Broberg_ERIK PORTFOLIO 20180507 by Erik Sven Broberg

ERIK SVEN BROBERG POSTGRADUATE DESIGN PORTFOLIO

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UCLA Suprastudio 路 CCA 路 University of Miami 路 2017 e.broberg@ucla.edu 路 561.307.2084

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[ SELECTED WORKS ] ACADEMIC DESIGN

UCLA SUPRASTUDIO + UMiami SOA 2013-2017

M.A.R.S. - Thesis Selections Eric Firley

Embedded Medical Furniture Dr. Juhong Park

Emerge Innovation Center Denis Hector

V+ Autonomous Habitat Guvenc Ozel

Fairchild Studios Craig Scott

Embedded Medical Furniture Dr. Juhong Park

Mars Habitat Challenge Guvenc Ozel

Bio-Dynamic Island Thom Mayne, Julia Koerner

How to Domesticate a Mountain? Andrew Atwood and Anna Neimark

Northeast Aviary Proffesor Montero, David Trautman

**ALL PORTFOLIO CONTENT CREDITED TO ERIK SVEN BROBERG UNLESS OTHERWISE NOTED ON IMAGE**

[ SELECTED WORKS ] ROBOTIC RESEARCH Soft Robotics Benjamin Ennemoser

Adjacencies In Motion Guvenc Ozel

PROFESSIONAL John Lum Architecture John Lum, Bret Walters

VARIED Axis 2-2 · CCA · Kinematic Code · Spring 2015 Andrew Kudless

Generative Sunscreen · UMiami · Fall 2014 Dr. Juhong Park

VISUALIZATIONS Erik Broberg

RESUME

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**ALL PORTFOLIO CONTENT CREDITED TO ERIK SVEN BROBERG UNLESS OTHERWISE NOTED ON IMAGE**

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Design Philosophy UCLA SUPRASTUDIO · 2016-2017 This past year I have spent countless hours working in UCLA’s cross-disciplinary post-professional design research facility known as the SUPRASTUDIO. Here, studying under futurist designer, Guvenc Ozel, I have realized my primary research goal of examining how emerging digital tools and technologies can aid in both the design process as well the crafting of ‘digital experiential environments’. To me, design can be enhanced through the utilization of an iterative relationship between tools such as VR and AR in an effort to gain a more holistic and contextual understanding of a design problem. This affinity is informed on the level of the designer as well as the user’s experience and feedback. As a result, the construction of a ‘digital experiential environment’ becomes the generator of design in regards to both the designer as well as the user. It is this topic which has led me away from static architecture and towards a more generalized design methodology based on emerging technology; yet, rooted in human collaboration.

[THESIS SELECTIONS ] M.A.R.S.

Metor Crater Aerospace Research Society UMIAMI THESIS · Spring 2016 Thesis Advisor : Eric Firley ‘Just as airports have shaped the twentieth century, spaceports are poised to reimagine the 21st’. The M.A.R.S. (Meteor Crater Aerospace Research Society) is poised to redefine the premise and paradigm of space exploration and research development according to society’s contemporary open source ethos. The reasons for such a facility can be seen as tri-fold: ensuing entropy, commercialization of access to space, as well as the open source exchange of ideas. The facility is situated on the site of the most recent meteor crater impact (50,000 years young). The result of this choice of site creates a strong connection with the past and future of the cosmos. It is here where society’s resulting multifunctional ethos will be represeted in a modern spaceport typology that incorporates the needs of enlightened humans.

Software: Rhino, Grasshopper, V-Ray, Illustrator, PSD vii

[ THESIS + DESIGN PRECEDENT ] Two Interrogations: 1. Difficult to design for a new use without overestimating technology. 2. Dissociative, mono-functional design is obsolete.

Two Solutions: 1. Multi-Functional design that meets the demand of the holism philosophy that society has embraced. 2. Functional meanings integrate wider societal goals and ambitions that surpass the technological realm.

A User-Integrated Spaceport

The Primary aspect brought to light by construction

of the modern spaceport is the concept of designing for the future. While the following chapters cover this aspect of the thesis in further detail, this broad question can be broken into two ‘component queries’. First, is the concept of integrating the user into the spaceport. As our world is consistently becoming more homogeneous and open sourced, the sterile method of the past where the user has been kept at an arm’s length from spaceport operations will be rendered obsolete by the nature of the evolution of man. Second, is the overestimation of technology. The most widespread example of this has occured in Virgin Galactic’s Spaceport America which is now for sale due to this issue. viii

Design Constraints

A. SPACE EXPLORATION B. SCIENCE FICTION C. ETHOS D. SITE (HISTORY / GEOGRAPHY) E. SACRED NAVAJO GEOMETRY

[ CURRENT SPACEPORT DATA ]

Spaceport Sweden

Spaceport America

Spaceport Georgia

UK Spaceport

Jiquan Satellite Launch Center

Spaceport Houston Spaceport America SpaceX Launch Site Ras Al-Khaimah Spaceport Curacao Spaceport

Wechang Spaceport

Malaysia Spaceport

Proposed Spaceports Recently Constructed Spaceports

[ SITE ] â&#x20AC;&#x153;Choosing this site, where space came to earth, innately fosters a symbolic and iconic connection to the past and future cosmos.â&#x20AC;? For obvious reasons, the facility MUST be isolated to avoid potential accidents. In the case of M.A.R.S., the site parameters are not merely mundanely met; but, rather embraced. The chosen site is Meteor Crater on the Colorado plateau in Arizona. This particular site is the location where the most recent (50,000 years ago) meteor struck earth. It is also the best preserved meteor crater in existence.

[ SITE PLAN]

[ DESIGN DEVELOPMENT ] Top of Crater Rim Entrance

South Facing Front View

Crater Materiality: Limestone

Design Development Drawings 2

Initial Physical Model Sun Studies

Dawn

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9am

Noon

3pm

6pm

[ VEHICLE AUGMENTED VISUALIZATION]

Scale: 1” = 50’-0”

50’

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[ SITE PLAN ] Site Plan. Cut Line: -20 ft

Site Plan. Cut Line: -60 ft

Scale: 1" = 90'

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[ PERIPHERAL DRAWINGS ]

[ ILLUSTRATED SECTION PERSPECTIVE ]

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[ ILLUSTRATED EXPLORATORIUM SECTION ] The Exploratorium is unequivocally the lifeblood for the visitor component of the facility. Here visitors can connect with the cosmos inside the crater in a tactile and interactive manner. Situated in the Exploratorium is a large educational facility, virtual reality experience, robotic interaction, as well as office spaces. The Exploratorium also has the fewest apertures to natural light which allows the visitor to feel as if inside the earth.

List of Functions: A. Tactile Dome B. Learning Center C. Exhibition Development D. Robotic Interactions E. Virtual Reality F. Office Space G. Restrooms H. Exhibition Spaces I. Store J. Cafe

Exploratorium xviii

Circulation: +0’

Elevators: Primary Exhibition Development Secondary Stairs: Entrance Exit

-81’

-119’

-76’

-154’

-90’

-154’

-104’

-154’

-169’

-178’

Secondary

-144’

-190’

-169’

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[ ILLUSTRATED EXPLORATORIUM AXONOMETRICS ]

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[ SELECTED EXTERIOR VISUALIZATIONS ]

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[ EMERGE INNOVATION HUB ] University of Miami · 2014 Professor Denis Hector The ‘Emerge Innovation Hub’ project is a project proposed by the financial firm, Medina Capital. This prominent firm wished to utilize our studio to gain design ideas for their vision of initiating Miami as the ‘Tech Hub’ of South America. As is often the case of clients, they wanted a large program under a small budget. We spent weeks in a debating these matters before developing the pictured building. As they insisted the building’s cosmetics too look futuristic we turned to Erwin Hauer’s Design No. 5 for inspiration.

PROJECT DESIGN AND PRODUCTION CREDIT: ERIK SVEN BROBERG + LUIZA LEITE Software: Rhino, Grasshopper, Illustrator, Excel, Sketchup, Vray, CAD

xxiv ELEVATION CREDIT: LUIZA LEITE

West Elevation

North Elevation

[ SITE SELECTION ] Wynwood Arts District, Miami Florida

Situated in the burgeoning Wynwood Arts District of Miami, Emerge Innovation Center occupies a premier slice of real estate which allows not only inrastructural connectivity, but also cultural integration into the pulse of the burgeoning neighborhood.

Due to the plethora of program that Medina Capital wished to be included in their Innovation Center, we had to develop a system of justification to understand how many people might use each programmatic element. Pictured below is a hot to cold diagram illustrating how more people will utilize open and collaborative spaces. This open and collaborative approach is the ethos of â&#x20AC;&#x2DC;Emerge Innovation Centerâ&#x20AC;&#x2122;.

DIAGRAM CREDIT: LUIZA LEITE

East Elevation

South Elevation

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[ PROGRAMMATIC DATA ] TOTAL PROGRAM 133,845 SF

RESTAURANT/BAR 5000 SF

INCUBATOR SPACE 43,260 SF

LIBRARY 10,000 SF

COWORKING 24,785 SF

EDUCATION 10,000 SF

MAKERSPACE 10,000 SF

MEDIA 5,000 SF

ATRIUM 30,000 SF

GYMNASIUM 15,000 SF

SCREENING ROOM 5,000 SF

TRADITIONAL OFFICES 14,800 SF

DIAGRAM CREDITS: LUIZA LEITE

INTERIOR TOP-FLOOR SOUTHEAST ORIENTED VIEW

Form Morphology

The form for the shell of ‘Emerge’ happened by accident. I was working with a student and teaching them how to 3D print Erwin Haur’s ‘Design 5’, and thought to myself how great it would look as a building. I brought the idea to my partner in studio and before we knew it, we were developing the program and architecturalizing the manifolds slightly. We ended up using a bubble relaxation technique to achieve the proper form for the primary manifold.

Structural Justification

a. While the hyperbolic paraboloid form of the shell allows for theoretically perfect compression, the perimeter condition of the primary manifold was decided to be comprised to 15’x30’ ft concrete slabs. The 350’ spans are no problem with this method. Erwin Hauer Patter No. 5 40

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[ FORM + STRUCTURAL JUSTIFICATION ]

An innate result from adopting Hauer’s form, was the ability to manipulate natural light. After all, he created the original panels to manipulate and screen sun or office light. As a result, we perforated the primary manifold which created an ethereal lighting condition for the atrium and floors above.

RENDER CREDIT: ERIK BROBERG + LUIZA LEITE

92’

b. We found that the tensegrity of the post-tension boundary condition allowed us to choose either traditional concrete formwork or lightweight panels for the long-unsupported spans.

350’

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3D Printed Study Model

Public vs. Private Circulation Business Circulation Business Elevators Atrium Elevators Atrium Stairs

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[ SECTION PLAN PERSPECTIVE ]

DIAGRAM CREDIT: ERIK BROBERG + LUIZA LEITE

Northwest Section Plan Perspective

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V+ Environment Render Render Credit: Nazli Tatar Further Editing: Erik Broberg 1

V+ (Additive Habitat) UCLA SUPRASTUDIO Âˇ Spring 2017 Guvenc Ozel Students: Erik Broberg, Huma Nazli Tatar, Alara Akiltopu, Zhe Liang

Our proposal focuses on offering potential experimental shelter and transportation solutions to users and communities intent on occupying areas prone to current and future sea level rise. Fundamental to this research is the concept of autonomous devices which design, through sensor and user data, highly customized and self-sustainable habitats through the utilization of locally harvested materials for additive manufacturing. In this circumstance, the vehicle will serve as both the manufacturing generator as well as having the ability to intervene as a functional appendage with its built habitat. Naturally, this habitat will create a disparate relationship between the car and the organic additive surfaces. As a result, context-specific augmented reality interfaces will provide an affinity between the two typologies. Central to our proposal is the idea of the vehicle as a physical and functional generator. Physically, the vehicle will construct the habitat; while, functionally, it will extend its spatiality and functionality. This functional transformation will occur as the car intervenes by attaching to each space of the habitat and extends said space dimensionally and functionally. Software: Maya, 3Ds Max, Rhino, Grasshopper, V-Ray, Illustrator, PSD, Unity3D, Oculus Rift, Microsoft Hololens 2

[ MODES OF SUSTAINABILITY] While the location of this project can be deemed somewhat arbitrary, the concept of populating an environment prone to flooding has been chosen. In this location, the vehicle will serve as the generator where and serve as a central hub equipped with sensors and human input. Through a combination of sensor data and user input, the vehicle will slowly additively manufacture a shell completely customized to the user or users that intend on occupying the environment. In an idealized condition, the material will be extracted from the site in order to adhere to a sustainable paradigm.

[ HUMAN + MACHINE DATA] HABITAT GENERATION ALGORITHM Idealized Human Machine Collabora�on Input Data

Deteriminatory Data

User Input Number of Users Age

Size Func�onal Spaces Proximi�es

Loca�on Proximi�es Proximi�es

Construction Phase 02

User / Machine Integra�on

Environment

Habitat Height Aperture Loca�ons

Air Quality

Habitat Height

Flood Projec�ons

Aperture Loca�ons

Loca�on

Storm Reinforcement

Health State

User Scanning

Unit Size Types of Nutrients

Nutrional Analysis

Farm Loca�on Water Collec�on Sizing Water Collec�on Sizing

Proximi�es

Des�na�ons

Construction Phase 03

Machine / User Integra�on

Construction Phase 04

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Energy Consump�on

Material Usage

Deteriminatory Data

Sensor Data

Health State Types of Nutrients

Voca�on

Input Data

stage01

stage02

stage03

stage04

stage05

3-6 days

1.5 -2 weeks

2 to 4 weeks

1-2 months

2 - 3 months

[ SIMULATED RESULT 01] While the location of this project can be deemed somewhat arbitrary, the concept of populating an environment prone to flooding has been chosen. Incidentally, it was necessary to choose the combination of two researchers to feed into the habitat algorithm so that one iteration could be constructed for visualization and evaluation purposes.

03 02 01

Above are levels of the plan. Each level consists of a discrete room which is possibly functionally and spatially extended by the connection of the vehicle. To the right is Section AA which shows an axial view of two of these spaces. Here, the mechanical room as well as the primary living unity are shown. Plan Drawing Credit: Alara Akiltopu

SECTION - AA

3D Printed Physical model. 1.5 feet x 1.5 feet.

[ VIRTUAL REALITY INTERFACES] Vehicle VR Interface Diagram

House PLAY A VIDEO

Pla ns

WATER LEVEL

AGRICULTURE

BATTERY

Car

drone 1 drone 1...... drone 1.............. drone 1.... WHEELS robot arm 1 robot arm1...... robot arm1.............. robot arm1....

BATTERY

robot arm2.. robot arm2...... robot arm2............ robot arm2.....

DRIVE AROUND WITH THE CAR

3D MODEL: URBAN PLAN TELEPORTATION TO ANOTHER VR SCENE

As previously stated, a primary tenet of this project is the use of Virtual and Augmented Reality Interfaces in an effort to negotiate a relationship between surface differentiation. Take, the car, for example; it is comprised of clean metal surfaces; while the additively printed habitat is comprised of a less-inviting form. Fortunately, VR and AR are able to bridge the gap between these two typologies and allow users some to potentially abstract their experiences.

3D MODEL: AGRICULTURE AREA

TELEPORTATION TO ANOTHER VR SCENE

3D MODEL: KITCHEN

TELEPORTATION TO ANOTHER VR SCENE

3D MODEL: LIVING UNIT

Fig 1 - Pressing this trigger initiates a holographic diagram/ animation of the car and how it approaches docking with the primary habitat.

Nevertheless, in this project, we chose to use AR and VR to as not only a design tool, but also as a presentation tool. We chose to use simulated touch-sensitive holograms in VR rather than a traditional architectural drawing. This method allowed us to show more of the project 3Dimensionally (without prerecorded video) than otherwise possible.

Fig 2 - Simplified version of Fig 1. With no building exterior.

As seen in these snippets, we are using hand tracking to activate triggers which then enable 3d holographic images pertaining to certain aspects of our project to be displayed.

Fig 3 - Enabling this holographic animation shows the how the drone scans the userâ&#x20AC;&#x2122;s body in order to add data to the primary algorithm.

Fig 4 - This holographic diagram shows the how the robotic arm is able to additively construct the habitat.

[ VEHICLE AUGMENTED VISUALIZATION] During this project, our professor made it very clear to the class that we are not designing cars; but, rather an experiental negotiation between habitats and autonomous vehicles. Rather than focusing on vehicle design, we focused on how autonomous vehicles will change a userâ&#x20AC;&#x2122;s lifestyle. Furthermore, we investigated how these vehicles can connect with habitats, extending the spatiality as well as functionality of these constructs. In order to help with our design iterations, Microsoft lent us three Hololenses which we used primarily to visualize the interior of 3D printed models. This technique was a quick way to judge a designâ&#x20AC;&#x2122;s essence.

Credit: Zhe Liang

[ WorkPlace><CityScape 2.0 ] FAIRCHILD STUDIOS

WorkPlace><CityScape 2.0 CCA Advanced Studio 2015 Professor Craig Scott Location: 55 Potrero Ave, San Francisco, CA 94107 Due to the rapid influx of the tech industry (and their resultant income) into San Francisco’s current development, local businesses are being pushed out of town as the urban fabric is in a state of flux. As a result, the city has enforced PDR (Production, Distribution, and Repair) to ensure a place maintains for local maker spaces. The proposed building, ‘Filter Freak Recording Studios’ offers the city a creative outlet to develop both local and international artists in the hope of creating a lasting impact on the city which has been lacking since the late sixties.

Software: Rhino, Grasshopper, Illustrator, Photoshop Site Section · SoMissPo

[ ELEVATIONS ]

North + South Elevations

East Elevation

[ SITE ]

[ VIEWS ] SoMissPo

The imptus behind this studio is twofold. First, it focuses on PDR-zoned parcels in the area at the junction between the Mission, SOMA and the Potrero Hill/ Design Districts. Second, is to discover the best opportunity for ‘architecture to engage with the complex spatio-programmatic conditions operating between the built urban fabric and the adjacent infrastructure of the area’s streets and freeways’. 1

Location Map

Site Plan

VIEWS

The chosen site offers the building a formidable presence when approached from the adjacent infrastructure. Similarly, interesting views from the building onto it’s adjacent urban fabric and infrastructure are created.

View from East of building

Existing North Street View

View from North of building

View from South of building

Test Model Photograph Scott, Craig. “WorkPlace><CitySpace.” Studio Documentation from California College of the Arts, San Francisco, CA. Jan 1, 2015.

Site Section

[ MORPHOLOGY ] Pictured below are the primary views the studio has to offer: North, South and East. (While there is a view from the west, it comes from a stairwell, so it is not pictured as a primary view).

CARVING

The site plan illustrates how the highway carves through the fabric of the site and leaves a ‘cat’s eye’ shape to be built upon. This idea of carving is taken one step further as an exterior pathway pierces skin of the building to the elements.

fig(1) Site View from East

PA N E L I N G

Site View from North

MORPHOLOGY MORPHOLOGY

In the poetic sense, the exterior skin of Filter Freak Studios is derived from the staggered rectangles of a digital level meter. In a postmodern sense they serve as a metaphor, in construction they offer cladding to the building, and aesthetically they shine from a distance and offer up an astonishing statement of San Francisco’s creativity. Finally, the panels are constructed of one eighth of an inch sheet metal that will be cut on site to accomodate the double curvature of the building. Digital Audio Meter/Equalizer

Step 1: Planometric Divison of Spaces

Planimetric Division of Space

VIEWS

Site Prior to Addition of Highway

Addition of HIghways and Current Building Footprint

Split By Infrastructure

Open Park Space

Studio Building

Separation of Parcel Into 2 Segments as Dictated by Infrastructure

Site View from South

Addition of New Building Footprint

[ ILLUSTRATED SECTION ]

SCALE 1/8” = 1 FT

SECTION AA

SECTION BB

SECTION CC

SCALE 1/8” = 1 FT

[ FLOOR PLANS ] 2nd Floor 1. Artist Lounge 2. Public Circulation 3. Vestibule 1. Artist Lounge 4. Storage 2. Public Circulation 5. Machine Room 3. Vestibule 6. Breezeway 4. Storage 7. Control Room A 5. Machine Room 8. Studio A 6. Breezeway 9. Iso Booth 7. Control Room A 1. Lounge 10.Artist Green Room Access 8. Studio Circulation A 2. 11.Public Storage 9. Iso Booth 3. Vestibule 12. Egress 10. Green Room Access 4. Storage 13. Green Room Access 11. Storage Room 5. Machine 12. Egress 6. Breezeway 13. Green Room Room A Access 7. Control 8. Studio A 9. Iso Booth 10. Green Room Access 11. Storage 12. Egress 1. 13.Public GreenCirculation Room Access 2. Breezeway 3. Songwriting 1. Public Circulation 4. Publishing 2. Breezeway 5. Rehearsal Space 3. Songwriting 6. Vestibule 4. Publishing 7. Control Room B 5. Rehearsal Space 8. Studio B 6. Vestibule 9. Machine Room 7. ControlCirculation Room B 1. 10.Public Egress 8. B 2. Studio Breezeway 9. Room 3. Machine Songwriting 10. Egress 4. Publishing 5. Rehearsal Space 6. Vestibule 7. Control Room B 8. Studio B 9. Machine Room 10. Egress

13. 13. 13. 12. 12. 12.

2nd Floor

11. 11. 11.

9. 9. 9.

2nd Floor

6. 6. 6.

8. 8. 8.

10. 10. 10.

7. 7. 7.

2. 2. 2.

5. 5. 5.

3. 3. 3.

4. 4. 4. 1. 1. 1.

1st Floor

EXTERIOR PUBLIC CIRCULATION

1st Floor

10. 10. 10. 9. 9. 9.

7. . 7. 7. ..

5. 5. 5.

1st Floor

8. . 8. 8. .. 6. 6. 6.

3. 3. 3.

2. 2. 2.

4. 4. 4.

1. 1. 1.

Ground Floor Ground Floor

Ground Floor 1. Entrance

2. Bar Floor Ground 3. Coat Check 1. Entrance 4. Venue 2. Bar 5. Stage 3. Coat Check 6. Storage 4. Venue 7. Public Entrance 5. Stage 8. Stage Loading 6. Storage Ground Floor 9. Green Room 7. Public Entrance 1. 10.Entrance Private Entrance 8. Stage Loading 2. 11.Bar Employee Entrance 9. GreenCheck Room 3. 12.Coat Egress 10. Private Entrance 4. Venue 11. Employee Entrance 5. Stage 12. Egress 6. Storage 7. Public Entrance 8. Stage Loading 9. Green Room 10. Private Entrance 11. Employee Entrance 12. Egress

12. 12. 12.

Ground Floor

1. 1. 1.

2. 2. 2.

10. 10. 10.

4. 4. 4.

3. 3. 3.

5. 5. 5. 7. 7. 7.

8. 8. 8.

9. 9. 9. 6. 6. 6.

11. 11. 11.

SCALE 1/8” = 1 FT

SECTION DD SCALE 1/8” = 1 FT

[ ILLUSTRATED SECTION ]

Page left intentionally blank.

Final Physical Model Photograph

1/4’ = 1’0” Software: Rhino, Python, Grasshopper, Illustrator, Photoshop Hardware: CNC Mill, Laser Cutting, 3D Printing

EMBEDDED MEDICAL FURNITURE University of Miami Digital Design and Fabrication Studio · 2015 Dr. Juhong Park The goal of Dr. Juhong Park’s ‘Embedded Medical Furniture’ studio was to explore different digital fabrication techniques created from programming languages such as Python and Grasshopper. I had the fortunate experience to be the teaching assistent for this studio as well as be a student. I lectured on Grasshopper to the students on regular intervals. Nevertheless, as the majority of the studio chose to create furniture, I chose to design the clinic that would house this furniture. After exploring tactile design techniques such as fundamental additive shape grammar as well as constantly iterating through 3D printing, I realized my midterm and final projects through CNC milling. My final clinic consisted of four quadrants where each represented a quarter scale shipping container. As a result, my design called for over 130, three foot tall wooden ribs at a quarter inch thickness. My overall dimensions for the final model were 4’x10’x3’ tall.

[ PARAMETRIC MORPHOLOGY ]

Iteration C

Iteration B

Iteration A

Employing ideas borrowed from simple additive shape grammar and basic musical symmetries, I created twenty five iterations of since 8x20â&#x20AC;&#x2122; shipping container units. Next, I aggregated them by similarity and formed four quadrants that represented the final form. Throughout this process, 3d printing was vital in getting a realistic feel for what the spaces would feel like and I designed them accordingly.

[ DESIGN DEVELOPMENT ] a.

Iterations ‘B’ and ‘C’ Aggregated

The impetus of this clinic began by coding a parametric ‘space creating wall’. This wall enabled variable spaces to be realized through positive and negative extrusions based on height. Fig(a) shows the initial test model. Fig(b) shows 25 iterations of wall grammar within scaled container boundaries. Fig(c) shows additive shape grammar. Fig(d) shows combinations of iterations C and D from the previous page. Fig (e) shows a plan view of these aggregations while fig(f) displays the final aggregated plan of Iteration B. Finally, figures (g) and (h) show a quarter scale section of the wall pictured in fig(d-2) from Iteration ‘B’. g.

Iteration ‘B’ Realized

Physical Model of the quarter scaled section ‘aa’ Iteration B.

[ CLINIC ] Mobile Maternity Clinic

Embedded Technologies:

The mobile maternity clinic makes use of digital fabrication in an effort to bring exciting design to developing countries.

Embedded Technologies Utilized: 1. Humidity Sensor - This allows the comfort level of the container clinic to be properly analyzedand optimally updated. 2. Light Sensor - This detects the luminance of the rooms and collectvvvs data necessary to control the increase or decrease of lighting. 3. Tracking Sensor - This sensor detects the amount of patients that enter the clinic daily. It also detects if there are too may people in the waiting room.

The clinic is designed for the post-disaster zone of Haiti; however, it is adaptable to different locations. Nevertheless, it is comprised of four shipping containers and merged to form the pictured form. Using wooden strips to create a wall is useful in the small space as it creates positive and negative space thus allowing for the creation of space through the various protrusions of the wall. Furthermore, the use of smart technologies embedded within this clinic allows for the analysis of data so better forecasts on health care can be made in the future.

40’

Protrusion Heights <= 2.5 feet +Seating|-Storage

Waiting 16’

Diagnosis

Full Size Floor Plan - Iteration B Scale: 1/2”=1’0”

+Cabinet|-Shelf

Examination Reception

>= 2.5 feet

[ PHYSICAL MODEL ASSEMBLY ] Top Exploded Axonometric

Worm’s Eye Exploded Axonometric

2.5’

4’

10’

SCALE: 1" = 1'0"

Scale: 1/4”=1’0”

Scale: 3/8”=1’0”

1" = 1'0"

SCALE: 1/8" = 1'0"

Quadrant B Exterior View

Quadrant C Interior View

Quadrant C Exterior View

Quadrant C Interior View

Quadrant B + C Interior View

Exterior Aerial

Mars Habitat Challenge UCLA SUPRASTUDIO Âˇ Spring 2017 Guvenc Ozel Students: Erik Broberg, Yue Yang, Xicheng Ye, Nick Bruni

Our proposal focuses on a long-term Mars colonization mission focused primarily on utilizing the planetâ&#x20AC;&#x2122;s weather conditions to store and harvest both energy and construction materials. The missionâ&#x20AC;&#x2122;s primary goal is to survey advances in self-sustainable additive manufacturing techniques in an effort to reduce payload requirements for long-term habitation endeavors. Our manufacturing process consists of harnessing the common silica / basalt dust storms in an effort to melt the material into a translucent and air-tight biosphere. This melting condition will propagate over an autonomously actuated tensile mesh shell consisting of multi-directional modules / or panels, which will be activated depending on wind direction and subsequently deactivated once a density threshold is achieved. Furthermore, 3d printers (hanging from specific nodes within the biosphere) will print the interior form of the habitat with the same silica / basalt material into geometries catenary in nature.

Software: Maya, 3Ds Max, Rhino, Grasshopper, V-Ray, Illustrator, PSD, Unity3D, Oculus Rift, Microsoft Hololens

[ SITE + STORM SELECTION]

HELLAS PLANITIA. 18N, 77E

Phase 01: Orbital Landing Site Analysis Rocket remains in orbit, scanning the planet’s surface for active storms. Once, a suitable storm is discovered, it lands and executes Phase 2.

Compulsory Site Parameters: 1. Intense Storm Activity 2. Lithographic Diversity

3. Clear / Accessible Stratigraphic Context 4. Flat Topography

Site Selection for this project is based on storm activity and tracking. For example, the primary ‘mother’ spaceship will arrive in Mars’ orbit and scan the environment for a variable amount of time.

In Hellas Planitia dust storm events usually occur during the southern hemisphere summer, when the solar insolation is the most intense. The high temperatures cause atmospheric convection, and thus wind currents.

[ BIOSPHERE CREATION] Procedurally Heated Mesh Panels informed by Wind Directionality Wind Direction

Procedurally melted basalt / silica

[ LABORATORY SIMULATION ]

Initial result whereby sugar is melted onto an aluminum mesh

Subsequent result whereby sugar is further melted onto the aluminum mesh.

[ COMPONENT MOCKUP ]

Constructing the physical mockup was integral to understanding how our form could function. In order to allow the form to collect and hold the proper amount of filament, we realized through this experimentation that certain forms worked better than others.

[ BIOSPHERE MORPHOLOGY ] Aerial view of biosphere 80 percent completed. It will be vital for an air-tight shell to be achieved before the astronauts descend and occupy the biosphere.

As seen, the silica/basalt material will form on the biosphere in an organic and undulating manner with overlaps akin to the way lava flows. This was discovered through computational models based on metaball analysis.

The deployment sequence also serves as a log of time-based construction sequences. First, the pneumatic tent is deployed. Second, the tent is covered with melted silica/basalt. Third, the interior printiing procedure commences from the tension points defined by the shell. These tension points and chosen printing technique of a four-point haning printer infom the interior forms which are essentially an inverse of the shell and take the shape of catenary forms. These catenary forms are then built from the ground up and, (due to the nature of the printer), become less detailed the higher the printer gets.

[ INTERIOR 3D PRINTING PROCEDURE ]

Pinned 3D Printer End Effector The 3D printing process will occur inside and after the construction of an air-tight biosphere. The printer will also be using silica collected from the storms and will be pinned to tension points of the tent on four points. The constraint of the printer in the fashion will inform the movement and thus the forms that the printer is able to construct. As such, the printer will only be able to print from the bottom up and create parabolic/catenary forms. These forms will naturally be created with higher detail closer to the ground and display a rouger finish as the printerâ&#x20AC;&#x2122;s movement and accuracy is less organized the higher it prints. Furthermore, these parabolic/caternary forms will create an analogy between the interior and exterior forms.

[ PHYSICAL FIRST [ SECTION [ FLOOR PLAN MOCKUP] - ]AA] PLAN]

The first floor plan shows how the primary forms host the various functions. Utilizing the initial cargo ship as a location of mechanical utilities, the rest of the program branches out from here. For example, the bedrooms are clustered together and flank the central pathway on the right and left. The rear, large shape houses the laboratory and other science-related functions. Finally, the open area surrounding these forms is open to plants which help create breathable air as well as food for the inhabitants.

[ SECTION - AA]

[ PHYSICAL [ SECTION MOCKUP] - BB] BB ] After experimenting to create the mockup and creating gravity simulations to define the formal language in Maya, it was time to construct the physical model. This turned out to be challenging at first due to the fact that we wanted to display the level of detail that the shell would have devoid of its ‘melted sand’ and in its pneumatic form. In order to achieve this, we CNC’d the negative form of the biosphere from regular styrofoam and expoxied fabric to the shape. after it dried, we dissolved the styrofoam with acetone leaving a the shell in its natural pneumatic form.

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Bio-Dynamic Island UCLA SUPRASTUDIO Âˇ SUMMER 2016 Thom Mayne, Julia Koerner Students: Erik Broberg, Svetlana Kizikova, Xicheng Ye, Xue Xing

Hainan is a coastal city in China where an artificial island has been constructed. The purpose of this island is to foster eco-tourism with housing, a cruise ship port, hotels, resorts, and theme parks. At 250 hectares in size, our team proposed an differentiated, bio-dynamic computational urbanism approach. This approach consists of combining the aggratory nature of coral with the viscous and systemic nature of a seaweed system. What we found surprising, was the interstitial moments when the two systems yielded unexpected design opportunities. Inherently, the flowing nature of a seaweed system lent itself toward circulation, while aggregation represented housing utilities. Nonetheless, different programmatic functions were able to be achieved from a combination of these systems.

Software: Maya, Rhino, Grasshopper, V-Ray, Illustrator, PSD, Unity3D, Oculus Rift

[ PROJECT [ PHYSICAL [LOCATION SECTION MOCKUP] - +BB] BBPRECEDENT] ] Site Plan

1. Input System Analysis

Systems Study A

System A in this consists of polyp aggregation commonly found in coral and mimicked with diffusion limited aggregation algorithms.

System B consists of seagrass which utilizes a twofold paradigm. It consists of rigid structure shrouded in a bouyant grass which allows it to float atop the water.

It was our goal to unite the two growtyh systems, aggregation and a floating grass (which employs a spreading type of growth), into a unified system. Once we began amalgamating the two systems, we began to investigate the interstitial points that created unexpected results.

[ MORPHOLOGY PROCESS ] 1. Aggregation Simulation

ies

Diffusion Limited Aggregation is a form of aggregation commonly utilized in computational systems to mimic natural systems such as coral and mineral deposits. We utilized the random walk nature of the algorithm to create clustering in and branching to create clusters of housing as well as circulation for the island.

reg

ato r

orp

log

1. Systems Integration Process

1. Polyp Aggregation

2. Viscous DLA Structural Wrapping

3. DLA Morphological Rationalization

4. Polyp + Viscous Integration

1. Viscous Seaweed

[ INTEGRATION [ PHYSICAL [ SECTION MOCKUP] -STUDIES BB] BB ] ]

[ INFRASTRUCTURE ]

[ PHYSICAL [ [SECTION PROGRAM MOCKUP] - BB] BB] ]

[ XTRA ]

[ HOW TO DOMESTICATE A MOUNTAIN? ] CCA · ARC 333

ADVANCED EXPERIMENTAL STUDIO SUMMER 2015 ANNA NEIMARK, ANDREW ATWOOD, BRIAN PRICE

Worm’s Eye Axonometric Scale 1/8” = 1’0”

Anna Neimark, Andrew Atwood, and Brian Price (all from GSD) taught an experiemental studio over Summer 2015 at the California College of the Arts. I had the opportunity to take this studio as a caviat to my studies abroad at CCA. The impetus of this studio was to ‘build a mountain house’; however, their notion of a mountain was far different than I had imagined. For instance, the studio had many rules which I find refreshing. As far as process and pedagogy, we were each assigned a Mondrian Lozenge painting and an epic mountain range. I was given ‘Lozenge with 2 lines’ and the Manaslu mountain range. We were next required to subdivide the mountain with the regulating lines creating from the painting. Finally, we could only display our ideas and designs with 45 degree axonometric projections and use materials one could buy from Home Depot.

‘Lozenge Composition with Two Lines’ Piet Mondrian 1931

Manaslu Mountain Range, Nepalese Himalayas

‘Lozenge with Two Lines’ adds regulating lines to the mountain.

[ FORM DEVELOPMENT ] a.

[ POTENTIAL ITERATIONS ]

Iteration B Floor Plan

Iteration A Southwest Elevation Oblique

Iteration B Worm’s Eye Framing Axonometric

Iteration A Top View Framing Axonometric

Scale 1/8” = 1’0”

[ HOW TO DOMESTICATE A MOUNTAIN? ] The intersection between the Mondrian’s ‘Lozenge with two Lines’ subdivides the Manaslu peak into four segments. (This condition can be seen in (h) of the ‘form process’. Neverthless, the peripheral shapes were discarded leaving only the primary volume. According to the iterated drawings to the left and below, the stalactite volume can be conceived either as a space with solid walls, curtain walls, or simply as a pavilion. The purpose of this studio was not to reconcile these various conditions; but, rather to explore the process of creating regulated shapes out of chaotic ones. The sequential drawings were constantly iterated which ended up driving the design process. In conclusion, we simply learned that form cannot be justified unless there is a point of reference. In this instance, the point of reference is the regulating lines of Piet Mondrian’s painting.

Iteration B Physical Model On Site Hardware: 3D Printing Software: Rhino, Illustrator, Photoshop

Northeast Aviary

University of Miami · Summer 2015 - Summer 2017 Professors David Trautman and Armando Monterro Tucked away in the Smokey Mountains of North Carolina, the Northwest Aviary provides a multi purpose program consisting of a winery, aviary, as well as a visitor center. This variety of functions offered, allows the facility to construct a complex and multi-faceted visitor experience. While a primary purpose of the Northwest Aviary and Winery is to create a symbiotic and mindfull escape from modern life, it strives to give back to nature by aiding the preservation of earth’s bee population. A natural by-product of a visitor’s experience is to become directly or, rather indirectly, educated on this growing crisis.

Software: REVIT, 3Ds Max, Rhino, Grasshopper, V-Ray, Maya, Illustrator, PSD

[ DRAWINGS ] 2nd Floor Plan N.T.S.

W/C 56 SF

Tasďż˝ng Room/Bar/Entertaining 2026 SF Elevator 68 SF

Kitchen/Prep 184 SF

D-1 : HVAC Detail

East Elevation N.T.S.

The Northwest Aviary and Winery gave me the opportunity to explore the integration of electrical, plumbing and HVAC systems into the architectural design. While the design is rather unconventional, there were many difficult problems to solve. Fortunately, Revit helped immensely with this process and automated many difficult calculations as well as tasks.

[ SYSTEMS DIAGRAM ] Structural Curtain Wall Stystem Structural Steel Tubing 6"x8" Return HVAC Supply HVAC Structural How Truss

Load Bearing CMU Walls 12"x26" W Flange

Flex Duct Structural Curtain System

HVAC Axonometric Integration N.T.S.

[ LEVEL 2 MODULE DETAILS ] Level 2 Module A Construction Details

Bent Steel Beam Veneer Paneling Structural Insulated Panel 8"x16" Duct 1

Veneer Paneling

Structural Insulated Panel

Hung Ceiling Cavity

366'-9 5/8"

Footing Wall to Floor Connection N.T.S.

12" Concrete Slab 204'-11 25/32"

Ground - C 39' - 6 7/32"

Ground - B 37' - 0 7/32"

498'-11 25/32"

2 S - 01

Module roof Construction Details

Rebar 1 - 180 Concrete Foo�ng TOF 1 31' - 0 7/32"

Module roof Construction Details 2nd Floor 59' - 7 11/32"

Gypsum Wall Board

Rigid Insulation 3/8"

61'-9 7/8"

Insula�on

6'-0"

CMUs

Laminated Veneer Lumber 48'-0"

Stone, rough tan Gypsum Board 3/4"

54'-0 3/32"

Typical Wall Detail

Ground - A 34' - 6 7/32"

Structural steel 50ksi 8'-0 3/32"

6"x8" Tubing White Exterior

8'-0"

White Plaster Exterior 1/2"

S - 01

PROJECT SUNSCREEN [ 3D Structural Details ] ]

Pictured here is the â&#x20AC;&#x2DC;Generative Sunscreen I designed for Dr. Juhong Parkâ&#x20AC;&#x2122;s Lighting course. Part of the requirement was study the shading patterns and input them into a studio project (pictured above). I iterated the project one step further to create the variations pictured to the right.

[ ADDTIONAL DETAILING ]

SOFT ROBOTICS

UCLA SUPRASTUDIO Âˇ Winter 2016 Benjamin Ennemoser Âˇ Mertcan Buyuksandalyaci Students: Erik Broberg, Nick Bruni, Tyson Philips, Dave

The primary purpose of this soft robotics seminar was not merely to understand the trajectory that the burgeoning field is following; but, to advance design thinking in the field. As a result of this intervention it might be possible that technical robotic development could be accessible and understood by designers secular from the engineering paradigm. Furthermore, utilizing 3d printing and robotic arms research was also done in the direction of prosthetics for ergonomic as well as aesthetic purposes. Incidentally, it was required that each team not only create an end effector robot for the Kuka arm; but, also to design a prosthetic appendage to create a holistic design element to the end product.

[ COMPUTER VISION ] Electronic Componentry Electronic Armature Distance Sensor Color Tracking Camera

Tubing Tube Armature Soft Robot

Actuation of the Soft-Robotic Grabber is undertaken by a two part sensor computer vision solution. First, we utilized a color tracking camera called the Pixy (attached to the robot arm which oriented itself towards the ball. Second, after the orientation was completed, the IR sensor mounted to the top of the Pixy measures the distance of the sensor to the target object. If the distance is less than the threshold, then the grabbing coroutine would commence. 61

[ PROCESS VISUALIZATION ]

[ SOFT ROBOTIC MOLD DESIGN ] These technical drawings depict the locations of the airshafts within the mold and subsequently the silicon robot model. In this iteration, it was necessary to use four discrete air passages to control different movements of the robot when necessary.

[ ELECTRICAL SYSTEMS DESIGN ]

[ COMPONENT ARRANGEMENT + ARMATURE ]

As previously stated, creating an armature for our electrical componetry was a primary goal of the studio. In this instance, we looked to nature towards the Radiolaria animal for inspiration. Utilizing 3d printing and robotic arms research was also done in the direction of prosthetics for ergonomic as well as aesthetic purposes. Incidentally, it was required that each team not only create an end effector robot for the Kuka arm; but, also to design a prosthetic appendage to create a holistic design element to the end product.

[ SELECTED IMAGES ]

In images (A-C), the prosthetic is shown in different angles whereby it conceals the arduino circuitry beneath.

Pictured above, is the mold used to form the soft robot end effector. The symmetry of this mold was carfully designed along with the valleys to maximize the amount of air flow necessary to manipulate the appendages into a grabbing behavior.

Adjacencies in Motion UCLA SUPRASTUDIO Âˇ Fall 2017 Professor Guvenc Ozel Students: Erik Broberg, Sana Nakizi

The objective is to create a series of supple, self-indulgent objects that have highly calibrated sets of configurations. As these objects traverse specific motion paths, they physically fit together according to the trajectory of each specific motion path.

NOTE: this project is still under documentation.

[ MOTION-BASED ADJACENCY METHODOLOGY ] OBJECT A END POINT MOTION PATH

START POINT CREATING A MOTION PATH

OBJECT B

INTERSECTION OF OBJECT B

ANIMATING SNAPSHOT ALONG A MOTION PATH

BOOLEAN OPERATION

FINAL GENERATED FORM (WITHOUT BOOLEANS)

FINAL GENERATED FORM

The diagram above illustrates how object A and object B follow a symbiotic adjecency path. Both objects begin as similarly sized; however, as object A follows a specific motion path, it becomes carved by object B. As a result, object B becomes the inverse, while object A remain the extrovert. As a result, if the motion path is followed, transformable adjacncies will be realized. 71

[ BUILT WORKS ] [ PROFESSIONAL WORKS ]

JLA SKYLIGHT AUTOMATION Contracted by John Lum Architecture · Summer 2015 Project Manager: Bret Walters Described in this section are my publicly and semi-publicly constructed designs. Fortunately, I was hired by John Lum Architecture in San Francisco to do everything that required designing with coding. I completed three projects for them, the left pictured ‘Skylight Automation’, an intercom, as well as a ‘parametric planter’ built on the streets of the Mission District in San Francisco. This work was integral to my understanding and appreciation of Digital Fabrication on different materials such as steel. Up until this point I had only worked with wood, plaster and plastic. It was extremely interesting to work hand in hand with a metal shop creating shop drawings in order to have my coded designs physically realized. At the end of the day, what is the point of computation unless it is built? Once built and functional, there will always be a reference point.

[ SKYLIGHT AUTOMATION OVERVIEW ] PROFESSIONAL Forward Vertical Construct Top Mechanism Rear Gear System

While interning at John Lum Architecture in San Francisco, I was tasked with every job that required computation. Although this specific job was more engineering-based, I was requested to design and produce construction documentation for a Leonard DaVinci-esque yet Steampunk mechanism to automate their skylight cranking system. After weeks of design, measuring, and creating shop drawings, I delivered the design to the principle Architect before I departed to take a summer studio at CCA.

Design: Erik Sven Broberg Engineering: Christopher Umstead Construction: Mark Nicholson Software: Rhino, Grasshopper, Illustrator

Bottom Mechanism

1 A3.0

PERSPECTIVE Scale: N.T.S.

Initial State

26.75

35.26

3 A.4.0

198.08

1 A.4.0

22.13

Initial State

2 A.4.0

4 A.4.0

Detailed Wall Elevation E-2 A.2.0

ELEVATION Scale: N.T.S.

Fabricated Component Details (B)

1 A5.5

Ø .375" Retaining Ring

Ø 3/8" Lag Screw 3 A5.3

Ø .375" ID Retaining Ring Ø .375" Sleeve Bearing

2 A5.3

Ø 3/8" Steel Shaft

3 A5.3

Skylight

Shaft Retaining Component (B)

Existing Skylight Shaft

3 A.2

TOP EXPLODED ISOMETRIC

Scale: N.T.S.

Steel Retaining Wall Mount (A)

TOP VERTICAL MECHANISM

Scale: N.T.S.

john lum 3246 17th st san Francisco , ca 94110

.375 Shaft

Ø .375 S te e l Shaft

Ø .5" Steel Shaft

3 A5.3

Steel Flange

4 A5.4

Ø 10" Sprocket Ø .5" Steel Tube

Ø .5" Sleeve Bearing Ø Steel Tubing

1 A-5.2

Existing Joist

1 A5.1

Steel Flange

Shaft Couplings

1 A5.1

.375" + .25" ID Combination with Spider in between

3 A5.3

Ø 3/8" Lag Screw

Variable Wood Block

**Part Not Yet Fabricated** Will need to measure the distance the joist is offset from the existing skylight rod.

Existing Joist

Arbitrary Steeling Wheel < 22" OD Ø 1" Steel Tubing

10" Sprocket

Controls whether bearing is on same plane as existing skylight shaft.

3/8" Steel Shaft Flange Control Joist varies between 1 and 5" at each desk.

Ø .5" R e ta in i ng Ring

Ø .5" Retaining Ring

Variable Acrylic Block

1 A-5.2

5" Variability Per Location

1 A5.5

Ø 3/8" Lag Bolt

Forged Clevis Rod End

Wall Mounted Ball Bearing

client :

1 A.1

3 A5.4

3246 17TH STREET SAN FRANCISCO , CA 94110 BLOCK 3570 - LOT 015

Ø 10" Sprocket

JLA TEMPLATE

Ø 6" Sprocket

Existing Skylight Shaft

Ø 3/8" - 16 Forged Clevis End Rod

2 A5.4

CO N NO

1 A5.3

CO NS NO TR T F UC O TIO R N

Ø .375" Retaining Ring

Ø .875 Steel Tube

3246 17TH STREET SAN FRANCISCO , CA 94110 BLOCK 3570 - LOT 015

Ø Steel Shaft

JLA TEMPLATE

Steel Retaining Wall Mount (B)

JOHN LUM ARCHITECTURE INC . 3246 SEVENTEENTH STREET SAN FRANCISCO TEL 415 558 9550 FAX 415 558 0554

, CA 94110

Fabricated Component Details (A)

2 A5.3

REDUCED

3 A5.4

SET SCALE = 50%

date :

issues/ revisions :

by :

11.13 .14

schematic design

Ø Steel Retaining Component (A)

2 A5.3

Welded 4" Sprocket

REDUCED

RA-302-1 MINI ANGLE DRIVE BOX 4 A5.4

Variable Acrylic Block

2 A5.3

Ø .375" Steel Shaft

date :

issues

11.13 .14

schem

4 A5.4

**Part Not Yet Fabricated**

ANSI 40 Chain

1 A5.5

Arbitrary Wheel < 22" OD Ø .5" Retaining Ring

2 A.1

BOTTOM EXPLODED ISOMETRIC

Scale: N.T.S.

2 A.1 project name : 4 A.2

F O R W A R D V E R T IC A L C O N S T R U C T S E C T IO N Scale: N.T.S.

JLA SKYLIGHT AUTOMATION

E-2 A.1

F ORWARD VERTICAL CONSTRUCT ELEVATION Scale: N.T.S

project name :

BOTTOM VERTICAL MECHANISM

Scale: N.T.S.

TITLE

A.4.0

Detailed Wall Elevation N.T.S.

Final Construction image of bottom wheel and subsequent gear mechanism. The bottom gear in this case controls both skylights as is illustrated in detail (1 - A.1).

Final Construction of Forward Vertical Construct (2 - A.1) connecting to the existing skylight handle above.

Final Construction of the entire mechanism. Both Forward Vertical Constructs can be seen as they connect to the controlling rear sprockets which, in turn, connect to the top center gear mechanism.

PROFESSIONAL

Hand Crank Exploded Axonometric N.T.S.

[ INTERCOM ] PROFESSIONAL The Second Project consisted of designing a simple intercom system out of 1/8” steel. I created the design on Grasshopper and sent it to get waterjet. Finally, I wired a new button to complete the job.

2 3/32

7 5/8

1 21/32

4 5/8

1 1/2

9/32

10 7/32

1 1/2

1 9/32

2 7/16

2 1/4

Ø 5/8"

11/16

Ø 7/32"

Primary Design: Erik Sven Broberg Project Manager: Bret Walters Contractor: Standard Metal Products Software: Rhino, Grasshopper, Illustrator

Primary Installation

Current State (4 Months Later)

[ MISSION DISTRICT PLANTER ] PROFESSIONAL The third project consisted of designing a Planter Box for the exterior of the architecture firm. Once more, I created a design using Grasshopper’s useful mesh tools. Unfortunately, I did not see my design realized as I had already left to begin my final semester. Nevertheless, the design was finally built allowing me to have a lasting design built in the Mission District of San Francisco.

Design Development

Pictured left is the simple code used to create the pattern. Below is the final construct on the streets of the Mission district.

Street View a. Mission District, San Francisco

Primary Design: Erik Sven Broberg Second Design: Alina Chen Project Manager: Bret Walters Contractor: Standard Metal Products

PROFESSIONAL

My goal in the design was to create perforation in an interesting way so that the name of the firm, ‘Lum’, would be legible only under certain lighting conditions. I wished to move away from traditional attractor + image sampler combination, so I research and utilized a ‘tri-grid recursive subdivision by brightness values’ definition titled and credited to Hyngsoo Kim.

Street View b. Mission District, San Francisco

[ COMPUTATIONAL ART ] Iteration A

Kinematic Code CCA. Professor Andrew Kudless Software: Rhino, Grasshopper, Illustrator Hardware: Vinyl Cutter with Sharpie Credit: Erik Broberg + Hyungsoo Kim

Process Pseudo-Code

Iteration B

[ LINEAR POTENTIOMETER GUITAR ]

[ OBJECT VARIED ]

Page left intentionally blank.

[ VISUALIZATIONS 01 ] A.

[ INTERIOR SELECTIONS ] C.

[ SCIENCE FICTION ] E.

A. Exterior Render ‘Emerge Innovation Center’. Design: Erik Broberg + Luiza Leite. Rendered using Rhino, V-Ray, PSD. B. ‘Nordic Church’. Design: Flying Architecture. Rendered using Rhino, V-Ray, PSD C - D. ‘Pininfarina Interior’. Design Pininfarina + Los Chulos (Erik Broberg involvement). Rendered using Rhino, V-Ray, PSD. E. Aerial ‘Mars Habitat Challenge’. Design: Los Marcianos. Rendered Using: 3ds Max, V-Ray, PSD F. ‘Mars Cargo Rocket’. Design: Erik Broberg. Rendered using Maya, Mental Ray, PSD. H. ‘Additive Habitat’. Design: A.N.Z.E. (Nazlie Tatar) Rendered using 3Ds Max, V-Ray, PSD D. ‘The Apiary’. Design: Erik Broberg. Rendered using 3Ds Max, V-Ray, PSD. J. Night Render of ‘Fairchild Studios’. Design: Erik Broberg. Rendered using Rhino, V-Ray, PSD.

[ EXTERIOR SELECTIONS ] I.

[ VISUALIZATIONS VARIED ] A.

A. Gallery Render, 3ds MAX, V-Ray, PSD. B. Shed Render. 3ds MAX, V-Ray, PSD. C. Fairchild Studios. Rendered using RHINO, V-Ray, PSD. Design: Rhino, Grasshopper, 3DS MAX. D. Nordic Church Exercise. V-Ray, Rhino, PSD. E. Office GA. 3DS MAX, VRay, Rhino, PSD. F. Academic Project. Modeled with Rhino. Rendered with Keyshot

[ VISUALIZATIONS VARIED ] D.

[ CV ] education graduate:

UCLA SUPRASTUDIO

SUMMER 2016 - SPRING 2017

Cross Disciplinary Design Technology Research: 3.946 GPA

California College of the Arts (CCA)

Spring 2015 - Summer 2015

Spring 2015 Study Abroad

University of Miami Âˇ M.Arch I

Fall 2013 - Spring 2016

Masterâ&#x20AC;&#x2122;s of Architecture I: 3.79 GPA

UCLA

Summer 2013

Jumpstart Summer Studio

undergraduate:

Rollins College

Fall 2001 - Spring 2002

Spring 2015 Study Abroad

Berklee College of Music

Summer 2001

Summer Studio

University of Miami

Fall 2003 - Spring 2006

Major: History Minor: Music Business, Jazz Guitar Performance

skills

3D:

MAYA (modeling, texuring, animation), 3DsMAX (modeling, texturing, rendering), Grasshopper, Rhinoceros, Revit, Dynamo, ZBrush (texturing, polypaint, texture/normal mapping), Unity 5.0, VRay (3dsMax, Rhino), Keyshot, 3d Slicing Softwares, CNC Milling Software, NetFabb

2D:

After Effects, Illustrator, Photoshop, InDesign, Autocad

VR/AR:

Oculus Rift Devlopment, Unity3D, HTC Vive Development, Vuforia Augmented Reality, Basic Microsoft Hololens App Deployment

coding:

Intermediate/Basic: Python, C#, Java, Processing, Arduino

physical:

CNC Milling , 3D printing, Kuka Robotics, Laser Cutting, Woodshop expertise, knowledge of fiberglass casting, Watercolor, Plaster and Cement Mixing, Soldering, Arduino wiring, Guitar Contruction

audio:

Pro Tools, Ableton Live, Producing, Song Arrangement, Song Composition, Tour Managing, Music Contracts, Programming Midi Audio Sequencers, Writing MIDI code, Optimizing Digital and Analog Studio + Stage Components

[ CV ] experience: professional:

Brillhart Architecture Miami, FL

Winter 2013 Spring 2014

Employed initially to model in Rhino3D a parametric chair designed by the architect. Second employment was to assist in the design of a published work of his pertaining to the construction details of his house.

John Lum Architecture

Summer 2015

San Francisco, CA Initially hired to code an architectural project with visual programming. The project consisted of creating incremental undulating sound panels for a mobile yoga trailer. After the design of this, I was given every project that required digital computation skills.

Office GA

July 2017 - PRESENT Miami, FL Office GA specializes is a cross-disciplinary design build firm that specializes in large-scale sculpture design and construction, architecture, gallery installations, gallery design, furniture design, as well as architecture. I was hired due to help the growth of the business by offering a wide array of design, computation, and software skills to accommodate an eclectic scope of daily work.

teaching:

During my M.Arch I, I completed four semesters as teaching assistant for MIT PhD, Dr. Juhong Park. Under his direction I lecture and teach both Grasshopper and Rhino to students.

audio production:

Produced and partially mixed and mastered the rock group ‘Ghost Lion’ in 2013. They have achieved mechanical syncs on major television shows, toured and played festival shows.

awards

CUCD Haiti Charette Involvement

Summer 2013

Dean’s List

All Semesters

Studio Exhibition Project Selection

Winter 2017

Tech Seminar Exhibition Project Selection

Winter 2017

UCLA Currents: Winter 2017 Project Selection

Winter 2017

[ CV ]

references:

Dr. Juhong Park - Ph.D.

Assistant Professor University of Miami Director of Design Machine Learning Lab Coordinator of MS.Arch in Compuational and Embedded Technology Ph.D Recipient from MIT in Computational Design

j.park2@miami.edu (305) 284-5087 Guvenc Ozel Lead Lecturer SUPRASTUDIO University of Los Angeles California

guvenc.ozel@aud.ucla.edu Benjamin Ennemoser

Lecturer University of Los Angeles California

bennenn@ucla.edu Steven Lee

Lecturer University of Los Angeles California stevelee1@g.ucla.edu

Professor Eric Firley

Assistant Professor University of Miami Co-Author : Wileyâ&#x20AC;&#x2122;s Urban Handbook Series

efirley@miami.edu (305) 284-5134