Arch Out Loud Competition, Director's Choice Award - 2017
The classical border presents itself as the threshold between two states, most efficiently represented as a line on a surface. Although this form is still dominating the way we map our world it is not the border typology we encounter most often. The terminal, an enclave of international ground far away form the fictional lines on land are where we cross jurisdiction and systems of power today. It is the sophisticated labyrinth, with its layers and systems of access that do not blur the border but obscure it through folding and layering. It is the topology of physical space that separates, rather than the geographic coordinates and their association. The design explores both border topologies by playing them through in different programmatic situations. By moving through small incisions on the surface, one enters the bath through a tunnel leading to the main entry hall. Underground the visitor loses any ability to understand one's position in relation to the line. The border becomes a condition of accessibility and an understanding of which areas are not within one's bounds.
The entry hall forms a single room with an inaccessible landscape of volumes where one only can see across. Each sides' paths are wrapping around each other, leading downwards, in-between the volumes, to the changing rooms. The baths and saunas, a burrow formed of volumes that are interconnected, continuously protrude over the border, allowing the visitors of both sides to be in the same room but still dividing them through the architecture of their paths. individual bodies each enclose a specific bath sauna. The pathways between the baths cross through the other side’s baths. The common room where one can sleep and relax, chat and play, features a softly articulated ground that slowly sinks into water. The soft volumes of baths, forming the ceiling, land gently on the surface of the water, physically dividing the space but avoiding to form a disturbing border. Both the entry hall and the common room replay the prevalent typology of the DMZ border architecture while the interwoven baths and saunas represent the diffuse ambivalent folded border.
in collaboration with Jürgen Strohmayer, exhibited at ACADIA Los Angeles - 2014
The combination of composite fabrication methods and industrial-scale robotics allow us to investigate moving volumes as highly spatial, architectural installations. The complexity of this installation lies in the choreographed motion of two proto-architectural figures. These two carbon-fibre shells are designed with interlocking apertures, structural ribs that accentuate the perceived motion from the inside, and degrees of translucency that create secondary apertures. Held by two industrial robots, the volumetric shells will be moved from an interlocking configuration to positions where the shells will be perceived as independent rooms.
The shells are designed to allow single visitors to stand inside the configured room and perceive the motion as an architectural interior. Cameras inside the two volumes capture footage through the volumes and across apertures to create effects of volume, vastness, and dislocation. As the installation space and visitors would create static points in the capture footage, the live feed of the two cameras would have similarities to simulations of planetary motion. This dislocating and gravity-defying effect will be projected into the gallery space so that the interior of this installation becomes the highlight of the spectacle.
The projects deals with a variety of contemporary fabrication methods ranging from CNC-milling to composite lamination and robotic motion control . Both volumes are made of laminated carbon-fibre in order to keep their weightwithin the limits of the Robot payload. Two industrial robotic arms, each with a payload of up to 300kg hold the volumes at an integrated connection which on the interior holds a camera recording the motion of the inside and funnelling the cables through the connection.
at Studio Greg Lynn, Universität für Angewandte Kunst Wien, o.prof. Greg Lynn, ass.prof. Guvenc Ozel, ass.prof. Maja Ozvaldic,ass.prof. Bence Pap, ass. Martin Murero - 2013
Situated in the centre of Ginza, Tokyo, the project represented a new type of flagship store for Sega. The main narrative for that was to design the building with two specific postures, one regarding the function of the store with showrooms, which would be occupied during the day, and the second hosting a video-game tournament centre, during the night. During the day the building is a compact three storey building. It is completely introverted with almost no windows except for the showroom facing outwards, in order to accommodate for the immersive video gaming environment in the interior. You enter the building directly from the street by walking through the showroom into the main hall. During the night the building is a double tower, sitting on a plinth with a bridging mass.
The transformation causes to break up the interior space-plan turning formerly doors into windows facing the city. Instead of the three story space plan you move trough a ring, a sequence of spaces, each being it's own moving rigid body, therefore each with a change in orientation to the previous compact day position. Visitors enter the building by first climbing the revealed plinth, which serves as an urban plaza elevated two meters above street-level. The posture is generally extroverted by cantilevering over the street crossing and exposingthe interior through multiple windows. In order to understand the kinematic system and be able to design both of these states for the interior at the same time as well as avoid collision during the motion, we worked with both animation and parametric software. In the end the building consisted out of six rigid body parts (including the plinth) that were connected through nine joints (some were multiple joints already connected). This was necessary in order to enable the building to have to topology of a ring, and allow for a minimum degree of freedom to design the actual trajectory.
Each of the joints consist of double-conical bearings, able to withstand multiple axial forces and large enough to form connecting doors between the rigid bodies. The integration of large scale mechanical parts became an interesting aspect in the later stage of the project as we were confronted with a new language of structural, dynamical parts. The interior spaces were designed by superimposing both orientation modes over each other in order to design ramp inclinations and secondary furniture elements according to the change.
Design for Death Competition by LIEN foundation, ACM foundation and Designboom, First Place - 2013
Historically cemeteries were at the periphery of the city and only over time they were integrated into the urban fabric as a network of green recreational areas. In times of accelerating urbanization and densification as well as an increase of the amount of visual media occupying the space of the city, cemeteries face the challenge of keeping up their relevance as a public urban space.
Our project tries to develop a mediated cemetery that works as an interface between the city and the community of the decedents. The starting point for this was Aldo Rossi’s design for the cemetery in Modena, a house for urns, with no roof, no doors and no floors, an architecture that is not shelter but a building that represents a community, a city of the passed-away. Our concept was to give this community a way to interact with its environment by forming and changing space and light. Built on to an existing building in the centre of a city it would be visible from multiple viewpoints all over the city. Every urn describes a pixel of a three dimensional screen that displays its dynamics to the surrounding.
The design consists of four main elements; the crematory, a two storey plinth that sits on top of an existing building; a spiral ramp that leads to the main space of remembrance and creates an atmosphere of procession; the atrium space which consists of a glass-mirrored floor to reflect the sky and the cloud of urns and therefore remove the ground. This places the visitor in the centre of a space with no horizon; the frame and the movable urns which define and constantly change the volume, light and atmosphere of the space.
By calling out the name of the decedent, the urn will move towards the visitor; the other urns adapt their positions in order to make the way free for the called urn. Though this not only single urns but entire family trees or other connected people like school classes etc., can be called at the same time to move towards the visitor. This creates a dynamic that is communicated towards the city.
The urn itself consists out of a container for the ash, a space for memorabilia and a light that can be edited and reprogrammed by the visitor. It is fabricated out of light-weight translucent composite materials and aluminium for all mechanical parts. It is connected over three points to the frame and moves on rails through induction. Each urn moves according to a set of rules, therefore the entity of urns develops complex motion.
Jofi is a clock, designed to express any arbitrary time frame, both discrete or not, by bouncing and rolling around, changing position and posture. As a single object it changes its' barycentre by rotating a small weight controlled by a servo motor that receives its position from program of what specific event or time frame it should count. The geometry of the hull is generated to minimize weight and momentum. It integrates all connectors for the other components but reveals them partially to expose the simple mechanism. The hull is laser sintered and untreated.
The first prototype has a directly exposed screen and reveals the moving counterweight on its' rolling surface. It runs on a re-chargeable Li-Ion battery that lasts for a few hours, meaning that it needs to be continuously plugged in. The short run time was caused by the not optimized barycentre which caused the motor to be under constant force, and the porous geometry of the rolling surface disturbed a smooth motion.
For the second prototype we optimized the barycentre, reduced the battery to a re-chargeable Li-Ion button battery and integrated small lead weights to adjust the centre of gravity. All components were weighted and we used an evolutionary algorithm to evaluate where to position the additional lead counterweights. That lead to faster assembly and run time of weeks. Further we covered the display behind the hull to reduce detail. A smooth rolling surface guaranteed position control and continuous uninterrupted motion.
Dreams are dynamic. Characters, places and narratives change throughout gradually and without notice. It is when you leave the dream and wake up that you realize the change, the transformation. Cloud Watching is a proposal for a pavilion consisting of four volumes hovering above ground composing a figure. Each of the volumes is connected to rails and moves slowly from one position to the other, slow enough for the visitor not to notice so that over the course of an hour each of the volumes rotated and therefore transformed the overall figure. The volumes are built out of translucent single curved sails that can be stored and transportedflat. An aluminium frame holds the sails. Each of the volumes is fixed to two rails that enable the rotation. Pistons underneath the floor slowly pull and push the volumes between the two end-position. When all volumes are in the closed position the pavilion temporarily becomes an intimate protected room, guarding off views from the surrounding park. It then slowly opens up, both to the sky as well as to the park.
The key attribute of any autonomous object is its’ independence in relation of form and behaviour. The simplest idea of such an object is a cellular automaton, a mathematical object able of changing states between on and off without any centralized system governing it. Each object has simple rules to when to turn on and off but the behaviour of the objects is nevertheless non-deterministic and the form of the agglomeration is self instantiated. Any information that can transform the state of the object defines its’ context and Umwelt. The object sees the world through these rules and acts according to those, regardless of the locality and time-frame of the information. An object able to process information beyond its’ immediate physical context becomes entangled with the source of information. Contemporary technological advancements such as the Internet of Things as well as autonomous, robotic systems, revolutionize step by step both the way we interact with objects (P2M) as well as how objects start to interact with each other (M2M). Particularly this new M2M relationship transforms our immediate environment drastically.
RoLais a two axes robotic lamp that is programmable to adapt to different lighting situations. It is a DIN A4 size table lamp that through opening can almost triple in height therefore increasing lightning area and luminosity. The project developed as a research for a structural system that is designed to work with the intricacies of the motion it performs and the integration of motion control and sensors to make it an autonomous object. It is primarily 3D-printed structure, designed to minimize momentum forces on the joints that is clad with translucent polystyrene.
It operates either manually or autonomously depending on external sensor inputs. Due to its balanced structure and indifference in orientation it operates in any position mounted. In regard of its form it is a monolithic stone that fragments and realigns throughout the motion, with its structure mediating between the polygonal form of the exterior and the circular formal system of the motion.
A tale of three is the story of three cabin designs, proposed as a resort around the ruins of the castle of Roccamandolfi. The comune, which lies in the central province of Isernia, just north of Napoli, has a diverse topography, from forests to cliffs and fields. Each of the three cabins is located in a different setting around the castle and therefore offers a unique experience. The guests stay at least one night in each cabin, each focused on a different day program. Each cabin transforms, particular to the environment it is set in. None of the cabins have windows, they are either completely enclosed or open to the surrounding.
The cabin of the woods, set east of the castle, is a single volume made up of an aluminium framework with translucent polycarbonate cladding and features a pitch roof that is able to open up, transforming the bedroom into an outdoor room that is fending off views from outside and the neighbouring cabins. When closed the shadows of the forest cast on the cladding create an animate theatre of light. When open the four petal roof elements frame the crowns of the trees and the sky. As it is set on a sloping terrain, it only sits on one foot of the volume and is suspended from the back, thus minimizing its' footprint on the ground.
The cabin on the hills lie south of the castle, looking over the town of Roccamandolfi. After a day of discovering the local culture and history, the guests return for a cooking class with locals. The cabin consists of large kitchen that occupies the lower floor and is being shared by two guests, two bedrooms make up the upper floor, each with a small bathroom. The entire façade of the lower floor can be moved upwards opening a panoramic view over the town and the valley on the one side, and the castle up the hill on the other.
The cabin on the cliffs lies more remotely in the north-west of the castle. Only visible from the castle itself, it is the most secluded and quiet part of the journey, allowing the guests to recover from a day of hiking and climbing. The upper floor contains the entry, bedroom and a kitchenette, while the lower floor is a small spa, with a large bathtub. The front face of the façade can be slid sideways opening up a view towards the mountains and the valley underneath.
Diploma Thesis at Studio Greg Lynn, Universität für Angewandte Kunst Wien, o.prof. Greg Lynn, ass.prof. Bence Pap, ass.prof. Maja Ozvaldic, ass.prof. Parsa Khalili, ass. Martin Murero - 2016
The city as an archipelago as a concept that tries to revoke the city as an structural holistic absolute model that cannot be seen through its parts, and suggests the pieces as city and the city of autonomous islands. Although this idea is a counter reaction to contemporary concepts of parametric urbanism that is viewed merely as a development of the modernist centralized city, it is relevant in the point of discrete autonomy of the parts with an tensioned relationship between them.
This thesis investigates the typology of private transport hubs, their relationship to the city and their spatial structure accommodating different means of transport and program. Private companies such as Google, Facebook, Apple etc. are investing intensively in infrastructure such as schools or transport, services that usually are provided by governments and states. These shifts from public to private domain has caused social and political tensions in cities but has the potential to decentralize not only transport but generally basic infrastructure for working and living. My diploma project tries to develop a new urban as well as architectural concept for a series of private transportation and working hubs. The design consists of three stations located in the centre of San Francisco. A train-station at the existing SF Central, a ferry terminal at the Embarcadero and a domestic airport at Alameda. Each of the stations consist of two elements. The base that has all the gates, docks and tracks integrated, is embedded in the urban context linking to the traffic lines. The figures contain co-shared workspaces and apartments as well as amenities, they are independent from the ground and react on the urban section. The posture of each figure is developed by means of how you approach it and how the immediate context frames them. In between expands the terminal hall weaving all public spaces together. The ensemble connects visually throughout the city as a series of landmarks.
The airport is situated at Alameda Island across the bay and consists of ferry docks that have a direct connection to down-town. Th e figure lands on the plinth in two moments where the departure and arrivals halls are logistically separated. The posture of the figure frames the skyline of San Francisco across the bay.
The train station, situated at the current San Francisco central station serves as the main train and bus terminal of the city, weaving them together with the subway line. It’s figure elevates above the surrounding buildings to create a visual connection to both the airport and the ferry station.
The ferry terminal is situated at the Embarcadero at the end of Mission St. The base connects the ferry docks the tram lines as well as the subway together, simultaneously expanding the plaza of the existing Ferry Plaza Market. The figure elevates above forming the terminal hall, visitors circulate through the building by cutting through the figure.
The way we move and navigate through cities today differs significantly from the way we did so 25 years ago. Before automated navigation systems, cities were planned with a static figure-ground plan, that had a clear structuring that made it easy to orient yourself within. Spatial perception and navigation were closely related. But more and more aspects of our daily transport and movement through the city becomes automated. Navigation systems can re-route in real time in order to react to traffic patterns, programming the fastest routes, public transport applications inform you automatically to departure times and delay, adjusting the connectivities you should take and the potential for self-driving cars opens up new ways of moving more and more programmed through a city that ever before. This means that the way we navigate separated from the way we perceive.
Considering this technological shift, we have to rethink the spatial consequences of structuring a city. The static figure-ground plan becomes more and more redundant, and we have to investigate new methods of making it more active and dynamic.
Our proposal is situated in the centre of Down-town Los Angeles, a city that executes automated navigation in all aspects to an extreme. When moving through Los Angeles you often drive to things that are by itself constantly in motion (i.e. food-truck culture). Our design is a series of interventions in the city that transform both plan, section and the silhouette. These interventions comprise of pavilions and inserted building extensions that perform four types of different literal motion in order to transform plazas, re-wire streets, connect buildings vertically. Similar to a game of chess, each pavilion figure is able to make its assigned move, but working together, they change the strategic structure on the field.
Through these transformations, that occur once or multiple times during the day, the city changes essentially every time you move through it, making it different and unexpected.
The essence of a tent lies within it's lightness and flexibility: the ability to be transported to and constructed on any ground. The challenge of the tent hotel is the negotiation between it’s structure, footprint and compactness as well as it's ability to adapt to the climate conditions of the site.
Inspired by the temple structures within the Hengshan National Park, we focused on minimizing the footprint of the tent and adapting to uneven terrain. We did this by using a cellular logic of stacking single tent units into either to one compact structure or a loosely distributed composition. Each of the units therefore contains everything necessary to function on its own, but also functions as a compact hotel when assembled into one organism.
Traditionally tents separate the load bearing elements (typically aluminium poles) and space defining parts (high-tech fabrics). In our design we wanted to integrate the structural and spatial elements, which becomes a necessary feature when stacking the tents to one compact building. A unit consists of three light weight composite shells that are rigidified through horizontal and vertical honeycomb panels that serve as walls and floors. A tube, serving as the main circulation element with staircases, braces each unit.
Located near the ground, two units serve as a lobby and logistics space. Above, five units contain four rooms and two bathrooms each. The top three units, unified through a continuous roof shell, host the restaurant and adjacent kitchen, a terrace, a bar and a spa.
With the ability to stack individual units into one structure, we are able to adapt to different climatic conditions. During warm seasons the units can be placed individually on the site, maximising their surface area and allowing for the wind to cool down the rooms during the day. In cold seasons we stack the units together in order to minimize the exposed surface area resulting in less heat loss.
Diploma Thesis at Studio Greg Lynn, Universität für Angewandte Kunst Wien, o.prof. Greg Lynn, ass.prof. Bence Pap, ass.prof. Maja Ozvaldic, ass.prof. Parsa Khalili, ass. Martin Murero - 2015
The focus this thesis was about multiple, kinematically connected, moving rooms that can transform their interior configuration and typology while maintaining a single figure. This transformation occurs through the folding and unfolding of a monolith, changing the relationship and connectivity of spaces within. The process of literal folding ensures that the typology of the building can change while the topology of the object stays intact hence the monolith always stays a monolith. For this research two opposed systems were investigated which are merged through the literal process of folding; The monolith as an object with a suppressed part to whole relationship and the kinematic chain as an intricate assembly of multiple connected moving bodies.
The reason for looking at monoliths and monolithic architecture is their contradictory relationships inherent in their form and motion. The monolith poses the interesting paradox that it must be light enough to lift and move, yet it must ultimately appear too heavy to budge even the slightest millimetre. This makes monoliths highly dynamic and ambiguous about their materiality and geometry. Interesting about the motion of monoliths is that the form of the monolith and the types of translations and rotations it can perform are interdependent regarding weight, barycentre and proportions.
Opposing to the monolith stands the kinematic chain, as the intricate mechanical object. Kinematic chains are assemblies of rigid bodies in which the motion of one body effects the neighbouring ones. One specific kinematic model for this project is the piston engine, particularly the motion of the piston inside its' casing. It consists of three bodies, two of which are moving by being connected with rotational joints. Both the joints and the casing control the third body, which is the end of the chain, into a linear motion, compressing or expanding one space, while the second body rotates, transforming the space in-between the bodies non-linearly.
Folding an object transforms it's typology without changing the topology. Unfolding reveals the inherent relationships of the folded. It re-wires the sequence of the interior and interweaves the figure with the void around, creating new connections. It is extroverted without being open, but by increasing its surface area. The unfolded reacts to its surrounding. The folded is introverted, defensive and independent. In both situation it is irreducible, singular and monolithic.
The project is an archive repository and learning centre for the city of Katowice. As archive buildings usually speak a language of massive monolithic architecture the goal was to re-think this typology and its relationship to the city by introducing literal motion. The different states of the interior figure changes the way the archive is being used. In it's closed state, the monolith is folded, the access is restricted to scholars and employees of the archive. It it's open state, the monolith is unfolded, plugging into the front façade, and open to the public for studying, reading and exhibitions. Each kinematic position therefore provides different architectural spacesthat serve specific programmatic scenarios.
Pojawa (materialize) is a project collaboration between RongWrong and buka, a 40 minute audiovisual performance that takes the audience through fictitious worlds and rhythms. It is choreographed in three acts, each playing with different mediums and spaces, together forming an evolution of matter. The first act, noise and evolution oscillates between the abstract archaic arrangement and geometry of space and the stochastic indeterminacy of its material. in the second, emerging ideas, these elements reverse, a naturalistic environment that materializes through the finite structure of coordinates and data. The third, scheme and rhythmic pattern, depicts a proto architectural space of moving columns that create an emergent rhythmic pattern through their independent transformations.
The performance had its’ debut at the industrial festival in Wrocław.
at Any Climate, Universität für Angewandte Kunst Wien, ass.prof. Galo Moncayo-Asan, ass.prof. Bernhard Sommer - 2014
Probably the most guiding principle of order for any building is its' relationship to the ground. For centuries this was celebrated with plinths and bases until modernism shifted the focus from stability and permanence to mobility. Modernism lifted buildings “off the ground”, in the sense of reducing their occupation of land, similar as a car would not permanently occupy the same plot indefinitely, but the mobility of machines goes beyond their variable position on a plane. Machines, in part or as a whole, continuously change their orientation, thus either adapting to different environments or due to there inherent mechanism. Machines do not defy gravity, there are simply other more dominant forces and factors that define their structure and form.
An object that rotates around three axes can freely orient itself in space. This means that a single room can flip in all directions, turning walls into floors and further into ceilings. It results in a space with no dominant orientation vector. The 3R-House, a research project developed during the Any Climate Seminar at the Institute of Architecture at the University of Applied Arts in Vienna, consists of three rotational axes enabling the building to transform in various ways. A ground axis (R1), that lies on a horizontal plane, changes the main orientation of the building, its access and front façade. The second axis (R2), which lies in a 45° angle to the horizontal plane, causes the second room to change its user surface, transforming the posture and silhouette. The third axis (R3) is implemented in the second room by rotating perpendicular to the second axis. It is the interior surface of the second room, opening and closing apertures and transforming the user surface spherically. Essentially, a point on that surface moves along a torus in absolute space.
The house was designed around a narrative of a fictional user. The inhabitant always moves from one room to the other in order to find himself in a different space every time. Going through a single door into three different rooms, depending on the time and usage, the user experiences a multiple of the actual space. The building is able to move autonomously, semi-autonomously and in manual mode. When the user is inside, the building moves into the specific positions chosen or it gradually adapts to certain requirements by the user, i.e. the house adapts it's horizontal orientation in order to avoid direct sunlight coming in through the windows. If the house is unoccupied, it transforms to optimize it's position for maximum energy gain and/or minimizing/maximizing sun exposure to the interior. This results in a gradually moving figure that changes it's orientation and posture throughout the day.
The house consists of three rotation axes, constructed out of double-conical bearings that are embedded within the composite shell casing. Due to the multi-directionality of the building the structure is not optimized for a specific position but rather designed as a monocoque body that performs well in all positions. The multiplicity of spaces embedded in a single room drastically reduces the amount of occupied space and building mass without compromising generous space. Formally the building tries to avoid an excessive expression of tectonics and mechanics by maintaining a continuous tangential transition between the moving elements.
Light has an immense effect on how we perceive the spaces we live in, which is why we relate so strongly to places that share a similar atmosphere to our home. A Light to Share brings our personalized light everywhere we go and lets us share it with the people we are with. At home the lantern provides the ambient light that defines our home. On the go it serves as reliable bike light that charges its' battery through a contact-less dynamo. Outsides it brings our living room with us. The lantern integrates sophisticated sensors, an efficient battery charging system into a lightweight carbon-fiber body. The temperature of the light changes depending on the use and daytime. Additionally it is tunable to personal preferences and can be programmed for ones' specific environment. Multiple lanterns recognize when they are near each other and sync together.
Contemporary lightning solutions for public plazas differ little from generic street lightning systems, aiming to provide general and even light without regard for the temporary usage of space. LiFi consists of a series of lanterns. Each a soft fibreglass-aramid textile with partially stiff elements to provide stability and enable it to move. In the centre of each component lies the core structure, integrating the motors, the lightning control and the sensory system.
The system recognizes motion underneath and sunlight intensity above. The upper surface is laced with photovoltaic ribbons to generate energy. During the day it provides shade while charging its battery, but from sunset on it reacts to those who inhabit the plaza, providing them with an intimate atmospheric lightning.