Adib Khaeez January 18 1993 Adibkhaeez@gmail.com +49 176 60151048
Adib Khaeez is an architect and researcher based in Germany. He holds M.A from DIA, Bauhuse Dessau, practicing architecture and researching on robotics in architecture. He is a tutor at DARS (Design, Architectural Robotics & Systems) studios from 2019 at DIA. His primary research interest is emergent digital practices in architecture, and he has been involved in multiple computation and digital fabrication workshops as both participant and tutor such as Robotic step frames workshop by TRAM(Tehran robotic architecture matters). His collaboration with other architects led to several published architectural projects. He as an Adapt group member, earned Architizer A+ award 2017 in both jury award and people choice section for FaBRICKate project. Adib is currently an associate architect in SETUParchitecture working on several projects with various scales.
DESIGN AND FABRICATION
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Berlin Hyperloop station 100 years Bauhaus pavilion
Library of Religions Evolver Melt ray table Sky Prospectors Urumiana Craft2015 Fabrickate LifeLight
Afra house Bobo Cafe and Resturant Stone Trace table Farmanieh Residential
AUDI Adaptive city car Cyber craft 4.0 Quantify me Robotic step frames
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PRACTICE TEACHING
Berlin Hyperloop Station:
A Symbiosis of Discrete and Continuous Materialization Master thesis project | Dessau Institute of Architecture First Advisor : Ph.D. Sina Mostafavi Second Advisor : Prof. Ph.D. Manuel Kretzer
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Berlin Hyperloop | 2020
Adjacent to the Tempelhof airport field, the Berlin Hyperloop Station is a large scale mixed-use project that accommodates a central hub for a new mode of transportation. Beyond exploring the known and unknown design requirements of this very new building program and typology, the theoretical and methodological architectural research behind the project is based upon the integration of geometric continuity and discrete systems. Therefore the core design research objective of the Berlin Hyperloop Station project is twofold. In a macro or urban scale, sets of computational design strategies are developed and implemented for formfinding, which are informing the architectural massing, configurations, and orientations. Towards the mesoto-micro scales, the process employs several digital modeling techniques to merge and intertwine continuous double curvature surfaces and volumes to a discretized world, which is then coded and controlled by a generative system based on velocity fields. Therefore, from the early stages in this iterative process, the materialization process is feedback to the macro-scale form-finding procedure. The emergent aesthetic introduces new architectural and geometric qualities where the two discrete and continuous systems clash and blend.
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Site Selection
Berlin Air Passenger Traffic
With around 34.7 million passengers in 2018, Berlin is the third largest air hub in Germany. There are currently two airports in Berlin: Schönefeld Airport to the south-east of the city and Tegel Airport to the north of the city. In order to create the capacities required for the future, the new Berlin Brandenburg Airport Willy Brandt is currently being built. When the new airport opens, all air traffic in Germany’s capital region will be concentrated at Schönefeld. The capital airports at a glance.
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Berlin Railways Traffic
Over the course of a year, U-Bahn trains travel 132 million km (82.0 million mi), and carry over 400 million passengers. In 2017, 553.1 million passengers rode the U-Bahn. The entire system is maintained and operated by the Berliner Verkehrsbetriebe, commonly known as the BVG. Every year, around one billion passengers use services operated bythe Berliner Verkehrsbetriebe (BVG – Berlin’s public transport operator)and 417 million passengers use the S-Bahn.
Tempelhof
Templehof site is between the same distance from Berlin airport facilities so it can act is a additional hub for European passengers. On the other hand, Tempelhof is adjacent to the main S-bahn ring of Berlin providing the ability to use the existing infrastructure and avoid using the pre-owned lands of the city.
Berlin Hyperloop | 2020 By 1930 Tempelhof was the busiest airport in Europe, and home to the Lufthansa airline, still operating today. A line of US Air Force C-47 transport planes unload milk during the Berlin airlift in 1948. Responding to the Soviet blockade following the end of the second world war, the allies flew 2.3m tonnes of supplies into west Berlin, an island surrounded by Soviet control. In 2008, 59 years after the end of the airlift, aviation activity came to an end at Tempelhof. A vote was put to Berliners in 2008 to decide on the future of the space, which had become prime real estate and a temporary public park. Voter turnout was too small to secure Tempelhof against developers, and the future of the space seemed uncertain – but after a huge and emotional campaign, another vote in 2014 assured the protection of the field against development.
Tempelhofer Damm S-bahn
Field north path
Tempelhofer Damm
Field main Path
Field south path
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Layout Adaptation
Platform area Light radiation Tube lenght
Function layout I 12
Platform area Light radiation Tube lenght
Hotel / office Retails
Hotel / office Retails
Pod Station
Pod Station
Lobby / Platforms
Lobby / Platforms
Function Layout II
Function Layout III
Berlin Hyperloop | 2020
Platform area Light radiation Tube lenght
Platform area Light radiation Tube lenght
Hotel / office Retails
Hotel / office Retails
Pod Station
Pod Station
Lobby / Platforms
Lobby / Platforms
Function Layout IV 13
Design Process | Continuous
Hotel / Office .00
Retails
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Initially, three abstract volumes have been considered based on the functions described before. These three volumes will be connected by two brdiges above Tempelhof main access. The biggest volume will serve as the main area for lobby, Platforms, and part of retails which will be 100m x 110m x 40m. The volume for the station and post office will be 50m x 50m x 50m. The last volume which contains retail and hotel will be also 50m x 50m x 70m.
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6.50 6.00 5.00
40.00
Platforms/Station Lobby
Abstract functions will follow the volumes as at the bottom of each three volumes we will have the lobby. On top of it, platforms and stations will be connected via a bridge. Retails will be in the main volume as well as in the north one connected via a bridge. The hotel will stand on the highest elevation of the project.
The height of each floor will be defined by its function. Starting with the lobbies with 5m high ceilings we go the next two layers in which contain Hyperloop platforms with 6m and 6.5m. The next four floors will serve as retails with 5m of height. And on top of them, we will have hotel rooms with 3.5m height.
Berlin Hyperloop | 2020 Light optimization started with three main purposes. First, having maximum solar radiance on the first-floor lobby keeping enough space on the upper level based on their functions. Second, having enough light for all the hotel rooms. And at last, provide light for the offices in the west building.
The optimization result was a ring of retail stores as well as Hyperloop platforms surrounding the lobby and public space for the main building. the hotel volume also split into two separate towers in order to maximize the light intake for the rooms. The station building also had a whole in order to bring light to the offices on the first floor.
Another optimization algorithm has been used to impliment the functions and their necessity as well as taking previous light study into consideration. The result was a voxelized volume based on areas and functions that each layer needed in the project. The criteria that formed this voxelization was not merely based on optimization but also architectural decesions.
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Design Process | Continuous
Subdivision Level : 0
Subdivision Level : 1
Smoothening Process Having the abstract voxelized volume of the project. we can make a simple continuous surface that surrounds the voxels and makes a single volume. In order to smoothen this volume, Catmull–Clark subdivision method has been used. In this method that is being used widely by computer graphic softwares, we recursively make an average of the vertices of our mesh model and divide it by the new vertex. in this project, the model was divided into two recursive levels to reach the right smoothness that gives us the final continuous part of the project.
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Berlin Hyperloop | 2020 Subdivision Level : 2
Subdivision Level : 3
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Design Process | Discrete
Velocity field A recursive particle system based on the velocity field initiated to form the discrete part. All the particles were derived from the continuous part and they were affected by internal and external forces to move and accelerate from their initial position in time. The main internal forces in the project were two vortexes caused by the hyperloop pod circulation. Although 9 other different in and outs were integral to create the particle flow around the building. The site particle system was affected by the vectors that the site was introducing to the project as well as the internal circulation of the buildings. The combination of these two particle systems has created a fog of expressive lines that shows how internal and external forces and vectors can influence each particle of a project separately.
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Post/ Office
Berlin Hyperloop | 2020
Volume Field
Hotel Entrance
Retail Entrance Tempelhof Entrance
Pedestrian Lobby Entrance
Lobby Entrance
S-Bahn Pod in-out
North Tempelhof
Site Field Station Entrance
Main Path
Main Path
S-bahn
Pod in-out South Tempelhof
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Design Process | Discrete
Discrete Part Selection Based on the velocity field simulation, specefic functions could be selected among the field such as Hyperloop circulation area, station for the pods, entraces and stairs. This tube-like areas emerged through the combination of function on each level and the discrete velocity field of the project.
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Discrete Selected field
Continiues levels
Berlin Hyperloop | 2020 Distance based selected area
Collision parts
The selected part of the discrete field had its specific particles flowing on the edges creating the first discrete elements of the project. Metal rods, robotically formed for the project.
As the particle flow is colliding with the surface of the project, part of it will be selected based on the distance from the particle flow centerline. These selected part will be used for the second discrete part afterward.
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Design Process | Discrete Iteration : 5
Blending The Fields
Iteration : 45
Iteration : 80
Merged Discrete Simulation
Iteration : 5
Iteration : 45
Iteration : 80
Lenght per time
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Berlin Hyperloop | 2020
Discrete Structure
Combination of three elements The second discrete part emerged by the physical collision between particle flow and surface restricted by the collision area. For this part another particle simulation has been used in order to creat a new level of tectonic that spreads on the surface of the project. By combining the first particle flow and the secon one we could achieve the right discrete and yet seamless tectonic with high level of detail. And last but not least, the third layer of the discrete elements is a recursive lattice structure that will be used to hold the discrete elemts of the project as well as adding to the tectonic quality of the discrete part. 23
2D Drawings | Sample Plans
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Renderings & Physical Model
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27 Berlin Hyperloop | 2020
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29 Berlin Hyperloop | 2020
100 YEARS BAUHAUS PAVILION
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Teammates :
Studio Masters:
K amal Amgad Kyanoush Bitarafan Jason Hage Amro Hamead Antonio Her rera Gulfia Kutlahmetova M ohammed M ansour Vidhya Tr init y Venugopal
Sina M ostafavi Henr iette Bier
Bauhause Pavilion | 2018
At the Bauhaus, form followed function and ornemation was non existing. This radical simplification wanted to merge crafts with modern technology of that time. As a rule for the use of materials and geometry in our project, we would move to today’s machine capabilities, while synthesizing the materials to be used: Costumization. The materials in question here are Concrete, EPS and Metal. Many obstacles have been faced throughout this process, relating to the materiality of the pavilion, the form finding process, the functionality or the architectural aesthetic. In order to get along with the work, many trials have been implemented and learning outcomes were drawn from past student works as well as professional precedent projects.
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Site selection | Dessau Campus
SELECTED LOCATION
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Bauhause Pavilion | 2018
Based on the circulation, the gradiency of the views starts mainly with the immediate surrounding and direct visual connection, until the user start approaching the turn towards Bauhaus StraĂ&#x;e, when suddenly the focal point becomes the Bauhaus institute, even when it is aligning with the background of the promenade.
Apr il
August
D ecember
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Design Process | Concrete part
Circulat io ns
An c h o r po i nts
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Tr i a n g u lar for mati ons
S of teni ng ed g es ac -
Pr i n c i pa l o n e I s o - l i n e s
Bauhause Pavilion | 2018
Disp la cem ent Iso - lin es
Pr i nc i pal t wo Iso -li nes
Fo rce f l ow i n o n e co mpo n e nt
Force Flow in one component
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Design Process | Metal part
Shell Deformation
M ulti- o bjec t ive Op t im izat io n
Multi objective Optimization
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Bauhause Pavilion | 2018 Pr i nc i pal stress li ne 1
Pr i nc i pal stress li ne 2
Pr i nc i pal vec tor s 1
Co mpone nt l in es
Co m p o n ent su r fa ce s
U ti l i z ati o n I s o - l i n e s
Pr i nc i pal vec tor s 2
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Robotic Fabrication | Metal Forming
Prototype selection
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Folding edges
Bauhause Pavilion | 2018
Equal offset in all edges which makes problem in small joints and not enough space for big joints
Offset variation in edges based on height factor and joint length
M ean Cur vature D egree 0
Planarization
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Religions Library | 2014
LIBRARY OF RELIGIONS STUDIO IV | TEHRAN UNIVERSITY OF SCIENCE AND CULTURE | M. NAGHIZADEH
The main aim of the studio was to design a library for any religion and belief. The concentration of the library on one subject is the reason that it should be a categorized library which means, every section has its own category and subcategories and after that they will be sorted up alphabetically. Hence, it needs its requisitions and particular design for the book shelves. Also, since the libraries are using so much artificial lights during day to maintain the users’ light requirement, to avoid waste of energy we should design this library in a sustainable discipline. The Project is located in one of the most important streets of Tehran strategically. Keshavarz Boulevard or simply BolvÄ r is a central Boulevard in Tehran, Iran. It is a 2.2 km long, East-West boulevard which connects Valiasr Street and Valiasr Sq. The project is adjacent to two of important skyscrapers of Keshavarz blvd and also, its north and east elevations are facing Laleh park which contains contemporary art museum of Iran
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Design process | Interior
Alternative 1:
Seprated parts
Alternative 2:
Mixed parts
As we can see in this comparison for a 40mx50m library area, in the rst alternative in which tables and bookshelves are separated from each other, one needs to walk at least 7 meters and 75 meters at the top to reach our target book. On the contrary, the second alternative is a combination of tables and bookshelves within each other. In this alternative, we can decrease the minimum distance to zero and maximum to 10 meters. This range of distance can provide us a silent place with more eďŹƒciency. Also, the capacity of bookshelves' length and reader's quantity will be considerably increase compared to the rst alternative. Hence, more people can come and use this library and more books can be stored in the same area.
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Religions Library | 2014 Although, the problem of using mix part instead of separated part in categorized libraries is that, some categories are more-requested and it will make those areas more crowded and the absence of
To solve this problem we can pull the crowded areas to put more-requested categories in them and push the solitude areas back to put less-addressed categories in them.
The outcome will be a space in which book categories are sorted up in their right places and there is enough space to seat for everyone even if they want to be in a more-requested areas.
To let the light shine between the corridors and also giving the users to walk freely between shelves, we should make some negative horizontal space.
issue.
Level 2 Layout
Level 3 Layout
Level 2 Layout
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Floor 0. -Lubby -Theather -Gallery
Floor 1. -Islam / sub-categories -Copy place -Silent room
-w/c -Praying room -Reception
-w/c -Computer search -Book delivery
Floor 2. -Christianity / sub-categories -w/c -Computer -Copy place search -Silent room -Book delivery
Floor 3. -Other religions -Copy place -Silent room
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-w/c -Cofee house -Book delivery
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Design process | Exterior
To decrease the usage of artiicial light, we can utilize solar radiation as much as possible since the library working hours are mostly in daylight. Although there exist a problem regarding reading under the sun radiation, straight sun exposure is too bright that can harm eyes after a while. Hence, we should control the light income by architectural elements. Many years ago, ancient Iranian architects found a way to control the light income to use it adequately and the method is called Owrsi.
We can take advantage of this technique to lter our light income using a geometrical pattern. The only problem is that there is a wide verity of light radiation necessity in dierent areas of a library. To resolve this issue we can parameterize the geometrical façade pattern to control the light radiation amount based on each area's requirement
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Religions Library | 2014
EAST FACADE
Light Requirement Graph
Light income Analysis
Rendered Pattern
EAST FACADE
WEST ELEVATION
Light Requirement Graph
Light income Analysis
Rendered Pattern
NORTH FACADE
Light Requirement Graph
Light income Analysis
Rendered Pattern
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VERTICAL NOMADISM / COUNTER GRAVITY
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Evolver studio | 2016
The studio was supposed to investigate different rules on special cities which could be whether generic or fictional cities. The system may run based on agent strategy; discovering the urban rules and apply them to their new vertical mode based on two main theories: Counter Gravity & Vertical Nomadism. I. Vertical Nomadism The nomad has a territory; he follows customary paths; he goes from one point to another; he is not ignorant of points (water points, dwelling points, assembly points, etc.). Although the points determine paths, they are strictly subordinated to the paths they determine, the reverse happens with the sedentary. Any point is reached only in order to be left behind; every point is a relay and exists only as a relay. Nomadism, is a way of being in the middle or between points. It is characterized by movement and change, and is unfettered by systems of organization. The goal of the nomad in the future metropoles will be only to continue to move within the “vertical intermezzo�.
II. Counter Gravity Cities are occupied with the giant monstrous vertical elements that forced human to set over gravity. However, with the burst of post digital era it will be inevitable to set some physical and mechanical laws alien to ordinary space, i.e., gravity as a main challenge of verticality, doesn’t have power in hypernetwork world. As a result, the analysis of fictional/futuristic cities can lead to lucid translation of these laws into future metropoles
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Tschumi designed the park with three principles of organization wich ge classifies as points, lines, and suerface. This site is organized spatially through a grid of 35 points, or follies. The series of follies gice a dimensional and organizational quality to the park serving as poins of refrence , allow for the visitors to retain a sence of place through the large park. Koolhas designed major programmatic components as horizontal bands across the site, creating a continuous atmosphere in its lenght and perpendicular, rapid chande in experience; Like the floors of the tower, each programm diferent and autonomous, but modified and “polluted� through the proximity of all others.
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Evolver studio | 2016
Undrstanding the concept of indeterminancy and trying to control its boundaries, the purpos was to redefine social concepets like void, intermezzo and public spaces. We had to draw 12x12 maps which represents each of these concepts and stack or projects these maps via Monolith voxel-based software to make 3d models
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Alt 1
Alt 2
Alt 3
Alt 4
Alt 5
Alt 6
Evolver studio | 2016 By stacking the specific layers of pattern based on the two proposals on top of each other as well as adding them in the section, we can achieve a monolithic space that has characteristics of a vertical park. This volume contains all the data from the patterns in diffrent layers.
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Understanding the method of blending different continuous maps in a 3d way, we can now think about stacking different 0 and 1 voxels to create a discrete combination of voxels. At the same time, this process can be generative as implementing an algorithm that creats the whole system having an input pattern. Hence, we are using Conway's game of life which is based on cellular automata modeling in a 9 x 9 grid. What we can see in each iteration is completely based on the first layer of input.
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Evolver studio | 2016
Game of life rules are: - Any live cell with two or three neighbors survives. - Any dead cell with three live neighbors becomes a live cell. - All other live cells die in the next generation. Similarly, all other dead cells stay dead.
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[MELT-RAY] Melt ray berglass table project is part of a 360-degrees performing stage, designed and robotically produced by cyber robotic studio students for both melt festival and campus event. The project is implementing computational design and multiple robotic production methods, such as Hot-wire cutting combined with robotic milling to inform the design and materialize a highly customized volumetric lightweight architecture. Design and fabrication team : Shazwan Mazlan, Adib Khaeez, Muhannad Elmannae, Ahmed Saleh, Mohamed Abdo Kurani Coating Team : Shazwan Mazlan, Adib Khaeez, Muhannad Elmannae, Ahmed Saleh, Mohamed Abdo Kurani, Md Mushfique Ahsan, Ksenia Lanina, Yaseen Jabr, Maged Elbanna Advisor : Sina Mostafavi
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57 Melt-Ray | 2018
Applying forces on bars and joints
Optimizing thickness and displacement
Support analysis
Final beam structure
The design is evolved through a series of parametric modelling and informed by computational methods such as curvature analysis and structural analysis for multi-mode robotic fabrication methods. In a 370x170x145 mm bounding box, the produced one-to-one prototype is volumetric spatial complex monocoque structure with variation in the thicknesses of the elements. The thickness is decided based on structural analysis as well as functional requirements.
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Melt-Ray | 2018
Linear structure based on functions and necessities. Selected part of a whole stage
Optimized beam structure based on loads and supports of the table.
Adding volumes in order to integrate instruments and speakers inside the table,
Resulted smooth mesh after applying subdivision algorithms.
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The interrelations between compartments of the design to production algorithm are derived based on the user requirements such as a deck for one large and one medium instrument, which could bear the load up to 100kg. Moreover, built-in integrated speakers and integrated light design are considered. Consequently, 21 unique components are cut one by one and tagged to be for the assembly. The overall volumetric free form body of the table is coated with two layers of berglass reinforced with resin.
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61 Melt-Ray | 2018
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63 Melt-Ray | 2018
SKY PROSPECTORS In a time when our planet is raped by accepting CONSUMERISM as dominant social and economic order, people are only able to dream of catching sun rays or gazing at stars, while listening to the sound of their beloved ones breathing in and out heavily through breathe masks. We bought and bought and bought, for exchange a thick layer of polluted air indwelled our cities, blocking exuberant sky with all its vital resources. Considering all mentioned above, the unreachable sky above polluted air becomes NEW GOLD MINES and they come up with one deviously clever plan of SELLING THE SKY. "Prospectors" are erected as upside-down giant bores (drills) to exploit the sky.
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Sky Prospectors | 2016
#supper_capitalism #Consumerism #Brand #celeberaties #architecture_sale #air_pollution #sky_for_sale
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“Extracting all natural resources underground, now it’s time to grab the brilliant opportunity provided by polluted air layer and sell the sky and all its vital resources which became unreachable to people.
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Sky Prospectors | 2016
“SKY”
“ENDORSED SKY”
As the sky and its resources become sources of income, competitive markets begin to grow selling the sky under brand names. In a time when there are too many SKY BRANDS trying to own the market, EDWARD BERNAYSES of the era come with their PROPAGANDA plans of all kind, trying to SCIENTIFICALLY MANIPULATE PUBLIC OPINION.? Once being just mega devices reaching the sky, open their doors to BRAND AMBASSADORS, accommodating them in luxury living spaces designed within Prospector’s WALL THICKNESS, in exchange for conferring their ENDORSEMENT on the brand.
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Brand Ambassadors live in this apartments and condominiums designed within Prospector’s wall thickness and benefit of all sky resources at their very best quality. Their living area separates chamber of resources from polluted city in a way it becomes INTERFACE of city and sky brand’s Prospector. In other words, people will watch the whole Prospector with the foreground of its brand ambassador.
“Applying this new deceptive layer to the Prospector, program, they’re now more of an architectural space than just a mechanical instrument. Considering this, there’ll be a major shift in architect’s role in the society. Designing the Prospector become their one and only concern in a way that architects compete with each other to design? For the most prestiDesigning all the Prospectors consists of embedding three main parts: Inside the rolled wall is its kernel which runs the whole mechanism of exploiting resources such as clean air, sun rays and night sky and conveying them through pipes or periscopes to lower heights. This chamber of resources is extremely illuminated by reeected sunrays and is lled with pure oxygen in a way it becomes toxic to human beings
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Sky Prospectors | 2016
Downside of the Prospector a MEGA ATRIUM is designed. Since clean air is not generally available, people are not able to fill their conventional public spaces or even their vast houses with breathable air. Public spaces are no longer usable, so they come up with a new glamorous plan, which is designing mega atriums under Prospector which will provide people with all the pleasant experiences once they had. People are able to gather with their family and friend in mega atriums, remove their breathe masks and enjoy natural sun light or real night sky only if they have enough money to pass the GATES. GATES are designed in mega atrium to separate spaces with different spatial qualities. Passing all the gates, heading upward one can reach HELIOS, projecting natural sunlight in day and stars at night. Given that even small family gathering should take place in defined spaces, it’s getting easier to monitor every step people take.
Urmiana Lake Urmia is located in Azerbaijan which is the northwestern region of Iran. Lake Urmia has 102 islands, which has been registered as a protected area and a Nature reserve by UNESCO. The lake is in the forest, which is due to the speciic ecological conditions, a beautiful natural landscape. Large shallow Bed of the lake has created a proper environment for dierent birds such as amingos, pelicans and a complete ecosystem for other Animal species like deer. According to the legislation passed by MAB in 1356 this lake is one of the international biosphere reserves in the world, but these ecosystems are going to be destroyed. Lake Urmia is the largest inland lake in Iran and is the world's second largest brine lake. The lake is in danger of becoming dry and over the past 13 years the level of the lake has been reduced 6 meters. According to oďŹƒcials of the environmental organizations, reduction of rainfall, low irrigation eďŹƒciency in the catchment area of the lake and not allowing enough water to meet the biological needs of the rivers leading into the lake are booster factors of the desertiication crisis of the region. Experts have expressed if the lake become dry temperate climate will change into tropical climate with salt winds therefore ecosystem will change. But no serious attempt has been made to save the lake.
1984
2014
Evolo 2015 competition teammates:
Locating
2040
Ruzbeh Mirhoseini, Saba Soltan Qaraiee, Milad rezazadeh, Armin Rangani, Zahra Balador
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Urumiana | 2015 Considering locating the lake on the lower levels compared to the land around the lake, there is a very beautiful and extensive view of the lake. In this area there is a wide view from one side to the lake and on the other side the surrounding mountains which is framed by the towers. The beautiful colors of the lake bed with a glint of sunlight on the salt lake has increased a natural scenic beauty of the region. Tower of polyhedral modules that are connected like crystals of salt lake has been raised from the salty lake bed as a salty rock, which has connected the salty lake to the sky. According to the salt crystal structures tower is in a harmony with the lake, in this landscape the pink color of the salt lake and the green color of the pistachio gardens are composed beautifully with the grey and sky blue of the background. Seven similar towers are located in this site. These seven locations are at the connuence of previous rivers’ paths. In fact, these locations are as a source for producing rain in the shallow part of the lakes which is the edge of the existing lake.
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Rain production: Acoustic waves are very eective in connuence of droplets in the clouds and precipitation. This kind of precipitation is sensitive to the frequency and intensity of acoustic waves. This method has a high eďŹƒciency rate and does not have the disadvantages of the previous methods, also it has an immediate eect on the droplets. ( 622Hz, 150 dB )
Form Finding: The basic idea of the project is the structure of the salt and how sediments are created. Modules are formed around a core and raised.
Functional Concept: Finding a site was in response to a crisis. Urmia Lake is one of the most important and yet in crisis in Iran. Crisis of water shortages and drought in the region has many consequences for the inhabitants of the region. In this project we have tried to take advantage of the area's indigenous energy production capacities to create energy for rain production in the region. The rst feature is abundant amounts of salt. Urmia Lake is a natural salt lake which has the ability to produce energy on a large scale. In addition to this capacity, we can produce a lot of energy from solar cells and microalgae bioreactors. Eventually the energy that is produced in addition to support the needs of the tower, create sound waves to produce rain which is the real job of the tower. Producing rain is the most important long-term strategies for revitalization of the Lake Urmia.
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Urumiana | 2015
Solar salt pond:
- Uses radiation from sun to heat water - Stores sensible heat in dense saline water - Utilizes density gradient to prevent convective heat ow and therefore store thermal energy. One method of extracting the heat accumulating at the bottom of a solar pond is by laying a heat-exchanger in the bottom of the pond, in the form of a series of parallel pipes. Solar cells: BIPV systems use the no-cost and renewable solar energy to generate electricity pollution-free and can be seamlessly integrated with buildings to reduce installation costs, also it can work as a heat and sound insulation and shorten energy payback time. The eďŹƒciency of this system is around 15%-20%.
Structure: Tower is made from a core and peripheral modules. The constituent modules form the neighborhoods based on the molecular structure of the salt. Permanent link of non-regular dodecahedron based on the Voronoi algorithm, improves the tower's stability against the lateral forces of wind and earthquake and cause the performance of three-dimensional structural members against lateral forces. Behavior of the tower against the lateral forces is like the behavior of a cantilever beam therefore at the foot of the tower, there is the maximum shear and bending forces, as a result the form of the tower change from thicker to thinner while it goes to the top. In addition, we can remove or add to the modules in the future due to the residents’ needs, according to the connection and position of each module. Modules are planned to be built at the factory and brought to the site with 18-wheel trailers, then taken up by tower cranes and connected to other modules with screw and nuts. According to the general schedules 45 workers will assemble each module in 2 days. In proposed early schedule the project will be nished in 245 days (day and night) with the maximum capacity of the Amenities and facilities.
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[ O U T
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The main focus of the project was to nd out techniques through which a curved surface could be built, using conventional techniques of fabrication and commercially available machineries. The design-research project was looking for the perfection of a simple technique, by making economically reasonable exible moulds as the base of the geometrical representation of such complex design products. Using composite materials for the solidiication of the geometry was the initial idea since it was close to the catalogue of available materials for architecture. Everything was monitored to be in line between ‘creativity’ and also ‘reality’.
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The hanging model is based on the theory of the "reversion of the catenary." A chain suspended from two points will hang spontaneously in the shape of a so-called "catenary". Only tension forces can exist in the chain. The form of the catenary upside down gives a perfect shape for an arch of stone masonry, and in such an arch only reversed forces of tension, being compression, will occur. The Rhinoceros® Plug-In RhinoVAULT emerged from current research on structural form nding using the Thrust-Network Approach to intuitively create and explore compression-only structures. Using reciprocal diagrams, it provides an intuitive, fast method, adopting the same advantages of techniques such as Graphic Statics, but offering a viable extension to fully three-dimensional problems.
Different issues should be considered in designing the nal form of the vault including location of the vault, function, optimization of the dimensions, formal aesthetics and etc. Alternatives have been designed for distinct locations of the general site and have been judged from different attitudes and led to picking one ultimate form. The nal form was modiied several times for considering functional and structural issues and get optimized. Although the result from the RhinoVAULT is completely reliable as a stable compression-only structure, some extra analysis has been made for the wind force and material properties using the Karamba and Grasshopper.
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To S t a r t m a k i n g a f o r m u s i n g RhinoVault we should first draw the general plan, determine the s u p p o r t s and openings. In this pr ject we de fined four outer and one i ternal s u p p o r t s a n d four open edges. T h e n t h e p l u g i n c r e a t e s a triangulatF o r m D i a g r a m a n d anther similar mesh called Force d i a g r a m . c o n s e quently it will begin to perform changes in both diagrams as we order to and after several attempts it would reach the horizontal equilibrium. Eventually t h e Ve r t i c a l Eq u i l i b r i u m w i l l b e found and the vault is made.
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Structural Analysis: Although the result from the RhinoVaultis completely r e l i a b l e a s a s t a b l e compression-only structure, some extra analysis has been made for the wind force and material properties using the Karamba and Grasshopper.
Principal Stress
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MATERIAL RESEARCH The appropriate time for this layout of bricklaying due to experiences we got is about a time oating between 20 seconds and one minute. The desired binder needs a setting time lower than one minute which is better if it approaches to the average so that each brick keep its stability on the brick beneath it after a while. The secondary setting is checked after 24H so each brick would be able to endure another brick connected to it and do not lose the stability over an impact or a little motion and also there would be no tiny cracks on the mortar. The cement-based mortar quietly have this property; the gypsum mortars stand in the second preference. The testing binders have been put in water for 24H and then on dry air for another 24H. The Mortar which had no cracks in this period and kept the initial state of it is an appropriate one to use in the experimental project which is supposed to stand for a limited duration. The cement-based mortars certainly keeps and the properties and gets better over this time. The plasters do not have this quality but the Gipton mortar is stronger than the normal plasters and have no cracks.
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LIFELIGHT
Bioplastic robotic materialization Dealing with the parting of a loved one is always a difficult phase to overcome. A life cycle can be represented in different shapes and forms depending on many beliefs. Usually, we as humans relate to nature for a grounding notion of how life evolves in its different phases. Trees are naturally an obvious reference to a life span. In the future, facial recognition will be accessible data collected from different companies and organizations that are the reigning bodies of mass consuming worldwide societies, addicted to technologies and the idea of cyborgism. T he prospect in the year 2047, is a large database of face scans used as multiple access methods to houses, data platforms, phones and so on and so forth. Through these frequent and daily face scans, different moods and emotions are stored and saved for future access. This open source data is the element that would intervene to create a memorial in the shape of a lamp that is made out of bioplastic material, with the aim to alleviate the pain of coping with the loss of someone. T he lamp is a custom looking product, based on individual-speciic information stemming from the mapping of the deceased‘s facially recognized emotions. This lamp would with time slowly disintegrate into a seed, phasing the process of mourning. After its lifespan, the seed is planted to become the reincarnation of the deceased into a new form of life: Plant. This helps the holder of the Lamp to go through a mourning phase that will end with acceptance of the passing on, when the light goes off at the end.
Team : Adib Khaeez | Kamal Amgad Naumann | Julia Ziener
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Cordinators : Sina Mostafavi | Manuel Kretzer
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Life Data is turned into graphs and coded to generate geometry. This mapping is possible due to the face recognizing devices that map our everyday moods and emotions. The coding turns states of being, emotions or physical features into parameters that morph the basic geometry common to all individuals, into the customized end products. An example here is based on the graphing of Positive and Negative states of being. Changes in emotions result in uctuations of self intersecting curves to strengthen the model.
Additive 3D printing was used to produce the designs and experiments. Using the robotic arm and a material extruder, printing bioplastic on a static base is enabled. The toolpath however was travelling between points because the curves in question were not continuous. Hence, working with periodic curves started to be able to have continuity in the movement making the production easier.
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After various experiments with a lot of dierent recipes and natural additives, we decided to continue with a mixture based on corn starch, glycerol, vinegar and gelatine. By increasing the amount of our additive, ashes in this case, we were able to decrease the shrinkage of our Material to around 80%.
Recipe based on gelatine, glycerol & Recipe based on corn starch, brown Recipe based on leaves vinegar & glycerol vinegar & glycerol
corn
Note: - rough material - 30% shrinkage - cools too fast
Note: - semi-transparent - interesting color - very ridgid Material
Note: - bright yellow - semi-transparent - around 20% shrinkage
Additive: mixed ashes
Additive: brown coal ashes
Additive: black ashes
Note: Note: - homogeneously - very ridgid Material mixture - dark brown -best result in shrinkage and texture
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Note: - very homogeneously mixture - more shrinkage - exible like hard gum - solid black
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Afra House Afra House project started as renovation of a very old two-story house located in Lavasan, Tehran, Iran. The house was on top of a a property with a split-level in its land, creating a rough access to the house from the entrance. The main objectives of the project was to convert the two separate levels of the house into a duplex, redeene the accessibility to the main building from the entrance at the street level and nally adding a number of spaces that are necessary to a vacation house, such as an outdoor swimming pool, a room for the care taker of the house, a hot tub and an oďŹƒce space.
Completion Year: 2018 Gross Built Area: 593 m2 Project location: Lavasan, Tehran, Iran Lead Architects: Adib Khaeez, Ramtin Taherian Design : Adib Khaeez, Ramtin Taherian, Raahro Studio D esign team : Adib Khaeez, Ramtin Taherian, Vahid Nejad Fallah, Masoumeh Shaaei, Pegah Asadani Photo credits: Deed Studio, Parham Taghiof
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The strategy to facilitate the accessibility of the house, was to place an elevator near the entrance to get to the top oor and a small bridge connecting the elevator platform to the rst--oor balcony of the house. The new circulation deened primary access via the elevator and the bridge, and secondary access through the landscape. Since the main entrance of the house moved to the rst oor, more public functions such as living
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room, kitchen and guest bedroom were placed at the rst oor, which left the smaller more secluded and private ground oor for two master bedrooms, a mini kitchen, and a small living room. In other words, the shift of the main entrance created a ipped typology were the public functions, which are usually at the ground level moved to the rst level, and the ground level housed the more private functions of the villa. The split-level in the land created an opportunity to form a three-story volume near the entrance providing the additional spaces. This new building contains care taker’s room at the ground level, oďŹƒce at the rst level and a changing area and a hot tub at the second level near the swimming pool. These spaces are accessible from the elevator that starts next to the parking and reaches to the top of the added building at the level of the bridge.
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The geometry of the bridge generated based on the location of each end, and the locations of the existing trees in the site. The new building was formed in a way to create an entrance area at the bottom, increase view towards the valley for the office, and increase the view from the pool deck and to create a sharp viewing-deck corner at the top. A s a whole, the project consists of two old and new volumes, connected by a bridge that navigates over the steep and contrasted landscape. Having the swimming pool on one side and the garden on the other. Two levels of the landscape have different characteristics which could also be described as one being more public consisted of parking spaces, the entrance and care taker’s room, while the other works as a more private yard containing the swimming pool, access to the office and the green garden.
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Bobo Café & Restaurant The interior design of Bobo Café & Restaurant started as a renovation of a 60m2 retail store with a very limited budget. The store is located in a 15-year-old building in the Sa’adat Abad neighborhood of Tehran, Iran. Despite a number of occupancy changes, Bobo’s owners felt like the site was an appropriate location for a new and dynamic café; especially considering the proximity to a nearby university and the overall lack of hip cafes in western Tehran. Lead Architects: Adib Khaeez and Ramtin Taherian Project Location: Saadat Abad, Tehran, Iran Completion Year: 2017 Gross Built Area: 60 square meters Photo Credits: Deed Studio
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111 Bobo Cafe & Resturant | 2017
The interventions inside the existing space were done by rearranging a few dividing walls to accommodate various functions like the restroom, kitchen and service counter in order to have maximum oor area for the main salon. The space adjacent to the entrance was allocated to a VIP section due to the view of South Allameh St and proper natural light. As a result, the space needed a partition to separate the VIP section from the rest of the salon. The cafe’s location hosted a high ceiling, so the concept aimed to combine this space divider and the ceiling with one geometric move
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The gradual transformation of the vertical surface of the partition to the horizontal surface of the ceiling created a geometry with complex curvature, which arches at the edges over the VIP and semi-VIP sections. This single surface is the main element deening the space within the cafĂŠ and in order to prevent its volume from disrupting the continuity of interior, it was realized as a transparent lattice. This division at the maximum level creates the familiar looks of a at grid for a ceiling, and by turning into a vertical volume at the base, forms the main partition of the salon.
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STONE TRACE TABLE How can a very specific stone slab be processed into a table? At a broader extent, how can we capture and process the visual data embedded in different stones, and translate it into topological and geometric information as well as machining routines? Stone Trace project employ 3D scanning, image processing, algorithmic modeling, and digital fabrication to design and produce a table. In other words, instead of designing the form and details of a table and then think about how to materialize it, the captured and processed data is a design driver and central to the materialization process. While the design-to-production system is generic and open to almost any kind of stone, using a particular local stone slab and certain design decisions according to functions and requirement is resulting into a one of a kind design. Design, Research and Fabrication: SETUP architecture studio Principal Designers: Sina Mostafavi, Adib Khaeez Design Collaborators: Masoud Barikany, Faezeh Sadeghi Invited Project to Objet Design Platform Event and Exhibition 2019 Sponsor: AKO Natural Stone Company Photo: Deed studio
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Each piece of rock in nature depicts millions of years of geological history. Various characteristics of each block of rock such as layers, color, porosity, hardness, etc. make an exclusive visual entity that represents the way this very piece has been formed through accumulation of different layers of earth. How can we embrace this uniqness by analyzing physical and visual information of a stone slab and utilize them as geometrical patterns in a design process?
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"stone Trace Table" is a project that utilizes the design to production thecnologies such as photogrammetry, 3d scan, visual data processing, algorithmic design and digital fabrication in order to derive information from the material and make an identical stone table. Hence, the input of design to production process is an image of a specific stone slab that has bee produced through 3d scan and photogrammetry method.
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Having the visual data, the multi-purpose design system will implement a range of functional requirements and aesthetical preferences In order to have different variations of distinctive metal-stone tables as the final product.
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In design variation "08-L2.4W1.6, A¹77°,A²26°,P54", linear porosities on the table's body is the result of processing the visual data of striped patterns of the selected slab which is coming from Aligudarz, Iran. Folding the two-dimensional slab and aligning the porosity with the geometrical pattern of the stone makes a coherent three-dimensional object. Finally, with the purpose of using the table in different configurations, this unified entity had been chopped in three difffrent scales of small, medium and Large.
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Farmanieh residential Farmanieh residential is a multi-level building with ve units all with dierent layout and spatial qualities. Three dimensional positioning of the duplex units in the building block, result into double height voids in the building envelope allows for growing of vertical gardens.
Location: Tehran | Year: 2017-present Type: Residential | Area: 3000 sqrm Status: Commission, in progress
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Architects: Sina Mostafavi | Adib Khaeez Faezeh Sadeghi | Masoud Barikany
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In this 8-story building, the Lightwell works as the main core of the building which passes all units and reaches the roof garden. The extension of this lightwell is not vertical, but by passing from each oor extends itself inside that oor in a dierent way. So in the main concept of design, we considered this Lightwell as a courtyard because not only it is an unroofed external space, to allow light and air to reach where would be a dark or unventilated area, but also it plays a signiicant role inside by extending itself there based on the designed functions.
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AUDI Adaptive City Car The „Adaptive City Car“ cooperation project between the Dessau Department of Design of the Anhalt University of Applied Sciences, the Dessau Institute of Architecture and AUDI set itself the goal of developing solutions for the automobility of the near future that would do equal justice to these social and ecological needs. T he result of the three-month project is a one-to-one model of an autonomous shared car, which leads to an improved quality of life for all road users through its adaptive technology and the use of organic materials. In addition to the processing of adaptive systems and innovative materials, this project is characterized by the use of generative design and innovative, robot-based manufacturing methods. We have looked into the potentials of extraordinary vehicle types and developed four focal points in a one-day workshop, which should serve as a basis for the concept of our future city car. Our vision was to develop an automobile as a PROTEST symbol against the current design standards of the car industry, which no longer do justice to the pluralized society. In addition, the „Adaptive City Car“ was intended to counter the problem that the abundance of traffic and transport-related infrastructure creates by giving both people and nature space for individual development (SPACE & INDIVIDUALITY ). Car sharing is already an established, but also very impersonal solution. Our objective was therefore to create a completely new experience of renting and driving; an autonomous vehicle with which one identiies through direct interaction and which one trusts as if it were one‘s own.
Students Anian Till Stoib Aleksander Matalski Ashish Varshith Dominique Lohaus Fu Yi Ser Jan Boetker K atja Rasbasch Lam Ka Siu Laura Woodrow
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Marie Isabell Pietsch Marina Osmolovska Nate Herndon Neady Oduor Niloufar Rahimi Otto Glöckner S aeed Abdwin
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Adib Khaeez Shazwan Mazlan Valmir Kastrati Manuel Lukas
Sina Mostafavi Manuel Kretzer
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The decisive factor for the development of a design language that seems naturally grown was to oer an alternative to the artiicial and standardized appearance of ordinary vehicles. Instead, the design should rather meet the human need for individuality and provide a calming atmosphere, as found in nature. I n addition, the choice of a diagonal position for the two driver seats had a decisive innuence on the shape of the city car. Placing the seats diagonally made it possible to create large passenger areas that oer plenty of space for personal development. At the same time, passengers have the opportunity to interact with their counterparts or enjoy their privacy instead.
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The available robotic setup was a six plus one axis system with a manual tool changer. The seventh axis was a rotary table in front of the six-axis robotic arm that allowed to reach the xed EPS blocks from all sides. The production routine varied slightly from case to case, but most of the time it started with preparing the blocks by hot wire cutting. This was followed by milling the pieces into the right shape. Finally, the components were removed from the remaining EPS block on the bottom by hot wire cutting. During the milling process, details such as door seams and porosities or holes were added. The porosities are hexagonal shapes with varying sizes. Since the side surfaces of these holes were depo signed as developable surfaces, it was possible to use the 50mm long milling spindle to cut shapes out of the hexagonal elements
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The windows were primarily placed on the top of the vehicle to direct the visual focus of the passengers from unpleasant traďŹƒc situations to the sky or the environment and thus make the driving experience more relaxed for the passengers. When opened, the car‘s winged doors reveal the entire passenger cabin. This makes it easy to sit down in spite of the diagonal seating position. In addition, the vehicle literally opens up to the environment.
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“Cyber Craft 4.0�, Design, Architectural Robotics, and Systems studio focus on advancements in methods of fabrication and materialization and the impact on architectural design and practice. The goal of the studio is to introduce a range of innovative ways of design thinking and experimentation through prototyping and computation. Therefore projects cover four subjects of 4th industrial revolution, crafts, design computation, and novel methods of design to production in architecture within the scopes and disciplines directly or indirectly related to the built environment. According to the research and design objectives of each project, the main emphasis is on any of these four. However, the outcome will be a complete architectural design project. With an emphasis on the impact of the 4th industrial Revolutions, revitalization of local crafts, and the changing role of architects as digital natives, we aim to design Cyber Craft Hubs. In each project, we produce prototypes based on the developed material system and the revitalized craft methods.
cyber craft 4.0
DARS | [Design, Architectural Robotics & Systems] Studio coordinator: Sina Mostafavi Tutors : Adib Khaeez, Valmir Kastrati
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147 Cyber Craft 4.0 | 2020
SHELTEROTOPIA students : Niloufar Rahimi | Fariza Mayasari | Isinsu Agca
Shelteropia is craft hub located in a war-torn city in Syria. While the project is adapted to a very speciic urban junction in Aleppo, the architectural research behind the project on building craft methods goes beyond the geographic coordinates of the region. Therefore, Shelteropia explores and provides a materialization system for the application of Muqarnas in freeform architectural conngurations. More than being ornaments, Muqarnas is a form of vaulting system which allows for the topological and geometric transition from walls to domes. The transitions from rectilinearly to curvilinearity result in complex surface qualities and volumetric tectonics. In Digital modeling, this can be translated to means of computing multidirectional voxelated volumes or tessellated surfaces. On the one hand, learning from various techniques of typologies of Muqarnas, and on the other hand, by exploring and developing dierent methods of voxelization, tessellation and folding, the Shelteropia rethink the application of Muqarnas in the post-war city of Aleppo with the purpose of redeening the role of ornament in the era of contemporary industrial revolutions.
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THE ARK students : Andrii Kniaz | Pouriya Alighardashi | Gulyuzbonu Ruziboeva | Oleksandr Khabailiuk
Global Issues are one of the most generative starting points for Architecture, all along with history. Global temperature and water levels is rising, and not only low-lying places are experiencing unexpected disasters, but as a matter of fact, this is going to aaect the whole planet. So, as architects, we deened our task to design an extreme project at the border of discipline, and by that, we chose an extra-ordinary context to experiment on. Urmia Lake, Located in the northwest of Iran, has an astonishing story. This Salty Lake shrinkage started somewhere around 1985 due to the increasing amount of irrigation, drought, and manipulating the normal path of rivers. But the turning point of its life was the heavy rain in April 2019. The lake got back to life miraculously and once more shows the fact that mother nature always nds a way to ght back. From all pure and elements of the lake, we found a Clii called “ Mosht-e-Osman “ that is somehow a measure of the water level for locals and also for the press. The nal goal is to deene an architectural system based on crafts and materials. The idea of hybridity in all macro, meso, and microscale gives us the luxury to use our craft-hub in any situation. No matter what happens in the future, our craft hub could survive, and experimenting with this extreme question in design can prepare us also for an extreme situation that deenitely happens in the near future. Vernacular materials of the region are wood and salt, and we appreciate the idea of hybridity also in our material system. In order to do so, the combination of a wooden lattice structure and a porous responsive salt system is the key.
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THE BREATHER students : Salam Yousef | Maryem Lachgar | Vijayray Manmathan
Dubai is a futuristic city that never stops developing. However, behind this fast development, there are intensive labor conditions causing lots of stress for foreign workers. Therefore, The Breather Craft Hub is designed to be a healing space where foreign workers and locals can spend time creating crafts and enjoying the peaceful atmosphere. When a person is creating a craft, his or her focus is totally on creating the craft; thus it helps in reducing the stress level caused by daily workloads. The Breather is designed to be in Dubai Design District for its central and easily accessible location. The design focuses on three diierent crafts: Indian Basket-weaving, Palestinian embroidery, and Moroccan wood carving. Each one of those crafts informed the design process in terms of the use of weaving, colored meshes, and carving porosity. The form--nd ing started by identifying main site forces that led to
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CALLES DEL AIRE students : Saeed Abdwin | Shady Maher | Shubham Thakur
In current times, the climates are quickly changing to the extremes, with the highest recorded temperatures in decades during the summer in Europe, and the lowest recorded temperatures during the winter in Canada, the environmental issues can no longer be overlooked or left untreated. This aaects the polar caps as well as the sea levels. Rivers and lakes are drying and forests are catching re. More than 1.2 billion people already do not have access to clean drinking water. Energy production is wasted on actively protecting what used to be naturally protected, and humanity watches from the air-conditioned ooce spaces. As the world proceeds towards globalisation, architecture adopts the use of emerging technologies in the post-modern era in a completely negative light. In a trial to be international, architecture becomes placeless and loses its identity and culture -most of the time. Centuries ago, buildings were more sustainable. People learned from nature through mimicry, and then creation. The Historic Sanctuary of Machu Picchu is still standing with its walls, tilted to distribute the loads, more than three millennia after it was built. Buildings in the medieval times were built to passively resist the climate and withstand the harshest weather. The cr cross-ventilation, the stacking eeect, the heat lag eeects were discovered, and systems such as wind catchers and mashrabiyas were invented without the vast sea of technology that we currently have within the reach of our palms.
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QUANTIFY ME! With the continuous rise of smartwatches, tness trackers and other wearable devices the amount of personal data that we are constantly collecting keep growing endlessly. Steps, active energy, sleep, heart rate, blood sugar, blood pressure, weight, calories, nutrition, water intake, meditation, activities, places, means of transport, screen time, productivity, workouts, mood, stairs, bodyfat, social interaction, music, are just a few of the things we can easily keep track o. Most of this data leads to something that is commonly referred to as the “quantiied self,â€? which is both a cultural phenomenon of self-tracking through technology and a community of consumers and suppliers of self-tracking tools who share an interest in self-knowledge and personal improvement through numbers. Whilst the quantiied self-movement has faced varied criticism related mostly to issues of data privacy and health literacy skills, the focus of this course is less on individual perfection or social challenges but rather on the question, how these tools could be useful for us as designers. What do all these numbers stand for and is there more to nd than a personal diary or the achievement of consecutive goals? Is it possible to abstract that data and use it for something else, something physical, something tangible? Can the tools that help us record and collect that information become tools for design? Can we draw shapes with our heartbeat? Can we sculpt forms through the number of steps we walk or the calories we burn? Can sleep quality become a replacement for the computer mouse and hence would this allow us to work in our sleep? C an we control the results through self-conditioning or through smart means of translation rather than them being pure representations of our daily activities? Or lies the potential of personal information solely in the creation of individualised responses?
Collaborative Elective Dessau Institute of Architecture & Dessau Department of Design Coordinators and Tutors: Sina Mostafavi (DIA) & Manuel Kretzer (DDD) Tutor Assistants: Adib Khaeez, Valmir Kastrati (DIA) & Manuel Lukas, Aleksandra Sviridova (DDD)
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TOPOGRAPHY OF BOREDOM
Students : Niloufar Rahimi | Andrii Kniaz |Daksha Suryavamshi People today can not imagine their lives without smartphones. They are no longer just devices for communication, today we live in an era when people have become almost cyborgs and smartphones are an extension of our brains. Smartphone sensors collect hundreds of diierent sets of data every 5 seconds. What if these sets of data can be a design driver? We decided that such data could be used in architecture. We focused on the fact that certain areas of the city are much more a tractive to people than the others. Sometimes it is a matter of crossing pedestrian paths or a well-placed public space. But sometimes things can be quite not obvious, like the old shady tree you want to sit under or interesting park sculpture you see every day walking your dog. Our hypothesis was that in an interesting place you want to spend time and even take photos, but a boring one you want to change as soon as possible. The aim of our project was to identify such attractive places on the campus of the university and to develop a model that can then be used on a larger scale of the city. We believe that such data in the future will be able to indicate which spaces are "working" and which need changes and rethinking.
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CHA R A CTE R O F DA N CE
Students : Işınsu Ağca | Vanessa Juliet Nahr | Shubham Thakur | Oleksandr Khabailiuk The idea of extraction of dances originated from the thought that how can we translate body characteristics into geometry. Meaning, when body syncs with the music, it creates the rhytym for the person dancing and the challenge was to capture these body waves into graphical patterns within a restricted 4x2M space. The method based on exploring Kinect skeleton technique and visualizing by Rhino and Grasshopper Fireey. As a result, the output was different kind of patterns, extracted from different style of dances showing the body movements from the top view of each speciic dance form. Jive, Tango, Merengue, Cha Cha Cha, Walz, Ballet, Discofox, Salsa and Bachata dance types were used in this project.
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EMOTIONS QUANTIFY
Students : Sanem Bakan | Fariza Mayasari | Martin Naumann | On Mei Leung
Emotions, in general, are always subjective and immeasurable, but by analyzing the topology of human facial expressions we were able to quantify that information. To create emotional reactions, we decided to let people watch a selected short movie, which means letting them be innuenced by motion pictures, sound, and a storyline. To visualize the results in a way, beyond usual infographics we translated the collected data into an abstract geometry and materialized them with a robotic arm.
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GLITCH HUNTING
Students : Puria Alighardashi | Ashish J Varshith | Khrystyna Pundak
Glitch is a small problem or fault in the system in which prevents the system from being successful or working as well as planned. They are not preventing the program or function to be achievable, but they don’t let it be functioned as it is planned. The role of Glitch in history is underestimated because it is invisible. Although it is one of the most prominent reasons for m tation as one small malfunction in the structure of a gene causing the transmission to a subsequent generation. On the other hand, we are facing an era full of protests for freedom all over the world. Streets that are planned to be functioned in regard to the system are elds for protest. In this kind of situation, Geolocation Data has a vital role and being invisible or not being in the planned location even for just a moment is helpful. By focusing on the moments when glitch happens, we trying to emphasis on the role of the glitch. In order to do so, we gathered our geolocation data via diferent platforms and haunt a diferent kind of glitches. In order to haunt Invisibles such as gravity, the electromagnetic force and glitches a eld may be needed, therefore we distinct regular data from glitches and feed them both to a eld. The eld is not just a medium to make glitch visible but, its connotative side could be the planned imposed by the system. The way that those two sets of data distorted and manipulated the eld are showcased in two diie diierent art pieces. Glitch is a formless invisible phenomenon which it can be perceived in an analogy to its context, that’s why in both art pieces there is a superimposition of regular data and glitch data in two dierent forms.
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ROBOTIC STEPFRAMES Architectural robotics includes the design, integration, and implementation of programmable machines in manufacturing processes and/or in operational responsive systems. This workshop focused on the first set of applications referring to methods of production that employ numerically controlled fabrication routines for architectural implementations This workshop intended to provide an introduction and overview to architectural robotics as a creative interdisciplinary emerging realm. The manifestation of this research and process was designed computation methods and prototypes focusing on stairs as fundamental and dynamic architectural elements, which was exhibited once during and once at the end of the workshop. During the studio, Scalalogy (the science of stairs) was a reference as a comprehensive branch of architectural science that dealt with the interdependence of humans and stairs In the 19th century, French architects used to produce scale models of staircases they had built. The models were extremely detailed and were used similarly to a modern-day portfolio allowing the architects to carry them around and showcasing their skills and craft to attract future clients. Reviving this historical reference, and noting the inherent parametric nature of stairs, students built 1:1 staircase prototypes. The materialization was a fusion of robotic fabrication techniques as well as human craft and detailing with the results exhibited in Platform 28 and PATTERNITECTURE event at Niavaran Artistic Creations Foundation (NACF).
participants, Ali Dehghani, Sahar Barzani, Hamed Zahedmanesh, Amir Arsalan Tahooni, Amirhossein Zarinrad, Masoomeh Hosseinzadeh, Faezeh Pakravan, Faezeh Sadeghi, Mahshid Moghadasi, Parto Jahangiri, Reyhaneh Farahbakhsh Coordinators, Sina Mostafavi, Shabnam Hosseini, Hasti V.Goudarzi, Adib Khaeez
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159 Robotic step frames | 2017
ROBOTIC LIGHT PRINTING As the first exercise with the robot, light printing was used as the medium to illustrate tool path, and translate digital lines to movement. A point light source was used as the end effector and the robot’s movement was mapped with long exposure photographs.
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Robotic step frames | 2017
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Wave | 23.08.2017 Robotic Light Printing Initial experiments Ali Dehghani , Faezeh Sadeghi
Atom | 23.08.2017 Robotic Light Printing Initial experiments Reyhaneh Farahbakhsh
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Net | 22.08.2017 Robotic Light Printing Initial experiments Masoumeh Hosseinzadeh, Amirhosein Zarrinrad
The Basket| 23.08.2017 Robotic Light Printing Initial experiments Parto Jahangiri- Mahshid Moghadasi
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Hilbert | 22.08.2017 Robotic Light Printing Initial experiments Sahar Barzani
Floating Steps | Date 23.08.2017 Robotic Light Printing Initial experiments Hamed Zahedmanesh
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TWISTED RIBBON Stairs represent one of the oldest and most intricate design problems in architecture. Aesthetics, circulation, structure, and safety combine to create a complex network of factors. Despite the essentially parametric nature of stairs, this project aims to adopt and apply creative inter-disciplinary methods of design and fabrication such as utilizing HWC (hot wire cutting) system with a robot arm. The objective of the project has been to design a parametric stair and fabricate it with an ABB robot arm. The design process starts with two twisted curves, combined with thickness variation for steps and handrail. Moreover, Power lines of the twisted surfaces intertwine and form tessellation patterns, which cover top and underside of the stair surfaces.
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BÉZIER STAIR Stair is typically an element to connect different levels and to facilitate vertical circulation. However, in “Platform 28” it cannot be defined in its general format as there is no other level. Therefore, it is considered as an exhibited object, a piece of art that is going to be “watched” not used. A “Bezier” graph initiates the formation of the stair. From a geometrical point of view, a Bezier curve always passes through the first and last control points and lies between the convex hull of the control points. The control points of the Bezier alter parametrically, thus the nucleus curves are created.
1 The initial design
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Back to curves, creating power lines in upper and lower surfaces
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2 Changing thickness variation ,and creating the steps
Changing the design to fit the platform
7 Creating hypar forms for the steps
Changing the ramp into a stair with steps
8 Creating the step curves with nurbs to avoid self-intersections in hypar forms
5 Straight lines alternation instead of curves
9 Changing the convex hypars into concave ones to avoid self intersection in the cutting process with ABB robot
Robotic step frames | 2017 Component andand 6 Negative Positive Connection Components 5 and 6 5 Positive Connection Detail
Component 6 Coming Component 5 and56and Coming Together Together
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Thanks for your time!
Adib Khaeez, Spring 2020 167
