i-arch focus studio- fall 2019
MUSEUM OF INTERACTIVE TECHNOLOGY KENNESAW STATE UNIVERSITY I fall 2019
Focus Studio-Interactive Architecture ARCH 5015-02 | Fall 2019
Kennesaw State University Department of Architecture 1100 South Marietta Pkwy Marietta, GA 30060 (470)-578-6000 website: https://www.i-archstudio.com Copyright © 2019 KENNESAW STATE UNIVERSITY. All rights reserved. All photographs in this publication were provided by students and faculty within Interactive Architecture Focus Studio unless otherwise indicated. instagram: i_archstudio
FACULTY ADVISOR/ STUDIO PROFESSOR Dr. Arash Soleimani EDITOR-IN-CHIEF Hala Alfalih ASSOCIATE EDITOR Asbiel Samaniego CONTRIBUTING AUTHORS Jessica Headrick Ana Giron Zach Hart Huy Ho Caleb Lawrence Nhan Luu Nelly Mehrjerdian Michelle Nguyen Asbiel Samaniego
This book was published to fully exhibit the research, design, and speculation of fifth year, focus studio students at Kennesaw State University. We hope this experience will create a dialogue for making buildings more responsive, adaptable, dynamic and engaging.
01|introduction 05|Design activity 1 36|design activity 2 Intention : Research-based Approach
The Device : Exploration Through Fabrication
The Space : Architectural Integration
Dr. Arash Soleimani
Zach Hart
Hala Alfalih
Ana Giron
Nhan Luu
Jessica Headrick
Huy Ho
Nelly Mehrjerdian
Caleb Lawrence
Asbiel Samaniego
Michelle Nguyen
intention
THE introduction intention
“The objects which surround my body reflect its possible action upon them.� [Henri Bergson, Matter & Memory, 1892]
02
Introduction: Museums have a well-established reputation for creating interactive environments by using both traditional and modern technologies of interaction. Technology centers and science museums are two particular prevalent examples that have quickly integrated interactive technologies to enhance the quality of presentation and level of interaction between both exhibits and visitors. Until recently, the meaning of ‘intelligence’ in the field of architecture has been developed as the model of control, feedback and monitoring to enable efficient operation of the systems. These systems are called interactive environments, which contain spaces with embedded computation and communication technologies intended to enhance ordinary activities. With the emergence of a new wave of digital technologies, museum visitors are no longer satisfied by simply visiting worthy displays of exhibits in glass cases. They expect to get actively involved with exhibits to experiment and informally learn from their own personified experience. The i-arch studio considers the various ways in which buildings can be designed and theorized as interactive environments. The studio project looks at ways of making buildings more responsive, adaptable, dynamic and engaging through the use of both traditional and contemporary cyber-physical technologies. The project began by considering a series of case-studies of the work of artists, roboticists, architects and designers in order to develop a conceptual framework for the design of a building exploring the future relationships between architecture, technology and the body. The Fall 2019 i-arch studio focused on creating a ‘museum of interactive technology’ to engage visitors actively in new kinds of experiences in the city of Atlanta, Georgia. The final design proposals aim to define interactive architectural spaces for consuming, creating and exhibiting information comprised of a cyber-physical core, which blurs the boundary between the digital, physical and spiritual worlds.
03
Figure 01. The pillars of i-arch studio introducing an interdisciplinary studio
04
Design activity 1
THE DEVICE Exploration Through Fabrication
05
Design Activity 01 | THE DEVICE: Exploration through Fabrication After conducting in-depth research to cultivate an understanding of historical and contemporary examples of interactive environments in the context of museums, each design team manifested a definition for the ‘modern museum of interactive technology’. Students sought an understanding of how, why and where we consume and create interactive environments. In other words, they investigated how a limited set of materials can create an intelligent system that has the potential to operate, or to be read at multiple scales of the built and natural environments. Subsequently, students designed and fabricated interactive devices by taking three key steps: I. Highlighting a specific site condition or set of conditions to conduct further in-depth research. II. Developing the design of a device or an instrument which enhances the link between this condition and the manner in which it is presented to and received by the human body. III. Fabricating the device at full scale and recording its presence and interaction on the given site. Link to a video illustrating various devices developed by students: https://youtu.be/EpJLU1Hsd7A
06
THE DEVICE 1.1
EMOTIONAL BUBBLE MAKER Jessica Headrick, Caleb Lawrence https://youtu.be/3RsUY0btkeU
The Emotional Bubble Maker analyzes the user’s current emotional state via a response to a prompt, dispensing a user-specific colored soap liquid. Each prompt answer is tied to a corresponding color that is representative of an emotion. This solution is then input into a bubble machine to paint the artistic representation of each users’ emotion on a larger piece of canvas. Through this process, two pieces of art are created: the stained cup that holds the color-specific solution- representative of the emotion of the individual- and a painted canvas- representative of the emotional collective.
08
comprising parts of the emotional bubble maker
09
The emotional bubble maker is a simplified physical representation of the dynamic between the environment, the individual, and the landscape formed by the collective. As each user of the device responds to a prompted question, the dialogue of an individual’s response to environmental influences is played out. The colors that each user receives represents the emotional palette with which the individual may act with when reacting to external stimuli. With these colors, the user may exhibit their emotions by expression through colored bubbles. Through the creation of the artwork on canvas, this device allows the user to evaluate how one’s individual emotions may compare to the larger tapestry of emotions in the people around them. This ultimately results in an expression of individual emotion and an understanding of the dynamic collective emotion.
10
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11
pr ev th a
INDIRECT ACTION
p
Unique Colored
OUTPUT Ever-changing Colored Canvas Representing Collective Emotion psychological color chart
I feel...
prompt 1
I feel...
energized lazy
prompt 2
prompt 3
I feel...
prompt 2
secure
sluggish
I feel...
I exude...
prompt 2
secure
trust insecurities
I feel...
prompt 3
growth I exude... loyalty
I exude...
ary
nd
co
se
pr
I feel...
INDIRECT ACTION
ignorance
prompt 3
I exude...
rainy
mysterious
ambition
moodiness
sunny
happy
irresponsibility
creativity
I exude...
prompt 1
I exude... danger growth
I exude...
prompt 2
I exude...
trust
loyalty
insecurities prompt 3
prompt 2
im ary
I feel...
sluggish
OUTPUT Ever-changing Colored Canvas Representing prompt 3 Collective Emotion
balanced
prompt 2
prompt 2
danger red
envy
balanced
INDIRECT ACTION
I exude...
prompt 1
love
apathetic
love
I feel...
I exude...
intelligent
envy
apathetic
prompt 3
I feel...
Distribution of Colored Bubbles
angry
intelligent
I feel...
prompt 1
lazy
prompt 1
angry
blu e
prompt 1
prompt 3
DIRECT ACTION
I feel...
w
each emotion is linked to a specific color on the color wheel which represents the primal impacts the color has on human emotion when percieved in light to those who can percieve color. each invidual is subject to have different perceptions and interpretations with each color. The color chart above represents the standard psychological color chart which dates back to the Egyptians who studied the affects of color on peoples mood and energy.
prompt 2
prompt 1
energized
e
green
Colored Soapy water poured into machine; Machine powered on
I feel...
expe
llo ye
Each emotion is linked to a specific color on the color wheel which represents the primal impacts the color has on human emotion when perceived in light to those who can perceive color. Each individual prompt questions is subject to have different perceptions and interpretations with each color. The color chart above represents the standard psychological color chart which dates back to the Egyptians who studied the effects of color on peoples mood and energy.
prompt 1
INDIRECT ACTION
ignorance
I exude...
prompt 3
I exude...
rainy
mysterious
ambition
moodiness
sunny
happy
irresponsibility
creativity
12
le rp pu
each emotion is linked to a specific color on the color wheel which represents the primal impacts the color has on human emotion when percieved in light to those who can percieve color. each invidual is subject to have different perceptions and interpretations with each color. The color chart above represents the standard psychological color chart which dates back to the Egyptians who studied the affects of color on peoples mood and energy.
ora ng
blu e
w llo ye
prompt questions
prompt questions
OUTPUT
O
watercololr on the color wheel which represents each emotion is linked tosoapy a specific the primal impacts the color has on human emotion when percieved in light to those who can percieve color. each individual is subject to have different perceptions and interpretations with each color. the color chart above represents the standard psychological color chart which dates back to the egyptians who studied the affects of color on peoples mood and energy.
green
The participant will th bubble liquid and pou the top panel. Then, the p machine by rotating the cr
THE DEVICE 1.2
THE PAINTING MACHINE Nelly Mehrjerdian, Michelle Nguyen
The Painting Machine allows a user to create an abstract painting. The input is the human’s force on a foot pedal which pushes paint out of the spray bottles to create a painting on a canvas.
This device is designed using components of the site such as wind patterns, traffic and pedestrian circulation, views from the site, and the existing trees.
1 2 5
A
3
4
2
C
B
D
F
F G H
C
6
1
B
D E
3
4
C A
D E
5
G
F
15
H
6
A B DE F
H
Wood Panels for the Frame
Box containing art
Paint Bottles
Wood Studs for the Frame String pulling the Paint Bottles
Seat
Wooden base to allow for movement of seat
side_elevation
front_elevation
top_elevation
exploded_axon 16
initial_study_model
THE DEVICE 1.3
STOMATA Nhan Luu, Hala Alfalih https://youtu.be/ZxHYAjHlZwU
Stomata offers different dialogues to facilitate various outputs onto a canvas with photo-chromic pigment. Different patterns imitate the natural patterns in the environment, allowing the experience of these patterns in a different dimension. Through this process, the canvas changes colors representing the different patterns for a small period of time before returning to the original color.
19
The device represents a dialogue occurring between the environment and the physical body. The dialogue is both conscious and subconscious; the user is consciously moving different patterns and the sun is subconsciously interacting with these filters to create artwork that is experienced as a result.
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21
Pattern filter
Structural frame
Canvas
Racks
Kit of Parts
t joint
4 joint
L joint
+ joint
corner rack
middle rack
9’-0”
7’-0”
Exploded Axonometric
6’-0”
3’-0”
the canvas
the filter
the light
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THE DEVICE 1.4
SPIRO Ana Giron & Asbiel Samaniego https://youtu.be/bz9MDx5ZQjg
Spiro is a dual-drawing machine that took inspiration from the Spirograph, a geometric drawing toy that produces mathematical roulette curves. The device also builds on the concept of stigmergy, which is defined as a mechanism of indirect coordination, through the environment, between agents or actions. In the case of Spiro, two individuals simultaneously operate two 3d printed arms and have full control as to the amount of spins they manually make, speed, and color of the pen. The central part of the device consists of a central wheel/gear system which is automated through a motor. The motor was programmed through the Arduino software, specifying it to rotate continuously in only one direction. Once the motor spins it would begin to move the central wheel in which the drawing canvas is located. As the two 3d printed arms get cranked manually the central piece is moving on its own. The end results are very abstract line-work art.
01 HANDLE MOTION_
02 WHEEL ROTATION_
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03 ARM ROTATION_
[01] HANDLE MOTION: At the very top a handle is spun manually around a rod that is attached to a horizontal gear. As the handle is spun the gear also begins to rotate and it begins to move the vertical gears. [02] WHEEL ROTATION: The central wheel rotates automatically through a motor that when plugged into a power source begins to rotate a smaller gear. That small gear then pushes and rotates the entire central wheel. [03] ARM ROTATION: The 3D printed arms rotate by pivoting around the top rod that gets activated when the handle motion is in play. Top and bottom rods are anchored to a base with the arms moving around them.
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01_
02_
04_
05_
07_
08_
27
03_
06_
TRIALS_ Eight trials were run using SPIRO with different users each time. The results varied in terms of the line-weight quality and geometric pattern. The outcome was different each time.
28
THE DEVICE 1.5
THE DRAWING FOREST Zach Hart & Huy Ho
https://youtu.be/swX2CsNnxWg
The Drawing Forest offers an interactive passage in which users can walk through a field of metallic poles that register the users’ motion through art applied to a canvas that serves as the walking surface as well. Depending on the path taken, the speed walked through, and the amount of force used to push through the forest, the resulting swinging motion of the poles varies, in turn, creating unique brush strokes to the canvas below. The more visitors that are allowed to pass through the space, the more dense the painting becomes.
30
31
The device is able to be broken down into 3 main pieces: the top piece acts a lintel that fits onto the two open side walls. The hanging poles that make up the forest are able to be detached and reattached to small hooks on the roof piece. The canvas is easily rolled out from a tube hosted on the right side of the device, and after using the device for a given time the canvas can be cut and displayed as an art piece, showcasing each user that interacted with the device through art. The medium used to create the paintings is interchangeable, with holsters hanging at the bottom of the pole being able to be removed and replaced with materials such as paint brushes, chalk, pastels, or charcoal. These different media each have unique properties that give the resulting art unique qualities.
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ALTERNATIVE DEVICE OUTPUTS colored rain This proposal replaces the tube ends with strong magnets, and
This proposal replaces the tubes with a clear pvc material, clear pvc tube for visibility
able to be started/stopped, so that the paint can drip down the tubes like colorful rain, creating an interesting visual experience for the user and colorful canvas art below
sand covered by an acrylic walking surface, so that the sand is pushed & pulled by the magnets depending on how the user travels through the space
paint stop/release
6’8”
3D printed pastel holder
replaceable drawing medium
4’0” exploded paper roll detail
pastel holder detail
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Design activity 2
THE space Architectural Integration
35
Design Activity 02 | THE SPACE: Architectural Integration In this phase, students investigated how the device and spatial exhibitions may inform architectural spaces and how the space may enhance the experience and operation of the device. As a result, students established a tectonic language for a wider architecture and developed their museum based on initial interests coupled with site design. The end results, the ‘museum of interactive technology’, aim to engage visitors actively in new kinds of experiences in the city of Atlanta, Georgia.
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THE SPACE 2.1
THE COLOR MUSEUM Jessica Headrick, Caleb Lawrence The Color Museum facilitates the discourse between the environments and visitors by offering a space, which affects the body. It facilitates emotional self-expressions through color, and a collective influence of these self-expressions on the space resulting in dynamic architecture.
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red room restrooms
expression loop bubble room
manipulation loop scintillating grid room
storage
library
halo
checker board room staff room
zen garden
restrooms
multipurpose room
gallery of technology and color
cone of color/ lobby
retail
ticket booth
impression gallery
Feature: emotional control
theory loop
manipulation loop
reflection room
conference room
offices
egress core
blind color room
sculpture garden storage
theory loop
gallery of color psychology
kitchen
interactive emotional exhibit (device)
halo
public
zen garden
guest space
Feature: emotional control
History of color psychology
cafe temporary gallery
private cone
adjacent proximity
multipurpose room
not related loop cafe
adjacency diagram
circulation diagram manipulation loop
development spaces
imposition spaces
expression loop
halo
interactive spaces
zen garden
creation spaces
cone multipurpose room
retail sculpture garden
manipulation spaces
reflection spaces
halo theory loop
temporary gallery
halo cone of color
north elevation
multipurpose room
entrance
office space
multipurpose room
halo section
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The entire circulation area benefits the visitor with the rounded shapes which encourage natural movements and progression.
The cone of color gets daylight from the skylight. The city wide emotional representation of color peaks through the halos space reminding the user of the collective emotion.
The entire circulation area benefits the visitor with the rounded shapes which encourage natural movements and progression.
TheThe entire entire circulation circulation areaarea benefits benefits the the visitor visitor withwith the the rounded rounded shapes shapes which which encourage encourage natural natural movements movements andand progression. progression.
The The cone cone of color of color getsgets daylight daylight from from The circulation encourages the users the the skylight. skylight. The city city wide wide emotional emotional to continuously flowThe back through the representation representation of color of acolor peaks peaks through through cone of color which is collection of the the halos halos space space reminding reminding the the useruser of of single expressions. the the collective collective emotion. emotion.
The museum actively engages with the city by capturing the collective emotion. It engages with the street presence by altering the sculpture garden and also provides a 180ยบ+ view of the city for further reflection.
The circulation encourages the users to continuously flow back through the cone of color which is a collection of single expressions.
TheThe circulation circulation encourages encourages the the users users to continuously to continuously flowflow back back through through the the cone cone of color of color which which is aiscollection a collection of of single single expressions. expressions.
TheThe museum museum actively actively engages engages withwith the the citycity by by capturing capturing the the collective collective emotion. emotion. It engages It engages withwith the the street street presence presence by by altering altering the the sculpture sculpture garden garden andand alsoalso provides provides a 180ยบ+ a 180ยบ+ view view of the of the citycity for further for further reflection. reflection.
theory loop
expression loop
halo
manipulation loop
core cone of color
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expression loop
reflection room
cone of color
theory loop
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THE SPACE 2.2
THE COLOR MUSEUM Nelly Mehrjerdian, Michelle Nguyen The Color Museum is based off the idea of a museum of interaction which was defined as an environment to stimulate active participation through collaboration, production, and exhibition. The museum attracts social interaction and experiential encounters in order to provoke curiosity, specifically through the play of color.
Conceptual Explorations
LOBBY
CLASSROOM 2
MAKER SPACE
ENTRANCE RESTROOM
CLASSROOM 1
RECEPTION
STAIRWAY EXHIBIT
RESEARCH ROOM
TEMPORARY GALLERY
EXHIBIT 2
PERMANENT GALLERY
COURTYARD
CONFERENCE ROOM
MECH. ROOM
JANITOR CLOSET
EXTERIOR
INTERIOR CAFE
45
RESTROOM
STAFF R.R.
ADMIN. OFFICE
EXHIBIT 3
EXTERIOR CAFE
RETAIL
LIBRARY
RESTROOM
EXHIBIT 1
PARKING
STUDY ROOM 2 STUDY ROOM 1
ELEC. ROOM
Site Plan
East and West Elevations
46
Gallery
Paint-by-step
Elevators
RR Library
RR
Reception
Lobby
Paint-by-step
Third Level
Elavators
RR
Exhibit 2Painting Machine
RR
Exhibit 1Showcase Room
Mech/Elec Room
Classroom
Elevation: -15’
Exhibition Hallway
Maker Space
Elavators
RR Exhibit 4 Painting Chairs RR Kitchen
Retail
Cafe
Classroom Exhibit 3 Showcase Room
Classroom
Elevation: 0’
Conference Room
Office Paint-by-step
Elavators
RR Office RR
Sto ra ge
Office Conference Room
47 Elevation: 15’
48
THE SPACE 2.3
THE MUSEUM OF DIALOGUE Hala Alfalih, Nhan Luu The Museum of Dialogue explores the dialogue between the passive and active circulations. It integrates these types of circulations by embodying physical paths which the user can experience. Through multiple various paths, the visitor can discover different parts of the museum while immersing themselves in the local art.
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Center For Puppetry Arts
THE SITE
Being located in an artistic site; [1. Center For Puppetry The WSB-TV News Station is located Arts to the Northeast, 2. High Museum of Art located to the Southwest, 3. Center for Puppetry Arts located to the West, 4. The Savannah College of Art and Design located to the Northwest] The site will use its strategic location on Peachtree Road, it is a prime spot to curate and showcase local talents.
Designated Bike Lane Bike Friendly Bus 110 MARTA Pedestrian Prefered
SCAD
Peachtree Christian Church
WSB-TV News
17 Beverly RD NE William Breman Jewish Heritage Museum
Center For Puppetry Arts
Journalism & Media High Museum of Art
Museum of Design Atlanta
High Museum of Art High Museum of ArtMuseum of Design WSB-TV News Atlanta
17 Beverly RD NE
Museum of Design Atlanta
The Woodruff Arts Center The Woodruff Arts Center
The Woodruff Arts Center
High Museum of Art
Museum of Design Atlanta
The Woodruff Arts Center
Locations dedicated to the Arts Locations dedicated to the Arts Cultural & Puppetry Arts Arts Center Locations dedicated to the Arts Locations dedicated to the Arts [1] Cultural & Puppetry Arts Arts Center
Arts Center
Teaching the Arts
Journalism &
Teaching Arts Teaching the the Arts Teaching the Arts
Cultural & Puppetry Arts
Cultural & Puppetry Arts
Arts Center
Journalism & Media
Journalism & Medi Jour
William Breman Jewish William Breman Jewish Heritage Museum Heritage Museum William Breman Jewish
WSB-TV News
William Breman Jewish Heritage Museum Heritage Museum
High Museum of Art
17 Beverly RD NE
Center For Puppetry Arts
SCAD
High Museum of Art
High Museum of Art
Afoot
Museum of Design Atlanta
Cycle
17 Beverly RD
The Woodruff Museum High MuseumofofDesign Art Center Museum of Design ArtsCenter Atlanta For Puppetry Museum of Design Atlanta Center For PuppetryCenter For Puppetry Atlanta Arts
Arts
17 Beverly RD NE
Arts
AD SCAD SC
Methods of Circulation
The Woodruff The Woodruff Arts Center Arts Center
SCAD
The Woodruff Arts Center
Public Transit
[2] Methods of Circulation Methods of CirculationMethods of Circulation
[3]
Automobile
Electric Scooter
[4]
An Active Dialogue
Afoot
Cycle
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THE ANALYSIS
Types of Users
25 ft
The Runner Types of Users The Runner
100 ft
The Displaced
25 ft
The Gen Z-er
100 ft
50 Displaced ft The
The Gen Z-er
The Millenial The Millenial
The Nine-to-fivers The Nine-to-fivers
The Artist The Artist
The Baby Boomer The Baby Boomer
50 ft
2525ft ft 2525ft ft
100ft ft 100 5050ft ft
100ft ft 100
5050ft ft Types of Trees Common Hackberry Types of Trees
52 Georgia Oak
Flowering Dogwood
American Holly
ERY
CL CLASSROOASSROOM M
GAL
GALGAL ERYERY
TEM GAGALLLLERTEERYMYPOPORARARYRY CO
LIBR ARY CAFE
LIBR LI ARYBRAR CAFE CYA FE
CONFER ROROOMOMCONFERENENCECE
ROOM NFERENCE
GALLERTEYMPORARY
Entering Precedents the museum from Peachtree Road, you follow a ramp up to the second floor Zaha Hadid Double Curved-Glass Funicular Railwayand galleries. On the second floor you can support Kunsthaus Graz by Peter Cook and Colin Fournier while experiencing the exhibits local art by buying some of the pieces which are being auctioned off in the private gallery. There is also an entry from the Eastern side which gives you access to the basement level and offices, this is also where the parking is located. Site Site
GAL ERY
CL CLASSROOASSROOM M
ROOM NFERENCE
LO
BB Y
ROOM CONFERENCE
Form of building
Site
Entry
Green space Solar diagram
Site
Site
Entry
Entry
Green space
Green space
AUD ITOR IUM
Site
Program Program
Program
Circulation Circulation
Circulation
Formof ofbuilding buildingForm of building Form
GALLERTEYMPORARY
https://worldarchitecture.org/articles/cvnee/zaha_hadid_architectsi_doublecurved_glass_funicular_railway_hits_4_5_million_passengers.html
Form Development Mass
BB Y
AUD ITOR IUM
BB Y
GALLERTEYMPORARY
LIBR ARY CAFE
GAL ERY
CL CLASSROOASSROOM M
AUD ITOR IUM
BB Y
LO
AUD ITOR IUM
ROOM CONFERENCE
LIBR ARY CAFE LO
GALLERCOTEYMPORARY
LIBR ARY CAFE
GAL ERY
CL CLASSROOASSROOM M
LO
AUDAU ITODRITO IUMRIUM
LO LO BBY BB Y
https://www.museum-joanneum.at/en/kunsthaus-graz/architecture
Program
Circulation
Program
Program
Form of building Form of building
Entry FormEntry of building
Entry
Solardiagram diagram Solar diagram Solar
THE MUSEUM Circulation
Exterior circulation Exterior circulation
Circulation
Exterior circulation
Solar diagram
Final design
Solar diagram
Final design
Greenspace space Green space Green Solar diagram
Exteriorcirculation circulation Exterior circulation Exterior
Final design
Final design
elevation - west 1’=1/16”
CLCLASSR CLCLASASSRSROOASOOSRMOOOOM M M
TEM
CL CLASSROOASSROOM M
ERY
elevation - north 1’=1/16”
YERY
on
CLCLASSR CLCLASASSRSROOASOOSRMOOOOM M M
Section Perspective
TEM
Finaldesign design Final
Final design
al design
Final design
Final design
THE MUSEUM FORM
FORM
THE MUSEUM
Plan - Basement 1’ = 1/16”
FORM FORM
FORM
THE MUSEUM
FORM Plan - Basement 1’ = 1/16”
FORM
elevation - west 1’=1/16” FORM FORM
FORM
FORM
Plan - Basement 1’ = 1/16” Plan - Ground 1’ = 1/16”
FORM
Plan - Ground 1’ = 1/16”
THE SPACE 2.4
MUSEUM OF STIGMERGY Ana Giron, Asbiel Samaniego [A Museum of Interactions and Processions] The Museum of Interactions and Processions offers dynamic series of spaces that elicit a response from the human body, through direct or indirect coordination or interaction, to create a feedback loop. In particular, Stigmergy creates a mechanism of indirect coordination, through the environment, between agents or actions.
Site Analysis
Site Forces
Site Forces
Circulation from Forces
Circulation from Forces
Site Forces Site Subtraction
Form Development
Circulation from Forces
Site Forces
Site Forces Exterior Facade Site Subtraction
Circulation Forces Exterior from Facade
Site Subtraction
Site Forces Circulation from Forces
Exterior Facade Roof Articulation Circulation from Forces
57 Roof Articulation Site Subtraction
Circulation Forces Exterior from Facade
Site Subtraction
Roof Articulation
Site Subtraction Additional Periphery Massing
Exterior Facade Additional Periphery Massing
Basement Level Plan
Section A-A
Ground Level Plan
58
Third Level Plan
North Elevation
Fourth Level Plan
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Exterior View of Third Level Terrace
Exterior View from Peachtree St.
60
THE SPACE 2.5
iMAS Zach Hart, Huy Ho [The Intersectional Museum of Art & Science] The Intersectional Museum of Art & Science (iMAS) is a space designed to let visitors become an essential part of the exhibit themselves. Various aspects of science are displayed both inside and outside of the museum’s walls, each showcased in an artistic light. Properties of physics in the museum create art through a variety of media. Rotational kinematics become a method of creating unconscious light shows, swinging pendulums become a method of painting that tracks visitors movements, and sound waves become visible on shifting canvases of water.
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Design Iterations
63
Site Plan
Form Finding Diagrams
Y C ON F
RES S
TEMPO EMPO MPO RARY
Ground Floor Plan
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Section A
lobby / reception aud. temp gallery
reception library
admin
c.r.
temp. gallery
aud.
lobby / reception
cafe exhibits
basement programming
gallery wing programming
entry wing programming
vertical circulation Program Diagrams
Upper Floor Plan
65
West Elevation
Interior Light Show
Green Roof Interactive Poles
Night-time Faรงade View
Night-time Courtyard View From Green Roof
66
Courtyard View
MUSEUM OF INTERACTIVE TECHNOLOGY KENNESAW STATE UNIVERSITY I fall 2019
web: www.i-archstudio.com insta: i_archstudio