Documente Academic
Documente Profesional
Documente Cultură
interactive_MEDIA::scape
SOMA District_San Francisco Bay
M A T T HE W S G O O D WIN
MATTHEW S. GOODWIN
ARCHITECTURAL THESIS: 2007_2008
A R C HIT E CT U R E SE N IO R T HE SI S
BACHELORS OF ARCHITECURE
CALIFORNIA POLYTECHNIC STATE UNIVERSITY
SAN LUIS OBISPO
KAREN LANGE, ADVISOR
hello moto
interactive_MEDIA::scape
SOMA District_San Francisco Bay
interactive_MEDIA::scape SOMA District_San Francisco Bay
MATTHEW S. GOODWIN
ARCHITECTURAL THESIS: 2007_2008
BACHELORS OF ARCHITECURE
CALIFORNIA POLYTECHNIC STATE UNIVERSITY
SAN LUIS OBISPO
KAREN LANGE, ADVISOR
I would like to say thank you to my professor Karen Lange for being architec-
turally quirky and making funny noises to get me and the rest of studio 400-
08’ through thesis, DJ Flo for keeping the Danish music pumping, and to my
parents for their love and support throughout college. Cheers...
danke schon
C O NT E N T S
+ +
+ +
01 manifesto [intent]
24 hr site study 106
06 issue 01
concept design 124
critical research
rebar table 196
18 Processed Form: FOA
bibliography 202
case studies
18 01_Eyebeam Museum [diller+scofidio]
34 02_Landesgartenschau [Zaha Hadid]
experiments
38 01_Film + Media
40 02_Mobius Strip
42 03_Moire Pattern
44 04_Fiber Optic Wall
46 05_Fiber Optic Table
50 06_[e]mergent form
52 07_Musical [e]mergence 01
56 08_Musical [e]mergence 02
experiment analysis
60 experiment analysis
d o D
y o u F
r e m e m b e r A
a B
t i m e 1
w h e n 9
t h e 7
c i t y 9
w a s . . .
manifesto [intent]
ANIFESTO[intent
manifesto [intent] bring together a vast mix of people ranging from
identical to polar opposites. Bringing this vast mix
Implementing new forces to the existing makeup of of people together in various levels of interaction
an area will in turn instigate new life, social culture, can regenerate a creative culture and social
events, spaces, interaction and development. aspect to any site, but in an even greater degree in
Means of achieving these elements come by the density of urban spaces.
analyzing and mapping the underlying factors
and forces of an area; i.e. demographics, history, Whether we realize it or not, architecture creates
culture, circulation, transportation, climate, cultural and social changes, spaces and events.
context, voids, solids, noise, views, movements and Where spaces lack these elements, a human
uses. These forces are considered the genetic cultural and social void is present. Urban cities that
makeup of the area and produce physical and have been created with an industrial mindset tend
social environments.1 The elements combined to face this dilemma. Workers come in during the
produce the area itself as a manifestation morning, work all day, and then leave the area by
of their own genetics. I see this approach to night. The area is only activated during the work
analyzing a site as a way to plot areas that may hours and left as dead space during the night.
be regenerated, or in this instance, instigated to Cities are now trying to redevelop these post-
create new events that breed social interaction. industrial areas into centers of life and culture.
As program is inserted into the analyzation of site, Architecture has the ability to spur this new sense
m a n i f e s t o [ i n t e n t ]
another arrangement to fuel social interaction of life in areas via social instigative architecture.
can come through cross programming and
indeterminate use [event space].2 As each of Leading to this instigative effect through rigorous
the instigation sites are realized, programmatic research of how an area’s social, cultural,
placement will lead to unpredictable social historical, and physical systems work can allow
interactions. The architectural form becomes a mapping an urban area’s points of intensity.
generative process of cross-programmatic layout Where points of intensity are greatest the area
and genetic manipulation of the site. Therefore is stable and full of life. Where points of intensity
the physical and social architecture is an evolution are lowest there is the need to regenerate and
manifestation of these inputs and parameters. instigate. By mapping these areas we can start
pulling, pushing and growing these intensity
While there are many ways to spark social points. From points that are deemed necessary
interaction and events, two such mediums stick to regeneration the architecture can begin to
out as primary catalysts. Music and film are influence and instigate this change.
creative fields that not only produce creative
interaction and discovery between creators, but So why the need for social interaction and
also from their audiences as well. Music and film instigation? They are a way to “generate ideas,
illusions, emotions, associations and other mental
m a n i f e s t o [ i n t e n t ]
the users and creators of new media technology.
The relationship of how the two interacted
reversed. Creators investigated the reactions
of users first hand by seeing them interact with
their work, and at the same time users learned
how creators worked. A deeper look into the
functional relationships between user and creator
are presented later in this book. The integration of
music and film is an effective way to instigate social
interactions in an area that begs for it.
02 03
research
ISSUE ONE
thesis How can intense site studies and programmatic research instigate a camcorder filming a projector project an image of what the camcorder is filming. created a
[IDEA] an architecture that creates a new lively and social downtown cyclical function that made an image that went into infinity due to the cycle of the camcorder
atmosphere in the SOMA district of San Francisco, California filming the projector project itself. Also led to a discovery of time lapse in real time and led to
that engages the public and creates interactions with themselves the discovery of a 4d space.
and their surroundings.
taking two black plastic meshes and overlapping them, then shifting the top surface at a slight
angle in both the x and z directions. led to a pattern known as the moire pattern that comes
research from two typical paths or patterns, but when crossed or shifted creates a new pattern or field.
[INVESTIGATE] stemmed from the idea of Tschumi’s ‘event-fields’
film+media
simple paper studies of taking one surface with a plane on top and another plane on the
bottom, then twisting the paper according to the mobius form, creating a continuous surface.
in progress
completed
labeling the sides A & B I could see the flow and interaction between the two planes.
moire patterns
an 15”x18” wall mount piece for the abstract show that interacted with passersby. the top
9” was a mirrored surface and the bottom 9” was black board. on each surface was an 8x8
grid of fibre optic cables.. the mirror surface cables were the input and the black surface was
experiments mobius strip the output. a spotlight aimed at the mirrored surface activated the fibre optics by inputting light
to the top half, then emitting light on the bottom half. a user would stand in front of the mirror,
see themselves, then notice a silhoutte of themselves moving in the grid of lights on the bottom
interactive half. this installation was an experiment on how one might interact with light, technology and
space. it made the user question how it worked and could inform if their curiousity insisted.
fibre optic
connections
new media center for research and exhibition. diller+scofidio took two programs and interwove
them to create an interactive, voyeuristic experience between the researcher and the exhibitor.
want to see how they effectively brought the public into a new realm through architecture.
Eyebeam [d+s]
FOA used data and studies to sculpt a land that flows perfectly with circulation and function to
create a dynamic building that incorportates the user and the landscape. investigating the use
of studies to generate form and how they created a great functional and public space.
Yokohama Terminal
United Net Studio incorporates design models to achieve their ‘architecture’. Their “deep planning”
principle allows them to design spaces that are based on exhausted research and studies of a
case studies sites conditions. want to understand their analytical approach to form generation and ability
to engage users with the architecture on an artistic and information based level.
UN Studio
His “event-space” theory that you can bring two not necessarily related paths and intertwine them
to create an “event field” that yields new discoveries and interactions. I want to see how we can
Bernard Tschumi bring together different users of an urban setting and create new spaces and interactions. How
can architecture engage its surroundings i.e. space and people.
Looking at effective public spaces to see how they work. Frank E. Mahan’s thesis work and his ideas
Other of creating indeterminate space that is flexible to numerous users in an urban setting. Zaha Hadid’s
ideas of connections and engagement of space and its surroundings. Any example of where
architecture instigated or engaged multiple users of an urban setting.
what is the nightlife, daylife, mornings, evenings, afternoons like in the SOMA district. then what
about during a sports event, or a convention show. there is a massive flux of people, how does it
affect the region. investigate the slippage effect of the businessman to the nightman.
culture / society
new lofts, restaurants, shopping, development. existing building uses and their activity rates. time
site studies -program analysis of these spaces and their effect on the area. how does the area fluctuate, move.
[SOMA] san francisco context
how often are cabs, city buses, the metro lines, nearby train stations.
How does this mass transit affect an urban downtown area like San Francisco.
circulation / transportation How do people move around and through the site.
6 07
what range of people live in the area. what is their cullture they bring with and their professions.
demographics what can be learned from the residents and their lifestyles and views towards the area they live.
what can engage them and outside residents to instigate a more lively ‘downtown’ area.
critical positions
RITICAL_POSITIO
Critical Position [Corbusier_Chu] new biological species. He re-conceptualizes the
The following is a reaction to Kenneth Frampton’s discussion
architectural process and believes the new design
of Le Corbusier in “Le Corbusier and ‘l’Esprit Nouveau’,” from process must grow from itself like an organic
his book Oppositions: Le Corbusier 1905-1933 and Karl Chu’s system. He believes it will become a generative
manifesto “Genetic Space” which Karen Lange provided us. process that will be derived from the vast
matrices of information our world thrives on, and
Architecture within the last one hundred years the realization of biogenetics.3 This architecture
has changed dramatically with the advent of will grow organically from its own internal and
computers. The architect of the early 20th century metaphysical forces. There would be no influence
determined architecture is influenced by space, from the past, because the architecture would
time and movement and creates the relationship be growing with the forces that affect it at the
between them. Architects of the 21st century exact time it is growing. Karl Chu’s re-conception
are delving into the biological sciences and how of architecture sharply contrasts Le Corbusier’s
architecture may grow organically by its own work of the early 1900s. Corbusier believed
means. While both architects create space, the architecture is developed to accommodate the
means to achieve this space has significantly human body, where Chu believes architecture
changed. Le Corbusier of the early 1900s believed needs to be a replication of how the human body’s
the human and their environment was the ultimate biology develops.
element of architecture. The architecture was
C R I T I C A L _ P O S I T I O N
C R I T I C A L _ P O S I T I O N
a response to how people used and interacted Le Corbusier set up a system for architecture that
with their environments. On the contrary, the he titled the “Five Points of Architecture.” They
contemporary architect, Karl Chu writes in his included the following; pilotis, a free plan, open
manifesto Genetic Space that we are at a turning facades, ribbon windows and roof gardens. The
point in architecture; where architecture will pilotis elevated the building mass off the ground,
grow from itself using the convergence of genetic the free plan opened up spaces, the free facades
information and computation. were the vertical sibling to the openness of the
free plan, the ribbon windows exploited the free
“The goal is to engineer a new species from façade, and the roof garden brought the green
scratch.”1 Karl Chu presents a radical idea space occupied by the building on the ground level
that through the convergence of genetics and up to the roof level.4
computation we are at a threshold of a new
civilization where everything will spawn from At Villa Savoye Le Corbusier lifted the home above
1. Karl Chu, Genetic Space the intrinsic properties that make up physical the ground level on pilotis, thereby freeing the
Le Corbusier, Villa Savoye
3. Le Corbusier, Carpenter Center universe, like mathematics, physics, philosophy ground floor for workspace and car parking. The
and metaphysics.2 He cites that we have the second level then became the living floor with a
ability to transform genetic make-ups and create living room, kitchen, bedrooms, and an outdoor
C R I T I C A L _ P O S I T I O N
crossing of paths of two different and discovery of
Carpenter Center at Harvard University. The site
new spaces and views. What remains important is
of the building was an existing open space that
these unpredictable events, are unpredictable, and
was a major diagonal circulation thoroughfare for
a seemingly infinite amount of different events may
students and faculty. The center was programmed
occur in the space. One might ask, what makes the
for the department of Visual and Environmental
unpredictable events architecturally interesting
Studies, as well as the Harvard Film Archive.
and stimulating? These events spur interaction
Corbusier took this opportunity of existing
between people and space which may lead to
movement and incorporated it into the program
new social interactions, relationships, possibilities
for the center. He designed a ramping walkway
and discoveries of the architecture and the site
that fed from the existing circulation path, and
itself that, had the determinate programs been
made a diagonal cut up and through the second
established, might have never occurred.
level of the building. This ramping walkway brought
students and faculty into a building that they would
1. Carpenter Center diagram showing circulation path intersection The associated design elements and ideas of
not necessarily access. As they pass through the
2. Exploded view of Parc de la Villete’s program, field and movement diagram Corbusier’s work are what initially inspire me for
3. Parc de la Villete, Bernard Tschumi building, they encounter the visual arts facility and
my senior thesis. Through developing circulation
people getting ready for performances or studying
spaces that moved up, across, around and through
the arts. This instigated a new relationship and
space, Le Corbusier was able to create not only a
C R I T I C A L _ P O S I T I O N
Reading these two articles instigated me to
I will, however, also implement issues Karl Chu has investigate other examples of current works
been examining. The idea of organically growing and how I can begin to produce and research
and generating an architecture that responds experiments that implement these design
to internal information will help me grow my philosophies. Corbusier’s movement through
instigation sites. The sites will be generated from space combined with Chu’s organic architecture
their internal forces as well as their external forces can produce an architecture that grows from
such as location, demographics, culture, existing its site and creates a dynamic experience for its
circulation, transportation, context, climate, access users and surroundings.
and views. However much I do agree with Karl Chu
and his forward thinking processes, I must add
that I still believe there must be a human element
to spatial definition and creation in this organically
1. Event Space Field diagram; AB417 Society Think Tank grown architecture. Millions of iterations can be
2. Karl Chu’s dance center. Derived from analytic information of dance run through computer models to produce the
3. Rendering of generative information surface mapping experiment most efficient and spatially intriguing form, but it
must be tweaked and molded by the human hand
to remain good architecture.
C R I T I C A L _ R E S E A R C H
than the production or perfecting of what they
already knew, Farshid Moussavi and Zaela Polo In biology, classification systems are set up to
of Foreign Office Architects (FOA) use the open, include a family, then individual species within that
flexible nature of the diagram and its ability to family. The key to this is the activity of reproduction,
prescribe performance and continually develop, as where species of the same group reproduce
well as the increasing power of the computer to with one another and produce offspring, who
analyze complex systems of information, to create will inevitably inherit the traits of its parents. The
an architectural language that would be open to offspring’s traits go through a morphogenetic
the specifics of each project, while maintaining an process where the traits they received from their
overall design model that could be applied to any parents, evolve into a new set of altered traits.
context. After almost a decade after they opened These new traits are a result of the species
their office, FOA was commissioned to do a series adaptation to its environment and its specific
of shows around the world that displayed their needs. This process is known as evolution, where
1. FOA”s Architectural Surface ‘families’ and their general characteristics. work over the past ten years. This gave FOA an the species is changing over time to better adapt
2. FOA’s Classification System [taxonomy] of their projects
3. A taxonomy example of animals opportunity to produce a fresh view of their work. to its environment, or in other terms improve
Concerned with the ideas of an architectural its performance. This system produces an
language and authorship, they wanted to research information feedback loop, where the traits are
whether or not their use of the diagram and their constantly evolving and checking themselves in
open/flexible approach to the specifics of each their environments to see what works best thereby
project produced a series of common traits. improving performance. The species is the carrier
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RITICAL_RESEARC
of this information, to test what works and what succeeds, then it might be carried to another
doesn’t. project. For instance, in their Yokohama Port
Terminal project they used timber to create a
FOA used these principles as a metaphor to massive public landscape that would be used
classify their projects, and better understand by hundreds of different types of users from
the common traits that each project, or species, skateboarders to picnickers. In a later project in
exhibited. They could not do this until they had a Barcelona that called for another massive public
population of projects to classify and gather each space, they decided to use large interlocking
project’s respective traits. This was a powerful pavers because they had learned from the
move for the firm as they moved away from previous project that timber could not withstand
describing their projects as types, and into labeling the abuse of a large public space where people
them as species. FOA argued the use of types would be walking, running, biking and skating
(e.g. residential, civic, commercial) was too static over. Through the use of a new performance
and did not properly describe their work. Species, driven material they created morphology of their
on the other hand, “are sets of morphological architectural surface diagram. Setting up a system
relations that vary across time and space, and of classification where they map lineages through
therefore offer a much more effective tool to each project, they are successfully able to develop
operate within a constantly shifting environment,” a way to see what works and doesn’t, as well as
(Moussavi, Phylogenesis). These traits are identifying possibilities they have not yet explored.
C R I T I C A L _ R E S E A R C H
C R I T I C A L _ R E S E A R C H
diagrams of architectural surfaces that each
exhibits different behavior and characteristics. But why use the rhetoric of architectural families,
Each of these architectural surfaces diagrams species, and growing. The immediate assimilation
is grouped into 7 separate families, which is to biology, which also happens to be a major
are function, faciality, balance, discontinuity, contemporary topic in architectural discourse.
orientation, geometry, and diversification. Within Over the past thirty years architectural discourse
each family, there are several differentiated types has looked at biology and the computer’s ability
of their respective surface diagram. For example, to simulate biological processes. Architects
under the function family, there is the “ground” could create models that would incorporate
surface and the “envelope” surface. The ground spatial, temporal, programmatic, structural,
is a flat surface diagram whose primary function environmental, social, cultural and economic
is the construction of a connected ground. The factors. As soon as this was the topic of the time,
envelope is a tube surface diagram whose function firms across the world began to relate their work
1. FOA;s Yokohama Port Terminal. is to enclose space or surfaces. The projects, to that of biology. We see firms like Emergent,
2. Detail of timber construction.
3. Detail of stone paver construction. or species, are then products of these surface Patterns, Zaha Hadid, Xerofirotarch; amongst
diagrams. As FOA created the classification others discussing and producing work and creating
system, they created their own information names that resemble what we see in the natural
feedback loop by testing the projects traits, and world. These firms are well known because of their
seeing how they interact with their environment, names and what they are searching for, but even
program, users, structure and material. If one more so because of the popularity and interest we
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RITICAL_RESEARC
see in the current architectural discourse. Along use as well as creates a process that evolves over
with a biological obsession, there is the obsession time to produce this efficiency. Diagrams are able
with the ability of the computer to produce models to incorporate flows of people, programmatic and
where the architect can input information and spatial considerations, environmental factors,
begin to script a project. Through a series design material characteristics and structural systems, all
models, firms like U.N. Studio and FOA can take a of which respond to each other and begin to create
specific design model that might fit the parameters a system that is constantly changing and evolving
of a certain project. Aside from the architect’s at each point of the diagram. This inherently
personal interests and ambitions in architecture, involves temporal strategies to deal with the
the rhetoric contemporary architects use, is change of these factors over time. Architecture
aiming at a need to authorize their work, and in does not literally spring from a diagram, so it
our capitalist society, sell it. It stems from the must not be construed that a vector line on a
internal needs to create organization, coherence computer will be the floor plane of a building,
and signature within a firm, as well as external or that the diagram will produce the structural
needs to market, sell, and control a firm’s work, and material system. But rather, it will be where
and if possible, the contemporary architectural an architectural surface will correspond with a
discourse. In FOA’s case, the classification of programmatic concern, which will connect with
their projects into families and species, however a circulation use, and then the architect can add
metaphorical it might be, adds a signature to material to accommodate the program and the
C R I T I C A L _ R E S E A R C H
C R I T I C A L _ R E S E A R C H
their work that captures the current biological circulation, and finally a structural and mechanical
discourse, and sets them apart from other system that fits these parameters. If the program
firms using the design model technique. Another or the material changes, then the diagram can
trick FOA uses besides their design models, and be consulted to adjust these parameters. FOA
biological rhetoric, is in their own name. As they describes this process as a bottom up logic of
describe themselves as “a medium to augment a parametric design while consulting construction
site’s forces,” (Moussavi, ICON) we see their name techniques from a top down approach. They
as Foreign Office Architects. Being foreign to their critically used the diagram in their Yokohama
project-species they create, they remove culpability Port Terminal Project where they created a “no-
of their work. They are still responsible, but they return” diagram. Where program, and circulation
begin to remove themselves and let their projects were the main driving factors for the layout of
and process take the spotlight. the diagram. At each point of the diagram, they
placed an architectural surface like I previously
1. Yokohama Port Terminal’s “no-return” diagram. In projects on large urban scales where the public highlighted that related to the local parameter of
is a major factor, and the need to control space, the program, circulation, material, structure and
flows, materials and users, is there a way to environment. These points of the diagram start to
produce an architecture that responds to these include ergonomic and functional information that
mass amounts of factors, and within this process determine the scale and geometry of the surface’s
what can be done to work efficiently with all this deformations, as well as the technical information
information to produce a space that maximizes of the structures’ load bearing capacities. Once
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RITICAL_RESEARC
all the information is set in place, the diagram
can start to become a constructible-dimensioned
drawing. The other major benefit of the diagram
is its ability for openness. One, in the specifics of
a project where it can evolve over the course of
the project, and two, its ability to work over any
scale of projects. This will lead to a coherence,
and increased performance of one’s architectural
design over time.
Diagrammatic design in architecture is not a new
tool, but with the use of the computer and its ability
to process infinite layers of information, we are
able to produce a more effective and performance
driven architecture that enfolds all aspects of a
projects’ site and program, rather than shunning
the site and looking to repeat a successful
prototype. The diagram can be used as a prototype
that adjust itself to the specific parameters of
C R I T I C A L _ R E S E A R C H
C R I T I C A L _ R E S E A R C H
each project, and can be used as design tool
that evolves itself over time. In the search for
a performance driven architecture that can
interpret all aspects of any given project, the use of
the diagram and the computer-model has proved
successful for firms like Foreign Office Architects.
24 25
case studies
CASE STUDY_01 EyeBeam [d+s
01_case study: people socializing in a glass rectangle box. You
move into the space next to the cocktail bar and
EyeBeam Museum [diller+scofidio] become shocked by what you thought was a mere
new york city//manhattan
circulation space, has been transformed into an
extension of the lobby as a social mingling zone for
A Virtual Experience Novella
Cross-Programming and Folding the researchers, fashionistas and digerati alike.
Interactive Event-Space You finish off your cocktail and continue towards
Media Technology Interactivity
what you see is the mediateque.
In Diller Scofidio’s winning competition entry for the Inside the mediateque you rest in one of the comfy
Eyebeam Museum in New York City, they altered chairs, which at first glance is a standard modern
the idea of what a ‘museum’ should be. Through piece, but once activated, transforms into a digital
the practice of integration they brought together field of screens, headphones, plug ins, control
the fields of exhibition and production in to one devices, which all link into the museums servers
continuous space. I want to see how in an urban and allow you access to all of the work that is
setting, they brought the public into this space, and currently and previously created in the space your
created events that would typically never occur in. You get your fill and head up the stairs out of
between the researchers and the public. the space, but while heading upstairs you notice
to your left researchers/designers in a room
To begin this case study I think we should take
CASE STUDY_01 EyeBeam [d+s]
1 From analyzation of diagrams, images, plans, sections, and writings 2 Mitnick. p.14
from Mitnick. Diller Scofidio Eyebeam Museum
30 31
CASE STUDY_01 EyeBeam [d+s
or producing a piece, questions the relationship of the glazing, is an electrical current that controls
the researcher and visitor. Are the researchers the opacity, transparency and translucency of
producing the material the museum in themselves, the wall. The top is a positive current and the
is the public interacting with the pieces the bottom is a negative current. They created this
museum, who and what is exactly on display? This system so where there are areas that change in
blurring between users and their functions, along light sensitivity is a necessity, they can control the
with the different programmed spaces folding into characteristics of the glass in a flash. The glazing is
and out of each other further exemplify the ability also engraved with a touch sensitive menu that is
of Diller and Scofidios to create an interactive tied into a virtual projection and can allow visitors
event-space. to access researchers work, or for information
and events to be posted. It is a 2D poster that
Media Technology Interactivity ultimately becomes 4D because it interacts with
Diller and Scofidio take the idea of interactivity its users and changes over time but stays in the
beyond the theoretical sense of social and same matter.4
pedagogical interaction, and incorporate it in the
use of media technology throughout the building, In the mediateque the lounge chairs are
which in this case, is a viable necessity to the equipped with flat screens, flexible lap keypads
program of the building. At ground level where the and headphone jacks which all connect into the
users enter the building, the ground is illuminated Eyebeam Museum’s media server and the Internet.
CASE STUDY_01 EyeBeam [d+s]
4. interaction diagram between researchers and visitors The glazing systems, or “smart party walls” as
5. projected keypad on liquid crystal glass ‘party wall’ they coin them, are used throughout almost all
6. wearable device
7. technology lounge chair in mediateque of the building. These systems include a layer of
liquid crystal between transparent conductive film
and laminated glass. At the top and bottom of
10. exploded axonometric circulation diagram 12. exploded axonometric circulation diagram
11. sectional circulation diagram 13. sectional circulation diagram
36 37
CASE STUDY 01 EyeBeam [d+s]
CASE STUDY_01 EyeBeam [d+s]
38 39
CASE STUDY 01 EyeBeam [d+s]
CASE STUDY_01 EyeBeam [d+s]
40 41
42
CASE STUDY 01 EyeBeam [d+s] CASE STUDY_01 EyeBeam [d+s]
43
CASESTUDY_02Landesgartens
02_case study:
Landesgartenschau [zaha hadid] Incorporating existing circulation paths through
Weil Am Rhein, Germany the building not only produces a wonderful
“The suggested structure does not sit in the architectural form, but also creates a series
landscape as an isolated object, but emerges from the of event spaces. Imagine the building having no
fluid geometry of the surrounding network of paths.”1 circulation paths that cut through around or over
the building, the visitors, whether attending the
In 1999 the Landesgartenschau (state flower exhibition or simply experiencing the park, would
exhibition) was built to serve as an event and be forced to walk around the building to experience
exhibition space for the garden festival in Weil the site or the building itself. In this instance, the
am Rhein during that summer. The form was walkway paths are inclusive in the building as
generated by external site conditions and program they are simply an extension of the site’s existing
implementation. Site conditions like circulation pathways. Visitors using the park might walk on the
paths, site views and local climate began to sculpt ramping pathway over the building and discover
the building as if it apparently grew from the site. the outdoor terrace and decide to stay for a cup of
Three existing paths generated three forms that coffee. Another visitor might cut diagonally through
continued these paths and rose over, cut through the building and happen to notice an interesting
and around the building. From these dominating display in one of the galleries, thereby sparking
forms, programmatic spaces were inserted along their interest to enter the building and see what
CASE STUDY_02 Landesgartenscaau
The film+media experiment began through my Aside from the my initial investigations and hopes
interest in film, media and the idea of surveillance. for the experiment, a new element that I did not
Inspiration was derived from Diller and Scofidios foresee came into play. Because the way the setup
works on voyeurism and video surveillance of the video camera and projector was positioned,
experiments. the image resulted in frames that gradually got
smaller and went into
First, a video project was placed on a table and infinity.These images
aimed at a white wall. Secondly, a video camera that stretched into
was placed 2’ behind the projector and propped inifinity were also
up on several thick books, so the height of the tied to time. As each
camera was equal to the top of the projector. The frame stepped back
video camera was also aimed at the white wall and got smaller, there
surface. The camera was then hooked up into the was a time delay. It
[Film+Media]
[Film+Media]
projector and both turned on. The resulting display became apparent
was an image of the video projector, projecting when waving my hand,
itself. Video projectors are typically used to project or seeing the time
other images or film. They are the worker who code on the video
creates the end product, and are usually in the camera roll through
back scenes. In this experiment, this relationship time. It created this
EXPERIMENT_01
EXPERIMENT_01
between end product and worker is inversed. The fourth dimension on
worker, is displaying itself as the end product. the image. Not only
What becomes hidden in the image is the video was the continuous
camera, they are now the worker almost taking process of the video
over the position of the video projector. camera filming the
projector project
The video camera is ultimately spying on itself itself, there was
1. video frame grabs of film time loop experiment from the back, creating a somewhat out of body infinite continuim in
experience for the video projector. Recent work the image itself. It
has been done to create out of body experiences was a very interesting
for humans. A video camera was hooked up to a discovery in both
person’s upper body, and aimed facing their head aspects through the
and beyond. The camera’s video was hooked into use of film and media
goggles that the user wore. A third person view
48 49
EXPERIMENT 02 [Mobius Strip]
02_experiment:
Mobius Strip
Continuous Plane
Diagrammatic Event Space
Strip]
surface that linked both planes. Drawing on one
side of the plane and leaving the other blank
showed this ultimate continuity that is possible
EXPERIMENT_02 [Mobius
EXPERIMENT_02 [Mobius
through the diagrammatic aspect of the mobius
strip. While each side maintains their own
properties, they now are connected and linked into
a new form.
EXPERIMENT_03[MoirePatterns]
This experiment brought out the idea of two
separate entities coming together to form a
new product. It too ties into folded architecture
and event space. Putting it into the architecture
realm, it could be used or seen when placing
several programs together, intertwined, or
overlapped and seeing what new event, space, or
interaction can occur from such a combination.
The indeterminancy of the outcome can be seen
here in these simple moire patterns. Two pieces
of mesh with a structured grid, but when brought
together in a random way, produce a pattern that
could not finitely be calculated before.
1. folded plastic mesh altered in photoshop to discover
Moire Pattern
52 53
XPERIMENT 04 [FibreOpticWall
04_experiment:
Fibre Optic Wall
Interactive Architecture
The fiber optic wall was the next step to the film+media
experiment, only this time engaging the user on a
different level. I wanted a piece that would grab the
users attention, make them question how they are
perceiving it, begin to interact with it, then look further
into how the piece is working. The fiber optic wall was
the solution to this process.
EXPERIMENT_06[emergent form]
3 and each set was mapped to a point on a 4x4
gridded surface in the computer. At these points,
the set was related to the X, Y, & Z vertices. For
example, the set [BAC} would relate by B=x, A=y,
C=z. Once they were assigned, each point could be
manipulated in the x, y & z directions according to
their sets values. After going through each point,
the 2d surface was now altered into a 3d distorted
surface. This modeling was done in Rhino Modeling
Software.
60 61
XPERIMENT 07 [musical emer
07_experiment:
musical [e]mergence
Generative Form through Music
E XP E R IM E N T_ 0 7 [ mu s ic a l e m erg en c e]
punk.” Third and last I chose the classic Bob Dylan
album “Highway 61 Revisited” from 1965 and under
the Rock genre.
62 63
XPERIMENT 07 [musical emer
Artist
A Radiohead
Album
In Rainbows
Year
2007
Genre
Electronic
I then created a playlist in iTunes and arranged the
B Death From Above 1979
C Bob Dylan
You’re A Woman I’m A Machine
Highway 61 Revisited
2004
1965
Electronic Dance Punk
Rock albums from most recent to least recent. Radiohead
A A
was at the top and Dylan was at the bottom. This
A B
A
A
A
B
established a layering of time through the playlist.
A A
A
A
C
B
Once they were arranged chronologically, I shuffled
A C
A
A
C
A
the playlist and created a completely random pattern.
B B
B
B
C
B
From that pattern I listed the songs according to their
B C
B
B
A
C
letter and generated the string of letters:
B B
B B
B C
B
C
A
A
[ABABACBCCABCBCACBBCAAABBCCABAABABACBCCABCBCABCBB]
C A
C
C
C
B
B
C
I broke the sequence into sets of [3] and [4] rows.
C C
C A [ABA][BAC][BCC][ABC]
C B
C A
[BCA][CBB][CAA][ABB]
1. initial iTunes playlist [CCA][BAA][BAB][ACB]
2. shuffled iTunes playlist [CCA][BCB][CAB][CBB]
E XP E R IM E N T_ 0 7 [ mu s ic a l e m erg en c e]
(+)X = A (-)X = C XYZ = 0 = B
(+)Y = A (-)Y = C
(+)Z = A (-)Z = C
The album art from “In Rainbows” “You’re A Woman I’m A Machine”
and “Highway 61 Revisted” were applied to the initial 4x4 2d
surface, layered according to most recent year on top, then each
layers opacity altered according to the frequency the album played
in the playlist. Once the points shifted the surface distorted, thereby
1. physical models distorting the image with the form.
64 65
08_experiment:
musical [e]mergence 2
Music Spatial Fields
08
A further investigation into the musical [e]mergence
experiments led me to apply a similar process to the
surface image in the same way I approached the form.
EXPERIMENT_08[musical emergence02]
point color with a radius of [+2] would be applied. [+2]
was chosen to span the albums value in each direction
of the surface, and lead to the possible mixture and
overlap between nearby points.
XPERIMENT
they would each have a radius of [+1] and an opacity
of 33%. If an album had 3 values at one point, then it
would have a radius of [+3].
66 67
experiment analysis
X P E R I M E N T A N A LY S I S
Experiment Analysis There was a continuum of images in the projection
Film+Media thru Musical [e]mergence that went on to infinity. Because the camera
faced the wall and the back of the projector, and
My experiments helped my thesis much more than the projector was projecting onto that wall, the
I ever anticipated. There was a need to research resulting image was a continuous loop of footage
how to perform, achieve, construct, and realize that as each image dropped further back, a time
each experiment. During this research I studied lapse occurred. This effect was amazing because
topics that pertained to my thesis and helped it set up these spaces in between each frame that
me grow not only my experiments, but also my had their own time zone, if you will. As the camera
architectural ideas. Each experiment also led to time code would role, you could see the change of
the next one, and it became a process of growth time as it hit every frame until it went out of sight in
and development. For example, the fiber optic wall the depth of the repeated image. If you waved your
led to the fiber optic table, or the emergent form hand in front of the camera it was as if a million
led to the musical emergence. What came from hands were waving one after another into infinity.
the experiments were understandings on how
different elements may be combined and what that Fiber Optic Wall
net reaction or end result is. This discovery furthered my interest of interactivity
with technology, such as film and media. It led me
Film + Media to my next interactive experiment, the fiber optic
A NA LYSIS
A NA LYSIS
In the first experiment, Film + Media, my initial wall. In my winter quarter of third year at Cal Poly
intention was to create a voyeuristic view of a a fellow student named Nathan Smith worked with
projector and distort its function or relationship fiber optic cables, and sparked my interest in how
to what it projects. The basis of the idea was to light feeds into and out of the cables. I knew you
see how the worker [projector] can display itself, could have a cable bent or twisted in any direction,
or show itself and how it works, thereby adding and light would feed in from one side and still
a pedagogical effect to its function. Instead of emit from the other. Combining this knowledge
EX PER IM EN T
EX PER IM EN T
it projecting images, and leaving the process of I previously had, along with some research on
projecting the image or who the projector is vague, interactive walls, I created the fiber optic wall. I
the projector is now displaying itself working. imagined it from the beginning as a wall fixture
The idea grew from case studies on Diller and that would react with users as they passed by,
Scofidio’s Eyebeam museum where researchers and as they reacted with it and became intrigued,
were set on display as part of the museum, so as would stop and look behind the piece to see how
film+media and fiber optic wall set up to inform the museum goers who are producing it works. The idea of intriguing then informing has
the work they are viewing. always been a major push for me. At our fifth year
Abstract Show I set up the piece and it worked
What came from this experiment was beyond exactly how I imagined it. Tom DiSanto commented
what I ever anticipated. The projector, with the he was thrilled to see how it worked after he
video camera, did indeed project itself, but not just interacted with the piece. Intriguing the user
once, it projected an infinite amount of images. beyond a pieces surface value was another look at
70 71
X P E R I M E N T A N A LY S I S
engaging the user. along with speakers playing music within the table. The
table’s surface was on one half displaying the projected
I discovered several elements through image, and the other a grid of changing colors and
this experiment, fiber optic technology, light. Users noticed this relationship between the
implementing the technology, user interaction projected image and the grid and became intrigued.
and the reality of how interactive and They would wave their hand under the projection and
informative ‘interactive architecture’ can be. notice their hand’s shadow moving across the grid.
Our society has become quite a fast past They would then peer under the surface to see the vast
consuming machine, and where stimulation array of cables. Like, the fiber optic wall, the process of
is everywhere it is hard to keep the attention interaction, intrigue and then provoking the user was
of anyone. In this experiment, it was able executed.
to attract users for a brief moment. That
brief moment could engage the user and Information/Surface Mapping
provoke them to experience the space and Setting aside the interactive experiments I wanted to
its surroundings in a way they previously had explore emergence through different elements. In this
not. It could become a place that sparks social case, it was through information and surface mapping.
interaction amongst its users, or a social Michael Hansmeyer (mh-portfolio.com) and his work in
viewing place, whatever the user prefers, it exploring interpretive and generative processes was
could lead to a more vibrant, dynamic space. the inspiration for this investigation. He generated a
A NA LYSIS
A NA LYSIS
series of letters that all had assigned values and were
Fiber Optic Table in a random pattern. These letters were arranged in
The verticality of the wall took a horizontal shift sets of three and mapped to a 2 dimensional surface
and became the basis for my vellum piece, and ultimately transformed according to x, y and z
the fiber optic table. When exploring coffee positions into a 3 dimensional form. The random
tables that ranged from simple elegant forms iterations inspired me because it drew on the idea
to complex structures, they were quite static of indeterminacy. Taking a set of elements grouped
EX PER IM EN T
EX PER IM EN T
when used by people. An idea for creating together in their typical fashion, then applying a
a coffee table that reacted with how it was randomization to them to create new, unexpected
used, whether it is having a drink, reading a interactions is an architecturally intriguing idea. Input of
magazine, or a conversation with someone information and mapping a surface created information
was conceived. The surface of coffee tables fields. Those fields began to leak into on another when
is the key part to the table because it allows the outputted form became distorted.
1. fiber optic table set to engage users at vellum these functions. The surface in the fiber optic
2. surface map information transformed
table wanted to interact with these actions. Musical Emergence
The table inherited the technology of the wall This led to creating musical emergence. Virtually the
using a video projector to animate the surface. same experiment, this time the information was from
three albums placed in an iTunes playlist and randomly
At the Vellum Furniture Show 2007 I had a shuffled. From the random shuffled playlist a random
video projector playing the iTunes visualizer pattern of music was created, and the playlist was
72 73
X P E R I M E N T A N A LY S I S
broken up into sets of three. Each album was events and interactions that were previously
labeled a letter, Radiohead’s “In Rainbows” was unforeseen. On a side note, I also learned how to
A, Death From Above 1979’s “You’re A Woman go from information, into the computer, produce
I’m A Machine” was B, and Bob Dylan’s “Highway a form, export that to the physical realm, and then
61 Revisted” was C. Values corresponding to the construct it. It was a slight version of the CAD to
album’s production date on a scale of +1 to -1 CAM construction process.
were assigned to the letters with A=+1, B=0 and
C=-1. When I mapped the random sets of songs Mobius
to the points on a surface, it set up musical fields. Two other experiments I also performed looked
Each set that was mapped related to the x, y and z at form and the possibility of indeterminacy within
positions at that point. For example, the set [A,C,B] them. The Mobius strip was a diagrammatic
would relate as A=x, C=y and B=z. Each point approach to bringing together two separate
was then transformed in the x, y and z directions elements, in this case, two sides of a paper, and
according to the sets values. When the points seeing how they can become a continuous surface,
were distorted it was interesting to see how the while still retaining their individual characteristics.
musical fields spread into or veered away from one The idea of the fold played into this experiment
another. and became more apparent as our discussions in
ARCH 492 on Greg Lynn’s article became more
Musical Emergence was another way to map an detailed. I also looked at the Mobius strip after
A NA LYSIS
A NA LYSIS
area, or surface, through information, and see it was used in UN Studios Mobius House. While
how the inputted information sets up fields that literally the house is not entwined in a mobius
interact with one another. However, it explored strip, but diagrammatically the way they set up the
how randomization effects and indeterminacy of program of the house creates the metaphorical
fields can result in new interactions. The iTunes effect. The spaces interact with one another on a
playlist feature created a system of information level that would not typically be seen. I understood
that was linear and grouped each album into their process and was very intrigued by the
EX PER IM EN T
EX PER IM EN T
its own set. These linear sets when mapped on intertwining of program and the indeterminate
a surface interacted within their own fields and events that occurred from them. This was an
the interaction was determinate because the example of form as the creator of events and
placement was fixed. Using the shuffle feature in indeterminate actions.
iTunes created a system that randomly grouped
the albums into mixed sets. The resulting field Moire
1. mobius strip mathematical study at each point contained an assortment of all “A figural effect resulting from the superposition of
2. moire pattern discovered
three albums. As they were distorted the fields two regular fields.”1 Cal Poly alumni Frank Mahan
morphed into, grew apart or slide against one describing a Moire Pattern. The moiré pattern
another. As these fields interacted, they created experiment was similar to the Mobius strip in its
random occurrences, or indeterminate events.
From information analyzation, mapping and 1 Mahan, Frank E. Indeterminate Use 2002. California Polytechnic
randomizing, events can occur that spawn new State University San Luis Obispo.
74 75
X P E R I M E N T A N A LY S I S
attempt to diagrammatically see what new programs and users, and the ability to map a city
connections or events could occur. It was through information analysis and implementation.
an attempt to see what can be produced
from two separate entities, where the end
result could not previously be seen in the
entities making the product. I thought of this
experiment relating to program where several
programs each with their own individual
characteristics and spatial fields come
together, but where they begin to intersect or
overlap creates a new series of events and
fields that were previously not recognizable,
therefore being indeterminate.
Interactive Architecture
The interactive process, which is created
by the cause and effect relationship to a
piece and its user, is a very architecturally
stimulating idea. Buildings have a basic stasis
A NA LYSIS
A NA LYSIS
to them. They are structured to some form
of ground and remain the same over many
years. How then does architecture continue to
engage its users beyond the initial interactions
with space? Integrating installations such as
these interactive pieces can provoke new life
to dead spaces. They can engage the space
EX PER IM EN T
EX PER IM EN T
and its surroundings over time as it continually
changes with events and users.
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EXISTING INFLUENCES_ SAN FRANCISCO
p u b l i c s p a c e s t h a t b r e e d l i f e
Hotels
1 St. Regis Hotel
2 W Hotel
3 Hotel Vitali
4 The Palace Hotel
5 Hyatt Regency
6 Four Seasons
7 Griffin
8 Courtyard Downtown
Cultural Centers
S I T E 9 SF MOMA
10 Afrikan Museum
11 Jewish Heritage Museum
12 Ferry Building
R es taurants
13 Salthouse
14 Gordon Biersch Brewery
Americana
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16 Slanted Door
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17 Chaya
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24 Ferry Terminal
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26 BART_Montgomery Station
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TRANSPORTATION DIAGRAM_ SAN FRANCISCO
p u b l i c t r a n s p o r t a t i o n s y s t e m s
BAR T Train
Embarcadero Station
S I T E Montgomery Station
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HISTORICAL ASPECTS
San Francisco, 1970s-present
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OLD EMBARCADERO FREEWAY
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CUT THROUGH CITY AND LEFT SCARS
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TRANSPORTATION ACCESS
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SOLAR PATTERNS
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WIND PATTERNS
NW WINDS
12.5 mph
WNW WINDS 25% / yr -Direction
8.9 mph -Speed
58% / yr -Rate of Occurrence
W WINDS
13.7 mph
17% / yr
S I T E
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TID AL CURRENTS
[IN + OUT OF THE BAY]
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TI DAL MO VEM ENTS
5.7ft = high
yearly range = 4.6 ft
wate r l in e
3.4ft = mean
1.1ft = low
low [ou t]
t
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S I T E m
o ve avg. level = 3.4 ft
a lm
tid
high [in]
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S IT E VIEW S
north b ay sf
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24 HR SITE STUDY
4 H R _ S I T E I N V E S T I G AT I O N
24 HR_site investigation
user > time study model
24HR_SITEINVESTIGATION
noticeable through this study, while it also shows the
vast difference of users in this intense urban space.
108 109
24HR_SITEINVESTIGATION
111
24HR_SITEINVESTIGATION
113
program
at an earlier point, maybe we can find new forms of
PROGRAM [interactive_MEDIA::scape] music, cinema and exploration. It was an inspiration
Music + Cinema: that was derived from the cross-programming
of the Eyebeam Museum by Diller and Scofidio.
Research / Exhibition Although the programs connect at certain points,
Theater and might share the same surfaces, the public
Hotel is never able to actually peer into, or access film
studios, music studios, research labs, or anything
The program I chose was in response to several of the like. The programs interlock, and provide a
things. One, my personal interest in the fields of system for multiplicity of surfaces.
music and cinema, then with the accompanying
larger architectural interest of large urban public The Theater is part of the program to let the
spaces. Secondly, I wanted to see if bringing researchers and exhibitors display their final
together programs that are typically separated products on site. The theater can also be the hub
could create a new typology of urban space. Thirdly, for Film, and Music festivals. Similar to ones we see
while studying last summer in London, I frequented like the Cannes Film Festival or the Sundance Film
the recently gentrified Southbank area on the Festival. As a location on the water, the hotel, and
Thames River. There I found several theaters, ample public space, it is the perfect opportunity to
music venues, museums, skateparks, open spaces, host these festivals.
restaurants, amongst other things. There was
M
always something going on and you could see vast Finally, the Hotel was the third addition to the
amounts of different people enjoying the entire area. program. I have always been intrigued by the social
A
The idea these culure centers could bring together and public aspects of hotels, especially in large
so many different types of people intrigued me and I urban environments. As I was programming the
R
wanted to pursue this mysel. Lastly, because of the other two spaces, I was curious as to what other
site’s location at the edge of the SOMA district and type could be an attractor to these types of spaces,
G
the Embarcadero, this series of programs would fit as well as a large urban space. The hotel became
into the already existing art and culture fabric of the an obvious choice. The hotel functions as a place
O
area, if not extend the fabric. for researchers, exhibitors, art critics, lovers, fans,
exhibitionists can reside while they work or play in
R
Choosing each of the three major programs was the surrounding spaces. Not only would it attract
a direct response to my interests. The Research this demographic of people, but businessmen and
P
facility was an exploration at seeing if several fields women on work trips to the adjacent financial
could combine to produce a more interactive, and district of San Francisco, locals looking to get away,
cross-influential system. In the research facility you and hundreds of other types of people could enjoy
see musicians mixing with directors on films, and the waterfront hotel.
vice versa. Combining the Research facility with the
Exhibition gave the research users an opportunity These programs combined form a pier system
to test their work with the public. Ultimately music that is open to the public to enjoy and becomes an
and film are for the masses, and by bringing them in extension of the already successful Embarcadero.
117
SPACE amount width (ft.) length (ft.) height (ft.) area (sq ft.) total area (sq ft.) volume (cu. Ft.)
Music+Film Research/Exhibition
pr Recording Studio 2 40 60 10 2400 4800 24000
pr Sound Performance Lab 1 30 40 10 1200 1200 12000
pr Moving Image Lab 1 30 40 10 1200 1200 12000
pr Film Studio Set 3 40 60 10 2400 7200 24000
pr Post Production Space 2 30 40 10 1200 2400 12000
pr Data/Mechanical 3 12 15 8 180 540 1440
pr Offices 5 10 12 8 120 600 960
pu Exhibition Spaces 5 30 40 12 1200 6000 14400
pr/pu Mediateque 1 50 70 15 3500 3500 52500
pr Restrooms 4 15 25 8 375 1500 3000
pu Restrooms 4 15 25 8 375 1500 3000
SPACE amount width (ft.) length (ft.) height (ft.) area (sq ft.) total area (sq ft.) volume (cu. Ft.)
Music/Film Venue
Dress Rehearsal Rooms 2 11 10 8 110 220 880
Green Room 1 30 20 10 600 600 6000
Backstage 1
Stage 1 30 36 25 1080 1080 27000
2. Music/Film Venue Program
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Audio/Video Control Room 1 12 10 8 120 120 960
Data/Mechanical 1 12 10 8 120 120 960
Bar
outdoor 1 8 20 8 160 160 1280
A
indoor 1 8 12 8 96 96 768
Lounge (talk, laugh, drink, love) 0 0
indoor 1 20 15 9 300 300 2700
100% Interaction
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space amt pu/pr outdoor 1 40 80 10 3200 3200 32000
Lobby 1 pu/pr 50% Interaction Floor Space
Restrooms
1
6
60
15
80
25
35
8
4800
375
4800
2250
168000
3000
G
Information Desk 1 pu/pr 0% Interaction Coat Check 1 5 8 8 40 40 320
Lobby 1 50 60 15 3000 3000 45000
Mediateque 1 pu/pr Ticket Booth 1 8 11 8 88 88 704
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Offices 3 10 12 8 120 360 960
Lounge 2 pu/pr Storage 3 10 12 8 120 360 960
Seating Space = 7sf/prsn 2 50 40 20 2000 4000 40000
Restrooms 8 pu/pr
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Exhibition Spaces 5 pu/pr
Totals 29 200' 20794
17000
331492
P
Recording Studio 3 pr
Sound Performance Lab 1 pr
Moving Image Lab 1 pr
Film Studio Set 3 pr
Post Production Space 3 pr
Data/Mechanical 3 pr
3. Activity Matrix
119
SPACE amount width (ft.) length (ft.) height (ft.) area (sq ft.) total area (sq ft.)
Hotel
Lobby 1 40 60 15 2400 2400
Restrooms 4 15 25 8 375 1500
Rooms
suite a 60 15 25 8 375 22500
suite b 40 20 25 10 500 20000
suite c 20 20 30 10 600 12000
suite d 10 20 35 12 700 7000
penthouse 2 25 40 15 1000 2000
storage/utilities 13 8 6 8 48 624
Restaurant
Kitchen 1 40 50 10 2000 2000
Seating 1 50 80 12 4000 4000
Entrance Lounge 1 15 25 10 375 375
Restrooms 2 15 25 8 375 750
1. Hotel Programming Blocks Storage 1 10 12 8 120 120
Outside Seating 1 30 50 15 1500 1500
Pool 8370
Restrooms 2 15 25 8 375 750
Seating 40 60 8 2400
Cabanas 4 10 40 7 400 1600
Pool 1 25 50 4 1250 1250
Bar 1 8 30 8 240 240
Lounge 1 40 60 8 2400 2400
Nightclub 7065
Recording Recording Post Post
Production
Production
Lounge 1 40 70 12 2800 2800
Lounges Dancefloor 1 50 70 20 3500 3500
Studios
M
Studios Restrooms
Seating
4
1
15
60
25
80
8
12
375
4800
1500
4800
Lounges VIP Lounge 1 20 30 12 600 600
A
Bar 2 8 40 10 320 640
Film Film Exhibitions "Kitchen"
Storage
2
1
20
10
40
10
10
8
800
100
1600
100
Studio Studio Sound Moving
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DJ Booth 1 6 12 8 72 72
Meeting Rooms 2 15 25 10 375 750
Performance Image
Sets Sets Lab Lab
Gym/Exercise 1 25 40 10 1000 1000
G
Exhibitions Offices
Lobby Mediateque Admin
Janitor
4
2
10
10
12
12
8
8
120
120
480
240
Exhibitions Information
ExhibitionsExhibitions
O
Laundry 1 20 20 8 400 400
Desk Café 1 20 30 10 600 600
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Sub Total 191 102091
P
Structure 2% 2041.82
Mechanical 3% 3062.73
Parking 20% 20418.2
2. Program Bubble Diagram showing the spatial layout of Total 150073.77
spaces and what might become cross programming. Total Users 183,000/15sf= 12200 people
121
I NT ERL O C K I NG P ROGRAM
RESEARCH
EXHIBITION
concept design
Concept Design
O N C E P T _ D E S I G
> going digital
C O N C E P T _ D E S I G N
network ya!]
127
The formal gesture of the landscape was to show a
O N C E P T _ D E S I G
various surface that could become the roof of the
venue or the lobby of the hotel. It was to explore
something similar to Yokohama Port Terminal that
was one surface but held many uses that typically
would not work together.
C O N C E P T _ D E S I G N
129
C O N C E P T UAL S E CTION _01
131
C O N C E P T UAL S E CTION _02
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design development
ESIGN DEVELOPMENT
Design Development
model > print > sketch ∞
D E S I G N D E V E L O P M E N T
(exhibition building). I printed the drawing then
used trace to draw over it and started to draw
where loads from the roof might meet the
ground, while at the same time incorporating
programmatic spaces and major circulation
spaces. The gesture of the structure ramping
to the left was to act as a major structural
piece that would bring the circulation up
through the exhibition rooms, and became
expressed on the exterior. This process
continued through all aspects of the digital
model and design process.
137
trace drawing
alternating, transformative geom-
etry on stairs to bar
D E S I G N D E V E L O P M E N T
ramping exhibition rooms
circulation area
139
final design
Final Design
all systems go
I N A L _ D E S I G
Interactive::MEDIA_SCAPE is a system of
piers that grow out of the SOMA district in
San Francisco, CA and extends the creative
urban space that characterizes SOMA. The
cross-programming of music+film with the
infinite activities of an urban space, begin
to generate a formal logic of space and
structure that emerges in response to local
and programmatic conditions.
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Producers, creators, researchers mingle
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with the public and create a dynamic system
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between the user and usee. The urban space
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becomes a kind of set in itself where the users
become characers of the space.
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D
SPACES AND SURFACES become
_
multitudinous in their ability to take on
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different functions and events. Where the
A
roof of a film studio ends, the beginnning of
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an outdoor amphitheater begins. Many other
surfaces begin to take on this characteristic
I
F
thereby setting the surfaces and spaces in a
series of dynamic situations.
I N A L _ D E S I G
[circulation, lobby] and begins to close
where darken spaces occur, or the need
for increased structure is prevalant. The
structures unique formation also creates
an exciting interior and exterior spatial
experience.
N
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Site Plan
Urban Urban Ocean
I N A L _ D E S I G
The site developed through checking environmental
controls and adjusting my conceptual design.
The hotel moved to the southeast to allow more
sunlight for the urban park. The research was
located across from it, and the venue became the
product of the two.
N
ocean. Thereby connecting the visual status to the
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end of the pier, but allowing and forcing the users
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to move around a bit, and get loose.
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149
m u s i c + c i n e ma
RE S E ARC H / E XHIBITION
RE S E ARC H EN TRAN CE
153
RE S E ARC H L OBBY
155
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1. Roof walk above the Research Building. The entrance is at the top of the pub- 2. The connecting bridge from the Research Lobby to the Exhibition Lobby.
lic pavillion and terminates at the end of the building in a viewing deck. At this
particular location, you can peer through the Research building’s skylights and
see what activity is taking place in the Lobby.
157
E XH I B I T I O N E N TRAN CE
159
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1. Main processional stairs that loop around the exhibition spaces and give the users the opportunity to enter which 2. The Exhibition bar and lounge area. It is the end sequence of the exhibition rooms and is located just above the lobby.
exhibition space they want to when they want to. The stairs have lighting in the perforations and give an exciting light- The stairs feature the same lighting and transformative geometry effects as the main stairs do.
ing effect exaggerating the processional quality of the stairs.
Another important feature, is how the stairs become the bar itself, and as a counter to have drinks and socialize with
The main stairs are also under a skylight system that was developed in response to the circulation system. It provides friends or new people you meet. The steps are also set at such a wide tread, that they double as pavillion seats.
ample daylighting and an open quality as you move up and through the exhibiton rooms.
Another feature of the staircase, is the transformative geometry that was used in designing the stairs.
161
1.Another view of the bar / lounge. Above the bar is a cantlievered viewing deck that comes out from the last exhibi-
tion room. It provides a vantage point over the entire interior space of the lobby, bar, outside, as well as the research 2. The Exhibition lobby. As you enter the lobby on the right, you immediately
center to the left. are re-connected visually with the bay, as the research center behind the
Exhibition building cantilevers over the water and frames a view of the ocean.
N
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3. Exhibition Lobby from the Experimental Theater balcony.
163
N
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3. Aerial of the Exhibition [left] and Research [right] buildings. In the front is the roof viewing deck.
You can also see where the building splits in the middle. This is to allow lighting to reach the two interior
circulation systems for both the Exh. and the Res. buildings. It also allows for a re-connection with the bay.
165
E XH I B I T I O N E LE VATION
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1. The elevation shows the exoskeleton structure of the Exhibition building. It also shows where the porous areas of the
building correspond to the program that requires more light [lobby, circulation systems].
167
E XH I B I T I O N S E C TION [ longitu d ina l]
N
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1. The section shows the interlocking of the program, the multiplicity of surfaces and the procession of the exhibition
rooms. Music and film studios are buried underneath exhibition rooms and the pavillion as they need zero light, and the
exhibition rooms ramp up and then back down in a processional effect somewhat inspired by the Guggenheim in NYC.
169
E XH I B I T I O N / RE S E ARCH S E C TION [t r a n s v e r s e ]
N
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2.This section combines both buildings and again details the interlocking of programs. It also exhibis the
structural logic. Where more porous areas are more light is available. In that structural system, members
begin to find their load paths and trace their way to the ground, or a larger beam. The system starts to sup-
port window systems and programmable spaces.
171
+ EX P L O DE D S TRU CTU RE
E XH I B I T I O N CIRCU LATION D IAGRA M
RO O F
MAI N ST RU C T U RE
exhibit room D
G L AZ I NG
lounge / bar
exhibit room C
experimental theater
exhibit room B
exhibit room A
U PPER L EVEL
lobby
mediateque
L O WER L EVEL
F I N A L _ D E S I G N
173
1. End of the Exhibition building looking towards the Theater.
175
T H E AT E R EN TRAN CE
177
1. Exiting the Theater.
179
1. Above the hotel skywalk into the Theater. 3. North side of the Theater
N
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2. South side of the Theater at the end of 4. North side of the Theater ramp up
the piers showing the public area to main walkway 181
T H E AT E R S ECTION
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1. Ramping walkway leads into main lobby area and 2nd level of the Theater.
Support spaces and 1st level lobby beneath.
183
URBAN P A R K
185
A M P H I T EAT E R TID AL E FFE CTS
Low Tide vs. High Tide
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1. The amphitheater fountain on LOW TIDE thereby having no water and allowing new activities and access. 2. When it is HIGH TIDE the water creeps in through vents and creates a public fountain. This idea stemmed
from LOVE Park in Philadelphia that had a major public fountain that changed function whether or not it was
filled with water. As well as a public landscape project in Seattle where the tide determined whether or not
you could access a sculputure.
187
N
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1. Viewing deck from the public pavillion almost ocnnects into the exhibition space but acts as a
teaser to the users. Allowing them to peer into the circulation space.
189
SI TE S EC T I O N
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1. Structural system is based on a standard concrete piling and beam system with decking. It was based off
many of the piers you find in San Francisco and Manhattan. The buildings lie on mini-man made islands which
is possible because of the shallow depth of only 9’ in this area of the bay.
191
N
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1. A view from Howard St. out into the San Francisco Bay 2. BRIDGE SECTION: The bridge that connects the southern embarcadero, and across the embarca-
dero at the new park, ramps up and over embarcadero blvd and brings the public into the urban park, or con
nects via a skywalk to the hotel. The roadway ramps down from the embarcadero and runs out to the hotel.
193
Conclusions
digital mindbending
N
performed the digital model in an even more rigid
G
manner. Meaning I would have liked to implement
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parametric modeling and scripting to refine the
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process as well as the model. Oh well, maybe at
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Harvard or something...
D
_
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A
N
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F
Skywalk from Hotel to Theater
195
rebar table
Rebar Table
Transformative Geometry Detail / Show Table / Bar
E
I was able to quickly buy the material, cut the
L
material then weld it together.
B
The design comes from the bar space in the
A
exhibition building where a piece of the counter
T
extends out and creates a bit of a focal point to
_
meet socially [thats the hope]. I imagined it as a
R
place where I could project my digital animations
and people could come around as they see the
A
reverse projection, then come into a theater like
B
area, and hopefully converse about the project and
E
spark some type of social INTERACTION.
R
1. Hand technical drawing of table It proved very succesful at both shows, and I
2. Digital rendering of table digital model learned a lot from the computer to construction
process.
199
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I B L I O A G R A P H
Art Center College of Design. L.A. Now. University of California Press. Los Angeles, CA. 2001
Berkel, Ben Van and Bos, Caroline. UN Studio Design Models Architecture Urbanism Infrastructure. New
York. Rizzoli International Publications, Inc. 2006.
Berkel, Ben Van. Mobile Forces. Rotterdam, Netherlands. Ernst and Sohn. 1994.
Berkel, Ben Van and Bos, Caroline. Move: Imagination. Rotterdam, Netherlands. 1999
Berkel, Ben Van and Bos, Caroline. UN Studio Fold. Rotterdam, Netherlands. Nai Publishers, 2002.
Columbia University. “Karl Chu Biography.” 2006. Columbia University. November 29th, 2007
http://www.arch.columbia.edu/index.php?pageData=8882/23/4/1632/
Dovey, Kim and Dickson, Scott. “Architecture and Freedom? Programmatic Innovation in the Work of
y
Koolhaas/OMA.” University of Melbourne. Journal of Architectural Education pp. 5-13. 2002 ACSA, Inc.
h
Foreign Office Architects. The Yokohama Project. Actar. London, UK. 2002.
p
a
Foreign Office Architects. Phylogenesis foa’s ark. Actar. London, UK. 2004.
r
g
FOA and UN Studio. “Manifestos.” ICON. Issue 050 August 2007. Media 10 Limited. London, UK.
o
Frampton, Kenneth. Oppositions, Le Corbusier 1905-1933. Ed. Winter/Spring 1979.
i
l
Hadid, Zaha. “Project Portfolio.” London, UK. 2007
b
i
Lynn, Greg. “Architectural Curvilinearity: The Folded, the Pliant and the Supple,” 1990.
B
Mitnick, Keith. Diller + Scofidio: Eyebeam Museum. Michigan. Michigan Architectural Papers, 2003.
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