Piotr Tomanek - Studio II

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