Interactive Architecture

INTERACTIVEArchitecture Design Thesis University of Melbourne, Faculty of Architecture, Building and Planning Melbourne School of Design Tan LiHuang Linus (MArch)

DISCLAIMER

Programme Course Duration Name Title Supervisor Submission Date

Design Thesis

Declaration

Semester 02 2012

I certify that this piece of work is entirely my

Tan LiHuang Linus (MArch)

own and that any quotations or paraphrase

Interactive Architecture

from the published or unpublished work of

Associate Professor Justyna Karakiewicz

others is duly acknowledged.

07 Novemeber 2012

Tan LiHuang Linus

Research 01 Preface 01.01 Abstract

02 Domain 03

05 Analysis

02.01 Background

07

05.01 Participant Analysis

35

02.02 Case Studies

08

05.02 Variation Analysis

36

02.03 Evaluation

18

05.03 Environment Analysis

37

05.04 Sensors

38

03 Interactive System

05.04.01 Environmental Sensors

38

05.04.02 Participant Sensors

40

05.04.03 Evaluation

41

03.01 True Interactivity

21

03.02 Degrees of Interactive Systems 23 03.03 Passive / Active Input

25

06 System Design

04 Methodology

06.01 Processor

04.01 Product vs Process

27

04.02 Design Process

29

07 Architectural Design 07.01 Kinematics

47

07.02 Kinetics

50

07.03 Controller

53

08 Assessment 08.01 Evaluation Criteria

CONTENTS

43

55

Experimentation 09 Participant Sensitive

Design

09.01 Goal and Experimentation

57

09.02 Particle Sensitive System

11 Reconfigurative 11.01 Goal and Experimentation

83

58

11.02 Kinematics (Miura folding)

09.03 Variant Particles Stimulation

60

09.04 Variant Particles Activation 09.05 Multiple Particles Activation

10 Self Evaluative

12 Site Analysis 12.01 Site Selection

93

84

12.02 Environmental Analysis

94

11.03 Kinematics (Yoshimura folding)

84

12.03 Participant Analysis

106

62

11.04 Kinetics (Pivot Hinge)

85

64

11.05 Kinetics (Pivot system)

85

116

11.06 Geometric Composition

86

13 Architectural System

11.07 Volumetric Configuration

87

14 Work Play Enjoy

128

10.01 Goal and Experimentation

67

11.08 Volumetric Manipulation

88

10.02 Static Activation

68

11.09 Architectural Movement

89

10.03 Dynamic Activation v1.0

70

11.10 Architectural Movement

90

10.04 Dynamic Activation v2.0

72

Sequence

10.05 Single Point Tracing

74

10.06 Single Revolving Point Tracing

76

10.07 Dynamic Point Tracing

78

10.08 Multiple Dynamic Point Tracing

80

15 Bibliography 15.01 Monographs

143

15.02 Articles

144

15.03 Illustrative References

145

Chapter 01Preface

Chapter 01 Preface 01.01 Abstract

In our era of digital technology, information processing has become an integral component in our society. Taking on a metaphorical role, it has started to envelop every aspect of our lives. As people communicate, ideas are exchanged and the society evolves. With today’s digital technology, information is processed at an accelerated rate, leading to an expedited growth in societies.

Concurrently, we need to recognise that digital technology is rapidly increasing the dynamic interaction between building and users. Architecture have always been in continuous change influenced by its users and environment, a process that is slow and almost invisible.

Once considered static and immutable, architecture is now capable of transforming into a dynamic and interactive design.

As our society evolves, so must its built environment. Architecture needs to evolve beyond parametric and generative designs, incorporating readaptability and growth in order to change with the society. With present technological advances, a building needs to take on the role as an information processor, absorbing, processing and exchanging data in real time, proposing configurations adapted to the ever-changing needs of its users.

3

Chapter 01 Preface 01.01 Abstract continued

“Buildings were made to last (...). Societies (...) prescribe the creation of fit environments for human activities; the architectural profession responds, reflexively, by proposing enclosed spaces framed by massive structures, because that is what architects have been taught to do, and what society has been taught to expect from architects.�

- Reyner Banham The growth of societies, accelerated by digital information processes, require an architectural intervention that will communicate and interact with the changing environmental contexts and user preferences. Cities need to embody interactive architecture, a process-oriented guide to designing dynamic spaces capable of constantly adapting to the morphing environments while simultaneously performing a range of user functions.

4

Responsive Architecture

Interactive Architecture

ABILITY

INPUT

Participant

CHAPTER 02Domain

ABILITY

ABILITY

Participant

Self

Reconfi-

Sensitive

Evaluative

guration

INPUT

Environment

FUNCTION

Processors

ACTION

Kinematics

ACTION

Kinetics

Chapter 02 Domain Fig 02.01 The Spatial City

by Yona Friedman [Ref Illustrative 02.01] Fig 02.02 New Babylon

by Constant Niewenhuys [Ref Illustrative 02.02]

Fig 02.01

Fig 02.02

Fig 02.03

Fig 02.04

Fig 02.03 Plug in City

by Peter Cook [Ref Illustrative 02.03] Fig 02.04 Walking City

by Ron Herron [Ref Illustrative 02.04]

02.01 Background

Responsive architecture, a term conceived by Nicholas Negroponte in the late 1960s, was used to describe architecture with reconfiguration abilities when triggered by its environment. The Spatial City (1958), New Babylon (1959), Plug in City (1964) and Walking City (1964) demonstrated the need for architecture to be condition-setting and facilitators of interaction and progression, rather than imposing a formal and unadaptive environment on the society. However, such architectural visions were met with technological incapability (of their time) and was disregarded by the society as a plausible future.

In recent years, the idea of responsive architecture has resurfaced and expanded to encompass various types of responsiveness. One such field is interactive architecture, where the design behaviour progresses through interaction with its environment and participants. The case studies explored will show recent projects that displays characteristics of interactive architecture.

7

Chapter 02 Domain 02.02 Case studies

Recent built and proposed projects were investigated to regard to interactive designs.

They showcase various projects of different scale, from installation to urban proposal.

The case studies have been chosen to reflect the three main characteristics of interactive architecture: • Participant Sensitive Projects receive inputs from participants, which influences their exhibited responses.

Aegis HypoSurface

by

Mark Goulthorpe (deCOi Architects)

Intelligent Room

by

MIT Artificial Intelligence Lab

Pulse Front

by

Lozano Hemmer

• Self Evaluative Projects interact within their system, constantly evaluating internally and producing incalculable behaviour.

Hylozoic Ground

by

Philip Beesley, Rob Gorbet

STEMCloud v2.0 by EcoLogic Studio InteractiveWall by Chris Kievid, MarkHosale David

• Reconfigurable Projects are able to reconfigure itself, transforming its physical structure to meet the demands of the participants.

Rolling Bridge by Heatherwick Studio Lakeside Stage by Hans Kupelwieser, Werkraum Wien Suite Vollard by Moro Construcoes Civis LTDA,

8

Chapter 02 Domain Fig 02.05 Participant sensitive response Aegis HypoSurface [Ref Illustrative 02.05] Fig 02.06 Participant sensitive response Aegis HypoSurface [Ref Illustrative 02.06]

Fig 02.05

Fig 02.06

Fig 02.07

Fig 02.08

Fig 02.07 Fabrication process Aegis HypoSurface [Ref Illustrative 02.07] Fig 02.08 Actuators triggered by participants Aegis HypoSurface [Ref Illustrative 02.08]

Aegis HypoSurface

Designers(s)

Mark Goulthorpe

Sensor Input

deCOi Architects Location Year http://www.hyposurface.org/

Birmingham, United Kingdom 1991

Sound, Movement Electronic Information

Action

Surface Deformation

Scale

Building Component

Designed by Mark Goulthorpe of dECOi Architects, Aegis HypoSurface is a participant responsive surface that deforms in real-time. When triggered by the environment, the digitally controlled array of actuators elevates a responsive pneumatic mechanical system, choreographing a fluid deformation of the surface.

9

Chapter 02 Domain Fig 02.09 Sensor detectors Intelligent Room Project [Ref Illustrative 02.09] Fig 02.10 Visual data capturing capabilities Intelligent Room Project [Ref Illustrative 02.10]

Fig 02.09

Fig 02.10

Fig 02.11

Fig 02.12

Fig 02.11 Movement analysis Intelligent Room Project [Ref Illustrative 02.11] Fig 02.12 Action analysis Intelligent Room Project [Ref Illustrative 02.12]

Intelligent Room Project

Designers(s) Location

MIT Artificial Intelligene Lab

Massachusetts Institute of Technology Massachusetts, United States of America

Year Brooks R. A., 1997, The Intelligent Room Project

10

Sensor Input

1997

Sound, Movement, Proximity Electronic Information

Action

Augmented digital information

Scale Architectural

The Intelligent Room Project is an environment embedded with digital technology capable of identifying participants’ movement and speech. It analyses and interprets user actions and enhances the activities taking place within the environment by adding the realm of digital reality. The project goal is to re-envision the capabilities of digital software, pushing its boundaries to assist our traditional non-computational activity.

Chapter 02 Domain

Fig 02.13 Pulsing searchlights Pulse Front [Ref Illustrative 02.13] Fig 02.14 Heart rate influencing searchlights Pulse Front [Ref Illustrative 02.14]

Pulse Front

Fig 02.13

Designers(s) Location

http://www.lozano-hemmer.com/ pulse_front.php

Lozano Hemmer Toronto Harbourfront

Toronto, Canada

Year

2007

Fig 02.14

Sensor Input Action Scale

Participants’ heart rate Pulsing searchlights Urban Installation

Pulse Front was an installation made of twenty robotic searchlights, controlled by participants’ heart rate. When participants hold the metal stands, their heart rates were measured and converted into digital signals, subsequently controlling the pulsing searchlights. The effect was a visualization of users’ vital signs. When the it is not engaged with participants, Pulse Front continues to display recorded heart rates for the last ten people.

11

Chapter 02 Domain

Fig 02.15 Interface with senses & micro-processors Hylozoic Ground [Ref Illustrative 02.15]

Fig 02.15

Fig 02.16 Network of interrelated components Hylozoic Ground [Ref Illustrative 02.16] Fig 02.17 Choreographing movements Hylozoic Ground [Ref Illustrative 02.17]

Hylozoic Ground

Fig 02.16

Designers(s) Location

http://www.hylozoicground.com/Venice/

12

Philip Beesley, Rob Gorbet Venice Architecture Biennale

Venice, Italy

Year

2010

Fig 02.17

Sensor Input

Movement, Proximity,

Action

Biomimetic responses

Scale

Installation

Hylozoic Ground is a developing artificial organism, responding to participant engagement via a large network of sensors. The sensor inputs are fed to its microprocessors, producing a choreography of movements that ripple throughout the installation. These actions include caressing and swallowing motions, designed to engage the participants in sight, touch and smell.

Chapter 02 Domain

Fig 02.18 Network of interrelated components STEMCloud v2.0 [Ref Illustrative 02.18]

Fig 02.18

Fig 02.19 Human influencing system behaviour STEMCloud v2.0 [Ref Illustrative 02.19] Fig 02.20 Feedback system within module STEMCloud v2.0 [Ref Illustrative 02.20]

STEMCloud v2.0

Fig 02.19

Designers(s) Location

http://www.ecologicstudio.com/

EcoLogic Studio Seville Art and Architectural Biennale

Seville, France

Year

2008

Fig 02.20

Sensor Input Action

Light, Nutrients, Carbon Dioxide Oxygenation, Algae growth

Scale

Installation (Urban)

STEMCloud v2.0 is an oxygen making machine that forms the breeding ground for microecologies in the Guadalquivir River of Seville. It receives inputs from three components: urban environment (river ecology and gallery), human behaviour (participants) and the machine itself. The base setup is a primed condition set by scientists to promote interactions, and the state of equilibrium is influenced by the three inputs constantly in dialogue. In addition, algae growth is triggered when these three components interact, consequently influencing the state of equilibrium within the machine.

13

Chapter 02 Domain

Fig 02.21 Responding to human interface InteractiveWall [Ref Illustrative 02.21] Fig 02.22 Responding to neighbouring components InteractiveWall [Ref Illustrative 02.22]

InteractiveWall

Fig 02.21

Designers(s) Location Year

http://www.hyperbody.nl/research/ projects/interactivewall/

14

Chris Kievid, MarkHosale David Hannover Messe, Germany 2009

Fig 02.22

Sensor Input Action Scale

Proximity, Component Movement, Light Building Component

Festo commissioned InteractiveWall, a dynamic seven-component wall capable of displaying autonomous behaviour. Designed by Chris Kievid and MarkDavid Hosale, the behaviour is influenced not only by its participants but also by its neighbouring components.

As a result, the architecture becomes emotive, exhibiting a unique and different behaviour each time a participant interacts with the wall.

Chapter 02 Domain

Fig 02.23 Deployed stage Rolling Bridge [Ref Illustrative 02.23] Fig 02.24 Transition stage Rolling Bridge [Ref Illustrative 02.24] Fig 02.25 Retracted stage Rolling Bridge [Ref Illustrative 02.25]

Rolling Bridge

Fig 02.23

Designers(s) Location

Fig 02.24

Heatherwick Studio Paddington Basin London, United Kingom

Year http://www.heatherwick.com/ rolling-bridge/

Fig 02.25`

Sensor Input None Action Scale

Reconfigure (Roll / Unroll) Architecture

2004

The Rolling Bridge is a standard pedestrian bridge, constructed with steel and timber. It is also equipped with hydraulic cylinders, such that the bridge unrolls for pedestrians to cross and rolls up to allow boats to pass by. In the transition to its withheld stage, the handrails reduces length, causing the bridge to curl into a roll under two minutes.

15

Chapter 02 Domain Fig 02.26 Retracted stage Lakesie Stage [Ref Illustrative 02.26] Fig 02.27 15 degree inclination Lakesie Stage [Ref Illustrative 02.27]

Fig 02.26

Fig 02.27

Fig 02.28

Fig 02.29

Designers(s) Hans Kupelwieser, Werkraum Wien

Sensor Input None

Location

Action

Fig 02.28 30 degree inclination Lakeside Stage [Ref Illustrative 02.28] Fig 02.29 Deployed Stage Lakeside Stage [Ref Illustrative 02.29]

Lakeside Stage

Lunz am See Niederosterreich, Austria

Year http://wwwwerkraumwien.at/

16

Scale

Reconfigure (Pivoting) Architecture

2004

The Lakeside Stage is an architectural system equipped with hydraulic mechanisms powered by hydraulic pumps. Constructed from 13m x 13m timber and steel structure, the roof structure rotates around a pivot point, providing the seatings with shelter. Water is pumped into the water tank, and the weight acts as a counter force, rotating the shelter into its deployed stage.

Chapter 02 Domain

Fig 02.30 Interface system Suite Vollard [Ref Illustrative 02.30]

Fig 02.30

Fig 02.31 Rotating mechanism Suite Vollard [Ref Illustrative 02.31] Fig 02.32 Exterior view Suite Vollard [Ref Illustrative 02.32]

Suite Vollard

Designers(s)

Fig 02.31

Fig 02.32

Moro Construcoes Civis LTDA,

Sensor Input None

Fritz Georg Gehbauer Location Year http://www.worldbuildingsdirectory.com/ project.cfm?id=416

Curitiba, Parana, Brazil

Action Scale

Reconfigure (Rotation) Architecture

2001

In the Suite Vollard, the fifthteen level of floors spin individually, providing a panoramic view of the suroundings. The platform rolls over a concrete structure, accommpanied by the roof structure, depending on the users’ demands. A full rotation takes an hour, ensuring the users are not distressed by the rotating movement. As all the mobile mechanisms are hidden under the floor, it is safe to use yet easy to inspect and maintain.

17

Chapter 02 Domain 02.03 Evaluation

From the case studies mentioned, a number of conclusions were made: •

Participant Sensitive Although the projects engage with participants, the responses are preset and soon becomes predictable. This would not encourage continuous interaction between the participants and the installations.

•

Self Evaluative These projects attract and encourages continuous participant interaction. Although it challenges them explore and understand the systems, they do not benefit the participants directly.

•

Reconfigurable Reconfigurabililty shows how built structures are flexible and can adapt to the changing needs of the environment. However, these systems are triggered only when they receive a human input (via switch or a predetermined program) and would need constant human management.

How would interactive architecture, balance all three characteristics delicately in order to promote continuous interaction, benefit participants and can meet the changing needs of the environment?

18

DATA

DATA

INSTRUCTION

INSTRUCTION

#01

#02

#01

#02

Sensor

Sensor

Controller

Controller

DATA

DATA

Passive

Active

Input

Input

FUNCTION

FUNCTION

FUNCTION

FUNCTION

#01

#02

#03

#04

Processor

Processor

Processor

Processor

INSTRUCTION

INSTRUCTION

#03

#04

Controller

Controller

OBJECT

OBJECT

OBJECT

OBJECT

#02

#01

#02

Kinematics

Kinematics

Kinetics

Kinetics

Feedback Loop

#01

CHAPTER 03Interactive System

ENVIRONMENT

Final Configuration

Chapter 03 Interactive System 03.01 True interactivity

In 1969, Myron Krueger developed Glowflow, an computer-controlled environment where users control visual and sonic parameters to modify the spatial qualities (Giannetti, 2004).

Although the art installation allowed users to interact with their surroundings, Krueger saw the installation as responsive rather interactive. In 1975, he created VideoPlace, an installation where two different settings are recorded and projected back into their individual environment. Users from the different rooms are ‘placed together’, allowing them to interact not only with their shared environment but also each other. For Krueger, he believed this showcased how the responsive system became a medium for true interaction.

Interaction

Interaction is the reciprocal influence two or more objects have on each other. It is a communicative process, relaying information built on previous messages. Unlike responsiveness, it is a two-way dialogue; the sender also needs to be the processor and receiver. As Fox & Kemp highlights, an interactive system needs to be a multiple-loop system where information exchange is constructive and continual (2009, pg 13).

Fig 03.01 Light visual cues in GlowFlow GlowFlow [Ref Illustrative 03.01] Fig 03.02 Interactive system in VideoPlace VideoPlace [Ref Illustrative 03.02]

Fig 03.01

Fig 03.02

Fig 03.03

Fig 03.04

Fig 03.03 Participant Interaction VideoPlace [Ref Illustrative 03.03] Fig 03.04 Participant Interaction VideoPlace [Ref Illustrative 03.034

21

Chapter 03 Interactive System Interactive spaces

In recent years, the notion of interactive architecture is once again being explored.

With advances in technologies, architecture can now utilise materials such as sensors, controllers and actuators to produce interactive spaces. These interactive spaces can engage and inform users, enhance spatial experience and even augment social interaction, transforming the role of users to participants of the space. By creating a dialogue between buildings and participants, we can now design architecture with the ability to interpret individual participant’s requirements and even create forms of emergence based on the interactions with their environments (Fox & Kemp, 2009, pg 138).

As highlighted in the previous chapter, responsive systems do not equate to interactive systems. To design an interactive system, it is necessary to understand where and how interactive architecture fits within responsive architecture.

22

Chapter 03 Interactive System 03.02 Degrees of interactive systems

Achten highlights four degrees of interactive systems: passive, reactive, autonomous and agent systems (2011, pg 569). On closer inspection, only autonomous and agent systems can be considered true interactivity. In passive and reactive systems, its behaviour is predetermined and responds to its environment like a reflex action. In autonomous and agent systems, the input from the environment goes through constant evaluation against its required outputs. Therefore the design goal shifts from designing the behaviour to designing the processes that leads to the behaviour. In addition, the desired output also forms part of the input, allowing the system to evaluate and perform the optimum behaviour in order to reach the required outputs.

These interactive systems require four processes: recognising its environment, anticipating its desired output, formulating an operation and performing the operation. These processes are achieved through four key components: sensors, processors, controllers and reconfigurable building components.

Recognising its environment

Sensors are used to detect the environment, collecting data to allow the interactive system to establish a baseline. A key aspect to the data collection is participant behaviour. This includes manual controllers used by the participants, allowing the system to understand how the participants wish to use its environment.

Anticipating its desired output

Data collected is then interpreted with processors. The participant behaviour is recorded by, but not limited to, duration, trends and movement. These data are mapped as patterns and as the system progresses through time, the collective data accumulates and the system is able to predict its desired outcome.

23

Chapter 03 Interactive System

24

Formulating an operation

With the knowledge of its initial state and the anticipated outcome it aims to perform, the controller within the system begins to formulate an operation. Embedded with the knowledge of its reconfiguration abilities, the system translates the anticipated outcome into the reconfigurative actions it needs to achieve.

Performing the operation

The reconfigurable building components, such as mechanics and actuators, allow the spatial behaviour to reconfigure itself, physically manipulating the space to achieve optimum performance customised to the participants’ use of the space.

Cyclic operation

Once the anticipated state is achieved, the interactive system goes back to its first process, using sensors to detect its ‘final’ state, converting it to its baseline state. The processes are then performed again, creating a cyclic operation. It must be highlighted here that when the system re-evaluates itself, the anticipated outcome may be its initial state, bypassing the formulation and performance of operation and maintaining its static position.

Chapter 03 Interactive System 03.03 Passive / active Input

There are two kinds of input required to recognise its environment: passive and active. For this discussion, the focus is on participation inputs as they are not only dynamic but also harder to speculate in behaviour in comparison to environmental behaviour. Passive input occurs when participants do not directly influence the interactive system and the system senses the participants’ behaviour and collects data through the use of sensors. Active input occurs when the participants use manual controllers to influence the system directly.

Collection of data

Initial stages of an interactive system will encounter frequent active input as the system does not have sufficient data to formulate operations. These inputs are indications of a desired environment as dictated by the participants. Concurrent to these influences, the system constantly collect data via passive input. It interprets passive input as the current environment and uses active input as (part of its) evaluation tools, comparing the current environment with the desired environment. To understand how an individual uses their space, it must first seek to understand the individual’s habit. As mentioned earlier, duration, trends and movement are vital information in explaining an individual’s habit through time.

Duration, trends and dynamism

Duration represents periods of continuation. These periods indicate the individual’s satisfaction (or tolerance) to its existing environment. Extended periods of continuation suggests the environment as suitable for the participants whereas short periods suggest the environment as either unsuitable or insufficient to meet the participants’ needs. Trends indicates participant directional tendency throughout the individual’s day, which are highly habitual and possible to map as patterns. Dynamism reveals participants’ stillness and movement. Stillness may indicate satisfaction with its environment and in contrast, movement demonstrating a desire for a different environment.

25

Chapter 03 Interactive System

26

Learning from memory

Although the passive input is utilised as the data core, active input is given priority.

This forces the system to recognise changes in its current environment to the desired environment. A key aspect of this process involves a memory bank where all participant behaviour are acknowledged and stored. As the memory accumulates data, the system grows smarter in recognising data patterns and begins to change its behaviour to suit the patterns.

Scale of behaviour

Inputs have thus far only been discussed on an individual scale. However, interactive systems can also address larger scales. On a collective scale, it can detect crowd duration, trends and movement and on an societal scale, it can collect cultural behaviour and development through time. This shows the versatility of such system and how interactive architecture does not only interact with its participants but also learn and progress with them.

Benefits

The benefit of interactive systems over responsive systems is in the multiplicity of variants.

Responsive systems are successful in dealing with singular and constant change and are commonly used in building components to address the periodic changes in the natural environment. One such example is mechanised shading systems responding to sunlight. However, the system fails when encountering various and irregular changes. In a natural disaster, interactive architecture can sense its fluctuating environment and adapt quickly, protecting its inhabitants from the disaster. Internally, it can also detect participant movements and change its internal behaviour to direct them to a safe area.

Time

Product Orientated Approach

Environment

Process Driven Approach

Environment

Design

Changing Environment

Building

Design

Changing

Building

Environment

Building

Design

Building

Progress

Readaptation

Design

Building

Progress

Readaptation

Degradation Changing

Changing

Environment

Environment

CHAPTER 04Methodology

Chapter 04 Methodology 04.01 Product vs process

People change and progress. As a society, our change is also continuous but slower, even more so in our built environment. Cities never reflect a final stage of its society and is registered as a process of change. A developed country does not stop changing. In fact, it may need to change faster in order to maintain its ‘developed’ stage. Hence, the built environment we live in should also advance and accompany our changing needs, perhaps even initiating new beneficial changes to the way we utilise our environment.

Product orientated approach

When a building is constructed, the final product, designed from a ‘top-down’ approach by the designer, serves the immediate need of the society. However, as time progresses, participants’ need changes and so does our requirement of the built environment. Here starts the failing function of a building. Our changing needs are reflected in the way we have always been adapting to the built environment, renovating and refurbishing our environment in order to continue using it. Rather than an architecture that serves our needs, it has now become an obstacle we need to overcome in order to continue progressing. The tipping point comes when participants evaluate the existing and already altered design as impossible to progress to the next stage, which leads to the demolition of the building.

Process driven approach

In our modern context, digital technology has accelerated the rate of information process, leading to faster and more intense societal change. To accommodate this progressive change, the way we design our built environment needs to take a process orientated approach. Digital technology have already initiated this procedure, producing parametric and relational designs. By designing the process required to generate a design, it allows us to encapsulate dynamic inputs. When the design materialises, it manifest as a phase within the process (Jaskiewicz, 2006). The process driven logic still exists within the building, allowing the architecture to change virtually in its design and also physically as it has allocated space for growth.

29

Chapter 04 Methodology Ecosystem of buildings

By establishing architecture not as a product of a design phase but a manifestation of a stage in the design process, we need to look into how it sits within the evolution of a society.

Architecture have to be considered as part of an ecosystem of our built environment, playing its role as an individual entity and also part of a larger network of buildings that continuously progresses.

This ecosystem demands the need for buildings to ‘communicate’ with one another, creating a network of interdependent buildings that evolves with the society. This allows buildings to cohesively and gradually progress through time. When certain programmes or functions begin to fail within a building, the neighbouring buildings respond with supportive functions, supplementing the inadequacy of the building and allowing it to readapt to the changing environment.

30

Chapter 04 Methodology 04.02 Design process

There are many ways of designing architecture with no clear answer of which is the best.

Even though there are common stages within the design process (Roozenburg and Eekels, 1995), a design methodology for interactive architecture calls for a customised procedure, targeting the participant experience as its initial focus.

A good interaction flows smoothly. It is spontaneous and unintentional, with no obstructions opposing the parties involved. Despite the notion of architects designing for people, they can only assume how their proposed design will work for participants, based on inference of site analysis and existing human behaviour prior to their design. To assess the building success, post occupancy evaluation is conducted, mostly by facility managers. This assessment is hardly ever passed back to the architects. Even when it does, the building has already been constructed and the architects become constricted by their own design.

This leaves little or no room to improve the building, and the feedback can only be used as a reminder in the architects’ subsequent projects.

A deeper understanding of how participants experience their built environment is required.

Instead of designing functions for people to use, the focus shifts to how participants experience the space and what will motivate them to interact with their environment.

This analysis begins in the design phase and does not stop. When the design phase has concluded and a building is constructed, the evaluation of participant experience and motivation still needs to be conducted constantly to ensure a good flow of interaction.

This forms the rationale for interactive architecture; constantly sensing its environment, processing the information to anticipate the desired outcome, formulating an operation and performing the operation.

31

Chapter 04 Methodology Analysis

The evaluation of participant experience and motivation is conducted through participant, variation and environment analysis. Multiple sensors need to be utilised in order for the interactive system to be fully aware and highly sensitive to its environment.

Refer to Chapter 05 Analysis for more details.

System design

The input is converted to digital information, which is processed within the interactive system. Based on programmed algorithms, it evaluates the digital information and a proposed set of instruction is sent to the kinetic components within the architecture.

Refer to Chapter 06 System Design for more details.

Architectural design

Kinematics influence the space and volume of an environment. The deformations are a result of movements created by the kinetic components, a series of mechanical systems powered by a controller Refer to Chapter 07 Architectural Design for more details and Chapter 09 Preliminary Studies for more experimentations.

Assesment

The success of the design is measured by its degree of adaptability to its environment.

Refer to Chapter 08 Assessment for more details.

32

SURVEY

Past Experience

SURVEY

Objective

SURVEY

Convenience

OBSERVATION

Collective Behaviour

DATA

Participant Analysis

OBSERVATION

Time

OBSERVATION

Duration

OBSERVATION

Trend

OBSERVATION

Dynamism

DATA

Variation Analysis

OBSERVATION

Visual Cues

OBSERVATION

Stimulation

OBSERVATION

Engagement

DATA

Environment Analysis

Inputs

CHAPTER 05Analysis

Chapter 05 Analysis 05.01 Participant analysis

There are various types of participant experience. It is important to highlight individual experience the same space differently based on their past experience, objective, convenience and collective behaviour.

Past experience

Past experience of similar environments inform the individual how to use the space, enforcing a habitual use and obstructing an exploration of new possibilities.

Objective

Individuals have different objectives in an environment. Positive and negative experience is formed when the environment succeeds or fails to meet their needs respectively.

Convenience

The convenience in achieving participants’ objectives elevates or demotes their experience of the place.

Collective behaviour

Experience may be heightened or suppressed by people within the vicinity. Cohesion and conflict creates positive and negative experiences respectively.

35

Chapter 05 Analysis 05.02 Variation analysis

A second factor that influences an individual’s experience of a place is variation. Variation in time influences the different objectives of an individual, consequently their desired state of environment. Variation in duration, trend and dynamism suggests how desirable the environment is.

Time

Individuals have a schedule and often a sequence of objectives to meet throughout the day. These objectives cover work, body maintenance and rest. This schedule plays an important role in determining the individual’s required/desired environment.

Duration

Duration of an individual in his environment indicates his satisfaction (or tolerance) with the existing space. In also indicates whether the environment is successful in motivating the participants to stay.

Trend Dynamism

36

Trend indicates participant directional tendency throughout the individual’s day.

Dynamism reveals participants’ stillness and movement.

Chapter 05 Analysis 05.03 Environment analysis

The third factor that shapes the participant’s experience is the environment itself. Visual cues, stimulation and engagement affects the interaction intensity between an individual with his environment, and also other individuals sharing the environment.

Visual cues

Visual cues inform the individual of the environment and its functions. It is dependent on associated memory of the individual’s past experience.

Stimulation

The number of stimulants in an environment influences how much an individual can engage with the environment. It also initiates the motivation for engagement with the environment.

Engagement

The range of engagement an environment provides will determine the duration of an individual in the environment.

37

Chapter 05 Analysis 05.04 Sensors

A growing list of available of sensors have been researched and the following sensors were found applicable to the domain of interactive architecture. The various types have been categorised under environment and participant sensors, each having their own sub categories.

05.04.01 Environment sensors

These sensors measure air, ground, solar, water, weather, sound, nature and landform.

This can be used to detect and monitor the environment.

Air

Air Flow Meter

Hygrometer

Measures air flow through a given space.

Measures moisture content in the environment.

Anemometer

Gas Detector

Measures wind speed.

Detects and differentiates different types of gases within a defined boundary.

Barometer Measures and moitor atmospheric pressure.

Quartz Thermometer Measures atmospheric temperature.

Ground

38

Frequency Domain Sensor

Piezometer

Measures the moisture content in soil.

Measures groundwater pressure at specific points.

Laser Doppler Vibrometer

Seismometer

Measures surface vibration without making contact.

Measures ground motions.

Chapter 05 Analysis Solar

Light Meter

Pyranometer

Measures the amount of light.

Measures solar irradiance on a planar surface.

Optical Position Sensor

Pyrgeometer

Measures the position of a light spot on a sensor

Measures atmospheric infra-red radiation.

surface.

Ultraviolet Sensor Passive Infrared Sensor

Detects different types of radiation.

Measures infrared light radiating from objects.

Water

Flow Sensor

Tide Gauge

Measures the rate of fluid flow.

Measures changing sea level relative to a pre-set datum.

Hydrophone Detects underwater sonic activity.

Water Meter Measures the volume of water usage.

Weather

Rain Gauge

Snow Gauge

Gathers and measures liquid percipitation (rain).

Gathers and measures solid percipitation (snow).

Rain Switch Activated in the presence of rainfall.

Sound

Fibre Optic Microphone Converts acoustic waves into electrical senses.

Nature

Auxanometer Measures the rate of plant growth.

39

Chapter 05 Analysis Landform

Inclinometer Measures the angle of solpe, elevation or depression of an object.

05.04.02 Participant sensors

These sensors measure movement, velocity, distance, heat, touch, visual, and sound. This can be used to detect and monitor participant behaviour.

Movement sensors

Capacitive Displacement Sensor

Motion Detector

Records position, proximity, movement and

Quantifies motion through the use of electronic

acceleration of any conductive target.

sensor.

Displacement Receiver

Occupancy Sensor

Detects displacement of a given object.

Detects changes in position of an object.

Velocity Receiver

Laser Surface Velocimeter

Detects velocity of an object.

Measures velocity and length of movement.

Velocity sensors

Doppler Radar Measures velocity data about objects with the use of the Doppler effect.

Distance sensors

Laser Rangefinder

Proximity Sensor

Measures the distance of an object via a laser

Detects the presence of nearby objects.

beam.

Photoelectric Sensor

40

Linear Encoder

Detects distance, absense or presence of an object

Records position via scale encoding.

via infrared transmitter.

Chapter 05 Analysis Heat Sensors

Heat Flux Sensor Detects heat rate and converts into an electrical signal.

Touch Sensors

Visual Sensors

Piezoelectric Sensor

Tactile Sensor

Measure pressure, acceleration, strain or force and

Converts touch, force or pressure to electrical

converts them to an electrical charge.

signals.

Active Pixel Sensor

Tactile Sensor

Converts optical image into an electronic signal.

Converts touch, force or pressure to electrical signals.

Sound Sensors 05.04.03 Evaluation

Fibre Optic Microphone Converts acoustic waves into electrical senses.

The use of these sensors within the interactive system is based on the designer’s selection and may be utilised to record and measure participants within its area, variations occuring in the area and the environment itself.

41

DATA

DATA

#01 Passive

#02 Passive

#01 Active

DATA

#02 Active

DATA

Input

Input

Input

Input

#01 PROCESSOR #01 MICRO PROCESSOR FUNCTION

FUNCTION

Input to Data

Input to Data

Conversion

Conversion

FUNCTION

FUNCTION

FUNCTION

FUNCTION

Memory

Programmed

Memory

Programmed

Bank

Sequence

Bank

Sequence

FUNCTION

Feedback Loop

#02 MICRO PROCESSOR

FUNCTION

Data

Data

Evaluation

Evaluation

DATA

DATA

Data

Data

Output

Output

Controller

CHAPTER 06System Design

Chapter 06 System Design 06.01 Processor

Similar to a computer processor, interactive architecture utilises a processing unit to convert analogue input into digital data. These data are processed through a digital alogorithm and are compared to existing memory data. Once the data is compared and evaluated, the processor will formulate the optimum data ouput, subsequently sending digital signals to controllers to perform the operation in the physical realm.

An interactive system does not always require a centralised processing unit and is able to act upon multiple microprocessing units in constant communication. The benefits of having a network of processors is its ability to reconfigure quickly and be introduced to additional processors whereas the choreography of processors may be detriment to the entire system.

Within the field of architecture, the processors are responsible for identifying and implementing optimal spatial solution (Biloria, Oosterhuis, 2005).The synergistic approach is triggered by context driven inputs. Within the processor unit, it computates the data from these inputs and additionally, the kinetic components that make up the architecture and the control systems. Once the optimal operation is determined, it instructs the kinetic components and consequently, transforming the architecture.

Input to data breakdown

When the sensors detect and measure the environment and participants, it must first be converted to digital information. Analog-to-Digital Converters (ADC) breaks down the continuous analogue signal to discrete signals of time sequences, which are quantified and recorded as digital information. This gives the processor a quantitative grasp of the physical environment.

Memory bank

The quantified physical environment is stored in a memory bank and will be used to compare and evaluate against the quantified desired environment as provided by the performed operation.

43

Chapter 06 System Design

44

Programmed sequence

The programmed sequence is carried out within its software, containing instructions from the architect on how to react to the (quantified) physical environment. This set of instructions is translated to digital information and programmed within the software by a system architect.

Data evaluation

the digital information from the ADC is evaluated against the software and the memory bank and a set of proposed instructions are sent to the controller.

Data output

The (quantified) desired environment is given back to the memory bank while the digital information is sent through a Digital-to-Analogue Converter, giving instructions to the kinetic components within the architecture.

DATA

DATA

DATA

#02

#03

#04

Actuator

Actuator

Actuator

Actuator

FUNCTION

FUNCTION

#01

#02

Mechanism

Mechanism

OBJECT

Structure

ENVIRONMENT

Feedback Loop

DATA

#01

Final Configuration

CHAPTER 07Architectural Design

OBJECT

Surface Material

Chapter 07 Architectural Design 07.01 Kinematics

Translation

Kinematics are concerned with the motion of objects without consideration of the acting forces. This influences the architectural design as it makes up the space and volume. In addition, the spatial manipulation contributes to the architectural qualities of the design.

In kinematics, the motion of change in an object occurs when there is either a translation, rotation or both in any given part along any axis, resulting in a displacement of two frames.

Motion in a straight line.

Example: Linear, Reciprocation

Rotation

Motion in a circular orbit.

Example: Circular, Oscillation

Combination

Motion in a straight and circular path.

Example:

Rolling, Curvilinear, Periodic

Time

Aside from spatial manipulation, kinematics also concerns the velocity and acceleration of displacement. This influences the architectural design as the physical environment is experienced not at a moment but throughout a given time.

Case study

Case study #01 Pavilion show how static force acting in a linear direction towards each other can result in material deformation.

Case study #02 Resonant Chamber show how dynamic kinetic movements can result in a gentle material behaviour, changing the atmospheric quality.

Evaluation

It is the role of the designer to explore the possibilities of kinematics and use the object behaviour, under kinetic forces, to create an architecturally designed outcome.

Refer to Chapter 09 Preliminary Studies for more experimentations on kinematics.

47

Chapter 07 Architectural Design Fig 07.01 External View Pavilion [Ref Illustrative 07.01] Fig 07.02 Bending the material Pavilion [Ref Illustrative 07.02]

Fig 07.01

Fig 07.02

Fig 07.03

Fig 07.04

Designers(s)

EmTech (AA), ETH

System Bending

Location

Zurich, Switzerland

Displacement

Fig 07.03 Model exploration of material behaviour Pavilion [Ref Illustrative 07.03] Fig 07.04 Cut strips within the plywood Pavilion [Ref Illustrative 07.04]

Pavilion

Material

Plywood

Scale Pavilion Year

http://emtech.aaschool.ac.uk/2011/02/16/ aaethpavilion/

48

None 2011

The pavilion is the realisation of material manipuation. Utilising the bending properties of plywood, cut strips were introduced for even distribution of internal forces. Although the pavilion does not receive any dynamic force, it constantly receives a compression force at the ends of the material, causing the material to react with its internal compression forces.

The meeting of both static force results in the natural bending of the material.

Chapter 07 Architectural Design

Fig 07.05 Actuated panels Resonant Chamber [Ref Illustrative 07.05]

Fig 07.05

Fig 07.06 Different displacements stages Resonant Chamber [Ref Illustrative 07.06] Fig 07.07 Different displacements stages Resonant Chamber [Ref Illustrative 07.07]

Resonant Chamber

Fig 07.06

Designers(s) rvtr

System

Connected Panelling

Location

Motion

Linear (Curvilinear)

Scale

Building Component

Material

Portable Medium Density Fibreboard Acoustic Sound Panel

http://www.rvtr.com/

Fig 07.07

Year

2007

The connected panels are controlled by actuators, pulling the panels together (closed interface) and pushing them apart (open interface). Mechanisms were used minimally (mostly for connecting the panels) and the linear motion performed by the actuators is translated into the overall curvilinear motion due to the unique tessellated folding properties.

The outcome was an elegant opening and closing of the acoustic panel.

49

Chapter 07 Architectural Design 07.02 Kinetics

Structural elements Mechanical elements Case study

To achieve the kinematics, a mechanical system is required to translate and rotate the object. It can be applied as a global control, providing a single force to act on the object or as a local control, providing multiple forces on different components of the object. A basic knowledge of mechanisms is required to give a free range of movements to the surface and understand the mechanical limitations that may restrict the various types of kinematics. A kinetic system is made up of the structural support and mechanical elements.

Provides structural stability to mecahnical system Example: Axle, Bearings, Couplings, Fasterners, Shafts, Splines

Provide and control movement to the mechanical system Example:

Belt, Chain, Cable, Gear train, Cam system, Linkage, Pivot

Case study #01 Strandbeest shows how a complex network of kinetic mechanisms work together to produce a synchronised and choreographed movement.

Case study #02 Kinetic Sculpture shows how individual kinetic mechanisms can also work together to produce a synchronised and choreographed movement.

Evaluation

It is the role of the designer to explore the possibilities of kinetic systems in order to achieve the object manipulation required to produce an architecturally designed outcome.

Refer to Chapter 09 Preliminary Studies for more experimentations on kinetics.

50

Chapter 07 Architectural Design

Fig 07.08 Connected structures and mechanism Stranbeest [Ref Illustrative 07.08]

Fig 07.08

Fig 07.09 Choreographed walking movements Stranbeest [Ref Illustrative 07.09] Fig 07.10 Mechanism detail Stranbeest [Ref Illustrative 07.10]

Strandbeest

Fig 07.09

Designers(s) Location Material

Theo Jansen

System

Axle, Pivots

Portable

Motion

Circular (Curvilinear)

Scale

Walking Installation

Plastic yellow tubes Fabric

http://www.strandbeest.com/

Fig 07.10

Year

2005

The Strandbeest is an installation of complex kinetic mechanisms, which work cohesively in to generate a walking motion. Wind is caught within the sails, which propels the installation forward. The wind rotates the axle in the core of the installation, which in turn is translated to other multiple rotary mechanisms, consequently rotating the individual legs in a curvilinear forward direction.

51

Chapter 07 Architectural Design Fig 07.11 One of many variations Kinetic Sculpture [Ref Illustrative 07.11] Fig 07.12 Sculpture transformation Kinetic Sculpture [Ref Illustrative 07.12]

Fig 07.11

Fig 07.12

Fig 07.13

Fig 07.14

ART+COM Berlin

System Mesh

Fig 07.13 One of 714 metal spheres Kinetic Sculpture [Ref Illustrative 07.13] Fig 07.14 Multiple transformation Kinetic Sculpture [Ref Illustrative 07.14]

Kinetic Sculpture

Designers(s) Location Material

BMW Museum, Munich Metal spheres Transparent wires

http://www.artcom.de/en/home/

52

Displacement

Linear

Scale Installation Year

2008

Each metallic sphere is held by a transparent wire, which is controlled by the motors.

Although the displacement of each sphere is constrained to a linear motion (raise and drop), the choreography of the full installation allows it to exhibit multiple variations, creating a mesh of spheres that caresses the atmosphere of the room.

Chapter 07 Architectural Design 07.03 Controller

Types

To trigger the mechanical system, the digital output from the processor must be directed to a electromechanical transducer, which will convert energy into motion. A transducer is selected based on its output movement, force and velocity.

Pneumatic Actuator Converts compressed air into a mechanical motion.

Movement can be either rotary or linear.

Pneumatic Artificial Muscles Converts pressurised air in a pneumatic bladder into contraction and expansion force.

Movement is linear.

Pneumatic Cylinders Converts compressed air to produce a reciprocating linear action.

Movement is linear.

Hydraulic Actuator Utilises water pressure to extend and contract a piston.

Movement is linear.

Electric Linear Actuator Converts electric current into a mechanical shaft that rises and falls.

Movement is linear.

Evaluation

Aside from the output movement, force and velocity, selection criteria may include, but not limited to, maintainence required and permanance. Pneumatic actuators are usually the best choice as they require little maintainence in comparison to hydraulic actuators and the need for an electrical current in comparison to the eliectric linear actuator.

53

CHAPTER 08Assessment

Chapter 08 Assessment 08.01 Evaluation criteria

The assessment of interactive architecture is evaluated based on 4 criterias. It needs to be reconfigurable, portable, flexible, and automated. These 4 criterias allow the architecture to adapt to the changing built environment and the progressing society.

Reconfigurability

The architecture needs to be reconfigurable. This allows: • Architecture to interactive with adjacent buildings (small scale) and the larger network of buildings (large scale) • Progressive development to adapt to the changing environment and demographics

Portability

The architecture needs to be portable. This allows: • Architecture to be easily built on site • (Parts of the) Architecture to change locations and develop in other areas within the ecosystem of buildings

Flexibility

The architecture needs to be flexible. This allows: • Architecture to transform in physical structure to suite the changing environment and demographics

Automation

The architecture needs to be automated. This allows: • Architecture to elevate, rather than obstrcut, participants’ convenience • React to real-time situations and changes

55

CHAPTER 09Participant Sensitive

Chapter 09 Participant Sensitive Fig 09.01 Interactive scripting computer program [Ref Illustrative 09.01] Fig 09.02 Rhinoceros 3D NURBS modeling computer program [Ref Illustrative 09.02]

09.01 Goal and experimentation

Fig 09.01

Fig 09.02

Particle movement in Processing was input into Rhinoceros to activate the digital model. This represented how movement can activate and transform a model.

Particle sensitive system demonstrated digital model activation based on a single particle. Two additional particles were added to Processing to represent different types of movement and how they would activate the digital model simultaneously.

Subsequently, the digital model was multiplied to create a number of models.

As the three different particles navigate through the digital models, they activate the various adjacent digital models. Lastly, the three particles were multiplied to represent more movement, which triggers additional activiation in the digital models.

57

Chapter 09 Participant Sensitive 09.02 Particle sensitive system Domain: x axis:

1 500px

y axis:

1 500px

Grid:

Grid

ain

X axis:

30 sub division

Y axis:

30 sub division

Dom y ax

y ax

is x axis

is x axis

Extension: Level 1:

140% [ z axis ]

Level 2:

220% [ z axis ]

Level 3:

360% [ z axis ]

Level 4:

580% [ z axis ]

Attraction: Level 1 Subdivision:

1

Level 2 Subdivision:

9

Level 3 Subdivision:

25

Level 4 Subdivision:

49

n

nsio

Exte y ax

is x axis

on

acti

Attr y ax

is x axis

Fig 09.03 Development of particile sensitive system [Ref Illustrative 09.03] 58

Chapter 09 Participant Sensitive Particle sensitive simulation Frame 01, 02 and 03

Particle sensitive simulation Frame 04, 05 and 06

Particle sensitive simulation Frame 07, 08 and 09

Particle sensitive simulation Frame 10, 11 and 12

Fig 09.04 Time frame of particle sensitive simulation [Ref Illustrative 09.04] 59

Chapter 09 Participant Sensitive 09.03 Variant particles stimulation Particle 1: RBG value:

250 // 200 // 005

Starting point:

05 [ x axis ]

05 [ y axis ]

Behaviour: Random y ax

is x axis

Particle 2: RBG value:

ion ulat Stim icle 1 t Par

y ax

is x axis

ion ulat Stim icle 2 t Par

000 // 135 // 180

Starting point:

16 [ x axis ]

05 [ y axis ]

Behaviour: Linear

Particle 3: RBG value:

175 // 220 // 050

Starting point:

26 [ x axis ]

05 [ y axis ]

Behaviour: Random

y ax

is x axis

ion ulat Stim icle 3 t Par

y ax

is x axis

n latio imu , 3 t s tiple 1, 2 Mul article P

Fig 09.05 Development of variant particles stimulation [Ref Illustrative 09.05] 60

Chapter 09 Participant Sensitive Variant particles stimulation Frame 01, 02 and 03

Variant particles stimulation Frame 04, 05 and 06

Variant particles stimulation Frame 07, 08 and 09

Variant particles stimulation Frame 10, 11 and 12

Fig 09.06 Time frame of variant particles stimulation [Ref Illustrative 09.06] 61

Chapter 09 Participant Sensitive 09.04 Variant particles activation Block: Individual:

250px, 250px

Spacing:

250px, 250px

Disregard:

Row 01 [ y axis ] Column 01 [ x axis ]

ted

tiva

ac Non

y ax

is x axis

Activation: Non activated:

200 // 200 // 200 [ RGB ]

Particle 1:

250 // 200 // 005 [ RBG ]

Particle 2:

000 // 135 // 180 [ RBG ]

Particle 3:

175 // 220 // 050 [ RBG ]

y ax

is x axis

d vate Acti le 1 tic Par

Particle 1: Starting point:

Row 02 [ y axis ] Column 04 [ x axis ]

Behaviour: Random

Particle 2: Starting point:

Row 02 [ y axis ] Column 08 [ x axis ]

Behaviour: Linear

y ax

is x axis

d vate Acti le 2 tic Par

y ax

is x axis

d vate Acti le 3 tic Par

Particle 3: Starting point:

Row 02 [ x axis ] Column 12 [ y axis ]

Behaviour: Random 62

Fig 09.07 Development of variant particles activation [Ref Illustrative 09.07]

Chapter 09 Participant Sensitive Variant particles activation Frame 01, 02 and 03

Variant particles activation Frame 04, 05 and 06

Variant particles activation Frame 07, 08 and 09

Variant particles activation Frame 10, 11 and 12

Fig 09.08 Time frame of variant particles activation [Ref Illustrative 09.08] 63

Chapter 09 Participant Sensitive 09.05 Multiple particles activation Particle 1: Starting point #01:

Row 02 [ y axis ]

Column 04 [ x axis ] Behaviour #01: Starting point #02:

Behaviour #02:

Random Row 14 [ y axis ] Column 04 [ x axis ]

ted

tiva

ac Non

y ax

is x axis

y ax

is x axis

oint ng P 1 i t r a St article P

Random

Particle 2: Starting point #01:

Behaviour #01: Starting point #02:

Behaviour #02:

Row 02 [ y axis ] Column 08 [ x axis ] Linear Row 14 [ y axis ] Column 08 [ x axis ] Linear

Particle 3: Starting point #01:

Behaviour #01: Starting point #02:

Behaviour #02: 64

Row 02 [ y axis ] Column 12 [ x axis ]

y ax

is x axis

t Poin ting le 2 r a t S artic P

y ax

is x axis

t Poin ting le 3 r a t S artic P

Random Row 14 [ y axis ] Column 12 [ x axis ] Random

Fig 09.09 Development of multple particles activation [Ref Illustrative 09.09]

Chapter 09 Participant Sensitive Multiple particles activation Frame 01, 02 and 03

Multiple particles activation Frame 04, 05 and 06

Multiple particles activation Frame 07, 08 and 09

Multiple particles activation Frame 10, 11 and 12

Fig 09.10 Time frame of multple particles activation [Ref Illustrative 09.10] 65

CHAPTER 10Self Evaluative

Chapter 10 Self Evaluative Fig 10.01 Interactive scripting computer program [Ref Illustrative 10.01] Fig 10.02 Interactive tracing simulation [Ref Illustrative 10.02]

10.01 Goal and experimentation

Fig 10.01

Fig 10.02

Experimentations were conducted in Processing to simulate movement and interaction of people, represented as particles and traces.

Firstly, static activation was scripted to simulate entry into a space. The starting point increases in particles and the particles move away from the point. Dynamic activation was scripted to simulate how particles move outwards from a defined movement, simulating how people deviate from a pre-determined path.

Point tracing demonstrated the paths left behind by the particle movement, providing evidence on the movement which subsequently aided in the design and allocation of programs.

67

Chapter 10 Self Evaluative 10.02 Static activation

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255 // 255 // 255

x axis:

2 700px

y axis:

900px

Activation: Start Point:

1 350 px [ x axis ]

450 px [ y axis ]

Generative Behaviour: Number of generation:

04 - 08

Time lapse of generation:

05 sec

Angle: 67.500 [ 4 x No. of gen ] 54.000 [ 5 x No. of gen ] 45.000 [ 6 x No. of gen ] 38.570 [ 7 x No. of gen ] 33.750 [ 8 x No. of gen ]

Movement Behaviour: Direction: Sporadic Conflict:

Deflection

Fig 10.03 Time frame of static activation simulation [Ref Illustrative 10.03] 68

Chapter 10 Self Evaluative #13

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Chapter 10 Self Evaluative 10.03 Dynamic activation v1.0

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Activation: Start Point:

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1 350 px [ x axis ] 450 px [ y axis ] 0 px [ x axis start ] 2700 px [ x axis end ]

Movement #01:

300 px horizontal right

Movement #02:

300 px horizontal left

Time sequence:

08 sec

Fig 10.04 Time frame of dynamic activation v1.0 simulation [Ref Illustrative 10.04] 70

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Chapter 10 Self Evaluative 10.04 Dynamic activation v2.0

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Movement #01:

300 px vertical down

Movement #02:

300 px horizontal left

Movement #03:

300 px vertical up

Movement #04:

300 px horizontal right

Time sequence:

08 sec

Fig 10.05 Time frame of dynamic activation v2.0 simulation [Ref Illustrative 10.05] 72

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Chapter 10 Self Evaluative 10.05 Single point tracing

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450 px [ y axis ]

Time sequence:

25 sec

Generative Behaviour: Number of generation:

04 - 06

Time lapse of generation:

08 sec

Movement Behaviour: Direction: Sporadic Conflict: Influence:

Deflection Memory Trace

Fig 10.06 Time frame of single point tracing simulation [Ref Illustrative 10.06] 74

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Chapter 10 Self Evaluative 10.06 Single revolving point tracing

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450 px [ y axis ]

Time sequence: Movement:

20 sec Circular [ 300 px Ă˜ ]

Speed:

4 px / sec

Generative Behaviour: Number of generation:

04 - 06

Time lapse of generation:

08 sec

Movement Behaviour: Direction: Sporadic Conflict: Influence:

Deflection Memory Trace

Fig 10.07 Time frame of single revolving point tracing simulation [Ref Illustrative 10.07] 76

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Speed: Movement #01:

4 px / sec 300 px vertical down

Movement #02:

300 px vertical up

Time sequence:

20 sec

Fig 10.08 Time frame of dynamic point tracing simulation [Ref Illustrative 10.08] 78

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1 800 px [ x axis ] 800 px [ y axis ]

Start Point #03:

1 800 px [ x axis ]

100 px [ y axis ]

Start Point #04:

900 px [ x axis ]

100 px [ y axis ]

Limit:

0 px [ x axis start ] 2700 px [ x axis end ] 0 px [ y axis start ] 900 px [ y axis end ]

Time sequence: Activation sequence:

20 sec #01, #02, #03, #04

Fig 10.09 Time frame of multiple dynamic point tracing simulation [Ref Illustrative 10.09] 80

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CHAPTER 11Reconfigurative

Chapter 11 Reconfigurative Fig 11.01 Interactive scripting computer program [Ref Illustrative 11.01] Fig 11.02 Grasshopper Plugin for Rhinoceros [Ref Illustrative 11.02]

11.01 Goal and experimentation

Fig 11.01

Fig 11.02

Initial experimentations were conducted to understand the movement, benefits and limitations of kinematics (Miura folding and Yoshimura folding) and kinetics (pivot hinge and pivot system).

Subsequently, a digital model was made in Rhinoceros with the Grasshopper Plugin. A set of binary codes from a Microsoft Excel spreadsheet was input into Grasshopper Plugin via gHowl to create a geometric composition, which was developed into a volumetric configuration and lastly manipulated.

The values within the spreadsheet were manipulated, which automated and moved the digital model in Rhinoceros.

83

Chapter 11 Reconfigurative 11.02 Kinematics (Miura folding)

Fig 11.03 Miura folding pattern sequence [Ref Illustrative 11.03]

000

150

300

450

600

750

000

150

300

450

600

750

11.03 Kinematics (Yoshimura folding)

Fig 11.04 Yoshimura folding pattern sequence [Ref Illustrative 11.04] 84

Chapter 11 Reconfigurative 11.04 Kinetics (Pivot Hinge)

Fig 11.05 Pivot hinge movement [Ref Illustrative 11.05]

150

150

150

750

750

750

150

300

600

750

11.05 Kinetics (Pivot system)

Fig 11.06 Pivot system movement [Ref Illustrative 11.06]

450

85

Chapter 11 Reconfigurative 11.06 Geometric Composition 011011011011011011011011 111111111111111111111111 011011011011011011011011 111011111011111011111011 101010101010101010101010 110001110001110001110001 100000100000100000100000 110001110001110001110001 100000100000100000100000 100000100000100000100000 [ Single Layer Binary Coding ] Zaxis Layer 01: X inputs // Number of points

Row 01 // Projected vector of points

// 0 = Linear // 1 = Angular

Row 02 // Establishment of points

// 0 = Point absent

// 1 = Point present Sequence 01 // Zaxis Layer 01 [ Row 1 + Row 2 ]

Fig 11.07 Geometric composition via binary coding [Ref Illustrative 11.07] 86

Generative Sequence 01 Seq. 01 // Row 01 [ 08 No. x Linear ]

Row 01 [ 16 No. x Angular ]

Row 02 [ 00 No. x Node absence]

Row 02 [ 24 No. x Node presence]

Generative Sequence 02 - 05 Seq. 02 // R03 [ 08L 16A ] Seq. 03 // R05 [ 12L 12A ] Seq. 04 // R07 [ 20L 04A ] Seq. 05 // R09 [ 20L 04A ]

Generative Sequence 06 - 15 Seq. 06 // R11 [ 08L 16A ] Seq. 07 // R13 [ 12L 12A ] Seq. 08 // R15 [ 20L 04A ]

Generative Sequence 16 - 24 Seq. 16 // R31 [ 12L 12A ] Seq. 17 // R33 [ 18L 06A ] Seq. 18 // R35 [ 24L 00A ]

R12 [04Ab 20Pr] R14 [12Ab 12Pr] R16 [12Ab 12Pr] ... ... ... (continued)

R04 R06 R08 R10

[04Ab 20Pr] [12Ab 12Pr] [12Ab 12Pr] [20Ab 04Pr]

R32 [08Ab 16Pr] R34 [12Ab 12Pr] R36 [00Ab 24Pr] ... ... ... (continued)

Chapter 11 Reconfigurative 11.07 Volumetric Configuration 111101000110110011111110 0 11 11 10 11 11 10 11 11 10 11 11 10 11 11 10 11 11 10 11 11 10 11 11 1 1 11 11 11 11 01 11 01 01 01 11 11 01 11 11 01 01 11 11 11 11 11 11 11 0 0 11 11 10 11 11 10 11 11 10 11 11 00 11 11 00 01 11 10 11 11 10 11 11 0 1 11 01 10 01 11 01 11 11 10 01 11 01 01 11 00 01 11 01 11 01 10 11 01 0 1 00 11 00 11 10 11 10 11 10 11 00 01 10 01 00 01 00 11 00 11 00 01 10 0 1 01 00 00 00 11 01 11 10 10 00 01 01 01 00 00 00 01 01 01 00 00 00 01 0 1 00 10 00 10 10 11 10 10 10 10 00 01 10 00 00 00 00 11 00 10 00 00 10 0 1 01 00 00 00 11 01 11 10 10 00 01 01 01 00 00 00 01 01 01 00 00 00 01 0 1 00 00 00 00 10 01 10 10 10 00 00 01 00 00 00 00 00 01 00 00 00 00 00 0 100000100000100000100000 [ 3D Binary Coding ] zaxis Layer 01: X inputs // Number of points

Row 01 // Projected vector of points

// 0 = Linear // 1 = Angular

Row 02 // Establishment of points

// 0 = Point absence

// 1 = Point presence

Generative Sequence 01 Zaxis Layer 01 // R01 [ 08L 16A ] R02 [00Ab 24Pr] Zaxis Layer 02 // R01 [ 24L 00A ] R02 [00Ab 24Pr]

Generative Sequence 02 - 05 Zaxis L01 // R03 [ 08L 16A ] Zaxis L02 // R03 [ 16L 08A ] Zaxis L01 // R05 [ 12L 12A ]

Generative Sequence 06 - 15 Zaxis L01 // R11 [ 08L 16A ] Zaxis L02 // R11 [ 24L 00A ] Zaxis L01 // R13 [ 12L 12A ]

Generative Layer 16 - 24 Zaxis L01 // R31 [ 12L 12A ] Zaxis L02 // R31 [ 18L 06A ] Zaxis L01 // R33 [ 24L 00A ]

R04 [04Ab 20Pr] R04 [00Ab 24Pr] R06 [12Ab 12Pr] ... ... ... (continued)

Zaxis Layer 02: X inputs // Number of angle rotation

Row 01 // Projected vector of points

// 0 = Vector Linear

// 1 = Vector Angular

Row 02 // Establishment of points

// 0 = Point absence

// 1 = Point presence Sequence 01 // Zaxis Layer 01 [ Row 01 + Row 02 ] + // Zaxis Layer 02 [ Row 01 + Row 02 ] Fig 11.08 Volumetric configuration via binary coding [Ref Illustrative 11.08]

R12 [04Ab 20Pr] R12 [00Ab 24Pr] R14 [12Ab 12Pr] ... ... ... (continued)

R32 [08Ab 16Pr] R32 [00Ab 24Pr] R34 [12Ab 12Pr] ... ... ... (continued) 87

Chapter 11 Reconfigurative 11.08 Volumetric Manipulation Duration Hour = 0000H to 2300H

=

0 to 1

Day

=

0 to 1

January to December =

0 to 1

1400H 0.583

= Monday to Sunday Tues 0.286

Month

=

Oct 0.833

Speed Static (0m/min) to Dynamic (250m/min) =

1

[Spd] = 80m/min

= 0.32

1

[Var] = Linear

= 0.00

2

[Spd] = 50m/min

= 0.20

2

[Var] = Linear

= 0.00

3

[Spd] = 120m/min

= 0.48

3

[Var] = Linear

= 0.00

4

[Spd] = 50m/min

= 0.20

4

[Var] = Linear

= 0.00

5

[Spd] = 120m/min

= 0.48

5

[Var] = Linear

= 0.37

1

0 to 1

90m/min 0.36

Variation Linear to Sporadic

=

0 to 1

Linear 0.00

3

2

5

Fig 11.09 Volumetric manipulation via shifting the binary code [Ref Illustrative 11.09] 88

4

Chapter 11 Reconfigurative 11.09 Architectural Movement Duration Hour = 0000H to 2300H

=

0 to 1

Day

=

0 to 1

January to December =

0 to 1

1400H 0.583

= Monday to Sunday Tues 0.286

Month

=

Oct 0.833

Speed Static (0m/min) to Dynamic (250m/min) =

0 to 1

90m/min 0.36

Variation Linear to Sporadic

=

0 to 1

Sporadic 0.73

Fig 11.10 Architectural movement via shifting the binary code [Ref Illustrative 11.10] 89

Chapter 11 Reconfigurative 11.10 Architectureal movement sequence

#06

#12

#01

#07

#13

#02

#08

#14

#03

#09

#15

#04

#10

#16

#05

#11

#17

90

Chapter 11 Reconfigurative #18

#24

#30

#19

#25

#31

#20

#26

#32

#21

#27

#33

#22

#28

#34

#23

#29

#35

Fig 11.11 Architectural movement sequence [Ref Illustrative 11.11] 91

CHAPTER 12Site Analysis

rused spaces in Australia. The w laneway.

them the potential for a level Chapter 12 of nd have their own community.

Analysis he city on their Site own terms, ting ‘mid-level’ view of the city, n be seen as whole, but still see and smell the bustle and They are part of another urban

WICK CLUB

Fig 12.01 Melbourne Central Shopping Complex rooftop [Ref Illustrative 12.01] Fig 12.02

Fig 12.02 Urban access to MCSC rooftop [Ref Illustrative 12.02] Fig 12.03 Concealed building services on MCSC rooftop [Ref Illustrative 12.03]

Fig 12.01

Aspect to Drewery Lane is both attractive but highlights potential concerns with overlooking

12.01 Site selection

A c

Southern edge looking north-east

Fig 12.03 View looking south towards Myer along western section

The chosen site for Work, Play, Enjoy is Melbourne Central Shopping Complex (MCSC) BRUNSWICK CLUB Little Lonsdale and Lonsdale Rooftop. It is located within the city THE of Melbourne, between ARCHITECTS IN ASSOCIATION Street, above MCSC. It is currently© 2009 an undefined space located within defined closed areas. The aim is to create an environment that promotes interaction between the different users of the surrounding by overflowing and mixing activities.

HAPPY VALLEY

Urban access

MELBOURNE CENTRAL ROOFTOP The rooftop has a private access that transits to a public space.

It isGPTonly accessible from for THE GROUP within Melbourne Central Shopping Complex, yet has multiple visual connections with its surroundings such as Drewery Place, Lonsdale Street and Sister Bella.

Architectural activity

The site is currently a dead space occupied by concealed building services (ducts, air intakes, exhausts etc). Activities within the adjacent buildings are confined within its private areas, isolating the building from the city and its adjacent buildings.

Personal experience

The site offers a mid level experience of the city. It is far enough to experience the city as an urban design yet close enough to experience the city life from a commuters point of view. It connects to the surroundings visually but is physically isolated from the city.

OCIATION

93

5

Chapter 12 Site Analysis 12.02 Environment analysis

Current Site Condition

MELBOURNE CENTRAL SHOPPING COMPLEX

LT LONSDALE STREET

Retain / Demolish Existing Structures

LT LONSDALE STREET

DREWERY AL

Existing Access 4 x No. stairwell DREWERY PL

Proposed Access 01 Melbourne Central Level 4 02 Myer Emporium 03 Sister Bella Restricted Access 05 Cargo Access to MCSC 06 Private Road 07 Cargo Access 08 Cargo Access

SNIDER LN

LONSDALE STREET

LONSDALE STREET

Primary Circulation MYER EMPORIUM

Agenda Driven Programs Program Mix

94

LE V E L 4 R O O F F LO O R P LAN

Fig 12.04 Site condition MCSC rooftop [Ref Illustrative 12.04]

Chapter 12 Site Analysis

Storage facilities

al entr x C e e pl rn bou om Mel pping C Sho rium

po r Em

Mye

Buiding Services

M Sho elbou n rn ppin ditio g C e Ce omp ntra ite Con lex Roo l S ftop

Fig 12.05 Site condition MCSC rooftop (isometric) [Ref Illustrative 12.05] 95

Chapter 12 Site Analysis 12.02 Environment analysis

Current Site Condition

MELBOURNE CENTRAL SHOPPING COMPLEX

LT LONSDALE STREET

Retain / Demolish Existing Structures

LT LONSDALE STREET

DREWERY AL

Existing Access 4 x No. stairwell DREWERY PL

Proposed Access 01 Melbourne Central Level 4 02 Myer Emporium 03 Sister Bella Restricted Access 05 Cargo Access to MCSC 06 Private Road 07 Cargo Access 08 Cargo Access

SNIDER LN

LONSDALE STREET

LONSDALE STREET

Primary Circulation MYER EMPORIUM

Agenda Driven Programs Program Mix

96

LE V E L 4 R O O F F LO O R P LAN

Fig 12.06 Site alteration MCSC rooftop [Ref Illustrative 12.06]

Chapter 12 Site Analysis

Access to view Increase Openness

al entr x C e e pl rn bou om Mel pping C Sho rium

po r Em

Mye

Access to view Increase site conection

M Sho elbou n rn ppin atio g C e Ce omp ntra ite Alter ty ] lex i Roo l S meabil ftop Per [

Fig 12.07 Site alteration MCSC rooftop (isometric) [Ref Illustrative 12.07] 97

Chapter 12 Site Analysis 12.02 Environment analysis

MELBOURNE CENTRAL SHOPPING COMPLEX

1

Current Site Condition

LT LONSDALE STREET

Retain / Demolish Existing Structures

LT LONSDALE STREET

5

8

DREWERY AL

7

DREWERY PL

Existing Access 4 x No. stairwell 6

Proposed Access 01 Melbourne Central Level 4 02 Myer Emporium 03 Sister Bella Restricted Access 05 Cargo Access to MCSC 06 Private Road 07 Cargo Access 08 Cargo Access

3

SNIDER LN

LONSDALE STREET

2

LONSDALE STREET

Primary Circulation MYER EMPORIUM

Agenda Driven Programs Program Mix

98

LE V E L 4 R O O F F LO O R P LAN

Fig 12.08 Site access MCSC rooftop [Ref Illustrative 12.08]

Chapter 12 Site Analysis

Reusing existing access Proposed new access

al entr x C e e pl rn bou om Mel pping C Sho rium

po r Em

Mye

Access to view Reusing existing access

M Sho elbou rn ppin ss g C e Ce omp ntra ite Acce lex Roo l S ftop

Fig 12.09 Site access MCSC rooftop (isometric) [Ref Illustrative 12.09] 99

Chapter 12 Site Analysis 12.02 Environment analysis

MELBOURNE CENTRAL SHOPPING COMPLEX

1

Current Site Condition

LT LONSDALE STREET

Retain / Demolish Existing Structures

LT LONSDALE STREET

5

8

DREWERY AL

7

DREWERY PL

Existing Access 4 x No. stairwell 6

Proposed Access 01 Melbourne Central Level 4 02 Myer Emporium 03 Sister Bella Restricted Access 05 Cargo Access to MCSC 06 Private Road 07 Cargo Access 08 Cargo Access

3

SNIDER LN

LONSDALE STREET

2

LONSDALE STREET

Primary Circulation MYER EMPORIUM

Agenda Driven Programs Program Mix

100

LE V E L 4 R O O F F LO O R P LAN

Fig 12.10 Site circulation MCSC rooftop [Ref Illustrative 12.10]

Chapter 12 Site Analysis

Linear circulation

al entr x C e e pl rn bou om Mel pping C Sho rium

po r Em

Mye

M Sho elbou n rn ppin ss latio g C e Ce omp ntra ite Acce ry Circu lex Roo l S + Prima ftop ite S

Fig 12.11 Site circulation MCSC rooftop (isometric) [Ref Illustrative 12.11] 101

Chapter 12 Site Analysis 12.02 Environment analysis

MELBOURNE CENTRAL SHOPPING COMPLEX

1

Current Site Condition

LT LONSDALE STREET

Retain / Demolish Existing Structures

LT LONSDALE STREET

5

8

DREWERY AL

7

DREWERY PL

Existing Access 4 x No. stairwell 6

Proposed Access 01 Melbourne Central Level 4 02 Myer Emporium 03 Sister Bella Restricted Access 05 Cargo Access to MCSC 06 Private Road 07 Cargo Access 08 Cargo Access

3

SNIDER LN

LONSDALE STREET

2

LONSDALE STREET

Primary Circulation MYER EMPORIUM

Agenda Driven Programs Program Mix

102

LE V E L 4 R O O F F LO O R P LAN

Fig 12.12 Agenda driven program allocation MCSC rooftop [Ref Illustrative 12.12]

Chapter 12 Site Analysis

Program adjacent to connections and entrances

al entr x C e e pl rn bou om Mel pping C Sho rium

po r Em

Mye

M Sho elbou n rn ppin rive D g C e Ce a omp n nd lex tral Age s Roo ftop rogram P

Fig 12.13 Agenda driven program allocation MCSC rooftop (isometric) [Ref Illustrative 12.13] 103

Chapter 12 Site Analysis 12.02 Environment analysis

MELBOURNE CENTRAL SHOPPING COMPLEX

1

Current Site Condition

LT LONSDALE STREET

Retain / Demolish Existing Structures

LT LONSDALE STREET

5

8

DREWERY AL

7

DREWERY PL

Existing Access 4 x No. stairwell 6

Proposed Access 01 Melbourne Central Level 4 02 Myer Emporium 03 Sister Bella Restricted Access 05 Cargo Access to MCSC 06 Private Road 07 Cargo Access 08 Cargo Access

3

SNIDER LN

LONSDALE STREET

2

LONSDALE STREET

Primary Circulation MYER EMPORIUM

Agenda Driven Programs Program Mix

104

LE V E L 4 R O O F F LO O R P LAN

Fig 12.14 Program mix allocation MCSC rooftop [Ref Illustrative 12.14]

Chapter 12 Site Analysis

Programs between agenda driven programs

al entr x C e e pl rn bou om Mel pping C Sho rium

po r Em

Mye

M Sho elbou rn ppin Mix g C e Ce omp ntra rogram lex Roo l P ftop

Fig 12.15 Program mix allocation MCSC rooftop (isometric) [Ref Illustrative 12.15] 105

Chapter 12 Site Analysis 12.03 Participant analysis Fig 12.16 Shopping arcade in MCSC [Ref Illustrative 12.16] Fig 12.17 Relaxation area in MCSC [Ref Illustrative 12.17]

Fig 12.16 Shoppers 11-30 Sales Personnel Site observation and records from The GPT Group.

60<

Fig 12.17 Shoppers Artists Site recordings over an hour.

11-30 31-60

Fig 12.18 Shopping arcade MCSC [Ref Illustrative 12.18] Fig 12.19 Relaxation Area MCSC [Ref Illustrative 12.19]

Fig 12.18 01-10 Artists Business Personnel Site recordings over an hour.

106

31-60

Fig 12.19 Artists 01-10 Business Personnel Site recordings over an hour.

60<

Chapter 12 Site Analysis Fig 12.20 Shopping arcade in MCSC [Ref Illustrative 12.20] Fig 12.21 Cafe area in MCSC [Ref Illustrative 12.21] Fig 12.22 Artists installation at Drewery Lane [Ref Illustrative 12.22]

Objective How participants perform with a

Fig 12.20

Fig 12.21

Fig 12.22

Shoppers

Business Personnel

Artists

Browse a variety of objects with

Communication with business

Learn new design ideas

ease

associates to form partnership

Create collaborative

set goal

opportunities with other artists Past experience

How participants are

Multiple areas of display for

Multiple sitting areas in a relaxed

Relaxed and unique setting for

visual enjoyment and purchase

setting

sharing ideas and collaboration

Little to no transition from store

Meet similar business associates

Meet various and different types

accustomed to their space Convenience The ease to fulfil the participantsâ&#x20AC;&#x2122;

to store

of artists

objectives Collective behaviour

Individual dynamic movement

Collective static position

Collaborative dyanamic

How participants of similar

from store to store

Interaction and communication

movement

objective behave as a group

Individual static when in store

Behaviour data How participants are simulated based on their collective

Speed:

80m/min [05km/hr]

Interaction and communication Speed: 130m/min [08km/hr]

Speed:

Variation: Irregular speed

Variation: Regular speed

Variation: Irregular speed

Duration: 1100H - 2000H

Duration: 0800H - 1030H

Duration: 1700H - 0200H

behaviour and objectives

Direction: Sporadic

50m/min [03km/hr]

1630H - 1900H

Direction: Linear

Direction: Sporadic

107

Chapter 12 Site Analysis 12.03 Participant analysis Simulation:

MELBOURNE CENTRAL SHOPPING COMPLEX

LT LONSDALE STREET

Participant:

LT LONSDALE STREET

Shoppers

Particle behaviour: Speed: 80m/min Variation:

Irregular speed

Duration:

1100H - 2000H

DREWERY AL

Direction: Sporadic DREWERY PL

Attractor: Level 1:

Retail area

Level 2:

Business-related area

Level 3:

SNIDER LN

Artists-related area Program mix

Entrance: Existing: Proposed:

4 x No. stairwell Nil

LONSDALE STREET

LONSDALE STREET

Exit: Existing: Proposed:

4 x No. stairwell 01 Melbourne Central Level 4

MYER EMPORIUM

02 Myer Emporium LE V E L 4 R O O F F LO O R P LAN

108

Fig 12.23 Simulation of shoppersâ&#x20AC;&#x2122; movement MCSC rooftop [Ref Illustrative 12.23]

Chapter 12 Site Analysis Shoppers simulation Frame 01, 02 and 03

Shoppers simulation Frame 04, 05 and 06

Shoppers simulation Frame 07, 08 and 09

Fig 12.24 Time frame of shoppers tracing simulation [Ref Illustrative 12.24] 109

Chapter 12 Site Analysis 12.03 Participant analysis Simulation:

MELBOURNE CENTRAL SHOPPING COMPLEX

LT LONSDALE STREET

Participant:

LT LONSDALE STREET

Business personnel

Particle behaviour: Speed: 130m/min Variation:

Regular speed

Duration:

0800H - 1030H

DREWERY AL

1630H - 1900H Direction: Linear

DREWERY PL

Attractor: Level 1:

Business-related area

Level 2:

Retail area

Level 3:

Artists-related area Program mix

Entrance: Existing: Nil Proposed:

Proposed:

LONSDALE STREET

02 Myer Emporium 4 x No. stairwell

MYER EMPORIUM

01 Melbourne Central Level 4 02 Myer Emporium LE V E L 4 R O O F F LO O R P LAN

110

LONSDALE STREET

01 Melbourne Central Level 4

Exit: Existing:

SNIDER LN

Fig 12.25 Simulation of business personnelâ&#x20AC;&#x2122;s movement MCSC rooftop [Ref Illustrative 12.25]

Chapter 12 Site Analysis Business personnel simulation Frame 01, 02 and 03

Business personnel simulation Frame 04, 05 and 06

Business personnel simulation Frame 07, 08 and 09

Fig 12.26 Time frame of business personnel tracing simulation [Ref Illustrative 12.26] 111

Chapter 12 Site Analysis 12.03 Participant analysis Simulation:

MELBOURNE CENTRAL SHOPPING COMPLEX

LT LONSDALE STREET

Participant:

LT LONSDALE STREET

Artists

Particle behaviour: Speed: 50m/min Variation:

Irregular speed

Duration:

1700H - 0200H

DREWERY AL

Direction: Sporadic DREWERY PL

Attractor: Level 1:

Artists-related area

Level 2:

Program mix

Level 3:

SNIDER LN

Retail area Business-related area

Entrance: Existing: Nil Proposed:

03 Sister Bella

LONSDALE STREET

LONSDALE STREET

Exit: Existing: Proposed:

4 x No. stairwell 01 Melbourne Central Level 4

MYER EMPORIUM

02 Myer Emporium LE V E L 4 R O O F F LO O R P LAN

112

Fig 12.27 Simulation of artistsâ&#x20AC;&#x2122; movement MCSC rooftop [Ref Illustrative 12.27]

Chapter 12 Site Analysis Artists simulation Frame 01, 02 and 03

Artists simulation Frame 04, 05 and 06

Artists simulation Frame 07, 08 and 09

Fig 12.28 Time frame of artists tracing simulation [Ref Illustrative 12.28] 113

Chapter 12 Site Analysis 12.03 Participant analysis Simulation: Participant:

MELBOURNE CENTRAL SHOPPING COMPLEX

LT LONSDALE STREET

LT LONSDALE STREET

Shoppers Business personnel Artists DREWERY AL

DREWERY PL

SNIDER LN

LONSDALE STREET

LONSDALE STREET

MYER EMPORIUM

LE V E L 4 R O O F F LO O R P LAN

114

Fig 12.29 Combined simulation result of shoppers, business personnel and artists [Ref Illustrative 12.29]

CHAPTER 13Architectural System

Chapter 13 Architectural System Participant Coding Shoppers

Businessmen

Artists

Objectives

Browse

Purchase

Work

Entertain

Relax

Perform

Surface (working)

Desk

Table

Display

Null

Platform (seating)

Seat

Recline

Lounge

Floor

Architectural elements

Wall

Stair

Ramp

Path

Sectional profiles

900

800

700

600

500

400

300

200

100

000

Fig 13.01 Section profile derivation from various participant [Ref Illustrative 13.01] 117

Chapter 13 Architectural System

3 600 mm

Architectural module

7 20

7 20

mm m 3 000 2 m 21.6

m 0m 00 m 77.7 m 3 0 2 6 m 3 1.6m 2

0m

Mai

n Vi

Per ew

iphe

ral V iew Fig 13.02 Development of module enclosure [Ref Illustrative 13.02]

118

Chapter 13 Architectural System Module system

Exploded module Single strip Outer covering Inner covering Primary structure Secondary structure

Fig 13.03 Exploded view of module system [Ref Illustrative 13.03] 119

Chapter 13 Architectural System External transformation

#01

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#13

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120

Chapter 13 Architectural System #03

#04

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#10

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#17

Fig 13.04 External transformation of module [Ref Illustrative 13.04] 121

Chapter 13 Architectural System Internal reconfigurability

#01

#02

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#07

#08

#12

#13

#14

122

Chapter 13 Architectural System #03

#04

#05

#09

#10

#11

#15

#16

#17

Fig 13.05 Internal transformation of module [Ref Illustrative 13.05] 123

Chapter 13 Architectural System Program allocation

Fig 13.06 Allocation of modules [Ref Illustrative 13.06] 124

Chapter 13 Architectural System

al entr x C e e pl rn bou om Mel pping C Sho rium

po r Em

Mye

m M ogra am r P Sho elbou r d rne ppin late d Prog e R e gC omp Centra hopper n Relat lex S e l sm Roo gram ftop usines ed Pro t B Rela s t Artis Mix gram Pro

Fig 13.07 Allocation of modules (isometric) [Ref Illustrative 13.07] 125

Chapter 13 Architectural System Program breakdown

Programs - Shoppers

Programs - Business Personnel

Programs - Artists

Programs - Mix

Fig 13.08 Program breakdown [Ref Illustrative 13.08] 126

Chapter 13 Architectural System Participant (Shoppers)

Coded behaviour Duration Hour = 0000H to 2300H

=

0 to 1

=

0 to 1

January to December =

0 to 1

1400H 0.583

Day

Architectural configuration

= Monday to Sunday Fri 0.714

Month

=

Mar 0.25

Speed Static (0m/min) to Dynamic (250m/min) =

0 to 1

80m/min

0.32 Variation Linear to Sporadic

=

0 to 1

Sporadic 0.72

Browsing

Purchasing

Fig 13.09 Participant activation of architectural configuration [Ref Illustrative 13.09] 127

CHAPTER 14Work Play Enjoy

129

Nespresso Bar

130

News Stand Kiosks

131

Shopping Stall

132

Shopping Boutique

133

Performance Area

134

Chillout Space

135

Art Gallery

136

Rest Area

137

Shopping Boutique / Nespresso Bar

138

Chillout Space / Nespresso Bar

139

Art Gallery / Nespresso Bar

140

CHAPTER 15Bibliography

Chapter 15 Bibliography 15.01 Monographs

Fox M., Kemp, M., (2009), Interactive Architecture, Princeton Architectural Press.

Roozenburg, N. F. M. and J. Eekels (1995). Product design: fundamentals and methods.

New York, USA, John Wiley & Sons

143

Chapter 15 Bibliography 15.02 Articles

Achten, H.H., (2011). Degrees of interaction - Towards a classification, Proceedings of the 29th International eCAADe Conference, pg 565 - 572.

Biloria N., Oosterhuis K., 2005, Envisioning the Responsive Milieu: An investigation into aspects of ambient intelligence, human machine symbiosis and ubiquitous computing for developing a generic real-time interactive spatial prototype, CAADRIA 2005, Proceedings of the 10th International Conference on Computer Aided Architectural Design Research in Asia, New Delhi, Brooks R. A., 1997, The Intelligent Room Project, Proceedings CT: International Conference of Cognitive Technology, Wakamatsu, Japan: Aizu Giannetti, C., Aesthetic Paradigms of Media Art, Retrieved on 14 Aug 2012, from http://www.medienkunstnetz.de/themes/aesthetics_of_the_digital/aesthetic_paradigms/ Demaine, E. D., 2001, Folding and Unfolding, University of Waterloo

144

Chapter 15 Bibliography 15.03 Illustrative References

Fig 02.01 The Spatial City

by Yona Friedman http://www.megastructure-reloaded.org/ Fig 02.02 New Babylon

by Constant Niewenhuys http://bldgblog.blogspot.com.au/ Fig 02.03 Plug in City

by Peter Cook http://archithoughts.wordpress.com/ Fig 02.04 Walking City

by Ron Herron http://archinect.com/ Fig 02.05 Participant sensitive response HypoSurface Retrived from: Fig 02.06 Participant sensitive response HypoSurface http://hyposurface.org/ Fig 02.07 Fabrication process HypoSurface http://hyposurface.org/ Fig 02.08 Actuators triggered by participants HypoSurface http://hyposurface.org/

Fig 02.09 Sensor detectors Intelligent Room Project http://web.mit.edu/newsoffice/1998/ smartroom.html Fig 02.10 Visual data capturing capabilities Intelligent Room Project http://web.mit.edu/newsoffice/1998/ smartroom.html Fig 02.11 Movement analysis Intelligent Room Project http://web.mit.edu/newsoffice/1998/ smartroom.html Fig 02.12 Action analysis Intelligent Room Project http://web.mit.edu/newsoffice/1998/ smartroom.html Fig 02.13 Pulsing searchlights Pulse Front http://www.lozano-hemmer.com/pulse_ front.php Fig 02.14 Heart rate influencing searchlights Pulse Front http://www.lozano-hemmer.com/pulse_ front.php Fig 02.15 Interface with senses & micro-processors Hylozoic Ground http://www.hylozoicground.com/

Fig 02.16 Network of interrelated components Hylozoic Ground http://www.hylozoicground.com/ Fig 02.17 Choreographing movements Hylozoic Ground http://www.hylozoicground.com/ Fig 02.18 Network of interrelated components STEMCloud v2.0 http://www.ecologicstudio.com/ Fig 02.19 Human influencing system behaviour STEMCloud v2.0 http://www.ecologicstudio.com/ Fig 02.20 Feedback system within module STEMCloud v2.0 http://www.ecologicstudio.com/ Fig 02.21 Responding to human interface InteractiveWall http://www.chriskievid.nl/ Fig 02.22 Responding to neighbouring components InteractiveWall http://www.chriskievid.nl/ Fig 02.23 Deployed stage Rolling Bridge http://www.heatherwick.com/ rolling-bridge/

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Fig 02.24 Transition stage Rolling Bridge http://www.heatherwick.com/ rolling-bridge/

Fig 03.01 Light visual cues in GlowFlow GlowFlow http://artelectronicmedia.com/artwork/ glowflow

Fig 02.25 Retracted stage Rolling Bridge http://www.heatherwick.com/ rolling-bridge/

Fig 03.02 Interactive system in VideoPlace VideoPlace http://thedigitalage.pbworks.com/

Fig 02.26 Retracted stage Lakesie Stage http://wwwwerkraumwien.at/ Fig 02.27 15 degree inclination Lakesie Stage http://wwwwerkraumwien.at/ Fig 02.28 30 degree inclination Lakeside Stage http://wwwwerkraumwien.at/ Fig 02.29 Deployed Stage Lakeside Stage http://wwwwerkraumwien.at/ Fig 02.30 Interface system Suite Vollard http://www.worldbuildingsdirectory.com/ Fig 02.31 Rotating mechanism Suite Vollard http://www.worldbuildingsdirectory.com/ Fig 02.32 Exterior view Suite Vollard http://www.worldbuildingsdirectory.com/

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Fig 03.03 Participant Interaction VideoPlace http://www.inventinginteractive.com/ Fig 03.04 Participant Interaction VideoPlace http://www.inventinginteractive.com/ Fig 07.01 External View Pavilion http://emtech.aaschool.ac.uk/ Fig 07.02 Bending the material Pavilion http://emtech.aaschool.ac.uk/ Fig 07.03 Model exploration of material behaviour Pavilion http://emtech.aaschool.ac.uk/ Fig 07.04 Cut strips within the plywood Pavilion http://emtech.aaschool.ac.uk/ Fig 07.05 Actuated panels Resonant Chamber http://www.rvtr.com/

Fig 07.06 Different displacements stages Resonant Chamber http://www.rvtr.com/ Fig 07.07 Different displacements stages Resonant Chamber http://www.rvtr.com/ Fig 07.08 Connected structures and mechanism Stranbeest http://www.strandbeest.com/ Fig 07.09 Choreographed walking movements Stranbeest http://www.strandbeest.com/ Fig 07.10 Mechanism detail Stranbeest http://www.strandbeest.com/ Fig 07.11 One of many variations Kinetic Sculpture http://www.artcom.de/en/home/ Fig 07.12 Sculpture transformation Kinetic Sculpture http://www.artcom.de/en/home/ Fig 07.13 One of 714 metal spheres Kinetic Sculpture http://www.artcom.de/en/home/ Fig 07.14 Multiple transformation Kinetic Sculpture http://www.artcom.de/en/home/

Chapter 15 Bibliography 15.03 Illustrative References continued

Fig 09.01 Interactive scripting computer program http://www.processing.org/

Fig 09.10 Time frame of multple particles activation Simulation done specifically for research

Fig 10.09 Time frame of multiple dynamic point tracing simulation Simulation done specifically for research

Fig 09.02 Rhinoceros 3D NURBS modeling computer program http://www.rhinoceros.com/

Fig 10.01 Interactive scripting computer program http://www.processing.org/

Fig 11.01 Interactive scripting computer program http://www.processing.org/

Fig 09.03 Development of particile sensitive system Diagram done specifically for research

Fig 10.02 Interactive tracing simulation Simulation done specifically for research

Fig 09.04 Time frame of particle sensitive simulation Simulation done specifically for research Fig 09.05 Development of variant particles stimulation Simulation done specifically for research Fig 09.06 Time frame of variant particles stimulation Simulation done specifically for research Fig 09.07 Development of variant particles activation Simulation done specifically for research Fig 09.08 Time frame of variant particles activation Simulation done specifically for research Fig 09.09 Development of multple particles activation Simulation done specifically for research

Fig 10.03 Time frame of static activation simulation Simulation done specifically for research Fig 10.04 Time frame of dynamic activation v1.0 simulation Simulation done specifically for research Fig 10.05 Time frame of dynamic activation v2.0 simulation Simulation done specifically for research

Fig 11.02 Grasshopper Plugin for Rhinoceros http://www.grasshopper3d.com/ Fig 11.03 Miura folding pattern sequence Model done specifically for research Fig 11.04 Yoshimura folding pattern sequence Model done specifically for research Fig 11.05 Pivot hinge movement Model done specifically for research Fig 11.06 Pivot system movement Model done specifically for research

Fig 10.06 Time frame of single point tracing simulation Simulation done specifically for research

Fig 11.07 Geometric composition via binary coding Diagram done specifically for research

Fig 10.07 Time frame of single revolving point tracing simulation Simulation done specifically for research

Fig 11.08 Volumetric configuration via binary coding Diagram done specifically for research

Fig 10.08 Time frame of dynamic point tracing simulation Simulation done specifically for research

Fig 11.09 Volumetric manipulation via shifting the binary code Diagram done specifically for research

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Fig 11.10 Architectural movement via shifting the binary code Model done specifically for research

Fig 12.08 Site access MCSC rooftop Drawing done specifically for research

Fig 11.11 Architectural movement sequence Model done specifically for research

Fig 12.09 Site access MCSC rooftop (isometric) Model done specfically for research

Fig 12.01 Melbourne Central Shopping Complex rooftop http://www.nearmap.com/ Fig 12.02 Urban access to MCSC rooftop Photo taken specifically for research Fig 12.03 Concealed building services on MCSC rooftop Photo taken specifically for research Fig 12.04 Site condition MCSC rooftop Drawing done specifically for research Fig 12.05 Site condition MCSC rooftop (isometric) Model done specfically for research

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Fig 12.10 Site circulation MCSC rooftop Drawing done specifically for research Fig 12.11 Site circulation MCSC rooftop (isometric) Model done specfically for research

Fig 12.18 Shopping arcade in MCSC Photo taken specifically for research Fig 12.19 Relaxation Area in MCSC Photo taken specifically for research Fig 12.20 Shopping arcade in MCSC Photo taken specifically for research Fig 12.21 Cafe area in MCSC Photo taken specifically for research Fig 12.22 Artists installation at Drewery Lane Photo taken specifically for research

Fig 12.12 Agenda driven program allocation MCSC rooftop Drawing done specifically for research

Fig 12.23 Simulation of shoppersâ&#x20AC;&#x2122; movement MCSC rooftop Drawing done specifically for research

Fig 12.13 Agenda driven program allocation MCSC rooftop (isometric) Model done specfically for research

Fig 12.24 Time frame of shoppers tracing simulation Simulation/drawing done specifically for research

Fig 12.14 Program mix allocation MCSC rooftop Drawing done specifically for research

Fig 12.06 Site alteration MCSC rooftop Drawing done specifically for research

Fig 12.15 Program mix allocation MCSC rooftop (isometric) Model done specfically for research

Fig 12.07 Site alteration MCSC rooftop (isometric) Model done specfically for research

Fig 12.16 Shopping arcade in MCSC Photo taken specifically for research Fig 12.17 Relaxation area in MCSC Photo taken specifically for research

Fig 12.25 Simulation of business personnelâ&#x20AC;&#x2122;s movement MCSC rooftop Drawing done specifically for research Fig 12.26 Time frame of business personnel tracing simulation Simulation/drawing done specifically for research

Chapter 15 Bibliography 15.03 Illustrative References continued

Fig 12.27 Simulation of artistsâ&#x20AC;&#x2122; movement MCSC rooftop Drawing done specifically for research Fig 12.28 Time frame of artists tracing simulation Simulation/drawing done specifically for research Fig 12.29 Combined simulation result of shoppers, business personnel and artists Simulation/drawing done specifically for research

Fig 13.07 Allocation of modules (isometric) Model done specifically for research Fig 13.08 Program breakdown Simulation/drawing done specifically for research Fig 13.09 Participant activation of architectural configuration Simulation/drawing done specifically for research

Fig 13.01 Section profile derivation from various participant Diagram done specifically for research Fig 13.02 Development of module enclosure Diagram done specifically for research Fig 13.03 Exploded view of module system Model done specifically for research Fig 13.04 External transformation of module Simulation done specifically for research Fig 13.05 Internal transformation of module Simulation done specifically for research Fig 13.06 Allocation of modules Simulation/drawing done specifically for research

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