BSc
FLORIAN BAUER Bachelor Thesis
institut f端r experimentelle architektur.hochbau Prof. Marjan Colletti
“ Ornament is wasted manpower and therefore wasted health ... Today it also means wasted material , and both mean wasted capital ... The modern man , the man with modern nerves , the ornament does not needit , he detests it . “ Adolf Loos, 1908
bauer florian
institut f端r experimentelle architektur.hochbau Prof. Marjan Colletti
Personal Details born 1992, in Hall in Tirol, Austria Email: bauer_florian@aon.at
Education
Okt 2012-2015
architecture study | Innsbruck | A
Okt 2011- Apr 2012 Austrian Armed Forces | Innsbruck | A (ambulanceman)
Sept 2006-Juli 2011 HTL Bau und Kunst | Innsbruck |A Foucus building construction martriculation project : residental building rail station Schwaz
Sept 2002- Juli 2006
grammer school | Schwaz | A
Sept 1998- Juli 2002
board school | Maurach am Achensee | A
institut f端r experimentelle architektur.hochbau Prof. Marjan Colletti
Bauer Florian
BACHELOR THESIS
Meeting Nature Halfway
institut f端r experimentelle architektur.hochbau Prof. Marjan Colletti
institut f端r experimentelle architektur.hochbau Prof. Marjan Colletti
More than DĂŠcor The Responsive Ornament and Digital Criminals
Contents
Chapter 000 Personal Details 01-03
Chapter 001 Studio Brief 09-12 Introduction 14-15
Chapter 002
Robocomb 15-37
Chapter 003
Chapel of Motion 38-79
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Studio Brief Theme Meeting Nature Halfway - is currently the main topic of the research at the Institute for Experimental Architecture.Hochbau. It deals with the clash between nature and architecture. For this design-course the fundamental guiding principle is to understand architecture as potential synergy between natural and man-made structures. Responsive and the Ornament One of the urgently important issues in contemporary architecture is the responsible use of resources during development, design, production and fabrication of buildings. In many cases the implementation is isolated from the design as is mainly driven by automatisation and usage restrictions (e.g. try to open a window in the new faculty building). Therefore, not only the known approaches should be optimised and technically adapted, but new strategies must be developed to lead to relevant architectural solutions. Because, architecture is not only (next to fundamental protective tasks)about technical performance but also a societal and cultural expression. Despite the apparent decoupling of the task of responsibility and resource saving development, in terms of design, it is in particular the architect’s task to propagate the idea that design is a fundamental part of the solution. In that sense the user, is a soft factor and thus a variable with different levels of perception, complexity and behavior. This may not allow deterministic solutions thus returning architecture to a creative discipline. To respond to uncertainties and variable conditions of use, buildings require the ability to constantly adapt. A classic technical example is the thermostat, which controls the heating system using simple temperature sensors. Among others but for instance through the work of Nicholas Negroponte in architecture a field of activity opened which describes itself “responsive architecture�. It examines how buildings with multiple influences evaluated by sensors, could react through actuators.
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Responsive - Answering, replying or responding The integration/application of responsive systems allows soft factors to remain soft. These systems can be interface between humans and dynamic influences such as nature. Responsive buildings can be purely reactionary or actively generating energy. Furthermore only experimental buildings and art installations have been built. A traditional approach is the adaptability of the building as a whole,for instance the building aligns with the sun position (Villa Girasol, Heliotrope House, D’Angelo House, etc.). The recent trends shows the manifold of possibilities that opened up with the new digital design tool and fabrication methods (Philip Beesley, Michael Fox, Theodore Spyropoulos, etc.). This shows more interests on smaller intelligent components. The responsive systems are thus in a scale in which they begin to indicate inherent ornamental qualities. The related complexity to treat and inform each item for itself requires high level of planning and design that can only be achieved by digital design strategies. Through simulations, complex systems can be analysed and adapted. Mutual dependencies of countless elements can be adjusted using CAD and Scripting. New technologies such as 3D printing, laser cutting and CNC allows testing through rapid prototyping. Ornament - latin ornamentum: equipment, apparatus, furniture, trappings, adornment, embellishment” The ornament has the ability to give the architect authority back, that gets lost more and more, because the decision-making-processes and easily accessible technology, within planning processes has led to a loss of experties. The Loos’s argument that unnecessary ornament causes unnecessary work should not be negated, but this is underpinned by the rapid development of CAD / CAM technology. Meanwhile, architects are searching for new markets for themselves or to enter them once again, thus acquiring new skills. The ornament is very specific and requires a high degree of design and if can be produced only by the advancement of this genre which is evidently in the métier of architects. These two issues are no longer in the periphery architecture - responsiveness and ornament are in the current discussion on the technical, design and theoretical level. We want to put these two topics in tectonic, functional, technological and formal relationship. Also we will work on the qualities of ornamental meaning layer in an innocent, provocative and emotionless way. In terms of the main topic “Meeting Halfway Nature” we want to develop architectures with responsive conversations with nature.
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Introduction
Aim Small house with nature driven responsive adaptation It shall be designed a small building (1-3 spatial structure) with freely configurable function (eg, mediation room, EFH, mini-office). The building should interact in a performative and aesthetic way with the dynamic influcences of nature. A key objective will be the development of responsive systems and their importance as a new ornament on the outside and at the inside of the building. It means that structural, performative, phenomenological and symbolic qualities should be formulated aesthetically, subtle and contemporary with digital techniques. The bachelor thesis is shown in an exhibition. The design has to be elaborated on level of an exhibition and will be presented by plans, animation (simulation) model and mockup prototype. Methods - Design Task The course starts with an analytic search for a specific application for responsiveness in architecture and a search for natural usable energy potentials. This is accompanied by a compact study of the basic literature, as well as the technical investigation and development of an action-reaction system. The student groups should investigate these sub-themes in terms of aesthetics, materiality and performance. The professional documentation is also part of the final Project. By merging and compiling the sub-themes, typologies should be developed which generate corresponding aesthetic and performative qualities. Methods to exploit these potentials / bundle / extrapolate can be a driving force for the design. In the further process, the building is designed with the help of the developed functionality and the responsive system. A particular focus here is on structural way of thinking during the design process. Design and performative aspects will be refined continuously with increased use of digital techniques.
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During the term, we will offer Input Workshops: - Guidelines for appropriate documentation - Maya - 3D Polymodelling, n-cloth, simulation - Adruino - Microcontroller Basics + Firefly plugin Grasshopper - RexLab - Introduction & handling robots - Prototyping - File to Fabrication (Laser, MakerBot, CNC technology) The capabilities of these tools should be developed to higher skill level during the term and should provide a common basis for the strategic design approach. In principle the project should be developed with a digital approach. A high quality of design and drafting is/will be expected. Assessment Course examination according to § 7, statute section on “study-law regulations” The assessment consists of the output produced during the semester and the quality of the final project. In addition, the weekly documentation of the crits and class participation are intrinsically part of the assessment. Attendance is compulsory - after repeated (3 times / semester) unexcused absence, the course must be evaluated negatively. Cancellations will accepted until 15/10/2014 13: 00h. Submission Material Following material should be provided for the final result: 1. 2. 3. 4. 5. 6.
Output print: representations, drawings, etc. model approximately 1:100 mockup prototype 1:1 - 1:5 Video / photo - documentation of the prototype Upload Exparch WIKI -– siehe www.exparch.at – exp. wiki > im sidebar navigation > Hilfe digital submission: www.exparch.at – Hilfe > Digitale Abgaben > Digitale Projektabgabe
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Introduction What if architecture were ultimately about ornament ? Even decor. In The Mediation of Ornament, Islamic art specialist Oleg Graber proposes to interpret it from this very perspective. “Good architecture is always meant to be an invitation to behave in certain ways; it adorns life, and, some exceptions notwithstanding, does not require the emotions surrounding whatever one does in a building, including looking at works of art,� states Graber, concluding that architecture is a true ornament. Without it, life loses its quality. Architecture makes life complete, but it is neither life nor art. For a designer, there is something profoundly disturbing in the thought that architecture corresponds to neither life nor art, but rather is an ornament for both. The nagging feeling that there might be some truth in this could be partly responsible for the early 20th-century demise of tratitional decor, as if the conception of the dicipline that it hinted at had become, after centuries of tolerance, all of a sudden unbearable. Let us begin by acknowledging the return of ornament in contemporary architecture.
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002 Robocomb
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Introduction One of the urgently important issues in contemporary architecture is the responsive use of resources during the development, design, production and fabrication of buildings. To respond to uncertainties and variable conditions of use, buildings require the ability to constantly adapt. In architecture a field of activity opened which describes itself “ responsive architecture�. It examines how buildings with multiple influences evaluated by sensors, could react through actuators. In an analytic search we seeked for a specific application for responsiveness in architecture and developed an action-reaction-system. The system is based on movable arms which are consisting of single supporting elements. Through using a pulling system the arms are maneuverable in any direction and provide the best adaption possible. To achieve a closed surface the arms are covered with panels.
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Beginning The installation “Robocomp” (left page) represents an abstracted artistically version of my system. The aim was to build a art installation which stands alone and react to the environment. The states at which the arms move are similar to the blooming of flours. The surrounding area gets scanned, by affecting towards the installation the arms waken and the “Robocomp” reveals a relationship with the person in place. Due to the finesse, the elements are in a scale in which they begin to indicate ornamental qualities. Once condemned by Modernism and compared to a “crime” by Adolf Loos, the ornament has made a return in contemporary architecture. It has the ability to give back authority to the architect. A key objective was the development of the responsive system and its importance as a new ornament on the outside and the inside of a building.
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Construction Before i started the design project, the aim was to build a mock up in a proper scale to show an abstract object of the main idea behind the responsive ornament. It should perform, react on the environment and be responsive in several ways. After researching and studies of different models i came up with a simple construction based on the shape of the human spine. The human spine consists out of 24 vortex and 23 intervertebral discs. So i designed a construction out of nine “vortex” which are getting smaller to the end like the human spine. The scaling factor is 0.95 per element. The rejuvenation is necessary to create a closed system later for the art installation. Also inspired by the blooming of a flower i decided to rebuild that in an abstract way. My flower consist out of 3 “arms”. Every arm is build with 9 elements and cover with panels. These are out of a special paper which allows bending in every direction and does not offer too much resistant. The ending from the flower is a 3D printed base which connects all 3 arms to a system. Each element is connected in its middle on a flexible spring steel wire. Fixed with “ohrklemmen” the elements are hold in the right position. Extra thin fishing lines goes through every piece and also through the base to create a system for the movement.
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Exploded Axon After a lot of testing and the knowledge of how to control the movement it was time to bring the idea into a whole system. The task was to create an art installation. I created a holder out of stainless steel and bend it in the right angles. To give it a better grip i connected the two holder with a separate steel plate.
Components: - holder out of stainless steel - 3D printed track - space rings (3) (medium-density fiberboard 3mm) - parametric honeycomb 01 (medium-density fibreboard 5mm) - parametric honeycomb 02 (acrylic glass 3mm) - space rings (4) (medium-density fibreboard 3mm) - casing for the servos - parametric honeycomb 03 (medium-density fiberboard 3mm) - 3D printed base for the arms - 3D printed cap - spring steel - components (acrylic glass 2mm) - panels (paper) - fishing line
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Base Detail 01 On the left side you can see an Axon of the 3D printed base with the cap above. The shape of the base is a result of the numbers of the arms. The installation has 3 arms so i need 3 slots to fix each component. As like a flower the base gets smaller to the end and disappear into the honeycomb.
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Arduino 5V
8-bit
16 MHZ,
The Uno is a micro-controller board based on the ATmega328P. It has 14 digital input/output pins (of which 6 can be used as PWM outputs), 6 analog inputs, a 16 MHz quartz crystal, a USB connection, a power jack, an ICSP header and a reset button. It contains everything needed to support the micro-controller; simply connect it to a computer with a USB cable or power it with a AC-to-DC adapter or battery to get started.. You can tinker with your UNO without worrying too much about doing something wrong, worst case scenario you can replace the chip for a few dollars and start over again. Technical specs: Micro-controller ATmega328P Operating Voltage 5V Input Voltage (recommended) 7-12V Input Voltage (limit) 6-20V Digital I/O Pins 14 (of which 6 provide PWM output) PWM Digital I/O Pins 6 Analog Input Pins 6 DC Current per I/O Pin 20 mA DC Current for 3.3V Pin 50 mA Flash Memory 32 KB (ATmega328P) of which 0.5 KB used by bootloader SRAM 2 KB (ATmega328P) EEPROM 1 KB (ATmega328P) Clock Speed 16 MHz Length 68.6 mm Width 53.4 mm Weight 25 g
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Control system Firefly / Grasshopper / Arduino Firefly alleviates the hassle of interfacing with external hardware. The Firefly toolset has pre-built components that allow you to connect to many of the most popular hardware devices including data acquisition devices, mobile phones, cameras, leap motion controller, game controllers (like the Wii Nunchuck and Microsoft Kinect) and audio interfaces to name but a few. Here you see the Grasshopper script which send the information to arduino uno. With an Xbox Kinect i get the digital data from the persons who get near the installation. It was scripted to filter the nearest person in front of the sensor (Xbox Kinect), so i avoid troubles when there are several people in front of it. 3.5 meters, 2.5 meters, 1.5 meters were measured as i already showed with the graphic on page number 18.
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Xbox Kinect With an Xbox Kinect i was able to scan people and get digital data. Plugged in with Rhino and using Grasshopper with firefly next to Arduino uno it was possible to send informations to 3 servos.
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Arduino 5V
8-bit
16 MHZ,
The Uno is a micro-controller board based on the ATmega328P. It has 14 digital input/output pins (of which 6 can be used as PWM outputs), 6 analog inputs, a 16 MHz quartz crystal, a USB connection, a power jack, an ICSP header and a reset button. It contains everything needed to support the micro-controller; simply connect it to a computer with a USB cable or power it with a AC-to-DC adapter or battery to get started.. You can tinker with your UNO without worrying too much about doing something wrong, worst case scenario you can replace the chip for a few dollars and start over again. Technical specs: Micro-controller ATmega328P Operating Voltage 5V Input Voltage (recommended) 7-12V Input Voltage (limit) 6-20V Digital I/O Pins 14 (of which 6 provide PWM output) PWM Digital I/O Pins 6 Analog Input Pins 6 DC Current per I/O Pin 20 mA DC Current for 3.3V Pin 50 mA Flash Memory 32 KB (ATmega328P) of which 0.5 KB used by bootloader SRAM 2 KB (ATmega328P) EEPROM 1 KB (ATmega328P) Clock Speed 16 MHz Length 68.6 mm Width 53.4 mm Weight 25 g
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003 chapel of motion
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Introduction One of the urgently important issues in contemporary architecture is the responsive use of resources during the development, design, production and fabrication of buildings. To respond to uncertainties and variable conditions of use, buildings require the ability to constantly adapt. In architecture a field of activity opened which describes itself “ responsive architecture”. It examines how buildings with multiple influences evaluated by sensors, could react through actuators. In an analytic search we seeked for a specific application for responsiveness in architecture and developed an action-reaction-system. The system is based on movable arms which are consisting of single supporting elements. Through using a pulling system the arms are maneuverable in any direction and provide the best adaption possible. To achieve a closed surface the arms are covered with panels. The installation “Robocomp” represents an abstracted artistically version of our system. The states at which the arms move are similar to the blooming of flours. The surrounding area gets scanned, by affecting towards the installation the arms waken and the “Robocomp” reveals a relationship with the person in place. Due to the finesse, the elements are in a scale in which they begin to indicate ornamental qualities. Once condemned by Modernism and compared to a “crime” by Adolf Loos, the ornament has made a return in contemporary architecture. It has the ability to give back authority to the architect. A key objective was the development of the responsive system and its importance as a new ornament on the outside and the inside of a building. Therefore our design project should make a reference to the old long time standing monument of a triumph arch in Innsbruck. It sets out an similar formal language and communicates through its space function with the existing history of the site. Marriage and death, two events which give rise of joy and sadness, are treated on the basis of a religious building. The responsive system reacts as well to climatic influences as on physical and emotional movements inside the building. The movable shell facade and it’s fine structured components enable an ideal natural exposure and ventilation at any climate condition, due to the component’s ideal adaption an ideal position for collecting solar energy and gesture the cultural events from the inside out. The design associates the new with old, rigid with movable, in short: old ornament with new “responsive” ornament.
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Building Site The Triumphpforte, also commonly known as Triumphal Arch, is one of Austria’s treasured gems. Built in 1765, the Triumphpforte is surrounded by sleepy mountains and historic charm in Innsbruck, Austria. Though Innsbruck has that old town charm, the Triumphpforte is grand. When Empress Maria Theresa envisioned the Triumphpforte, she knew that it had to be splendid. In the spirit of greatness, the Triumphpforte harks back to the aesthetic of the mighty Roman Empire. Empress Maria Theresa would have nothing less than great because the Triumphpforte was originally commissioned to commemorate the matrimony of her son, the Duke of Tuscany. The Duke of Tuscany, who would eventually be known as Emperor Leopold II, was to wed Princess Maria Ludovica from Spain. The creation of the Triumphpforte is a bit unusual. Unlike other royal monuments, the Triumphpforte was not built from scratch; many believe that the Triumphpforte was not built from scratch because of bad planning and time management issues. Since the original Triumphpforte already followed Roman architecture fundamentals, centuries earlier the monument had been surrounded by defense ramparts, Empress Maria Theresa personalized and embellished the monument. The Empress was quick to incorporate marble reliefs and sculptures to create a sophisticated Rokoko monument. The name, Triumphpforte, was officially given when the project was completed. While the Triumphpforte was originally intended to be a monument of joy, the Triumphpforte would go on to take another meaning. During the marriage festivities, Empress Maria Theresa’s husband, Kaiser Franz I, died. The occasion quickly took on a somber tone. The Triumphpforte captures both emotions effectively. The northern façade of the monument is dedicated to mourning the late Kaiser Franz I. The southern façade is dedicated to the nuptial union. A marble relief of the late Kaiser Franz I was created on the east façade of the monument; a marble relief of Empress Maria Theresa is on the west façade. In case of the sense of the existing ornament on that building with its historical background it was clear for me that, that is the right building site for the design thesis. A chapel with a mortuary chapel on the top. Marriage and death, two events which give rise of joy and sadness, are treated on the basis of a religious building.
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Sonnenstands Diagram INNSBRUCK 47° 16′ N, 11° 24′ O
N
W
NN
NW
NO
60°
19h
6h
18
7h
h
16
zenit
h
W WS
15h
14h
8h h
h
13
11h
12h
10
9h
OSO
JUL AUG
JUN
MAI
SEP
OKT APR
SO
NOV
SSW
S
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JÄN
FEB
SSO
DEZ
O
W
17
O
30°
h
ON
WN W
NN
O
SW
50
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Sun Study sun path diagram for Innsbruck. Sun path diagrams can tell you a lot about how the sun will impact your site and building throughout the year. Stereographic sun path diagrams can be used to read the solar azimuth and altitude for a given location. Stereographic Sun Path Diagrams Stereographic sun path diagrams are used to read the solar azimuth and altitude throughout the day and year for a given position on the earth. They can be likened to a photograph of the sky, taken looking straight up towards the zenith, with a 180째 fish-eye lens. The paths of the sun at different times of the year can then be projected onto this flattened hemisphere for any location on Earth. Note that these stereographic diagrams are not exactly like a fish-eye photo: such an image would be flipped left-to-right. These diagrams are from the point of view of the sky looking down at the ground, you can superimpose it on a map or a plan of the building without being confused. (You can see this by following the hour lines from east to west on the diagram.) Azimuth Lines - Azimuth angles run around the edge of the diagram. Altitude Lines - Altitude angles are represented as concentric circular dotted lines that run from the center of the diagram out. Date Lines - Date lines start on the eastern side of the graph and run to the western side and represent the path of the sun on one particular day of the year.
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Sonnenstands Diagram INNSBRUCK 47° 16′ N, 11° 24′ O
N
W NN
NN
O
NO
NW
ON
WN W
60°
O
30°
W
O
zenit
W WS
13h AUG
SEP
SW
OKT
APR
NOV
MÄR
DEZ JÄN
SSW
S
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Sun Study Reading the Sun Position (Step-by-Step) • • • • • • • • •
Annotated stereographic sun path diagram. Locate the required hour line on the diagram. Locate the required date line, remembering that solid are used for Jan-June and dotted lines for July-Dec. Find the intersection point of the hour and date lines. Remember to intersect solid with solid and dotted with dotted lines. Draw a line from the very center of the diagram, through the intersection point, out to the perimeter of the diagram. Read the azimuth as an angle taken clockwise from north. In this case, the value is about 62°. Trace a concentric circle around from the intersection point to the vertical north axis, on which is displayed the altitude angles. Interpolate between the concentric circle lines to find the altitude. In this case the intersection point sits exactly on the 30° line. This gives the position of the sun, fully defined as an azimuth and altitude.
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entrance
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Site Plan Site planning in landscape architecture and architecture refers to the organizational stage of the landscape design process. It involves the organization of land use zoning, access, circulation, privacy, security, shelter, land drainage, and other factors. This is done by arranging the compositional elements of landforms, planting, water, buildings and paving and building. Site planning generally begins by assessing a potential site for development through site analysis. Information about slope, soils, hydrology, vegetation, parcel ownership, orientation, etc. are assessed and mapped. By determining areas that are poor for development (such as floodplain or steep slopes) and better for development, the planner or architect can assess optimal location and design a structure that works within this space. You can see how the project fits into the build environment. In case of the surrounding it looks in the top view really small. Not bigger than the triumphal arch.
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Floor Plan The plan on the left side give you a overview about the organization of the project. For the first time, here you can see the quality of the new ornament. The small parts outside on the facade which are covering all movable shells. The connection between the ornament and the Robocomb is really strong. Also the motion of the components outside the facade are close to the installation which i built weeks ago. As you can see i worked for the geometry of the project with the existing structure of the Triumphal Arch. The massive part is made out of “Höttinger Brekzie” like the Arch which give a good connection between the old and the new. Also the shape and the form language from the massive part is similar to the existing building. The so called shells to the end of the building are the movable parts of the project. In several pink tones you can see the steps of the movable parts. The shells are covered with ornament which is movable too. It reacts to environmental influences as to emotional happenings inside the chapel.
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Section Here you can see the organization of the building in the vertical. In the upper part of the section is the entrance. I also worked with the stock of the building for the infrastructure. So i had not to change too much of the historic building. You get up to the chapel by an elevator which consists out of three symmetric helix. By rotating around the helices the platform of the elevator gets higher in the building. Still in the Arch there are the restrooms for the audience and the pastor. Directly opposite is the small installations room of the chapel. Of course you need an engine for moving all the parts like the shells an the ornament. Above the engine room is the organ with its pipes. Located in the middle you can see the chapel with the cascade platforms for the audience. At the top is the mortuary chapel. The shells at the top are also movable and open that the soul of the deceased can ascend to heaven. Inside the chapel the ornament shouldn’t only be decor, it should also enhance the emotional atmosphere. For example when there is a marriage and the vow is spoken the ornament begins to move as an emotional sign. At the same time sunlight, fresh air, maybe a little bit of wind come to the inside.
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Detail Here you can see a detail of the shell with ornament. As already said the ornament is responsive and reacts to the environment as too emotional happenings inside the chapel. The Ornament is covered with ultra thin transparent solar panels to absorb solar power to create energy. It also reacts to wind. Since the ornament is to move in all directions it can orient themselves against the wind and convert the resulting resistance in energy by an additional generator. The goal is that the building can provide itself with energy.
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Elevation South Here you can see the similar form language of the chapel and the Arch.
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Elevation North This scenario shows you a marriage by beautiful weather. The shells open completely and expand the inside of the chapel to the outside. Adorable pictures can be made with a view above Innsbruck.
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conditions: rainy, mostly cloudy
conditions: no rain, slightly cloudy
conditions: no rain, sunshine
conditions: no rain
-shells are closed -component is open for ventilation and for exposure
-shells are open -component is open for ventilation and for exposure
-shells are totally open -component is closed
-shells of the chapel are closed / shells of the chapel of rest are open -component is closed
szenario: wedding by the final vows all the components and shells are open and moving as an emotional sign
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szenario: laying out The soul of the dead rising into the sky
Environmental States The image on the left shows the state of the shells and the ornament by several weather conditions.
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Schema 01 Conditions: rainy, mostly cloudy -shells are closed -component is open for ventilation and for exposure
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Schema 02 Conditions: no rain, slightly cloudy -shells are open -component is open for ventilation and for exposure
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Schema 03 Conditions: no rain, sunshine -shells are totally open -component is closed scenario: wedding by the final vows all the components and shells are open and moving as an emotional sign
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Schema 04 Conditions: no rain -shells of the chapel are closed / shells of the chapel of rest are open -component is closed scenario: laying out The soul of the dead rising into the sky
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components
exterior panel
shell construction
interior panel
surface coverd with semi-transparent solarpanels
material: marble density: 2300 kg/m3
material: aluminium constructiom: latticework
material: marble density: 2300 kg/m3
substructure for marble panel
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Detail Shell The shell consists of a lattice construction made of aluminum to save weight. The construction is covered with a Interior panel and an exterior panel. Both are made out of marble like the medallions from the Arch. The exterior panel is covered with the ornament.
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shell 04 shell 04 elevator construction elevator construction 3 helix with 3 helix 2 turns with 2 turns shell 03 shell 03
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shell 06 shell 06
shell 06
shell 06
shell 06
shell 06
shell 05 shell 05
shell 05
shell 05
shell 05
shell 05
elevator elevator
elevator
elevator
elevator
elevator
shell 02 shell 02
shell 02
shell 02
shell 02
shell 02
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compnentscompnents shell 02 shellcompnents 02 shellcompnents 02 shellcompnents 02 shell 02
compnents shell 02
shell 01 shell 01
shell 01
shell 01
shell 01
shell 01
components components shell 01 shell components 01 shell components 01 shell components 01 shell 01
components shell 01
slap / steelslap construction / steel construction / I-Beams slap / steel / I-Beams construction slap / steel / I-Beams construction slap / steel / I-Beams constructionslap / I-Beams / steel construction / I-Beams celectro engine celectro forengine movement celectro for movement engine celectro for movement engine celectro for movement engine for movement celectro engine for movement
restroom restroom
restroom
restroom
restroom
restroom
triumph Arc triumph Arc
triumph Arc
triumph Arc
triumph Arc
triumph Arc
Site / coordinates: Site / coordinates: 47° 15′Site 45″47° /N, coordinates: 15′ 11°45″ 23′ N, 41″ Site 11° 47° O/ coordinates: 23′ 15′41″ 45″ON, Site 11° 47° / coordinates: 23′ 15′41″ 45″ON, 11° 47°23′ 15′ Site 41″ 45″ / coordinates: ON, 11° 23′ 41″ 47°O15′ 45″ N, 11° 23′ 41″ O
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Perspective The final project on the Triumphal Arch in the heart of Innsbruck.
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Detail The Arch is made out of medium-density fiberboard wich was glue-laminated and milled afterwords. All parts the chapel are 3D printed an glued togehther.
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“ I will not subscribe to the argument that ornament increases the pleasure of the life of a cultivated person, or the argument which covers itself with the words: “But if the ornament is beautiful! ...” To me, and to all the cultivated people, ornament does not increase the pleasures of life. If I want to eat a piece of gingerbread I will choose one that is completely plain and not a piece which represents a baby in arms of a horserider, a piece which is covered over and over with decoration. The man of the fifteenth century would not understand me. But modern people will. The supporter of ornament believes that the urge for simplicity is equivalent to self-denial. No, dear professor from the College of Applied Arts, I am not denying myself! To me, it tastes better this way. ” Adolf Loos, 1908