DANILO SAMPAIO
A U D . PORTFOLIO 2015
DANILO RAMOS PINTO SAMPAIO, CAU, CREA
PROFESSIONAL EXPERIENCE
MAIN PROFESSIONAL ACTIVITIES
ARCHITECT, URBANIST, DESIGNER
[2014 ›› 2015] INTERACTIVE ARCHITECTURE LAB Roles: Architectural Designer | Researcher | Assistant Location: London, EN - United Kingdom Supervisors: Ruairi Glynn / Christopher Leung / William Bondin [2014] MANHATTA ARCHITECTURE, P.C. Roles: Architectural Designer | Collaborator Location: New York, NY - United States Supervisor: Richard Garey, NCARB [2013 ›› 2014] THE H.L. TURNER GROUP, LLC Roles: Architectural Assistant | International Representative Location: Concord, NH - United States Supervisor: David Hart, AIA, NCARB [2011 ›› 2013] ARKTECTUS SUSTAINABLE ARCHITECTURE Role: Architect | Project Manager Location: Rio de Janeiro, RJ - Brazil Supervisor: Maria José de Mello, CAU, CREA [2010››2011] PROJECTUS CONSULTING LTD. Role: Architect Locations: Rio de Janeiro, RJ - Brazil / Sao Paulo, SP - Brazil Supervisors: Claudio Amaral, CAU, CREA / Marcelo Miua, CAU [2008››2010] GAFISA S/A Roles: Trainee ›› Architect Locations: Rio de Janeiro, RJ - Brazil / Porto Alegre, RS - Brazil Supervisors: Amanda Cabral, CAU / Silvia Amaral, CAU [2005››2007] RAFFA ARCHITECTURE Role: Architectural Intern Location: Rio de Janeiro, RJ - Brazil Supervisor: Rafael Tavares, CAU, CREA [2004] GÁS CAPITAL GR OF BRAZIL Role: Field Draftsman Location: Rio de Janeiro, RJ - Brazil [SINCE 2009] INDEPENDENT Roles: Architect, Designer, Modeller and Illustrator Location: Worldwide
[2015] CELLULAR INSTRUMENTS INTERACTIVE ARCHITECTURE LAB | MALTA Keywords: architecture, design, fabrication, interactive installation; [2015] MY CUP INTERACTIVE ARCHITECTURE LAB | LONDON, EN Keywords: architecture, design, fabrication, interactive installation; [2014 ›› 2015] L.I.E.M.M.P. ARKTECTUS SUSTAINABLE ARCHITECTURE | RIO DE JANEIRO, BR Keywords: architecture, design, revit, modelling, LEED; [2014] MOUNT WASHINGTON VALLEY SPORTS CENTRE INDEPENDENT | NEW HAMPSHIRE, US Keywords: architecture, design, modelling, animation; [2014] THE ANGLED BUILDING MANHATTA ARCHITECTURE | NEW YORK, NY Keywords: architecture, urban, revit, modelling, requalification; [2013] PINWHEEL TEACHING UNIT ARKTECTUS SUSTAINABLE ARCHITECTURE | RIO DE JANEIRO, BR Keywords: institutional, architecture, design, revit, modelling; [2013] ADORE ORGANIC INNOVATION THE H.L. TURNER GROUP | NEW HAMPSHIRE, US Keywords: management, renovation, interior design, commercial, revit; [2013] BOYS AND GIRLS CLUB THE H.L. TURNER GROUP | NEW HAMPSHIRE, US Keywords: educational, graphical design, revit, photoshop; [2012 ›› 2013] THE CONTAINER CITY ARKTECTUS + TURNER GROUP | RIO DE JANEIRO, BR Keywords: architecture, urban, landscape, infrastructure, PMP, LEED; [2012] NOVA TRINDADE’S EXHIBITION STAND ARKTECTUS SUSTAINABLE ARCHITECTURE | MINAS GERAIS, BR Keywords: architecture, infrastructure, energy efficiency, sustainability; [2012] TRANSIT DEPARTMENT OF RIO DE JANEIRO - DETRAN RJ ARKTECTUS SUSTAINABLE ARCHITECTURE | RIO DE JANEIRO, BR Keywords: management, renovation, infrastructure, institutional;
MArch, BArch, PGCert
Citizenships: Portugal and Brazil e-mail: au.dsampaio@gmail.com professional curriculum: http://www. linkedin.com/in/audsampaio academic curriculum: http://lattes.cnpq.br/3142730896060616 digital portfolios: http://www.issuu.com/drpsampaio
PROFILE Skilled digital and handwork, such as models and drawings; Very creative, innovative and up to date; Easy person to deal with, organized, hard worker and proactive.
EDUCATION [2014 ›› 2015] MArch – Architectural Design – Distinction The Bartlett School of Architecture – UCL London, EN | United Kingdom [2013 ›› 2014] PGCert – International Business Adm. – 3.7 GPA Manhattan Institute of Management – MIM New York, NY | United States [2005 ›› 2009] BArch – Architecture and Urban Design – 7.9 CR Federal University of Rio de Janeiro – FAU/UFRJ Rio de Janeiro, RJ | Brazil [2000 ›› 2002] Technical Certificate – Building Construction Technology Trade School Ferreira Viana – ETEFEV Rio de Janeiro, RJ | Brazil
AFFILIATIONS CAU – Architecture and Urbanism Council Rio de Janeiro, Brazil CREA – Federal Council of Engineering, Architecture and Agronomy Rio de Janeiro, Brazil
[2011] R.E.P.L.A.N. ELECTRICAL SUBSTATIONS PROJECTUS CONSULTING | SÃO PAULO, BR Keywords: PETROBRAS, architecture, industrial, specific normative; [2011] INHAUMA SHIPYARD PROJECTUS CONSULTING | RIO DE JANEIRO, BR Keywords: PETROBRAS, architecture, industrial, requalification; [2010] CANTO DOS PÁSSAROS GAFISA | RIO GRANDE DO SUL, BR Keywords: architecture, interior, landscaping, planning, budget control; [2009] MARQUES & GOMES LAW FIRM INDEPENDENT | RIO DE JANEIRO, BR Keywords: architecture, interior design, renovation, management; [2009] MARCHESINI RESIDENCE INDEPENDENT | RIO DE JANEIRO, BR Keywords: architecture, structure, infrastructure, management; [2009] GALETERIA BRASIL RESTAURANT INDEPENDENT | RIO DE JANEIRO, BR Keywords: commercial, architecture, interior, modelling, visualization; [2008››2010] LONDON GREEN PARK & STYLE GAFISA | RIO DE JANEIRO, BR Keywords: architecture, interior, landscaping, planning, budget control; [2007] STATE SCHOOLS RAFFA ARCHITECTURE | RIO DE JANEIRO, BR Keywords: design, infrastructure, requalification, institutional; [2006] MARACANÃ STADIUM RAFFA ARCHITECTURE | RIO DE JANEIRO, BR Keywords: renovation, institutional, field monitoring, infrastructure; [2005 ›› 2006] CARACALLA HOTEL RAFFA ARCHITECTURE | RIO DE JANEIRO, BR Keywords: architecture, infrastructure, commercial, field monitoring; [2004] NATURAL GAS SYSTEM EXPANSION GÁS CAPITAL | RIO DE JANEIRO, BR Keywords: institutional, field monitoring, hand draft, infrastructure;
MAIN ACADEMIC ACTIVITIES
MAIN PROFESSIONAL SKILLS
[2014 ›› 2015] THE reEARTH PROJECT | LONDON, EN UCL | Tutors: Arch. Prof. Ruairi Glynn, Christopher Leung, William Bondin Keywords: academic, architecture, design, fabrication, installation; [2009] THE CITY OF SOUND TECHNOLOGY | RIO DE JANEIRO, BR UFRJ | Tutor: Arch. Prof. Mônica Salgado Keywords: architecture, infrastructure, sustainability, revitalization; [2008] RIO-LISBON WORKSHOP | RIO DE JANEIRO, BR / LISBON, PT UFRJ + UTL | Tutors: Arch. Prof. Guilherme Lassance, Pedro Évora Keywords: workshop, academic, architect, urban, requalification; [2008/2] NEW THOUGHTS OVER MANGUEIRA | RIO DE JANEIRO, BR UFRJ | Tutors: Arch. Prof. Pedro Évora, Cristovão Duarte Keywords: urbanism, landscaping, architecture, requalification; [2008/1] THE 45 DEGREE BUILDING | RIO DE JANEIRO, BR UFRJ | Tutor: Arch. Prof. Guilherme Lassance Keywords: urbanism, landscaping, architecture, requalification; [2007 ›› 2008] UNDERGRADUATE RESEARCHES | RIO DE JANEIRO, BR UFRJ | Tutors: Arch. Prof. Rachel Coutinho, Denise Machado Keywords: academic, theory, practice, normative, urban development; [2007/2] JARDIM BOTÂNICO OFFICES | RIO DE JANEIRO, BR UFRJ | Tutor: Arch. Prof. Eduardo Horta Keywords: skyscraper, commercial, architecture, design, landscaping; [2007/1] CIDADE NOVA SCHOOL | RIO DE JANEIRO, BR UFRJ | Tutor: Arch. Prof. Vera Tângari Keywords: educational, public, modular, architecture, landscaping; [2006] UNDERGRADUATE TEACHING ASSISTANT | RIO DE JANEIRO, BR UFRJ | Tutor: Arch. Prof. Nadia Fatorelli Keywords: academic, descriptive geometry, teaching, assistance;
Architectural and Urban Designs; Sustainable Development and Design; Construction Management and Field Operations; Project Planning and Management (PMP); Team Management and Leadership; Fabrication - Machining, Robotics, Making; Certification - LEED, Procel;
[2006/2] MULTI-FAMILIAR HOUSING | RIO DE JANEIRO, BR UFRJ | Tutor: Arch. Prof. Paulo Jardim Keywords: architecture, landscaping, modular, social requalification; [2006/1] URCA’S CASINO REVITALIZATION | RIO DE JANEIRO, BR UFRJ | Tutor: Arch. Prof. Flávio Castellotti Keywords: architecture, design, re-usage, renovation;
MAIN COMPUTATIONAL SKILLS CAD & BIM - Revit, AutoCad, ArchiCad, Microstation; 3D - Rhinoceros, Grasshopper, SolidWorks, 3ds Max, Maya, SketchUp; Rendering - Vray, Maxwell, Lumion, KeyShot, Indigo, Unreal Engine; Graphics - Photoshop, InDesign, After Effects, Illustrator, Corel Draw; Extras - Arduino, PowerMill, Machining, Sketching, SAP
SPOKEN LANGUAGES Portuguese – Native ›› Mother language; English – Fluent ›› 2nd language; Spanish – Intermediate.
CERTIFICATIONS + PRIZES B-Pro Bronze Prize 2015 (The Bartlett School of Architecture, UCL) Bronze Prize for the project ‘reEarth’ in MArch Architectural Design. Science Without Borders Scholarship (CAPES/CNPq) Selected for the Professional Master’s Program in the United States. University of Southern California | Rochester Institute of Technology. LEED Schools Silver 2013 (Arktectus Sustainable Architecture) Pinwheel Teaching Unit’s Erich Walter Heine - LEED Silver The first LEED certified public school in Latin America. Greenvana Greenbest 2012 (Arktectus Sustainable Architecture) First Place - Architectural-Sustainable Design Pinwheel Teaching Unit’s Erich Walter Heine “Architect and Urbanist” patent conceded by Architecture and Urbanism Council (CAU) and Federal Council of Engineering, Architecture and Agronomy (CREA) of Rio de Janeiro.
THE REEARTH PROJECT
PAGE 01-16
CITY OF SOUND TECHNOLOGY
PAGE 17-26
myCUP
PAGE 27-32
L.I.E.M.M.P.
PAGE 33-42
THE ANGLED BUILDING
PAGE 43-52
MASTER THESIS
EXTRA
The reEarth Project 2014-2015 Academic | MArch Graduation Project London | United Kingdom 3 Metres Diameter Artistic, Educational Design, Architecture, Biology Interactive Architectural Design Ruairi Glynn, Christopher Leung, William Bondin Graduate Student|MArch The Royal Parks, Kew Gardens / National Gallery Distinction (B-Pro Bronze Prize 2015)
Harnessing the collective intelligence of plant behaviour, the reEarth project explores new forms of bio-cooperative interaction between people and nature, within the built environment. While plants lack a nervous system, they can, much like animals, become electro-chemically stimulated by their surrounding environment. Through the study of plant electro-physiology, we have wired their primitive ‘intelligence’ into the control-loop of an autonomous robotic ecosystem. Half garden, half machine - a new cybernetic lifeform, named Hortum machina, B. Echoing the architecture of Buckminster Fuller, the geodesic sphere is both exoskeleton and ecological iconography. Its core of twelve garden modules, each carrying native British species on outwardly-extending linear actuators allow the structure to become mobile by shifting its centre-of-gravity. Electrophysiological sensing of the state of individual plants collectively and democratically controls decision-making of the orientation of the structure and its mobility. In the near future context of driverless cars, autonomous flying vehicles, and seemingly endless other forms of intelligent robotics co-habiting our built environment. Hortum machina is a speculative urban cybergardener.
THE reEARTH PROJECT
ACADEMIC PROJECT 2014-2015 01 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
Title Year Issue Site Size Context Content Conception Orientation Role Client Mark
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Photo: Hortum machina, B commuting on the streets of London.
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 02
reEarth Storyboard
At present, there is a general acceptance that we are shifting towards a greener London, with designated areas for nature. However, the London Natural History Society states that much of Greater London is now inhabited and dominated by non-native plants. As these often tend to be invasive, their communities spread while many of the native plants are becoming increasingly threatened. Motivated by the idea to make London a ‘National Park City’ (LDN National Park, Online), the project is an intelligent landscape that works as an extension to a park, a vessel with native plants situated inside a geodesic sphere that travels through unknown land: the urban London. The ‘Exoskeleton of Life’ (geodesic sphere) is driven consequent to electrophysiological data as the plants are imagined to be the intelligence of the structure, with the purpose of reprocreating themselves: it spreads and repopulates the native life that it carries in its core, taking seeds from the enclosed-limited space to this new-broad natural environment called planet Earth. Upon signal receipt of a daylight transition, the augmented plants act by informing the system about the gardens’ needs. The corresponding module then expands out by means of a linear actuator to act as a weight shifter. Consequently, the sphere rolls so that the shaded/sun lit faces of the gardens are interchanged. Alternatively, through a series of sensors that seek out new external conditions, the plants’ architecture searches for new spots of sun, until a potential location is acquired.
THE reEARTH PROJECT MOTIVATION
THE reEARTH PROJECT
‘reEarth’ London’s Green Designated Areas & ‘Hortum machina, B’ as an Extension to the Park
‘reEarth’: Layered as the Earth and ‘Hortum Machina, B’ Exploring Unknown Territory: The Urban London
THE reEARTH PROJECT
ACADEMIC PROJECT 2014-2015 03 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
‘reEarth’: The Plants as the Intelligence of the Structure & Native vs Invasive/Non-Native Plants
Hortum machina at Kew Gardens
Hortum machina Visualized as an Explorer, as it Rolls at Hyde Park
AN EXOSKELETON OF LIFE
THE reEARTH PROJECT
The ‘reEarth’ Project is a hybrid of academic research and physical fabrication, embedded by technologies that promote controlled-dynamic behaviours in both micro and macro scales structures. The idea of Earth as the entire overarching vessel of both organic and synthetic collaborative and competing systems was mainly what brought the ‘reEarth’ project concept to life. reEarth aims to be an embodiment of both organic and synthetic collaborative and competing systems. The geodesic sphere is what better materialize the motivation of this work through both technical and philosophical perspectives, carrying all the connotations and associations with a “model of the Earth”. An exoskeleton device is to provide balance, control and most of the energy required to work alongside gravity while the “operator” stays in control, determining at what time and where to move. The principles of tensegrity apply at essentially every detectable scale in the exoskeleton. The complexity of tensegrity structures, such as the geodesic dome, is comprehended by several features such as structure, joints, ligaments, connections, closings and many others, in its own scale and configuration. In that sense, the sphere works as a protective steelmeshed exoskeleton that plays with the speculative notion that, in order to save the world from an ecological catastrophe, we should protect ourselves indoors. It criticizes, however, the proposals of cities covered by glass domes being the solution to stop life from ending by protecting the humanity from environmental hazards. ‘The Exoskeleton of Life’ will house and protect life but will continuously interact with the external environment. The garden and its plants represent the living things that will be enclosed within this limited architectural space. We, as humans, are life-dependent on plants. Therefore, to support this movement and promote individual awareness, the geodesic sphere has the ambition to be a structure that allows plants to autonomously commute. Raised from the ground level to the height of the observer’s eyes, it is a personification of plants that occupy a notorious and physical space within our society.
Hortum machina as Imagined Taking a Bath in Shallow Water
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 04
CRUST
OUTER CORE
INNER CORE
The design proposes a suspended kinetic-garden that hides a source of light inside its core. It plays with the conceptual motivation and physical notion that, since the beginning of human kind, men have positioned themselves in front of nature and natural resources, and, in order to access its energy, they must learn how to respectfully interact with nature. Codenamed as “Earth Rebirth”, the first phase of the project aimed to study the dodecahedron’s geometric strength, deformation behaviour and illumination effects. In the second prototype, the user interactivity feature was added so it could activate the light and change its deformation patterns. In geometry, a dodecahedron is any polyhedron with 12 flat pentagonal faces, with 3 meeting at each vertex. It has 20 vertices and 30 edges. The design consists in a layered structural system composed by inner core, outer core and crust. Each layer has a dodecahedron shape, working as an offset of each other. The inner core is 2/3 of the outer core, which in turn is half size of the crust (proportion, 2:3:6). The layers are supported by rod-like connections that link each other’s vertices. In total, the outer layer and the crust are connected by 20 rods, being 10 of them contractible in order to proportionate the desired deformation and activate the source of light, housed by the inner core. The crust was composed by triangular frames with carbon fibre mesh, to allow the light to pass through and keep some of the geometric strength; the structure was made out of 3mm and 6mm MDF, laser cut and assembled in several different pieces; the rods were made of 7mm diameter aluminium tubes, being the contractible ones composed by 8mm diameter springs, keeping the rods resting at their normal length; one LED for each face that lights up according to the user interaction; nylon strings are connect to each face of the dodecahedron, coming out from one of the rods, and attached to the user’s limbs so the faces can deform individually also according to the user interaction. To conclude, metal hooks are attached to the end of four of the rods that allowed the structure to be suspended.
EARTH REBIRTH: GEOMETRY STUDY
THE reEARTH PROJECT
Line 1 – The Re-Earth Project Concept
Line 2 – The reEarth Project Prototype 01
Line 3 – The reEarth Project Prototype 01
Line 4 – Prototype 02: Technical Features Photographed During the Fabrication Processes
Line 5 – Prototype 02: Technical Features Photographed During the Fabrication Processes
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Line 6 – The Images Illustrate its Interactivity by Opening and Deforming Through the Movements of the Dancer
Line 1 – Plant Signals Reading and Circuit Diagrams
Line 2 – Plant Signals Circuit, Air Muscles Mould and Solenoid Valves
Line 3 – Plant Signals Reading Circuits and Solenoid Valves
Line 4 – Air Muscles, Plant Pot, Geometrical Modulation
Line 5 – reEarth Phase 02 Under Testing: Human Interaction
EARTH REBIRTH: SENSING STUDY
THE reEARTH PROJECT
ICOSAHEDRON
SUPPORTS
SILICONE MEMBRANES
From an initial desire to use electronic data in order to determine whether the plant is in a good condition based on its needs, this stage focused on the interactivity of a plant which has its bio-electric signals measured and converted to sound and movement. Depending on the environmental conditions and human interaction, the plant signals voltage changes that are translated into fluctuations by pneumatic air muscles made out of silicone. Soft robotics creates a new platform for users to interact with architecture and adapt itself to the environmental conditions, acting as a new architectural actuator. This time, the icosahedron was chosen to be the structural shape of the design. In geometry, an icosahedron is composed by 20 flat equilateral triangular faces. It has 12 vertices and 30 edges (6 short + 24 long). Once again, the design consists in a layered structural system, simplified, this time, by core and crust only. The core is approximately half size of the crust and each face of the core is intended to function as individual “plant pots”. 12 rod-like connections support the crust, linking each layer’s vertices and channelling the soil to the external environment, for plant watering and pneumatic actuation. In order to develop this experiment, silicone casting, mould design and a control system were featured. The moulds were made out of a layered conjunct of acrylic frames. Male and female materials were used to manufacture the silicone membranes, eventually cured resting in the moulds. The control system, composed by an Arduino Uno board, three solenoid valves (one for each muscle) and air compressor, was meant to read signals and respond to the plant. According to specific fluctuations, it activates the valves so the air could go through them and inflate the muscles. In general, several fabrication methodologies were used and properly learnt. Among these we could emphasise: machining, mould fabrication technique, silicon casting, electronics and computation. This research was the start point of ‘electrophysiological measurements’ idea for the reEarth project. The possibility of using plants to sense environmental conditions (light, vibrations, temperature, and humidity) became a feasible feature which has been carried throughout the project, affecting every step taken and decision made.
Line 6 – reEarth Phase 02 Under Testing: Data Readings and Air Muscle Response
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 06
The Seed Storyboard
The ‘Green Law’ is a network with two interfaces, a cyber-gardener and a domestic plant. The plant senses the environmental conditions it is situated in, and feeds the gardener with the data sensed. Automatically, the system calculates whether that particular environment is suitable for the plant or not. If not, the cyber-gardener will ask the plant to be transferred to a new, more suitable environment. Subsequently, ‘The Seed’ proposal came as a micro-climate in a stellated icosahedron device, representing a seed. Electrophysiological measurements determine whether the plant is in a good condition, and environmental sensors in the legs regulate where it should position itself. Conceptually, the plant will produce seeds seasonally. They are to fall in the inner core while it is rotating and when it deems necessary, the plant will release the seeds through its legs, while stepping on them. The detached environmental sensors measure the external conditions while informing the plant of a potential suitable location. The soft tissue membranes on the legs open up to create shading when needed. They also elongate themselves to seek out new conditions. The shape morphed to stellated icosahedron, keeping the basic characteristics of the previous design, counting with some specific improvements and adaptations. Each rod counts with an umbrella-like device, used to be the mechanical bit of the shading system, opening and closing the membranes according to its needs. In addition, linear actuators are idealized for the legs, in order to make them elongate, but will only be experimented in the subsequent phase of the project.
THE reEARTH PROJECT
ACADEMIC PROJECT 2014-2015 07 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
GREEN LAW & THE SEED: “BIG DATA”
THE reEARTH PROJECT
Line 1 – The Network with Two Interfaces: a Cyber-Gardener and a Domestic Plant - Physical Model
Line 2 – The Network with Two Interfaces: a Cyber-Gardener and a Domestic Plant - Testing
ENVIRONMENTAL SENSORS + LEGS MICRO CLIMATE PLANT CONTAINER
OPENED LEGS SHADING DEVICE (SECTION) AIR MUSCLE COVER (SHADING DEVICE)
EXTENDIBLE ENV. SENSORS (LEGS)
OPENED LEGS SHADING DEVICE (FULL STRUCTURE)
The Seed Prototype
The Geodesic Sphere Scale Prototype: Top View & Detail
LEGS (PENTAGONS) SUPPORTS PLANT STRUCTURE ELECTROPHYSIOLOGICAL MEASUREMENT ACTUATING LEGS FOR STRUCTURE TO ROLL SHADING DEVICE (ENV. SENSORS SUPPORTS)
EXTERNAL GEODESIC FRAME (EXCLUDING HEXAGONAL CONNECTIONS)
The Geodesic Sphere Scale Prototype: Elevation
SECTION (PHYSICAL MODEL)
OPENING SHADING DEVICES ENV. SENSORS
GEODESIC SPHERE: SPHERICAL ROBOT
THE reEARTH PROJECT
The Geodesic Sphere Factor 3
The shape now changes to a geodesic sphere factor 3. In this experiment, the pentagons are extended outwards by linear actuators attached to their central point, resulting in stellated faces. The resulting behaviour was to allow the whole structure to roll, making it take a “step” by extending the pentagonal face each time it touches the floor when retracted. Electrophysiological signals, once again measured from the plant, are the sensors to direct the structure accordingly. The pistonlike devices employed in this model was designed considering the use of a simple servo motor - connected to an Arduino interface - as the main source of actuation. A gear attached to the servo and a chain that embraces the gear and is attached to both tips of the rod compose the simple mechanism, make the rod move upwards and downwards, pushing the pentagonal face beyond the sphere limit. The decision to utilize a spherical robot (also known as ball-shaped robot) as the main dislocation actuator of the geodesic sphere came, also, by following the idea of the “layered design that connotes the model of the Earth”. The spherical robot represents the ‘core’, the source of energy that ‘translates the spaceship’. It uses weighted actuators to move the robot’s centre of gravity, allowing the whole structure to move, controlled by gyroscopes and sensors. A large diameter for the robot helps to generate greater shifting torque and lower resistive torque from different obstacles, such as stones or logs. Consequently, an unbalanced sphere will always rest in the same position, with the centre of gravity at the lowest point. DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 08
Logic Diagram
The design, once for all, proposes a 1500 millimetres tall spherical suspended garden composed by 12 garden modules that are protected by a 3000 millimetres tall exoskeleton made out of sandblasted aluminium pipes. In sum, it combines the major and more relevant features of each prototype and experiments developed during the academic year. The design – a definite vessel that connotes to the “model of the earth” – consists in a layered structural system composed by inner core, outer core and crust: structure, garden modules and exoskeleton, respectively. Composed by structure, linear actuators, and garden modules, the inner and outer cores compose the exoskeleton’s spherical robot. Sandblasted aluminium fins generated from the diagonals of an icosahedron compose the beautiful structural framework that embraces 12 linear actuators. Attached to each actuator there are 12 garden modules that are filled with rare British plants, such as ‘alchemilla mollis’. The core rests in the centre of the vessel, using the concept of centre of gravity as a mean of propulsion. As critical to engineering as it is fundamental to physics, it works as a weighted-stability shifter that dictates which step the sphere should take and, therefore, where it should go. It is given by the plants’ response to the external environment (observed through electrophysiology). They are the drivers of the linear actuators that, eventually, would make the whole structure shit towards a specific position. Thereafter, seeds can be dispersed away, repopulating the area with native plants. Lastly, to make the concept even stronger, LED lights placed inside the core illuminate it from inside out, creating magnificent shadows once Hortum machina is “taking its steps”.
THE reEARTH PROJECT
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THE LAYERED ARCHITECTURAL DESIGN
THE reEARTH PROJECT
Hortum machina Planting its Seeds
Hortum machina Visualized at Kings Cross
Simulation of Hortum machina’s Lights and Shadows
EXPLODED VIEW
THE reEARTH PROJECT
INNER CORE SOLAR PANELS WATER STORAGE LINEAR ACTUATOR PLANT RECIPIENT STEEL CABLE GARDEN MODULE OUTER CORE EXOSKELETON (CRUST)
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 10
GEODESIC SPHERE
MOMENT OF INERTIA FOR A HOLLOW SPHERE
MOMENT OF INERTIA
THE reEARTH PROJECT
NEW MOMENT OF INERTIA FOR A HOLLOW SPHERE (APPROX. GEO. SPHERE)
CORE
MOMENT OF INERTIA FOR A SOLID SPHERE NEW MOMENT OF INERTIA FOR A SOLID SPHERE (APPROX. GEO. SPHERE) Rolling Diagram
ALUMINIUM CORE STEEL CABLES GEODESIC SPHERE
MOMENT OF INERTIA EQUATION FOR HORTUM MACHINA, B The assumption being made is that it will take double the normal moment of inertia to rotate the geodesic sphere because since it is made up of pipes, the sphere must first roll to the halfway point of the pipe. Once the point is hit, the momentum of the sphere should allow for the sphere to roll the rest of the way without any added inertia. Because of the previous assumption, in order for the core to rotate the entire geodesic sphere, the equation is also doubled. Otherwise it would just have the inertia for itself. It is also assumed that the core is a solid sphere (the moment of inertia will only be greater than what is actually needed). The geodesic sphere has an angular momentum. When the gardens are moved around, the sphere has forces acting on it to try and overcome its static position. From the assumptions it is known that there is an angular momentum and moment of inertia, which can be related using the following equation, L = I w. The symbol w stands for angular velocity. In order to create a movement in the entire sphere, the equation becomes L / I = w. The necessary component that is needed to create the movement is the angular momentum which when higher than the moment of inertia will allow the movement in the sphere. Thus if L > I, it can be safely assumed that the sphere will rotate. It is also known that the total inertia, with the weight of the stationary gardens is 500.1 kgm2. With weight shifting inside the sphere, the moment of inertia will decrease. The following is not taken into account. The next equation gives the required radius for the gardens to create a movement in the sphere. The constriction that the actuator only extends to 1.33 meters must be kept in mind (1). Because of the plane that we will be doing calculations for and the movement of the sphere, the sin(θ) is actually sin(θ+90) which is cos(θ). The point on the sphere where gravity will be giving the greatest amount of angular momentum will be when the garden is perpendicular to the ground (2).
THE reEARTH PROJECT
ACADEMIC PROJECT 2014-2015 11 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
(1) (2)
(3)
Moment of Inertia Diagram
This means that with one garden that is perpendicular to the ground, the sphere would not be able to roll unless the radius is 1.62 metres. With multiple gardens at different angles, movement is facilitated. An example with two gardens (calculated separately and added together) is shown below. The three gardens are calculated separately and then added together. This explains what radius both actuators need to be to facilitate the movement and create the expected behaviour (3). This shows that once the two gardens start extending outward from the stabilized point on the core, BIG-B should begin to shift its weight and be able to create movement in the direction of the gardens. This proves that theoretically it is possible to create the movement of the sphere with two gardens, but not one garden by itself (since one actuator can only extend to 1.33 metres away from the centre).
FRONT VIEW
WIRE MESH ABOVE SOIL
LINEAR ACTUATOR ACTUATOR HOLDER AND CAP M3 BOLTS
EXPANDED LINEAR ACTUATOR
FRAME OVER WIRE MESH
GARDEN ACTING AS WEIGHT SHIFTERS
PLYWOOD CANTILEVERS
Inner Core and Garden Module Section
3mm ALUMINIUM FIN M8 BOLT 9mm ALUMINIUM SUPPORT LINEAR ACTUATOR BASE HOLDER LINEAR ACTUATOR 55mm DIAMETER 500mm STROKE
Core-Actuator Connection
PLANTING CONTAINER WATER COLLECTION LINEAR ACTUATOR
WATER STORAGE VACUUM-FORMATED ACRYLIC POTS BRACING FRAME
SUPPORT CROWN
SEED PLANTER
SECTION
ALUMINIUM FINS ANGLE BRACKETS
THE INNER AND OUTER CORES
THE reEARTH PROJECT GARDEN STRUCTURE
M3 BOLTS ACTUATOR SUPPORT CROWN BRACERS
ALUMINIUM FINS SYSTEM AND CIRCUITS AREA CABLE CONNECTIONS CORE RING RING HOLDER Inner Core - Exploded View
ACTUATOR SUPPORT CROWN
BRACERS
ALUMINIUM FINS
SYSTEM AND CIRCUITS AREA
Inner Core - Fully Assembled
Fabricated out of a 3mm aluminium sheet, the core can be inserted in a perfect icosahedron where only their vertices coincide. As stated in the previous chapters, an icosahedron has 12 vertices and 30 edges. The structural composition was designed using its edges as reference, resulting in 30 aluminium fins that become a strong structural solution when fully assembled. Each vertex is embraced by 3 rings that join 5 fins together. In total, 60 aluminium rings are equidistantly placed from each other. After the design was carefully conceived virtually, each part was water-jet cut from a single sheet of aluminium, maximizing efficiency and minimizing waste. Brackets tightened by m3 bolts and nyloc nuts reinforce the structural strength and certify that all pieces are in their correct place, avoiding any technical and functional issues.
Inner Core and Garden Module Section
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 12
M8 BOLTS 25mm DIAMETER ALUMINIUM TUBE M8 EYED NUT CARABINER HOOK 6mm STEEL CABLE STEEL CRIMP M6 EYED TURNBUCKLE CARABINER HOOK
Sphere / Inner Core Fixing System - Exploded View
As one of the main characters of the project, the garden modules were carefully designed to meet specific technical requirements. Attached to the tip of each linear actuator, a module weights approximately 20 kilos (45 pounds) when fully assembled. Conceived from a pentagonal geometry and framework structure, it has 5 plant pots vacuum formatted from a single negative mould. All pots are made out of one single piece of acrylic, providing the exact solution that solves many technical constraints: it is lightweight, structurally strong, solid and easy to fabricate and assemble/disassemble. Tabs located on the borders of each pot allow them to be bolted to the supporting cantilevers. A technique that utilizes metal mesh to stop the plants from falling due to gravity is considered along with a whole complex of solar energy harvesting, seeding, rainwater storage, watering and drainage mechanisms. The cantilevers are made out of plywood and designed to be as light as possible without losing its structural efficiency. They are bolted to two aluminium bracers that are fixed by ‘circlips’ around an aluminium cylinder. The cylinder, alongside a 25mm piece of CNC’d aluminium, is bolted to the tip of the actuator. These two pieces together stabilize the entire module so it can support different gravitational forces. The inner and outer cores are attached to the crust (exoskeleton) by 20 metal cables. The cables are adjusted by turnbuckles that put the whole structure in tension and provide the proper strength to hold everything in place.
THE INNER AND OUTER CORES
THE reEARTH PROJECT M4 BOLTS LINEAR ACTUATOR CAP AND HOLDER M3 BOLTS 3mm ALUMINIUM PLATE 15mm ALUMINIUM BRACER BRACING FRAME 3mm ALUMINIUM CIRCLIP
63mm DIAMETER 210mm HEIGHT ALUMINIUM TUBE
5.5mm PLYWOOD CANTILEVER
WIRE MESH SOIL HOLDER
LINEAR ACTUATOR STROKE
VACUUM-FORMATED ACRYLIC POTS
WATER STORAGE
THE reEARTH PROJECT
ACADEMIC PROJECT 2014-2015 13 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
AXONOMETRIC VIEW
THE reEARTH PROJECT
Photo: Hortum machina, B at the Bartlett’s B-Pro 2015 Exhibition, Interacting with People
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 14
EXTERNAL LINKS PROJECT IALab - http://www.interactivearchitecture.org/lab-projects/reearth VIDEOS
HORTUM MACHINA, B
THE reEARTH PROJECT
Photo: Hortum machina on a sidewalk, waiting to cross the road.
Earth Rebirth - Geometry Study 01 - https://vimeo.com/111277422 Earth Rebirth - Geometry Study 02 - https://vimeo.com/111811566 Photo: Hortum machina’s ‘Knee Pad’ for Structural Strength
Earth Rebirth - Sensing Study - https://vimeo.com/113913579 The Green Law - https://vimeo.com/119523089 reEarth Lighting Transition Experiment - https://vimeo.com/129803286 The Geodesic Sphere (Codename ‘BigB’) - https://vimeo.com/122485940
Hortum machina’s Stopmotion - https://vimeo.com/131880966 The Making of Hortum machina, B - https://vimeo.com/141393809
THE reEARTH PROJECT
ACADEMIC PROJECT 2014-2015 15 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
Photo: Hortum machina on the road
THE reEARTH PROJECT Photo: Hortum machina, B Rolling in the Streets of London
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 16
City of Sound Technology 2009 Academic | BArch Graduation Project Rio de Janeiro, RJ | Brazil 37,345m² Entertainment, Educational Architecture, Landscape Deconstructive, Sustainable Arch. Monica Salgado Undergraduate Student|BArch Rio de Janeiro’s Municipal Government Excellent (Distinction Equivalent)
Theory, art and technique compose the “Sound City” located in the port area of Rio de Janeiro. On the shores of Guanabara Bay, the site is target of several interventions and propositions of revitalization. The ‘Mauá Pier’ has been constantly used for several temporary events, but it’s nothing but a “blank canvas”, perfectly located. It is the last free-open space situated in the city’s central area, capable of hosting thousands of people and multiple types of events. Mauá is not the legitimate name of the famous pier in the city of Rio de Janeiro. By law, Pier Mauá should be known as Pier Oscar Weinschenck. Weinschenck was the engineer responsible for the construction, in the years 1948/49, of the expansion project of the Port of Rio de Janeiro, which was designed to prepare the city to receive foreigners in World Cup 1950, among other purposes. In recent decades, cities around the world have awakened to the new paradigm of sustainable development, where the new frontier is the occupation of vacant spaces. Within this context, the reuse of old industrial and port areas is taking on new purposes for cities. The regeneration of these spaces, with intensification and blending of their uses, can produce sustainable urban spaces that boost quality of life. The main purpose of this project, alongside the revitalization proposal for the port area in Rio de Janeiro, is to design a permanent building that hosts those events and, also, stimulates the knowledge and practice of the creation of sounds, i.e. music, and all its related technologies.
Title Year Issue Site Site area Context Content Conception Orientation Role Client Mark
CITY OF SOUND TECHNOLOGY
CITY OF SOUND TECHNOLOGY
CITY OF SOUND TECHNOLOGY
ACADEMIC PROJECT 2009 17 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
View from the City
CITY OF SOUND TECHNOLOGY
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 18
The port area of the city of Rio de Janeiro has become greatly degraded, to the detriment of the population that lives and works there. ‘Porto Maravilha’ is to return a historical treasure to Rio, and at the same time integrating areas with great housing, cultural and economic potential, which will be transformed into an example of modernity. New conditions for work, housing, transportation, culture and leisure mark the strategic conception of the urban operation. The revitalization of the port area in Rio de Janeiro will reintegrate it with the city centre as an example of sustainable urban development and productive social inclusion. Enhancing the value of the patrimony and the implementation of new cultural facilities will make it one of the most attractive areas of the city. The port region in Rio de Janeiro, one of the city’s oldest areas, played a fundamental role in the metropolis’s economic and social development. It was, and continues to be, a strategic location. Transformed into the capital of the colony in 1763, Rio de Janeiro took great strides, with considerable increases in the circulation of wealth, allowing the city to grow at an unprecedented rate. The more recent configuration of the port area dates back to the urban renewal carried out by Mayor Pereira Passos at the beginning of the 20th century. A 1- million-square-meter landfill was constructed in order to expand and modernize the pier, with plans for areas to build warehouses and industries. The main concept of the design comes from the effect that the sound may result in architecture. This concept is expressed through an enigmatic building that appropriates and deforms the site, resulting in its formal representation. These waves come from sound generators located in the immediate vicinity of the area. In part, this will be expressed by the resulting wave of a solid that hits the still water, which generates a representative wave sound. This will directly affect the architecture throughout the terrain, allowing the conformation of different topographic levels and characterizing it as an “ambiguous architecture”. The historical area of maritime trade helps the concept’s formation: (2) A giant steel container rests on the pier and receives the influence of the main sound generators in the vicinity: the city, the harbour and the airport. All, in fact, generates sound and, abstractly, helps on the formation of the building. (3) Ships from the harbour and aircrafts from the airport emit “power waves” that confront the container, resulting in the deformation of its exterior walls. (4) The sounds from the city create “radial waves” which affect the topography of the entire complex, where the city environment spreads over the top of the building.
CITY OF SOUND TECHNOLOGY
ACADEMIC PROJECT 2009 19 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
DYNAMIC-AMBIGUOUS ARCHITECTURE
CITY OF SOUND TECHNOLOGY HARBOUR
MAUÁ PIER
CITY CENTRE
AIRPORT
Rio de Janeiro Central Area Map
Nowadays
Proposal
CITY OF SOUND TECHNOLOGY
View from the Observation Deck and Grand Staircase
(1)
(2)
GUANABARA BAY
PIER
RUSTED STEEL CONTAINER
MAUA’ SQUARE AIRPORT
(3)
HARBOUR
(4)
CITY
View East from the Harbour
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 20
One dynamic-ambiguous form that advances against the bay, radiating light, sound and movement - a sentence that briefly defines the project in the architectural context. Its strongest inspiration comes from what the title itself suggests: the sound wave. A sound wave in solid form that spreads through the terrain. Its ambiguity is evident in the subtle and varied topography of the complex, making us believe that architecture was born “from there” and not “over there”. Users have the possibility to dynamically move through almost every single amenities of the building, whether internal or external, where, through strategically placed lookouts, may have different perspectives of the city. The proposed structural system includes all the specific requirements for the operation of each space of the complex and, at some specific areas, reveals itself to the user, stimulating curiosity and displaying the technology of the processes and materials adopted. The mix of prestressed concrete and steel seems ideal and allows a minimum sizing pillars, better use of internal spaces, money saving and contributes to the safety and efficiency of construction processes. It sets up in a large mesh of pillars that forms angles with each other due to the unusual and asymmetric shape of the building. It also reveals itself as infrastructure, since it is capable of housing technical ceilings and raised floors, containing energy facilities, lighting, water and sewer. Thus, the building is highly energy efficient and collects rainwater for non-potable use.
CITY OF SOUND TECHNOLOGY
ACADEMIC PROJECT 2009 21 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
DETAIL VIEW
Each transformation left its mark upon Rio’s history. Much of Brazil’s African heritage, and that of immigrants from around the world, stemmed from this region. A setting for social struggles and cultural events, a stage for great figures, it is a unique part of Rio de Janeiro and Brazil. Its streets, houses and churches reveal much about the formation and maturing of our identity - the building of the Brazilian nation. Brazil’s music, therefore, also came from there and a structure that refers to both historical and cultural references is idealized.
DETAIL SECTION
Isometric View
STRUCTURING THE SOUND CITY
CITY OF SOUND TECHNOLOGY
DETAIL
THEATRE
MUSEUM
The Facade Modules Aspect
Ramps
CENTRAL SQUARE
NIGHT CLUBS, ADMINISTRATION, CLASSROOMS
PEDESTRIAN ENTRANCE FLOOR
GLASS HANDRAIL GLASS-WALL REINFORCED CONCRETE FLOOR METAL STRUCTURE
PANEL HOLDER FACADE MODULE
CORTEN STEEL PANELS
The corten steel, found on the building’s façades, helps to illustrate the architectural concept: it refers directly to the container’s metal, constantly found in harbours and naval structures. This material, which appears to be rusted, works as a permeable element composed by a one-centimetre-grid, containing several tiny openings that favours the sunlight entrance and, in certain areas, the natural ventilation. Tech tendencies and construction details - for the sake of the planet - are also part of the project guidelines. Spacious indoor environments and visual permeability help to take advantage of natural light and provide the city appreciation from several strategic-placed lookouts.
PARKING FLOOR
LONGITUDINAL-SCHEMATIC SECTION
FACING THE REFERENCES
CITY OF SOUND TECHNOLOGY
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 22
4th FLOOR
3rd FLOOR
2nd FLOOR
1st FLOOR
GROUND FLOOR Axonometric Exploded View - Floors
Integrated to a comprehensive urban renewal of the Port Region, promoted by the city of Rio de Janeiro, the ground floor is designed to be the main entrance for pedestrians and vehicles, and the parking lot. Connected to the ground floor through ramps, stairs and elevators, the first floor encompasses an area of approximately 15,000 m² with gardens and leisure areas. Integrated to almost all amenities of the ‘City’, the Internal Square is the nodal point of the project, serving as a reception area for the theatre, night clubs and classrooms. The Grand Staircase links the Square to the Observation Deck, bringing people closer to the bay and promoting well-being through relaxation. The 2nd floor works as an extension to the 1st floor, housing mezzanines and second stories for each amenity in the previous floor. Connected through a grand Ramp, it promotes full accessibility between sectors.
CITY OF SOUND TECHNOLOGY
ACADEMIC PROJECT 2009 23 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
GROUND FLOOR
5th FLOOR
GROUND, FIRST AND SECOND FLOORS
CITY OF SOUND TECHNOLOGY 0
15
30
60
N
THEATRE BACKSTAGE MAIN ACCESS STAIRS 02
OBSERVATION DECK
PARKING
MAIN ACCESS STAIRS 01
CAR EXIT
CAR ENTRANCE
0
15
30
60
N
2nd FLOOR
1st FLOOR
CITY OF SOUND TECHNOLOGY 0
15
30
THEATRE BACKSTAGE
PERIMETER CIRCULATION
THEATRE
THEATRE
MAIN ACCESS STAIRS 02
MAIN ACCESS STAIRS 02
THEATRE LOBBY
THEATRE LOBBY
60
N
INTERNAL SQUARE GRAND STAIRCASE
CENTRAL RAMP NIGHT CLUB 2
CENTRAL RAMP NIGHT CLUB 2
NIGHT CLUB 1 ADMINISTRATION CLASSROOMS
MAIN ACCESS STAIRS 01
NIGHT CLUB 1 CLASSROOMS
MAIN ACCESS STAIRS 01
MAIN ACCESS FLOOR
MAIN ACCESS STAIRS MAIN ACCESS RAMP
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 24
4th FLOOR
3rd FLOOR
2nd FLOOR
1st FLOOR
GROUND FLOOR Axonometric Exploded View - Floors
Again, the 3rd floor works as an extension to the 1st and 2nd floors, mainly for the theatre, housing the last level of the theatre mezzanine. The 4th floor is where most of the museum is located. Designed to perform as a museum that conducts people through a specific path that runs around the theatre area, starting and finishing at the same point. This is the floor where the grand ramp stops as it is the last level fully available for visitors and guests. The museum mezzanine and technical rooms are located on the 5th floor. It also receives part of the landscape design that takes over the entire building, transforming it into a natural extension of the city.
CITY OF SOUND TECHNOLOGY
ACADEMIC PROJECT 2009 25 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
3rd FLOOR
5th FLOOR
THIRD, FOURTH AND FIFTH FLOORS
CITY OF SOUND TECHNOLOGY 0
15
30
60
N
PERIMETER CIRCULATION THEATRE MAIN ACCESS STAIRS 02 THEATRE LOBBY
CENTRAL RAMP
HABITABLE ROOFTOP
0
15
30
THEATRE
60
N
MUSEUM
MUSEUM LOBBY
0
15
30
60
N
THEATRE TECHNICAL FLOOR HABITABLE ROOFTOP
MUSEUM
MAIN ACCESS STAIRS 02
5th FLOOR
4th FLOOR
CITY OF SOUND TECHNOLOGY
MUSEUM - MEZZANINE MUSEUM HABITABLE ROOFTOP
CENTRAL RAMP
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 26
myCUP
2015 Installation London | United Kingdom 3 Meters Diameter Artistic, Educational Design, Architecture Interactive Architectural Design Interactive Architecture Lab Architect (Designer|Researcher|Assistant) Bank of America Completed
Bank of America Merrill Lynch and their long-standing arts partner Create London commissioned the Interactive Architecture Lab to build an Installation that reflects on our personal and collective waste streams. Suspended at their London corporate headquarters at No. 2 King Edward Street, the artwork was launched for EarthDay 2015. Wrapped in 8000 plastic cups, Bank of America Merrill Lynch has committed to using this many less cups during the six-weeks of its install as part of a bank-wide initiative to educate and inspire employees to recycle at work as part of the bank’s commitment to environmental sustainability. The afterlife of the Installation was also an important factor in the design. All the elements that make up the work have planned further uses. The cups will be used in workshops with local school children to discuss waste and build their own art works with the support of Create London and the Interactive Architecture Lab. The Structure will be used at the Bartlett School of Architecture on the ‘reEarth Project’ and the lighting sponsored by Xicato will be incorporated into ongoing research at UCL on mobile controlled low energy lighting. myCUP INSTALLATION 2015 27 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
Title Year Issue Site Size Context Content Conception Studio Role Client Status
MY CUP
myCUP
myCUP
Photo - Installation
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 28
Waste generation is usually discussed in terms of metric tonnes or percentages - units and scales which we are not accustomed to and struggle to visualise. In addition, official waste figures are based on the output of a group of people, removing a sense of responsibility from the individual. myCup is an installation which aims at restoring that responsibility through awareness. On average, a person discards 4 plastic cups a day in an office environment. This leads to over 8000 cups in a decade, enough to build a three metres diameter sphere. Embedded responsive lights would illuminate flashes through the sphere which will capture people’s attention, leading them to engage with the installation and increase awareness of waste generation. This 3 metre diameter installation consists of multiple interdependent layers forming one rigid structure. The outermost layer consists of inter-weaved plastic cups skin which is supported and connected to a light-weight aluminium geodesic sphere which in turn houses a digitally fabricated internal core. This internal core has a dual function; it is braced to the structure at the centre of the geometry increasing its rigidity and providing a central point of suspension preventing the geodesic structure from deforming when suspended in position. In addition to the structural stability the central core features a system of 8 fins providing fixing points for 29 high brightness and individually addressed LEDs’. Arup designed the lighting, controls and user interaction for the installation that is a result of a collaboration between Arup Lighting and the Interactive Architecture Lab. The web based interface is accessed through a ‘captive portal’ implemented using a Raspberry Pi (a credit card-sized single-board computer), which acts as a Wi-Fi access point. It runs on smartphones and tablets and proposes an abstract threedimensional representation of the sphere. Hand gestures like shaking the mobile phone or rotating the sphere translate into changes in the light pattern that reveals the structure and materiality of the artwork and the surrounding environment in different and unexpected ways. myCUP INSTALLATION 2015 29 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
THE INSTALLATION OF AWARENESS
myCUP
Conceptual Image
Rendering - Proposal
Rendering - Proposal
myCUP
Photo - User Accessing the Installation Network
Photo - User Switching Lights On and Off
Photo - User Controlling Lights Intensity and Direction
Photo - Installation
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 30
The geodesic sphere factor 3 (truncated icosahedron) is composed by 180 triangles that form 12 pentagonal and 20 hexagonal faces. Approximately 170 metres of 25mm aluminium pipe were used in the fabrication process. The first step consisted in cutting 270 pipes, divided in 3 different types, using an industrial cutter (Fig. 1): the type 1 pipe is 550mm long (522.9mm between holes). 60 were fabricated to be the inner connections of each triangle in the pentagonal faces; the type 2 pipe is 650mm long (618.6mm between holes). 120 were fabricated to be the inner connections of each triangle in the hexagonal faces; the type 3pipe is 635mm long (605.3mm between holes). 90 were fabricated to be the edges between each of the pentagonal and hexagonal faces. All pipes had their tips heated by an oxy acetylene heat torch after being covered with soap so they could be compressed without cracking and, therefore, compromising the integrity of the aluminium (Fig. 2). It generates a flat surface for a sandwich-like joint of pillar drilled holes, tightened by m8 bolts. 8mm holes were drilled and filed on the 2 sides of each the 270 pipes (Fig. 3). The lighting core at the centre of the geodesic structure illuminates the surrounding space through the filtering layer of the translucent outer layer created by the plastic cups. The exact geometric positioning of the LEDs creates an equally spaced arrangement of lights that reveal the inner structure through the glowing skin of the sphere using a multiplicity of dynamic lighting behaviours. The richness of visual sensations offered by the interplay of light, darkness and reflections both inside the sphere and in the surrounding environment can be created by the visitors who have a direct role in its behaviour through a 3D, contextual, interactive-platform – a mobile web based interface through a local ad-hoc wifi connection. To conclude, 8000 cups were cable tied together to skin the entire structure. myCUP INSTALLATION 2015 31 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
AN ARCHI-SPHERICAL FABRICATION
myCUP
(1) Cutting Process
(2) Heating Process
(3) Drilling Process
Assembling
Plastic Cups Assembling
Plastic Cups Assembling
Core Wiring
Lighting Testing
Installation Day
myCUP
Photo - Installation
Photo - Installation
Photo - Installation
Photo - Installation
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 32
L.I.E.M.M.P. 2014 Professional Project Rio de Janeiro, RJ | Brazil 1,645 m² Institutional, Educational Architecture, Infrastructure Sustainable, LEED Cert. Arktectus Sustainable Architecture Architect (Designer|Project Manager) COPPETEC, UFRJ and PETROBRAS Under Construction
L.I.E.M.M.P., which stands for “Laboratórios Integrados de Ecologia Molecular e Microbiologia do Petróleo”(Integrated Laboratories of Molecular Ecology and Oil Microbiology), is a cutting-edge architectural design, conceived to achieve the LEED Gold certification and, consequently, Brazilian’s PROCEL Edifica. It’s designed with all standards and premises of both user comfort and sustainability in architecture, promoting an innovative high quality research and education system for PETROBRAS and UFRJ (Federal University of Rio de Janeiro), which is one of the most prestigious universities in Brazil, Latin America and the World. Commissioned by PETROBRAS, the building is an extension of the Health and Science Centre (CCS) of UFRJ, following the guidelines of the UFRJ 2020 - University City Master plan. In the Health and Sciences Centre, the academic expansion is intended to meet the growing demand of students by 2020 and has the additional purpose of improving the living conditions of existing buildings in accordance with the standards of environmental comfort and energy efficiency. It also breaks ground as a new platform for a specific kind of activity that benefits both scholars and professionals, preparing students for their life after graduation.
L.I.E.M.M.P.
PROFESSIONAL PROJECT 2014 33 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
Title Year Issue Site Site area Context Content Conception Studio Role Client Status
L.I.E.M.M.P.
L.I.E.M.M.P.
L.I.E.M.M.P.
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 34
Habitable Rooftop
Located at the back of the Health and Science Centre (CCS), the building was designed to adapt to specific normative and technical restrictions. Its site is a rectangular boundary that counts with nearly 1,500 square metres of area. Dictated by the UFRJ 2020 Master plan, the design start from a rectangular box (Diagram 1) that was shaped according to the urban distances, both width and height-wise. As the built volume was already restricted and any major additions couldn’t be made, the solution to ventilate all the facilities of the construction was to subtract specific parts of the building (Diagram 2). This is a highly efficient technical solution and it also helps to compose the architectural design. In order to protect the some rooms located at the north side (insulation peak in South latitude) of the building, additional elements (Diagram 3) were place on the facade, providing the thermal comfort needed and an exquisite architectural unity (Diagram 4). These solutions alongside the green roof are capable of reducing the building’s internal temperature by up to 8 degrees Celsius without using electrical equipments, saving energy and natural resources. The UFRJ 2020 Master Plan is the result of a long and rich process of discussion involving the entire university community. The discussion and final decision of the Master Plan certainly culminated the efforts devoted to thinking the university in an integrated way and long term perspective. The UFRJ will be a social justice struggle space and instrument, and the construction of a project based on national sovereignty that faces the insertion of Brazil in a more egalitarian and supportive world, as well as socially and environmentally responsible.
THE UFRJ 2020 MASTER PLAN
L.I.E.M.M.P. Map View - University City
CCS
RIO DE JANEIRO
SITE
Map View - CCS
L.I.E.M.M.P.
L.I.E.M.M.P.
PROFESSIONAL PROJECT 2014 35 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
UNIVERSITY CITY - FUNDAO ISLAND
Map View - L.I.E.M.M.P.
L.I.E.M.M.P. West Facade
(1)
(2)
(3)
(4)
View West
Main Entrance
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 36
Isometric Views
WOODEN BRISE SOLEIL WIND VEIL
METALLIC PERFORATED PANEL WOODEN BRISE SOLEIL
WATER STORAGE AREA GREENHOUSE PAINTED METALLIC BRISE SOLEIL METALLIC PERFORATED PANEL GREEN WALL CYCLE RACK WOODEN BRISE SOLEIL
L.I.E.M.M.P. consists in laboratories for researches in the oil extraction field, focusing on the development of a bacteria for decomposition of oil and regeneration of water. Seeking LEED Schools Gold Certification, it will be the first certified construction of the Federal University of Rio de Janeiro. With a structure of four floors and a habitable rooftop, L.I.E.M.M.P. is characterized by being confluent not only with a program that enhances the environmental issue, but also a building that follows such characteristics with the use of green wall, green roof, renewable energy, treatment and reuse of effluents, use of materials composed by recycled content, properly designed façades, among others. As Rio de Janeiro is a predominantly hot city, the design proposes several low-cost solutions that promotes well-being within the building. Among these, it is worth mentioning the perforated panels and brises soleil. These are made out of wood and metal, providing an unique architectural composition to the building. Its construction, expected to be concluded in 2016, marks a new dimension for public school, seeking to turn the building into one example of teaching and dissemination of environmental technologies of today.
L.I.E.M.M.P.
PROFESSIONAL PROJECT 2014 37 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
DESIGNING THE “CUBIC-SHAPED BOX”
L.I.E.M.M.P. 01
Technical Floor | Water Storage |
02
Technical Floor | Terrace/Garden | Greenhouse | Solar Panels Area |
03
Library | Multiuse Room| Student Room | Professors Rooms | Kitchen and Cafeteria |
04
Labs and Related Facilities |
05
Garden | Microscopy Room | Service Area| Labs and Related Facilities | Professors Rooms |
06
Lobby | Auditorium | Administration | Employees Area | Service Area |
07
Street Level |
Axonometric Exploded View - Floors
L.I.E.M.M.P.
SLAB CEILING WIND VEIL ELEMENT HANDRAIL
WINDOW PERFORATED PANEL METALLIC CANTILEVER
Section Details: Wind Veil and Perforated Panels
EFFICIENCIES
East Facade
View East
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 38
4th FLOOR
3rd FLOOR
2nd FLOOR
1st FLOOR
GROUND FLOOR
SIDEWALK
The ground floor houses the administration facilities, service area, employee area, lobby and auditorium. It is designed to be an open path that links the front street to the back entrance of the CCS, located in the back open area. This feature gives the building a public space characteristic, controlling the access to the upper floors. The first floor houses the first set of professor rooms and laboratories, alongside some minor technical areas and the garden void that extends itself throughout the rest of the building, eventually passing by the first floor that is designated to house the most important laboratories of the research centre. It provides a relaxation area for the sake of user’s well-being.
L.I.E.M.M.P.
PROFESSIONAL PROJECT 2014 39 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
GROUND FLOOR
Axonometric Exploded View - Floors
GROUND, FIRST & SECOND FLOORS
L.I.E.M.M.P. 0
2
4
N
8
C
A
AUDITORIUM
PORCH
ADM.
CHEMICAL WASTE ROOM
LOBBY B
B
SERVICE AREA EMPLOYEES AREA EXISTING BUILDING
EXTERNAL AREA C
A
EXISTING BUILDING
0
2
4
2nd FLOOR
1st FLOOR
L.I.E.M.M.P. N
8
C
A
PROFESSOR ROOMS
0
2
4
N
8
C
A
LAB 02
LAB 03
SEQUENCING PLATFORM
GARDEN
PCR
WASHING ROOM
LAB 01
DRYING ROOM
B
B
B
B LAB 04
SERVICE AREA MICROSCOPY ROOM
EXISTING BUILDING
ANAEROBICS LAB
LAB 05
EXISTING BUILDING BIO IT ROOM GAS ROOM CHROMATOGRAPHY LAB
BIO SYNTHETIC LAB C
A
EXISTING BUILDING
C
A
EXISTING BUILDING
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 40
4th FLOOR
3rd FLOOR
2nd FLOOR
1st FLOOR
GROUND FLOOR
SIDEWALK
The third floor is the most diverse one since it houses the rest of the professor rooms, alongside a meeting room, a multi use room, student rooms, kitchen, cafeteria and library. The cafeteria and the library are located at the south side of the building. The south side features a stunning view of the university campus that students and professors can comfortably appreciate as the sun doesn’t do much effect due to its position and technical characteristics. The habitable rooftop houses the major technical spaces. Among these, solar panels and dirty material entry reinforce the environmental thought in both social and technological manners. A garden for relaxation and a greenhouse for research are also featured on this level.
3rd FLOOR
Axonometric Exploded View - Floors
THIRD & FOURTH FLOORS
L.I.E.M.M.P. 0
2
4
N
8
C
A
PROFESSORS ROOMS
MULTI-USE ROOM
STUDENT ROOM
B
B STUDENT ROOM
STUDENT ROOM KITCHEN EXISTING BUILDING CAFETERIA LIBRARY
C
A
L.I.E.M.M.P.
PROFESSIONAL PROJECT 2014 41 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
EXISTING BUILDING
0
2
4
SECTION A
4th FLOOR
L.I.E.M.M.P. 8
N
0
2
4
8
PHOTOVOLTAIC PANELS AREA
TECH ROOM
GARDEN
DIRTY MATERIAL ENTRY
GREENHOUSE VAC TECHNICAL AREA
0
2
4
8
SECTION B
SECTION B
EXTERNAL TECHNICAL AREA
0
2
4
8
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 42
The Angled Building 2014 Professional Project The Bronx, NY | United States of America 1,580 m² Multi Purpose Architecture, Design Modular, Requalification Manhatta Architecture Architect (Designer|Project Manager) City of New York Proposal The economic decline of the Highbridge neighbourhood in the midtwentieth century was in large part the result of the elimination of three critical pieces of infrastructure. New York City commenced the restoration of the Highbridge pedestrian path in 2012. Inspired by this project, Manhatta Architecture sought to explore the possibility of restoring subway service to the Highbridge neighbourhood via a 3 Train extension. Doing so will benefit the transit starved Highbridge neighbourhood and reduce game-day congestion. Highbridge Station is more than just a subway station. It will offer much needed amenities to area residents including a fresh foods market and fitness centre. Highbridge Pub will serve as a social space for residents and visiting sports fans. A youth hostel will provide affordable lodging and attract international tourism to further add to diversity of the borough. A public commons will provide a place to meet, relax and enjoy the beautiful borough of the Bronx. Additionally, the design helps to promote and enhance several environmental aspects, such as: sun lighting; wind circulation; usage of solar energy either for heating water, producing energy or both; green roof for social integration and thermal protection; rainwater captioning for toilets and major cleaning usages; the visual integration between the other buildings next to it, respecting the original aspect of the street; to take advantage of the irregular aspect of the terrain, avoiding major excavations; and many others. Captive tool for students and also for an entire community.
Title Year Issue Site Site area Context Content Conception Studio Role Client Status
THE ANGLED BUILDING
THE ANGLED BUILDING
THE ANGLED BUILDING
PROFESSIONAL PROJECT 2014 43 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
View from Jerome Ave.
THE ANGLED BUILDING
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 44
The building is structured by an angular grid, which makes the design entirely and rationally aligned. This grid allows the usage of a modular construction, which will cover more than 75% of the hostel. There are no angles different than 22.5, 45 and 90, and most of the grid’s lines are exactly placed either 11 or 22 feet away from each other. 12 feet separate each floor, despite the ground and first levels (18 feet), providing an openness sensation to all users. The Grand Staircase’s are used as a translucent element composed by glass openings that provides the entry of natural lighting to the fitness centre and the subway station. The building’s structure respects the architectural concept, function, practicality, and promotes harmony with its surroundings.
THE ANGLED BUILDING
PROFESSIONAL PROJECT 2014 45 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
162n
Jerome Ave.
Nowadays
Anderson Ave. - View From 162nd St.
(1)
(2)
(3)
(4)
d STR
EET
SITE
Map View - Nowadays
Map View - Proposal
EA VE.
This contemporary architecture and urban equipment has one singular feature that benefits everyone: the 162nd st. extents through the building until it finally connects to Jerome ave. The facade on Anderson ave. is to maintain the street aspect (a sort of corridor; aligned façades) and at the same time to create an “invitation” through the subtraction of a specific amount of volume, always respecting the identity and unity of the project. This subtraction - aligned with the 162nd street can be interpreted as a portal that connects the street to the building, transforming the entrances on both avenues into open-public spaces. The pedestrians have the option to follow different paths through the building, which lead them to different contexts: the elevator, the escalator and the grand staircase. The building is a welcoming place as it is designed to make people naturally walk through it.
Nowadays
JER OM
The concept is expressed by the way the building is designed. Angular shapes - to direct the spectator view and to refer to the architectural concept - can be found all over the building’s façades, and its higher exemplification is on the way the curtain walls “tear” them. These strategically placed openings are designed in conformation with the rest of the building which is covered by “metalon” panels. The panels have a dark colouring and the glasses follow this same appearance. The idea here is to have them working as “camouflaged windows”, giving spectators a visual unity of the panels and windows.
ANDER SON A VE.
Isometric Views
FUNCTIONAL ARCHITECTURAL DESIGN
THE ANGLED BUILDING
YANKEES STADIUM
Vehicles Path
Pedestrian Path
THE ANGLED BUILDING Bird’s Eyes View
Proposal - Jerome Ave.
Proposal - Anderson Ave.
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 46
Axonometric Exploded View - Floors
7th FLOOR
6th FLOOR
5th FLOOR
4th FLOOR
3rd FLOOR
2nd FLOOR
1st FLOOR
GROUND FLOOR
The subway area is intend to connect the underground passageway and to provide an easy and smooth way for people to move from the Jerome Avenue level (ground) to Anderson Avenue level (2nd) - approximately 36 feet height - through the double elevators that will arrive in the middle of the internal court. The Highbridge Subway Station, Highbridge Fitness Centre and Highbridge Pub entrances are all placed on Jerome Avenue, which connects to their first floors and the second floor of the pub.
GROUND AND FIRST FLOORS
THE ANGLED BUILDING
Highbridge Fitness Centre
Highbridge Pub
THE ANGLED BUILDING
PROFESSIONAL PROJECT 2014 47 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
Highbridge Station - Platform
THE ANGLED BUILDING N
N
Highbridge Station - Entrance
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 48
Axonometric Exploded View - Floors
7th FLOOR
6th FLOOR
5th FLOOR
4th FLOOR
3rd FLOOR
2nd FLOOR
1st FLOOR
GROUND FLOOR
The second floor hosts the Highbridge Market, on Anderson Avenue, the internal court and the Highbridge Youth Hostel’s entrance. The catwalk at the third floor is intended to make people move around the building all the time, placing a “24/7” eye on the internal court and staircase. It connects the portion of the building that faces Anderson Avenue to the main portion, and there’s a living room in between where guests can relax watching people passing by. This area hosts an architectural concept that is based on user’s contemplation of a specific area: the extension of the 162nd street in the building and the internal court.
SECOND AND THIRD FLOORS
THE ANGLED BUILDING
View from Yankees Stadium
Jerome Ave. and Yankees Stadium View from Anderson Ave. Level
THE ANGLED BUILDING
PROFESSIONAL PROJECT 2014 49 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
Anderson Ave. View From Internal Square
THE ANGLED BUILDING
Internal Square
N
N
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 50
Axonometric Exploded View - Floors
7th FLOOR
6th FLOOR
5th FLOOR
4th FLOOR
3rd FLOOR
2nd FLOOR
1st FLOOR
GROUND FLOOR
From the fourth floor, the modular construction takes place in the design. These modules can be modified by either removing or adding walls and openings since their structural alignment will always remain the same. On the Anderson Avenue side, all the accesses to the hostel rooms face the internal court and the catwalk through outdoor corridors. The inclination of the roof is intended to help on the sun energy collection. Facing south-westwards, it also helps to illustrate the architectural concept as it promotes a continuation of the nearby building’s heights, creating a “visual union” between them. The rooftop is totally habitable, where people can experience great lookout points of Manhattan and the Yankees Stadium. The area is also used as film screening for the hostel guests, an open-air alternative for the covered living area.
4TH, 5TH, 6TH & 7TH FLOORS
THE ANGLED BUILDING
Yankees Stadium View from Hotel Suite
Jerome Ave. and Yankees Stadium View from Hostel Room
THE ANGLED BUILDING
PROFESSIONAL PROJECT 2014 51 PAGE | PORTFOLIO 2015 | DANILO SAMPAIO
Rooftop
THE ANGLED BUILDING N
N
N
DANILO SAMPAIO | PORTFOLIO 2015 | PAGE 52
It has long been recognized that architects work to fulfil functional and aesthetic requirements in the production of space, as stated by Vitruvius in his “Ten Books on Architecture”. In so doing, it is widely accepted that architecture exists as a static condition. Buildings are increasingly trying to more efficiently conform to the nature, and its environment. Dr. Dan Lockton suggests in his PhD thesis that such a static built environment, whether in the architectural or urban scale, influences behaviour and well-being. In 1924, Winston Churchill stated its influence upon human character and action: “we make our buildings and afterwards they make us. They regulate the course of our lives”. The potential for a responsive architecture that mimics living systems to meet such functional concerns has been less thoughtfully examined. Therefore, this academic paper portrays the study of architectures that interact with humans, respond to living organisms and respect the environment, leveraging the characteristics of the geodesic sphere and all living things’ welfare. A theoretical background analysis on the historical, ethical, technical and functional approaches of geodesic spheres and domes in architecture is given. It offers a link to the “dymaxion” and “tensegrity” structures popularized by Buckminster Fuller. Characteristics of living things and skeletal systems are also given to back up the suggestion that such features are to naturally interact, react and adapt to changing situations in their use, operation, or location. An extensive investigation of conceptual and technical referencing, used on both written and physical works, is provided to establish guidelines for the documentation of the ‘Methodology’ process. It is explained through several physical design prototypes and speculative theoretical exploration. It is also described a design methodology for ‘Geodesic Spheres’ in order to better understand its technical characteristics, behaviours and consequences in a real architectural scale scenario. The proper understanding of the technologies described in this paper is to manipulate their effects on completely static structures and the built environment, narrowing the gap between micro and macro scale designs. The design proposal consists in a three meters tall geodesic sphere that functions as an exoskeleton for a suspended garden. Its plants are the actuators that takes the notion of staticity away from the structure and gives it the flexibility to have its own behaviour. It happens due to differences in specific electrophysiological sensing of plants’ conditions. Theoretically, the garden is the core that represents the life that drives the ‘Spaceship Earth’ to a next level by giving it the autonomy to be a physical presence among us.
THE GEODESIC SPHERE AS AN EXOSKELETON OF LIFE
THE GEODESIC SPHERE AS AN EXOSKELETON OF LIFE
MASTER THESIS
ACADEMIC PROJECT 2014-2015 EXTRA | PORTFOLIO 2015 | DANILO SAMPAIO
Dedicated to the environment, the ‘Biosphere Museum’ (Buckminster Fuller) in Montreal is one example of such concept that still remains as a symbolic piece of efficient architecture.
Philip Beesley’s ‘Hylozoic Ground’ is an example of both environmental and user responses: the suspended artificial forest made of a textile matrix supporting responsive ‘living’ technologies gradually accumulate hybrid soil from ingredients drawn from its surroundings and built delicate structural scaffolds. Along with it, small protocells incubators, with an artificial metabolism, process the environment, translating carbon into a harmless carbonate.
KEY REFERENCES
THE GEODESIC SPHERE AS AN EXOSKELETON OF LIFE Vitruvius, P. and Morgan, M. H. (1960). Vitruvius: The Ten Books on Architecture. Book. Anker, P. (2007). Buckminster Fuller as Captain of Spaceship Earth. University of Oslo, Department of History. Spring, Minerva (2007) 45:417–434. Fuller, R. B. (1969). Operating Manual for Spaceship Earth. Book. Baer, S. (1969). Dome Cookbook. Book. Le Corbusier (1926). Five Points towards a New Architecture.Manifesto. Frazer, J. (1995), an Evolutionary Architecture. Architectural Association Publications, Themes VII. Fox, M. (2001), Beyond Kinetic. Kinetic Design Group, Massachusetts Institute of Technology, Department of Architecture. Haque, U. (2007), Distinguishing Concepts: Lexicons of Interactive Art and Architecture. Architectural Design, 77: 24–31. doi: 10.1002/ad.484. Kronenburg, R. (2007), Flexible: Architecture that Responds to Change. Laurence King Publishing. Beesley, P. and Armstrong R. (2011), Soil and Protoplasm - The Hylozoic Ground Project. Architectural Design Magazine, John Wiley & Sons Ltd. Herzog, T. (1977). Pneumatic Structures: A Handbook for the Architect and Engineer. Crosby Lockwood Staples. Nicholas Grimshaw’s ‘The Eden Project’. The massive lightweight structure comprises 2.2 hectares of growing space for plants in rainforest and Mediterranean conditions. Inside the artificial biodomes, which emulate an artificial biome, are plants that are collected from all around the world.
Sterk, T. (2003). Using Actuated Tensegrity Structures to Produce a Responsive Architecture. Acadia. Keil, F. (1994). The Birth and Nurturance of Concepts by Domains: The Origins of Concepts of Living Things; Pp. 234-254. Cambridge University Press. Foster, N. (2003). Architecture and Sustainability. Essay. Foster + Partners. Ingber, D. E. (1998). The Architecture of Life. Scientific American, 278(1), 48-57. Buckminster Fuller Institute. [Website]. Available at: http://bfi.org/ Petit, E. (2014). Under the Dome: The Architecture of an Other Modernity [Video File]. Retrieved from https://vimeo.com/116871847
The ‘Conservatories’ of the “Gardens by the Bay” project, designed by ‘Wilkinson Eyre’, houses the horticulture and technology from Singapore and around the globe. The ‘Supertrees’ function as environmental engines for the conservatories, which, in turn, operate as a greenhouse.
DANILO SAMPAIO | PORTFOLIO 2015 | EXTRA
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