ARCHITRANSFORM(U)
MICHAEL L. REED ARCHITECTURE NO LONGER AS FROZEN MUSIC
BEIJING, CHINA
CONTENT
SEATTLE, WASHINGTON HONG KONG, CHINA
CREDITS
CITY IMAGERY
MID-LEVELS
77 THEATRE
DETAILS
INTERIOR
ACE CAFE 751
SP LIBRARY
100 STEWART
GIZMOLOGIST
ARCHITECT
ITINERARY
THESIS
“Kinetic Architecture: a concept through which buildings are designed to allow parts of the structure to move, without reducing overall structural integrity. A building’s capability for motion can be used to enhance its aesthetic qualities, respond to environmental conditions, and/or, perform functions that would be impossible for a static structure.” A distinct ideology of Kinetic architecture is the practice of applying the absent dynamic dimension to common static design and architecture by utilizing the flexible characteristics of specific materials, combined with motion-based technologies; then objects can transform, in a silent and nearly imperceptible way, into a contrasting shape with a completely different functionality and expression. Consider this process as returning power back to the lever… Kinetura: A design group known for their metamorphic designs have made great strides toward the implementation of motion-based technologies into everyday used products. This multidisciplinary team of designers, architects, engineers, and product developers design, develop, manufacture, and commercialize state-of-the-art products within their Kinetura concept, which closely aligns, if not exemplifies the basis of kinetic application at the micro scale. Xaveer Claehout, architect, Barbara Van Biervilet, civil engineer-architect, and David La Grange, civil engineer are the founders of Kinetura. While Kinetura’s ideas for building design are still conceptual at this time, the Kinetura group offers a strong opinion of kinetics and its application for the cities of tomorrow. Xaveer Claehout gave an interview where he stated, “Static design is no longer compatible with the larger communication and transportation tools we have nowadays.“ Today, instant communication and mobility are some of the most valuable tools that we have at our fingertips. Socially, the world has unified more than ever through the latest social platforms; as a millennial and a designer, I agree that metamorphic and kinetic architecture have the potential to open a new line of communication through changing forms and transformative spaces. It’s inevitable that cities will reappear in divergent ways and that the “static city is becoming heritage”. Consider the statement form should follow function, then challenge yourself to rationalize this exploration of structure following motion. The cities of tomorrow will adhere to the obligations of its patrons and perform functions necessary for it’s success. The initial intent of this proposal was to explore two major questions. • Great design is limited to its constructability. How are manufacturers adapting to the demand of complex gizmos that allow transformation to happen and will the cities of tomorrow require a Gizmo design consultant to join the start of a project? • Can the densification of functionalities, by using flexible properties of certain materials, be adapted in both domestic and
professional lifestyles? If so, how would interior movement benefit customers, residents, and employees? However, following these questions to Seattle, Beijing, and Hong Kong broadened the research vision. Now, this study alludes to a separate ideology of how some concepts begin out of necessity, yet evolve into an unnecessary trend. Additionally, motion based applications are nearly everywhere there are groups of transient users such as escalators, movable walkways, and elevators; yet, when considering these systems a component of kinetic design, the values have since depreciated. There are no claims that any one city is ahead of the others at this point, but for the purpose of investigating the first question, I knew of a Seattle based architect that demonstrated a philosophy of applying transformative design for user functionality, based on unique opportunities presented. Previously, during graduate school, I was fortunate to have a final design studio partially under the direction of Kinetic designer Tom Kundig. I reached out to Tom for availability regarding my research and received a successful response to help inform and answer the research objectives. I traveled to Seattle where I arranged a question and answer session, discussing the prospect of the industry adopting Gizmo and fabrication consultants with resident Tom Kundig, architect, and Phil Turner, Gizmologist, of Olson Kundig Architects. Tom Kundig, considered one of the pioneers for Kinetic architecture, has gained a reputation for assessing suitable applications for motion based technologies and cultivating specific details that make the direct human interaction with the building. Kundig stated, “Detail is important because it’s at that lever that you interact directly with the building. You touch, move, and handle detail at the most intimate levels.” During our interview, he quickly expressed his opinion of the term Kinetic architecture stating, “There’s a part of me that I don’t even know what Kinetic architecture really means...for me, it’s just part of the situation...It’s just architecture solving a problem.” Tom’s comments initially came as a surprise. Here is a man who has been hailed a pioneer of kinetic architecture, yet he renounces the title in favor of the simplicity behind being an architect solving a problem through design. Being a part of the industry, one can understand that design addresses half the issue, and to develop the remaining solution you require the expertise of other disciplines. Mechanical devices have always fascinated Tom, he reflects in the interview, and working with experts to achieve these design solutions have been exceptionally informative. Gizmo: mechanical components such as crank levers and pulleys that turn static architectural components into those with dynamic movement, often times with direct user interaction.
occasions of implementing motion, reestablishes architecture no longer as frozen music. Beijing has an overwhelming sense of scale for the human proxemics. Buildings are larger, streets are wider with a dense population of citizens making every attempt to occupy the same space. The extensive subway system enables urban sprawl, yet also provides a means to develop decayed post industrial sites into revitalized neighborhoods such as the 798 Art District. Exploring the streets of 798 was like stepping into another world. From seeing grungy neglected strip malls to sculptures and murals all while following the remaining train rails to the end of the line where stands the Ace Cafe 751. Gazing at this renovated building, you instantly grasp what attracts its patrons, with its machine arms resembling a parasite attached to its host, protruding from the side of the building, shading the forest green Jaguar parked along side the building. You have to ask, does this thing move? Yes! Following this curiosity into its interior, customers discover an identical machine constructed along the back wall of the bar, with one section supporting the liquor stock. Behind the machine are attached turning mechanisms suspending the arms half activated and the other half flat. Unlike the Ace Cafe, drawing customer attraction to the outskirts of the city, 77 Theatre proved to be more of a challenging site to find, despite luring crowds to its location toward the center of the city. This renovated printing factory features a huge folding wall that lifts to combine the interior and exterior spaces of the venue. Both, the cafe and theatre are great instances of metamorphic and transformative architecture communicating functionality, but from this entire experience, the various transportation mechanisms observed and used throughout the trip were the surreptitiously essential methods of communication for all three cities. Most notably, the Mid-Levels escalator and walkway system in central Hong Kong, the longest outdoor covered escalator system in the world, silent and nearly imperceptible escorting countless individuals to their destinations. Static architecture no longer exclusively responds to all environmental conditions. Architecture is not confined to it’s standard dimension. It changes by the required action, responding by its transformative process. The designs for the cities of tomorrow, I predict, will apply a known absent dimension and later, the unknown absent dimension.
THESIS
In 2011, Phil Turner joined Olson Kundig Architects bringing his 35 years of experience in electronics, environmental climate control systems, fiber optics, lighting design and execution, auto aviation mechanics, artistic ironwork, metal machining, and demolition. Now, as Olson Kundig Architects’ resident kinetic designer, Phil continues to work with designers on some of the firm’s most iconic projects. Interviewing Phil was easy, his long career is filled with interesting anecdotes of his childhood chores that manifested into his technical skills that he is happy to share. Like Tom, Phil believes in the motive behind the use of these gizmos. After our interview, Phil gave a tour of the Olson Kundig Architects office, showing us the grand operable skylight, the gizmo fabricated to operate it, and his workspace which was occupied with various conceptual contraptions patiently waiting for a purpose. Speaking with Tom and Phil gave my research a broader purpose. Together, they answered the initial questions, providing insight into other ideas I intended to explore and document throughout the trip. To recap, the first major question asks, will the cities of tomorrow require a gizmologist at the start of a project? The answer is no, because quality design applies a solution to a problem and does not bring a solution to the design prematurely. The second question asks if consolidating functionalities by integrating certain technologies be used anywhere and would users really benefit? Absolutely. The kinetic application serves as a tool to fulfill the needs of the user; there are devices all around us dating back to before social platforms could make them a trend. With this supplemented insight in mind, I proceeded with the expedition through the city of Seattle. Touring the Olson Kundig Architects office was a great experience, walking through a new design studio and taking in the native culture stimulating learning through osmosis. Exploring these cities created a similar effect. Seattle provides pedestrian friendly paths, winding underneath elevated rail line infrastructure, toward various market places; most notably, the Pikes Market. One new contribution to the path is Olson Kundig Architects, 100 Stewart hotel and apartment building currently still under construction. It’s distinguishing feature is its partially rotated facade, gradually protruding high over the adjacent street by floor level, giving the impression of motion. Static architecture resembles frozen music, at times reflecting rhythm, harmony, and/or symmetry to communicate its story. The most powerful experience of this expression and belief was exhibited upon arrival to the Beijing International airport, designed by Foster & Partners. “Designed to be welcoming and uplifting, it is also a symbol of place, its soaring aerodynamic roof and dragon-like form celebrating the thrill and poetry of flight and evoking traditional Chinese colours and symbols.” Walking through this airport for the first time, one could hardly break their gaze of the vast roof before stepping right on to the moving sidewalk transporting travelers between gates. These user driven
EXPENSES: 4 DAY TRIP TO WASHINGTON • • • •
ROUND TRIP FLIGHT TO SEATTLE HOTEL (3 NIGHTS) FOOD ($40 PER DAY) RENTAL CAR ($35 PER DAY)
6 DAY TRIP TO CHINA • • • • • •
ONE WAY FLIGHT FROM DALLAS TO BEIJING ONE WAY FLIGHT FROM BEIJING TO HONG KONG ONE WAY FLIGHT FROM HONG KONG TO DALLAS HOTEL FOOD ($40 PER DAY) TRANSPORTATION
GRAND TOTAL:
258 USD 295 USD 160 USD 140 USD
420 USD 260 USD 420 USD 879 USD 240 USD 200 USD
3,272 USD
*Any amount over the 3K USD cash prize stipend was provided through personal funds
WASHINGTON • • • •
OLSON KUNDIG ARCHITECTS OFFICE OLSON KUNDIG ARCHITECTS THOMPSON BUILDING OLSON KUNDIG ARCHITECTS PIKE MARKET SEATTLE PUBLIC LIBRARY REM KOOLHAUS
CHINA • • • • •
BEIJING INTERNATIONAL AIRPORT FOSTER + PARTNERS 77 THEATRE ORIGIN-ARCHITECT ACE CAFE 751 dEEP ARCHITECTS HONG KONG INTERNATIONAL AIRPORT FOSTER + PARTNERS MID-LEVELS
SEATTLE SEATTLE SEATTLE SEATTLE BEIJING BEIJING BEIJING HONG KONG HONG KONG
ITINERARY
TOM KUNDIG
ARCHITECT
PHIL TURNER
GIZMOLOGIST
100 STEWART
SEATTLE PUBLIC LIBRARY
ACE CAFE 751
INTERIOR
DETAILS
77 THEATRE
PHOTOGRAPH BY XIA ZHI
MID-LEVELS
SHALIMAR REED CORGAN TOM KUNDIG PHIL TURNER OLSON KUNDIG ARCHITECTS DAVID MARQUARD JESSICA HUGHES NYSSA HUGHES ANDREW NGUYEN JOSEPH VALLIERE BRYAN WALLACE JAKE GROTH UNITED AIRLINES UBER HKS 100 STEWART ACE CAFE 751 dEEP ARCHITECTS 77 THEATRE ORIGIN ARCHITECT SEATTLE PUBLIC LIBRARY REM KOOLHAUS BEIJING INTERNATIONAL AIRPORT HONG KONG INTERNATIONAL AIRPORT FOSTER & PARTNERS PIKE MARKET SEATTLE 798 BEIJING MID LEVELS HONG KONG DALLAS LOVE FIELD SOUTHWEST AIRLINES NOSH JOULE REVEL BARNACLE THE WALRUS AND THE CARPENTER HUAWEI THE FORBIDDEN CITY BEEF & LIBERTY BURGERS CAFE LAS 798 BARREL THIEF FREMONT FLEA MARKET KINETURA APPLE GO PRO KOWLOON SHANGRI LA HOTEL TRADERS HOTEL HILTON B L U R B