. Each individual within the Oxford studio directly controls these personal drones from their own digital devices. The personal drones as shown in figures 16, 18, and 19 are able to fly further down into the city and analyze specific aspects in greater detail (fig 14). They have a series of smaller measuring devices and a projection screen on the front to communicate with individuals on the ground. (fig 12)

fig. 15: Sketch of the autonomous studio

The mechanisms of the personal drones are based on the asymmetrical composition of an owl skull (fig 17); this gives the drone the stereoscopic senses in both the x and y axis that allows for better accuracy when pinpointing certain elements around the site. When their power is depleted they return to the autonomous studio to recharge their batteries. A miniature nuclear fusion reactor powers the autonomous studio, ensuring it is able to fly for an estimated duration of 10,000 years. However the component that make up the rotary lift system may be subject to significant maintenance issues over this time duration. Revisions may have to be made.

fig. 16: Explosion of Personal drone

fig. 17: Analysis of owl skull

fig. 18: sketch of personal drone

fig. 19: sketch of personal drone

how does a drone work? To the right is an explosion diagram of the typical components that make up the structure of a quadrocopter or â&#x20AC;&#x2DC;droneâ&#x20AC;&#x2122; The structure requires minimal parts as the motors for each propeller are housed with the prop mechanisms, therefore eliminating the requirements for gear linkages that would be present in a single motor system, such as those in helicopters. Below is a list of the structural elements: 1. Structural support for flight controller mechanisms

fig. 20: Changing direction with drone

2. Rubber bumper support for landing 3. Slot frame system 4. 12A brushless out runner motor 5. Counter rotating props

6. Structural support for battery housing and waterproofing hood Figure 20 demonstrates the different rotor combination for the quadrocopter to change direction. A 4-rotor layout is beneficial to the simplicity of the drone as changes in direction are made only by changing the thrust of particular rotors. The instructions for the drone are relayed via radio waves from a transmission device such as a remote controls or a phone.

Numerous consumer quadrocopters come equipped with a downloadable application for Phones and tablets, allowing people to control drones from devices that they use every day. However, another option is to make your own quadrocopter from open source information on the internet.

fig. 21: sketch of structural elements of a quadrocopter

Figure 22 displays the basic circuitry that is necessary for a DIY drone to fly. This does not include circuitry for extra electronics such as cameras or sensors but creates a simple map for a DIY construction using the following equipment: 1. 2. 3. 4. 5. 6.

IMU sensor Arduino chip ESC units (electronic speed control) Brushless electronic motors LiPo batteries. 6-channel receiver

For an initial test I used a consumer drone to experiment with its functions, these quadrocopters are reliable and stable without numerous testing and therefore provide a suitable platform for brief experimentation. This model of drone also has a camera on the front of it that is viewable from your phone, making it possible for the controller to see where they are flying from a ling distance away. The drone flew with little issues, remaining stable even during relatively high winds. However, the batteries are an issue, as they do not last for more than 12 minuets before needing to be fully charged again. Intermittent issues with Wi-Fi connectivity meant that connection was lost with the drone from time to time but due to its lightweight structure and polystyrene outer shell the drone was subject to minimal damage.

fig. 23 drone hovering at head height in wind

fig.24: Drone with outer shell on

fig. 22: Circuit diagram of drone hardware

fig. 25: Print screen of controller app on phone

SITE - IBIZA: P

ST V

INCENT

EIVISSA

ST ANTONI

ST JOSEP

Q ST MI UELE

ORTINAT

IBIZA TOWN There will be no specific site for this project. The project focuses on the digital nomad, mobile spatial events, and deployable and transportable architecture. Anything that is designed for the digital nomad will have to come with them. Therefore the entire island of Ibiza is the site: An expansive Hedonistic landscape for the nomad and architecture to explore. For this reason the site analysis looks into the networks and patterns that occur in Ibiza. The systems that make the island move and flow and what transports the influx of partygoers that descends onto the island like a new form of bipedal migratory species for 6 months every year. Above is a diagram of the 7 major towns and tourist developments within Ibiza, this is where I start to observe the unique culture, the networks, and nodes that make up the island.

fig. 26: Major towns connected by road network

NETWORKS OF IBIZA The site is the island. There is no specific land, no specific boundary that contains the architecture. The architecture will exist on the networks of Ibiza; the infrastructure that connects one place to another and one person to another. These connections are the areas that the nomad and their hedonistic architecture will inhabit. The diagram to the right looks at the different types of networks and connections that exist across the island, it takes into account the road networks (yellow) nodes, such as towns and the airport (circles), wireless and telecommunication connections (blue), connections over water such as ferries and cruse ships, (red) and inward and outward flights (dark Blue) By looking at the site in this way I can begin to focus on architecture as a system of interdependent, moving beacons, each communicating with each other and relaying information on what to do next. A rejection of traditional cartography ensures that the spatial appropriation of a nomadic architecture obeys new laws of design with regard to Generation Y.

FLIGHT PATHS CRUSE SHIPS LOCAL FERRIES MAJOR ROAD NETWORK

CENTRAL TOWNS MUNICIPALITY BOUNDARIES IBIZA FRAMEWORK COASTAL OUTLINE fig. 27: Different layers of networks on the island

NATIONAL STATISTICS

SANT ANTONIO Area: 48.95 sq mi Population: 22,136

POPULATION: 132,637 (JAN 2010) DENSITY: 599.8/SQ MI AREA: 221,07 SQ MI Ibiza is one of a series of islands called the Balearic Island off the coast of Spain; they are an autonomous community of Spain known for its hedonistic lifestyle and freedom of expression.

PORT DE SANT MIGUEL Large beach resort resting on steep cliffs within a large cove.

SANT JUAN BAUTISTA Area: 46.98 sq mi Population: 5,477 CALA DE SANT VICENT Secluded holiday resort town

SANT ANTONI DE PORTMANY A town built on the foundations of a clubbing mecca.

SANTA EULÀRIA Area: 59.26 sq mi Population: 32,637

Ibiza is made up of five municipalities, where within these municipalities are 7 major towns that cater to tourist and locals alike. The diagram to the right expands on these areas in greater detail and observes the distribution of the population with regard to surface area. Ibiza Town can clearly be seen at the cultural heart of the island as the population is higher than any other place but also has the smallest surface area.

PORTINATX Remote and most northerly resort on the island.

SANTA EULÀRIA DES RIU The 3rd largest town on the island and tends to stay away from the tourism industry SANT JOSEP DE SA TALAIA The closest town to the famous El Vedrà and Atlantis; popular historical destinations for hippies

IBIZA TOWN Capital of ibiza and home to some of the most famous nightclubs in the world. SANT JOSE Area: 61.54 sq mi Population: 22,871

IBIZA Area: 4.28 sq mi Population: 49,516 22

fig. 28: Population statistics within the five municipalities of Ibiza

METEOROLOGICAL STATISTICS

0° N

10° 20°

45°

30° 40° 5

50°

80°

275° w

DEC 1

DEC 21

135°

225°

fig. 29: Sun Path Diagra

S 180°

DEC

NOV

OCT

SEP

AUG

AVERAGE TEMPERATURE FOR IBIZA (°C)

11% 6% SW

16% 5%

WIND DIRECTIONS THROUGHOUT THE YEAR

JUL

30 MAR 1

FEB 1

JUN

E 90°

NOV 1

18%

MAY

APR 1

APR

OCT 1

70°

SEP 1

11%

MAY 1

60°

MAR

JUN 1

TEMPERATURE (°C)

AUG 1

100

JAN

JUN 21

FEB

320°

120

PRECIPITATION (MM)

The following series of graphs contain annual meteorological data from the island of Ibiza. Below is a sun path diagram which demonstrated the path of the sun throughout the months of the year, bottom left shows the wind directions throughout the year and the graphs on the right display statistics on the yearly rainfall and average high and low temperatures.

AVERAGE RAINFALL DAYS

AVERAGE RAINFALL FOR IBIZA (MM) 30

fig. 30: Wind direction

AVERAGE HIGH TEMPERATURE (°C) AVERAGE LOW TEMPERATURE (°C) PRECIPITATION (MM) AVERAGE RAINFALL DAYS

fig. 31: Average rainfall fig. 32: Average Temperature

There are hundreds of bars and cafe’s throughout the towns of Ibiza but the hedonistic nomad’s of generation Y come for the larger and louder clubs of Ibiza. The map below displays the location of all the major clubbing venues that are open throughout the summer months with Pasha, the first nightclub on the island being the only venue open throughout the year. The map highlights what has been the gradual formation of band of clubs that stretches across the south east of the island from San Antonio to Ibiza Town. Overlaid on the map is a colour indicator that displays the height above sea level for the whole island. The clubbing areas tend to remain within the low lying areas nearer the port towns, however some clubs such as Amnesia, Privilege, and Benimussa Park lie further out into the center of the island on higher land. 1 3

9 5

12 11

10 21

23 19 25 20

15 18

16 17

24 22

33 28

26 29

fig. 33: Number and location of major nightclubs in Ibiza

01. Cafe Del Mar 02. Eden 03. Gatecrasher Ibiza 04. Paradise 05. Ocean Beach Ibiza 06. Benimussa Park 07. Amnesia 08. Privilege 09. Underground 10. Pasha 11. Veto 12. Casa Alexia 13. Booom 14. Playa S’Estanyol 15. Destina 16. Talamanca 17. Lio 18. Ibiza Boat Party 19. Marina Botafich Divino 20. Emerging Ibiza 21. Centro De Ibiza 22. Sankies 23. Bora Bora 24. Music Summet 25. Swag 26. Ushuaia 27. DC 10 28. Hard Rock Ibiza 29. Es Caballet 30. Chiringay 31. Sa Trinxa 32. Cap Des Falco 33. Cova Santa

625,000

TOURISM STATISTICS

600,000 575,000

The clubbing season begins in the last week of April, this has a clear affect on tourist numbers as numbers increase nearly tenfold in the first month alone. Well over half a million tourists can be seen in Ibiza in the height of the season in August where the population of the island at this time is 460% greater than the population numbers in the winter. The season continues into September and ends just before the beginning of October, upon which over two and a half million tourists and partygoers have passed through the island.

TOTAL NUMBER OF TOURISTS PER YEAR 2012: 2,334,692

2013: 2,447,575

2014: 2,764,442

Austria: 23,422 France: 108,859 Ireland: 33,039 Italy: 311,765 UK: 703,177 Germany: 275,861 Switzerland: 42,713 Other: 203,543

Austria: 21,262 France: 106,445 Ireland: 26,844 Italy: 323,130 UK: 774,621 Germany: 298,384 Switzerland: 46,815 Other: 247,918

Austria: 22,116 France: 119.423 Ireland: 24,548 Italy: 364,659 UK: 766,284 Germany: 338,551 Switzerland: 59,450 Other: 350,547

525,000 500,000 475,000 450,000 425,000 400,000 375,000 350,000 325,000 300,000 275,000 250,000 225,000 200,000 175,000 150,000

100,000 75,000 50,000

DEC

NOV

OCT

SEP

AUG

JUL

JUN

MAY

APR

2014 2013 2012

MAR

25,000 FEB

fig. 35 (right): Number of tourists per months (last 3 years.)

125,000

JAN

fig. 34 (top): Total number of tourists per year in Ibiza (last 3 years)

550,000

NUMBER OF TOURISTS PER MONTH IN IBIZA

Ibizaâ&#x20AC;&#x2122;s economic prosperity is strongly dependent on the tourist industry that flock to the island in the summer. The vast majority of income on the island comes form the bars and nightclubs that decorate the major towns of the island. However, the majority of these venues are only open for around half the year and coincides with the clubbing season. The graph to the rights displays the number of tourists that visit the island per month which clearly displaying a massive disparity of numbers between the winter months and the summer months.

The graphs on the right show a further analysis of the affects of the tourism industry, highlighting the duration of stay for tourists increasing during the summer months and also the increase of open establishments when the tourism increases in the region.

6 DAYS IN IBIZA

5 4 3 2

DEC

NOV

OCT

SEP

AUG

JUL

JUN

MAY

APR

MAR

FEB

1 JAN

As the graph shows; during the winter months the vast majority of establishments close down entirely and do not open again until the next season, this leads to a unique attribute of Ibizaâ&#x20AC;&#x2122;s economy, where revenue and profits for the entire year has to be made in 6 and a half months. Once the nightclubs and bars close down the more extravagant bars and clubs begin to renovate their venues, upgrading and changing most of the facilities in a hope to be bigger and better the next year around. This has a profound affect on the way the cities look throughout the year; the images below show the streets of endless bars taken at the same time of night, one during the summer, the other in the winter. This can raise the question of weather or not this method of income is a sustainable and if not, how can architecture change to suit these seasonal extremes.

AVERAGE SAY IN IBIZA

NO OF ESTABLISHEMTNS

300 250 200 150 100 50 0

NUMBER OF OPEN ESTABLISHMENTS

fig. 36 (left): Comparison of Ibiza streets in the winter and summer. fig. 37 (above): duration of tourists stays & number of open establishments throughout the year

2014 2013 2012

EXPLORING IBIZA

fig 38: Sketch of Tripod and camera setup

The nomad moves across the landscape, bringing their architecture with them. The traditional application of site analysis has no place in this concept and as a result brings to question how to site is to be experienced. For this reason I chose to experience most of Ibiza by car, capturing movement across the landscape and the changes in infrastructure instead of the landscape and infrastructure itself. To do this I created a camera rig in the passenger side of the car by duct taping the camera and tripod to the seat, footwell, and central console (fig38). The camera then films the landscape as I drive through it. The following series of images show stills from several of the more interesting movies that were taken on the trip. To the right is a diagram, which displays information on where and how long each video was taken. From this analysis I was able to sense how architecture could move through the landscape, it would have to be reactive and responsive to the changing environment just as I would be behind the wheel of a car. The architecture would have to resemble something significantly different from that of a moving building, more a vehicle than a static form.

5 6 2

7 8

1 4 9 fig 39: diagram of filming locations

History of ibiza 654 BC

123 BC:

5th - 9th century AD

990

Carthaginian settlers discover Ibiza, meaning ‘the pine Islands‘ and build a large port fortified by strong city walls. The town was dedicated to ‘Bes’ an Egyptian god associated with Sexuality, humour, music, and dancing. They produced salt, dyes, garum (fish sauce), and wool. The salt flats were the primary source of revenue are still used to this day to produce large quantities of salt which is distributed around Europe.

Romans invade Ibiza during the Punic wars and conquer the Balearic Islands of which Ibiza is a part of. Ibiza becomes a confederation town and an important imperial outpost, therefore removing itself form the important trading routes of the time.

Goth’s and Visigoth’s migrate into Europe; the period of the dark ages take place and little known record of Ibiza’s history exists during this time. Vandals and Barbarians then invaded Ibiza over time. The Byzantine Empire finally conquers Ibiza and makes improvements to agriculture and irrigation.

The Moors; a medieval Muslim settler community conquer Ibiza for five centuries and experience large economic growth. Influence of their culture and lifestyle can still be noticed to this day in the construction of houses. wThe primary source of income remains to be the salt fields, agriculture, and fishing.

fig 40: Hills of Pine trees

fig 41: Ibiza salt flats

fig 42: Alleyway of old Ibiza Town

fig 43: Fishing Shack, Portinatx

1110

1235

1200’s - 1500’s

1715 - Present day

King Sigurd of Norway invades Ibiza among a series of other islands on his crusade to Jerusalem in an effort to reinstate a Christian autocracy and remove Muslim rule. However, the large defensive forces of the city are able to protect the town’s population.

Ibiza is conquered by the Catalans through the use of secret passages underneath the city. The Arab population was deported and Christian rule was put in place, mosques were demolished and replaced with churches. All the towns were renamed after various saints; these names remain the same to this day.

Ibiza goes into neglect as pirates plunder and invade for centuries. As a defense the villagers built extra fortified walls and watchtowers around the city, in the 16th century the Italian architect Calvi designed and constructed the walls of Ibiza Town that still exist to this day.

King Philip V of Spain abolishes the local government autonomy. The arrival of democracy in the late 1970’s leads to the reinstatement of the Statute of Autonomy for the Balearic Islands that still exists to this day.

fig 44: Stacking of Houses

fig 45: Cathedral in Ibiza Town.

fig 46: Remaining watch Tower

fig 47: Ibiza Port, 1970

Salt flats Although there is no specific site for the project there are several places of interest that have influence on the operations and systems of the intended design and future research. The unique location and aesthetic of the salt flats created a lot of interest into how it would be possible to adopt particular aspects of it into the project. For this reason I have created a small section exploring this specific area of Ibiza.

LOCATION OF SALT FLATS

The salt flats, in its vaious forms, are one of Ibizaâ&#x20AC;&#x2122;s oldest man made structures and has been in use since the Carthaginian settlers arrived in 654 BC. They are situated on the southern most tip of the main island right next to the airport. And cover an area of six million square meters. (fig 48)

fig 48: Location of salt flats

The process of making salt begins in April by letting in seawater via the inlet station at Es Codolar on the west side of the facility. The seawater is directed via a complex network of concrete channels (fig 51) to the 26 salt pools separated by levees whereby the water settles into a saline concentrate. This remains here until the salt level in the pond reaches 21-22%. Then the salt water concentrate is transferred to crystallization tanks where the salt content reaches up to 28% the salt water is left here until august when harvesting the salt from the lakes begins. Once the salt is gathered the remaining water is released through the outlet at Es Cavallet on the east side of the facility. for the spesific location of these places please review figure 49. The regulation of both water levels and salt content is crucial to the quality of the salt: If the water level is too high the water will not evaporate in time, however if the water levels are to low it will evaporate to quickly, leaving little salt residue to work with. Of equal importance is the degree of salinity. If it rains, the water will turn sweet and will not crystallize into salt. If there is a long dry spell the salinity becomes excessive,

2 3

1. Water inlet at Es Codolar 3. Loading bays for boats. 2. Salt storeage units 4. Water Outlet Es Cavallet 31

fig 49: Plan view of salt flats

causing the salt to turn bitter. Once the salt has been harvested is collected and stored in the centre of the fields in large mounds until it is ready to be shipped (fig 52). The ships dock at the Canal jetty in the small cove on the south of the facility. This jetty is to small for large ships but can still transport single loads of 4000 tons of salt per ship. The main buyers of Ibiza’s “White Gold” are Norway, Denmark, Iceland, and Great Britain.

fig 50: Areial view of salt flats

As figures 49 and 50 shows there are a verity of vivid colours throughout the pool. These colours are caused by the growth of several different types of bacteria depending on the differing levels of salinity in the water. As seen in the diagram below, the low- to mid-salinity ponds with a salt content of 2122% offer suitable conditions for a type of green algae called Dunaliella Salina, these algae can also take on an orange hue if the conditions are suitable. In middle- to high-salinity ponds that have a salt concentration of up to 28% offer suitable conditions for the growth of Halobacteria, which is actually a group of halophilic Archaea (sometimes called Haloarchaea). This shift the colour to pink, red and orange. COLOUR OF SALT WATER LOW SALINITY

fig 51: water channels

HIGH SALINITY

DUNALIELLA SALINA

HALOPHILIC ARCHAEA

21-22% SALT CONTENT

25 - 28% SALT CONTENT fig 53: Bacterial in salt water

fig 52: Salt storeage mounds

nightclubs and modern culture 1960 - 1970: HIPPY CULTURE

1970 - 1980: THE BEGINING OF BIG CLUBS

With the increasing appetite for large and excessive parties various other nightclubs began to open their doors. In the late 70’s Amnesia, a converted farmhouse began to reach new extremes, and, with help from the most notable substances of the day the club was nicknamed the Workshop of forgetfulness. Owner Antonio Escohotado was a major figure in the club drug scene and his nightlife destination provided a new venue for its inhabitants to forget. Along side Amnesia and the still popular Pasha was Ku, the world’s largest outdoor discotheque that was built around an Olympic sized swimming pool. Ku yet again was another venue that was willing to push the boundaries of what is possible at a nightclub and due to these unique places, Ibiza was beginning to make a name for itself as the largest and best place in the world to party.

In the early 60’s numerous artists and writers had found refuge in Ibiza during the Fascist period of General Franco’s domination. The island already had a reputation of being a place where freedom of thought or expression reined and the hippy trail quickly latched on to the bohemian culture that was already saturated into the landscape. The emergence of new disco venues such as Pasha in the early 70’s strengthened this Hippie influence with outlandish parties that attracted other nonconformists from all over Europe and as far as the United States to experience a place with no agenda, where the primary desire was little more than discovering new ways of expressing freedom.

fig 54: impromptu gathering of hippies near Es Vedra, 1960’s

fig 55: Ku nightclub during the day

1995 - 2015: BIGGER IS BETTER: MEDIA COVERAGE AND CURRENT

1980 - 1995: THE ENGLISH DJ’S

Ibiza’s Infamy began to spread and with the arrival British DJ’s such as Paul Oakenfold, Danny Rampling, Johnny Walker, and Nicky Holloway, who had been touring America previously, The 3 major nightclubs began to play a pivotal role in introducing new kinds of house music to the island. The English DJ’s were inspired by the nature of Ibiza and once returning to England, the touring DJ’s Kick started the dance music industry throughout the UK

In ‘95, Ku became Privilege, and to this day still hosts some of the most spectacular parties on the planet for package holiday tourists from Essex all the way to celebrity guests. Privilege is now the largest nightclub in the world, with an approximate capacity of 10,000 people, and this is only one of over 30 major clubs on the island today. The meteoric rise in popularity stems mostly from global attention and access; The beginning of package holidays and cheap flights throughout Europe meant that Ibiza was more open to the rest of the world and more different types of club goers than ever before. Both rich celebrities and cheap university students occupied the clubs, all be it in vastly different comfort with clubs such as Privilege now charging up to £50 entry fee on weekends. TV and media coverage such as the UK television series ‘Ibiza Uncovered’ in the late 90’s offered a glimpse into what was possible and the young generations wanted it all. The UK is still makes up the largest percentage of tourists on the island each year.

The repetitive trance like nature of acid house came with the associated with heavy use of recreational drugs, such as ecstasy and LSD. The music would complement the sensations that the drug users were experiencing at the time and this drastically altered the atmosphere of most clubs. The musical trip was not without a few other psychedelic add-ons, such as smiley-face stickers, which became a symbol for the acid house movement throughout the 80’s.

fig 55: Poster for Amnesia nightclub in the late 80’s

fig 55: Privilege, the largest nightclub in the world.

DRUGS AND SPACE The following case study example gives insight into understanding the affect of drugs on our perception. Oscar Janiger, a psychiatrist at the University of California, performed these experiments throughout the 1950s by giving artists a dose of LSD 25 and free access to an activity box full of crayons and pencils. The artist was then asked to draw portraits of the psychiatrist until the affect of the drugs had worn off.

FIRST DRAWING IS DONE 20 MINUTES AFTER THE FIRST DOSE (50UG) An attending doctor observes - Patient chooses to start drawing with charcoal. The subject of the experiment reports ‘Condition normal... no effect from the drug yet’.

85 MINUTES AFTER FIRST DOSE AND 20 MINUTES AFTER A SECOND DOSE HAS BEEN ADMINISTERED (50UG + 50UG) The patient euphoric.

seems

‘I can see you clearly, so clearly. This... you... it’s all ... I’m having a little trouble controlling this pencil. It seems to want to keep going.’

Nine portraits were drawn over the space of eight hours.

fig 56: Lysergic acid diethylamide: LSD

2 HOURS 30 MINUTES AFTER FIRST DOSE.

2 HOURS 32 MINUTES AFTER FIRST DOSE.

Patient appears very focus on the business of drawing.

Patient seems gripped by his pad of paper.

‘Outlines seem normal, but very vivid - everything is changing colour. My hand must follow the bold sweep of the lines. I feel as if my consciousness is situated in the part of my body that’s now active - my hand, my elbow... my tongue’.

‘I’m trying another drawing. The outlines of the model are normal, but now those of my drawing are not. The outline of my hand is going weird too. It’s not a very good drawing is it? I give up - I’ll try again...’

2 HOURS 35 MINUTES AFTER FIRST DOSE.

2 HOURS 45 MINUTES AFTER FIRST DOSE.

Patient follows quickly with another drawing.

Patient tries to climb into activity box, and is generally agitated - responds slowly to the suggestion he might like to draw some more. He has become largely none verbal.

‘I’ll do a drawing in one flourish... Without stopping... One line, no break!’ Upon completing the drawing the patient starts laughing, then becomes startled by something on the floor.

‘I am... Everything is... Changed... they’re calling... your face... Interwoven... Who is...’ Patient mumbles inaudibly to a tune (sounds like ‘Thanks for the memory). He changes medium to Tempera.

4 HOURS AND 25 MINUTES HOURS AFTER FIRST DOSE Patient retreated to the bunk. Spending approximately 2 hours lying, waving his hands in the air. His return to the activity box is sudden and deliberate, changing media to pen and water colour. “This will be the best drawing, like the first one, only better. If im not careful, ill loose control of my movements. But i won’t because i know, I know.” (This saying is than repeated many times.)

5 HOURS 45 MINUTES AFTER FIRST DOSE.

8 HOURS AFTER FIRST DOSE

Patient continues to move about the room, intersecting the space in complex variations. It’s an hour and a half before he settles down to draw again - he appears over the effects of the drug.

Patient sits on bunk bed. He reports the intoxication as work off, except for the occasional distorting of our faces. We ask for a final drawing. Which he performs with little enthusiasm.

‘I can feel my knees again, I think it’s starting to wear off. This is a pretty good drawing - this pencil is mighty hard to hold’ - (he is holding a crayon).

“I have nothing to say about this last drawing. It is bad and uninteresting. I want to go home now.”

Another, more recent experiment was conducted by an unknown female artist (fig 57), although there is limited information on the experiment the artist states that she ingested a small amount of LSD and then seated herself in front of a mirror with the intention of producing a self portrait every hour until the drugs no longer had any affect. From looking at both experiments it is interesting to see how each artists drawing methods progress through the experience, particularly around 2/3rd of the way through the experiment where both artists share similar traits in style and approach to drawing what they see. There is an excessive use of fine lines and feathered curls throughout both artistsâ&#x20AC;&#x2122; sketches. They take on a new style of drawing at the height of their experience where the artistâ&#x20AC;&#x2122;s begins to take account of external stimuli, imagined or otherwise, that bombard the perception, the drawings are no longer of just the face but of the entire experience. LSD creates this sensation by interfering with the transmission receival of serotonin: a neurotransmitter responsible for regulating moods, appetite, muscle control, sexuality, sleep, and sensory perception. this occurs between neurons in the brain (fig. 57) and has a fundamental affect on perception, leading to Hallucinations, including seeing, hearing, touching, or smelling things in a distorted way or perceiving things that do not exist. Intensified feelings and sensory experiences such as brighter colors and sharper sounds. Mixed senses such as seeing sounds or hearing colors and Changes in sense or perception of time such as time going by slowly. This brings into question how these sensations are altered when in the presence of architecture such an night clubs, does the archtiecture change under these experences and how? an architecture that reacts to the inhabitants may spread light on this question. fig 56: Self portraits on LSD, unknowen artist.

fig 57: sketch of neuron

Initial concept The concept of the main project derives from the study of both the digital nomad and the analysis of Ibizaâ&#x20AC;&#x2122;s unique cultural position. The nomad situated within a hedonistic landscape and an architecture that is created by the immediate requirements of the nomad(s). To the right is an initial collage that explores the notion of a moving architecture made of a series of lo-tech modular components that connect, interchange, reposition, and disconnect as the building progresses through time. The services within the architecture are defined by the users at the time and can change as quickly as the form itself changes. From nightclubs, to bars, to, lounges, to funfairs, to concerts, the architecture provides the operations for a neverending party in Ibiza, one that never stops moving and never stops evolving and adapting to new circumstances and new expressions of its users. Below is a plan sketch that explores this idea; the building moving across the road, changing its form as it travels, expanding and contracting, spaces coming into existence and than disappearing again based on the movement and requirements of the nomad and their technology.

fig. 58: sketch of a moving plan

fig. 59: conceptual collage of moving architecture

Below the floating structure are a series of support vehicles; these smaller pieces of satellite architecture are a series of networked operations that ferry people, objects, and stock across the landscape to the central structures, wherever they may be on the island. The architecture itself will be treated as a network of interconnected support systems, not one building but a series of mobile transportation nodes that come together to define a space when it is required (fig 60, 62) The sketch below begins to explore the notion of deployable architecture, taking inspiration from Archgramâ&#x20AC;&#x2122;s Instant City and Cedric Priceâ&#x20AC;&#x2122;s Fun Palace; architecture as catalysts for social expression, a pop up architecture, architecture that provides the ingredients for anything to happen. To the left is a second collage that looks closer into these satellite support vehicles. These transforming machines expand and interact with other components of architecture and derive from a lo-tech approach to design. They are a tangled arrangement of parts and devices that take inspiration from the low culture of the hippy generation on Ibiza and begin to form an adaptable platform onto which the evolution of ibiza can be a constant and progressive process.

fig. 61: Satellite vehicles

fig. 60: Architecture coming together : pop up.

fig. 62: transportation nodes joining together

environment LIGHT AND SOUND IN NOMADIC ARCHITECTURE

fig 63: setting up experement on light emited from a laptop

Creating atmospheres with devices The nomad creates their architecture as they travel and when they need it. This ‘creation’ is a passive process that derives from what the nomad is doing at the time. For example, the nomad does not have the intention of creating an office when checking their work and emails in a coffee shop, but the actions and mannerisms that one would attribute to an office environment take president over the ambiguity of purpose in a coffee shop, therefore creating the personal office of the nomad. This idea can be potentially expanded upon by investigating the phenomenological aspects of these machines that we carry round on a daily basis, how do the machines themselves change the environment? The light, the sound, the heat, these are all architectural parameters that are affected when the nomad is occupied with their devices. Can the atmospheres of architecture be created through the direct result of the use of our own technology? David Greene had a Similar idea in his Invisible University project, where the statement “the contents of the pocket or the handbag become the essential tools for building your own architecture” became an essential question to Greene’s observations of the modern digital culture. The following experiments reconnect with some of my initial explorations into the nomad and the light produced by digital devices and begins to explore the idea of creating spaces. I will look further into these ideas by using 4 laptops in a small room and observe the atmospheres that are created. The diagrams below show a plan of the room with the varying positions of the laptop. The room is an empty white shell with large bay windows on one side covered by back blinds. The room is essentially a featureless bland box onto which the atmosphere of a laptop is projected.

fig 64: David Greene, Invisible University: ‘The contents of the pocket or handbag become essential tools for the creation of architecture.’

fig 65: different layouts of experements

The first experement was conducted by placing all 4 laptops in the centre of the room and applying 2 different colours to the monitor screens, in the case above, red and blue. this was then repeated useing a series of different colours as seen in the photographs to the right. The laptop screens are the only sources of light in an otherwise pitch-black room, they provided a suitable amount of ambient light from the screens and illuminate the surrounding walls with a soft but vibrant glow. The light emitted from the screens ranged between 190 lx and 300 lx depending on each model, however, 42

there was little visible difference between the brightness of each wall. Attempts to measure light at further distances from the screen were made but unfortunately the measuring equipment was not sensitive enough to pickup a reading. At the end of this experiment are a series of calculations that estimate the output, however the experiment will be re-conducted in the future with updated equipment to analyze the empirical data required to make suitable judgments on lighting arrangements. Further experimentation will also be done with more devices and more device arrangements to assess other options when illumination is concerned. 43

For the second experiment I re-orientated the laptops so that they were all facing the same wall. This had the affect of greatly amplifying the glow of the wall produced by the screens. For this experiment I used a single color to observe the dissipation of reflected light across the room. As all the light was focused on a single wall the majority of the room was much darker than the first experiment but had a subtle glow throughout the room. The white walls assisted the reflection of light, however there was a noticeable reduction in the intensity of light on the wall opposing the black blinds as the majority of light was absorbed by the blinds instead of being reflected across to the other wall. 44

The Final light experiment was conducted using the original detail video of the pixel from the beginning of the year (fig 66) and intended to capture the rapid changes in light that occur when videos are played on laptop screens. The laptops were again positioned in a line and facing one single wall. The video was than played at the exact same time on all 4 laptops to ensure the changes in light where synced. The experiment was then repeated with the videos playing at different points through the film to analyse the different affects of synchronisation. The firs experiment had shown that the majority of light coming from the laptops was blue, with subtle hints of reds greens and whites. The light was primarily displayed symmetrical forms on the wall and clear changes in colour could be observed between different scenes. The second experiments shows a much more subtle change in colour throughout the film but created a softer, more progressive change in colour with predominantly asymmetrical formations of colour and less sharp contrasts throughout the performance. The following series of images are still from the film. fig 66: Original pixel experiment

The following experiments look into sound and how the laptops performed when playing music at different volumes. For this experiment the laptops were placed in the center of the room and all facing the same way. This is because I want to analyze the difference in sound between the front of the laptop and the rear of the laptop and assess if there is a specific direction the sound is amplified in. To the right is a diagram of the room with the laptops in the center. Audio samples where taken at numerous points around the room and average decibel readings were taken from these audio recording, first at the point source of the sound, and then fanning out to the outer corners of the room. The sound level readings are displayed in the red circles on tables such as the one below on the following pages.

75cm

Accompanying the tables are two graphs To the side and underneath each reading these graphs analyze the shape of the sound from a 2 dimensional elevation of the room. This data is than taken to make a 3D map of the sound levels throughout the room at different volumes.

100cm

150cm

50cm

450cm

50cm

100cm

600cm

All the laptops where playing music from the same radio station to ensure there is a coherent tune being played for the audio equipment to pick up. However, due to the nature of the wireless Internet connection it was impossible to synchronise all 4 audio outputs. This put the laptops out of synch and, although it was not intended, the sound yielded a unique quality that will be further explored in the future. fig 67: Explanation of sound reading table

42.8

42.1

39.4

46.2

35 (dB)

41.2 46.8

43.5

48.5

67.6

44.2

41.3

45.9 43.2

42.5

42.8

43.2

40.3 25% VOLUME

At 25% volume the sound levels at the point source are around the same as conventional speech heard from 1 foot away. This fans out to the mid to low range around 40dB, which is close to the sound level reading in a quiet conversation. The graphs indicate a predictable pattern where sound levels quickly dissipate, as you get further away from the source. The sound behind the laptops are subtly lower than the sound levels when facing the front of the laptops.

65 60 55 50 45 40 35 (dB)

49.1

47.1

47.2

49.5

40 (dB)

50.0 53.7

48.3

56.6

74.0

46.2

48.9

54.2 49.9

50.1

48.7

45.2

43.9 50% VOLUME

At 50% volume there is an increase of around 6.5 decibels from the 25% volume. This may sound like very little but 70dB is a similar level to busy traffic or a vacuum cleaner. However, when standing further away the sound levels quickly reduce again to a level lower than that of a typical conversation. The graphs again show similar traits to before, perhaps with a more pronounced drop off of sound behind the laptop, this is probably due to the screens reflecting the majority of sound forward.

70 65 60 55 50 45 40 (dB)

58.0

60.2

52.1

59.8

50 (dB)

58.5 64.9

59.7

68.4

87.3

58.2

61.4

67.2 60.1

57.6

55.2

63.1

53.9

75% VOLUME

At 75% volume the decibel level at the point source increases by over 13 dB, twice as much as the previous increase from 25 to 50. This could simply be due to the way the volume levels are mapped against the buttons used to change the volume. At 87.3 dB the sound at the laptop is at the same level of a kitchen blender or food processor and requires people to have to speak louder than an average to sustain an audible conversation. This sound dissipates down to mid 50â&#x20AC;&#x2122;s dB around the corners of the room where normal conversation is coherent again.

80 75 70 65 60 55 50

67.0

66.2

64.2

67.5

60 (dB)

64.9 73.3

68.1

75.1

94.4

71.4

64.9

72.8 68.1

66.7

66.4

65.9

63.8 100% VOLUME

At 100% volume the point source of the sound reaches up to 94.4 dB. This is slightly louder than a passing motorcycle or underground train. However, the sound again dissipates to acceptable levels very quickly as the sound source is quite small compared to other sounds of a similar level. The sound levels around the corners of the room are just above that of a typical conversation and just above the point source levels at 25% volume. Sounds at this level create a clear audible tone even when there are several conversation s occurring in the room.

90 85 80 75 70 65 60 (dB)

3D Overlay

100 95 90 85 80 75 70 65 60 55 50 45 40 35 30 25 20 15 10 5 0 (dB)

fig 68: 3D graph of sound distribution in room

To the right is a threedimensional overlay of the results of the sound experiment. The results show a similar pattern across all sound levels where the point source is quite high and than an abrupt dissipation of sound less than a meter from the speakers. The sound then takes a slightly les steep dissipation to the outside of the room, this is most likely due to the sound reverberating against the walls of the room, where the inherent acoustics of the room come into affect of how the sound is heard. If the project were to be undertaken outside the results would yield a much lower audible reading at a distance from the source, as there is no container for the sound to bounce off. The sound levels dissipated through the room on a mostly uniform pattern, creating a uniform distribution pattern throughout the entire room. Efforts to direct the sound to specific places in the room could increase the efficiency of the sound distribution.

CONTROLING of light and sound Both sound and light dissipate through space in the same manner. This is dictated by the Inverse square law, which states that a specified physical quantity or intensity is inversely proportional to the square of the distance from the source of that physical quantity. The diagram to the right shows this relationship by taking a specific section a sphere. If sound or light is emitted from a source at the center of this sphere and measured at R with an intensity of I, when the amplitude of the energy emitted is measured again at twice the distance of the original measurement, 2R, the intensity is now four times weaker than before. Again, if a measurement is taken at 3R, the intensity is now 9 times weaker than it was at R. from this an equation can be written in the form of:

P 4Ď&#x20AC;r2

Where the intensity (I) can be calculated by dividing the power (P) by the surface area of the sphere (4Ď&#x20AC;r2) where r is the distance the measurement is taken from the source of light or sound.

fig 69: Diagram of the inverse square law

When taking this into account it is possible to begin to control the way light and sound energy dissipates throughout different spaces. These can both be amplified by using more power, however, power is a precious commodity for the nomad and other means need to be considered for efficiently using sound and light to create atmospheres. To the right are two sketches that explore the idea of controlling both light and sound by using different devices that donâ&#x20AC;&#x2122;t require power. The first is a Fresnel lens to control the light. In regular use such as lighthouses, these lenses are used to focus the direction of light to a specific point in the distance, but if the pattern on the surface of the lenses is reversed the light is dissipated on a much more obtuse angle. This allows a laptop screen to illuminate more of the surface area or a room or space at the risk of a reduction in intensity; this is acceptable as ones eyes are able to adjust to different conditions to make spaces suitable. fig 70: Controlling the direction of light and sound

Another method for sound is quite the opposite; by using a simple cone one can reduce the angle with which the sound dissipates, therefore increasing the intensity of the sound at further distances. The image to the right shows a quick experiment that takes the sound produced by the loudspeaker of a mobile phone and uses a cone to direct and concentrate that sound in a particular direction, the result being that the sound is amplified at a specific point, with careful planning sound directionality could allow all those that are present to hear a particular sound without the rest of the sound being wasted through dissipating in the wrong direction. Below are some sketches that briefly explore this idea of a mobile sound system that is amplified by passive acoustics.

fig 71: sketches of posible sound amplification devices

fig 72: Mini experement: directing sound of mobile phone

CONSTRUCTION & STRUCTURE Below is a time-lapse of the construction of a fun fair in Dublin, Ireland. The entire process from start to finish takes just under 3 days and once completed a flat car park has been transformed into a landscape of moving machines and light. When the fun fair leaves, it folds up and no trace is left behind. The fun fair is a truly nomadic architecture, one that is adaptable and can be set up in any location. These machines contain within them the parts available to adapt and create low-tech solutions for the mobile hedonistic landscape. The following pages contain a series of drawings and specifications of the potential machines that can be used in the design; these drawings are based of off general specification and photographs of the most popular fairground rides and will begin to form the elemental structures of a new architecture that roams Ibiza. 1

fig 73: time-lapse of funfair construction, Dublin Ireland

AFTERBURNER

FUN FACTORY 18357

18357

16752

1675216752

16752

12367

22000

12367

22000

18357

8800

13500

15150

4000

22924

8800

13500

15150

13500

15150

4000

SPESIFICATIONS 8800

SPESIFICATIONS 15150

6000 6000 03 03

4000

8800

15150

4000

15150

6000

15150

6000

13500

4000

22924

15150

The Afterburner has a long swinging arm, which swings up to 120째 with a maximum height of 22 meters. At the bottom of the arm is a rotating hub with 6 gondolas. This revolves at a speed of 15 RPM.

The Fun Factory is a machine that is based on the principle of a Walser and runs at a speed of approximately 18 r.p.m., in which the gondolas rotate and pitch in 5 different axis.

Sizes (w x d x h) : 13.5 x 12.3 x 22 m* Weight : 54 ton Power : 160 A, 400 V Number of Gondolas : 6 Capacity persons : 24 Persons per hour : 750 Number of transports : 2 Construction time: 3 to 4 hours. (3 persons)

Sizes (w x d x h) : 18,4 x 16.8 x 6 m Weight : 28 ton Power : 80 A Number of Gondolas : 6 Capacity persons : 24 Persons per hour : 800 Number of transports : 1 Construction time: 4 - 5 hours (3 people) 56

HIGH SWING

TANGO

22100

12754

22100

12754

60000

759

21685

1335

21685

4797

60000

4797

12754

1335

SPESIFICATIONS The High Swing is a 190 feet high ride on which gondolas swing at a height of 164 feet. This amusement ride has a capacity of 24 persons. Passengers experience a unique view at a great height. Setting the ride up does not require a crane. Sizes (w x d x h) : 60 x 64 x 58 m Weight : 78 ton Power : 200 A, 400 V Number of Gondolas : 12 Capacity persons : 24 Persons per hour : 720 Construction time: 7 hours (5 people)

21685

SPESIFICATIONS The Tango is 23 meters high and revolves around 3 different axes. Its main arm can extend 80 degrees into the air and rotate at 15 rpm. Sizes (w x d x h) : 13.4 x 21.7 x 23 m Weight : 36 ton Power : 250 A, 400 V Number of Gondolas : 3 Capacity persons : 24 Persons per hour : 750 Number of transports : 2 Construction time: 4 - 5 hours (3 people)

8871

X-FACTORY

XXL

5000

2274 3593

4000

39250

8871

0째

15389

2274 2274 3593 3593

5000

12030 15389

15389

8871

XXL SPESIFICATIONS

10730

SPESIFICATIONS

4000

The X-Factory is a long gondola, in which 18 persons can be seated next to each other. This gondola is mounted on two arms that revolve at a speed of 20 RPM. During this revolution the gondola can lean forward by 20 degrees from the vertical.

The XXL can reach a height of 48 Metres when swinging from side to side The XXL has a very efficient ride cycle making a high through-put of passengers easily achievable. Transport for the XXL is provided on three semi-trailers, all of the trailers are contained within the footprint of the ride when the ride is fully assembled.

5000

2274

3593

18000

12030 15389

Sizes (w x d x h) : 15.4 x 3.6 x 9 m Weight : 20 ton Power : 100 A, 400 V Number of Gondolas : 1 Capacity persons : 18 Persons per hour : 700 Number of transports : 1 Construction time: 1 - 2 hours (2 people)

Sizes (w x d x h) : 18 x 12.9 x 40 m Weight : 28 ton Power : 160 A, 400 V Number of Gondolas : 4 Capacity persons : 20 Persons per hour : 600 Number of transports : 3 Construction time: 6 - 7 hours (4 people) 58

SPEED

SPEED BUZZ

3797

4529

18700

36000

13200

12191

5850

15835

5840

13558

SPESIFICATIONS

Speed is a large spinning arm on which 2 gondolas sit on each end. The arms revolve at a speed of 13 RPM, at the extent of the arm passengers feel up to 3.5.G and can reach up to nearly 40 meters in height.

The Speed Buzz is a smaller version of the Fun Factory and runs at a speed of approximately 18 RPM, in which the gondolas rotate and move in 5 different axis. Sizes (w x d x h) : 12.2 x 13.2 x 5 m Weight : 28 ton Power : 80 A, 400 V Number of Gondolas : 6 Capacity persons : 24 Persons per hour : 800 Number of transports : 1 Construction time: 4 - 5 hours (3 persons)

Sizes (w x d x h) : 15.9 x 5.9 x 36 m Weight : 28 ton Power : 100 A, 400 V Number of Gondolas : 2 Capacity persons : 8 Persons per hour : 240 Number of transports : 1 Construction time: 2 - 3 hours (2 people) 59

Hydraulics The two main mechanisms used throughout these structures are hydraulics rams, or pistons to move components up and down and large electric motor and gear mechanisms to create rotary movement, the following images are a study into how these mechanisms work. To the right is a diagram of a hydraulic piston. Hydraulics work by pumping an incompressible fluid, usually an oil based substance, into a piston housing at high pressure. The pressure pushes the piston along a barrel and in turn allows for anything seated on the end of the housing to move relative to the joint around which the piston is moving. A powerful motor such as a diesel generator or the driving motors in construction equipment usually control the pumping of the liquid throughout the system, The fluids are pumped through piping that is much thinner than the piston barrel, this allows for a much greater force to be produces within the barrel. For the piston to move back and forth there are two inlets for the hydraulic fluid, one at the front and one at the back. Allowing the system to move both in and out when necessary. This movement is demonstrated in the diagram below.

5 1 2

7 8 9

fig 74: Movement of hydraulic piston

1: Wearband 2: Housing seal 3: Piston wearband 4: Housing 5: piston rod

6: rod seal 7: rod wiper 8 Piston seal 9: Barrel

fig 75: Components of hydraulic piston

Stage construction Stage construction also uses similar techniques to that of fun fairs, but on a significantly larger scale. Both systems look at the most efficient way of packing structures and machinery efficiently into vehicle sized spaces for mobility. They both strive to have the simplest construction methodologies, as time is a fundamental aspect to the success and profitability of both industries. However, Stage construction seeks to make superstructures, entire mobile theaters with complex corridors and multiple levels which hide labyrinths of cables, lights, gear, and people that make such a complex event possible. The series of images below show the progression of raising a large structure for a U2 concert tour in America and one can clearly see that the structure itself lacks any sense od design ambitions but is extremely efficient in its construction. These are the structures that lie underneath the facades of light and sound, simple but extensive space frame structures where rows upon rows of robotic spotlights and speakers are seated upon. These â&#x20AC;&#x2DC;craptechâ&#x20AC;&#x2122; solutions are fundamentally the simplest way of creating versatile and efficient spaces that can move around the country. The specific drawbacks relevant to the stage as opposed to the fun fair are inherent in the shear scale of the projects. It requires numerous service vehicles such as forklifts, cranes, low loaders etc. to make the operations of moving and building such structures possible.

fig 76: Construction Process of stage

Floor construction The dodgems ride provides a suitable concept for the transportation and construction of flat, ground orientated structures that do not require to move in numerous directions, the series of images below show the process of unfolding an entire building from the trailer of a truck. To the right is a quick sketch on how this could be appropriated for my design through using and unfolding lattice structure. This technique of â&#x20AC;&#x2DC;flat packingâ&#x20AC;&#x2122; floors allows for a very efficient method of transportation and deployment when ground conditions are not suitable.

fig 75: Unfolding of dogdems

Logistics of moving buildings There must be an efficient system behind the complex networks for architecture to be portable, buildable and functional in specific places at specific times. The roaming architecture of Ibiza will have to adhere to strict rules and processes that define the system should it wish to be feasible. The example to the left shows a schedule for a Rolling Stones tour in America. It is unfeasible to have a single stage set that follows the artists around, as they play more than once each week and it is imposable to build the infrastructure in that time. Instead they build and use multiple clones of the same set in different locations. Replicas of the replica are built ahead of time and as musicians play at one stage, another is being built for them the next day and another is being taken apart from the day before. Each setup skipping over each other to another location further down the road in this example there were three different sets, green blue and red and each line has a specific individual route that they follow so that within the super system each sub system, that is the rout of each clone, is as efficient as possible as well by following linear paths across the country, making the artists move back and forth between places.

RESORT ROUT RESORT - IBIZA ROUT CENTRAL ROUT MAJOR CLUB ROUT EXPRESS CIRCUIT fig 76: System of movement

It would be fundamentally necessary to have a system similar to this for the moving architecture in Ibiza but with some modifications that allow for constant movement such as a rail network. For this reason there are 4 main routs that each architectural clone will follow with a fifth outer express rout that encircles the others. Each rout performs a rounded movement across 4 of the 7 towns, meeting some of the other paths and clones at several points. The visitors can get on a one town and go around the triangle, if they wish to get to a town that is not on the specific rout, they simply swap to a clone of the architecture they are already in and follow a different rout.

fig 77: Example of overlapping construction system employed by touring rock bands

Self erecting cantilevers The cantilever is a fundamental part of architecture and is present throughout any type of design. How can the cantilever be employed into nomadic architecture? Instead of looking into ways of moving architecture I chose to look into ways of making moving things into architecture. a crane is fundamentally a moving cantilever and therefore provides a suitable starting point for which to explore large scale deployable architecture. The Crain to the right is a type of Crain called a ladybird Crain and it is unique for being able to travel on a trailer, deposited on a construction site and than erect itself by unfolding through the use of tension cable and hydraulic rams. This process is shown in the diagram below. A cantilever is possible by placing extremely large counterweights at the bottom of the crane, these hold the rest of the structure in tension to ensure it will not buckle when lifting heavy loads. A separate vehicle transports the concrete weights but there is nothing to stop one from adapting this technology to be able to use any large weight within the landscape to weight it down.

fig 78: image of ladybird crane unfolding

fig 79: process of unfolding crane.

Further technology and print screens of blog Although this document begins to explain my initial explorations into technology for design, the process of developing these ides do not stop here. The following pages contain a full print screen of my blog, which i have used as a digital journal, recording and collecting various subjects and themes of interest in both technology and design. The blog also explores many subjects that are not touched upon in the technology report but are still relevant to the overall design process. Should you wish to visit the blog itself to view the videos, GIFâ&#x20AC;&#x2122;s or higher resolution images, please go to: www.austenscottarchtiecture.com and follow the link to the blog page to view further ongoing research on the subject of technology.

Bibliography Adults’ Media Use and Attitudes Report. 2014. [Online]. Ofcom; Independent regulator and competition authority for the UK communications industries. [Accessed 6 Feb 2015]. Available from: http://qz.com/214307/mary-meeker-2014-internet-trends-report-all-the-slides Hardingham, S. Greene, D. (2012). L.A.W.U.N Project 19: Themes of Absence. Architectural Association Publications Holding, E. (2000). Mark Fisher, Staged Archtiecture. John Eiley & Sons. Meeker, M. (2014). Internet Trends. [Online]. May 28, 2014, Code Conference, California. [Accessed 6 Feb 2015]. Available from: http://qz.com/214307/ mary-meeker-2014-internet-trends-report-all-the-slides/ National Sleep Foundation’s sleep time duration: methodology and results summary. (2014). [Online]. Journal of the National Sleep Foundation. Elsevier Inc. [Accessed 7 Feb 2015]. Available from: http://www.sleephealthjournal.org/article/S2352-7218(15)00015-7/pdf National Tourism Statistics, (2014) Consell Insular d’Eivissa. [Online]. feb 1. 2015. [Accessed 1 Fen 2015]. Avalable from: http://ibestat.caib.es/ ibestat/estadistiques/043d7774-cd6c-4363-929a-703aaa0cb9e0/ef88f7cf-8e0b-44e0-b897-85c2f85775ec/es/I208002_3001.px