Niloufar Rahimi | Selected Works 2017-2021 by Niloufar Rahimi

NILOUFAR RAHIMI

S E L E C T E D W O R K S 2017-2021

Niloufar Rahimi 04 November 1992

Architectural and computational Designer Berlin, Germany niloufarahimi@gmail.com +1781448311

Education Apr 2019- Jun 2021

M.Arch Architecture Dessau Institute of Architecture| Dessau, Germany Oct 2011 - Sep 2016

B. Sc Architecture Daneshpajoohan University| Esfahan, Iran

Niloufar Rahimi is an architect and computational designer based in Germany. She holds M.A. from DIA, Bauhaus Dessau, where she was practicing computational design and robotic fabrication in architecture. In 2020, she was a tutor at DARS (Design, Architectural Robotics and Systems) for the Cad-logic course “Pandemic Wearable Architecture” at DIA. Her recent approach shifted towards speculative methods in design and research which she practised her thesis “Eisfabrick Street Art Foundation” on that. From November 2020 to April 2021, she pursued her aim for architectural practice as an intern in one of the most prestigious offices in Berlin “Nieto Sobejano Arquitectos”. She has pursued her bachelor’s degree in architecture at the Art University of Esfahan. During and after her undergraduate studies, she has had several experiences in the design and fabrication of architectural projects varying in scale as an architect and freelance designer.

FABRICATION 09|FABRICKATE |Discrete Masonry Fabrication 10|ADAPTIVE CITY CAR |Robotic Fabrication

Eisfabrick Street Art Foundation

Speculative Symbiosis Between Art and Abandoned Berlin’s Urban Ruins M.Arch. thesis project designed titled Eisfabrick Street Art Foundation is a research-driven design with an attempt towards artistic qualities. It proposes a speculative approach for revitalization in historical urban contexts, which eventually have led to the integration of the old and the new. The research approaches the Palimpsestic reading of the city. Berlin is a palimpsest city since each historical event left its make. Current historical events shaped the berlin we know today. Reunification came with a need to gentrify the old urban structure as a basis for the city. Between mapped Abandiend buildings, Eisfabrik has been chosen, since it is located in the intersection of the Berlin Wall as the symbol of reunification and the spree riverfront, where most of the gentrification is happening. Berliners have spoken through each and every wall. So Berlin communicates through graffiti and murals over time. Therefore, the program of this factory has been speculated to be a foundation for Graffiti and Stree-art.

First Advisor: Sina Mostafavi Second Advisor: Ivan Kucina Tutor: Adib Khaeez Winter 2020 - Summer 2021

SPECULATION OF THE FUTURE AND PROGRAMM Berlin today found the specific way of talking within art, from the fall of the berlin wall, dialogues find a visual expression, which is graffiti and murals. The urban ruin of Eisfabrik in this research speculated to feature street art. The Palimpsestic feature of street art and Graffiti matched accurately with the Palimpsestic identity of the city. It seems socially and practically right to educate people about the notion and history of this event and prepare the fundamental platform for it to grow.

Berlin As a Palimsest

Time and Space Public space devoted to Historical Layer

Murals and Graffities as Palimpsest

THE NEW PROGRAM OF EISFABRIK RUIN DEDICATED TO A FOUNDATION FOR GRAFFITI AND STREET ART

Space Syntaxes

Workshops

Theater

Galleries

Education

Lobby

Depo

History Traces

Location

SYMBIOSIS OF OLD AND NEW A parasite has been shaped by penetrating the old factory as well as adding another level on top. These new spaces are then informed a circulation loop, that starts from the entrance lobby tp to the top gallery and then all the way down to the skate park.Learning from the graffiti art characteristics, spaces are simulating street atmosphere, hence, three types of galleries facilitate the exhibition spaces, Heterogenous galleries, Opaque galleries and transparent spaces.

Site Development

Parasite Circulation

Circulation

Circulation Loop

3D Section

3D puzzeling Assembly of exhibition spaces

Heterigenous Spaces

Opaque Galleries

Transparent Galleries

Circulation Hetero Gallery + 13.00

Light Galleries ِDark Gallery

Education

+ 7.30

Lobby Depo

+ 0.60

Exterior Galleries - 4.20

3D Section

PARASITE MATERIAL AND DETAIL SYSTEM The materiality of the project is informed by series of Macro to mess detailing feedbacks, which let to rough concrete texture, black metal and a glazed glass integrating on top of the existing brick facade of the factory. The contrast between these new material systems and old remaining bricklayers from the 20th century is trying to emphasize on Berlin Palimpsestic notion as well as embracing the Graffiti art not as an act of vandalism but as a valuable character that is evidently alive through Berlin Urban Space.

Materialization Process Macro to Meso Scale

Materialization Process Meso to Micro Scale

EISFABRICK STREET ART FOUNDATION

North-West Elevation

Entrance Close-up

South-East Elevation

North-East Elevation

SHELTROPIA Craft Hub In A War-Torn City

Shelteropia is craft hub located in a war-torn city in Syria. While the project is adapted to a very specific urban junction in Aleppo, the architectural research behind the project on building craft methods goes beyond the geographic coordinates of the region. Therefore, Shelteropia explores and provides a materialization system for the application of Muqarnas in freeform architectural configurations. More than being ornaments, Muqarnas is a form of vaulting system which allows for the topological and geometric transition from walls to domes. The transitions from rectilinearly to curvilinearity result in complex surface qualities and volumetric tectonics. In Digital modeling, this can be translated to means of computing multidirectional voxelated volumes or tessellated surfaces. On the one hand, learning from various techniques of typologies of Muqarnas, and on the other hand, by exploring and developing different methods of voxelization, tessellation and folding, the Shelteropia rethink the application of Muqarnas in the post-war city of Aleppo with the purpose of redefining the role of ornament in the era of contemporary industrial revolutions.

Tutor: Dr. Sina Mostafavi Winter Semester 2019-2020 Tutor Assistants: Adib Khaeez, Valmir Kastrati Students: Niloufar Rahimi (Computational Design Development and Presentation) Fariza Mayasari (Interior Design Development and Presentation) Isinsu Agca (Presentation)

SITELESS TO SITE-SELECTION Site has been selected based on the craft so-called “Muqarnas”, the data base of this craft help to find out where this craft has the most popularity and as it was an ornamental craft, we decided to see how through ornamentation which was always a way to devlop a royal architectural concept, we can pick other direction on the functionality of a building an see it as a way to develop an architecture for after crisis areas through both function and ornamentation.

The existance of the highest number of the craft in the world

CRAFT IN THE PAST Religious and royal buildings ornamental purposes

ITALY SPAIN

TURKESTAN TURKEY SYRIA

IRAN

EGYPT

CRAFT IN THE CURRENT USE Over using the same method in Islamic public buldings

Countries with the highest number of the craft in the world

SYRIA | ALEPPO WHAT WE AIM FOR RESEARCH PURPOSE

Selection based on the

SITE-SELECTION

NEW TOWN

OLD TOWN

MAIN ACCESSIBLITY

CYBERCRAFT LOCATION

PEDESTRAIN ACCESSIBILITY

FORM-FINDING IN MACRO-SCALE A pre-exploration based on the craft creation was done to figure out how a 2D recursive patterning to 3D Stalactite formation can be done based on a free form vaulting system.

SYMMETRIC 3D VAULT

Forming a recursive tessellation

SYMMETRIC 3D VAULT

Forming a recursive tessellation

SYMMETRIC 3D VAULT

Forming the prosity and valume based on tesselation system

SPACE REQUIREMENTS AND FUNCTIONS

RENDERS AND SECTIONS

East-West Section

East View

North South Section

Myvatn Emerging Iceland Greenhouse Restautant

Underneath Iceland’s terrain lies dormant a vast bed of untapped energy which animates the landscape and imbues the soil with nutrients and minerals, granting fertility to all of nature and life which share the land. The untamable release of this energy is caused by the frictional dialogue between adjacent tectonic elements, causing the surface of the earth to shatter and bend to its unbridled will. The project draws inspiration from the aforementioned processes and the resulting emergent forms to not only capture the poetics of the Icelandic environment, but also to engender curiosity in the relationship between the soil, the plant and the dining table. The Greenhouse and the Restaurant are first defined as two distinct typologies which can operate independently, granting visitors a distinct understanding of the horticultural and the culinary. These monoliths splinter, stagger, collide and diverge in between one another, yielding a vivid dialogue of geometries and spaces at multiple scales. The relationship between the resulting components of this process yields integrated areas where guests experience the farm-to-table dynamics at their most synergized. These frictional exchanges reflect into the morphology of the building which emerges into a symphony of peaks, opening the night sky to the energy born from the dialogue underneath it. The final outcome of our ideation brings forth a hybridized and nuanced proposal which equally melts the Restaurant and Greenhouse together to highlight the circularity of food production and consumption, while maintaining a reading of their independence to emphasize the start and finish of this journey. Bee Breeders Architecture Competition Organiser Design Team: Adib Khaeez, Niloufar Rahimi, Jalal Matraji, Valmir Kastrati

FORM-FINDING

(1) The Greenhouse (blue) and Restaurant (red) as distinct adjacent typologies. The Greenhouse frames the Restaurant along the North-South axis.

(2) Both typologies splinter and stagger along the main linear axis, taking inspiration from the phenomenological formations of basalt stacks.

(3) The staggered volumes bend upwards at their meeting points, a result of the frictional dialogue between the tectonic components.

PROGRAM

SKY LIGHTS

TRANSPARENT GREEN HOUSE

RESTAURANT/ MULTI PURPOSE HALL

KITCHEN

CORRIDOR/ POST PRODUCT UNIT

CLOSED GREEN HOUSES

LOBBY/ BAR TRANSPARENT GREEN HOUSES

SITE PLAN

(4) The final form is articulated to re-emphasize the distinction between Greenhouse and Restaurant. The roofscapes are skewed to evoke traditional construction techniques.

03 02

01. GREEN HOUSE 02. RESTAURANT 03. MULTI PURPOSE HALL 04. KITCHEN

LEVEL 01

05 06 03 04

07 02

01. ENTRANCE 02. LOBBY 03. BAR 04. GREEN HOUSE 05. CORRIDOR/ POST PRODUCTION 06. WC 07. CLOSED GREEN HOUSE

LEVEL 00

SECTION A-A

RESTAURANT / BAR CIRCULATION

FOOD PRODUCTION CIRCULATION

Myvtan Emerging not only takes inspiration from the natural environment to the internal setting, its interaction with the external environment and how vi consistently across both the greenhouse and restaurant areas to ensure the pro on the processes of food production and their maleability to fit into our built e manifested in

01 No Uplighting / 135 degrees downwards only to preserve the dark sky

02 Stack Ventilation / Leverage geometry to activate natural air flow

mould its morphology, but also to define the design principles which shape isitors experience the space. These elementary principles have been applied oject does not neglect the natural resources of Myvatn, while educating guests environment. These principles form the blueprint for how this proposal is to be n later stages.

03 Skylights as Spectacle / Frame the phenomenas at night

04 Educate food literacy / showcase how plants can be grown in any space

BROKEN NARRATIVES Post-dystopian Gamification of Khovarnagh Palace in „Seven Figures“

The aim of this project was a representation of a broken palace, and the recreation of its elements to heterotopic ambiences. The palace belonged to a king of ancient Persian fiction so-called „Seven Figures“. King sends for seven princesses as his brides and builds a palace containing seven domes for his brides, each dedicated to one day of the week, governed by the day‘s planet and bearing its symbolic colour. The architect of the palace tells him that I created the most beautiful architecture in the world for you, but I put a brick in the building that if it is moved, the palace will be destroyed. The architect has been killed by order of the king so that no one knows where the brick is. The story of this project starts from the day when a worker removes this brick and the palace collapses. Its seven domes turn into a thousand pieces. Each piece becomes a hub for a craftsman to build and live. With the fall of the Palace, the oppression and hierarchy will be destroyed, but some of the narrator‘s poems will remain in its elements.

REWORK |An Attempt To Create A Virtual Work Spaces| DigitalFUTURES WORLD Workshop Team: Niloufar Rahimi, Mohammad Hosein Euclidis Tutors: Arek Keshishian + Vamsi Krishna Vemuri | Futurly, MAA SAC, Germany

DESIGN PROCESS The rule of defining space is not based on the construction plan of an architect, it is based on finding lost spaces. Finding pieces of space that have emerged from the collapse of the ancient palace and are now sitting in the middle of volumes, waiting for users to rediscover. Spaces that, independent of human perception, redefine rules that prevent the production of another dystopian space within architecture. By shattering two ancient masterpieces this project has tried to bring the familiar Iranian elements to the surface and then by fusing them the broken narrative found its existence in virtual dimensions.

ARCHÄOLOGISCHE STAATSSAMMLUNG Nieto Sobejano Arquitectos applied for the task of the restoration and extension in a European award procedure that was organized by Bavarian Building Authorities in August this year. They have succeeded with their design approach over 4 competing offices in the final stage of the procedure. The design of Nieto Sobejano Arquitectos proposes an extension of the museum with a large 700 sqm annexe for the temporary exhibition below ground, respecting the existing architecture. The architectonical topic of the existing presentation cubes is further developed in the new building. Underneath the previously open space alongside the Himbselstraße the new special exhibitions hall is constructed without columns. After the completion, a garden will be created on the roof scape that can be used by the neighbouring day care centre. The design of the garden is intended as an “Archaeological Garden”. Visible signs of the new underground extension are the skylight cubes that allow a natural illumination of the special exhibition areas. A new building cube will also accentuate the main entrance of the museum at Lerchenfeldstraße. The cladding of the skylight cubes as well as the new entrance will use corten steel corresponding to the facades of the existing building. All facades of the existing building are in need of refurbishment that will take into careful consideration the original design ideas of Helmut von Werz in terms of form and material

Nieto Sobejano Arquitectos

SITE PLAN

II II

Hauptzugangsrichtung Fußgänger Zufahrtssrichtung Straßenbahn

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III

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Nieto Sobejano Arquitectos Bay

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DETAILED AXONOMETRIC DIAGROM

KUNST AM BAU ALTERNATIVE PROPOSAL

LED PANEELE

ÖFFNEN DER PANEELE DER FASSADE

VORSCHLAG NSA - FASSADENPANEELE KONZEPTERLÄUTERUNG

Nieto Sobejano Arquitectos

VORSCHLAG NSA - FASSADENPANEELE IM FALL VON BESONDEREN VERANSTALTUNGEN

1. Aufgeklapptes Fassadenelement mit Rahmen, Aufhänung in Fuge 2. Befestigung PVC Mesh an Rahmen

3. Befestigung des zwieten PVC-Mesh an Fassade

4. Endzustand

3. Befestigung des zwieten LED-Mesh an Fassade

4. Endzustand

VORSCHLAG NSA - FASSADENPANEELE ANPASSUNG_ PVC MESH PANEELE

1. Aufgeklapptes Fassadenelement mit Rahmen, Aufhänung in Fuge 2. Befestigung LED Mesh an Rahmen

VORSCHLAG NSA - FASSADENPANEELE LED SCREEN

MODIFYING PLANING FOR ARCHIVE

Nieto Sobejano Arquitectos

DETAIL DRAWING

KISH FRESH-MARKET Kish Fresh-Market is a project located on the south island in Iran. This project aimed to find an alternative way of building a commercial structure based on local methods of architectural thinking. Windcatchers, courtyards and narrow pathways and local masonry materials were the main architectural features this project learnt from and tried to apply them in the project. Moreover, The function of the project was more or less to sell the fresh products of locals in the area. Besides, creating some in-between spaces for resting, gathering and temporary markets near the permanent shops have been developed in the process. This project is currently under construction, we honoured to nominate for the 2A awards 2019.

This project was an association with NAGHSHPAYDAR Architect in charge: Arash Khodadad Design team : Zahra Nikzare, Nima Mahabadi and Niloufar Rahimi Client : Kish Investment And Development Company Area : 10000 m2

SITE Kish Fresh-Market is a project located in Kish. ish is located in the Persian Gulf, 19 km from mainland Iran, and has an area of approximately 91 km2 with an outer boundary of 40 km and a nearly elliptical shape. Along Kish’s coast are coral reefs and many other small islands. The island is positioned along the 1,359 km long Iranian coastline north of the Persian Gulf, at the first quarter from the Hormuz entrance to the Persian Gulf. The island is 15.45 km wide from its west coast to its east coast .Its maximum width extending from the southern shorelines to the northern shorelines is 7.5 kmS. The island’s surface is flat, lacking mountains or even high hills. Kish International Airport is built in the center on an elevated area 35–40 m above sea level. Its highest surface inclination extends from the airport to the shores near Shayan hotel. Kish, like the other Persian Gulf Islands, especially the islands in the Strait of Hormuz, is located on a narrow strip of tropical vegetation in the Northern Hemisphere, with the Persian plateau to the north and the Arabian Peninsula to the south. Kish has a very dry semi-equatorial climate. Over an 8 year span, the median annual rainfall in Kish was 145 mm (54% in winter, 28% in autumn, and 14% in summer) and the median annual temperature was 26.6 °C. The relative atmospheric humidity in Kish makes it like a sea island except in cold seasons.

Hormozgan Province Kish Island

Kish Island

Kish Fresh Market

DESIGN PROCESS

WINDCATCHER

HORIZONTAL PATHS CREATED TO HAVE A BETTER ACCESSE ALONG THE MARKETS AND DUE TO HARSH CLIMATE, HAVEING BETTER AIR CONDITIONING INSIDE

WINDCATCHERS CREATED TO REORGANIZE THE AIR COOLING ALONG WHITH THE FINAL SPACE SYNTHAXES

MAKE A DIFFERENCE IN THE HEIGHT OF THE PROJECT IN ORDER TO MAKE BETTER USE OF SHADOWS AND WIND

DESIGN PROCESS| TYPOLOGICAL APPROACH

The project created based on a modular system of design to have a more flexible market areas and inside the project court yards created to follow the typology of building in the area

Using narrower paths ways to overcome with the hot sun rays and having shadows along the paths

Using Wind Catcher for Air cooling is a traditional method to overcome with the harsh climate in the area

ARAM’S HOUSE “Aram’s House” is an attempt to reach a design for a private solo house in an urban context. Nowadays, most of the dwellers lost their connection to nature, vegetation and abundant water sources due to hot and dry climatic region that project is located in. However, the city of Esfahan was always and constantly taking advantage of its river and the green river bank,this connection and its advantages has been very limited in past few years as the river started to dry out. In this project, priority was fundamentally based on client’s main needs,concerns and interests. This includes a high-quality design for a living area with promoting senses of relaxation and peace, residential area, entertainment area for family members, and allocating a considerable space for office and meeting room. “Aram” is the result of existing coordination and logic among life components, adjustment in the organization of interior spaces, maximizing the sense of connection between interior and exterior along with natural components. This combination of diverse factors is directly influenced by projects limits and restrictions. Here are some of the main factors that eventually formed the overall physical shape of the project as a result of spatial architectural solutions. The presence of trees and vegetation on the east segment of the lot, which is based on Fengshui foundations/roles. Designing skylights to overcome sunlight limits that were caused by north segment. The presence of water in form of fountains and pools along with vegetation in different areas of the house. Proving a comprehensive solution for all of clients needs and concerns by using three different levels of height which, may have separate solutions for different functions, but eventually had a uniform architectural answer for vertical connection and transportation issues for the whole building by recruiting staircases and the central void. LOCATION: ISFAHAN, IRAN TYPE: TRIPLEX HOUSE ARCHITECTURAL FIRM: SATRAP OFFICE ARCHITECT IN CHARGE: ALI KARBASCHI ASSISTANT DESGINER AND PRESENTATION: NILOUFAR RAHIMI WINTER 2014-SPRING 2016

DESIGN PROCESS

Greenary Diagram

Facade Design Based on Day-light

DESIGN PROCESS

Undergound

First Floor

Second Floor

First Floor

Ground Floor Undergound

Second Floor

PANDEMIC WEARABLE ARCHITECTURE Brief and Framework Pandemic Wearable Architecture is a project concerning the current event of global pandemia. It is about this very situation that we’re all living in. It’s about being positive and hopefully not being tested positive for COVID-19. How does this situation change our practice? What are the Opportunities and Threats? Can we specify new scopes of work for our discipline? How can we make the indoor and outdoor spaces more livable in the pandemic era? What is the new definition of the private, and where is the new public? With these questions, we are positioning our bodies at the very center of our exploration. Can we protect our bodies differently? How can we be more aware of our bodies? What are the new protocols for communications and interactions? Pandemic Wearable Architecture projects explore solutions and provide prototypes for today’s emerging challenges using computational design and digital fabrication.

CAD-Logic on Computational Design and Digital Fabrication 1st and 2nd Years CAD-Logic Summer 2020 Course Coordinator: Sina Mostafavi Tutors: Niloufar Rahimi, Adib Khaeez

SELECTED PROJECTS

After the outbreak of the pandemic in 2020, masks became the only option and has evolved into an almost compulsory wearable for all. The outbreak had left the masses paranoid of their surroundings and cautious of their interaction with the environment as they went about their daily activities. As proven in the 2020 pandemic, it is almost impossible to give up going outdoors and our need to socialize as humans, but neither do we want to expose ourselves to the necessary risks in partaking with such activities. As it is impossible to remain indoors forever, our wearables had to evolve into ‘communicative skins’ – a form of pandemic-protection complemented with advanced technology that enhances our facial sensory functions.

THE NEW NORMAL CYBERNETIC HEADGEAR Students: Ariel Chen Shaun Yong

Along with the rapid advancement of technology over the years, we envision a pandemic headgear that combines augmented sensory functions and protective elements. In a futuristic setting of the year 2077, mankind are no stranger to cybernetic augmentations or in other words becoming “cyborg”. Along with other cybernetic technology, the mask also becomes an almost inseparable part of the human body. Informed by the cybernetic technology, the design draws inspiration from the contours of the human face. Combining both form and function, this cybernetic headgear helps the user perform risk analysis among crowded areas and informs the user of potential contagion threats, while the mouth and nasal mask addresses all respiratory concerns in a paranoia-plagued society.

SELECTED PROJECTS

THE THIRD EYE AUGMENTATION FOR PROTECTION

Student: Ashwanth Birla

ECO-SNAIL MASK USING AN ALGAE FILTER

Student: Egor Kuzmin

The ADAPt is formed by a group of young architects and architecture students looking for innovative and experimental activities in architecture and fabrication. „FaBRICKate“ is a teamwork fabrication project based on digital tools and processes. We used „rhinoVault“ plugin created by BRG. Its form-finding feature results in free-form compression-only vaults that can be built by non-tensile materials. The Vault is stable by only two thin layers of brick and not reinforced by any other materials. To transfer the computational form into the real world we used a framework made by two waffle structures and a mesh grid of steel rods which were removed later.

ADAPt Team: Erfan Akafzadeh, Soroush Asadi, Mohamad Ahsani, Pooria Baniadam, Amir Bayat, Sara Davoodi, Paniz Farrokhsiar, Mohammad Soroosh Jooshesh, Adib Khaeez, Ali Nosoohiyan, Hasan Shafiei, Niloufar Rahimi 2017 2017 2017

A+ Awards jury section| winner A+ Awards people choice| winner Memar Award| Finalist

AUDI ADAPTIVE CITY CAR Adaptive City Car is a collaborative project between designers and architects sponsored by Audi. Over 3 months of continuous research, design and prototyping, the interdisciplinary team designed and produced a 1-to-1 model of a new type of city car. The project merges adaptive systems, nature and digital design to robotic fabrication to provide a more userfriendly and customized car for the near future of our cities. Adaptive City Car is a collaborative project between designers and architects sponsored by Audi. Over 3 months of continuous research, design and prototyping, the interdisciplinary team designed and produced a 1-to-1 model of a new type of city car. The project merges adaptive systems, nature and digital design to robotic fabrication to provide a more userfriendly and customized car for the near future of our cities.Adaptive City Car is a collaborative project between designers and architects sponsored by Audi. Over 3 months of continuous research, design and prototyping, the interdisciplinary team designed and produced a 1-to-1 model of a new type of city car. Adaptive City Car is a collaborative project between designers and architects sponsored by Audi. Over 3 months of continuous research, design and prototyping, the interdisciplinary team designed and produced a 1-to-1 model of a new type of city car. DIA |Dessau Institute of Architecture| & DDD |Dessau Department of Design| Team: DIA (Saeed Abdwin, Niloufar Rahimi, Aleksander Mastalski, Neady Oduor, Marina Osmolovska, Ashish Varshith) & DDD (Jan Boetker, Otto Glockner, Nate Henrdon, Dominique Lohaus, Marie Isabell Pietsch, Katjia Rasbasch, Fu Yi Ser, Lam Sa kiu, Anian Till Stoib, Laura Woodrow) Tutors Assistants: Adib Khaeez, Valmir Kastrati, Shazwan Mazlan Tutors: Sina Mostafavi (DIA), Manuel Kretzer (DDD)

DESIGN PROCESS ORGANIC SHAPE The decisive factor for the development of a design language that seems naturally grown was to offer an alternative to the artificial and standardized appearance of ordinary vehicles. Instead, the design should rather meet the human need for individuality and provide a calming atmosphere, as found in nature. In addition, the choice of a diagonal position for the two driver seats had a decisive influence on the shape of the city car. Placing the seats diagonally made it possible to create large passenger areas that offer plenty of space for personal development. At the same time, passengers have the opportunity to interact with their counterparts or enjoy their privacy instead.

DIAGRAM 01 | Seating Position Informed the Exterior

NORMAL ARRANGEMENT OF SEATING POSITION

REARRANGEMENT OF SEATING POSITION BASED ON HUMAN INTERACTIO

DIAGRAM 02 | Informing the Whole Shape of the Car Based on the Interior

SHAPING THE EXTERIOR BASED ON THE INTERIOR

SEAMLESS SHAPE OF THE CAR WITH THE SKY VIEW WINDOWS

DESIGN PROCESS FURTHER DESIGN FEATURES The windows were primarily placed on the top of the vehicle to direct the visual focus of the passengers from unpleasant traffic situations to the sky or the environment and thus make the driving experience more relaxed for the passengers. When opened, the car‘s winged doors reveal the entire passenger cabin. This makes it easy to sit down in spite of the diagonal seating position. In addition, the vehicle literally opens up to the environment.

WINDOWS

CORK ELEMENTS

WINDOWS DOORS SEATS

WINDOWS

DOORS CORK ELEMENTS

DIAGRAM 03 | Car Design Features

DESIGN PROCESS

DIAGRAM 04 | Wind Tunnel Analysis of Aerodynamic

RENDER 01 | Design process and visualization of the doors

FABRICATION PROCESS

DIGITAL DESIGN TO ROBOTIC FABRICATION The model of the “Adaptive City Car” was produced with state-of-the-art robot technology. In order to prepare the robotic production, the digitally modelled version of the vehicle was first divided into and grouped into four clusters and 92 individual parts. Since each of the EPS components is unique, the robotic tooling process needed to be simulated and programmed for all 92 individual parts. Making the production process efficient, the fabrication team developed a generic routine with which all types of components, ranging from small to large or simple to complex, could be produced. The criteria for dividing the four clusters into smaller parts were based on reachability of the robotic arm, the curvature of the pieces as well as the size of the two used robotic end-effectors. The two end effectors were a hot wire cutting bracket and a 6mm milling head.

DIAGRAM 04 | Digital model grouped into four clusters logical assembly plan

DIAGRAM 05 | Robotic Fabrication, Milling and Hot Wire Cutting as needed

FABRICATION PROCESS

THE FINAL PRODUCT This fact as well as innovative materials and manufacturing methods offer so far hardly tapped potentials in vehicle design, which the “Adaptive City Car” project is investigating. The result is the model of a car that breaks with all industry standards and thus opens up completely new areas of application. The interaction between man, machine and nature will be raised to a new level. However, the project also shows what challenges the design of the mobile future holds. Infrastructure and user habits are adapted to the standards of the automotive industry. As a radical counter-concept, “Adaptive City Car” is the starting point for a discussion on how much this status quo can and must be challenged. It also puts new manufacturing technologies and materials to the test and paves the way for their use in vehicle construction.

THE FINAL PRODUCT

THANK YOU!