2014-2015 by Daniel Caven

//CONTENT ARCHITECTURE 1//7004 HOUSE 2//BAMIYAN CULTURAL CENTRE COMPETITION 3//ANAMORPHIC CARCASES 4//OBU47 5//MULTIFARIOUS FORMATIONS 6//CACA 7//RELIEF TOWER 8//TUMAMAC HABITAT CENTER 9//DEVOID TOWER

DESIGN RESEARCH 10//ILL.MANNERED 11//MULTIFARIOUS FORMATIONS MATERIALS 12//ANTI-BODIES 13//TWISTED BODIES PROTOTYPES//INSTALLATIONS 14//C2R 15//EYE_ROBOT MEDIA LINKS

The creation of the house incorporates autonomous natural objects as primitive growths within oriented patterns, allowing nature to overtake structural molds. These molds were based around generations and iterations of natural tree structures, transformed to structural flow lines for the shell and floors of the house (allowing for overgrowth to the structures). The use of trees and plants for structural behavior systems creates new dialogues between ecology and architecture. Tectonically, the wine house is constructed of a semi-permeable fiberglass shell and structural molds braced in-between. Through a twoâ&#x20AC;&#x201C; to three-year process, a bundle of trees are molded and grown under the shell to create a union of the shell and tree. The shell, although static, grows with this tree bundle, lifting and creating a core to this shell. Using low-density fiberglass, the plants are able to push the shell and manipulate it as it grows, aggregating itself in a new way of passive structure. This new architecture takes on motives toward a transformation of the autonomy of trees within ecology. The 7004 House is the first iteration of an ongoing project that will eventually take form in an autonomy of natural materials used for architecture.

//7004 HOUSE

//BAMIYAN CULTURAL CENTRE COMPETITION

Using vernacular materials and construction methods, Bamiyan will be put in full control of taking on the project, giving its citizen the ownership of the building and its integrity. The centre is pushing not only for a symbol for Bamiyan progress, but a promise for an economical uprising for the area and new ideology of Afghanistan. The centre’s concept is based around the 3-D resolution of the Buddha statues that where located to the North of the site. Deconstructing the pure detail of the statues and seeing the artistry and craft that went into them as symbols of culture, the centre’s architecture takes on those same remnants. The tragedy of the statues’ demolition, in 2001, brings on new hope for the area. As the remains of where they stood brings a vision and dialogue with the centre. Leaving the space, where the statues stood, a space of remembrance and a cove of community. The centre’s concept takes the basic outlines and decimates them to a non-secular outline bringing a symbol of neutrality and peace through form. The centre conceptually lowers the resolution to create a monolithic shell that pushes for equality under one shell. Thus bringing to life new varieties of culture, music, and entertainment under one roof. The program for the centre is designed around the idea of education, performance, and exhibit. Entering the building, on the south side, the lower roof creates compressive shell that sequentially opens to the users. Each of the spaces are designed around experientially directing people towards the view of the mountains using panels and wood decor throughout the faceted walls and ceilings. Programmatically, the centre is broken up by three sections. The auditorium is comprised of flowing patterns and wood panels profiling towards the stage and the mountains. Leaving the backdrop as a picturesque background for viewing pleasure. The library is a unique space that is hung above the exhibit space and auditorium—giving views to the spaces below. The slender area gives it users a delicate experience that enhances the research by being surrounded by quiet spaces as well active spaces. The exhibit space uses a large entry staircase that circulates people throughout the spaces as well as directing views towards the mountains. Overall programmatically, the building is broken up into two floors with a split level floor offering office and practice space. The building has emergency cores and exits on both sides and optional elevator system. The overall layout was based around feasibility and optimized systems. The construction for the building utilizes the minimal amount of cut and fill due to programmatic relationships and foundation work. The floor plate is a cost effective way to give the building its appearance as well as a sustainable solution to the construction. Materiality for the center was research to be applicable to the vernacular constructions. The shell is comprised of a wood structure and brick veneer. The brick is inscribed to show a relationship to the city and the wood facade delivers contrastic tension to the shell. The decor on the outside acts as tension rods holding the brick atop the wood frame trus inhabiting the exterior walls. The roof is made out of large network of wood trusses allowing for the space above the program areas for mechanical. The roof is a performance piece of its own—using PV’s the centre is self powering machine generating enough power not only for itself but to power some of the surrounding buildings’ electricity. Water management around the site is collected using a permeable tiling systems sticking to a LEED platform. The building utilizes passive systems by having every window wall on the north and south to open during the warmer months and using high performance glass for insulative value in the colder months. Allowing for fresh air to flow through the spaces leaving the need for air conditioning at a minimum. The Bamiyan Cultural Centre gives so many new advancements of space and technology to Afghanistan It delivers a view that is a back drop for every space—leaving a lasting impression for the users. Taking on historical references towards the past, the centre’s architecture will be a progressive stylized advancement towards the future of Afghanistan. The centre will be a huge spectacle for the rest of world all the while giving economical change through tourism, reuniting the people for the past and the future.

//BAMIYAN CULTURAL CENTRE COMPETITION

//ANAMORPHIC CARCASES

“There is no energy crisis, food crisis or environmental crisis. There is only a crisis of ignorance.” -R. Buckminster Fuller Anamorphic Carcases is a generation of architectural artifacts using, as a medium, the polluted aquifers lining the Mojave desert. Native species population, and fresh water supplies hang unbalanced in the desert- leaving Anamorphic Carcases to create an environmental performance through the purification process. Ultimately creating a symbol of pollution and an architectural stance on effects to the ecosystem. Using monolithic operable holding tanks and an expandable water purifying scaffolding, the filtration process excretes and diffuses deposits that grow to skeletal artifacts. The deposits are composed of minerals, salts, and harmful alkaline and creosote compounds. The “carcases” that are left behind leave memorials of waste, gaining attention across the desert. Visually, the project reflects the impact of pollutants in the aquatic ecology of the Mojave desert; tectonically the structure evolves through an aging process - emerging latent monuments to the site. The architecture, fully assembled, forms an ambiguity and pureness to the heavily aggregated structure, bringing a dialogue of hierarchy and tectonic qualities. Revisiting progressive techniques, such as aggregation and striations, the architecture creates a spectacle in relation to natural resources and technologies. The end result varies from site to site resulting in a emergence of sub-elements grouped in structurally aggregated figurations.

//ANAMORPHIC CARCASES

The OBU47 takes on new ideas of integration of robotics within building skins and using software to record and react to climate conditions. The idea is derived from a low resultant “night purge” that many towers, in hot climates, use to help cool towers during night time temperatures. The OBU47’s operable bay units at night move outward to vacuum suction in cool air and then force the captured cool air into the stationary living areas. Situated in Phoenix, AZ, the tower is in a prime location,due to the desert temperature highs, to incorporate this facade to a new skyscraper. Taking roots in the Chicago style of architecture, the bay window has been used as a way of extending viewpoints as well creating air passages to the floor plates. (Creating a cross wind mainly through the bay window) The OBU47 bay operates on solar powered electric motors that push a highly sustainable lightweight bay outward cantilevering from the floor plate-thus bringing outside air inward by natural vacuum suction. That air is then compressed and flushed back to the floor plate. This essentially lowers cooling costs as well as promotes and introduces new air into the quarters. The bay also significantly extends views to the surroundings and gives the user a balcony when desired. The bays are capable of filling the living quarters with with more than half the volume of stationary volume- decreasing cooling loads for the overall building. This passive strategy is simply exaggeration from a typical night purge to give the tower not only a new parametric aesthetic but to show how sustainability and parametricism are creating new bonds in architecture. The building is automated/programmed through parametric configurations within the building operations as well as manually operated by owners. The building mass is designed around a slender shape(and site) and a wide profile allowing for more program to be place along the sides. The building’s structure is erected by interior column bays for a third of the floorplate outside of the core then a unitized framework holds the operable bay units in place. The exterior incorporates a heavy duty exo-skeleton frame holding the rigid shape and mass together. OBU47 program: Retail and entertainment center on the bottom floors Residential condos for a two thirds of the tower Amenities on the top levels. New progressions in facade design have brought new levels of sustainability in high rise buildings. These attempts are creating new ideas of parametricism and kinetis to facades. With the use high performance glazing, specialized materials, and operability- new building designs have become closer to reaching full performance and sustainability. The OBU47 tower takes on a new wave of integration through operability in skyscrapers.

CACA, Center for Aerial and Circus Arts, is located on the Northern portion of Goose Island. Situated in a busy upcoming business area of the Near North Side of Chicago, the center takes on a new symbolism of architecture, orchestrating a new typology for performers and the public-realm. The exterior form and programmatic layouts coincide with each other with rationell towards fluidity and movement. This new type of language in architecture is developed and decomposed through formal and spacial studies of the performers. CACAâ&#x20AC;&#x2122;s program incorporates several practice studio spaces that offer a superior aspect of visionary dynamics in aerial performance. In short, this allows for the floor to not only be the single surface for performances. i.e. walls become apart of the performance and training. The programmatic layout is based around a central node of interaction. This creates a base point for everything around it and allows for a multi-directional plan. The users/public are able to view performances in a promenade fashion at everything vantage point. Working with a central node gives CACA an open plan that creates a social interaction from space to space; giving instructors a prominent vantage point for students. The exterior architecture is generated around a language of movement in relation to the movement that is taking place on the interior. The exterior is innovative in design, due to the hanging extremities. These loops and rafts give the performers the ability to hang off them and give outdoor performances. This sort of architecture does not limit the performers to the interior environment. The form also allows for viewing holes to the public when walking around the site, as well as a play on shadow and light. The roof of CACA is laid out to offer an outdoor theater for summer activities, as well light holes to the interior auditorium. The exterior skin is composed of an abstracted idea of symbolism giving an additional texture to form and breaking up the softness to the site. These abstractions are based off images of performers, that are thresheld, then converted to a perforated arrangement using a parametric scripting technique. During the day CACA center takes in light,then at night gives a glowing playful show. This kind of light show exerts an experiential quality to the passer by and to the site. The CACA center gives a new architecture experience to Goose Island in a new stylized way for its patrons. The center creates a new spectacle for the community as well as for the arts, breaking new ground in an untapped progressive language of architecture. The CACA center plays a major role in the world of aerial and circus arts as a symbol and language of architecture. The center is a step towards a new kind of design and a push towards a new age architecture for specialized fields.

//RELIEF TOWER

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Past ideas of towers acting as modern monumental statues in this modern world have become obsolete. Now towers must incorporate adaptive qualities for climate change and environmental conditions to withstand tests of sustainability as well as create a generative life. The Relief Tower is capable of generating active energy outputs as well sustainable mechanical devices that will achieve economic gains for major cities, such as Chicago. The Relief Tower is designed around environmental conditions from a parametric mind-set while using rules of analysis to govern design choices. Located in the River North area of Chicago, the Relief Tower will be able to generate power to several neighboring buildings as well as a triple zero goal for itself. The form was generated by computational fluid dynamic analysis, as well as large physical models that underwent wind tunnel analysis. The animalistic (amphibious) form was manipulated to push wind into the outer, non-habitable, wing like extremities, that house vertical wind turbines. The funneling condiSECTION .06 tions in the outer extremities, push the wind faster towards the inset turbines, as well as push air towards the atrium. The energy created through this technique not only powers the towers own-self, but many neighboring buildings. Conservation of energy in the Relief Tower is one of the many factors and goals for itself. The outer skin of the tower creates a screening effect that protects itself from outside SECTION elements, as well as creating a play with.03shadows to the people within. The outside skin opens and closes due to sun radiation and changing elevation in relationship to program (using parametric alterations in the metalsâ&#x20AC;&#x2122; properties). The tower accommodates offices for a third of the tower as well as luxury hotels for the remaining levels, with a rooftop sky bar/pool area for attendees. The Relief Tower can be situated in cities strategically through coordination with electrical grids as well as residual wind patterns that are analyzed in the CFD programs. The tower is oriented and placed to withhold maximum production to itself as well as its neighbors. While in use this tower would be able to power many of the major buildings around the area, keeping the city alive and applicable. The Relief Tower takes on social and political gains towards investors, as well creating a symbol and presence of architectural. This symbolism is a new typology that should expand the world of architecture; to not only create living and working spaces but instill designs that demonstrate functionality and provide for the need of growing cities. The Relief Tower is the start to a new style and symbolism to Chicago, marking new landmarks of guard-ship and sustainability to the modern city.

CFD WIND ANALYSIS

//RELIEF TOWER

//TUMAMAC HABITAT CENTER

The Tumamac Habitat Center is situated near the foot of the Tumamac Hill, within Tucson Arizona. The site is between the city and the Tumamac Hill, creating a disconnection between city and natural environment. The center is designed around the idea of adaption to its surroundings and its inhabitants. Just as plants and animals in the desert have to adapt to changing environments through water retention and swelling, the Tumamac Habitat Center adapts and evolves to its daily usage. The habitat center is programmed through three different sections, education, entertainment, and research, that change in floor space for the need or occupancy. The three spaces are connected through a common corridor that is designed for gallery, office space, residence, and other permanent spaces. The Tumamac Habitat Center enhances the experience of the site by directing occupants towards the hill and desert environment while steering away from the street and city. Users are submerged through the entrances to the underground disconnecting them from the street view, and then exposed to framed views towards the hill. The spaces are designed for a sense isolation and attention to the environment. The Tumamac Habitat Centerâ&#x20AC;&#x2122;s architecture can act as a symbol of adaption to the environment and the public can start to establish a relationship to the living environment and how the environment adapts to its time and place.

//TUMAMAC HABITAT CENTER

//DEVOID TOWER

The Devoid Tower, located in Chicago, IL, explores the passive systems that can be incorporated into high-rise design. The design is influenced by a set of design rules, and tested using parametric and environmental analysis. The tower is composed of a central volume that is pierced by a void. The void’s placement and movement is designed around Chicago’s environmental conditions, i.e. wind speeds and sunlight. Energy and wind testing had shown that the void slows down wind speeds, giving the tower the option for natural ventilation through each of the floor-plates. Through the use of the void, the tower also allows for maximum sunlight onto floor plates as well as allowing for even more scenic views to the exterior. Located in the River North area of Chicago, the tower is graced with a large of amount views (Loop, Lake Michigan, Chicago River), and pedestrian activity. The void extends to the entry way presenting a experiential view up through the tower and framing a view to the sky. On the interior users are greeted with an openness to the space and an open floor plate due to the dia-grid structure suspending the floorplates. The tower’s form is derived and translated by the movement and form of the void. The tower’s program includes: Retail space on the bottom three stories looking off towards the river/lake, as well as restaurant space incorporated into the walkway along the river. The larger portion of the tower is programmed for office space. The office floor-plates are arranged for an open plan and operable spaces. The top portion is a five star hotel with a sky lobby disconnecting the office space and hotel, as well as an observation deck near the top of the tower. The Devoid Tower explores the passive systems that can be incorporated into high-rise design. The design is influenced by a set of design rules, and tested using parametric and environmental analysis. The tower is composed of a central volume that is pierced by a void. The void’s placement and movement is designed around Chicago’s environmental conditions, i.e. wind speeds and sunlight. Energy and wind testing had shown that the void slows down wind speeds, giving the tower the option for natural ventilation through each of the floor-plates. Through the use of the void, the tower also allows for maximum sunlight onto floor plates as well as allowing for even more scenic views to the exterior. Located in the River North area of Chicago, the tower is graced with a large of amount views (Loop, Lake Michigan, Chicago River), and pedestrian activity. The void extends to the entry way presenting a experiential view up through the tower and framing a view to the sky. On the interior users are greeted with an openness to the space and an open floor plate due to the dia-grid structure suspending the floorplates. The tower’s form is derived and translated by the movement and form of the void.

//DEVOID TOWER

//MULTIFARIOUS FORMATIONS

Multifarious formations is is a set of ongoing experiments in fabrication and modelling done by Daniel Caven, at the Southern California Institute of Architecture Robotics lab. The research constructed takes on the dilemmas of computer based modeling- and its lack of understanding of material agency within simulation and transformation.The idealistic setup for architecture, fabrication, and simulation is to have a real time feedback loops allowing the designer/machine to update according to gesture and errors in simulation. This allows for fabrication to have a customization and idealism to the processes. Using scanning methods and data analysis in the digital world the project is going to take on the idea of smart tooling. Tactics in fabrications have been based on patterns and dialogs upon G code generation limiting uniqueness to a manufacturing process. Using paths in the milling process gives a diminishing value in design and a declining appreciation for uniqueness in design. Advanced fabrication in the research and experimentation takes on new ways of producing objects each unique to one another. Image based drawing sets that change in resolution parameters allows for robotics to take on true free form fabrication. Image based manufacturing gives the result of the object at different resolutions and sets up new ways of making through single object displacement maps. Using this technique in its beta stage this research is able to create many different variations of the same object and a real time loop by bring the object back into the computer to show end results. Architecturally it deals with a precise imprecise way of developing analog modeling and digital feedback loops. Height Field maps are used as tool paths for building and forming objects that are then encased in resin and then removed my acid washes. Multifarious Formations seeks to combine methods of computer based modelling and analog modelling. The research seeks to create a platform for freeform fabrication and real time feedback. In order to attack multiple problems of tooling, perform, shaping forces, and material intelligence.

//MULTIFARIOUS FORMATIONS

//ILL.MANNERED

//MULTIFARIOUS FORMATIONS MATERIAL

Eye Robot is a prototype for a full scale dynamic interface, which invites users for an interactive play between the physical world and the virtual world in real-time, using the human body. The exhibit used scanner mechanisms to track people around the space and have the robots trace them. The interaction between the robots and the visitors created a playful experience and allowed for comfortability with the machines. The processes used for the tracking involved kinect scanning with live stream joint movements in the space. Robotics // Programmers // Designers: Daniel John Caven, Designer//Robotic Programmer Jake Newsum, Robotics Lab Coordinator Projection Mapping: Austin Andrew Samson Assembly: Salvador Francisco Cortez Hultsch Johnny Ng Nikita Alex Troufanov Uri Wegman

VIMEO: https://vimeo.com/user24456948 YOUTUBE: https://www.youtube.com/user/dcaven53 CARGO COLLECTIVE: http://cargocollective.com/danielcaven