Paris District High School
Nick Jako Dr. Aurel Venczel
Philip Beesley Architect Inc. DALE CARNEGIE TRAINING 100 YEARS OF INSPIRING PERFORMANCE
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CONTENTS Introduction
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From February to October of 2014, a small group of students from the F_RMlab research group at the University of Waterloo’s School of Architecture worked to produce an 8-meter geodesic dome, whose interior was then covered with video projections captured from an airborne camera. The dome was created as an installation for Nuit Blanche in Toronto, a city-wide art exhibition attended by over 1 million visitors every year. It is an annual all-night arts festival that brings contemporary art to the masses through the intervention and recreation of unused public spaces for one night only. The airborne view captured by the camera shows urban
development as the shared construction and solidified efforts of generations of people from a perspective the average pedestrian would not have access to. We approached the dome as an exercise, as a small study on process and execution rather than a refined design project. We were curious as to what this kind of project might entail, and were interested to see what a group of relatively inexperienced but very curious students could create. Our team is composed of a core group of nine undergraduates, five in their third year and four in their second, with the help of eleven more group members and bolstered by a network of external support. In documenting the work, we
have tried to emphasize the development process, as this is where the majority of our learning experiences took place. We hope that this publication might aid students at our school or beyond who wish to take on a similar challenge in the future. Inside you’ll find an exposition on each part of the process. We start with the conception and application, then move on to prototyping and design development, ending with the final fabrication stages and the night of the exhibition. We explain how we designed and validated the dome, where were able to raise funds, and where and when we spent them.
INTRODUCTION
2
WINTER
PRELIMINARY DESIGN Concept Idea Group Meetings Proposal Proposal Submission Structure Material Study Rhino Modeling
1
FEBUARY 2 3
Initial design
4
5
MARCH 6 7
8
Joint and member size change
9
10
APRIL 11
12
13
LSL selected / Math updated
Unofficially Approved by City Official Approval First Prototype Site Selection
FUNDING
Initial site given
Sponsorship Package Creation Soponsorship Search Gold Sponsor
DESIGN
Idea Development Areal Copter Design Laser Cutting / Bending Steel Plates Sail Collection DJ search / Signing LSL Sheeting Arrival Cutting LSL into Members Construction of Superstructure Cutting, Grommeting, Bungee Sails Steel Cylinder Offset Fabrication Concrete Footing Casting Aerial Mapping Method Digital Mapping Dome Take Down Footage Gathering
NUIT BLANCHE
Sponsorship Panels Packing and Transit Dome Construction / Set Up Footage Gathering Nuit Blanche Take Down / Clean Up Finalizing Financing
PLANETERRAEUM
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Rudolph’s
MAY 15 16
17
SUMMER 18
JUNE 19 20
21
22
FALL 23
JULY 24
25
26
27
AUGUST 28 29
30
31
SEPTEMBER 32 33 34
Panel size changed
Site search
OCTOBER 36 37
Detail update / Dome “final”
Final site selected
BSS/UCC
Hexa 1
35
Park permit arrives
Altius
Crash
Christie
Realtor
Stantec
Hex 2
Vistec
Crash
Go Pros
Quad 1
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THE IDEA 1
Initial Planning + Design
2
The First Meeting
3
Preliminary Design
4
Artist’s Statement
5
Nuit Blanche Application
6
Design Proposal
I ni t i a l P l an n i n g + Des i g n Over the years, it has become somewhat of a tradition for students from the Architecture program to participate in the Nuit Blanche art exhibition in Toronto, one we wished to continue. We started the dome with the simple idea that we would pair a large screen with some aerial video. We wanted to create an installation that would share the exhilarating nature of aerial city views with the public. Our initial planning began at the end of January after a chance conversation in the hallway between classes. A couple of students were interested in starting a project and submitting an application to Nuit Blanche, but were unsure how or
where to begin; as a team we were able to sort through this and have successful brainstorming sessions. Within two weeks of first meeting, the proposal to participate as an independent project was due. Those short two weeks were just the beginning of what turned into an eight month period of heavy work and a great deal of learning. During the first few meetings we mulled over size and technique, and went through many first iterations. Our initial idea of using a screen turned into creating a tensile structure, the balloon we had hoped to use to capture the aerial footage became a drone, and then the tensile structure
became a dome. It’s hard to say where these decisions ultimately came from - a combination of trial and error, intuition and expectations. We made them across a table or on a blackboard with about five people over the span of eight working hours.
THE LIGHT BULB
8
Intelligence
3 6
Tech Savvy
Speed
5
Speed
Dexterity
5
Dexterity
Known for their piercing wit, originality and intelligence, no one can match the Lightbulbs’ creativity. You think you have a new idea - they had that idea ten years ago. The Lightbulb is key in getting any project started and offering up solutions to problems as they arise.
9
Intelligence
Creativity
9
Creativity
Dexterity
5
Creativity
Strength
5
Strength
3
7 8
Speed
8
Speed
Dexterity
8
Dexterity
With organizational skills that will leave your projected scheduled down to the second, the Bookkeeper is an integral part of the team. They ensure that everything is accounted, financed, and running according to schedule. Never question their chart making ability.
6
Tech Savvy
5
Speed
7
With prose that rivals shakespeare, the Writer is a projects literary artist. Weaving their intricate sentences to gain approval, sponsorship and explain the project, they write their way through each stage without the need for spellcheck.
Dexterity
8
9 3
Strength
Strength
10
Tech Savvy
7 10
Having a hammer for a right hand, and a full toolbelt, the builder is the construction expert of the team. With the knowledge to build everthing from a birdhouse to the Eiffel Tower, they lead the charge in the physical creation of a project.
Dexterity
8
The supreme overlord of a project, the Leader gaurentees success by resolving problems, making sure the team acts like a team (forcing his minions to co-operate when necessary), and being checkpoint for all operations.
6 9
Creativity
2
6
Speed
7
Intelligence
6
Creativity
6
THE ILLUSTRATOR
Intelligence
7
8 5
Tech Savvy
THE TECHY
Strength
4
6
Tech Savvy
8
Intelligence
Creativity
THE BUILDER
Intelligence
Speed
2
Unmatched in brute strength and with an endless supply of energy, the brawn is an unstoppable force of nature to be reckoned with. Without the labour of the Brawn, no project would ever get completed on time.
THE WRITER
Tech Savvy
10
THE LEADER
8
Intelligence
3
Creativity Strength
Tech Savvy
Strength
THE BOOKKEEPER
4
Intelligence
10
Creativity Strength
THE BRAWN
5
7
Tech Savvy Speed Dexterity
First language binary, second whatever communicates with humanity. The Techy is well versed in everything from electronic hardware to software. There is not a problem that can not be coded away for this expert. A key player who lets the project come alive.
3
6 9
With lineweighting skills that will make a person salivate, this graphic expert is able to create both diagrammatic and artistic masterpeices. The Illustrator is an integral team member who creates documents and visual representaions of the project throughout its stages.
What to look for when building a team
The First Meeting We were pressed for time and needed to put together a group pretty fast – we only had about two weeks between our initial ‘concept’ phase and the proposal deadline. Luckily we had around eight members on board right away. We built the team by talking to people individually, and making sure everyone had a clear role which catered to their areas of expertise before starting. We did
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PLANETERRAEUM
not have any trouble finding interested people – it was simply a matter of finding the right niche for each member as they came on board to make our team as strong as possible. At the start, we needed a great deal of verbal and written skill, organization, and graphic talent, alongside a little bit of technical knowledge to flesh out the designs and check their feasibility. Our
team has always been effective largely because we shared a common working goal and were equally driven to seeing that goal reached. At twenty peers, we had critical mass which steered us clear of the troubles usually presented in small groups. Multiple people in each role resulted in a powerful combined knowledge base. That said, this was the first time any of us had mounted an installation of this size and complexity.
Revision 1 of the dome Cardboard tubes and plywood joints 12m diameter
THE IDEA
8
P relim i na r y D e s i g n Once we had decided on a geodesic dome as our structure for the installation, the remaining design choices were mostly concerned with practicality, budgeting and timing. We wanted to see how spectacular we could make the experience with our limited resources. At first, we planned on a cardboard-tube and plywood joint combination. The tubes, readily available from shipping suppliers, are surprisingly strong for their weight. The joints we would be able to machine on the CNC router available at school. We knew ahead of time that we wouldn’t have access to heavy lifting or welding tools, making a large steel or aluminum structure was out of the question; although in other circumstances, these would likely be more appropriate materials for such a project. We noticed that there is a price jump between 8’ and 9’ lengths of almost any material that is disproportionate to the one between 7’ and 8’, so for costing purposes we scaled the model so that no members were larger than this. Any bigger than 8’ is also around the size where a member becomes difficult to handle by one worker alone.
Initial joint design
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PLANETERRAEUM
A r tist’s Stateme n t A geodesic dome is a structure that has been used for decades in the creation of planetariums. They are places we visit that enable us to explore the unknown; to observe the world outside of our own. But what happens when we lose sight of our own world? We wish to build a place for people to gather and experience Toronto from a new perspective, a space that will cause a collective moment of contemplation amongst strangers. Remember that moment, sitting in a plane and watching the city gradually disappear beneath you--people and cars transforming into mere specks, the landscape disappearing into infinity across the horizon. The moment is fleeting, and soon you're amongst the clouds, separated completely from the world you just watched disappear. Imagine if that moment was captured, prolonged for an entire night. With a weather balloon equipped with three GoPro cameras floating 300ft in the air, we hope to have an aerial video feed of downtown Toronto from sunset to sunrise. The video feed will be projected onto the interior of a geodesic dome, allowing everyone to behold that spectacular, rare image. All the while the glowing balloon will float above the dome, a beacon in the sky, welcoming people to come and congregate below.
Initial concept render
The dome's interior projection will surround guests with a spherical view of Toronto from the balloon's birds-eye-view. We are inverting the relationship of the people to the city; up will be down, the horizon at eye level and buildings fading into the sky above. Viewers will experience the cityscape as it evolves throughout the night; Nuit Blanche as a whole seen from above, lighting up the city in a festival of lights and sounds. The dome will respond to the differing characters of the city as it morphs, from sunset, to midnight, and finally to sunrise, bringing interior and exterior environments together.
THE IDEA
10
Remember that moment, sitting in a plane and watching the city gradually disappear beneath you--
experience Toronto transformed by artists
people and cars transforming into mere specks, the landscape disappearing into infinity across the
2014 Independent Projects Application Form
horizon. The moment is fleeting, and soon you're amongst the clouds, separated completely from the world you just watched disappear. Imagine if that moment was captured, prolonged for an entire night.
Independent Producers Independent artists, curators, galleries and small to medium sized organizations should use this application to submit their proposal. IMPORTANT NOTES: Review the Independent Projects: 2014 Guidelines before completing this application. Ensure you are completing the correct form: Independent Producers and Major Producers should use the appropriate forms for their application. You will be notified by late March 2014 if your Independent Project has been accepted. Keep a copy of your application for your records.
With a weather balloon equipped with three GoPro cameras floating 300ft in the air, we hope to have
Submission Deadline:
an aerial video feed of downtown Toronto from sunset to sunrise. The video feed will be projected onto the interior of a geodesic dome, allowing everyone to behold that spectacular, rare image. All the while the glowing balloon will float above the dome, a beacon in the sky, welcoming people to come
February 14, 2014
and congregate below. The dome's interior projection will surround guests with a spherical view of Toronto from the balloon's birds-eye-view. We are inverting the relationship of the people to the city; up will be down, the horizon
LATE OR INCOMPLETE APPLICATIONS WILL NOT BE ACCEPTED Email application and attachments to: ips@toronto.ca
at eye level and buildings fading into the sky above. Viewers will experience the cityscape as it evolves throughout the night; Nuit Blanche as a whole seen from above, lighting up the city in a
I. Project Information
festival of lights and sounds. The dome will respond to the differing characters of the city as it morphs, from sunset, to midnight, and finally to sunrise, bringing interior and exterior environments together.
Name of Producing Organization or Artist: F_RMlab
The dome will be constructed with mostly recycled materials, including cardboard tubes (waterproofed) Title of Project:
as axial members and used sailcloth for skin. In this way we keep costs and environmental impact
Planeterraeum
down. The balloon is to be suspended at 300ft on three tethers, so as to introduce redundancy to the Project Description
Provide an overview of your project. Include any and all information required to fully describe your project proposal to. Refer to the application guidelines (SECTION #6) for the Areas of Assessment. In this section you should address your project's relationship to current Contemporary Visual Art practice, its merit, presentation and originality and its feasibility. Please describe how your programming will extend for the duration for 12 hours. Your description should articulate what you plan to do and how you plan to do it. Use only the space provided in this form to describe your project.
A geodesic dome is a structure that has been used for decades in the creation of planetariums. They
system and increase stability. Video is streamed down to a computer at the dome, where three video feeds are woven and projection-mapped onto the interior of the dome. We do this in a manner where the view from the center of the dome mirrors the view from 300ft – we are bringing the sky's view down to earth. We also have plans to overlay a digital map of toronto onto the video feed, and will be able to highlight certain areas in the larger Nuit Blance event. In this way we could become a kind of map for the larger context.
are places we visit that enable us to explore the unknown; to observe the world outside of our own. But what happens when we lose sight of our own world? What happens when we are lost in our individual chaotic lives, disconnected from the physical world around us? We wish to build a place for people to gather and experience Toronto from a new perspective, a space that will cause a collective moment of contemplation amongst strangers Page: 1 of 14
Project Contributors
Every application to the Independent Producers program must have a professional artist and/or curator associated with it. What are the names of the artists/curators associated with your project? F_RMlab: Jake Read, Alexandra Sermol, Aaron Cote, Connor O'Grady, Fysal Amirzada, Tony Kogan, Robin Castonguay, James Coleman, Morgan Wright, Jonas Chin, Milos Mladenovic, Keegan Steeper, Felix Yang, Patrick Harvey, Daniel Abad, May Wu Faculty Advisor: Ila Berman: Director of Waterloo Architecture
Bio or Condensed CV
Provide a brief Artist or Organizational biography. This biography should include professional achievements and your history of community-arts practice. Use only the space provided in this application for your bio/CV.
Page: 2 of 14
Basic Budget
Independent Project Producers are solely responsible for ALL costs associated with producing their project. Projects will be assessed on their financial viability. Provide a basic outline of your proposed budget including expenses and sources of projected revenue (grants, sponsorships, etc.) Please note, your budget should balance and can include in-kind donations of goods or services. Your budget should include artistic, production, technical, logistical, safety and security considerations. ALSO LOCATED IN PROGRAM PROPOSAL MATERIALS
SPECS
QUANTITY
TOTAL COST
Plywood
F_RMlab: Fabrication Through Research & Media at the University of Waterloo School of Architecture Dome Construction 3/4" A-C 4x8' Sheets
12
336
Concrete mix
Fast Setting Concrete Mix 30kg
10 x 30kg
56
design based computational skills and discourse at the University of Waterloo School of
PVC Pipe
4 in. x 10 ft. PVC or Similar Axial Member 221
Architecture. Students at F_RMlab are deeply invested in research focused on responsive
Hardware
environments, interactive interface and computation in design. The group embodies a
Used Sail Cloth
Coverings & Geodesic Panels
65 Panels x 2m^2
In Kind Donation
comprehensive digital research agenda based on three categories: software, hardware and
Projector
LCD & DLP Projectors (RENTAL)
2
300.00
450
220
F_RMlab is a student initiated digital design and fabrication research collective formed to promote
prototyping, all of which build off of each other and in turn create holistic design processes. Such
In Kind Donation 800
Grommets
processes are broadly implemented in our collective work and a series of installations in
Balloon Rig
collaboration with other research groups to generate interactive installations and prototypes as a
Aerial Cameras
4
In Kind Donation
launch for projected environments at large. Additionally, F_RMlab values the importance of peer to
Balloon
2
240.00
peer teaching and learning. The collective directs much of its energy on hosting workshops and
32 Gauge wire
1200ft
25.00
24 Gauge wire
400 ft
20.00
seminars as a platform for cross disciplinary skill development and experience sharing to further advance personal skills and student research.
3 x GoPro or Similar Camera
25.00
Foam Plastic for Rig
30.00
Strapping
15.00
Signal Shielding
F_RMlab Condensed CV: (selected projects exhibited in Project Proposal)
400.00
Spectra Cord
Epiphyte Chamber: MMCA Inaugaral Exhibition, Aleph Project, Seoul, South Korea (2013) – part of the installation and on site design development team for Philip Beesley's recent responsive installation in South Korea. Archiglass: Carnivale, Musee des Beaux Arts, Quebec City (2013) – explorations of digital fabrication tools and ice sculptures, completed in partnership with UCL Bartlett GAD Program. Field Guide: Grow-OP, Gladstone Hotel, Toronto (2013) – responsive mylar ceiling surface for the lobby of the Gladstone Hotel as a part of the GrowOp Exhibition.
Assembly, Production, Prototyping
Supplied by Waterloo
Shop Access
Joint Fabrication
Architecture
CNC Time
Supplied by Waterloo
Fasteners
Architecture
Tooling
400 200
SubTotal
Fundraising Page: 5 of 14
80.00
Overhead
Overhead
Atlas Human Powered Helicopter: U of T, AeroVelo, Toronto (2013) – Involved in the design, fabrication, and flying of the Sikorsky Prize Winning aircraft. Completed outside of F_RMlab by Jake Read with AeroVelo.
1200ft
3147 Jams, snags etc...
Corporate & Personal Donations
0.4
4405.8 4500 Page: 9 of 14
Pages from official documentation
Nu it B l a nch e A p p li cati on Applying to be a part of Nuit Blanche is a straightforward process if you are applying as an independent project (aka self-funded). The application has two parts: an official document with contact and other basic information, and a design document attached as a separate file. The design document consists of illustrations, written design intent, budget, schedule, as well as a proposed location. Our design submission was very similar to
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PLANETERRAEUM
the final product, but we didn’t have all of the details worked out by the time we submitted the application. The best thing if you are applying is to not worry about having all the details flushed out, but just to do your best and see what happens. The design document was prepared over approximately four long nights by eight of the team members. Our tip: keep an eye on the application deadline
(normally some time in February) and make sure that you are ready to commit to the project. It can potentially – or will most likely – occupy a great deal of time over the next eight-month period.
DESIGN INTENT presents
PLANETERRAEUM NUIT BLANCHE PROPOSAL 2 PROPOSAL DESIGN PLANETERRAEUM NUIT BLANCHE 2 INTENT
DESIGN INTENT
PLANETERRAEUM NUIT BLANCHE PROPOSAL 3 PROPOSAL PLANETERRAEUM NUIT BLANCHE
DESIGN INTENT
3
F _ RMlab: FabriF_R catiMlab: on Through Research & Medi a Fabr ic at ion T hr ough R esear c h & Media a t the Uni versiat tyt of he Waterloo U niver sit ySchool of WatoferArchi loo Stecture c hool of Ar c hit ec t ur e F_RMlab is a student initiatedisdigital design and fabrication research collective formed to collective promote formed to promote F_RMlab a student initiated digital design and fabrication research design based computational skills computational and discourse skills at theand University of at Waterloo School of design based discourse the University of Architecture. Waterloo School of Architecture. Students at F_RMlab are deeply invested are in research focused in onresearch responsive environments, interactive Students at F_RMlab deeply invested focused on responsive environments, interactive interface and computation in design. The group in embodies a comprehensive digital research agenda interface and computation design. The group embodies a comprehensive digital research agenda based on three categories: software, hardware software, and prototyping, all and of which build offall ofof each other based on three categories: hardware prototyping, which build off of each other and in turn create holistic processes. processes are Such broadly implemented in our collective and in design turn create holisticSuch design processes. processes are broadly implemented in our collective work and a series ofwork installations in collaboration withinother research with groups to generate and a series of installations collaboration other research interactive groups to generate interactive installations and prototypes as aand launch for projected environments at large. Additionally, installations prototypes as a launch for projected environments atF_RMlab large. Additionally, F_RMlab values the importance of peer peer teaching andtolearning. The collective directs much of its directs much of its values the to importance of peer peer teaching and learning. The collective energy on hosting workshops seminars as a platform for cross skill development and energy onand hosting workshops and seminars as adisciplinary platform for cross disciplinary skill development and experience sharing to further advance skills and student experience sharing personal to further advance personalresearch. skills and student research.
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PLANETERRAEUM
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For this installation For we are a site situated in Trinity orTrinity any park that or any park that The dome's interior projection surround guestswill with a spherical viewwith of Toronto fromview theof balloon's thisproposing installation we are proposing a siteBellwoods, situated in Bellwoods, The dome'swill interior projection surround guests a spherical Toronto from the balloon's could accomedate a could 20m radius. birds-eye-view. We are inverting theWe relationship of the to theof city; will betodown, the up horizon accomedate a 20m radius. birds-eye-view. are inverting thepeople relationship theuppeople the city; will be down, the horizon at eye level and buildings into buildings the sky above. the cityscape as it evolves Site plan at eyefading level and fading Viewers into the will sky experience above. Viewers will experience the cityscape as it evolves Site plan throughout the night; Nuit Blanche a whole fromasabove, lighting up the city inlighting a festival of city in a festival of throughout theas night; Nuitseen Blanche a whole seen from above, up the lights and sounds. The dome will respond the differing characters of the city as it morphs, from lights and sounds. Thetodome will respond to the differing characters of the city as it morphs, from sunset, to midnight, sunset, and finally to sunrise, andbringing exteriorinterior environments together. to midnight, andbringing finally interior to sunrise, and exterior environments together.
A proposal for Scotiabank`s 2014 Nuit Blanche
DESIGN INTENT
DESIGN INTENT
PLANETERRAEUM NUIT BLANCHE PLANETERRAEUM NUIT BLANCHE PROPOSAL 4 PROPOSAL
4 STRUCTURAL ANALYSIS DETAILING AND LOGISTICS PLANETERRAEUM NUIT PLANETERRAEUM BLANCHE NUIT BLANCHE 5 PROPOSAL STRUCTURAL ANALYSIS PLANETERRAEUM NUIT BLANCHE PROPOSAL 5 PROPOSAL
Sail Cloth Panels Sail Cloth Panels
gust. October average is 18km/h. 35km/h gust. October35km/h average is 18km/h.
Diameter ABSLoads Pipe maximum Axial Loads 5" Diameter ABS Pipe5"maximum Axial Factor of Safety 0.8 Factor of Safety 0.8
45.7kN Compression 45.7kN Compression 40.1kN Tension 40.1kN Tension
23
23 kN Compression
kN Compression
0
kN
0
kN
20
kN Tension
20
kN Tension
Tubes, 5-10” Diameter PVC Tubes, 5-10”PVC Diameter
Grommets Milled Finger & Tube Hybrid Joint CNC Milled Finger CNC & Tube Hybrid Joint To bedesign prototyped To be prototyped in initial phase in initial design phase
Grommets
8
DETAILING AND LOGISTICS
PLANETERRAEUM NUIT BLANCHE PROPOSAL
9
Wind &Combined Self-Weight Wind & Self-Weight LoadCombined Load
Tensioning System Tensioning System
Self-Weight Self-Weight
Relative to Wind Loading Relative to Wind Loading
Conti ngenci es We recognize that airborne objects represent a safety hazard, and have researched ballooning laws set under the Canadian Aviation Regulation. Any balloon can be flown under 90m (300ft), without contacting ATC. We plan on contacting ATC regardless, and will plan our flight according to all rules and regulations. The balloon will be marked and lit according to or above regulation requirements. The highest precautionary meaures will be taken, and our system is designed with redundancy in mind. The payload of three to four small cameras (under 4lbs total) is designed to a minimum density set by the CAR, such that it's terminal velocity will be kept to a safe speed. (In the extreme event where our system does fail). Provided that these precautionary measures are not enough, we are prepared to operate without ballooning. Possible alternatives are: Video systems rigged to tall buildings, Video systems carried by Nuit Blanche participants Use of a 3D model of Toronto updated live with event information Virtual Reality applications of the projector-enabled dome.
Self-Weight Self-Weight Values re-mapped
Values re-mapped
4.6
4.6 kN Compression
0
kN
0
kN Compression
kN
kN Tensiondesign. A detailed section showing relative scale4.9 and enclosure 4.9 kN Tension
Pages from design application
D e s i g n P rop os al The design we submitted included a larger dome to be constructed from cardboard tubes and plywood joints. We were planning on using a weather balloon tethered at four points with another tether to stream video, hoping to use Queens Park or U of T’s front lawn. What we produced is different, but not categorically so. We scaled the dome down from 12m to 8m, and opted for
a sturdier Laminated Strand Lumber and Steel construction. We realized that we would not be able to construct a 12m dome without the aid of heavy machinery, which we wanted to avoid at much as possible; an 8m dome was a much more manageable size. The balloon was also replaced by a flying drone (a data-carrying tether was prohibitively heavy) and our live streaming went away; this was probably the biggest loss to the
project. There is a balance between the size of drone, carrying capacity, battery length and length of flight. The hardware required for a live stream outweighed the carrying capacity of the drone in addition to the five GoPros that were already required on board. We still used sail cloth as a surface in the dome, and the connection between the sails and the dome remained unchanged.
THE IDEA
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PRELIMINARY SCHEDULE
APRIL
Design iteration, detailed structural modelling and materials sourcing. Joint prototyping and frabrication of steel components. Establishing manufacturing partnerships.
MAY
PART 2 Continue with funding and sponsorsship. Within current budget, parts ordering will begin and finances constantly balanced. Recycled materials will be used as often as possible.
JUNE
Assembly process developed. Fabrication continues, sails cut and hardware assembled, foundations built and tested. Orders arriving will be organized in preparation for assembly.
JULY
Video feed and projection mapping completed. Small-scale assembly & prototyping, working with a small team to design components for precise and efficient production.
AUG
PART 3 Final fabrication of components; joints, members, hard ware, fabric, projection rigging and hexacopter with video systems rig. Event planning and bookings finalized.
SEPT
A full-scale dome assembly will be completed. By the end of September all of the final details and rigging issues have been resolved.
OCT
13
PLANETERRAEUM
BUILD
Planning for sponsorship and funding, as well as detailed budgeting done in conjuction with finalizing the design specifications.
FUND
DESIGN
PART 1
PRELIMINARY BUDGET MATERIALS
SPECIFICATIONS
TOTAL COST
DOME CONSTRUCTION Sheet steel 18x 1/8” 4x4 hot-rolled Concrete mix 10x 30kg fast-setting concrete mix Glulam studs 221x 2x4” studs Hardware Sail Cloth 65 panels x 2m2, coverings & geodesic panels Projector 2x LCD & DLP projectors (rental) Grommets 450
$1,225.00 $56.00 $1,425.00 $800.00 $3,200.00 $800.00 $220.00
BALLOON RIG Aerial Cameras Balloon Rig Hardware Signal Shielding Spectra Cord
4x GoPro or similar camera 2x rigs Wire, foam, plastic, strapping 1200ft
$1,200.00 $240.00 $105.00 $400.00 $350.00
OVERHEAD Shop Access Assembly, production, prototyping Supplied by Waterloo CNC Time Joint fabrication $550.00 Fasteners $1,200.00 Tooling $200.00 Setup & Take down tools $1,200.00
EVENT Lighting Sound DJs 150 per DJ Total w/ Overhead
Sub Total x 0.4
$200.00 $400.00 $600.00 $13,171.00 $19,639.40
THE IDEA
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We discovered that one of our larger design problems lay in the joints. Given the small differences between the length of the members of a geodesic, each joint is different from the next by a small amount. Because errors in these small differences could compound and render the dome impossible to build, we decided early on that Computer Numerical Control (CNC) manufacturing was the best choice for the project. While a number of different things affected our decisions in regards to the design of the joints and the selection of the axial members, in our case availability had the greatest influence over our choices. We looked at proper loading
values and realized we would need to use Laminated Strand Lumber (LSL) to construct the dome, which affected the possibility of using the wooden-joint system we had originally designed. So we started to look for a new solution. Laminated Strand Lumber was available to us at a discounted cost thanks to personal connections, but its aesthetic and ease of manufacturing were especially appealing to us. With this material in mind the design of a joint became incredibly straightforward. We opted for a sheet steel joint as soon as we knew we would have access to CNC steel machining in the form of a Plasma Cutter at Paris District High School.
This capability was supported with access to a traditional machine shop at Hamilton Stamping, where we would put the finishing touches on the joints. We worked hard to start fabricating components of the dome before our team separated for the summer term. The first part to be prototyped were the steel joints; the first version of our joints were cut out in early June. This enabled us to complete a full prototype of one triangle section, designed with single members. Having this first prototype and witnessing our project slowly coming to life was extremely rewarding. It gave our team the morale boost we needed to keep pushing the project forward.
P ro t o t y p i n g Building at 1:1 as early as possible was an effective way for us to get a sense of the project and make informed decisions. The first scheme is never the right one, but seeing where changes need to be made is often difficult until you can start manipulating a proper prototype. We built one prototype, a single triangle of the dome. Our initial scheme was for a 12m-diameter dome using only 2x4 studs as axial members. But when we built this at 1:1 we quickly realized we were well oversized and overloaded. This led to a more rigorous structural investigation that allowed us to properly scale the dome and its supports.
Connor with our prototype section
17
PLANETERRAEUM
Set-Up For a group of architecture students, it took us a surprisingly long time to figure out how exactly we were going to build the dome. We were always unsure of the cost of scaffolding because of different sources, price ranges and suppliers. We did not include it in our budget at the beginning, as we were constantly trying to find an efficient way to lift the dome in to place from built sections – perhaps using a tiltup-slab or gridshell method. Of course we had overlooked the obvious answer (scaffolding) and spent hours dreaming of ways the dome might come together. While it would have been fun to design a self-assembling geodesic structure, that lay far beyond the scope of our study. Ultimately we used standard North American Scaffolding as it worked excellently and was available through a member of the team. The lesson here: don’t try and over-think what could be a simple solution.
Patrick and Keegan on the scaffold (available through a team member). This helped us reach the taller sections of the dome
PROTOTYPING + DEVELOPMENT
18
M a t he m a t i cs a n d Modeling [1] The Geodesic A geodesic’s geometry is based on an Icosahedron - a platonic solid with 20 faces: each face is an equilateral triangle. We subdivided each face of the Icosahedron by projecting the midpoint of each edge onto the sphere which circumscribes the solid. This level of subdivision is commonly referred to as a ‘2V’, the icosahedron representing ‘1V’, the number increasing with more levels of subdivision. For example, the Biosphere in Montreal is a 16V. The shape is given to us ‘by nature’ so there’s not much formal designing to do - we make a slight adjustment at the bottom ring to let the dome sit on level ground, and the rest is left for detailing. STRUCTURE BREAK-DOWN Members: 50 8.2ft/ 2.5m 35 9.3ft/ 2.83m 5 8.3ft/ 2.53m Total Length 778ft/ 237m 90 Members Joints: 10 6 20
2V (Planeterraeum)
3-way 5-way Joints 6-way Joints
180 Connections + 10 to Ground 380 Bolts 3/8” ATSM Grade 5 380 Nuts 380 Lock Washers 760 Washers Panels: 10 1.75m2 35 1.37m2 5 1.24m2 78.5m Total
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1V (Icosahedron)
PLANETERRAEUM
4V
[2] Building a Digital Model We constructed a virtual model of the dome in Rhinocerous (NURBS 3D Modeling program) in conjunction with Grasshopper, an add-in computation tool that allowed us to include structural analysis, smart measurements and useful feedback in our design model. As we scaled the dome, we saw loads, weights, specific measurements and costs update live. In a more free-form design space, this kind of holistic model would have enabled iterative computer solvers to optimize aspects of design. Because we were on a schedule, developing these tools fell outside of our study’s scope. Later on, we used SolidWorks Simulation to check the performance of our joints under maximum loading.
Dome digital model
Dome Grasshopper script
PROTOTYPING + DEVELOPMENT
20
[3] LSL Selection Our dome was constructed with Laminated Strand Lumber (LSL) members. LSL is heavy and can be expensive, but we were able to find a supply at roughly $1/foot, and it’s structural properties, as well as trueness, made it appealing to us.
TECHNICAL BULLETIN TB-306
Allowable Axial Loads for Weyerhaeuser Columns Framer
We ordered 2x4 nominal (38x89mm) sections of LSL, doubling-up to build 76x89mm members with bolt-holes through the 89mm wide face. LSL has a density of 705kg/m3. (44lb/ ft3 for comparison, water is 1000kg/m3, steel is 8050kg/m3) We calculated the weight of all members as follows: Total Length: 237.32m Volume of LSL: 237*0.089*0.076m = 1.605m3 Total Weight, LSL: 1131kg
For our dead load calculations, we added an additional 400kg to account for the joints and hardware, as well as the cloth panels, although those systems had an estimated weight of less than 150kg.
May 2013
Series®
Lumber (lbs) Column Size
Effective Column Length(1)
(2) 2x4
(3) 2x4
(4) 2x4
(2) 2x6
(3) 2x6
(4) 2x6
6'
4,080
9,655
12,880
6,205
14,260
27,860
7'
3,260
7,980
10,645
4,990
12,490
25,270
8'
2,640
6,650
8,870
4,060
10,800
22,670
9'
2,175
5,600
7,470
3,355
9,305
20,205
10'
1,815
4,765
6,360
2,810
8,035
17,970
12'
1,510
4,095
5,460
2,345
6,975
16,335
3,165
4,225
5,435
13,190
14' (1)
Grade = M9 for effective column lengths ≤ 10' and M12 for effective column lengths > 10'.
1.3E TimberStrand® LSL (lbs) Effective Column Length
Column Size (2) 2x4
(3) 2x4
(4) 2x4
(2) 2x6
(3) 2x6
6'
4225
9710
12945
6640
15470
29160
7'
3355
8015
10690
5275
13510
26525
8'
2710
6675
8900
4260
11575
23780
9'
2225
5620
7495
3495
9880
21120
10'
1855
4790
6385
2915
8470
18705
12'
1340
3580
4775
2105
6355
14760
2770
3695
4905
11840
14'
1.3E TimberStrand® LSL (lbs) Column Size
Effective Column Length
3½" x 3½"
3½" x 4⅜"
3½" x 5½"
3½" x 7¼"
6'
7550
9440
11865
15640
18610
7'
6235
7795
9800
12915
15365
5195
6490
8160
10755
12795
9'
4375
5465
6870
9060
10775
10'
3725
4655
5850
7715
9175
12'
2785
3480
4375
5770
6860
14'
2155
2695
3385
4465
5310
LSL material properties
PLANETERRAEUM
3½" x 8⅝"
8'
1.888.453.8358 ● www.woodbywy.com
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(4) 2x6
[4] Load Analysis DEAD LOADING Each member was assigned self-weight based on it’s volume as discussed before, in addition to the added 400kg, which is distributed throughout the structure. All dead loads are factored by 1.25 for safety. WIND LOADING We designed to a wind-speed of 20m/s, or 72 km/h, based on historical data. We should also note that the Dome was situated in an urban park, surrounded by trees taller than 10m, which provided ample wind shading. The distribution of wind-load is more complicated than dead load. In the absence of full Computational Flow Dynamics (CFD) or wind-tunnel time, we had to approximate as best as possible. Thankfully, these approximations were provided to us by the American Society of Civil Engineers, and laid out in the Guide to the Use of the Wind Load Provisions of ASCE 7-02. Wind loads are distributed on the surface of the dome as pressures at normal to the surface. This drawing shows typical pressure distribution on a dome of a similar size. We used this distribution, with typical stagnation pressure (250Pa) in the middle of the domain, between 400Pa in max positive pressure and -100Pa at max negative pressure. The design of the Dome accounts for wind loading in a number of ways. First, the cloth panels are down-sized so the dome is not a closed surface. A gap of 300mm between each panel lets air-flow through - the dome’s surface is only 0.65 solid.
Exemplar dome pressure distribution
PROTOTYPING + DEVELOPMENT
22
Simulation of the structure under 5m/s breeze and dead loading, pressure loading vectors shown at vertices
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PLANETERRAEUM
Structure under 20m/s wind loading
2.4 2.4
kN Compression Compression
00
kN
2.3 2.3
kN Tension
PROTOTYPING + DEVELOPMENT
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CONSTRUCTION 1
Joint Fabrication
2
Processing Lumber
3
Sail Panel Preparation
4
Foundations
5
Test Build
6
Projection Mapping
7
Drone Fabrication and Testing
J o i n t Fa bri cati on Joint design was finalized in May after we were able to confirm LSL as the material of choice. We ordered 16 gauge mild sheet steel from a metal supplier in Brantford. We had the joints cut on a plasma cutter at Paris District High School – an invaluable tool available to us through an old teacher. The final design was heavier and wider than previous iterations, allowing for a safer final product. They were folded and drilled at Hamilton stamping, and we cleaned and painted them at school, which added some weather proofing – mild steel would have rusted away very quickly. Also, at the end of August we cut one sail panel piece to test our assembly
system. Upon doing so, we found that the current size would not provide enough material for a good projection. The panels could not fill the wood triangle, or else wind loading would have been too high. As a result, we had to make the dome porous to decrease wind loading. We offset the sail panels into the interior of the dome’s structure. By shifting the panels towards the interior of the dome, we were able to create a wider gap between the joints and the sails than if we had decreased the size of the triangles further. Using 10” steel pipes through the centre of each joint, and drilling holes through their centre as mounting positions, we were able to create quick assembly for the sail panels.
above: 5-way joint as constructed left: Plasma cutting steel joints right: Stacked joints after painting
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PLANETERRAEUM
This configuration proved to be very strong while using a minimal amount of material (about $400 worth of steel for all 36 joints). This is partially because as the dome is a fully triangulated structure, the joints don’t need to carry any rotational or bending loads. Minimizing their size and pulling the two sides away from reach other increased the effective moment of inertia in the structure, meaning that the material we used does the work efficiently. The pin through the center (used predominantly to hold the sail panels properly) helps to constrain the large back face from buckling.
Finite Element Analysis (FEA) validation of joint design
Detail section
CONSTRUCTION
28
Joint assembly
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PLANETERRAEUM
Processing Lumbe r By September, the joints were cut, folded and ready for painting. With a larger team returning from their co-op term, we started on the final phase of construction. Our lumber arrived on a flatbed – 100 2x4x16’ LSL members ordered from the manufacturer. We set up repeated-cuting jigs in the shop and cut these down to size over the next few days.
Cut, drilled and laminated Laminated Strand Lumber (LSL) members
The holes for attaching the members to the joints were drilled ½” – a little larger than the 3/8” bolts. This allowed for some acceptable error in assembly, a small detail that ultimately made set-up far easier. In our first prototype we had not given enough room for movement in the joints. The second time around, we wanted to make sure there was some give in the structure to ease set-up.
Unloading wood members for the event
CONSTRUCTION
30
above: Sails following collections from Toronto sailing clubs left: Elliot cutting sails to size right: Jake burns the edges of the sails to prevent fraying
Sa il Pa n e l P re parati on We opted to use recycled sails as projector screens, as they were readily available through team contacts at various sailing clubs around Toronto. Sails are often thrown out at the end of a racing season, so we simply collected those discarded sails for free. Purchasing projector screen material may have cost up to $3500. Preparing the sails did, however, occupy a great deal of our time, as we had a total
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PLANETERRAEUM
of 40 sails to prep. They had to be cut to one of three particular sizes, melted along their edges to prevent fraying, and finally grommetted at the corners and tied off to bungee line. We used bungee as a tieoff as it held the sails tightly whilst still allowing for deflection in case of heavy wind loading. The sails were also of different makes, some being more opaque or cleaner than others. Because of this, we tried to plan where each sail would sit,
and come up with priorities for the more opaque sails. The more opaque sails were for the projection while the others went along the top or bottom rings. We also prepared a set of replacement triangles (approximately 10) that came in very handy at the event. Given the number of sails to prepare, we called on volunteers and hosted an event – the ‘bungee party’ – where we offered
above: Ali oversees work on the sails left: Keegan burning grommet holes with a heated pipe right: James prepping a bungee connection at our “Bungee party”
snacks and beverages for help cutting bungees to size and tying them off to sails. This turned potentially three weeks of work into a few nights. Once the sails were cut, burnt, grommetted, bungeed and the offset pipes were made the sails could simply be hooked into place. The offsets ended up creating an interesting effect during the day – light seeped through the space between sail
and segment while the sails glowed slightly from the backlighting of the sun. At night, the gap allowed light from the projectors to spill out of the dome and onto the surrounding landscape. The effects of reducing the wind loading could also be seen on the inset sails, as they moved slightly in the wind. Without this clearance gap, the sails may have deflected a great deal more.
CONSTRUCTION
32
F o u n da t i o n s We were not able to stake into the ground on-site, as per Toronto Parks by-laws. As a result, we had to hold the dome down with relatively heavy concrete foundations. We cast them with small steel plates embedded in the concrete that would bolt into joints along the bottom of the dome. The foundations were sized based on the tipping force acting on the dome during a 75-km/h gust. Each foundation was 45kg, with 10 foundations placed around the radius of the dome. When we decreased the dome from a 12m to an 8m radius, the dimensions of the triangles and therefore that of the entranceways also decreased. The foundations raised the dome off the ground another foot or so, making the entranceways taller.
Jonas pulls a foundation out of the form
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PLANETERRAEUM
above: The team working into the night pouring the concrete left: Daniel finishing off the foundations
CONSTRUCTION
34
Group meeting discussing construction and take-down process
Test B ui l d To test construction methods, we erected the dome behind our school during the month of September. This allowed us to resolve outstanding issues and finalize some design decisions. Firstly, we assembled the lowest sections flat on the ground and raised them to form the first ring. We then raised the scaffolding in the interior of this ring and started on the second tier, which
35
PLANETERRAEUM
built member-by-member. We worked around the dome until it was again fully triangulated and stood on its own. At the third row the members began to hang inwards and required support from the ground level. The fourth met a similar difficulty. In either case, it became easier to assemble as the ring took on shape and began to support itself. We were lucky enough to host a few events in the dome while it was set up at school, to get
people excited about the project and also allowing us to gain a sense of what it felt like when occupied. Once built, we were able to have a firsthand view of what specific projections looked like with specific lenses. This way we were able to properly judge lens requirements and had enough time to talk with our sponsor Christie about the projector set-up.
above: The team after the completion of the test build behind the School of Architecture right: The dome in various stages of construction during test-build
CONSTRUCTION
36
P ro je c t i o n M a p p i n g Projection mapping was one of the components we accidentally neglected until the end of our construction process. This was partly due to a written agreement we had with a company who said they would sponsor us with an in-kind donation of one of their new spherical cameras. However, one month prior to the event, we had still not yet received the camera. We quickly realized that we needed to find another way to capture a 180-degree view from the quadcopter, and fast. Waiting for this product meant that we did not start filming footage and practicing projection mapping until September. In hindsight, we should have always planned for a backup. We went through numerous solutions, including fisheye lenses or even using light reflections. The final solution, which was also the most simple, achievable and reliable, was to attach five GoPro cameras to the base of the quadcopter and pair these with five projectors within the dome. The quadcopter had to be rebuilt to carry a greater load (five GoPros instead of one spherical camera). We got to work by first contacting Vistek from Toronto for camera support.
1.5-1.89 Lens throw model
1.22-1.55 Lens throw model
At the same time, the test build was under way, and we received a projector from Christie Digital to test lens angles and lens throw. Realizing that the current lenses would not reach the top of the dome, we were able to request a lens with a wider range. By the time we had all of the necessary equipment together it was the day before the event – and the projection mapping software was not running properly. Not having enough time for a full trouble shoot, we eventually turned to an analog solution and taped over the corners of each projector where the footage overlapped so there was a better fade between cameras! 0.9-1.22 Lens throw model
37
PLANETERRAEUM
above: The dome disassembled left: Projector mounts right: Testing 1.5-1.89 lens from Christie Digital
CONSTRUCTION
38
The view from out autopilot’s downlink software (APM Planner 2.0)
D ro n e D e s i g n an d Tes ti n g For the drone’s flight controller, we used the open-source ArduPilot drone system, which is based on the Arduino hardware and software. Everything else was designed, cut and assembled in-house. This made the operation relatively cheap, but not as reliable as it needed to be. In the month leading up to Nuit Blanche, we tried to pull together as much aerial footage as possible for display. We secured five GoPro cameras from Vistek about
39
PLANETERRAEUM
three weeks prior to the event, which meant that we were able to capture footage ahead of time. However, there was not that much time left and our latest hexacopter had only just gotten off the ground. We were finally fully tested and ready to fly when we sadly had two consecutive crashes. First, we had a low-voltage circuit take us down. Following a quick repair we went up again, only to have the entire
flight controller shut down 50m up in the air. After that, the hexacopter was sadly beyond repair. That night we designed and built another quadcopter (which has still yet to crash!). This was the machine we took with us to Nuit Blanche. Overall, we collected 25 minutes of usable footage before the crash, and 20 minutes after the crash, mostly in the day immediately before Nuit Blanche.
above: Jake and Ethan before a test flight right: Flying in the field: controls transmitter, laptop to receive data, and a friend to keep eyes out
CONSTRUCTION
40
Capture from an early 1000m test flight which ended in a frame-destroying crash
41
PLANETERRAEUM
150m above the quarries surrounding Cambridge, taken with our final quadcopter used for the event
CONSTRUCTION
42
It’s well known that small drones are not the most reliable aircraft
43
PLANETERRAEUM
The truck served as an excellent base camp for on-site quadcopter fixes, battery charging etc.
CONSTRUCTION
44
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SPONSORSHIP + FINANCES 1
The Sponsorship Package
2
In-Kind Donations
3
Nuit Blanche Correspondence
4
Budgeting
T h e S po n s or s h i p Packag e Raising money for a project is similar to finding a job – you send countless emails to firms, companies and family friends asking for help. Upon realizing that our project would require thousands of dollars in sponsorship, the project took on a different tone. Sponsorship quickly became a matter of professional correspondence. Cold-calls and out-ofthe-blue emails turned into meetings and conference calls, and asking for money turned into setting up accounts and giving signing permissions. All of a sudden, everything felt a bit more real. We were dealing with real expectations and other peoples’ money. There was a huge learning curve here, as no one in
our team had previous experience with sponsorship and managing a real budget. The sponsorship package was our attempt to show off and prove that our project was possible and a sponsor’s donation was worthwhile. After looking at a couple of example packages, we recognized what they had in common. With that in mind we went about building our own (see next page: sponsorship package contents). Donations can come in two different forms: in-kind; the donation of a physical component to be used in your project such as equipment, materials, tools, and monetary; the donation of funds to be used in purchasing parts of your project. In-kind donations are useful for items
that you either could not afford or which come in the form of human assistance or consultation. For us, in-kind donations included items such as projectors and lumber, while monetary donations supported all of our hardware, materials and tools. Sponsors will sometimes specify what their money is to go towards, while other times the destination is in our control. In this situation, the money should be directed towards the closest fully fundable item. Having a planned budget that can be distributed and referenced is very important to have. You should always be able to explain to sponsors exactly where their donation is going.
[1] SPONSORSHIP PACKAGE CONTENTS
PRESENTS
1. Cover 2. Pretty graphic 3. About us: Nuit Blanche, F_RMlab, Planeterreaum 4. More pretty graphics 5. Previous built works 6. Proposed project schedule 7. Budget 8. Sponsorship opportunities 9. Sponsorship representation 10. Yet another render 11. Site plan and floor plan 12. Contact details
THE IMPORTANT PARTS
PLANETERRAEUM
A proposal for Scotiabank`s 2014 Nuit Blanche
PREVIOUS BUILT WORK
PLANETERRAEUM NUIT BLANCHE
6
1. COVER Don’t read a book by it’s cover, but first impressions are definitely important.
MATERIALS
FIELD GUIDE
http://frmlab.com/2013/04/28/field-guide-at-grow-op/
An interactive architectural installation completed within F_RMlab
2. GRAPHIC Not mandatory, but we are architecture students, so why not show off what we do all day. 5. PREVIOUS BUILT WORKS Works produced by team members involved; showcasing our achievements and proving our credibility as a team to produce a project. 7. BUDGET (equally as important as schedule) Gains trust if the potential sponsor can already start to see where their money is required.
The Field Guide installation at the Gladstone Hotel’s 2013 GrowOp event involved computational design strategies in correspondence with an interactive interface and a series of digitally enabled modules in a field; in order to create a synthetic landscape. This landscape mapped out relationships between human interaction, natural agents, and their environments in order to create an interchangeable information network. In this processing of data and information, the goal of the project was to examine the potentials of an integrated and responsive landscape.These ideas took the form of a responsive field of modules in a canopy that responds to the movement of people, their body heat, and their interaction with the landscape and with each other.
BALLOON RIG Aerial Cameras Balloon Rig Hardware Signal Shielding Spectra Cord OVERHEAD Shop Access CNC Time Fasteners Tooling Setup & Takedown tools
SubTotal Overhead
ATLAS HUMAN POWERED HELICOPTER
SPECS
QUANTITY
TOTAL COST
1/8" 4x4 Hot Rolled Fast Setting Concrete Mix 30kg 2x4" Studs
18 10 x 30kg 221
Coverings & Geodesic Panels LCD & DLP Projectors (RENTAL)
65 Panels x 2m^2 2 450
1,225.00 56.00 1,425.00 800.00 3,200.00 800.00 220.00
3 x GoPro or Similar Camera
4 2
Wire, foam, plastic, strapping 1200ft
Assembly, Production, Prototyping Joint Fabrication
1,200.00 240.00 105.00 400.00 350.00
Supplied by Waterloo Architecture 550.00 1,200.00 200.00 1,200.00
150 per DJ
Jams, snags etc...
9
0.4
200.00 400.00 600.00 13,171 19,639.4
http://aerovelo.com
Completed outside of F_RMlab with the U of T affiliated group AeroVelo, the Altas Human Powered Aircraft was completed in August of 2012 and took the Sikorsky Human Powered Helicopter Prize in June 2013. Planetterraeum's lead engineer was a member of the AeroVelo team, where he designed tooling and production processes for this 40x40m aircraft.
SPONSORSHIP OPPORTUNITIES
PLANETERRAEUM NUIT BLANCHE
10
SPONSORSHIP OPPORTUNITIES
PLANETERRAEUM NUIT BLANCHE
SPONSORSHIP OPPORTUNITIES We are grateful to all forms of sponsorship: monetary or product sponsorship. Both monetary and product sponsorship will receive the same benefits for the net value of their sponsorship. We hope you can help us reach our fund-raising goal of $20,000. We are open to discussing changes to the sponsorship representation with individual parties. The budge is broken down into construction costs, logistics and labour. The cost of materials reflects the market value, but it is our hope that much of this will be sponsored directly by the manufacturers or their distributors.
BRONZE: Donations $0 - 299
9. SPONSORSHIP REPRESENTATION To give a visual understanding of the scale of the project and sponsor representation ** make sure to follow through with this and if designs change, email your sponsors first.
GOLD: Donations $700 - 1,499
PLANETERRAEUM
DOME CONSTRUCTION Sheet Steel Concrete mix Glulam Studs Hardware Sail Cloth Projector Grommets
PLANETERRAEUM NUIT BLANCHE
EVENT Lighting Sound DJs
8. SPONSORSHIP OPPORTUNITIES We had four main categories that were arranged based on the total required.
47
BUDGET
Regular updates on the team's progress and success Media rights and DVD of 12-hour footage of Toronto Sponsor's logo and mention on pamphlet Website recognition
SILVER: Donations $300 - 699 All of the above benefits Sponsor's logo on media packages and staff t-shirts Sponsor's logo (small) lasercut onto illuminated panels by entrances
SPONSOR
All of the above benefits Sponsor's logo (medium) lasercut onto illuminated panels by entrances Sponsor's logo projected on lower ring of dome for 30secs every hour
PLATINUM: Donations >$1,500 All of the above benefits Sponsor's logo (large) lazercut onto illuminated panels by entrances Sponsor's logo projected on interior of dome for 30secs every hour Additional negotiable benefits for increased sponsor recognition
TITLE SPONSOR: Donations $5,000 All of the above benefits Sponsor's logo (large) lazercut onto illuminated panels by entrances Sponsor's logo or add projected on interior of dome for 30secs every hour Additional negotiable benefits for increased sponsor recognition
A detailed section showing relative scale and sponsorship plate design.
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Subject: Nuit Blanche Planeterraeum Installation Date: --Dear ---, My name is --- and I am following up on our phone call earlier regarding the Nuit Blanche installation Planeterraeum. FRMlab’s Planeterraeum team is made up of 17 students from the University of Waterloo’s School of Architecture and our work was selected to be included in Scotiabank’s Nuit Blanche 2014, a temporary artist’s takeover of downtown Toronto. In 2013, estimated attendance to the event exceeded one million people and included more than 190,000 out-of-town visitors. We’re excited to exhibit our work in the city: a 40’ diameter geodesic dome whose interior is covered with a live projection of Toronto’s birds-eye-view from 500’ up. We think the view of our city from above carries an exciting sentiment. The project is going to be located at Gore Park with an optimal view of Toronto’s skyline and the lake. In addition, the project is self-funded and as I mentioned we are looking for our last portion of sponsoring. We are looking for another $3,000 to complete the project and this includes all of the final construction costs that will be required to put the dome together. We would be extremely grateful for any financial aid. A sponsorship package is attached that outlines our project and the ways we can compensate you for your help. In addition to the outlined methods we would prepare a post-event presentation package including a collection of photos of the event, video footage and material, all featuring ____ name. Please take the time to consider it, and we’d love to hear anything you have to say. Sincerely, --http://frmlab.com/category/dome/ University of Waterloo School of Architecture
Sponsorship email template
[2] THE ‘COLD’ CALL 1) Call everyone and anyone, honestly, everyone. What’s the worst thing that can happen... They say no, oh well, you try again. 2) Be polite and respectful no matter what. Expect a lot of “No’s”... 3) Ask to speak directly to a partner / head of outreach / ect, who will be able to help you more directly I feel bad admitting how many receptionists unnecessarily heard the whole “Planeterraeum spiel”. 4) Understand every aspect of the project ex. Even if you aren’t a robotics fanatic, understand the basics of the hexacopter, just enough so you can answer questions should they ask for details. 5) Don’t throw too much information down the phone: just the bare basics. If they are interested they will ask for more information.
[3] THE ‘LUKE WARM’ EMAIL You have called them, now its time to follow up with a more descriptive email, your chance to reel them in. This was our approach to the email process. We wanted the potential sponsor to: 1) open the e-mail (actually difficult) 2) read the e-mail 3) open the attachment this is your hook, line and sinker aka pretty drawings and renders of the fantastic project 4) respond Easy enough when we put it in a numbered list of four items, but a little harder in practice.
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Laser cutter template for sponsorship panels
In - K i n d D o n a t i on s After the sponsorship package was complete, we turned and evaluated our personal networks, looking to each members’ contacts for support for our specific sponsorship needs. In some instances, we target sponsors based on equipment requirement – audio visual companies for projectors and tech support and lumber suppliers for in-kind donations instead of cash. Some of these
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were successful, some weren’t. Where we were successful, the connections we made established personal relationships with the sponsors, some becoming interested in future collaborations. We found that it was a lot easier securing in-kind donations rather than cash sponsorship as the product was directly applicable to the project. It made for a better marketing opportunity for the sponsors to see their products in action. We maintained
sponsor relations throughout the project with monthly updates and photos of our progress.
t.W
as S
Dund
s
April 4, 2014
ite ome s tial d poten ughly o are r diameter 20m in
Ossin
To: frm lab - Connor O Grady and Jake Read Planeterraeum
gton Ave
connor.ogrady@frmlab.com
Dear Connor and Jake, Thank you for your recent submission to participate as an Independent Project in this year’s Scotiabank Nuit Blanche taking place on October 4th, 2014. We reviewed over 120 applications covering a broad spectrum of contemporary art. Each proposal was thoroughly reviewed by the Artistic Advisory Committee and Toronto Special Events staff. The Artistic Advisory Committee is a volunteer committee of practicing visual arts and media arts professionals, including artists, curators, programmers, etc. Members represent a broad spectrum of artistic disciplines and practices, and have direct experience in the Toronto visual and/or media arts community. An artistic assessment of each submission was made based on the areas outlined in the application guidelines.
le, ark xamp ds P For e Bellwoo y Trinit
lanch
nuit b
Dome Site 8.2mSite in diameter, plan concrete bases at 3m inter-
I am pleased to inform you that your submission has been accepted by the event’s Artistic Advisory Committee. Your project has been selected as an official Independent Project for Scotiabank Nuit Blanche 2014. The next stage in our process is for you to sign a Letter of Agreement with the City of Toronto which outlines the relationship between yourself as "The Artist" and the City of Toronto as "The Producer" of Scotiabank Nuit Blanche. This letter will be e-mailed to you in the next few weeks along with an orientation package that includes a calendar of all event dates and deadlines for your reference. This letter will also have an access password to our online content management system. We look forward to working with you again this year, and encourage you to contact us with any questions. Sincerely,
Power Access Vehicle Access
TORONTO, ON
above: Original site proposal for Trinity Bellwoods Park, Toronto below: Final site map for Gore Park East, Toronto
Julian Sleath Programming Manager Toronto Special Events Toronto City Hall 100 Queen Street West th 6 Floor, West Tower Toronto, ON. M5H 2N2
left: Scotiabank Nuit Blanche project acceptance letter
T: 416-395-0249 E: jsleath2@toronto.ca
www.toronto.ca/special_events
W n St. Quee s event e 2013
www.scotiabanknuitblanche.ca
N. B. C o rre s p on d en ce One hurdle we were not prepared for was the bureaucratic side of Nuit Blanche, whose team we ultimately relied too heavily on for siting. We started looking for a site as soon as Nuit Blanche notified us that we had been selected for the exhibit, on April 4, 2014. Our site was finalized with our official City of Toronto Park Permit on October 1, 2014 – three days before the event. The size of our project prevented us from being located
in the downtown core, and our flying robot needed airspace. These parameters were hard to meet in Toronto until we finally landed on Gore Park. Gore Park was located on the fringe of the main Fort York Zone. Although this meant reduced foot traffic through our exhibit, there were many perks that came with being outside the central exhibition zone. Logistically, Gore Park was perfect.
The park gave us direct access to the site for our truck and vehicles to off-load and load. In addition were positioned just off of Lake Shore Boulevard, meaning that every commuting car saw our geodesic dome from Oct. 3rd-5th. We also had some freedom when it came to the noise we could produce. We were far away from any residential buildings, meaning that while still keeping in mind sound bylaws, we could push the limits a little.
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BUDGET SUMMARY PROJECT SPONSORSHIP AND SPENDING
Bu d g e t i ng Budgeting for the dome was tricky – the design was changing constantly as we were building the budget. Moving from cardboard tubes to engineered wood, from purchasing a balloon to building our own hexacopter, we weren’t sure where our final figures would land. A budget should include everything you know you need, everything you might possibly need, and then some
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extra room for monetary contingency. Distinguishing between items you will purchase with sponsorship funds and ones you will ask for as in-kind donations is important, as it gives you two final amounts: the value of your project, and how much you need to raise. Our budgeting marathon started a few weeks into the project and lasted until the end of our work on the publication. While each team member had their own
area of expertise and responsibilities for the project, constant communication between all members was a priority. We included each other in every single email we sent (so many emails!), meaning we were all familiar with every aspect of the project. We could not let any detail fall through the cracks when we were spending other people’s money with a promised end product.
ACTUAL COSTS MATERIALS
SPECIFICATIONS
TOTAL COST * donated
DOME CONSTRUCTION Sheet steel 4x 16ga 4x8 hot rolled sheets Joint prototype 12 Gauge 2x3 hot rolled + others Concrete mix 10 bags fast setting concrete mix 30kg Foundations mixing buckets, shovel LSL 2x4” LSL Cut by Length, 1556ft Used sail cloth 135x coverings & 2x2m panels Projector 5x Christie Projectors M14
$362.73 $104.99 $88.46 $38.22 $2,210.62 $3,200.00 * $1,200.00 *
HARDWARE Grommets 165 x 3/8” brass #4 Bungee 150-170x chords
$115.50 * $115.44
HARDWARE AT JOINTS Brafasco 375x bolt sets Rona 5x bolt sets, 14x & joint Home Depot nuts, screws
$215.02 $83.39 $8.15
HARDWARE AT DOUBLING LSL Sail tools and foundation forms 4mm Marine ply
2x soldering irons 2x sponsor panels
$276.66 $119.78
HEXACOPTER / QUADCOPTER Aerial cameras 5x GoPro (copter), + 2x GoPro (event) $1,200.00 * Hardware $243.00 Batteries 2x 5800mah 3s. $94.97 Autopilot ArduCopter with GPS $111.49 Lights 20,500 lumen LED’s $52.58 Lights blinker small Arduino, MosFETs, Breadboard $58.30 Regulators, spare propellers $76.21
TOOLING Shop access assembly, production, prototyping Laser cutting joint fabrication Bits 1/2” cobalt drill bit Tilt box sophisticated level Tube steel & drill 5/8” for offsets ect. Brafasco, Metal Supermarket
$1,000.00 * $1,350.00 * $21.99 $55.89 $167.85
EVENT Generator Floodlight, gas cans, extra fuel ATPH printing sponsorship panels (plan B) Extension chords HDMI chords, Camera batteries Lighting Sound DJs Setup / Food T-shirts Parks fee Total w/ Overhead
Sub Total x 0.1
$216.00 $494.00 $283.00 $730.00 * $482.00 $500.00 * $370.00 $750.00 $185.00 $550.00 $832.00 * $15,225.78 $16,748.36
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FINAL 48 HOURS 1
Scheduling
2
Loading
3
Set-Up
4
Drone Flights
5
Party Planning & Promotional Material
6
Press Release
7
Unexpected Costs
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The Night Of: The Music
P L A NNING SP R E A D SH E E T
S ch e du l i ng Although we didn’t exactly adhere to it, we had a plan for the night of the event prepared ahead of time. It was an important step in the planning for us, even if we didn’t stick to it on the night. The prospect of eight months worth of work going wrong in one night was scary and there’s something comforting about lists and schedules with a project of this size.
night. We also had to work out where everyone would sleep (or not) and how the 20+ team members would be travelling to and from the city. Luckily for us, the combined resources at our disposal proved to be more than enough – between us there were four cars and six houses available within the Toronto area. We were also able to get help from friends outside of the school for on-site work.
As an independent Nuit Blanche project we were responsible for the security of the event and the site. We had to provide security personnel alongside garbage and recycling bins. We needed to make sure that there were five people on site at all times during the course of the
We arrived on site the morning of October 3rd at around 8am, after leaving Cambridge at 6:30am. There were scheduled thunderstorms in Toronto for the afternoon. Our goal was to have the structure assembled before these rains arrived. As it turns out, we had perfect
timing; just as we got the last member in place, the rain started and lasted the entirety of the night. Our test build at school had definitely prepared us to assemble the structure quickly, with at least eight of the team members being familiar with the process and able to guide the whole operation. Meanwhile, other groups of people were able to start prepping other parts of the exhibition. Our site was protected by Toronto’s Exhibition Place to the southeast, but was open to the southwest. In case of wind shifts, we needed to reinforce the sail panels... As you can see we weren’t leaving anything to chance at this point.
L o a di n g The size of a transport truck is a standard constraint for a lot of design/build work. Luckily for everyone involved, the 8’ unit has been developed with humans in mind; these trucks have been designed around similar constraints to those we used to size our members. This 8’ constraint was one that stayed with us in the dome’s design. No member of the construction is larger than 8’ – in fact the largest is 7.95’- which also meant that we were able to avoid wasting material that arrived in 8’ or 16’ sections. When we took the dome down, we broke it apart into the largest possible pieces which would fit inside of the 20x8’ Rudolph’s Bread truck that we received for the trip to Toronto. This meant that when we got to the site, most of the bottom ring was already constructed.
The team loads up before Nuit Blanche
There were also stacks of nuts and bolts, tools and emergency hardware, camera equipment, sails, foundations, one table and sleeping bags piled in the back along with the rest of the dome. We just barely fit everything on board!
Logistics diagram
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Setup - O ctober 3 rd At about 8am on Friday morning we arrived on site for breakfast and started unpacking the truck. Those who were first on site laid everything gout and found a suitable location for the dome within our site. Once the remainder of the team arrived, we started to assemble the dome. Our pre-built segments quickly formed the bottom ring of the dome, and we were at the third and fourth layers in record time. Having a second set of scaffolding and a lot of excited energy definitely sped up the process a great deal.
Daniel preparing the first layer
We were keeping an eye on the weather the whole time; forecasts had called for heavy rain, but the sun stayed out long enough for us to get the structure together before a cold rain set in.
Jake and Aaron bolting the dome to the foundations to ensure structural stability
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It was important to make sure the first layer went together accurately to avoid compound error at the top
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Daniel and Patrick tighten the second ring
Safety first; Tony supporting the fourth ring
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Third ring going up on site
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Setup - O ctober 4 t h The second day on site was more intense. We needed all of the sail panels in place and all of our audio/visual systems set up. Different teams of about four set out to complete different tasks: there was wiring to be figured out, drone and bicycle footage to take, video to edit and sails to rig. Sponsor panels were being printed, and more help was on the way. The photographers and videographers were hard at work taking shots of everything that was going on and taking time lapses, already preparing and planning the documentation for afterwards. The bread truck offered us a sort of headquarters, a place to sleep and a desk for work on the quadcopter and video editing. The day was a lot of fun – there was no crushing stress, but more an intense excitement over what we were doing. There were, however, a number of unexpected details we had failed to plan for. We only powered the projectors up about two hours prior to the 7pm start time, and we were adjusting the lighting for about 30 minutes into the event.
Installing the sail panels
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Jonas enjoying the view from the top of the scaffolding
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Sail panel attachments
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D ro n e F l i g ht s Flying on site went very well. Our craft was stable, predictable, and responded better in wind than our previous iterations. We opted for GPS-free flights to avoid complication and potentially disruptive radio signals that permeate an urban space. This meant a lot of craned necks for about 15 minutes at a time. We were able to capture some excellent views of the city, all close to the site but still in open space to avoid the danger of flying above populated areas. With a more reliable craft (about 50 trouble-free flights is a good benchmark for reliability) it would have been amazing to capture views at busier locations, but this wasn’t something we were interested in risking. We were without power on site for the first 7 hours on day one of our onsite setup, so we were charging batteries straight from the truck’s alternator. These are the kinds of last-minute changes and fixes that it is important to have tooling for and be ready to adapt to.
Flying without the autopilot on site meant lots of time with eyes in the sky
Quadcopter on site, with downlink receiver visible
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PLA
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AE ERR
Par ty Planning
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UF DJ M
CANOE L ANDING PA R K OCT 4TH - 5TH DJ M UFF H ARV E Y F_ RM L AB NUIT B L ANCH E
U PR SC NIV ES HO ER OL SIT B ENT OF Y O Y ED A F FR & RCH WAT _M IT ER EC L LA TU OO B RE
G IN 701 ORE ST F P AL LE AR LA ET K TI S ON T. 10 3
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CANO E L ANDING PARK O C T 4 TH - 5TH DJ M U F F H ARV E Y F _ RM L AB NU IT B L ANC H E
IN G
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Starting to think about promotions at least one month before the event, and how to get the most reach from your promotions, is extremely worthwhile. While most events give two weeks notice to drum up excitement from potential attendees, there is a lot of planning that must occur well before that as the hosts. Things to consider might be: how far the event is from public transit, and how you might attract visitors to stay for a while at the exhibition. Designing posters for our event was a long ongoing process. It changed constantly as different needs arose. Some versions of the poster were minimalist black and white drawings, while others looked like an advertisement for a concert. We wanted to exhibit a few different ways of looking at the project and try to capture different audiences. These poster variations were attempts at that; in the end resulting in a mix of aesthetics which each lent something to the event. We approached our friends at universities in Toronto to put our posters up on their notice boards and created a separate series to advertise the DJs and music side of the event. One of the major advantages of this approach was that the people who showed up to our installation were there specifically for the dome; not a lot of our guests simply stumbled in, but those who came were there to stay.
Variations on promotional material
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COLLAR LINE SLEEVE LINE
11” x 15” SHEET
TRIM LINE
P ro mo t i o n a l M ateri al This is our final series of posters for the event. After many versions and edits, we went with this colorful edition and then created a series for different media outlets. Our final t-shirt design had to be edited from the previous black version to suit the printers’ specifications and reduce costs.
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Top-left: Official event poster Top-center: Music lineup poster Top-right: Facebook event coverphoto Below: T-shirt design; front and back
11” x 14” SHEET
P re ss Re l eas e Reaching out to the public before the event is critical for a successful turnout. A press release is a more formal introduction that can attract the attention of different groups of people, especially those that cannot be reached by the usual social media outlets. We started by preparing a sending list, which included Toronto blogs, arts magazines, newspapers, sponsors,
friends, galleries, museums, future potential collaborators and any other media contacts we had. Our primary goal was to increase our reach and attract as many people to the event as possible. The Press Release contained a brief synopsis of the event, alongside our list of sponsors, and where and when to find the installation.
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PROJECTED VS ACTUALS
U n ex p e ct e d C o s ts Food, HDMI cords and extension cords were the crux of the unforeseen costs that ran us over budget. We had planned for some extra cost to be spent over the course of the set up, around $1500, but this was not enough. The major unexpected costs came from the systems we were testing for the first time. The HDMI signal became weak over the distance it had to travel (about
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50ft), and the low-cost cables and signal boosters didn’t perform as well as they needed to, forcing us to upgrade to a more expensive system. The cost of food was also far larger than expected; at the final dinner, were there 30 team members to feed. At $7-10 a head, this adds up. Given the location of our site in Gore Park, we were relatively far from a lot of the retail amenities of the city that we
might need. For example, the sponsor panels (which we picked up on the last day) were located at Yonge and Bloor, which was a 40 minute round-trip to pick up. The nearest cafĂŠ was a 10 minute walk, which meant asking team members to find their own food would have meant a lot of wasted time walking to King Street and back.
The Night O f : The M u sic We decided to add another element to the event itself: music. We partnered with a local collective of Toronto creatives called Lex Artis, who regularly host multimedia pop-up parties with local musicians and artists around the city. Lex Artis was responsible for our fantastic lineup of local Toronto DJs who turned our installation into a successful event. People were dancing throughout the night surrounded by our aerial projections.
Toronto Musician Nightizm (left) and Birthday Boy (right) DJing in our scaffold enclosure
We had 12 hours of professional DJs scheduled throughout the night, all underground artists from around the city. The lineup started with Zaid Edghaim and Colourblind, followed by Cosella, RYME and Giorgio Versani. The dance party reached full height with Birthday Boy at 2:30am, followed by Nightizm, while Kasel and Weska played the sunrise set and closed the morning off. The DJs brought their own crowds who were extremely surprised and impressed with the ‘stage’ we had built. We received multiple requests over the night for the dome to be used to host other electronic music events! It was exciting to see visitors staying for longer periods of time instead of merely walking through. Some stayed to experience more of the projections, while others wanted to dance more still congregated to keep warm from the extremely chilly October weather.
Interior of the dome during Nuit Blanche
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D O C U M E N TAT I O N 1
Orthographics
2
Photography
site plan 1:500
Plan Elevation 1:50
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Plan 1:50
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1:50
Elevation 1:50
GRAPH HEAVY X GRAPH HEAVY GRAPH MED GRAPH LIGHT GRAPH LIGHT X GRAPH DASH GRAPH HID
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Section 1:50 1:50
GRAPH HEAVY X
Section overleaf GRAPH HEAVY 75 Attaching theGRAPH sail panels to the top MED levels, reinforcing bungees as we go GRAPH LIGHT 77 Tom captures GoPro footage from GRAPH downtown Toronto viaLIGHT bicycleX GRAPH 79 The quadcopter flying DASH during set-up on site, October 3 GRAPH HID 81 Rudolph’s bread delivery van: our project headquarter 83 Our dome as seen from the street
85 The shadow of the dome cast on the surrounding trees in Gore Park 87 The dome during Nuit Blanche 89 Interior of the dome, with projections of aerial footage of Toronto’s Exhibition Place 91 An entrance to the dome with the DJ booth on the right 93 Crowds starting to gather inside
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IN CONCLUSION 1
Closing Remarks
2
Team Members
3
Index
C l o s i n g Rem arks We did it! I can’t say how proud I am of the team. We came together to make something worthwhile, and to learn along the way, and the project turned out spectacularly. Everyone on board had something valuable to contribute, and I feel that there is a great deal of pride in what we accomplished together. It was an extreme honor to work alongside so many talented individuals. When we set off on this design project, little did we understand what we were getting ourselves in to, but it was a huge relief to know that we had a capable team of friends who we could rely on at every stage. From a group of architecture students we had people
who had experience in sail making, blacksmithing, robotics, writing, graphic design, electrical systems, lighting, sound; and pretty much every other area of expertise. We were able to accomplish every part of the project without having to look elsewhere for help; except for a little professional aid from Christie for the projector set up. Our ability to solve any problem with duct tape and cable ties definitely improved as we got down to the final hours of preparation!
still keeping an eye out for the nearimpossible dreams we might have. We put together a great piece of work and executed it without any major setbacks. Now we get to go forward with what we’ve learned and aim towards more complex and thoughtful products.
None of us are experts by any means, but soon we will be asked to design real buildings and I hope that this work can serve as a useful reference for real-world problems and practical solutions, while
-Jake Read
Hopefully, in documenting it well, our work will also serve as a worthwhile reference for those who are executing a similar production in the future.
DANIEL ABAD
FYSAL AMIRZADA
JONAS CHIN
WESLEY CHU
JAMES COLEMAN
AARON COTE
Construction Coordinator
Graphic Designer
Photography Coordinator
Video Coordinator
Drone and Lighting Tech
Operations Manager
PATRICK HARVEY
TONY KOGAN
LEO LIU
THOMAS NOUSSIS
MICHAEL NUGENT
CONNOR O’GRADY
Audio-Visual Coordinator
Site Coordinator
Photographer
Construction
Workshop Coordinator
Administrator
Tea m M e m be r s
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JAKE READ
MERRICK READ
BRENDA REID
TARA SELVARAJ
ALEXANDRA SERMOL
KEEGAN STEEPER
Director
Construction
Lighting
Lighting
Co-Director
Construction Coordinator
ETHAN SCHWARTZ
MAC VAN DAM
MORGAN WRIGHT
FELIX YANG
HEINZ KOLLER
DAN JESSEL
Drone Technician
Construction
Graphic Designer
Graphic Designer
Workshop Supervisor
Workshop Supervisor
IN CONCLUSION
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Index
Drawings, Diagrams, Images
D ia g ra m s Digital Model Drone Downlink Footage Geodesic Geometry: 1V, 2V, 4V Grasshopper Script Joint Assembly Laser Cutter Template Logistics Diagram Night-Of Planning and Schedule Projection Mapping Diagrams Project Timeline Team Building Sponsorship and Spending
Or t h og ra p h i c s + L ine D raw i ng s 3V Dome Axonometric Detail Section Elevation Initial Joint Detail Plans Site Plan Section
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Offi ci al Documentation 20 39 19 20 29 49 55 54 37 3 7 51
Design Proposal Final Budget Nuit Blanche Application Nuit Blanche Acceptance Posters and T-Shirts Promotional Images Preliminary Schedule Preliminary Budget Press Release Projected + Actual Budget Sponsorship Package Sponsor Email
Str uctural A nalysis 12 52 11 50 65 64 13 14 66 67 47 48
Ren d eri ngs 8 28 73 9 71 70 74
Initial Concept Final Design
10 64
Dome Pressure Distribution Finite Element Analysis (FEA) Joint Analysis Laminated Strand Lumber (LSL) Material Properties Standard Loading Wind Loading
22 28 21 23 24