Verge Piotr Tomanek EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
Table of Contents Final Board Layout Overview Project 3 Project 2 Project 1
3 5 7 24 58
PROJECT I
connection
PROJECT II
APPARENT
P1: Connections & Logistics
MACRO
MICRO
• At what point does architecture become sculpture and vice versa?
Looking at prefabrication through the lens of basic needs, I chose to focus on the gamer culture. This emerging social group was once on the fringes of society but now has become a main stream influence and is integrated into the most mundane aspects of society. This building focuses on the relationship between game, gamer, and environment. Looking at the gamer experience as an immersive, continuous atmosphere trasitioning from digital space to physical without missing a wink. By fully immersing the visitor in a fantasy like space, we are left with an ambiguous zone between fiction and reality, with neither being dominant over the other, rather, each existing complimenting one another in a way that allows the visitor to engage with the building in which ever way their mind chooses. Leaving a sense of awe and inspiration, continuing the dream world into the real one.
• Can sculptural architecture influence program or is it reduced to ornament and spectacle? • Does designating architecture as sculpture elevate the practice into art? What residual effects does this have? • Can programmatic ambiguity allow for reconfigurable space? • How can we ensure use through reconfiguration? • Can we achieve a more timeless quality, one with the possibility to outgrow its program?
LOGIC
PROGRAMS
IN SITU
• PRECEDENTS • TECHNIQUES • APPROACHES
• 150 SQ FT • 250 SQ FT • 1000 SQ FT
• COMBINATIONS • ON SITE • PARASITES
Stage
718
Adjacent Nearby Not Adjacent
MONOLITH
ATMOSPHERE
PIOTR TOMANEK EVDA 582 [Studio 2] Winter 2018 April 19, 2018 Instructor: J. Taron
PIOTR TOMANEK EVDA 582 [Studio 2] Winter 2018 April 19, 2018 Instructor: J. Taron
250 SQ. FT. SPACE
7,728
10%
Seating
20
215
5%
Concession
430
5%
Washrooms
654
7,039
30%
154
1,657
15%
654
7,039
30%
581
15%
3,519
30%
Capsule Hotel
ASSEMBLY/DISASSEMBLY
Reception Shared Washrooms
20%
43 x 50 26 x 50
25%
3,519
30%
125
1,345
10%
125
1,345
10%
Living Room
57
613
5%
Kitchen
BedRoom
Battle Arena
Washroom
2, 760 m2 29, 708 ft2
Seating
ASSEMBLY
LEVEL 1
PENTHOUSE KITCHEN
30m
ARENA CLT ENCLOSURE
30m
30m
CONCRETE ARCH
30m
30m
30m
CONCRETE TRUSS
BATTLE ARENA
ARENA
LEVEL 1
LEVEL 2
LEVEL 3
PARKING PLANS 1:500
PARKING
ROOF
PLAN
LEFT
P1
P2
P3
P4
ELEVATIONS FRONT
RIGHT
BACK
B
NORTH WEST
FRONT
SECTIONS
RIGHT
A
Plan
Side/Front/Back
Iso BACK
LEFT
PLAN
EAST
EXPLODED AXO
1000 SQ. FT. SPACE
ELEVATIONS
FRONT ELEVATION
BACK ELEVATION
Level 1 Stage
FUTURE ADDITIONS
100 SQ. FT. SPACE
SECTION
Concession
Washrooms
LEVEL 2
MID SIZE UNIT
Level 2
Individual Washrooms
LEVEL 3
PLANS 1:500
7/11
Arcade
BedRooms
Penthouse
TOP SHELL
CAPSULE
Level 3
Capsules
Individual Capsules
327
5%
Reception
7-11
4 x 50
215
Common WC
Upper Capsule Hotel
2.5 x 50
20
Level 4 Kitchen
Living Room
Capsule Hotel
5%
2,152
327
Penthouse
Upper Capsules WC
Arcade
10%
200
TOTAL AREA
CHUNK LOGIC
ASSEMBLY
Battle Arena
SITE 1:1 500
AGGREGATE
CONNECTION LOGIC
Program
40
54
PIOTR TOMANEK EVDA 582 [Studio 2] Winter 2018 April 19, 2018 Instructor: J. Taron
n
10%
e
30%
215
1 x 400 10.7 x 400
• At what point does it become ambiguous?
tio la
s er et
ag ot
• Can a building act as a catalyst for urban renewal?
MESO
Washroom
Adjacency Matrix
8,589
20
• Can digital space exist as an extension of real space? • How can prefabricated parts adapt to the ever changing world of technology?
Bed Room
Reception
Supporting Programs
798
• How can we fully immerse the visitor into an environment?
• How can we make our environment question our use of space itself, or should there be more drivers of program to help narrate an experience?
ENVIRONMENT • INTEGRATION INTO CITY • CIRCULATION
• CAPSULE HOTEL • PENTHOUSE RESIDENT
cu Cir
te va Pri blic Pu
• Would a gradual integration be more accepted as a catalyst for more radical future projects to emerge?
GAMING ENVIRONMENT
• ARENA • ARCADE
M
• How can we integrate radically different forms into existing conditions in a seamless way?
GAMING EXPERIENCE
Fo
These aggregations revealed the atmospheric qualities that this component was capable of, and allowed for closer examination of how these aggregations might begin to shape space and create environment. The aim to maintain a legibility across scales acted as a measure of success, at each scale the component created a different effect, becoming fully realized in high density groupings where attractor points and surfaces allowed component geometry to fully articulate itself.
Taking the lessons learned from Project 1 let us progress rapidly through spatial chunk iterations in Project 2. Our main goal was to create spaces at 100 square feet, 250 square feet, and 1000 square feet in order to determine their appropriate programmatic performances. A process of push and pull was utilized, taking the tensile forces inherent in Project 1, and allowing them to become novel through alterations not possible in real physical space. Using grasshopper as first a model making tool and later an iterative experimentation tool, I begun with a study of Frei Otto’s Munich Olympic Stadium. This structure is a celebration of tensile forces inherent in the physical world around us, Otto incorporates nature, materials and materially efficient processes. Picking apart the script, I rotated anchor points and froze the physics simulation, discovering rich textural surfaces. Each of these studies had beautiful moments depicting realistic fabric like qualities, but their true power was realized when populated with the component. The vivid wrapping and undulating surfaces created were complex and intricate, forcing the component to behave in unexpected ways.
e ar
• At what point does our geometry begin to indicate a sense of scale?
DISCREET
e ar
• How can we think of a singular prefabricated entity existing on multiple scales and strata simultaneously?
REACTIVE
u Sq
Exploring these aggregations at multiple scales became the basis of my inquiries:
Through a rigorous iteration process, we became very familiar with our components, at times becoming ambivalent to the normality of the real world. By understanding prefabrication as a manipulation of self similar pieces, we separated ourselves from the world of regular building blocks, and proceeded to make out own. My choice of geometry was based on the beauty of nature realized through physics, namely gravity and tension. By creating 4 anchor points a top a regular cube, gravity was applied and the basic geometry suddenly took on a new life. 4 spikes created a directional aspect to the form that I wanted to push further, as well as creating appendages that could be overlapped and rapidly aggregated to create field effects. Through the use of attractor points we allow unique relationships to emerge between components, each component being gradually manipulate creating a gradient effect responsive to the environment.
aggregate
P3: Chunkitecture
u Sq
Forming a cohesive connection logic was pivotal to Project 1. By first building a cohesive relationship between parts, we were able to slowly build our way up to a fully realized form. In this project I first initiated my component, which was driven by tensile studies of basic geometry driven by the physics engine kangaroo for grasshopper. This plug in allowed for organic, natural forms to emerge as well as rapid succession variations for studies. Given the inherent connection logic, we were able to aggregate our components onto surfaces, the manipulation of these surfaces was the basis for the majority of iterations, closely examining the relationship between ground plane and wall plane, as well as exploring the beginnings of extensive component deformation based on complex surfaces. In these early stages of design, we were able to observe the behavior of the component as it adheres to unique surfaces.
PROJECT III
space
P2: Spatial Chunks
SOUTH
Overview What is at steak in the design? What are the main investigations proposed? EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
4 · PROJECT III
• This project seeks to integrate form into environment, create a form that is compelling and would act as a cultural beacon for the city it inhabits. Its goal to serve as a gaming center for video game enthusiasts is overshadowed by its potential to act as a catalyst for urban renewal. The ability of the system to adapt to a variety of programs is a measure of its success, in the end I believe it adhered to its variety of programs in a rich way, creating an experience that begins from the fringes of the site to the interior courtyard and private spaces.
• How can a building act as a catalyst for urban renewal? • How can we integrate the buidling onto the site? • How can sculpture program public space? • Can an architectural project aimed at a specific group of people, still be relevant to the rest of society? • Where does the line between the virtual and physical space exist and how can we obscure this line as much as possible, creating a more immersive effect? • Can prefabrication hold the key to more unique, repeatable forms being realized?
PROJECT III · 5
FACADE
PENTHOUSE
CAPSULE HOTEL
ARCADE
CONCRETE ENCLOSURE
CONCRETE TRUSS’
CANTILEVER SUPPORTS
BATTLE ARENA
PARKADE
Project 3 Verge EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
6 · PROJECT III
Project 3 asked students to develop a 3000 m2 multifamily project formed out of an aggregation of universally connected serially programmed spaces. Aesthetics, sustainability and socio-political performance were all be addressed at this scale of investigation. The purpose of this project is to leverage projects 1 & 2 such that we immesdiately committed to a clear project idea, in the first few days of this phase and used the remaining time to develop through representational techniques and analysis that attempts to discover the problems with we were proposing.
What does it mean when we assemble 3000 m2 of programmatic chunks into spatial proximity with one another? What are the implications of the connections that are formed? And what are the social and environmental questions or problems that emerge from the project itself? How can you use explorations from throughout the term to produce a cohesive, legible and accessible design proposal? How can you use conventions representation to address these questions?
PROJECT III · 7
Washroom
Ci n io at ul rc
e ag ot Fo re ua Sq s er et M re ua e at Sq v i Pr c i bl Pu
Bed Room
Program
Supporting Programs
798
8,589
30%
20
215
10%
Stage
718
7,728
10%
Seating
20
215
5%
Concession
40
430
5%
Washrooms
654
7,039
30%
154
1,657
15%
654
7,039
30%
Battle Arena
WC
Kitchen
Living Room
Common WC
Capsule Hotel
Capsule Hotel
Reception
Level 3
Capsules
10%
Individual Capsules
5%
Reception
200
2,152
15%
Shared Washrooms
327
3,519
30%
4 x 50
43 x 50
20%
2.5 x 50
26 x 50
25%
327
3,519
30%
125
1,345
10%
BedRoom
125
1,345
10%
Living Room
57
613
5%
Kitchen
215
5%
Washroom
20
Level 4
7-11
581
TOTAL AREA
Adjacent Nearby Not Adjacent
Penthouse
Upper Capsules
Arcade
54
1 x 400 10.7 x 400
Reception
Adjacency Matrix
Upper Capsule Hotel
Level 2
7/11
Arcade
BedRooms Individual Washrooms Penthouse Concession
Washrooms Battle Arena
Level 1 Stage
Seating
2, 760 m2 29, 708 ft2
MID SIZED ROOMS PENTHOUSE
CAPSULE HOTEL CAPSULE HOTEL
ARCADE
BATTLE ARENA
PARKING LEVEL 1 PARKING LEVEL 2
PARKADE ENTRANCE
PARKING LEVEL 3 PARKING LEVEL 4
Project 3 Verge EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
8 · PROJECT III
For this project I decided to focus on the basic needs of the video game community. Exploring this project through three experiential lenses, the Gaming experience, gaming environment, and physical environment. • What are the basic needs of gamers? • What type of facilities are required to adequately serve a gamers schedule? • How can we design social space for the introvert?
With a formal programmatic language at hand, we can form a matrix to study the relationships of spaces according to their size and importance. Speaking to the basic needs of gamers, we group programs in accordance to their programmatic function. as outlined in this section showing a large main spectator arena on the main floor, with ascending levels composing a public arcade and convenience store on Level 1, a Japanese style capsule hotel on Level 2, mid sized hotel rooms on Level 3 which are adjacent to a spacious penthouse reserved for a visiting resident gamer. as well as 4 parkade levels below the main structure.
PROJECT III · 9
ROOF PIECE
FACADE
ADDITIONAL LEVEL LEVEL 3 PARTITIONS RECONFIGURABLE PIECES CAPSULE UNITS ARCADE
CLT FLOOR PLATE
FACADE PIECE
STAIR SYSTEMS
RECONFIGURABLE PIECES
CLT ARENA ENCLOSURE PIECES
CLT FLOOR PLATE
CONCRETE TRUSS DISASSEMBLY
EXISTING FLOORS
CONCRETE ARCH DISASSEMBLY
ARENA
Project 3 Verge EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
10 · PROJECT III
Speaking to how to design for the introvert, the solution may be to first create an experience like non other than can only occur in one place. Forcing people to leave the confines of their mothers basement and engage in a larger community of like minded people. Secondly, set up amenities that would allow them to reside for a longer amount of time if desired, provide nourishment as well as entertainment during times where there are no events taking place. Looking at each structural element separately we can see how this seemingly bizarre and clustered arrangement has a structural logic, defined by concrete trusses, CLT floor plates and concrete molded component parts creating the façade and upper structure.
A closer examination reveals that each of these systems can be broken down further. for instance, the concrete structural trusses are each composed of two mirrored component aggregations, and likewise the structural arcs keeping up the first floor plate are a mirrored arrangement. Preparing for the likelihood of reprogramming over extended periods of time, this diagram describes how an additional floor plate may be added, as well as how partitions can vary depending on program needs.
PROJECT III · 11
Project 3 Verge
Looking at how this structure sits on site, we can see how spaces are affected by the building and like wise the sculptural adjacent park
EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
12 · PROJECT III
PROJECT III · 13
P1
P2
P3
P4
Project 3 Verge EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
14 · PROJECT III
Taking a closer look at the floor plans, we can see the main level battle arena flanked by concession and bathrooms to the north, as well as parkade levels accessible by two elevators on the SW and NE corners of the arena. Level 1 is accessed by an escalator that starts at the main level and penetrates the floor plate, immediately situating the visitor at the center of the courtyard space. This level is meant to draw the public in. The arcade is where most of the gaming is done, populated with various arcade games as well as rentable computer desks where visitors are free to game with their friends. This arcade is served by a corresponding convenience store to allow for seamless transitions between gaming sessions.
Level 2 is a Japanese style capsule hotel, with spacious capsule units as well as communal bathrooms and showers with individual stalls. A reception greets the visitors at the top of the stairs, allowing for quick access to rest space if they decide on a nap, or an overnight stay. The top floor is reserved for mid sized rooms for visiting gamers or just visitors looking to soak in the experience of the Verge building in its entirety. Most rooms provided with a shared balcony with views on to the surrounding site. This level also houses the penthouse which the resident gamer occupies.
PROJECT III · 15
NORTH
SOUTH
WEST
EAST
Project 3 Verge
In the north elevatino we can see a grand entrance leading people from the future ctrain line to the main entry of the arena. In west elevation we can see four discreet windows looking out towards the West entrance.
In south elevation we can see the penthouse balcony peaking out near the top of the enclosure. The east elevation having a largely flat façade, allowing for utility access within the walls from floor to floor
EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
16 · PROJECT III
PROJECT III · 17
CAPSULES Project 3 Verge EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
18 · PROJECT III
MID SIZED ROOMS Breaking down the elements within each space, we can see the capsules articulated on the left, each being removable and reconfigurable if needed. In the center we can see an example of a mid sized room, having a single bed, desk, closet and a shower and toilet space within each unit. On the right we see an example of a kitchen configuration of the penthouse, using similar components to describe shelving, tables, and seating.
PENTHOUSE KITCHEN • How can a building act as a catalyst for urban renewal? • How can we integrate the buidling onto the site? • How can sculpture program public space?
PROJECT III · 19
Project 3 Verge EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
20 · PROJECT III
Initially the rail tracks brought vitality to the city, however as the city grew they have proven to be a nuisance in the sense that they divide the core of the city in half and disrupt the flow of pedestrian and vehicular traffic. In an attempt to make this project a catalyst for urban renewal, the project pushes this idea of moving the rail line away from the core and creating a pedestrian walkway system similar to the highline in New York, or the Tabiat bridge in Tehran.
This mix of sculptural and formal architecture is meant to create a fully immersive experience from start to finish. From the second its seen above the horizon line it would act as a beacon and gathering area for people from all walks of life, not just gamers.
PROJECT III · 21
Project 3 Verge EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
22 · PROJECT III
• Can an architectural project aimed at a specific group of people, still be relevant to the rest of society? • Where does the line between the virtual and physical space exist and how can we obscure this line as much as possible, creating a more immersive effect? • Can prefabrication hold the key to more unique, repeatable forms being realized?
PROJECT III · 23
11 st.
SE
R-C2 I-E
E ve S 17 A
M-H1 C-COR2
I-G
C-COR3
R-C2
I-C S-CS
11
I-G
St .S
E
M-CG
I-E
26
E eS v A
11 S t. S
E
D-C
e SE 26 Av
Project 2 Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
24 · PROJECT II
In Project 2, students designed a series of architectural chunks that each address a specific programmatic performance. Emphasis will be placed on serial variation in order to achieve these requirements keeping in mind some of the lessons learned & effects developed in Project 1. • How can these chunks deliver on the problem of programmatic reconfigurability at a 1, 5 & 10 year frequency? • What narrative exists in support of that problem/opportunity? • How do you use techniques of architectural representation to visually communicate that problem and its supporting narrative?
In Project 2 we began by looking closely at the site, researching the zoning laws I determined that a lot on the NE corner of the 11th Street corridor was ideal to place my project. Holding the designation of Multi-Residential - High Density Low Rise District allowed for the specific programming I was looking to achieve.
PROJECT II · 25
ANISH KAPOOR
FELIX CANDELA
PETER COOK
MIGUEL FISAC
LADG
RESOLUTION: 1,800 components
PLAN
MUNICH OLYMPIC STADIUM
Project 2 Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
26 · PROJECT II
,MONTREAL EXPO ‘67
PERSPECTIVE
RESOLUTION: 900 components
Initially I explored a number of precedent artists and architects including Anish Kapoor, Felix Candela, Peter Cook, Miguel Fisac and the Los Angeles design group. How ever I found that these precedents didn’t necessarly allow me to celebrate the tensile geometry inherent in my component. The work of Frei Otto jumped out at me and I saw the potential for further exploration. Studies based off of the Federal Garden Exhibition yielded feasible options, however left program fairly ambiguous. The difficulty in Frei Ottos work is that there is a general failure to transform the pure rationale of structure into total architecture.
PROJECT II · 27
PARAMETRIC TWEAKS: TENSION - SPRING LENGTH STATIC ELEMENTS - ANCHOR POINTS PHYSICS - GRAVITY
ITERATIONS OF LOWERED RESTING SPRING LENGTHS
REDUCED COMPLEXITY
Project 2 Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
28 · PROJECT II
Through a series of experiments the initial form of the Munich Olympic Stadium began to evolve into something completely different. These explorations froze the initial moments of applied force realized by kangaroo as spring strength, anchor point elements, and forces such as gravity. These studies evoked gehry-esque forms which were interesting in and of themselves but didn’t serve as ideal surfaces for components to adhere to.
PROJECT II · 29
Project 2 Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
30 · PROJECT II
Later studies took the static anchor points and shifted them along their paths, rotating the anchors resulting in caccoon like forms with delicate fabric qualities. This technique was the basis for the majority of my iterations. Resulting in interesting, and often surprising variations of the component.
PROJECT II · 31
ENTRY MUDROOM TENNIS COURT
LIVING BATHROOM POOL/DECK
KITCHEN BEDROOMS
LOWER LEVEL
OFFICE
CLUB MASTER BED
Project 2 Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
32 · PROJECT II
• At what point does architecture become sculpture and vice versa? • Can sculptural architecture influence program or is it reduced to ornament and spectacle? • Does designating architecture as sculpture elevate the practice into art? What residual effects does this have?
JAMES TURRELL EXHIBIT
A driving precedent for program was John Lautners Goldstein Residence. Embodying a diverse range of program and scales this house was a driver of arrangement and possibility.
PROJECT II · 33
B
FRONT
RIGHT
A
BACK
SECTION A
Project 2 Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
34 · PROJECT II
LEFT
PLAN
SECTION B
Starting with 250 sq. foot spaces such as the kitchen and the entryway, I took a cloth study and added a floor plate. Populating the fluid type of surface evoked highly deformed variations of the component. Creating a highly camouflaged exterior, how ever allowing for interior circulation. Crevices between the loops of components allowed light to penetrate through and illuminate the interior. Providing moments of contemplation and solitude.
PROJECT II · 35
Project 2 Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
36 · PROJECT II
By isolating a component and modeling it locally we are able to integrate program into the form. Allowing moments of peace amidst the chaos, in this case a lounger turning this space into a study. Tackling the problem of assembly, I propose splitting these pieces into 6 loops. Each with their own set of components separated as chunks
PROJECT II · 37
B
FRONT
RIGHT
A
BACK
LEFT
PLAN
SECTION B
SECTION A
Project 2
Like wise this process is repeated on another surface creating habitable space. In this case a transitional entry way.
Again, components are isolated and sculpted Transforming the program into that of a living room.
Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
38 · PROJECT II
PROJECT II · 39
ROOF
FRONT
Project 2 Adaptive Synergies
PLAN
RIGHT
LEFT
BACK
In this 250 sq. ft. iteration I wanted to retain elements of the surface and allow them to shape space in unison with the component. The result is a thick structural support for the component itself, allowing for a less dense aggregation type.
EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
40 · PROJECT II
PROJECT II · 41
FRONT
LEFT
A
BACK
Project 2 Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
42 · PROJECT II
RIGHT
PLAN
As an approach I wanted to see how far we could take surface deformity without breaking the geometry itself. This iteration formed an arch while maintaining a cohesive relationship from piece to piece. As an interior condition it introduced near fractal qualities varying immensely. From the exterior forming a protective shell akin to a turtle. In terms of assembly this arrangement would be split into three pieces, two supports and one grouping of components at the top forming a key stone to the arc.
PROJECT II · 43
Project 2 Adaptive Synergies
Using a similar technique as before of component isolation, allowing the space to adhere to a mirror and vanity for a bathroom. Likewise a toilet and tables, not fully integrated but of the same family type as the rest.
On site we can see this as a pavilion, acting as a sculptural curiosity becoming a catalyst for social space. Again bringing to question the idea of context.
EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
44 · PROJECT II
PROJECT II · 45
FRONT ELEVATION
YARD
PROGRAMMABLE BEDROOM SPACE
BACK ELEVATION
COURTYARD
ELEVATION KITCHEN
LOUNGE AREA READING
DINING
FOYER
FIRST FLOOR
Project 2 Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
46 · PROJECT II
In the 1000 square foot spaces I decided to take a slightly different approach. By first isolating three component types, we reduce their inherent complexity. Arranging them as components themselves, in this case to forming trusses and wall wraps. Also utilizing a similar technique to create stair types. We can combine them into more normative surfaces to create structural forms. Creating a legibility, allowing the forming of a foyer and courtyard, as well as possibly anything in between.
SECOND FLOOR
SECTION
Relationships emerge between stairs and ribs, creating unique moments
PROJECT II · 47
Project 2
Model Studies
Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
48 · PROJECT II
PROJECT II · 49
Project 2 Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
50 · PROJECT II
Elaborating on these relationships, we introduce a new component self similar and related to the original, however speaking a different language of arrangement than their counter parts. Through integrating these two systems, we can create sculptural structure, as well as a system of walls that describe the exterior, as well as interior partitions. We see a diagram showing the relationship of walls and trusses, as well as their broken up assemblies each breaking down into a row of chunks
PROJECT II · 51
FRONT
LEFT
BACK
Project 2 Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
52 · PROJECT II
In this Iteration I wanted to come at it from a purely sculptural approach where I embed the component into a winged surface. Allowing the component to formally vary but dissolve into the surface it self. Acting as a landmark and place of gathering with a fairly ambiguous program as well as square footage dependent on occupancy.
PROJECT II · 53
Project 2 Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
54 · PROJECT II
• How can programmatic ambiguity allow for reconfigurable space? • How can we ensure reuse through reconfiguration? • Can we achieve a more timeless quality, one with the possibility to outgrow its program?
I created a panel system with bits of the component that still spoke to its base level nature. Creating a larger set of panels which allowed variation independent of complexity of the inital surface. Forming a clearer distinction between inside and out side, with a rich textural quality on the exterior. We see the surface being integrated with a floor and in combination.
PROJECT II · 55
Project 2 Adaptive Synergies EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
56 · PROJECT II
Integrating this system further into the site, I propose using larger components to replace structural members of exiting buildings, allowing for a transition from existing space to new form. By placing the surface against a normative back drop, we can allow the component to live and speak in its own language while integrating seamlessly into the surrounding landscape.
• How can we integrate radically different forms into existing conditions in a seamless way? • Would a gradual integration be more accepted as a catalyst for more radical future projects to emerge? • How can we make our environment question our use of space itself, or should there be more drivers of program to help narrate an experience?
PROJECT II · 57
John Hejduk - House of the Suicide & The House of the Mother of the Suicide
Ernesto Neto - Espace Louis Vuitton - Tokyo
TU Delft - Hyperbody Msc 2 1:1 Prototypes
Project 1 Connection + Scale EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
58 · PROJECT I
Hongyang Lin - student of Ali Rahim - Haute Couture - SciArc 2016
we begin with a basic geometry exposed to tensile properties driven by the physics engine kangaroo. Starting with a cube, internal tensile stress is created, then a gravitational force is applied and finally the base anchor points are dropped, breathing new life into an otherwise stagnant geometry. Some inspirational precedents that influenced the outcome of these studies were the work of MC Escher, Ernesto Neto with his explorations of tensile structures, this sculpture: House of the suicide and the house of the mother of the suicide” by John Hejduk, structural component explorations at TU delft specifically the Hyperbody Prototype pictured, and the work of Ali Rahim’s class “Haute Couture” at sciarc 2016.
To allow for relationships to emerge, there must be a driving connection logic to each pairing of components. These connections perform differently at different scales, some are more pragmatically defined and obvious while others dissolve into discreet enclosures.
PROJECT I · 59
Plan
Project 1 Connection + Scale EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
60 · PROJECT I
Side/Front/Back
Iso
In the more apparent connection system, the inherent tensile properties of the geometry are mirrored by hooks that allow the component to respond to tectonic and gravitational stimuli, emphasizing a connection to the forces embedded in the form. We can see these connections existing for instance at a human scale, allowing their cavities to become habitable.
PROJECT I · 61
Plan
Front
Side
Iso
Aggregation
MATERIALS
Exploded Assembly
Silver
Rubber
Acrylic
Plan
Side
Front
Back
Project 1 Connection + Scale EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
62 · PROJECT I
T&G Linch Pin Connection Detail
Front
Back
Plan
Side
Linear aggregation connections can be discreet, allowing for a focus on new moments arising between forms rather than the connection itself by sliding into each subsequent pairing. Performing at a micro scale these relationships begin to evoke tactile properties, brining into question their materiality and composition. This system can also be applied at a habitable scale, breaking up each component into smaller pieces with their own discreet connection system. This level of scale brings to question the relationship of the interior, allowing for variation through a language of spatial continuity within each grouping.
PROJECT I · 63
Project 1 Connection + Scale EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
64 · PROJECT I
Speaking to reactive connections, groupings of components are allowed a level of freedom influenced by the surface they adhere to while simultaneously imposing new atmospheric conditions. Only at this level of connection is the full potential of an effect realized. Through an increased population we begin to see relationships emerge allowing for localized effects to take hold of the thing itself.
PROJECT I · 65
MATERIALS
Polystyrene
Metal Lath
Plaster
MATERIALS
MICRO
MICRO-MESO Cast Cement
Polystyrene
Metal Lath
Plaster
Project 1 Connection + Scale EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
66 · PROJECT I
MICRO
Cast Concrete
Acrylic
Wood Frame
Stucco
MESO
At what scales are these connections appropriate? Are they inherently tied with one scalar language, or are these choices not so clear? Speaking to scale I’ll quickly explore how these connections and aggregations can exist at multiple scales from micro to macro and everything in between. Going through these explorations certain questions began to arise, one being at what point do these scales overlap? And what is the frequency these scales can be applied in?
PROJECT I · 67
MESO-MACRO
MESO
MESO-MACRO
MESO
Project 1 Connection + Scale
What type of effects does each scale make possible? Can geometry inherently indicate a scale? And is there a point that it becomes ambiguous?
EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
68 · PROJECT I
PROJECT I · 69
Plan
Front
Left
Project 1 Connection + Scale
Back
Plan
Front
Side
Back
Right
what scales and connections guide a creation of condition? What kind of atmospheric conditions can be produced through different pairings of techniques?
EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
70 · PROJECT I
PROJECT I · 71
Project 1 Connection + Scale EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
72 · PROJECT I
The full atmospheric potential is realized in the application of the component to surface, where we see a field effect emerge where one single element doesn’t define the whole, but the entire network orchestrates an effect not visible with just one entity.
PROJECT I · 73
Project 1
Model Studies
Connection + Scale EVDA 582 • Studio II Instructor: Josh Taron Faculty of Environmental Design University of Calgary Winter 2018
74 · PROJECT I
PROJECT I · 75
CLT
Concluding Thoughts What did you learn from your project? What did you think you were doing the term when you were immersed in it? What do you think you actually did during the term now that its over and you have some perspective? Are there projects that you discovered during the term that you would like to continue investigating through your future projects?
76 · PROJECT I
Steel
Glass
• This entire semester was a lesson in time management, methodology, and refining digital design tools through a rigorous exploration of program and what the notion of prefabrication can mean. This project was a process of design through experimentation and discovery, with each project resulting in something vastly different from what I originally had in mind. • While I was in it, it was difficult to see the end result even thought the answers were in front me the whole time. The results of each project informed the next and I appreciated the process. • Now that I have a second to look back I see that some
overarching themes, they seemed to be: integration into the environment, experimentation using advanced digital tools, and creating a methodology that allowed for rapid iteration generation. Each one informing the next, and vice versa; culminating in a deeper understanding of digital tools and processes as well as a enriched understanding of how adjacent programs serve one another. • Some of these projects I could see myself exploring further, perhaps the purely tensile surface studies. However I feel as though this component aggregation has been stretched to its furthest limits. That being said there are opportunities to integrate into the from better and from one system to the next. PROJECT I · 77
Thank You