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PORTFOLIO
TIM FABIAN PULLER
CONTENT
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CITY OF THINGS COMPETITION, CONCEPCIÓN (CL) /PROPOSED/
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SECOND ACT MASTER THESIS, COPENHAGEN (DK) /PROPOSED/
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LIVING ARCHIVE STUDENT WORKSHOP, MÜNSTER (DE) /BUILT/
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KINDERGARTEN STUDENT PROJECT, MÜNSTER (DE) /PROPOSED/
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ADAPT COMPETITION, COPENHAGEN (DK) /BUILT/
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MIGRATION CENTRE STUDENT PROJECT, MÜNSTER (DE) /PROPOSED/
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CLIMBING CANYON STUDENT PROJECT, COPENHAGEN (DK) /PROPOSED/
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SICHTBAR UNSICHTBAR BACHELOR THESIS, MÜNSTER (DE) /THEORETICAL/
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CONTACT INFO TIM FABIAN PULLER
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“ The building as found forms an assemblage. The construction of the City of Things, a town for children, follows the logic of adding new parts, placing things when needed. It is not to be seen as a huge empty box, since it is not considered to be without qualities. The grid is not perfect, sometimes the intervals change, the roofs form another rhythm that is one of a myriad of lines in a polyphonic composition. The things, that throng the former industrial complex react to the irregularities of the given fabric and do not impose a superficial order. They follow the concept of Haecceity, the ‘thisness’ of things, that makes them particular through discrete qualities. As such they form little and big moments to mark different territories in the huge complex and make it easier to orientate, but at the same time they stimulate the mind to complete the redundant leftover spaces in-between them with imagination. “ Conceptual framework for the ‘City of Things’
rse of Lost Thoughts 16. Loud Territory 17. T e Blatant Lair 08. The Mouthpiece 09. Ernest 10. The Optimist 11. The Reliable Source 12. Entry 13. Motif 14. Totem 15. Unive e Th e Potter 51. Universe of Trapped Thoughts 52. The e Pessimist 45. Forest 46. The Unreliable Source 47. Castle 48. The Whale and his Brother 49. High Territory 50. Th L Th
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ay 33. The Absconder 34. The Lasting Noise 35. The Bricoleur 3 . The Storyteller 28. The Listener 29. The Arroyos 30. The Thing 31. Rorschach 32. The Sting R 6. Vib t 27 ifact Q 60. Salt 61. Cosmos 62. Hypocrite 63. The Pedestal 64. Basket 65. The Lunatics 66. Silo 67. Celerity 68. The Daring Rescue 69. Oswald t r A d
8. Basso 19. Samsa 20. Sysyphos 21. The Officer 22. The Song 23. Gulliver 24. The Hatter 25. The Remnant 26. Straine r1 dA rti omotive 53. A tad old Machine 54. Exit 55. Entertainer 56. The Lie 57. The Riddle 58. Cabinet of Curiosities 59. f oc Fou n
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CITY OF THINGS 01. The Archeologist 02. Wrong Right 03. Right Left 04. Gemini 05. C ave 06. Adelin e 07 . zon 39. The Trotter 40. The Host 41. Routine 42. The i r o H . 8 3 y r o t i r r e T t a l F . 7 3 y r o t i r r Shouter 43. Silent Territory 4 Te t n 4. ra
INTRO The CITY OF THINGS describes the transformation of an abandoned pottery in Italy into an educational campus for children. The transformation provides a myriad of stimulating programs and experiences. Classrooms, a library and flexible play areas offer school children spaces to learn. A climbing tower, a multi-use gym and camping on the roof, allow for extended use for children visiting during the summer holidays or on weekends. Research studios and an auditorium compliment the campus with further pedagogical facilities.
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Axonometry of the City of Things with cut main roof and protruding architectural elements
CITY OF THINGS Figures
(left) Enlarged axonometry of first floor classrooms situated above canteen and research facilities (centre) Enlarged axonometry of second floor classrooms (right) Enlarged axonometry of roof creatures for camping
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Part of detailed floor plan showing the different facilities and common spaces used in the City of Things
CITY OF THINGS Figures
Custom objects for the City of Things: A forest of columns that stores books and offers seating in-between; Small booths, seating and tables; Variety of semi-transparent buildings on the roof with animal-like characteristics offering camping for 20-40 students each; Canteen table block that forms a large bench and has cut-outs for slightly higher tables; Furniture that combines storage and close-able spaces
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(left) Film still of the daily life of the pupil in the City of Things (right) Film still of the daily life of the researcher in the City of Things (next page, left) Film still of the daily life of the ceramicist in the City of Things (next page, right) Film still of the daily life of the roof inhabitant in the City of Things
CITY OF THINGS The fine print: Type: Collaborative competition Collaborators: Simon Bohnet, Josef Schneble Role: Design concept; 3D Model; Furniture; Axonometries and visualisations Location: Concepciรณn, Chile, 2019 11
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“Something a person devotes his or her later life to, after retiring or quitting a former occupation.” Definition of ‘Second Act’
INTRO
This thesis presents a speculative playhouse sensitively re-purposing a pair of retired gas holder towers in Wola, Warsaw. A new building containing the front of house encapsulates the first tower, while the second tower is filled with the heart of the theatre. Within that performance space, a large-scale kinetic stage apparatus invites visitors to experience a dynamic change of relationships between actors, audience, and architecture.
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Figures
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(above) Section models showing the contrasting extrovert approach of Tower 1 and the introvert approach of Tower 2 (next page) Sketchbook entries showing early ideas for the Second Act
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SECOND ACT
Tower I Front of house
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(left) Four facade segments showing a variety of folding patterns and perforations generated from a custom-designed script (right) Enlarged part of the Front of House tower showing the curtain-like facade wrapping around the building
SECOND ACT
Designed as a belt containing public functions, from box office to exhibition spaces, as well as staff offices, the new structure wraps around the 19th century gas holder. The historic interior is preserved to serve as a foyer-plaza. The belt’s ornamental metal skin expresses interior functions within through various degrees of perforation and corrugation. Privacy and lighting requirements were input parameters for a custom-designed script used to generate the heterogeneous facade.
Figures
(left) Custom-designed grasshopper script for calibrating the facade patterns (right) Axonometries of the Front of House tower showing the ‘wrap’, the facade substructure and the layout of reception, box offices, exhibitions, offices and other designated functions of the tower accessible through the foyer-plaza
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Tower II Kinetic theater
The second tower is fitted with two defining kinetic features: 1. a rotating scissor lift elevates and turns the auditorium to look into various stages. 2. a free-standing grid along the circular perimeter supports a network of rails which are used for moving stages and theatrical elements.
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(centre) Clipped axonometry offering a look into the mechanical system of the theatre (bottom right) Schematic diagram abstracting moving parts within the Kinetic theatre gas holder
SECOND ACT On the grid individual and clustered mechanical wagons manoeuvre stages and props along the 2.5 dimensional grid, causing a literal change of scene.
Figures
(from macro to micro) Axonometry of the Theatre tower with roof removed showing the mechanical grid; A modular stage consisting of L-frames actuated by stage wagons; The final design of one of the stage wagons utilizing worm gears to move along the rails
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(full page) The two re-purposed gas holders as seen from across the industrial Wola campus (next page, top) In the ‘Theatrical Journey’ the auditorium follows actors through sceneries, introducing an architectural sequence (next page, centre) During ‘Loosing Contact’ actors and elements are being moved along the grid; audience is situated on informal auditorium (next page, bottom) ‘Tensile Performance’ describes plays using suspended textiles or nets as stage replacements; audience on outer ring
SECOND ACT The fine print: Type: Individual master thesis Tutor: Jacob Riiber, PhD Location: Copenhagen, Denmark, 2018
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“The Living Archive course aimed to review the future of archiving natural history by redefining the “greenhouse” in the context of climate change. After exploring how definitions of archive, institutional memory, site-specificity, and material economies regard to climate change and climate induced migration, we nurtured our own ideas about networks and ecology, while looking for ways of questioning and crafting greenhouses. The culmination of individual ideas materialised in a greenhouse as a ready-made and boundary object about archival spaces and future landscapes.” Compendium of Syllabus & Exhibition pamphlet of the ‘Living Archive’
INTRO
Being in interdisciplinary use on the campus of the FH MĂźnster since summer 2014, the Living Archive was first inaugurated in the form of a public exhibition after being constructed as a combined collaborative effort among a group of students. In the corresponding workshop, ideas about archival spaces and future landscapes in the context of climate change were examined and finally materialised in form of the prototypical greenhouse.
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(top left) The illuminated greenhouse as found on the opening night of the exhibition (next page) On the inside, Y-tables functioning as either plant containers or tables can be found
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LIVING ARCHIVE
After conducting several studies and visiting the JĂźlich Institute for Bio- and Geosciences, we constructed a greenhouse reacting to site- and plant-specific requirements, while a thorough kinetic concept is allowing for a variety of spatial configurations and maintains to solve important aspects of air flow within the building.
e tree lin ted ac r t s Ab
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(top right) Structural frame of the greenhouse being assembled on site (bottom) Grasshopper sun study evaluating impact of surrounding trees on the facade
LIVING ARCHIVE Figures
(top) Diagram of the Y-table, a table and/or plant container; consisting of plywood and legs from reinforcement steel (bottom) Schedule of main wooden parts used to assemble the structural frame
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The Living Archive in a fully opened state with a pivoting main access in the back, a ventilation awning at the top and two large revolving windows on the sides allowing for fluid spatial transitions from inside to outside
LIVING ARCHIVE The fine print: Type: Collaborative student workshop Role: Design concept; Design, construction and assembly of folding/pivoting parts; Photographies; Exhibition material and online blog Tutor: Prof. Luis Berríos-Negrón, PhD Location: Münster, Germany, 2014 29
4 “Walking up to the front entrance, the boy sees his friend already running across the corridor, behind the wooden fenestration. He knows he is arriving a bit late today, already picturing most of the other children waving goodbye to their parents and making their way to class. Looking up to the blue sky and hearing the birds singing, the boy realises that summer is near. Suddenly, a memory pops up in his head. Last summer, he spent a lot of time playing in the labyrinth and looking at the vegetables the older kids planted in the southern garden. He was told his group will grow vegetables this year as well. A smile appears on the boy’s face as his mum opens the door. If it weren’t for his friend initially noticing his arrival, he would have kept his memory. But the loud yell of his friend running towards him in the foyer, who seems to have forgotten that only the weekend separated them, ended his thought.”
Thoughts of a child arriving at the ‘Kindergarten’
INTRO
Situated in MĂźnster, this student project is a kindergarten that consists of two rectangular buildings. Both look onto a verdant landscape inbetween them. A bright corridor forms the only interior connection along the periphery of the complex. The northern building features group class rooms, some functional spaces like a snoezelen room, and mini houses under the roof to retreat. The southern wing includes a cafĂŠ for the parents, a gym, and staff rooms. A fence encloses the redesigned landscape, which offers playgrounds, a fruit and vegetable garden, and labyrinths of plants and trees creating a unique atmosphere in every corner.
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(top left) Process section model showing sheltered corridor adjacent to the northern wing (top right and bottom) Ground floor with landscaping, first floor and attic plans (next page) Exterior perspective situated between the two buildings
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KINDERGARTEN
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(top) Elev. west showing the main entrance and circulation corridor behind wooden fenestration (top/centre) Elev. south 1 visualising the southern building, housing administration and canteen, and the main building behind it (bot/centre) Elev. south 2 rendering the main building and all six classroom windows and ventilation panels (bottom) Elev. north showing the back corridor accessing classrooms behind the wooden lamellas with different densities left and right
Figure
KINDERGARTEN
The structural cores of the buildings are concrete, clad with a wooden shell and surrounded by a fence. In some parts this facade prevents glances inside and in others it is creating a transitional zone from perimeter to interior by filtering incoming light.
A part of the constructive section highlights the setback double-sided concrete facade behind the transparent exterior corridor
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Long constructive section; (from right to left) Within the main building classrooms for older children (first floor) offer separate small rest/group rooms in shape of a house (second floor), and accessible through stairs from within the upper classrooms; Looking into the other building, in the cafĂŠ children can find another cosy space under the attic when making their way on top of the canteen block in the centre of the building
KINDERGARTEN The fine print: Type: Collaborative student project Collaborators: Anna-Laura HĂślz Role: Design concept; Construction and material concept; Visualisations Tutor: Marc Matzken M. A. Location: MĂźnster, Germany, 2014
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“Approaching the early hours of the day, the first rays of sun strike the structure. The apparatus awakes and slowly responds to the change of environment - setting its wings in motion.” Kinetics of ‘Adapt’
INTRO
Designed and built in 2017 for CHART, Scandinavia’s largest Art Fair, this pavilion incorporates a bar in the ground floor and two increasingly intimate spaces for people to socialize or relax above. Utilising the thermal energy on site, wax pistons open up awnings of the six meter high structure during the day. In the evening, the natural closure of the pavilion provides visitors with more sheltered spaces. For the event centered around sustainability, the chosen components for the kinetic structure‘s canopy are ghost nets, one of the most dangerous marine wastes, collected for the pavilion and arranged in a computationally generated pattern.
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(top right) The Adapt pavilion as seen from the entrance of the Charlottenburg courtyard (top left) A child and other visitors relaxing and laying on the top floor of the pavilion (centre left) A visitor looking over the courtyard from the first floor of the pavilion (bottom left) Initial sketches displaying the pavilion’s behaviour during sunny/cloudy days
ADAPT PAVILION Figure
Illustration of the dance performed by the pavilion’s awnings throughout the day Video Timelapse of final structure accessible via https://vimeo.com/241173128
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(bottom) Ground floor: During the event, the ground floor was used as a bar in collaboration with Absolut Vodka (centre) First floor: A seating area offered visitors a more private gathering space (top) Top floor: Nets suspended 1.5 m below the ceiling provided visitors with hammocks in an even more intimate space (next page) Look towards the pavilion from the first floor of Charlottenburg Kunsthal
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ADAPT PAVILION
WAX PISTONS
For the gradual opening of the awnings during the September climate in Copenhagen, we used a piston containing 10 types of waxes melting between 16-24 °C at intervals of one degree. We developed flexible joint prototypes that were manufactured out of CNC cut aluminum and steel. These joints allowed for the mounting of the afore-mentioned pistons onto the scaffold structure as well as the attachment of net bearing bamboo sticks, which lift the awnings during the day.
Figures (top left) Red, green, white, and black nets forming the awnings of the pavilion; Awnings opened at noon (top right) A look onto the sheltered pavilion illuminated along its perimeter during the night
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ADAPT PAVILION 24°C
16°C
Figures
(top) Detail of the three different lengths of custom-designed piston mounts (bottom) Section showing bar in the ground floor, sitting space, and crawl space above
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NET PROCESS GHOST NETS
To highlight the threatening of marine ecosystems, we recovered ghost nets from the Baltic sea and re-used them as canopy and construction material. To combine different types of nets, we coded a generative algorithm to produce a custom pattern. Using a projector attached to the studio’s ceiling, the pattern was then visualised onto raw nets stretched over a prefabricated template on the floor. After cutting and patching the nets off-site, they were attached to the scaffold structure.
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(centre right) Arrival of several kilos of different nets in our studio space (centre left) A projector displays the previously designed cutting patterns on the net spanned across a template frame (top) Patch after patch is attached to the base net (next page, centre left) Initial load test to evaluate the length of lever arm and possible net weights (next page, centre right) Prototype of the piston mount, developed for the attachment of net bearing arms to the pavilion (next page, top) Deactivation of springs (front) before assembling the custom designed piston mounts (back)
ADAPT PAVILION
PISTON PROCESS
WAX PISTON MOUNTS
After initially testing the load bearing capacity of the wax pistons, we developed several prototypes of custom-designed mounts. These mounts allow for the re-use of wax pistons after the event, as the attachments leave no marks or holes on the pistons. We developed the design for the manufacturing of two different types of piston fixings for the scaffolding (vertical and horizontal bars) and three types of mounts, distinct in length, for the net-bearing bamboo arms.
The fine print: Type: Collaborative competition, 2nd Prize Collaborators: Harry Clover, Jack Cripps, Sebastian Gatz Role: Design Concept; Net simulations; Visualisations; Section; Fabrication and management; Photographs Location: Copenhagen, Denmark, 2017 47
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“Next to Frankfurt, Stuttgart has the highest share of immigrants among major German cities. In 2001 the city initiated the ‘Bündnis für Integration’, in many respects an awarded concept for immigration politics. In the wake of the wave of mass immigration of asylum seeking refugees, issues of immigration gained even more attention in the public eye. Addressing the topic in an architectural scope, a migration centre along the Willy-Brandt Street - a cultural axis of Stuttgart - is proposed as a focal point offering spatial opportunities for the implementation of the integration concept. The public institution, in direct proximity to the Staatsgalerie, gives a face to the reputation of Stuttgart as an international integrative urban community.” Background of the ‘Migration Centre’ project
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(top left and right) Exterior perspective of the building and contextual buildings being found in the inclining parts behind (bottom) Interior rendering displaying the reception in the front of the main circulation space, besides exhibition spaces and workshop/ seminar rooms, with balconies above (next page) Exploded axonometry demonstrating the three distinct levels above a photo of the contextual model
INTRO
MIGRATION CENTRE
The migration centre is serving as a meeting point for immigrants in Stuttgart by offering facilities for cultural exchange and integration. It provides space for information/assistance, as well as meeting rooms, educational rooms, a cafĂŠ, auditorium and meditation spaces. The architecture features a horizontal and vertical tri-partition due to the given topography and site. The building is highly accessible from the busy street at lower level, as well as from the residential area at higher level. A pedestrian walkway integrated along the perimeter of the building provides a public connection between these otherwise separated areas.
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(above) Legend: 1 Wardrobe/Toilets/Theatre; 2 Multi-belief meditation/prayer room with skylight; 3 Staff storage/changing/meeting rooms; 4 Fire brigade tunnel access; 5 CafĂŠ with direct access to theatre; 6 Exhibition space; 7 Emergency room with 24h access on the side; 8 Circulation/Atrium; 9 Welcome centre; 10 Event space; 11 flexible meeting rooms; 12 Secondary entrance; 13 Library (next page) Constructive section showing the public path adjacent to the three-tiered structure and green roof
MIGRATION CENTRE The fine print: Type: Collaborative student project Collaborators: Theresa Allekotte Role: Design concept; Construction and material concept; Detailing; Visualisations and plans; Model making Tutor: Prof. Dipl.-Ing. Kirsten Schemel Location: MĂźnster, Germany, 2015
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7 “1. A surface SB incorporates an even grid of vertices. These vertices are shifted perpendicular to the surface, according to a monochromatic ‘depth map’. A new surface SD emerges. 2. The distance between individual vertices is altered through this deformation and will now serve as a reference for the following inflation experiment. 3. An open box with high rigidity is covered and closed with a copy of the initial surface SB displaying an equal grid of vertices. For further steps, SB will inherit textile qualities. 4. A pneumatic simulation is initiated, filling the box with air, exhibiting high pressure within the sealed environment and resulting in the deformation of surface SB. 5. Springs within the box, situated on the vertices and fixed to the back end of the box use data from the reference surface SD to create expansion constraints and appropriate the desired topography. 6. This process is repeated in further iterations to improve the data translation of SD values into box spring lengths to create an accurate pneumatic model.” Appropriation of two-dimensional depth maps into pneumatic climbing walls in ‘Climbing canyon’
INTRO
Located in an old industrial warehouse, this design of an ever-changing climbing centre is a modern take of what Adrian Forty describes in ‘Words and Buildings’ as flexibility in architecture achieved through technical means. In the project that is merging experimental digital simulation and utopian architecture, pneumatic adaptable walls are embedded in an atmospheric canyon-like extension to Blocs & Walls, a climbing centre in Copenhagen. These flexible walls mutate from day to day in a myriad of morphologies to supply new experiences for climbing affine Copenhageners.
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(top) Visualisation depicting the canyon-like structure in the main hall of the climbing centre (bottom) Initial experiments investigating the effects of constraints on the tensile behaviour of fabric materials
INFLATABLE WALL
CLIMBING CANYON
A custom-built grasshopper simulation for high-pressure pneumatic surfaces was designed to mimic effects of tension wires and nitinol springs, limiting the inflation of a textile surface in certain locations. Within the climbing centre, these custom-designed walls can be found on relatively planar surfaces along the canyon, as well as in the form of a simulation wall located in the back of the complex. Being able to transform into almost any programmed shape, these walls allow for constantly novel climbing experiences.
Figures
(top right) Iterative experiments investigating densities of wire grids applied beneath the pneumatic surface (bottom) Comparison between an inflated unconstrained surface and a surface limited in expansion by wires and springs
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MIMICKING REAL-WORLD CLIMBING SECTIONS
The room inhibiting the simulation wall serves experienced mountaineers with training situations of a real-world climbing scenario. For the wall, a 3D scan of a specific climbing track or mountain section is used to deduct a topographic data map. This map is then utilised to set up the high resolution pneumatic wall, which mimics the conditions of the mountain. A projector then takes care of the right atmosphere.
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(top) A Simulation Wall, found in the back of the climbing centre, allowing for a variety of individual training and real-world scenarios (bottom) A 3D scan of a segment of the Matterhorn translated into a monochromatic data map (next page, left) Axonometries showing canyon, climbing towers, and adjacent room with simulation wall (next page, right) Diagram showing data maps and intermediate results from point cloud to final surface, in the generation of the canyon
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CLIMBING CANYON
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DATA-DRIVEN ARCHITECTURE
To avoid an “architecture which trie[s] to anticipate all future possibilities while choosing none” (as mentioned by Forty in ‘Words and Buildings’), an architectural ‘infill’ resembling a canyon gives the centre a permanent identity. The expressive shape was generated as a result of an experiment of another data-driven method: Monochromatic maps displaying contextual, structural and lighting-based information complement maps visualising top-down decisions regarding way-finding and individually chosen features to form a canyon-like cloud that is further transformed into a three-dimensional form.
The fine print: Type: Individual student project Tutor: Prof. Martin Tamke Location: Copenhagen, Denmark, 2017
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“Photographs are always a reduction of the existing, a projection and therefore compression of multi-dimensional elements on a two-dimensional medium. What is emphasized or eliminated in space or time - subconsciously or not - is solely decided by the photographer. More so than any other medium, photography’s visualisation of space is dependant on light and time. The linkage to these known physical rules implies further possibilities when approaching the limits of the tool. The invisible can be made visible, as - in contrast to the human eye - light can be captured on the medium within a variable interval. Therefore, a simultaneity of non-simultaneous transformations over time can be rendered on the sheet. Considering that this transformation can not only concern the observed but also the observer, it is possible to move the camera itself and superimpose views in an almost cubist way. Simulating what is beyond three-dimensional could make us imagine turning our head in Plato’s cave to see beyond the shadow of the artefact. We may get a sense of the invisible higher dimensional world that Edwin Abbott Abbott beautifully hinted at in Flatland, where the Square was lifted out of his flat world to see it from above only to provoke the sphere and ask it how his world might appear from ‘beyond’.” Translated and composed extracts from thesis ‘Sichtbar Unsichtbar’
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Intro Inspired by Carl Sagan’s “Cosmos,” Edwin Abbott Abbott’s “Flatland,” and emerging from an interest into theorems concerning fourth dimension, this thesis challenges photography as a means to visualise architecture. It suggests a provocative, super-imposition of multiple layers of information as a means to visualise a fourth dimension (spatial and time-related). Following a theoretical foundation on the matter, photographs at the end of the thesis render how multiple and long-time exposures can surpass constraints of perceiving time and space momentarily. The written thesis investigates philosophical definitions of time, memory and space - complemented by reflections of 19th/20th century theories of higher dimensions. Examples of cubism and futurism are reviewed. Visualisations of time as a progression of sequences and the perception of change are analysed (from Muybridge’s motion studies over experiments of superimposing motifs on the same image to Wesely’s incredible year-long exposures). Concluding the thesis, three photographs, taken at SANAA’s Louvre Lens, focus on capturing modifications and movement of the observer and the observed during triple/double/long exposures. In a journey from large to small scale and outside to inside the photographs visualise seemingly impossible intersections of time and space in a cubist and futurist style.
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(above) ‘Doppelbelichtung’ is extrapolating the fluid transition from outside to inside by superimposing both views, thereby rendering exterior landscaping and interior floor, as well as spaces on the inside and their reflection on the outside, on the same image (right) ‘Vierfachbelichtung’, multiplies exterior elevations and highlights similarities in façade and contrasts of adjacent architecture
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SICHTBAR UNSICHTBAR
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(above) ‘Langzeitbelichtung’ is a minutes-long exposures rendering visitor movement through the heart of the exhibition space, closely resembling historical ‘ghost’-images (next page) Collage of chronological succession of pages from the written thesis concluding with the three photographs taken
SICHTBAR UNSICHTBAR The fine print: Type: Individual bachelor thesis Tutor: Prof. Dipl.-Ing. Kirsten Schemel Location: Münster, Germany, 2015
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TIM FABIAN PULLER 2200 Copenhagen, Denmark timfabianpuller@gmail.com