PORTFOLIO Tim Fabian Puller
PROJECTS
SECOND ACT Master thesis
ADAPT PAVILION (BUILT) CHART Art Fair
CLIMBING CANYON 4th year design project
SICHTBAR UNSICHTBAR Bachelor thesis
MIGRATION CENTER 3rd year design project
LIVING ARCHIVE (BUILT) 3rd year design project
MIRROR ARCHIVE 3rd year design project
KINDERGARTEN 3rd year structural design project
W
W
COLLECTION OF MODELS 1st to 3rd year models built
SECOND ACT Master Thesis Individual Work
Grounded on previous investigations of flexibility through kinetics, this thesis features the design of a speculative playhouse situated in two 19th century brick gas holders formerly utilized by Wola Gasworks in Warsaw. The proposal is split into front of house with additional serving functions and the heart of the theatre - the stage and auditorium - to fit into and wrap around the two Varsovian towers.
Thus, the proposal is making economic use of the existing buildings and starts a dialogue between present and past architecture. By creating only inevitable changes to the existing structures, the design safeguards the local heritage while at the same time reducing the release of waste through demolition works. More precisely, the interior of the first, smaller gas holder is being used
as the public foyer with all theatre related public and non-public functions located in a the tower surrounding belt. Being placed in the other, higher one of both gas holders, a large-scale kinetic apparatus enables the theatre to generate a myriad of different visitor experiences ranging from a more familiar stage/auditorium ensemble to far more experimental setups.
Kinetic Concept: Movement of stages/elements on skin surrounding centered lifting/rotating auditorium
Image Top: Image Right: Image Bottom Right:
Aerial view of the Wola Campus showing the two gas holders in the back Foyer and main circulation space with access to all public functions Gallery in FOH tower overlooking access to auditorium and revealing bits of the other tower
Front of House and Facilities
Kinetic Theatre Apparatus
Spatial concept: Wrapping + Filling
PERFORATED METAL FACADE
FRONT OF HOUSE TOWER
Two methods were used to render information of space related requirements on data maps which then served for folding (A) (defining viewing angles/privacy) and perforation (B) (limiting transparency) patterns for the FOH tower's facade. These were combined with ornaments resembling mechanics of the kinetic tower to give the facade a unique identity. Alltogether this new skin reveals parts of the old building, highlights extrovert and protects introvert areas.
Behind the metal facade the first of the two gas holders hosts the front of house and other for the theatre required facilities. While non-public functions are revolving around the existing structure on the upper floors, relevant public functions are mostly situated in the ground floor. There, the courtyard serves as circulation area (arrows below) and main access to box office, exhibition spaces, wardrobes, bar, and public bathrooms.
A1
B1
A2
B2
A3
B3
A4
B4
A5
B5
Folding
Ornaments + Perforations
KINETIC TOWER
Drawing inspiration from the old pressure regulating mechanism of the gas holder, kinetic utopic designs facilitating flexibile uses and roller coaster carriages, a complex kinetic apparatus is placed into the existing structure. The mechanism allows for the movement of stages and elements along a rail system using modular rail wagons. Furthermore, the two part auditorium is centered on a scissor lift with rotation platform allowing it to move vertically and orient itself to active stages.
Top center and right: motorized rail wagon with worm gears, inspired by roller coaster carriage (wheels and gear system) Left: stage element mounted on several rail wagons and moving on rail system Below: axonometric view and breakup of the kinetic apparatus Bottom left: auditorium and a scissor lift allowing for its movement
THEATRICAL JOURNEY
Throughout the play the auditorium keeps moving from one stage to another – sometimes only with minimal pace – to follow the actors like a camera while they explore something on stage. In some measure the auditorium becomes the center of the play, guiding the audience through the performance and introducing an architectural sequence.
LOOSING CONTACT
Loosing Contact implies performances that make use of the enormous vertical and horizontal space available. During the performance actors and stage elements are being moved on the giant grid system and may only rarely touch the ground. Here, the audience is standing on the rather informal auditorium (top) and is animated to walk around throughout the play.
TENSILE PERFORMANCE
The Tensile Performance describes plays using suspended textiles or nets as stage replacements. Here, the audience is placed on a platform on the outer ring. The tensile stages are suspended from at least three movable stage wagons each and their dimension, amount of tension and orientation can be adapted continuously.
ADAPT PAVILION
for CHART ART FAIR 2017 Teamwork (with H. Clover, J. Cripps and S. Gatz)
ADAPT is a pavilion built for the 2017 Chart Art Fair in Copenhagen which opens itself as the day warms and closes itself as the day cools without the need for external sources of energy, like a plant. It promotes a new form of nastic architecture that regulates itself independently and adapts spatially as a result of its material composition. Specifically, the paraffin wax inside ADAPT’s 48 pistons converts thermal energy into hydraulic pressure. As a result, the pavilion opens or retracts, changes form, function and regulatory state without the need to be connected to energy grids.
ADAPT MOVEMENT TIMELAPSE
View from the Entrance of Charlottenburg
First floor sitting area with courtyard view
The pavilion has a bar on the ground floor while the two additional storeys provide increasingly intimate spaces for people to relax and socialize. These spaces are in plainMATERIALS sight of the courtyard in the RECYCLED warmest part of the day, drawing people Ghost nets and marine waste towards them. then Up to 12.7 million tonnes ofThey plastic waste finds become its way into themore ocean every year - killing marine life and threatening precious ecosystems. Some of the most dangerous waste is “ghost” nets - lost sheltered and intimate asabove, thewe awnings fishing gear. In order to draw attention to the wanted to engage with this problematic ghost nets and other waste plastics - as a potential canopy and construction material. close in the evening. As the event centered around susOur link to KIMO KIMO Dk also works alongside the Danish comKIMO coordinates awe project called ‘Fishing tainability, wanted tofordraw Kimo attention pany Plastix that recently recycled 50 tonnes Litter’ - an initiative that aims to reduce maof nets from Scottish waters. We have conrineghost litter by involving of the stake-most dangerous to nets,one one ofkeythe tacted Kimo and they are prepared to help holders, the fishing industry. KIMO provides marine wastes precious provide raw ghost nets of different types fishing boats with large bags tothreatening collect mato promote the pathfinding work they are rine rubbish. When the fishing boats come ecosystems. Collaborating with doingPlastix in drawing attention to the prevailing into port, they can unload these bags of problem of marine litter in the North and waste material. These bags are then regularly DK, the team nets to reuse them collected and the plastic chose waste is recycled. Baltic Seas. Initial concept sketches as canopy and construction material.
Top floor hammocks
Sun simulation and wax piston movement
Recycled Nylon Water proof once coated
Shrimp Net Thin weave, permiable
Areas that Kimo and accociates extract ghost nets from
Recycled Nylon
Herring Net 4cm x 4cm weave
Retired nets or ghost nets recycled Gradient
The ADAPT pavilion was constructed using a piston containing 10 waxes melting between 16-24 °C at intervals of 1 degree, causing a gradual opening perfect for the September climate in Copenhagen. The team developed a flexible joint that was later manufactured out of CNC cut aluminium and steel. The joint allowed the mounting of afore-mentioned pistons on the temporary scaffold structure and these opened and closed three awnings as the temperature changed during the day. Top left: Detail of the three different joint lenghts mounting a bamboo stick which will be connected to the nets. Bottom left: Section showing bar, first floor with custom made chairs and hammock in the top space Top right: The pavilion at a sunny day with opened awnings. Bottom right: Retracted canopy in the late evening resulting in an intimate space.
CLIMBING CANYON 4th year design project Individual work
Located in an old industrial warehouse, the design speculates with the use of pneumatic adaptable climbing walls embedded in an atmospheric canyon-like extention to Blocs & Walls, a climbing center situated in Refshaleøen. The architectural macro design is based on the generation of organic shapes derived from environment and structure related data maps. In a smaller scale, the afore-mentioned kinetic flexible walls mutate from day to day in a myriad of different morphologies to supply an ever-changing experience for climbing affine Copenhageners.
1
2
3
Inflation to achieve hard, tensioned surface
Tension Wires forces wall into desired position
Before thinking of an architectural proposal, first investigations were based on the question of how the shape of a high-pressure inflated structure can be steered. A kangaroo simulation of the flexible, inflated membrane focussed on three key aspects for form giving: 1. the inflation of the membrane itself, fixed to a rigid back wall, 2. tension wires constraining the expansion of specific points of the skin to a certain length, therefore, creating a desired morphology, and 3. nitinol springs, shape memory interconnections between the nodes to minimize upcoming buldges.
Nitinol springs minimizing buldges
To translate a desired form into specific values for inflation, wires and springs, a monochrome bitmap served as an initial indication of depths at specific points (bottom). Throughout the process, initial maps and inflated structures were compared and the script optimized.
4
5
three test walls with constraint movement
Analysis of mesh length changes pre/after inflation
Computational process: 1. map input 2. initial surface deformation 3. defining mesh & line lengths 4. creation of a new cubic mesh with identical verticy structure 5. inflation of mesh with underlying parameters
DATA-INFORMED MACRO DESIGN
Monochrome data maps informed by buildings structure, openings, dimensions, paths, top-down tower placements and sun radiation.
A point cloud grid for every map is created, where the colour values result in either deleting or adding of nearby points.
The previously generated cloud is meshed with Cocoon. Then the intersection of the newly created mesh and the warehouse is calculated.
Axonometry with highlighted pneumatic patches: The pneumatic wall patches incorporated in the climbing wall can be inflated and tensioned differently
Horizontal Section (7m): Ground Floor + Gallery
Horizontal Section (15m): Upper Climbing Walls
Horizontal Section (23m): Tower with view points
Winding through the building, the gallery guides the visitors from more open spaces into more intimate ones. It also serves as a linear and rational contrast to the organic structures now put into the old building. The inflated mechanism is introduced in form of patches (center of previous page and rendering left) and a simulation wall, separated from the main hall (rendering below).
Simulation wall: The room inhibiting an additional simulation wall serves for training scenarios of real-world hill climbing situations. With a 3D scan of specific tracks available, the high resolution pneumatic wall is set up (defined distances of tension wires and nitinol springs) and inflated.
SICHTBAR UNSICHTBAR Bachelor thesis Individual work
My bachelor thesis explores the theoretical approach of visualizing fourth dimension by the means of photography and focuses on photography’s special relationship to the parameters of space and time. Inspired by Carl Sagan’s “Cosmos” and Edwin Abbott Abbott’s “Flatland” and strongly influenced by the Mirror Archive project I analyzed cubism, futurism and photography in terms of four-dimensional elements. Furthermore, I investigated the 19th century theories of Einstein, Riemann and Jouffret dealing with spatial fourth dimension and philosophical approaches concerning time resembling and including Aristoteles’. Since photography creates a reduced reflection of reality I tried to focus on capturing modifications and movement during the exposure of the subject. It thereby expands human perception by visualizing time itself or multiple spaces at once in a cubist or futurist style. This results in photographs showing non-simultaneous events simultaneously.
To visualize my insights into the theories I chose SANAAs Louvre in Lens, France. Their architecture in general and especially the Louvre focuses on the relation of inside and outside spaces, as well as the terms of time and transparency. The final three images taken there, model either movement of the pictured or movement of the photographer during the exposure eventuating in blurred solid figures and perspective overlappings.
Previous page: Seitenanblick(e) (multiple exposure) Top right: Innen-/Außenraum (double exposure) Bottom right: (Zeit)raum (longtime exposure)
MIGRATION CENTER 3rd year design project Teamwork (with Theresa Allekotte)
The migration center is serving as a meeting point for immigrants in central Stuttgart by offering facilities for cultural exchange and integration. The program provides space for information and assistance, including meeting rooms, educational rooms, a cafĂŠ and meditation spaces. The project shows a horizontal and vertical tripartition of the building due to the given topography. Central aspects in the design are the pedestrian connection of the two different topographic levels inside and outside, as well as providing a variety of areas from open to secluded, while ensuring easy orientation. The concrete groundlevel contains the theater, the meditation space, storage and technical facilities, as well as an access for the delivery and the fire service for the tunnel behind the building. The transparent main level includes the welcome center, exhibitions, offices,
the cafĂŠ and an 24 hour emergency room. The semi-transparent level above features group and meeting rooms, which are flexible in size, and a library. The roof garden provides space for relaxing, accessible through the atrium on the inside, by escalators and by stairs facing the residential district in the back.
my contribution: architectural and structural concept, visualizations, model making fellow student: sections, diagrams, model making
Detailed section through the facade
View from the main entrance
A
B
A. Project site with an access to the tunnel provided for the fire brigade on the right and a 12m floor level difference and a highest floor level difference on the top of 7.5m. B. Adjustment of Floor layering (5.5m -
C
D
12m and 17m) to surroundings. C. Positioning of functional and circulation area. D. Mapping of paths through and around the building to give access to the different heights.
Exploded view of construction
GROUND FLOOR 1 2 3 4
1
5 6 7 8 9 10 11 12 13 14 15 16 17
2
4
1 theater 2 meditation room 3 changing room and meeting room for staff 4 delivery and fire rescue path
3
MAIN FLOOR 5
GSEducationalVersion GSPublisherVersion 4.0.75.100
6
5 Café with connection to theater 6 exhibition room 7 emergency rooms with 24h entrance 8 circulation area with atrium 9 welcome center
7 8 9
TOP FLOOR 10
11
GSEducationalVersion GSPublisherVersion 4.0.75.100
12
10 event room 11 flexible meeting rooms 12 back entrance 13 library
13
ROOFTOP GSEducationalVersion GSPublisherVersion 4.0.75.100
small hills with shrubs and grasses surrounded by winded paths with horizontal planks
SECTION (lenghtwise, facing north)
LIVING ARCHIVE
3rd year design project Teamwork/Individual work
The project is a continuation of the fifth semester Archive building course and aimed to review the process of archiving “natural history” by defining and constructing a prototype building in the context of “climate change”. After analyzing individual and collective definitions of “archive” and designing utopical proposals (third page), we gathered scientific information from historical examples and by visiting the Bio-GeoSciences Institute in Jülich, Germany. In workshops we then united several group designs to a final concept, which we put into practice on our campus.
my contribution: construction and building of folding doors, sun study, concept of workshop proposal, photographs, online blog and flyer whole class: architectural concept of prototype fellow students: construction and building, furniture, other studies (like water study)
3D-model
Ventilation
Wood construction and fabrication files
Honeybee/ladybug analysis of sun radition for the optimization of plant positions
GSEducationalVersion
Three-dimensional flyer for opening party ex hibition date 1 7 .0 6 .2 0 1 4 - 1 8 :0 0 h location : leon ardo camp u s
li vi ng arch i ve
Reda Backhaus, Hendrik Beckers Jana Bühner, Leena Corbach, Ronja Engelhardt, Kristina Foer Vanessa Genzmer, Steven Gorgon, Miriam Hanke, Christin Herges Jonas Kerstgens, Konstantin Klimushkin, Ivonne Lehmann Markus Lehmann, Alexandra Limar, Frederic Merziglod
Living Archive Course by Visiting Lecturer - Luis Berríos-Negrón With Guest Lecturers and Critics - Ion Sørvin (N55), Steve Form, Eva Wilson, Hans-Jürgen Commerell, Dunya Bouchi, and Miguel Prados Sánchez
Viktoria Millentrup, Ryma Moghaddam, Fabian Puller Anna Rochel, Michaela Rymer, Martin Schulte
Teaching Assistant - Loránd Mittay
li vi ng arch i ve
ex hibition date 1 7 .0 6 .2 0 1 4 - 1 8 :0 0 h location : leon ardo camp u s
1
1 81
811
1 1
1 6
6 6
6 71
71 9
9 18
18
Revolving entrance door design 3,025
3,025
1,42
1,64
1,42
1,64
2,02
2,02 9 18
12
12 2,08
2,08
Folding doors of the prototype 3,025 1,42
1,64
2,02 2,08
MIRROR ARCHIVE 3rd year design project Individual work
composition of images from the mirror archive
The archive building course’s focus was on archives as a probe for contemporary spatial practices. It was subdivided into several parts. First, we started with the architectural and were asked to design a physical prototype which served as a scalable object for archiving and displaying knowledge and functioned as an inspiration later on. In the final part the course worked collectively as well as individually on the architectonic, working on theoretical and physical notions of archives and environmental forms for a final exhibition. Since especially the thoughts about fourth dimension by Carl Sagan and discussed in class caught my attention, I evermore devoted myself to the spatial fourth dimension. The architectonic: As individuals in a specific dimension are always limited to seeing one dimension less than
their own surrounding dimension, the Mirror Archive serves as a tool for visualizing hidden information: In the first proposal (right) the storage system was almost two-dimensional, revealing everything in a square angle to the viewer. Therefore it was possible to see every single archived information from the same point of view. However, my final work isn’t about archiving information anymore, but rather a pedestal for three dimensional solids up to a specific size, which makes their hidden sides visible by combining several perspectives through mirrors. Therefore it “unfolds” three-dimensional objects. It doesn’t store the objects itself, it more likely makes their invisible side visible while using. Furthermore, it doesn’t depend on a specific spot but can be folded and taken along by the user. At the very moment the archive is compressed,
it looses its function, while the information still remains in the owner’s memory - therefore he or she becomes the archive.
First physical prototype for the university’s attic: “two-dimensional” archiving wall, completely flexible to use
?
2x
Layering
Perspective
Overlapping
the decoder the viewed the viewer
the decoder the viewer
the viewed
1. a three-dimensional cube in 1,2,3,4 dimensions 2. human perception of depth and distance through layering, perspective and overlapping of images 3. seeing and saving an image of an object in front of the mirror archive 4. mirror loosing its purpose of self-reflection and gives priority to the object
Mirror Archive transformation
KINDERGARTEN
3rd year structural design project Teamwork (with Anna-Laura Hölz)
Situated in Münster, the kindergarten consists of two rectangular buildings with saddle roofs connected by a small corridor. The northern building features group rooms and some functional rooms like a snoezelen room and a place to retreat unter the roof. The southern includes a café for the parents, a gym and staff rooms. The cores of the buildings are out of concrete, covered with a wooden shell and surrounded by a fence, preventing glances inside and filtering light. The fence encloses the redesigned landscape, which offers a playground, a kitchen garden and several plants and trees creating a unique atmosphere in every part. On the other side of the fence there is are additional playgrounds, which are shared with the neighbourhood.
Above: floor plans of ground floor, first floor and attic (left to right)
n
rsio
lVe
ona
cati
Edu
GS
Below: western and southern elevation (top to bottom)
Left: exploded view of northern building and roof and detail of roof and drainage construction Right: detailed section of corridor and northern building (north-west corner) Below: section through both buildings from looking from east to west and elevation from the northern side (top to bottom)
W
W COLLECTION OF MODELS from 1st year to 3rd year Individual work/Teamwork
1
3
6
2
4
5
7
8
9
11
12
10
NO.
13
14
PROJECT AND MODEL TYPE (YEAR)
1
Migration Center (3rd y.)
2
Living Archive utopic proposal (3rd y.)
3 4 5
Mirror Archive open (3rd y.) Mirror Archive folding (3rd y.) Mirror Archive folded (3rd y.)
6 7
Kindergarten (3rd y.) Kindergarten section model (3rd y.)
8 9 10
Genusswerkstatt (surroundings) (2nd y.) Genusswerkstatt (section) (2nd y.) Genusswerkstatt (roof detail) (2nd y.)
11 12
Student housing (2nd y.) Villa Plinius (2nd y.)
13 14
Torbar (1st y.) Corner House (1st y.)
TIM FABIAN PULLER Nørrebrogade 106, 1th 2200 Copenhagen, Denmark fabian.puller@me.com phone: +45 50272278