Thesis: Virtuality in Architecture by Nicole LaFollette

thesis::VIRTUALITY in architecture

Nicole Honkakangas Doug Jackson Studio 2009/2010 Cal Poly, San Luis Obispo Senior Thesis Published by Lulu

thesis

research

furniture study

conceptual studies

thesis project::program/site::final design

thesis 5

At a time where communication technologies and virtual realities have allowed us to somewhat change and design our own experiences, architecture has remained too static. Social relationships between people have changed as a result of the ability for individuals to function

Freedom, flexibility, choice and interaction are only a few of the many modern day ideals that architecture has been failing to add to the physical built world. in alternate realities (such as use of iPhone apps, Facebook, Twitter, or gaming in Second Life).

Architecture needs to begin to reflect the networks of our society in order to continue as a relevant expressive medium.

To begin by stating the obvious; our current place in society with regards to all disciplines and relationships is the opposite of static. Much like the concept of “survival of the fittest” and Darwin principles, objective reality is always changing. The global trend in technological communication has been rapidly developing over the past few decades and has become a prevalent issue in society. As a somewhat literal translation of the process of natural selection, it is quite easy (especially for the current generation) to see the steps that technology has taken towards an entirely digitally communicative environment. Although one cannot predict the future, it is not difficult to imagine a world where physical meetings no longer take place, or at least have been extremely minimized. For example (and a prevalent one from this point of view) the unveiling of the iPhone (similar to the Blackberry) provided for a significant change with regards to social communication. It is a bit humorous actually; a product that has become a social image. One instantly identifies with it, and for many it has become an extra appendage. What is most interesting about the iPhone is it’s impeccable timing, which is what makes it most successful. The iPhone appeared at a crucial time during our social evolution; a time where facebook and twitter are common habitual activities of many people worldwide, a time where the internet and digital worlds are necessity. Relating this back to Darwin, the iPhone is a black and white example of evolution; a symbol of a new generation. Through recognition of our morphing social environment, the iPhone serves as a response to the developing trends of individual freedom. What is most impressive in the iPhone situation is Apple’s ability to design for this so-called “internet revolution”-- a time in which most of us communicate with associates (classmates, professors, co-workers) via e-mail, in which we can review any recent social or political events with only a few “clicks”, a time in which libraries are less necessary, a time in which relationships can be formed without any prior physical correspondence…etc. Although the technology inherent in the iPhone has been in existence for some time now, one can easily see that it’s design and tangibility encourages a new type of interaction and connection with the virtual world. This brings us to a series of questions regarding the current state of architecture: Can architecture provide for this digital evolution? Can architecture adapt to this change in social proximity? Before addressing these questions, there is another way to look at the changes of the century. It is important to understand these first—the concepts of freedom and significance—in order to avoid complete physical alienation.

Freedom defined by liberation, release, and the ability to do things at one’s own will, is a right that people (specifically as Americans) have emphasized and valued since the day of our creation. As individuals, one has the freedom to chose their own relationships, interests, opportunities…etc. Significance defined by one’s values and relationships, is a component of life that we all thrive to have. Without significance, one might become subject to loneliness or negative social health. Without significance, there is a lack of event or occurrence; for there is no reason or motivation behind getting things done. It seems that society has been undergoing a continuous change in the balance of significance and freedom. It is obvious that over the past century, freedom has become more prevalent (ex: women right’s, African American rights, etc), but what has been somewhat overlooked is the effect that our digital changes (such as the above mention of the iPhone and many more) have also enabled freedom—the freedom of online classes, the freedom to make purchases, the freedom to work out of your home… and the list goes on, therefore decreasing significance. A world has been opened up to us, with an even larger variety of choices. Individuality is becoming more complex; we have more opportunities to find our own “niches” and hobbies. The problem that arises here, in this access to freedom, is alienation. With so many options and so many opportunities; physical relationships are becoming less necessary. For example, one can take a class online and never even meet a professor or classmate. It is possible to order our groceries to our house, therefore avoiding small talk with the store employees. This begins to form the idea that freedom can begin to strip us of significance. By having more opportunities to choose and by becoming more independent; we have less commonalities with others. If you look into dense city life (New York, Chicago...etc), you see people with their iPhones or mp3 players; headphones in while walking to work, taking the subway, driving…etc. Each individual is entirely engaged in their own reality and is loosing the need to interact with anything but their blackberry.

We are entering a reality where our relationships are mostly defined by virtual space, no longer physical space. This is a huge problem; Architecture is becoming disembedded with society. This begins to question architecture’s ability to branch the The issue that is arising here, with architecture, is it’s current inability to adapt to this change in individual reality.

idea of significance with virtual reality-- can architecture become a medium for meaningful virtual interaction? Can the physical become a partner of the virtual, providing varying and customizable degrees of social interaction?

freedom and significance 9

According to Paul Virilio (Architecture in the Age of Its Virtual Disappearance), reality now works in three dimensions; mass, energy and information. This third dimension of information has become a prevalent global phenomenon.

“…stability has become less important than speed today.”

The contemporary world is no longer functioning on physical interaction; the virtual world is our means of communication. With this change, the function of “communication” has changed as well--less personal, high speed, created and deleted within seconds. Social interactions illustrate one of the most prevalent differences.

“With the global city…exclusion becomes a psychological necessity that implies a new rapport with body of geopolitical societies, and finally the animal body of an individual encompassed within a veritable mass individualism” (Paul Virilio, “After Architecture”). This mass individualism, relating back to ideas of significance and freedom, has created ambiguous interactions, such as ordering a cup of coffee while talking on a cell phone, brushing past someone at a crosswalk while opening up the morning news paper…etc. Transiency has become a semi-permanent state for many individuals within the modern consciousness.

According to Virilio, the solution to this change within social society should be found within a media that is non-architecture. Virilio basically states that there is no such thing as a “high-tech architecture”; that the two are entirely separate; both as different media. This brings up a series of questions; With these changes, what has architecture become? What should it become? Is architecture disappearing? Can architecture change in order to address and “communicate” with this creation of virtual reality? How?

information (and it’s effect on social life) 10

Virtual:: Virilio suggests the addition of the information dimension to architecture specifically in the form of a “virtual room”. “…it is important to create a virtual ‘room’ in the middle of architectural space where electromagnetic spirits can encounter each other.” His ideas behind this room are very experiential. Following the idea of a “Smart House”, a space that will put you in a virtual place—ex, a digitally manufactured experience (image, touch, feel, scent, sound) such as a fabricated meeting with a friend on the other side of the world-- Virilio believes in the creation of a plug-outlet made of physical space that allows for the virtual space to take place. Virilio’s idea of a virtual environment, seems somewhat far-fetched, yet it can be understood that architecture can serve as an outlet or stage for the current developments. Unlike Virilio, one should not envision a “virtual room”, but an analysis of the change of interactions within physical space that have occurred from the somewhat sudden existence of virtual space. In order to explore this, it is important to look at the social changes taking place within both realities. Physical:: The main restraint of physical space, within architecture and with regards to the current communication evolution is its inability to engage the user. Because of this new attention to digital media, society has become somewhat distracted when it comes to the physical reality surrounding us. It seems that physical space is loosing it’s significance; virtual space is providing more freedom. The significance of faceto-face interaction is dwindling in certain situations-- it is only in our most intimate forms of relationship that it becomes necessary. This also pertains to our need for exercise and physical movement, yet even at the gym, most of us appear “plugged in” to iPods, television, etc. Physical space is also limited to location and time. Communication within physical space can only take place within certain temporal conditions, while (as mentioned above) virtual space has been characteristic of a degree of timelessness and transiency.

virtual/physical space 11

“In his 1941 book Space, Time and Architecture: The Growth of a New Tradition, Siegfried Giedion puts modern architecture and its typologies in their social and chronological context. Today, we again face the development of new typologies of space-spaces that are emerging from the superimposition of the physical and the virtual. The spaces of the digital games that constitute themselves through the convergence of ‘space’, ‘time’ and ‘play’ are only the beginning” (“Space Time Play” introduction). “Some 19% of internet users now say they use Twitter or another service to share updates about themselves, or to see updates about others.” It has become clear that the positive developments resulting from the growing establishment of the virtual world are not only based on speed and efficiency within global communication, but also based on the concept of freedom and personal expression and our relativity to the social environment. Twitter, for example, allows the user to express and post events, ideas, etc... over virtual space. Through icons, music, photos, we are able to create our own “digital rooms” that we can share with others. These interfaces such as Twitter, Facebook, Myspace or even our own personal web sites allow for the invention of narrative spaces—spaces that tell a story. The concept of narrative space within architecture is something that has existed since the beginning of human evolution, for example, the Aztec temples, the cathedrals of Europe, etc. The difference though, between the narrative space that we see in architecture and that of the virtual world, is not just the existence of physicality, but the abilities within the virtual world to manipulate and turn a narrative into authorship. Within architecture, “the creation of narrative space has primarily been the purview of those in power; buildings whose purpose is to convey a story are expensive to build and require a high degree of skill and artistry” (Narrative Environments; From Disneyland to World of Warcraft, Celia Pearce). The validity behind this statement evolves around the truth that narrative space, with regards to architecture, has become (in most cases) only a product of the designer and more specifically, the designer with the power (means, money…etc) to create such a project or “building” so to speak. The problem here is obvious, while virtual space is allowing further manipulation of expression, architecture is remaining static, and in the case of many architects, is only a signature of one narrative. Celia Pearce, author of article Narrative Environments; From Disneyland to World of Warcraft, establishes an interesting point with regards to the creation of narrative spaces. She eludes to the idea that the creation of places such as Disneyland (a highly narrative space in her view), was a reaction to the necessity of human-scale and pedestrian experiences as result of the 20th developments of suburbia and large scale freeways. Pearce further relates this to the evolving world of gaming, of which allows an even more participatory experience. The question here, then becomes: How can architecture serve as a means for individual narrative space? How can the user, much like a player in a video game, have a say in the creation or manipulation of a surrounding space?

narrative space 12

“…a citizen in a culture in which your only choice in regards to cultural production is as a consumer, you see yourself and your role in society very differently than you would in a society in which you see yourself as a creator” (Howard Rheingold, an interview with the editors of “Space Time Play”).

During this interview, when asked about the impact of the virtual environment on people in the real world, Rheingold further discusses the current role changes taking place with the people of the past decade or two. Technology is providing us with more than just choice; we can do more than just flip a channel or press an on/off button. We have the ability to upload videos, images, comments..etc, and as stated before, we have the ability for personal expression. Rheingold describes this morphosis as a shift from being passive consumers to active creators. The user, regardless of capability, has the opportunity for design expression. Basically, the average person is no longer just an audience of media, but a creator of media as well. In the interview with Space Time Play, Rheingold is also asked about the future of people with regards to our increasing surrounding of entertainment environments. What kind of people will we become through technology? This answer to this question is far from concrete, as exact premonitions are hard to come by, yet what it narrows down to is the obvious differences between virtual reality and the face-to-face reality. No matter how involved we become with alter realities, we are still forced to interact with physical life. If we become too attached to technology, such as being sucked into your iPhone screen while crossing the street, we are still faced with the physical obstacles, such as getting hit by a bus.

the role of the creator 13

“…I also think that we need to pay attention to the way our relationships in the face-to-face world may be changing because of the number of people walking around who are in a virtual world. It used to be if you were in a virtual world, that happened because you were sitting at home behind a PC screen. But now people are walking down the street—they’ve got earbuds in, they’ve got their mobile phone screen, they may be playing immersive games. So the interpenetration of those two worlds, I think, is something that’s just beginning to change public spaces. And we need to know more about that.” (Howard Rheingold, “Space Time Play”)

So... what is virtuality? There are two ways to look at the idea of virtuality in architecture. One has to do with the new information technologies that have become available to us. This includes complex digital modeling (parametrics), BIM programs and the use of innovative material discoveries. These can all be applied to creating more sustainable building methods or complex form generation. The second approach is to rethink the physical implications of designing space. Elizabeth Grosz (“Virtuality and Architecture”) defines

“an entirely new way of seeing, inhabiting and designing space…reconceptualizing the real and the relations of embeddedness, the nesting or interimplication of the virtual and real within each other.” this view of virtuality in architecture as

This could be seen as a look into the role of the creator.

Much like the infrastructure of the internet and modern communication technologies, architecture should allow for users to manipulate and essentially show authorship within their own space. This could be seen as an analogy to programs such as facebook, twitter, Second Life... etc. Architecture should allow us to have the freedoms and flexibility that online blogs and gaming programs demonstrate. The field of architecture has been constantly using technological advancements (such as in the first definition of virtuality) to attempt to enhance space, when the more productive perspective should come from an analysis of the state of our society. As a product, the iPhone’s success came from it’s tangibility and networking function, while architecture, from the same perspective, is remaining to stand still.

on virtuality 15

research 17

â&#x20AC;&#x153;Global networking, the application of electronic and digital media in all spheres of life and the establishment of virtual worlds of simultaneous information exchange in the last decade of the 20th century confront architects today with unimagined challenges in terms of creating space that extends far beyond the traditional horizons of their discipline.â&#x20AC;? (New Babylon Reloaded, Lukas Feireiss).

“What defines a kitchen? A bedroom? Which objects do we choose for function? What actions do these objects imply?”-- Allan Wexler This project encompasses all the basic household functions into an 8 by 8 foot box. When a certain type of program is needed, it is rolled into the main “event’ space and then rolled back out when the necessity changes.

A series of enclosure elements created by students of Pasadena City College. Although the intent was not extremely clear, the enclosures are placed on wheels (casters) and can be moved around and rearranged creating a few varieties of this longitudinal space. Allows for a small degree of user manipulation and organization.

Is it possible for physical architecture to provide a similar outcome as this digital (or virtual, technological) installation? This installation can be seen as only a spectacle, but it offers a form of intrigue and authorship to the user. It allows the inhabitant to observe their own path and truly have an effect on their enveloping environment. Through physical means, architecture should be able to do this as well, but on a much larger scale. Just as the internet is allowing society to gain the freedom of expression via text and blogging, architecture should allow us to create our own physical spaces. Architecture should also address the change in our relationships with each other that has occurred over the past few decades via the virtual revolution.

Made in a variety of sizes, shapes and panel types, the M-House was designed to be of use to a variety of markets, such as exhibit structures, office modules, retail spaces and play houses for kids. The images shown here are of a private retreat built by the architect, Michael Jantzen, with various configurations depending on the userâ&#x20AC;&#x2122;s need. While itâ&#x20AC;&#x2122;s modular system allows for the opportunity to build at different scales, it also allows for certain degrees of spatial control. Such as openings and enclosures and division of space.

“Little Houses on the Black River” in Hallefors, Sweden (an artists in residence project) was designed by a collaboration of students from the Parson’s New School for Design in New York, the St. Etienne School of Art and Design in France and the Konstfack University College of Arts, Craft and Design in Sweden. Designed for the 2006 International Furniture Fair, this project, built on a former industrial railway bridge, illustrates ideas of contemporary flexibility within an architectural dwelling.

The intention was to create living and sleeping units that were able to work programmatically as a whole and as individual components. Made of three shed-like structures, two of which were movable via a simple track system (created using the existing railway), these units were able to change in order to allow for a series of configurations. This included movable furniture and the opportunity for both interior and exterior living spaces. While allowing a degree of user control with regards to orientation and order, this project also begins to create interchangeable public and private space. Depending on it’s chosen state, the architecture has the opportunity to hint at its current usage reflecting the needs of the user.

furniture study 27

3”

16”

3”

” 16

Through creation of a “playful architecture”, design becomes less limited in more ways than one. The individual has more options, more flexibility. Interaction is initiated, rather than overlooked. The author of the object becomes part of the audience and is no longer a dictator. The potential for growth and development become broader, allowing more conclusions to be met. The daily user has more ownership and a wider range of rules to create their own environment.

the caterpillar bench 28

3”

16”

The caterpillar bench encompasses ideas focused on the “role of the creator” within a small-scale furniture piece. Made of twenty 16” by16” rings with different surfaces, the caterpillar provides a means for adjustable situations; a place to sit, a place to put your coffee mug and most importantly a place to play-- fold, unfold, slide, turn over, expand, contract --the user defines the space. Taking a break away from the traditional, the caterpillar bench hints at a more kinetic and temporal lifestyle, illustrating the ability to change for a variety of activities and occupancies over time. ” 16

With different surface treatments, the caterpillar bench hints at the opportunity for creating a variety of configurations.

The expand/contract nature of the furniture piece creates the opportunity for degrees of organized chaos.

The character of the piece is demonstrated through slight curvature and neoprene seating texture, routed cup holders with cork bottoms, and furniture feet to raise the bench from floor contact.

Depending on the orientation, the caterpillar bench can also fold over on itself or up a wall. The chance for misuse provides another degree of manipulation.

image: Beacon Project by Chris Oâ&#x20AC;&#x2122;Shea

preliminary studies 37

The purpose of the following studies is to look at the freedoms that the technology of the internet and it’s current interfaces or realities (such as facebook, twitter, second life) has allowed and begin to apply those to physical social situations. The goal is to redefine physical space as something fluid and interactive in order to maintain significance when working side by side with other realities (virtual). The idea of the first two studies was to look at threshold conditions and create a possibility for varying openings and enclosures. A wall with no “doors” or “windows” is illustrated in study 01. The user would have the ability to enter a space or open up to another space using their own judgement and creativity. And of course, one user’s decision could directly effect their neighbor’s decision. Study 02 addresses the threshold condition through means of separation and material quality, i.e. differing transparencies and light textures. The user would be able to define the degree of opening based on their own needs. The third and fourth studies look at divisions of space, allowing different configurations to address degrees of privacy or function. Study 03 shows a grid-like structure with fabric partitions that can be manipulated to divide or open spaces. This could allow for various public or private spaces. Study 04 directly deals with forms of temporary space. Sliding “walls” (or masses) with a few varied openings allow for different spaces when slid horizontally a long a track. When the openings overlap an interior space is created. Exterior spaces are also created by the voids left when the masses are moved to another area of the track. This could also allow an opportunity for fold out furniture within the “walls”, giving the ability for the user to organize space according to varying functions.

The fifth configuration deals with the ability to create ones own personal space within a somewhat public arena. Large, movable partitions would allow a user to create their own enclosed space, like a “cubicle”. This would affect their surrounding space as well. If numerous amounts of these partitions were placed in a large room, the inhabitants would have the ability to create space as needed. The partitions could be joined for a group level of privacy, or stand as one for a solo situation. Study 06 begins to think about form and how one mass can be split up into a series of segments, or modules. When these modules are pulled apart (possibly on a track system) they effect the space in a couple different ways at once. Circulation changes, as well as form, and the opportunity for more open or enclosed spaces becomes a variable that can be changed by the user. Somewhat similar to the Crate House, by Allan Wexler, the seventh study was intended to look at minimizing space, placing everything one would need in a small area. This “function wall” would have your everyday necessities built into it, such as a bed, table, fridge, microwave... etc. These elements would be static. Then, there would be a flexible membrane (such as a honeycomb wall) that would pull out of the “function wall” and allow the user to divide or group spaces accordingly. Much like a puzzle, certain furniture elements would also be able to be taken out for usage and then placed back into the wall when they aren’t needed.

solid--one function/program----------------------------->can be broken and pulled apart-------------------->creating varying interior/exterior space, changes in circulation and dividing the mass into more private spaces

These three investigations most clearly lead up to the thesis project, which focuses on the dissection of architectural elements.

Analogous to the concept behind the binary code, architecture can be thought of as a series of elements (such as zeros and ones) that create the opportunity for multiple outcomes. Study 08 addresses architecture as a dissection of programs that can intermixed and used over different variances of time.

In study 09, corners A, B, C and D can become program, mood, or view. Much like the Naked House, by Shigeru Ban, this would be a type of space with an open floor allowing individual smaller spaces (perhaps private offices on casters) to move location and plug into one of the above architectural functions. Moving these spaces would also create a changing path of circulation. The tenth study is very similar to the prior, but instead of fixed boxes for the smaller spaces, they have their own degree of manipulation. The four sides of the box would be hinged together with an open end, allowing them to become more like partitions, that could further interact together to create varied spaces on another scale.

open space/place of occurence

function/program boxes sleep

eat

entertain

play

exercise

priv offi ate ce

con fe adjo rence ined / offi ce

private office

09 private office

D A

A s

A, B, C, and D can be program, “mood”, or view. Much like the Shigeru Ban Naked House, this would be a type of office space with an open floor allowing the private office spaces to move location. They could also “plug” into different functional elements... their location also effects circulation. Maybe you could even roll them into elevators to change your office floor location.

B 10

In further investigations, materiality and modularity, became more prominent. In order to obtain optimal user-opportunity, adding more benefit to manipulative interactions is significant. The image to the right begins to show a kit of parts, consisting of cube-like elements and varying â&#x20AC;&#x153;plugsâ&#x20AC;?. Placed on casters, these units can form spaces over different types of flooring and spatial conditions. To further encourage the user to become a creator, the above images show a further breakdown of the original cube elements. With a varying set of parts that share enough character to work inherently with each other, the scheme above has an endless amount of options for creating space at many different sizes and scales.

tion func

plug

grass

carpet

tile 45

thesis project 47

program/site

“IDEO’s focus lies at the intersection of insight and inspiration, and is informed by business, technology, and culture.” (IDEO thinking motto) When it came to choosing a program for the thesis of Virtuality within Architecture, the contemporary office space became part of the conversation. This included the somewhat infamous “google-plex” in Mountainview, the Apple headquarters, and then the playful IDEO office in Palo Alto. What all these businesses have in common is the need for a creative work environment. Whether they decide to deck out their offices with exercise balls, toys or napping pods, it is clear that the intention behind this trend is to not only encourage their employees to spend more time at work, but to also create a more inspiring environment. As a global design consultancy, IDEO is responsible for the creation of a variety of products, including the Trek mountain bike, the Apple “Mighty Mouse”, and a variety of high end medical equipment. The IDEO work environment is one in which change and interaction is necessary, where teams work on varying scales of projects on a regular basis. This change in scale and employee networking is something that should also be reflected within the architecture. As an excellent opportunity for this thesis application, IDEO has become an inspiration for a openly “virtual” experience.

program::ideo 50

Located in downtown San Jose, the core center of Silicon Valley, this Ideo headquarter office is meant to serve as an urban demonstration of the proposed thesis ideas.

site::downtown san jose 52

2’ 16

6’ 27

N Public Pedestrian Space/Circulation

San Jose Light Rail

Site Boundaries (currently a parking lot) 53

As previously stated, the proposed thesis project addresses a dissection of architecture. By reducing space to some very basic elements (such as dividers, program, circulation, material...), one is able to create a space that needs the user to complete it. Because of this necessity, the architecture is meant to be somewhat ever-changing.

p ar ser king vice s

ce le offi flexib

e spac room show

The project contains a series of fixed function zones (diagram on right page), all of which would be equip with the needed appliances (kitchen, wc, fabrication, storage...). These fixed zones also serve as a mask over the buildingâ&#x20AC;&#x2122;s main column structure, further emphasizing the openness of the space. The rest of the floor space is open with a variety of movable atomized elements (labeled in following preliminary section). These elements can be moved at any time to interact with other elements or gain proximity to function zones. All furniture would be on casters, allowing further integration of space. The flexibility and random nature of these elements, including floor materials and atrium spaces, is important because it further encourages the user to create their own conditions and allows for a openly virtual office environment.

massing/infrastructure 54

par

kin g

om o r w sho

fabrication cafeteria storage/services vertical circulation wc 55

parking

curtain wall system with interior polycarbonate sliding

(user-manipulated) panels

fixed program nodes:: fabrication, kitchen, printing/fax, storage, wc

movable ceiling panels movable panels (track system) fixed differentiating floor textures

showroom

preliminary section 57

Spatial diagrams illustrating the potential manipulation of space. Trusses support track system that holds motorized ceiling panels and sliding floor panels. Individual units on casters also serve as space defining elements.

preliminary configurations 59

ff ii nn aa ll dd ee ss ii gg nn 61

The faรงade of the final thesis proposal reflects the variance of the activities occurring on the interior. With poly carbonate panels placed on a track system behind a glass curtain wall, the inhabitants have the ability to control the qualities of the office space according to lighting necessities or solar gain at differing times of day. Essentially, the exterior of the building is affected by the movement inside, either blocking or providing views for the city pedestrian.

faรงade 63

Floor 01

parking

section B

printing fax fabrication/cnc

showroom

The first and second floor contain general parking and showroom access, while the third and fourth demonstrate the most free space of the building, where small function cores provide structure and space for the kinetic elements to create varying conditions.

floor plans 64

section A

Floor 02

Floor 03

printing fax

storage

fabrication (bandsaw, table saw...)

parking

printing fax storage

storage fabrication (bandsaw, table saw...)

printing fax printing fax

Floor 04

Roof fabrication (bandsaw, table saw...)

storage

printing fax

storage printing fax

storage

printing fax

supply

return

print/fax

supply

return

print/fax

return

supply

fabrication

return

parking

supply

showroom

Section AA Section section A

sections

storage

print/fax

storage

kitchen

showroom

print/fax

storage

fabrication

section B

Section B

Geared Wheel Collector Brush

Conductor Rail

Motor

Pillow Block (approx. every 36")

6" Steel Studs

Geared Track 1/2" Drywall 3"x4"x3/16" steel angle

Fleetwood multi-slide track

4" by 6" steel header beam

Geared Wheel

Conductor Rail

4" by 6" steel header beam

1/4" shim

Geared Track

1/4" shim 3"x4"x3/16" steel angle

ceiling and floor panel track detail 69

It is important that architecture also address the concept of time. Within this proposed thesis environment, it is acknowledged that different events take place at different times and also often require the need for a different type of space, whether this be related to scale, material, lighting conditions, circulation and/or accessibility. Using the basic components that have been described previously (motorized ceiling panels, sliding floor panels and a kit of rolling units), it is possible to create an environment for almost any need. From fabrication of large scale projects to late night celebrating, the following series of images show how one space, from one view, can accommodate a line up of unrelated events.

time/use series 70

inactive

TRANS// FORM

10:21 AM

4:32 PM

2:22 PM

1:30 aM

8:07 PM

7:38 aM

1:05 PM

model images 80

All images and models were produced by Nicole Honkakangas herself (with an exception of cited research and context images) using Rhinoceros 4.0, Vray Render, AutoCAD 2008 and the Adobe CS3 suite. Main Research Sources: Borries, Friedrich Von., Steffen P. Walz, and Matthias Böttger. Space Time Play: Computer Games, Architecture and Urbanism: The Next Level. Basel: Birkhäuser, 2007. Print. Feireiss, Lukas, and Robert Klanten. SpaceCraft: Fleeting Architecture and Hideouts. Berlin: Die Gestalten Verlag, 2008. Print. Grosz, Elizabeth. “Cyberspace, Virtuality and the Real: Some Architectural Reflections.” Web. Oct. 2009. Virilio, Paul, and Andreas Ruby. “Architecture in the Age of Its Virtual Disappearance.” Print. 84

Virilio, Paul, and Sylvére Lotringer. “After Architecture: A Conversation.” Print.