Game On! A machine to make unsual connections The architecture of assembling
TS5 Sabrina Morreale Diploma 9 AA 2015-2016
“Eventually, everything connects� -Charles Eames
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TABLE OF CONTENTS 1.Introduction
Project Statement and Technical Studies proposal
1.1 Insert ball 1.1.1 Ludic Architecture 1.1.2 Rules-Assembling
2. Level 1 Playfield 1
2.1 The grains 2.1.1 Rules-Collecting 2.1.2 The playfield
2.2 Pinball mechanism 2.2.1 The machine 2.2.3 Plunger 2.2.4 Flippers 2.2.5 Pumbers 2.2.6 Slingshots
2.3 Pinball construction 2.3.1 The plywood board 2.3.2 The Frame
3. Level 2 Bridges
3.1 Creating connections 3.1.1 Connections through perspective 3.1.2 Connections against gravity 3.1.3 Connections with 2D 3.1.4 Connections using materiality
4. Level 3 Islands 4.1 Creating ground 4.2 Assembling islands 4.3 Making Islands
5. Insert ball
Player dimension
5.1 Wormoles 5.2 Variables 5.3 Game over
“To choose a game is to choose an architecture” -Wigley-Space, Time and Play
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Manifesto
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Ludic Architecture
Insert ball
Architecture as play “Does the world really present itself to perception in the form of well-made stories, with central subjects, proper beginnings, middles, and ends, and a coherence that permits us to see “the end” in every beginning? The answer is No. History, as well as our everyday life is a mass of intertwined events, following one another dependent on our choices, but also by an element of chance. From childhood to adulthood, man is actively seeking luck in life, trying to find the right path, the shortcut, the best way possible to find the best option of him/herself. It is like playing a game, always seeking to know what would happen “if”. It is in the uncertainty, as we are grow up, which allow us to have an almost infinite range of choices and possibilities. Playing has always been an anthropological constant. As in life, any game has its moments of chance and its moment of experience. We look at game and play as human practices in space, and in doing so we examine play in the context of architecture. To choose a game, is to choose an architecture. To choose any path, is to choose an architectural space.
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Rules
Assembling
Assembling fragments The etymology of fragment, comes from latin “fragmentum” or “frangere- I break. It ascribes significance to the whole, as a small detached portion of something. These fragments, extracted from their original context, occupies now new realities. The architect, being an everyday collector of everything around us, take these fragments to introduce a new configuration. These fragments transport the old values with them, although, if fit into new formations, will create a new meaning and a cultural continuity. The process of assembling ideas, projects, people together is part of everyday life. Every day we do connections, more or less concrete or abstract. Most of the events that happen every day are dictated by time, but predominately we often build our projects through carefully chosen random links. The project investigate what connection means in 2016. We connected instantly with the world, we believe we have the chance to see faraway places through images on the internet or calls on Skype. The world we live nowdays is all about connecting, but no every connection is real. The architectural profession is to assemble: details, walls, windows, but also ideologies, cultures and creating something homogeneous. The term assembly comes from the French “assemblage” with the meaning of putting together, unite. The real meaning of this project is to understand how to assemble, parts together.
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Level 1
The grains
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Rules
Collecting
Collecting through playing The playfield let you explore history and every time you hit a moment in time, it unlock a fragment, a piece which you want to keep in your personal development throughout the game. There are infinite fragments which you start collecting, as many fragments as possible is necessary to make more and more connections. It is once you have enough fragments, that you start linking those, creating your own level of informations, your own ground. And although you have understood and kept playing to get all these pieces together, once you erase the past to start creating your own space, it is a tabula rasa. It is a new land which start to be constructed on. These fragments transport the old values with them, although, if fit into new formations, will create a new meaning and a cultural continuity. Collection as a form of obliteration. The collection in fact, is never ending and always expanding. The architect as a collector is building the space in which these pieces can puzzle together. The collection need to be re-arranged, dismantle and re-constitute if necessary. Their agglomeration from singular objects to hoard changes their meaning. They no longer talk about place, they do not belong to Piranesi and to Palladio, they talk about the lack of place. Which is synonym with architectural freedom.
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The playfield
The grains
1. “Duchamp takes a urinal and turns it into a fountain by another Man”
4. “Bikini island was bombed and vaporized over the course of a decade.”
2. “Architect Giangiorgio Trissino took a young assistant stonemason under his wing and renamed him Andrea Palladio.”
5. “Peggy Guggenheim begins her career with The Art of This Century gallery 1942-1947”
3. “28 years later Cedric Price builds the Aviary”
6. “Robert, together with his brother James, brought back to England two of Piranesi’s sketches that they later give to Soane.”
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8.Rollover slingshot 1.Arch rollover bumper 9.Rollovder lanes
2. Hole
10. Return lane slingshot
3. Slingshot
11.Flippers
4. Hole
12.Double slingshots
5.Bouncing target
6.Outlane 13.Flippers
14.Plunger lane
7.Instructions
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The machine
Assembling and construction
1.The blackbox used for scoring and glass boards is now replaced with a screen showing the ball path throughout the levels
3.The cabinet is wider than standard size. It need to be deeper to allow the levels to overlay with enough space between them.
2.The playfields instead of being just one are now three different one. All connected to each others.
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1.screen box
2. gate
11.buffer
3.rollovers 4.thumber bumper
10.drop targets
5.slingshots 9.target 6.flippers
7.plunger
8.cabinet doors
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Plunger
Trajectory and strength
In order to adjust the strenght and the position of where the plunger hit the ball it is needed to adjust the plunger in the shooterlane. Inclined playfield of about 5°-6°
When the pinball machine is level and the playfield is in the correct position, the plunger will hit the pinball right in the middle.If this is slightly off, it will resulting in a very weak plunger. If the plunger tip on the left doesn’t align in the middle with the hole on the playfield arch, it causes that the ball will not launch straight in the shooter lane but instead hit some posts at the ramp entrance and lose most of its speed.
4. Shooter Housing
8. Plunger Tip
6. Power spring- specity strenght
5. Shooter Sleeve
7. Circlip for Plunger Rod
1. Shooter knob 2. Outer Barrel Spring
3. Flat Washer for Plunger Rod
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Balancing structures
Daigo Ji Pagoda
Balancing structure Traditional timber pagodas are believed to have high seismic performance,the vibration characteristic of traditional timber pagodas are based on the result of micro tremor measurement, the natural frequence is approximately 1.5Hz and the damping factor 5%. The height of a five storied timber pagodas range from 15m to 50m. The structure has a square and symmetrical plan,usually three spans by three spans. The structural system is composed by a central column and the surrounding multi story frame. The central column is indipendent and the frame is based on the foundations or on the top of the beam of the first floor or suspended from the frame.
Sour-In
Type of roofing: 1.Clay tile 2.Pantile
On top of the centre column, the decoration called sour in is installed.The resistance of earthquake in the pagodas is due to small aspect ratio of the columns of the surrounding frame, the quantity of the horizontal members on each floor and the damping effect of the brakets.
3.Cypress Bark 4.Wooden shingle
5.30
The accelerogram is the recording of the acceleration of the ground during an earthquake. It measures the acceleration, the velocity and the displacement of the building.
5
2.20
4
1.75
2400
1560
1740
1740
1560
1740
3
1.90 20.78
2400 1740
2
2.00
1560
5520
1560
1.
1740
1740
5520
1740
1740
1
2.15
1.Location of accelerogram
Weight (ton) ry 30.16 Weight (ton) 11.40 ory 1st Story 30.16 ry 10.71 11.40 2nd Story 3rd Story 10.71 ry 10.33 4th Story 10.33 5th Floor 11.38 or 11.38 Center Column and Sourin 0.76 Column and Total Sourin 0.76 74.74 74.74
Central column
3.25
2.23
1.32
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0.96
0.96 5.52
0.96
1.32
Flippers
Above playfield
Assembling pieces
Below playfield
10. Adjustable braket(for position of flippers at rest)
9. Coil plunger link arm
1. Flipper rubber
8. Flipper shaft and lever arm with extension 7. Return spring 6.Assembly support bracket 5. Solenoid coil 2. Flippers viewed from above/ below playfield
3.Switch blade contact point
4. Assembly support bracket
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Flippers
Mechanism
1.
5.
6.
8.
7.
3.
4.
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Responding wall
Breathing wall 2.0
Action-reaction The project explores the potential for a gesture-based interaction with our dynamic architectural space through the use of a Leap Motion device. Secondly, it explore the relationship between materials, form and interactive systems of control in order to generate an empathetic relationship between users and their environment. In the future it may even be possible to design a direct interface, which allows users to interact with their environments without any intermediary mechanism. Such interfaces will make control of our physical environment much easier and intimate.
The depth camera captures topographic data of the surface in real time by using a Ausus Xtion PRO depth camera. It then processes this information in order to generate a series of topographic contour lines, which are projected on to the surface.
The Leap Motion recognizes specific gestures, which will control several DC motors to operate several types of movement into the surface. Also there was an attempt to emphasize on the surface topography by adding real time projection mapping onto the surface of the wall.
Springs
Movement of the aluminium strips PVC pipes control with Arduino micro-controller connected to a Leap Motion. Wooden blocks Wooden frame
Stretchable fabric
Computer software program
The audience generate various physical movement of the wall surface by their hand gesture while the new surface data information is processed and projected on to the surface. What is interesting here is the fact that projection and physical movement are locked into a feedback loop.
Electrical tranformer
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Breathing wall 2.0
Fabrication and construction
1. Material:Aluminium strip
2. Material:Aluminium strip
3. Material:Aluminium rod and
Components: 2SMA springs
Components: 3SMA springs
stretchable fabric
Speed: 4x
Speed: 800x
Components: 2SMA springs Speed: 800x
4. Material:Aluminium strip
5. Installation of the final pieces
6. Construction of frame around the
Components: 7SMA springs
together. Assembling of components in
wooden board
Speed: 600x
series
7. Connection of electric wires on each
8. Connection on the front side of the
9. Laying stretchable fabric on top of
assembling. Connecting the pieces and
wires and aluminium strips
the assembling pieces.
the computer software on the back side
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Flippers
Electrical connections
Black and Red cables connected to flippers mechanism Wall plug
Wires Blue and brown wires connected to socket
Socket
1. Power in all circuits
2. Secondary line 220 volt circuit 3. Single phase wire (extra)
Closed cables (not needed)
4. Carry power(not for wiring outlets)
Closed cables (not needed)
5. Carry power(not for wiring outlets)
6. Neutral wires
7. Single phase wire
8. Grounding of an electrical circuit
Closed cables (not needed)
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Transformer
Flippers
Application on playfield
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Flippers
Soldering
1. The black wire need to be cut the right measure, for a normal size pinball board, 20 cm of wire will be needed. Cut a piece of the rubber coating and roll up the electrical wires to make them more unified as possible
5. Insert the end of the wire into the insulated spade terminal Female Blue, standard size of 6.35mm crimp receptacle. It is a tin plated brass with maximum voltage of 300v.
2. Use a metal wire and a soldering iron first on the coil structure and then on the wire itself to have a tiny quantity of metal on both parts. These will be melt down and held in place when using the soldering iron next to those.
6. The two wires need to be further tighten it to the cables. The buttons will then be fitted in the outer structure of pinball.
3. Each wire is installed on the top part of the coil and as well on the part next to it. The wires need to be connected from the transformer to the flippers coils and to the flippers buttons.
7. In this case, there are two yellow cables interwined together, because one is connected to the coil and the other one to the flipper button.
4. The two wires attached next to the coil are linking together the flippers structure and the flippers buttons. In this case, the yellow cable will make the flippers react and the light purple cable will hold it in place.
8.The two wires attached next to the coil are linking together the flippers structure and the flippers buttons. In this case, the yellow cable will make the flippers react and the light purple cable will hold it in place.
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Flippers
On/Off switch
Flippers Off-On There are two coils in this assembly, a high power and a low power, joined together by the middle lug. Across the lower power coil is a switch, called the End Of Stroke (EOS) switch. Power (+43VDC) is applied to the single end of the high power coil and the single end of the low power coil is connected to the switch activated by the flipper button. The other side of the flipper button switch is connected to ground. So when you press the flipper button, a complete circuit to ground is established and the flipper coils are energized. Note that between the flipper button switch and the flipper coil is the Flipper Enable Relay.
1.EOS switch off Hold (low power) side of flipper coil shorted out by closed EOS switch. This gives the flipper coil low resistance and high power, so it can kick the ball hard.
1.
2.EOS switch On Hold (low power) side of flipper side now in series with power side of flipper coil. This gives more total resistance to the flipper coil, preventing the coil from burning while the player holds the flipper button in.
2.
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Thumper Bumper
Introducing chaos
Bouncing bumpers There are three types of bumper. The simple bumper is a mushroom shaped obstacles on the playfield with a movable, tapered, plastic skirt around the base. The skirt moves when hit and deflect a central post inside the bumper to activate a switch under the playfield. The Thumper Bumper has a descending flange which kicks the ball. The mushroom bumper it is smaller, it does not kick the ball away. In this case, the pinball machine has been installed with Thumper Bumpers, which have the same function of the slingshots. Those kick the ball in the general direction of each other and the outlanes. They are usually always in pairs. Through the playing of the game, the bouncing between the slingshots will be linked with the connection of at least two events.
1. 12cm diameter circles. The bumper
2. 1.5cm hole and two small of 0.5cm
need to be placed at the centre having
on each side.
few cm of freedom around it.
3. Leave the bumper a bit loose to
4. Double bumpers set on the middle of
allow the bouncing movement
the playfield
1.plastic cap
3.metal flange with studs 2.plastic skirt with stem
Leave enough gap between the bumper and the layer below as most of the electrical parts will be placed underneath.
4.thumber bumper solenoid
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Assembling and construction
Jet Bumper
4.
1.
1.
3.
2.
2. Due to the fact, that the machine is constructed as a bagatelle interaction with the ball, the thumper bumper does not 4.
have any scoring system. This
2.
3.
make it easier the assembling of the parts, without the need of a lever which is connected to a whole additional system.
1. 1. the pinball hits the bottom lip of the pinball machine. This lip depresses, like a giant button, sends a signal to the coil control board to activate the the solenoid. The solenoid is charged and becomes magnetized, driving the central piston down, this pulls the top ring of the pop bumper down, hitting the ball away. This all happens almost instantaneously.
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Moving parts
Bordeaux House
Complex assembling Bordeaux House In order to achieve the middle floor open and the above level solid, the house devised a cantiliver system to minimized the number of structural components. Koolhaus broke the traditional elements for a lift, to create a new space moved by a large hydraulic piston. This allows the house to be an ever changing redefining space. With large bookshelve along the entire length of the lift, the lift is disguised as part of the husbands office. It is possible to move from the kitchen to the living space to the bedroom area, without having to leave the desk. This mechanism allow access to all areas of the house. A dynamics kinetic movement within the house. The positive shapes to the space between structural elements are highly differentiated and change as one moves through the building. The various of hierarchy of members’s shapes and sizes make the whole building the machine of fragmentation.
South-North elevation
East-West section
1.
1.The top level that looks like it is floating over the glass middle level, is supported by a steel cylinder that’s hides the spiral staircase within it. 2. The middle level is the most transparent and occupied area of the house. The space is situated partially indoors and out-
2.
doors so it has a close relationship with the garden. It is devoted to daytime and is open at all sides and is limited only by glass walls. This level is where the living room, dining room, terrace and study is.
3.
3. The lowest level has a cavernous and mazelike interior. It consists of the main entrance, kitchen, laundry room, wine cellar, television room and service area. This level can be described as opaque because it conceals some areas of the house.
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Bordeaux House
Assembling programs
2.tension cable buried in the ground to stablise the horizontal loads, attached to the beam with a pin connection 1.concrete slabs(solid)
3.Steel beam, that runs along the roof 2.
1.
Middle plane out
3.
5.
of glass material 4.stabilizing rock 4. 5.concelead stairs, steel tube
all the circular windows are in
8.
position according to the program of the rooms.
7.
6. 6.The L-shaped brace is supporting the back end of the house
7.The U shaped steel member
8.The beam seems resting on
supports the east end of the
top of the house, although on
structure. This is composed of
its cantilivered side, is actually
two columns attached to a beam
hanging from the beam
through moment connection or a fixed connection, preventing rotation.
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Assembling
Double slingshots
rubber band
kicker arm
mounting bracket plunger and link assembly
coil
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Movement
Double slingshots
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Tight gap
8sqm flat-Kitoko studio
Compressing space This attic has been completely trasnformed from a storage space to a living space in just 8sqm. The concept follow perfectly the swiss army knife. Every single element of the room is foldable, openable in different directions. The space is compact and due to its size, each detail is puzzling together.
1. Bookshelf
6.-7. Kitchen and window
2.-3. Wardrobe and table
and above bed
set
0,92m
0,99m
2m
1.
2.
3.
4.
5.
0,97m
1,63m
6.
4.-5. Storage and
3. Table set with 2 chairs
bathroom
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7.
8sqm flat-Kitoko studio
Self-assembling and folding
timber framing head with routered housing for
Hydraulic Pivot
hydraulic pivot
1.The Swiss Army knife concept
closer arm conceiled into groove in the top
All components are placed on several brass rivets. The first
of the door
components are generally an aluminum separator and a flat steel spring. The rivets are made by cutting and pointing appropriately sized bars of solid brass.
positioning screws
timber cover to conceal pivot unit
In the same way, each component is custom made and it perfectly fits each mechanism. 4.
1. 3.
5.
2.
Pivot door max 600x800mm Flap door max 400mm
2. Pivot door mechanism
This mechanism allows doors to swing in either direction, the bottom bracket is frame mounted, the minimum door thickness should be 44 mm. It suit doors up to 80 kg, when bracket floor mounted, maximum door width 1100 mm, when jamb mounted. 44 mm thick doors require R9 radius on pivot edge, 54 mm thick doors require R12 radius
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The playfield
Layout 1. The double slingshots are set on the left side of the board, towards the bottom of the playfield. The ball has less probability to go down that route, as the hole is on top of them.
Layout 2. The double slingshots are set right in the centre part of the board. The fact of being above the flippers allow the ball to never go between them but always bouncing before them.
Movement and route
Layout 3. The same layout with a different angle of the slingshots. Being in the centre, the ball does not have enough movement and freedom.
3cm
Layout 4. The slingshots are set on the right side of the board. The ball has just enough freedom and the flipper push the ball on top of them easily.
4.5 cm
5 cm
7cm
5 cm
Layout A. The slingshots are not parallel to each other, allowing space for the ball to bounce in between
5 cm
3.5cm
Layout B. The slingshots are closer to each other, the slingshot on the left need to be at that angle to ease the ball to go down
Layout C. When the gap is larger, the ball is bouncing 4 or 5 times.
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4.5 cm
Layout D. The gap is smaller but the angle and the height of both of the slingshots allow the game to be fun. The ball is bouncing 2 or 3 time, allowing the game to change often. The gap is 4.5cm and the ball is 3.5cm wide.
The playfield
Slingshots position
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Board construction
The playfield
1. The black wire need to be cut the right measure, for a normal size pinball board, 20 cm of wire will be needed. Cut a piece of the rubber coating and roll up the electrical wires to make them more unified as possible
2. Use a metal wire and a soldering iron first on the coil structure and then on the wire itself to have a tiny quantity of metal on both parts. These will be melt down and held in place when using the soldering iron next to those.
3. Each wire is installed on the top part of the coil and as well on the part next to it. The wires need to be connected from the transformer to the flippers coils and to the flippers buttons.
4. The two wires attached next to the coil are linking together the flippers structure and the flippers buttons. In this case, the yellow cable will make the flippers react and the light purple cable will hold it in place.
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The playfield
Aesthetics
foto playfield 1 all done
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The frame
Assembling and construction
1. The black wire need to be cut the right measure, for a normal size pinball board, 20 cm of wire will be needed. Cut a piece of the rubber coating and roll up the electrical wires to make them more unified as possible
2. Use a metal wire and a soldering iron first on the coil structure and then on the wire itself to have a tiny quantity of metal on both parts. These will be melt down and held in place when using the soldering iron next to those.
3. Each wire is installed on the top part of the coil and as well on the part next to it. The wires need to be connected from the transformer to the flippers coils and to the flippers buttons.
4. The two wires attached next to the coil are linking together the flippers structure and the flippers buttons. In this case, the yellow cable will make the flippers react and the light purple cable will hold it in place.
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Level 2
Bridges
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0 5.0 22 0 0.0 20
0 2.0 51
430.00
.00 20 13
1.5 45
7
3 3.1 53
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Level 2
Making connections
Bridging The second level is bridge land, is an infinite deck of bridges that joins together. But not all the connections are real, some are fake, some seem real but seen from another point of view they are anything but. Here we introduce a new way to play, how to connect with each other things are not equal for all, not all bridges intersect with each other, depends which is your point of view. Some bridges are detached, others are built in a way that make you look real their union they are not. Here the collaboration between users is fundamental. The pinball will have different point of view for the same playfield, although each experience will be completely different from one another.
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Bridgeland
The landscape
2.
1.
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1.
3.
2.
4.
3.
4.
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Connections
Through perspective
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Geometrical construction
Palazzo Spada Borromini
Perceiving scale Passing in the courtyard of the palace coming from the main entrance, on the left you can see through a central opening barred by a gate in walnut, the gallery with the perspective that goes beyond the small garden of Seville oranges; the gallery is presented in its current form after the recent restoration. The false perspective has created the illusion that the tunnel is about 35 mt long, while it is 8.82 mt long. The illusion is due to the fact that the planes converge at a single vanishing point; thus, while the ceiling descends from the top down, the mosaic floor is going uphill. In ancient times, on the back wall was drawn a fake plant motif, accentuating the sense of perspective. Currently on the bottom it is a cast of a statue of a warrior from the Roman era. The gallery was built in just one year, between 1652 and 1653, by Borromini, helped by the Augustinian Father Giovanni Maria da Bitonto. The gallery is the result of the interest of the prospect Bernardino Spada and perspective effects: he probably attributed to this gallery the moral meaning of deception and illusion of earthly greatness. Initially, the gallery presented the frescoes by Giovanni Battista Baths, later replaced by a colonnade.
1.From the front, the gallery appears very long with at the end a statue which sit on a high plinth.
1.
2. 2. From the central axes of the columns, the field of view is restricted to increase the deformed geometry of the galleria. The visual depth of perception is altered for a human eye.
3.The gallery floor is going uphill, the converging walls and the vault downhill, while the lateral columns become smaller towards the bottom. 3. 4. If the person walk through the space, it is possible to notice the ceiling becoming lower, suggesting that it is the space which is becoming smaller. The same person in fact, will have to bend down to enter the last set of colonnades.
4.
Fig.Galleria Spada-Francesco Borromini, Roma
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Construction of space
5m
5m
5m
5m
Geometrical construction
Layout 1. Perspective view
5m
5m
5m
5m
Lenght=20 m Layout 1. Changing of shape from columns and arched path to rectangular pillars. Keeping the same size and the same height, one after another.
Lenght=20 m Layout 2. With the addition of the pavement, the space, although being the same lenght; it helps the perspective to be perceived as a longer space than it is actually.
5m
3.9m
1.9m
2.6m
Layout 2. Keeping the same shape of pillars, adding a pavement to enhance the lenght of the space
Lenght=20 m
Layout 3. The space is perceived much longer with the pillars becoming smaller towards the centre.
5m
0.20cm
Layout 3. Changing of scale of the pillars. Keeping the pavement.
Lenght=15 m Layout 4. The encased space allow a deeper sensation of the space. The ceiling as well is going downhill.
Layout 4. Extruding from the first pillar and working by surfaces, the space is constructed as a whole and not by sections.
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Geometrical construction
External and Internal structures
The House roof This model is made so that the viewer have the illusion that these balls are resting on the roof of this house. In this way it seems that this 3-dimensional object defy geometry and gravity. While the structures look impossible from one angle, viewing them from another angle reveals the illusion. The most important part of the model is the roof, which must be concaved inside. The illusion works if the roof is supported on any base but with an internal inclination of a ratio 1 to 2. The A side in this case is 2cm high and the B side is 1cm high.
Internal wall left side 17cm
20.5cm 1.
Internal wall front side 12cm
4. 14.5cm
17cm
2.
Internal wall back side 7/8cm 25cm
9.5cm
3. 5.
12cm
22.5cm
Internal wall right side 5cm, thicker than the back wall as it need to hold the roof
Base 27.5 x 36.5cm
Illusional geometry
A
2 to 1
B
1. The exact view to being able to see the roof house is standing up, placing your eyes from the left side
2. The marble is set exactly on the middle lane of the rooftop
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3. Once other marbles are added, the others will slighly slide, without falling
4. The roof can hold up to 150gr
5. The house roof seen from the front
6. The house roof seen from 45째 angle
2cm 1cm
7. When turned of 180째, you are able to see the internal structure to make the roof standing
8. From the back, it is possible to see the angle of the roof going down, the left side is holded at 2cm height, while the right side of 1cm.
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Geometrical construction
Ascent and descent
The Bridge- slope This model is made so that we can perceive four ramps going up a resting point. The central flat and the four slopes are drawn from the rear side, therefore all the lines should be holded that they form convex edges. The support columns need to be at the top part, the highest point. The columns will be partly outside of slope n.3 and n.4, they will not be visible from the viewer. In the resulting solid, all four slopes go down towards the centre, they are almost horizontal. The correct viewpoint is unique, when all five columns look parallel to each others. The right point of view is to look at the model from above as well, it will not work at eye level. The position of the viewer need to be in fact, almost 15째/20째 on the left side of the model.
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Illusional geometry
1
Parallel columns
2
5 4
3
1. The exact view to being able to see the roof house is standing up, placing your eyes from the left side
2. Leaving the marble roll always from the slope n.3 which holds together all the others.
3. Once other marbles are added, the others will slighly slide, without falling
4. The roof can hold up to 60gr
4
4
3 3
5
1 5
2
1
2
5. In this case, the whole model is structured as it looks like, although the columns are the one holding the whole structure
6. Turning the model 180째, it is possible to notice that the colums will still be parallel to each others
3
2
2
3
4 5
1
5
4
1
7. The whole structure is shifted to the right side, slope n. 2-3 and 4.5 are the same lenght
8. The model seen from the back side
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Player 1
View of the Bridge-slope
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View of the bridge-slope
Red path
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Geometrical construction
Distorted trajectories
Sequence of angles The folding ladder When we look at one of these impossible objects or motions, our cognitive realization that something is wrong isn’t strong enough to override the brain’s kneejerk interpretation of the three-dimensional geometry. “Interpretation of images of three-dimensional solids can’t be controlled by the logical part of the brain,” Sugihara says. This phenomenon is readily apparent in Sugihara’s latest illusion, which he has agreed to unveil here. In it, a straight rod moves through the rungs of a folded ladder-like structure in a way that should be impossible if the rod can’t bend. To create the illusion, Sugihara sketched the ladder, then ran the drawing through his program and chose the threedimensional interpretation that was most different from the natural human interpretation. Our right angle preference makes us visualize the top side of the ladder as flat, since that would make it perpendicular to all the support rungs. But the top isn’t flat: Several of the rungs come up high above the horizontal plane, enabling the rod to fit through them in ways that look impossible.
4.
2.
6.
3.
5.
2.
7.
3. 45° view
4. 60°
5. 90° view
6. 180° view
6.
5.
1. 2.
5.
4.
3.
7.
6.
7.
1.
1. Rod passing inside second and third rectangle holes
2. Rod passing under second and third rectangle, above fourth and under fifth and sixth holes. Passing above seventh hole.
3. Rod passing under second and third rectangle, above fourth and under fifth and sixth holes. Passing above seventh hole. (30° angle)
3.
3.
2.
1. 4. 5.
6.
2. 30° view
3.
1.
2.
4.
1. Point of view
7.
4. Same position viewed from (45° angle)
6. 1.
5.
1.
5. 4. 7.
2. 3. 4.
5. Same position viewed from (180° angle)
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6.
7.
6. Construction of the folding ladder from the side
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Connections
Against gravity
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Suspending weight
Floating man trick
Floating The floating man illusion is accomplished through the strategic placement of steel rods and plates. And though the performers appear to be defying the laws of physics, the structure is remarkably stable. The special wrap-around configuration, along with a solid base, provides the stability and strength required to pull it off. The three components include a solid base (3), the staff (2), and seat (3). To fit underneath the carpet, the plate must be rather small. The sitting man isn’t that elevated therefore the plate is not too thick. A thin plate can be heavy, so you may be thinking that the weight alone is balancing the whole apparatus, but a ~180 pound man on a steel rod can produce quite a bit of force. The most efficient way to do this trick would be to sit directly above where the steel rod connects to the plate. This way, there is no torque in the plate-rod connection created by the levitator. This looks to be how the two-person levitation trick is set up. The calculations are easy. To be in equilibrium, all the forces and moments (rotational forces) must cancel out. And what we are really concerned about, if we were the tricksters, is whether or not the apparatus will tip over. We can find this out by calculating how much rotational force is acting at the edge of the plate assuming nothing is moving. In the set-up above, the moment at point A is calculated by multiplying the downward force by the perpendicular distance to the point. This results in 180 ft-lbs that push the plate edge down into the ground (a clockwise force).
steel rod sitting plate
Base plate
Fig.OK Go - The Writing’s On the Wall, 2014
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Suspending weight
Forces on bridges
Hold me tight (I) 1.Beam
2.Arch
3.Suspension
4. Cable stayed
5.Truss
6.Cantilever
Fig.OK Go - The Writing’s On the Wall, 2014
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Suspending weight
Retaining wall system
Hold me tight (II) The basic design precepts employed in cantilevers walls include considerations of dead man tiebacks, taking active pressures to the bottom of the wall and considering any reductions in passive resistance for inclined slopes. Deflection generally governs design for contilevers walls more than 18ft high.
masonry block
reinforced concrete cantilever
Inside stem wall
Reverse stem wall
A common error in design of cantilever walls is to ignore the active pressure load below the level of embedment, shown below.
pier supported reinforced concrete walls
cast in place reinforced concrete piers with interconnecting grade beam
dead man setback slope reduction
taking active load to bottom of structure
Internally braced excavation
Tie-backs
Steel H pile wall
Wrong
Cast in place caissons with interconnecting underream cones
Correct
Fig.Haus-Rucker-Co construction of Oasis n.7 for Documenta 5
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Connections
with 2D
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From 2d to 3d
Angle shifting
Changing shape Optical illusions are phenomena as highlighting particular good adaptations of our visual system to experience with standard viewing situations. The visually perceived images differ from objective reality. The information gathered by the eye is processed in the brain to give a perception that does not tally with a physical measurement of the stimulus source. It can be due by its geometry, its color, its position.
15°
15°
To create his works, Varini first stands in situ, getting accustomed to the place. Then he defines a point of view where he and later observers will interact with the space… a point of observation. Sensibly he creates this point in a place where it can be seen from eye level; and at in the opening between one room and another, or on a landing. By doing this, viewers naturally find themselves standing in the focal point and able to view the piece as a cohesive whole. For anyone who hasn’t seen one of his pieces in person, you can imagine an unexpected walk through a door, literally into his work, would be both surprising and disorienting. Varini clearly enjoys the chance surprise:
35°
25°
Fig.OK Go - The Writing’s On the Wall, 2014
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3D
Painted on floor
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Hollow inside
Splice and dice 31 cm
central focus
19 cm
East facade Full image
Image of the bridge
Image projected on the box
Singular facades cutted out
Image of the bridge
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Perspective distorsions of the singular facades
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Connections
Using materiality
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Distorting forms
Mirrors
Creating images through a lens Light always reflects according to the law of reflection, regardless of whether the reflection occurs off a flat surface or a curved surface. Using reflection laws allows one to determine the image location for an object. The image location is the location where Fig.Villa Trissino viewed through different mirrors all reflected light appears to diverge from. Thus to determine this location demands that one merely needs to know how light reflects off a mirror. The simpler method relies on two rules of reflection for image concave mirrors. They are: Any incident ray traveling parallel to the principal axis on the way to the mirror will pass through the focal point upon reflection. 1.When the object is between the Any incident ray passing through the focal point on the mirror’s focal point and the mirror itself, way to the mirror will travel parallel to the principal axis object the image is magnified and upright. upon reflection. principal axis
Plane mirror image
centre of curvature focus
Clear, undistorted image, reversed, but right-side up. It appears to be behind mirror by same distance object is in front of mirror (virtual image),size is same as object. Convex mirror image Clear, but distorted, reversed, but right side up. It appears to be behind mirror (virtual), but further away, smaller than object (the closer the object is to the mirror, the larger it gets).
object
centre of curvature
principal axis
2.When the object is located right at the focal point, the rays do not converge, so there is no image.
focus
Concave mirror If the image where object is inside focal point is Clear, but distorted, reversed, but right side up. It appears to be closer and magnified. If instead the object is exactly at focal point, there is not image seen.
object
principal axis
Whereas the object is further away from focal point is clear, but distorted, reversed and upside down, depending on how far away the object is, the same size or smaller.
centre of curvature
3.When the object is placed between the focal point and the centre of curvature, the image is upside down and magnified.
focus
image
object
principal axis centre of curvature
4.When the object is at the centre of curvature, the image is there too, upside down.
focus
image
object
principal axis centre of curvature
focus
image
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5.When the object is past the centre of curvature, the image is upside down and smaller.
Distorting forms
The mirascope
The mirascope The mechanism through which we perceive an object in three dimensions being actually a projection is called a mirascope. The 3-D Mirascope consists of two parabolic mirrors that are facing each other. The top mirror has a hole in the center where the hologram effect takes place. If you set an object at the bottom of the parabolic mirror, it will suddenly projected as a solid object in the opening of the top mirror. In the diagram above, it is possible to change the position of the object, and understanding the direction of its projection against the mirrors and finally reflected on top of it. The human eye see the projection in different places depending on its original position. This can change if using straight light onto it.
O=Object I=Image I I I
4
3
2
1
-6
-4
-2
4
4
4
4
3
3
3
3
2
O 0
O 2
4
6
1. If you place the object right at the center point of the mirascope, the projection will be right at the top opening
-6
-4
-2
0
2
4
6
2. If you move it from its central axis, the object will seems floating on the right part of the mirascope
1. The object inside, if laying flat the viewer can see its opposite reflection
I
2
O
1
-6
-4
-2
O
2
1
2
1
0
2
4
6
3. If the object it is on the left side corner of the mirascope its projection will be remaining inside the mirascope. This will depends on the light source
2. When viewed from the side, the object will be looking like 3 dimensional
-6
-4
-2
0
2
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4
6
4. If you set the object floating inside, its projection will be very high up on the outside
3. Moving out the field of view, the object is cutted and its integrity and it loses its effect
I
-6
-4
-2
O
1
0
2
4
6
4. In the same way, if moving it to the left side, the projection will be on the right
4. In the right point of view the pieces seems to be connected to each others.
Viewer
Solid
Re-imagine source
Hologramme
Source Internal reflections
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Bridge detail: a matter of a hologramme
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“Any interpretation comes along and hollows out its object from the inside, comes along and substitutes what the object is supposed to hide and what it’s assumed to manifest” -Jean Francois Lyotard
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On the inside of a mirascope
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Invisibility space
FIg.Villa Trissino viewed through different mirrors
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Cut up mirror Giacomo Barrozzi da Vignola wrote a book on perspective published in Rome in 1583 which include some perspective tricks. One of them was to take a picture and cut it into a set of strips. Pasting this onto a set of triangular cross-sectioned blocks of wood allowed the image to be recreated when viewed in a mirror. This is not a perspective anamorphosis, but because the image is only cut and not stretched, it appears as good as new when viewed from the correct position. You do not have to use a mirror, but Vignola has used one to add to the magic. If you were to look and see the image in the mirror, you would only see the blank sides of the blocks and it would not be clear where the picture came from.
reflected image 30째 angle
concertina with applied strips of drawing
Image of the bridge
Image cutted out of 2.5cm strips
Fold up the paper along the edges of the strips to make a concertina.
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Apply the strips on one side of the concertina
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Level 3
Islands
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0 5.0 22 0 0.0 20
0 2.0 51
430.00
.00 20 13
1 45
.57
3.1 53
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3
Level 3
Making Ground
Constructing Islands The bridges are connected to the land. This landscape of island is constructed by the user him/herself; which through playing gained experience and fragments to construct its own ground. As in life, man is constructing artificial ground to live in. An artificial island or man-made island is an island that has been constructed by people rather than formed by natural means. They are created by expanding existing islets, construction on existing reefs, or amalgamating several natural islets into a bigger island. While playing, each user will construct its own land, creating a landscape which we can easily call world.
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46
54 Y ON LC BA
G DIN mm LAN m 400 imu
min
45째
2m
om dro hea
Kentish Station
min
EN CH KIT
m in
2m
he
ad
ro om
LA
LA
11
ND
G
ING
ET E RE NC ST TRA EN 00
N NDI
RD OA PB CU
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54 46 Y ON LC BA
G DIN mm LAN m 400 imu
min
45째
min
2m
hea
om dro
min
2m
ro om ad he
LA
LA
ND
NDI
NG
ING
ET E RE NC ST TRA EN 110 0
Ke n t Staist h ion
EN CH KIT
RD OA PB CU
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54 46 L BA
NY CO
ING0mm ND LA um 40
minim
45
째
m in
2m
he
ad
room
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Piling fragments
The Big Bang
2016-2020
2020-2025
2025-2030
The user will start collecting fragments
The fragments are deposited. And it will
The weight of the sediments on top
while playing. As a river, arrived to level
building up in layers, called sediments.
squashes the sediments at the bottom.
3, the player will transports pieces of as
This process is called sedimentation.
This is called compaction. The water is
it flows along. The level 3 is the reaching
squeezed out from between the pieces of
of the sea, its load of transported pieces
rock and crystals of different salts form.
settles to the bottom.
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Piling fragments
The Big Bang
2030-45
2045-2070
2070-3200
The crystals form a sort of glue that sticks
It may take millions of years for
The rocks will then become islands, form
or cements the pieces of rock together.
sedimentary rocks to form.
of ground and land. The islands will always
This process is called cementation.
grow on top of each others.
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Making Islands
Spiral Jetty
Three levels of perception The spiral pier made by Robert Smithson has three levels of perception depending on the point from which it is observed: out: seen from the plane’s work it can be appreciated in its entirety, together with the environment within which it operates At: viewed from ground level, the work is perceived to greater scale and isolated from the general context (the landscape) In: observed from inside the work is gigantic and envelops the observer can not perceive it entirely with a single glance, you can see the details as the rocks that compose it, the water and the salt crystals.
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Spiral Jetty
Components
100% 10% Water
90%
80% 20% Salt crystals
Salt-tolerant bacteria
Algae
70%
The site is based on the blood-red color of the water and its connection with the primordial sea. The red hue of
60%
the water is due to the presence of salt-tolerant bacteria and algae that thrive in the extreme 27 percent salinity of the lake’s north arm, which was isolated from fresh water sources by the building of a causeway by the Southern Pacific Railroad in 1959.
50% 40% Basalt rocks
40%
30%
20%
30% Mud
10%
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Shaping islands
Dredging
Digging ground Dredging is an excavation activity usually carried out underwater, in shallow seas or freshwater areas with the purpose of gathering up bottom sediments and disposing of them at a different location. This technique is often used to keep waterways navigable. There are several types of dredging vessels. These operate by sucking through a long tube, like some vacuum cleaners but on a larger scale.
1.Forward momentum is created
2.A rotating cutter head cut soil
by two anchoring poles
into fragments 1.
5. Dredged material is pumped ashore using a pipeline 2.
5. 3. 4.
China is building is building artificial island using these machines. The first thing is to find the pre-existing coral structure. Then, using the dredging barges pull out sand and rock from the surrounding sea floor. The deposit of the dredged material will slowly break the surface.
4. The dredged material is pumped into a pile over a pre existing coral structure
3. The cutter head swing back and forth along a set pattern by following anchor wires
3. Power Unit Turbo charged after cooled diesel engine 4. Operator’s station
1. Discharge hose
2. Hydraulics
Controlled joystick
Pumps and motors
Electronic depht gauge Dual bi-folding doors with port
91M of roll flat
and starboard access
discharge hose included
8. Floatation Compartmentalized catamaran hull design steel construction with bulkhead and skeleton frame reinforcement epoxy coated 5. Excavator cutter head Carbide steel cutter teeth Shrouded for ultra low turbidity 7. Starwell drive self propulsion true self propelled dredging eliminates need for cables or spuds increases dredge performance
6. Dredge pump Ladder mounted submersible hydraulic drive pump Cast iron construction abrasive resistant Higher percentage of solids than hull mounted pumps pumps long distances
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