FA L L 2 0 2 0
M.ARCH
THESIS
THE MAKERS ? MUSEUM
CHIA SHENG WEI
MENTOR: IMMANUEL KOH
contents
acknowledgements
01
site
02
preface
06
concept
11
precedents
12
thesis statement
22
process 0
26
process i
30
process ii
35
process iii
57
process iv
72
appendix
83
acknowledgements
Many have contri buted t o t he creation o f t h i s T h e s i s t h r o u g h their unwavering support and encourag e m e n t , t o w h o m I a m extremely grateful. I wou ld like to t hank A ssistant P rofe s s o r I m m a n u e l K o h f o r his insight and guidance over the en t i r e d u r a t i o n o f t h e Thesis, from begi n ning to the end, witho u t w h o m I w o u l d s u r e l y find myself los t i n t he m ires o f i nc o r p o r a t i n g A r t i f i c i a l Intelligence wit h Architecture. And hi s p a t i e n c e i n h e a r i n g out and attempti n g to understand the c o n v o l u t e d w o r k f l o w s I often find myself in. To my family who h as p layed a l arge p ar t i n k e e p i n g m e a l i v e throughout the ye a r, with m uch prayer an d p a t i e n c e . T h a n k y o u , and for always being interested in the T h e s i s . To the dear frie nds w ho s ent m e a n e nd l e s s s u p p l y o f c o f f e e knowing that sle epless n ights w ere o n t h e h o r i z o n , a n d w h o constantly check ed-in on my well-being , w o r d s s i m p l y c a n n o t express my gratitude. Finally, to Him who sustains me, glory t o G o d i n t h e h i g h e s t .
01
SINGAPORE’
Home Team Gallery
NIE Art Gallery
Army Museum of Singapore
Former Ford Factory Chinese Heritage Centre Singapore Discovery Centre
Science Centre
NUS Museum
Lee Kong Chian Na History Museum
Gillma
5 KM
5 KM
Singapore though small, has quite a numbe r o f m u s e u m s , a n d t h e s e can be classifie d into cultural, speci a l t y a n d a r t m u s e u m s . They are mainly clustered in the museum s d i s t r i c t a t t h e C B D according to URA ’s masterplan. Perhaps, t h e l o c a l i t y o f t h e museum could pote n tially alter its stere o t y p i c a l c o n t e n t s . The thesis challe nges t his i dea t hrough t h e s e l e c t i o n o f t h e site in Changi.
’S MUSEUMS
Changi Chapel and Museum
y
atural
an Barracks
Sun Yat Sen Nanyang Memorial Hall
1
2
1
4
1 4
5
23
3
2 5
Singapore Sports Museum
6
7 3 6
8
7
8
9 9
10
CULTURAL MUSEUMS 1. 2. 3. 4. 5. 6. 7. 8. 9.
Indian Heritage Centre A Living Heritage Museum Malay Heritage Centre National Museum of Singapore The Battlebox Asian Civilizations Museum Fuk Tak Chi Museum Chinatown Heritage Centre Singapore City Gallery
SPECIALTY MUSEUMS 1. Vintage Cameras Museum and Click Art Museum 2. Children Little Museum 3. The Gem Museum 4. The Parkview Museum Singapore 5. Peranakan Museum 6. MINT Museum of Toys 7. Singapore Philatelic Museum 8. Art Science Museum 9. Red Dot Design Museum 10. Singapore Musical Box Museum
ART MUSEUMS 1. Singapore Art Museum 2. SAM at 8Q 3. National Gallery Singapore
02
Sit URA MAS
“L e v e r a g i n g o n S U T D a n d C h a n g i B u ec o s y s t e m w i t h a l i v e - i n c o m m u n i in s t i t u t i o n s i n v o l v e d w i t h f r re l a t e d r e s e a r c h a n d d e v e l o p m e n ig e n c e a n d r o b o t i c s t e c h n o l o g y .
Chang
CONNECTIVITY
Pasir Ris
Tampines
Innovation District
Bedok
Changi City
te TE R P L AN
usi n e s s Park (CBP), an innovative it y w o uld attract busines ses and eigh t transportation/aviationt, i n cluding artificial i ntell.�
gi Village
Changi Airport
Round Island Cycling Route
03
Sit URA MAS
In t e r m s o f i t s c u r r e n t s i t u a t i o es t a t e s , a v i a t i o n p a r k s a n d r pr o x i m i t y o f f e r t h e p o t e n t i a l as a h u b t h a t c o n n e c t s v a r i o u s ac t i v i t y .
LOCALITY
Residential District Cha Ind
Changi B Education Institutions
Changi Indust
te TE R P L AN
on , a unique blend of industrial res i d e ntial districts i n close l f o r it to be well u tilized s de m o graphics together through
Changi Aviation Park ngi North ustrial Estate
Business Park
i South trial Estate
04
Sit URA MAS
An d l o o k i n g f u r t h e r i n t o t h e f u an d a t t r a c t i o n i n t h e f o r m s ch a n g i t e r m i n a l 5 w o u l d i n c r e a s i in n o v a t i o n d i s t r i c t a s a h u b ac t i v i t y a n d l e i s u r e .
FUTURE PLAN
Heritage Cluster
New Hubs Proposed Innovation District
Changi East Urban District Waterfront District
te TE R P L AN
tu r e , an increase in population of a waterfront distr ict and in g l y add activity to the C hangi f o r researc h, entrepre n eurial
Changi Aviation Park
Changi Terminal 5
05
the maker culture
opensource hardware “ MAKERSPACES COU LD BE THE SECRET TO MAK I N G S M A R T C I T I E S S M A R T ” W or l d E c o n o m i c F o r u m , 2 0 1 8
1400 >400
Active Mak erspaces Worldwide Makerfaire s oraganized Worldwide
T he Mak er movement first b egan i n 2 005 w i t h t h e p u b l i c a t i o n f ounded by Dale Doug h erty, t he ‘ Make’ m agaz i n e w h i c h h e l p e d p e o p l e s tart hobbies and l earn n ew s kills ( Doughe r t y , 2 0 1 2 ) b y ‘ d o i n g i t t hemselves’. W hile distancing itself f rom t he t erm ‘ inve n t o r ’ , m a k e r s p r e f e r t o d escribe themselves a s a g roup o f p eople w ho e n j o y l e a r n i n g t h r o u g h c reating physical o bjects with technology. M a k e r s s e e t h e m s e l v e s a s part of a larger m aker community with op e n a n d f r e e e x c h a n g e o f k nowledge and ideas. N ew tech startups a n d companies have grow n f r o m M a k e r s p a c e s a n d c ontinue to be involved in the community v i a o p e n s o u r c e p r o d u c t s .
Craftsman
Workshop
Designer
Factory
• • • •
Nimble Public Services Grows local skill base Connects Makers Knowledge Sharing
•
Access to equipment reduces barriers to entry Lowered startup costs in prototyping phase
Maker/ Public
Makerspace
•
• • Variable Products
Standardised Products
Differentiated products Innovations by ordinary people
Personalised Products
06
the museum
“Do not lay up for yourselves treasure s o n e a r t h , w h e r e m o t h and rust destroy and where thieves brea k i n a n d s t e a l � Matt hew 6:19, ES V How about Museum s
a history ‘A museum is a public, collective pro c e s s b y w h i c h p e o p l e are enabled, thro ugh u nderstanding t hei r r e l a t i o n s h i p t o t h e tangible and intan gible h eritage o f h umani t y a n d i t s e n v i r o n m e n t , to con tribute to t he long-term well-bei n g o f c o m m u n i t i e s a n d sustainability of environments, globally a n d l o c a l l y . ’ Peter Stott
6th Centur y BCE Ur, Ancien t Babylon Princess Ennigaldi’s small educational museum of antiquities. Tablets describing 21st-century-bce artifacts was discovered. Possibility of a educational museum.
1 68 3 E ng l a n d T he f i r s t i n s t a n c e o f a b ui l d i n g b u i l t t o h o u s e c ol l e c t i o n s f o r t h e p ub l i c ’ s v i e w i n g w a s t h e A sh m o l e a n M u s e u m . T h e c ol l e c t i o n w a s g i f t e d by Elias Ashmole to the U ni v e r s i t y o f O x f o r d .
18th Century Europe T h e A g e o f E n l i g htenment u s h e r e d i n a s p i rit of i n t e l l e c t u a l d i s course and p h i l o s o p h y . C o l l ections w e r e m a d e a v a i l a ble to t h e p u b l i c a s a means to e d u c a t e a n d u p l i ft the p u b l i c c o n s c i o u s ness.
1977 Museums France Today n 1977, the Pompidou Centre was built which held galleries for modern art collections and additional exhibition and cultural activity spaces, a new type of museum for the city.
The na ture of the m useum h as e volved o v e r t i m e , i n t h e p a s t , beginning with private c ollections t i l l t o d a y a l e i s u r e destination for a ll to enjoy.
Visitorship to National Museums and Heritage Institutions Singapore 6, 000,000
5, 000,000
4, 000,000
3, 000,000
2, 000,000
1, 000,000
0 2 012
2013
2014
2015
2016
2017
2018
07
the starchitect
embodying the collective repository Museum Architectu re may at times appear a u t h o r i t a r i a n . Instead of a seem ingly top-down approach, c a n a m o r e b o t t o m - u p approach involvin g the stakeholders be i n c o r p o r a t e d ?
Architect
S tyle
D esign
Stakeholders
No Monopoly on Style The Guggenheim Bilbao marked the start to an era of ‘star architecture’. Designed by Frank Gehry, the expressive form of the building bearing no relation to its interior function drew crowds creating the ‘Bilbao Effect’ that many other cities wanted to emulate.
City of Arts and Sciences Santiago Calatrava 1998-2005 Valenc ia, Spain
1997 B i l b a o , Sp a i n
Museum of Pop Culture Frank Gehr y 2000 Seattle, Washington, US
Contemporary Arts Center Za h a Ha di d 2003 C i n c i n n at i , O hi o, US
Royal Ontario Museum Daniel L ibesk ind 2007 Toronto, Canada
Denver Art Museum D a n i e l Li b e ski nd 2006 D e n v e r, Co l o ra d o, US
Pompidou Metz Shigeru B an 2010 M etz, France
Heydar Aliyev Center Za ha Ha d i d 2012 Ba ku, Aze rba i j a n
Quadracci Pavilion S a nti a go Ca l atra va 2001 M i l wa u ke e , W i s cons i n, US
Maxxi National Musuem Zaha Had i d 2010 Rome, Ita l y
Military History Museum Dan i e l L i e be s k i nd 2011 Dre s de n, Ge rma n y
Museum of Tomorrow Santiago Calatrava 2015 Rio de J aneiro, B razil
Louis Vuitton Foundation Fra nk G e hr y 2014 Pa r i s, Fra nce
Jewish Museum in Berlin Da n i e l L i be s k i n d 2001 Be rl i n , Ge rma n y
Museum of Rock M VRDV 2016 Rosk ilde, Denmark
Art Science Museum M os h e S a fdi e 2011 S i nga pore
Ordos Museum M A D A rc h i te cts 2011 O rdos . Ch i na
The Louvre Abu Dhabi J ea n N ouv e l 2017 S a a di yat I s l a n d, A bu Dh a bi
Qatar National Museum J ea n N ouv e l 2019 Doh a , Q ata r
08
the artificial
state of the art A r t i f i c i a l N e u r o n S t r u c t ure Bias
Inputs
b
W eig hts
x1
w1
x2
w2
∑
ϕ
xn
wn
Summing Function
T hre s hold
A ct i vat i on Fu n ct i on
ARTIFICIAL INTELLIGENCE
N e u ron Ou t pu t
θ
Supervised
Any technique that allows computers to mimic intelligence
MACHINE LEAR NING Supervised, Unsupe rvised, Reinforcement Learning
DEEP LEARNING
unSupervised reinforcement deep learning Deep wher e
learning deep
is
neural
a
subset
networks
of are
machine
learning
utilized
in
the
lear n i n g m o d e l . A d e e p n e u r a l n e t w o r k i s a n a r t i fici a l n e u r a l n e t w o r k w i t h m u l t i p l e h i d d e n l a y e r s betw e e n t h e i n p u t a n d o u t p u t l a y e r s . T h i s a l l o w s for p r o g r e s s i v e l y h i g h e r o r d e r s o f f e a t u r e s t o b e extr a c t e d f r o m t h e r a w i n p u t d a t a .
09
the artificial
state of the art
People who do not exist - generated from StyleGAN (Karras, Laine, & Aila, 2019)
GAN CODE STRUCTURE
RANDOM INPUT NOISE VECTOR
GENERATOR MODEL
GENERATED DATA
R EA L DATA
UPDATE MODEL
DISCRIMINATOR MODEL
UP DAT E MO DEL BINARY CL ASSIFICATION REAL/FAKE
10
general
+ makers
IN THE SPIRIT
Ta ki n g t h e i n c l u s i v e s p irit of the maker culture a
concept
+ museum
T OF H A C K I N G
a n d applyin g it t o th e a r c h i t e c t u r e o f t h e museum
11
prece
learning
fun p
MUSEUM OF INF
VILLE SP Museum witho
citizen desi
edentS
from art
palace
FINITE GROWTH
PATIALE, out building
ign science
12
learning Art
ARTIST
AR
Trad it io na ll y, a r t i s t h e m e d i u m through which the artist
glim ps es a nd g u e s s e s a t t h e a r t i s t s ’ intentions or lack there
from art
RT
audience
i n teracts w it h t he a u d i e n c e . T h e a u d i e n ce through the art
eof.
13
learning Perf or ma nc e Ar t
ART
ARTIST
Perf or ma nc e a rt o n t h e o t h e r h a n d , utilizes the Artist’s body a mo re d yn am ic s e t t i n g , b u t t h e A r t ist is still very much in
from art
audience
i t self as t he me di um f o r e x p r e s s i o n . T h e viewer observes in c o n trol.
14
learning Participatory Art
AR
ARTIST
Shif ti ng t hi s c o n t r o l t o t h a t o f t he viewer, the viewer is a
is t he i nt er ac t i o n b e t w e e n t h e a r t istic intention and viewer,
of a rt i s us ua l l y u n f i n i s h e d a n d w i th no predetermined outcom
from art
RT
audience
s m u ch as i n co nt ro l a s t h e a r t i s t i n p a r ticipatory art. It
, and between v ie we rs t h a t b e c o m e s t h e a r t piece. Such a work
m e , yet is g re at ly i m p a c t f u l a n d i n c l u s i v e.
15
learning Varying Degrees of Participation
House with Ocean View, 2002 Marina Abramovic
The Artist Marina Abra
Ar ti st C o n t r o l 18 Happenings in 6 Parts, 1959 Allan Krapow Abyss Mask, 1968 Lygia Clark
Pyramid of Roelof Louw
Untitled (P FĂŠlix GonzĂĄ
M R
Co mp li a n c e
The 3 pi ec es b y M a r i n a A b r a m o v i c a re examples of Participator the A ud ie nc e a n d t h e A r t i s t , a n d t he actions and reactions Arti st s ha ve a t t e m p t e d t o d o s o , a l lowing the art to be a res co-a ut ho rs a nd c o l l a b o r a t o r s o f t h e work, imbuing additonal impe rf ec t na tu r e .
from art ART
ARTIST
is Present, 2010 amovic
audience
Rhythm 0, 1974 Marina Abramovic
A u d i ence Control Oranges, 1967
w
Chess: relatives, 2016 Darren Bader
Portrait of Ross in L.A), 1991 รกlez-Torres
Cutpiece, 1964 Yoko Ono
Obliteration Room, 2012 Yayoi Kusama
Measuring the Universe, 2007 Roman Ondak
Collaboration
r y A rt, wher e th e Ar t a t t e m p t s t o b r e a k t he barriers between b y the aud i en ce is t h e f o c u s . N u m e r o u s other contemporary u l t o f the a ud ie nc e b e i n g o n e q u a l f o o t i n g as the artist, as m e aning in t he c re at i o n o f t h e a r t w o r k a nd its unfinished,
16
learning Degrees of Participation
T h e artwork only exists becau
T h e l a tent (hidden) rules are ex
Ar t Pi e c e
from art
Measuring the Universe, 2007 Roman Ondak
s e o f the co ll ec ti ve e f f o r t .
x p r e ssed by t he r es ul t a n t f o r m .
Museum
17
prece
Fun Palace by Cedric Price, 1964
Technology
Cybernetics
Gamet
‘Price thought of the Fun Palace in terms of process, as in time rather than objects in space, and embraced inde nacy as a core design principle.’ (Matthews,
Key takeaways: Indeterminacy amidst determinacy Space as a product of collective creativity Space as a representation of taste, preference & behavior
edent
theory
events etermi-
, 2005)
Architectural Feature: Structure amidst motion Th e d e s i g n o f t h e f u n p a l a ce comprised a se ri e s o f s t r u c t u r a l f r a m es that enclosed la rg e r open spaces that had mobile ar ch i t e c t u r a l s e t s .
18
prece
Museum of Infinite Growth by Le Corbusier, 1931
Removal of Hierarchy
Expanding Collection
‘Let us imagine a true museum, one that contained everyt one that could present a complete picture after the pas of time, after the destruction by time.’ (Le Corbu
Key takeaways: Museums as time-based Growth as a means of expansion
edent
1
Growth
thing, ssage
usier) Architectural Feature: Modularity Th e m u s e u m c o m p r i s e d s t r uctural modular pi ec e s t h a t c o n n e c t e d together in an ou tw a r d s p i r a l . H o w e v e r , this resulted in p o o r r e s o u r c e a l l o c a t ion as exterior wa ll s w e r e u t i l i z e d w i t h i n the interiors as w e l l .
19
prece
Ville Spatiale by Yona Friedman, 1959
Freedom to Customize
Improvisable
Dem
‘With my improvised architecture I am not giving drawing instructions of assembly. You assemble the structure want... Although I am promoting an architecture without ing, I am not saying that the architect is useless.’ (Yona Fri Key takeaways: Architecture as improvisable Rooms moveable like furniture Gallery spaces overlapping with streetscape
edent
mocratic
gs, but as you build-
iedman) Architectural Feature: Customizable Grids Wi th i n t h e g r i d s t r u c t u re, inhabitants ha ve t h e f r e e d o m t o a l t e r t heir dwellings. A s er i e s o f m a n u a l s g i v e t he user guidance in c r e a t i n g t h e i r h o m e s .
20
prece
Citizen Design Science: A strategy for crowd-creative urban design, 201
Accessibility
Participatory
Bi
‘It is simply not feasible for a designer to analyse tho of design proposals and find commonalities between all In the same way technologies are used to provide tools fo izen Science, they must be employed to evaluate the desi (Mueller Key takeaways: Crowd knowledge and participation
Simple digital ‘make’ tools to understand latent & tacit user expe Top-down & Bottom-up design via rules & tasks
edent DESIGN
17
active cocreating by non-experts
CITIZEN
rule-mining for design proposals
SCIENCE
representative & evaluable crowd sourced data
ig Data
ousands ideas. or Citigns.’ et al)
erience
Architectural Strategy: User web application ‘T hi s simple web a p p l i cation enables no n- e x p e r t designers to modify given ge om e t r y layouts a c c o r ding to their in di v i d u a l preferences. The focus is on t h e c o n f i g u r a t i o n o f g eometries, and no t o n t h e b u i l d i n g o f i n f rastructure or cr ea t i n g n e w i t e m s . ’ 21
THESIS S
Fun Palace 1964 by Cedric Fun Palace Price1964 by Cedric Price
Mus Museum of Infinite Grow
the museum as growing
the collective as decision maker
the collective the collective the as decisionasmaker decision maker as reconfigur as
kers ers museu muse Technology
Technology Cybernetics
concept concept
Gametheory Removal of HierarchyRemova
‘Price thoughtinofterms the Fun Palace in terms of process, ‘Letmus u ‘Price thought of the Fun Palace of process, ‘Let us imagine a true as events time rather thanand objects in space, one at as events in time rather than in objects in space, one and that could present embraced indeterminacy as a core design principle.’ of ti embraced indeterminacy as a core design principle.’ of time, after the destru (Matthews, 2005) (Matthews, 2005)
the artificial the artificial intelligence intelligence as curator as curator
Singular
Singular Multiplicity
Multiplicity
the as
Marcel Duchamp’s Marc Mil
the gallery as gesture
useum ble ymbol non-symbol
by Le Corbusier
Cybernetics Gametheory
the a.I as curator
Principles of Principles Open Source ofHardware Open Source Hardware
panding Collection on Growth
Distinct
Permanence Modifiable
Distinct
Vague
Permanence Transient Modifiable Inclusiveness
Vague
Transient Inclusiveness
the Collective Architectural Translation Architectural Translation Growth Participation
the Collective
Participation Artificial Intelligence Artificial Intelligence Reconfiguration Reconfiguration Spectator
Spec
, ined one everything, that contained everything, Utilizing Artificial Intelligence, the notion of the museum In Utilizing Artificial Intelligence, the notion of the museum In Brian O’Doherty’ plete ter the picture passage after the passage as a distinct architectural symbol By is generchallenged. By generthe as a distinct architectural symbol is challenged. the Gallery Space, on by time.’ form from Data that is subsequently voted for bytext and displayed tex ating form from ating Big Data that is Big subsequently voted for by (Le Corbusier) (Le Corbusier) the majority, the authoritarian architect is overthrown. the ‘Gallery as the the majority, the authoritarian architect is overthrown. Ges the the art within enve Modularity
Exposure Modularity
M
Exposure
M
M
M
the museum STATEMENT
the artificial intelligence as curator
reconfigurable non-symbol
SingularMusuem is an Multiplicity The Makers exploration in rethinking the typology of a museum as more than just a repository Distinct of artifacts and gallery Vague spaces but also a space for the act of creation.
seum of Infinite Growth by Le Corbusier
eum
al of Hierarchy
Expanding Collection
Incorporating the use ofTransient Permanence Artificial Intelligence and working in tandem with Human the Pr stakeholders, the Museum is a product of Generative the Makers processes, Collective decisions and Participation Specialist interventions. Artificial Intelligence Recon
Growth
M
us imagine a true museum, one that contained everything, that could present a complete picture after the passage ime, after the destruction by time.’ (Le Corbusier)
Utilizing Artificial Intelligence, the notion of the m
With the intention of symbol the is challenged. By g as a distinct architectural ating form from Big Data that is subsequently voted fo Museum’s architecture the majority, the authoritarian architect is overthrow as zeitgeist, the Museum reconfigures itself over time to suit the needs and desires of the age, through a series of modular components.
the gallery as gesture
cel Duchamp’s Mile of String consumes the viewer.
This too is a sustainability strategy by removing the need to demolish and make way for the new, or to expand when demand increases, or shrink in scale when demand falls significantly in an event such as a global pandemic, optimizing energy and resource Virtual Space consumption.
framework
the
Web Interface
Exhibiti
Event
the Curator (Artificial Intelligence)
ctator
Brian O’Doherty’s series of essays on the ideology of Gallery Space, art is deemed seperated from its cont and displayed within the White Cube. In the essay ‘Gallery as Gesture’ the opposite is depicted where art within envelopes the spectator and context. 3D Data
M
Amen
Participation
generates form
Of
22
DEFINI
ITIONS
Assembly Space Work Space Machinery Rooms
makerspace The traditional makerspace is an enclosed volume that houses fabrication equipment and tools. Work benches offer space to collaborate and in certain cases, the spaces have a flexible element for the assembly of projects with varying shapes and sizes.
Types of Museum Configurations
Tandem
Radial
Channel
Hall
Diagrams reinterpreted from ‘A brief analysis of spatial constitution and functional organization of museum architecture : A case study on museums in Hefei’ (2017, Z.Li, Q.Wei, H.He)
museum The traditional museum for art is a carefully controlled environment to prevent damage to the art work. Solemn white spaces for contemplation, and artificial lighting characterize the gallery spaces.
23
defini exhibit type: ‘maker art’ Instead of just another gallery for art, the Maker’s Museum places exhibit as ephemeral and ever-changing.
What is displayed is art that is TRANSIENT in its nature, a tempora traditional notion of an exhibit.
Three new and reinterpreted categories of art define the museum’s e
open-source art
proxy art
We the Rosies, 2018 We the Builders
Display Duration
Media: Varied
‘Things’, ‘Inventions’, ‘Art’, ‘Hacks’ created by the Maker community within the studios and makerspaces of the museum are exhibited for a fixed duration. The exhibit is possibly a combined effort, and directly reflects the desires and interests of the maker culture.
Display Duration
M
Working with intern recreate their sculptu art installations sustainable 3D prin proxy art is exposed and visitor engagemen allowed to degrade be
itions
emphasis on the process of creation (making) by portraying the
ary surrogate for the authentic, or simply a proxy for the
exhibits of ‘Maker Art’.
process art
Balloon Dog, 1994-2000 Jeff Koons
Media: Sustainable 3D Print
national artists to ural and contemporary ‘faithfully’ in nted material, the d to the environment nt; and intentionally efore being recycled.
Slow Angle Walk, 1968 Bruce Nauman
Display Duration
Media: Projection
Projections of recorded perfomance art whose licensing rights the museum has obtained is reinterpreted within the context of the constantly changing human activity, seperated by walls of varying degrees of porosity. No two moments are the same as the external and internal environment changes.
24
defini exhibit space
In considering the effects of the Art on the exhibit space, the tra the gallery to be reinterpreted in three ways: dissolving the white the cube with a layer of media.
open-source art
proxy
Spatial Requirements S
M
L
Spatial Re XL
Creations by makers can range from small to extremely large depending on the nature of the project. The enclosure reconfigures around the working spaces of the makers reducing the need to shift art works around.
L
Only works of the large a selected to be made a p larger than life effect of can be destroyed and recy
Exhibit
Makerspace
Elements
The art is exhibited in close proximity to a makerspace, or studio, where the author of the work can interact or collaborate with the visitor be it in person or by creating works of art in a shared space. This is translated through an adaptable exhibition space that ‘dissolves’ the white cube at certain points and intermingles the gallery with areas for socializing and the observation of the creation of art.
The exhibition spac comprises the outdoors atriums that enjoy hi exposure to the elemen for this art to be t the public upclose, exclusive art access The deterioration of circumstances poses a the value of art toda
itions
ansient nature of the pieces allow the stereotypical white cube of e cube, the void as replacing the cube, and the act of overlaying
y art
process art
equirements
Spatial Requirements
XL
M
and extra-large scale are proxy so as to achieve a f how something monumental ycled over time.
L
Such art is projected into rooms of varying porosity, immersing the visitor into the virtual physical experience of the recording of the artistic process within the setting of a studio or makerspace.
Holographic Projection Atrium
Exhibit
ces for proxy art s as well as voids and igh human traffic and nts. The intention is touched and toyed by as a form of making sible to the masses. f the art under such a constant critique of ay.
Makerspace
These exhibits are dispersed within zones of human activity such as the makerspace and leisure zones so that the activity occurring externally is in contrast against the projection of the performative process visualized within the exhibit. This allows for constantly new interpretations of past performances for the visitor.
25
THE MAKERS ? MUSEUM
overview
26
user exp
perience
27
code wo Data Conversion
101010 0110101 0100101 01101001 10101010 01011010 10101010 101010100 101011011 110101101 101101010 1010111 Mesh
Voxel Grid
Point Cloud
Designer Intervention
Work Flow
generator neural network Monitoring Training
16384
Numpy Array
128
64
1
Designer Intervention
tf.generator.summary
Model: “sequential� Visualize
Failure Detected
1
Data Collection
Conversion
2
Layer
Data Set
Input
3
Dense
Model Training
Visualize
Tools used: Rhino discriminator Grasshopper Python
32
Key libraries: open3d pyntcloud Formats: Pointclouds Meshes Nurbs
64
neural network Tools used:
(None, 4096
LeakyReLU
(None, 4096 Adjust Model
128
Key libraries: numpy Format: .npz
Digital Tools
Rhinoceros 3D is a CAD modRobert McNeel & Associates.
Grasshopper is a visual programming language & environment that runs within Rhinoceros 3D created by David Rutten.
Using Jupyter Notebook, GAN BatchNormalization code comprising TensorFlow and Keras libraries are trained for a fixed number of Epochs.
LeakyReLU Tools used: Python
Python
1
Analysis of
Training Results (None, 4096
Conv3DTranspose 3D data has to be converted into a format that is understood by TensorFlow. In this case, data is voxelized and stored as a binary array.
Output Shap
BatchNormalization
Reshape Curate Dataset
Available Datasets have to be vetted to remove possible defects that would hinder training.
4
Key libraries: Conv3DTranspose TensorFlow Keras
BatchNormalization
If Unsatisfactory
(None, 4,4,
(None, 8,8,
(None, 8,8,
Results of training are analysed by random sampling of the latent space. Visualization is within Python using Matplotlib library.
(None, 8,8,
Tools used: Python
(None, 16,1
Key libraries: Matplotlib numpy
(None, 16,1
LeakyReLU
(None, 16,1
Conv3DTranspose
(None, 32,3
Total Params: 705,728 Tarsier is a point cloud and is an interpreted, Trainable Params: 697,440 Python 3D scanning library for use in high-level, general-purpose Grasshopper by camnewham.Params: 8,288 programming language crea Non-trainable ed by Guido van Rossum.
Volvox is a point cloud editing plugin for use in Grasshopper by Henrik Leader Evers & Mateusz Zwierzycki.
Yellow is a mesh and voxel manipulation plugin for use i Grasshopper by Amir Habibi.
orkflow 128 64
0.9596 656 0.99 846321 0 .6789531 0.987632 0. 3214238 0. 554356 0.56 0.32698 0.3 2 0.8998 0. 0.89531 0. 6632 0.8 93 0.997
32
1
Discriminator Convolution Neural Network
Probabilities
Designer Intervention
y()
Point Cloud
Designer Intervention
tf.discriminator.summary() Model: “sequential_1�
pe
If Satisfactory
6)
5
Param #
Latent Space Exploration
Layer
Sampling
6
Catalogue of Desired Coordinates
3D Software
7
Output Shape Spatial Quality Analysis
Evaluate
8
524,288
Conv3D
6)
16,384
LeakyReLU
(None, 16,16,16)
0
6)
0
Dropout
(None, 16,16,16) If Unsatisfactory
0
,4,64)
0
Conv3D
(None, 8,8,8,32)
64,032
,8,32)
131,072
LeakyReLU
(None, 8,8,8,32)
0
128
of key variations DropoutCoordinates are saved and mapped to
(None, 8,8,8,32)
0
0
Conv3D
(None, 4,4,4,64)
256,064
32,768
LeakyReLU Key libraries:
(None, 4,4,4,64)
0
16,16,16)
64
Dropout
(None, 4,4,4,64)
0
16,16,16)
0
Flatten
(None, 4096)
0
32,32,1)
1024
Dense
(None, 1)
4097
,8,32)
,8,32)
16,16,16)
at-
in .
Latent space interpolation serves as a second check for training results. Done in Python. Tools used: Python Key libraries: Matplotlib numpy
(None, 16,16,16)
Param #
Proceed to Next Phase
Evaluate Data Scope
form a catalogue of form variations and to understand the implicit rules learnt. Tools used: Python
Generated spatial characterisics are further evaluated in 3D modelling software to determine what is learnt. Tools used: Rhino Grasshopper Key plugins: Volvox Tarsier Yellow
Matplotlib numpy
Total Params: 326,209
Tensorflow is an open source Numpy is a library for scientific Trainable Params: 326,209 platform for machine learning computing in Python that supcreated by Google Brain Team. s large, multi-dimensional Non-trainable port Params: 0 arrays and matrices, created as a community project.
Keras is an open source neural-network library written in Python created by Francoise Chollet.
Pyntcloud is a Python library for working with 3D point clouds craeted as a community project.
2,016
Matplotlib is a plotting library for creating static, animated & interactive visualizations in Python by John D. Hunter.
Open3D is an open source library that supports developwith 3D data created by the Open3D team.
28
proxy
As a test of concept, the ‘Most Popular’ data was sc from the world’s largest online repository of 3d obj Thingiverse. Data was also color coded according to cat to test the extent of 3D-Convolution Vision.
y data
All Categories
Architecture & Structures Category
3D RGB Convolutions. 1500 samples from each category were chosen from each category and shuff
Art C ategory
craped jects, tegory
Data Sets were obtained from Thingiverse according to 3 different categories and tagged a dif
29
THE MAKERS ? MUSEUM
overview
30
fferent categories and tagged a different color each to test the extent of the Machinic vision
ai form g
chosen from each category and shuffled into a dataset of 4500.
1500 samples from each category were chosen and shuffled into a dataset o
generation
Metrics
A series of 5 to evaluate t
Porosity
of 4500. After 5600 Epochs, the Latent Space was randomly sampled.
Volume
This metric m the porosity massing at th level. This i mined by the the exposed f the enclosed
Sprawl
This metric m the total vol the massing g and gives ind of the amount space availab
Variability
This metric m how sprawled erated massin compared to i
Connectivity
This metric m the amount of mixing within massing.
This metric m the average e connectivity nodes in the cloud generat
31
checks & Political Structure: Interactive A.I Democracy An Interactive Democracy is defined as utilizing Information Technology to allow citizens (the Collective) to propose new policies, ‘second’ proposals and vote on the resulting laws. The structure envisioned for the Makers Museum is a combination of an Interactive and Representative Democracy capitalizing on A.I as a ‘fair’ curator, where Representatives voted by the Collective work together with the Artificial Intelligence to select the best possible result: majority approval & functionally optimized.
A.I
COLLECTIVE
Steps Intervened by A.I 01-02-05-07
Steps Intervened by Collective 02-03-04-07-08
1 A.I Learns, Distills & Generates Each year, the 3D data of the possible futures of the Museum uploaded by the community is converted into a form that the AI can process. Through an unsupervised machine learning method, the latent understanding of the Collective’s desires is learnt.
Sequence of In
8
Collective Creates Form virtually & physically The Collective creates new data and uploads it into the cloud via the virtual Museum. Physically, the Reconfiguration Space allows visitors to understand the origins of the Museum’s form and create their own versions of the architecture to be uploaded.
b
7
Collective Usage & Changing Needs As the Community utilizes the tools, furniture and equipment at the museum, the museum auto-reconfigures its equipment layout such that its equipments keep witin the specified safety distancing. In the event that a new exhbition space is spontaneously designated within the Museum, the AI reconfigures the layout to accomodate the paths taken to the exhbits from the exits and between the exhibits while moving equipment out of the paths.
6
Initiate Rec
balances The Advisors
Data Scientists
Architects
Structural & Systems Engineers
Project Managers
A team of specialists from the Maker Community, chosen by the Collective to provide expert advice on the selection of A.I generated forms as well as negotiate the bureucratic and contextual constraints of the site. These representatives are evaluated by the A.I and proposed to the community based on their specialisations, contributions and activity towards the Maker Community. Oct
Nov
Dec
Jan
Feb
Mar
Apr
May
Jun
Jul
Aug
Sep
Mon Wed Fri User Contributions in the Year
2
nterventions
Less
human & A.I Intervention
More
1
2
3
Having evaluated the potential forms generated by the AI, the specialists propose a number of viable solutions edited within the constraints set by the community. The Maker community then through an online voting platform on the Museum’s website cast their votes to decide the form of the Museum.
3
Collective Votes I (Form Reconfiguration) In the second stage of voting, the Community votes for the programme and the desired value for each predetermined metric according to their preferences on a scale of 0.0-1.0. The AI ammasses the results and calculates the average for each programme. The AI then maps the programmes for each floor using a selforganizing map to reduce higher dimensional data.
4
at
io
n
Collective Votes II (Programme Reconfiguration)
al biAnnu
Re
th Mon
ly
Re
co
r
i nf
n
gu
io
co
i nf
gu
ra
t
5
A.I spatial organization
4
5
configuration
32
the exhbits from the exits and between the exhibits while moving equipment out of the paths.
evaluation metric
6
Initiate Recon
Ground Porosity
Volume
Node Connectivity
Sprawl
Variability
Sorting for Selection The forms generated by the machine is then evaluated and ranked for selection.
Porosity
Metrics A series of 5 metrics were used to evaluate the forms generated.
Volume
This metric measures the porosity of the massing at the ground level. This is determined by the ratio of the exposed faces to the enclosed area.
Sprawl
This metric measures the total volume of the massing generated and gives indication of the amount of space available.
Variability
This metric measures how sprawled a generated massing is as compared to its height.
Connectivity
This metric measures the amount of channel mixing within the massing.
This metric measures the average edge connectivity between nodes in the pointcloud generated.
additional control 1
& AI Intervention TakingHuman into consideration site factors, the generated forms are democratically voted for and manipulated by consideration a panel of Specialist advisors have been assigned as representatives based on Taking into site factors, the selectedwho forms are manipulated in collaboration with the Specialists their credibility in the Maker community as well as their expertise. This allows for a balancing of power between the artificial and human designer agency.
Hybrization via Latent Space Interpolation
161
33
77
Cleaning & Augmentation The Advisors are given the authority to select and edit the machine generated forms to a limited extent.
Ground Connection Extension
Points that are cantilevered over the ground within a certain threshold as determined by the Human are extended via a recursive algorithm.
Floating Points Removal Floating Points are removed according to a Human determined volume threshold. The machine then searches and culls these points.
Volume Threshold
Height Threshold
Coloring New Points
New Points are added to the point cloud by sampling six closest neighbours and taking the average RGB values.
Non-Manifold Edge Removal Non-Manifold edges are removed so that the resulting mesh may be pro -cessed. This is done via a recur -sive manifold edge detection and volume addition to resolve the edge.
Addition & Subtraction of Volume
Volume Selection
Sequential Aggregation 10%
Percentage Recursion Number
The Advisors are given autonomy to edit up to 10% of the generated form, subject to Collective support
33
43 3
95.5k
95.5k95.5k 87.6k
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ai & h
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Best Average Fitness
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87.6k
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News Booking Forecast Booking Forecast Booking Forecast BookingNews Forecast Booking Forecast Announcements Announcements Report IssueReport IssueReport IssueReport IssueReport Issue Booking Booking Forecast Forecast Projects Projects Projects Projects Projects Report Report Issue Issue
Floors Floorsare arevoxelized voxelizedand andanalyzed analyzedaccording accordingtotothe thefollowing followingmetrics. metrics. Each Eachvoxel voxelisisthen thenassigned assigneda alist listofofcorresponding correspondingnormalized normalizedvalues. values.
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onnecting the most traversed nodesSelf-Organizing Self-Organizing Self-Organizing Maps areSelf-Organizing Maps a areSelf-Organizing Maps a areMaps a are Maps a are a light Analysis Daylight Analysis Daylight Analysis Daylight Analysis Analysis Level 15-17 of artifiical type of type artifiical neural of type artifiical neural of artifiical typeneural of artifiical neural neural analysis. The space is given a di-type tance toDistance exits to Distance exits toDistance exits to exits to exits network that network usenetwork that unsupervised use network that unsupervised usethat network unsupervised use that unsupervised use unsupervised machine learning machine machine learning to reduce machine learning to reduce learning machine to reduce learning to reduce to reduce on raction Attraction to Assembly Attraction to Assembly Attraction toSpace Assembly to Space Assembly toSpace Assembly Space Space navigation within the megastructhigher dimensional higher dimensional higher datadimensional higher to data dimensional higher to Self-Organizing datadimensional to data to data toa a Self-Organizing Maps Maps are are
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Semi-Private Residential Mix
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Museum History & Future
m
34
THE MAKERS ? MUSEUM
overview
35
mod
6m F a c a d e P a n e l C o m p o nents
x 18
x 36
x 08
6m
x 36
6m
Single
dule
0.75m
Expanding upon the historical precedent of Yona Friedman’s work in the Principles Ville Spatiale, the 6mx6m module was utilized as the starting point to ‘accomodate all kinds of functions’. With today’s technology, discretizing the cube into even smaller repetitive parts is a possibility that offers it even greater flexibility and reconfigurability.
M o d ule
36
mod
F a c a d e P a n e l C o m p o nents
x 18
x 36
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Internal Struc
dule St ructural Frame Components
x 28
x 20
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x 24
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t u r a l Frame
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x 496
x 16
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37
mod
F a c a d e P a n e l C o m p o nents
x 18
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x 36
MEP Systems I
dule St ructural Frame Components
x 28
x 20
x 40
x 24
x 08
x 04
x 192
x 496
x 16
x 40
n t e g ration 38
mod
Primary Stru
dule
x 329
x 56
x 08
x 427
x 16
x 08
c t u r al Fram e
39
mod Pr im ar y & Se c o n d a r y F r a m e C o n n e c tion
Mo d u l e - M o d u l e C o n n e c tion
Part Replacement
dule
40
vertical I de nt if i c a t i o n o f C o r e Z o n e s
L8
Each floor is analysed by the AI to determine the connectivity of each voxel to other voxels on the floor. The point with the highest connectivity and a proportional number of surrounding voxels are designated as doubleheight atrium spaces to serve as points for dissemination.
L7
L6
L5
n o . of voxels
L4
floor area
Level 12 L3 A ugmented Voxels
L2
L1 Dissemin ation Point
systems L16
L24
L32
L15
L23
L31
L14
L22
L30
L13
L21
L29
L12
L20
L28
L11
L19
L27
L10
L18
L26
L9
L17
L25
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vertical C or e Z o n e C o m p o n e n t s
Modular Stairc ase
M odular Plumbing Network
Lift Cluster
Pr e s e n t a t i o n S p ace
C a s u a l S e a ting
systems
Double Volume Void
Mobile Escalator
T e m p o r a r y Exhibitions
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vertical Co re C om po ne n t s : S t a i r s & E s c a l a tors
Escape
Modular Staircase
Modular Plumbing Network
Lift Cluster
Prese n t a t i o n S p a c e
Mobile Escalator
Casual Seating
Temporary Exhibitions
The stairs likewise are construct components being reused.
systems Stai r s
Mobile Escalator Taking inspiration from TEC Hßnert’s mobile escalators used for airplane disembarkation, the Museum similarly employs mobile escalators that plug into the floor cavities. The flexibility of the escalator positioning allows for new con figurations of even the core spaces of the mus eum. The robots then aid in towing the escalators to their new positions.
Robot engages mobile escalator
ted m o d u l a r l y , w i t h s h a r e d s t r u ctural
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vertical Co re C om p o n e n t s : L i f t B l o c k
Motor Room
Plumbing Modules
The lift block is incorporated within the s t r u c t u r e o f the Museum as a c l u s t e r s t a c k utilizing the o f t h e 6 m x 6 m module as a reference.
likewise modular vertical porosity frame of
T h e m o t o r r oom located on the top o f e a c h s t a ck contains the machine d r i v e s f o r the for lift operations, while the transparency of the stack a l l o ws for the visibility o f t h e b u i lding services, similar t o t h e P o m pidou Centre, where the b u i l d i n g ’ s p rocesses are apparent to the visitor.
Car Guiderail
systems
Machine Drive
Landing Doors
Lift Car
Counterweight Guiderail
Counterweight
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vertical C or e Co mp on e n t s : P l u m b i n g N e t w ork
Sewer Pipes
Stormwater Pipes
V a l v e L o c king for m o d u l e r e moval & transport
0.5m
Water Pump Station
1.5m
systems
Rising Main Wet Riser
s
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vertical
C l ustering Core Zones for Ver
Vertical
I d e n t i f i ed Core Zones based on Connecti vity Analysis
systems
r t i c al Circ ul at io n & S e r v i c e s
Cluster L27-31 Refuge Floor
Cluster L18-27
l Sha f t s
Refuge Floor
Cluster L11-18
Refuge Floor
Cluster L1-11
Cluster L1-4
Connecting Paths for Services C l u s t e r ing of Overlapping Floors
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vertical
C l ustering Core Zones for Ver
Stair
Lift
I d e n t i f i ed Core Zones based on Connecti vity Analysis
systems
r t i c al Circ ul at io n & S e r v i c e s
Ris e r s
Cluster L27-31 Refuge Floor
Cluster L18-27
r Sha f t s
t Sha f t s
Refuge Floor
Cluster L11-18
Refuge Floor
Cluster L1-11
Cluster L1-4
Connecting Paths for Services C l u s t e r ing of Overlapping Floors
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facade i En tr an ce / A t r i u m
Le is ur e
Fa br ic at i o n
indexing P r o g r a m m e Considerations Privacy
Daylight
The entrance and atrium zones have two modes of facade treatment. The first serves as an open and transparent entrance to the Museum’s spaces while the second reduces the amount of daylight according to exhibition needs taking place in the atrium spaces.
Leisure zones offer an open unobstructed view to the surrounding area in the event spaces for boisterous activity while more quiet, muted areas with gentle lighting offer a more relaxing environment for makers and visitors to unwind.
Fabrication zones are highly porous and allow in a generous amount of daylight for productive activity. At the same time, the large windows allow for such activity to be viewed publicly from the exterior of the building.
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facade i Le ar ni ng
St ud io s
Ad mi ni st r a t i v e
indexing P r o g r a m m e Considerations Privacy
Daylight
Learning zones are demarcated by horizontal louvre facades that rotate to cater flexibly to the lighting needs of the learning and teaching format occuring within the space.
Studio zones used by artists, creators and entrepreneurs utilize vertical fins that offer the possibility for high amounts of privacy by restricting views into the studio while allowing ample daylight in.
Administrative zones fufill the needs for office spaces as well as storage that startups and staff of the museum require. The combination of 3 facade types allows for a facade that can be tailored to the lighting needs of the programme within.
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facade i Re si de nc e s
Crane Cable
As se mb ly Z o n e
project parts
indexing P r o g r a m m e Considerations Privacy
Daylight
The residence zones are characterized by balcony spaces that serve as a functional threshold to the more private living quarters while not compromising on daylighting and views.
Assembly spaces are paneled almost completely with low-E heat reflective glass, allowing its contents to be showcased to the surrounding area. The double height spaces allow ample sunlight to illuminate the assembly work of large scale pieces. These spaces are positionally optimized (in appendix) to be on the perimeter of the building volume for visibility as well as practicality in transporting large parts via crane-lift. The facade is deconstructed and structurally extended to receive incoming equipment and parts or dispatch assemblies.
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facade i P ub li c Ac ce s s
Atrium Zone
Leisure Zone
Fabrication Zone
Learning Zone
indexing P rivate Access
St u d i o Z o n e
Admin Zone
Residence Zone
The color of the facade panels for each module gives indication of the programme behind the facade, with a darker shade representing more private programmes. This creates a visual connection that informs the visitor of the makeup of the museum, and reinforces the link between participatory design and what is generated, making the importance of each user’s contribution tangible.
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Object Shifting by Robots i n G r i d
robotic The various robotic tasks to be undertaken in the museum were considered in the design of the robot’s form and movement mechanisms. The dexterity needs of the robot were compared with industry precedents to determine an optimal joint configuration.
Lifting
D e x t e r o u s M o v e m e n t i n XYZ
To
J oi n t C o n f i g u r at io n
Pick Plac e T w i s t
Non-Linear M o t i o n
c tasks
owin g
S e c u r i n g Connections
L i n e a r Motion
Extensio n a r o u n d O b s t a c l e s
Com p l e x M o t i o n
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industria
C ar te s i a n
C yl in d r i c a l
S CA RA
P ol ar
A rt ic u l a t e d
D el ta
al robots Lin e ar J oi nt s
Rotary Joints
Applications Cartesian robots have extremely stable movement and are ideal for precise digital fabrication such as 3D printing or CNC machining. Disadvantage: Large footprint
Cylindrical robots have a cylindrical-shaped work envelop. Used often in tight work spaces for simple assembly. Advantages: Large Payloads Selective Compliance Assembly Robot Arm (SCARA) Advantage: Fast movement in a single plane Disadvantage: Large headroom needed Work envelope difficult to control
Polar robots are comonly used for injection molding, welding and material handling. Disadvantage: Limited degree of movement
May have more rotary joints, most commonly, 4 or 6 axis. Used commnly for assembly, arc wielding, material handling and packaging. Advantage: Potentially high Payload Versatile allowing it to reach around obstacles
Delicate, precise and fast movement. Used in pick and place packing lines for small items, such as pharmaceuticals and electronics. Disadvantage: Low Payload
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robot Co mp a c t
0.5m
The robot is designed to have a small form factor such that it easily blends into the landscape of the various zones in the museum. At a human scale, these robots are also mobile furniture pieces that shape the zones.
0.5m
Mov e men t
0.5m
Helical Perpendicular Gears Clamping Motion For Non-XY Planar Movement
Rail
Rotation about Robot Axis
Rubber Rollers
design Grid Positioning
r=0.75m 0.25m 0.5m
r=0.1m
0.3m
1.5m
r=0.1m
Removable at Joint
Motorised Wheel
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robot Co mp a c t The robot is designed to have a small form factor such that it easily blends into the landscape of the various zones in the museum. At a human scale, these robots are also mobile furniture pieces that shape the zones.
0.5m
Fl ex i b l e Upon deployment to an area of alteration, the robotic arm within unfolds to achieve a reach of 1195mm. The 7 axes of rotation allow it to bend around obstacles while carrying out tasks. 1.5m
0.5m
1.5m
0.5m
1.06m
0.75m
Unfol din g Seq u enc e
The total extended reach of the robotic arm of 1195mm allows the bot to comfortably reach the centre point of the smallest voxel unit, a 1.5m cube.
design 7 Axes of Rotation
115mm
0.1m 390mm
0 . 3m
0.1m
300mm
End Of Arm Tooling Storage Expandable Parts Holding
Degrees of Freedom
160 o
165 o
110 o
-110 o
390mm -75 o
240 o
0o
-60 o 105mm
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robot Co mp a c t The robot is designed to have a small form factor such that it easily blends into the landscape of the various zones in the museum. At a human scale, these robots are also mobile furniture pieces that shape the zones.
Fl ex i b l e Upon deployment to an area of alteration, the robotic arm within unfolds to achieve a reach of 1195mm. The 7 axes of rotation allow it to bend around obstacles while carrying out tasks.
Ve rs a t i l e The Cubot can be outfitted with various End of Arm Tooling that is stored in its shell. In addition, it can be combined with other Cubots to accomplish more complex tasks that require greater articulation.
Rivet Gun
Gripper
Vacuum Suction
Drill Head
Arc Welder
End Eff e cto r s
Rail Gripper
design
Off-Rail Movement
In addition to its movement along the structural rails, the Cubot can execute other forms of movement such that it has some freedom beyond the grid. By engaging the motors of the robotic arm in the same direction and instant, the Cubot can roll about its centroid.
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PART II Link in description