The Makers Museum (Part I)-M.Arch-Thesis-Chia Sheng Wei

FA L L 2 0 2 0

M.ARCH

THESIS

THE MAKERS ?

MUSEUM

CHIA SHENG WEI

MENTOR: IMMANUEL KOH

contents

acknowledgements

01

site

02

preface

06

concept

11

precedents

12

thesis statement

22

process 0

26

process i

30

process ii

35

process iii

57

process iv

72

appendix

83

acknowledgements

Many have contri buted t o t he creation o f t h i s T h e s i s t h r o u g h their unwavering support and encourag e m e n t , t o w h o m I a m extremely grateful.

I wou ld like to t hank A ssistant P rofe s s o r I m m a n u e l K o h f o r his insight and guidance over the en t i r e d u r a t i o n o f t h e Thesis, from begi n ning to the end, witho u t w h o m I w o u l d s u r e l y find myself los t i n t he m ires o f i nc o r p o r a t i n g A r t i f i c i a l Intelligence wit h Architecture. And hi s p a t i e n c e i n h e a r i n g out and attempti n g to understand the c o n v o l u t e d w o r k f l o w s I often find myself in.

To my family who h as p layed a l arge p ar t i n k e e p i n g m e a l i v e throughout the ye a r, with m uch prayer an d p a t i e n c e . T h a n k y o u , and for always being interested in the T h e s i s .

To the dear frie nds w ho s ent m e a n e nd l e s s s u p p l y o f c o f f e e knowing that sle epless n ights w ere o n t h e h o r i z o n , a n d w h o constantly check ed-in on my well-being , w o r d s s i m p l y c a n n o t express my gratitude.

Finally, to Him who sustains me, glory t o G o d i n t h e h i g h e s t .

01

SINGAPORE’

Home Team Gallery

NIE Art Gallery

Army Museum of Singapore

Former Ford Factory Chinese Heritage Centre Singapore Discovery Centre

Science Centre

NUS Museum

Lee Kong Chian Na History Museum

Gillma

5 KM

5 KM

Singapore though small, has quite a numbe r o f m u s e u m s , a n d t h e s e can be classifie d into cultural, speci a l t y a n d a r t m u s e u m s .

They are mainly clustered in the museum s d i s t r i c t a t t h e C B D according to URA ’s masterplan. Perhaps, t h e l o c a l i t y o f t h e museum could pote n tially alter its stere o t y p i c a l c o n t e n t s .

The thesis challe nges t his i dea t hrough t h e s e l e c t i o n o f t h e site in Changi.

’S MUSEUMS

Changi Chapel and Museum

y

atural

an Barracks

Sun Yat Sen Nanyang Memorial Hall

1

2

1

4

1 4

5

23

3

2 5

Singapore Sports Museum

6

7 3 6

8

7

8

9 9

10

CULTURAL MUSEUMS 1.

2.

3.

4.

5.

6.

7.

8.

9.

Indian Heritage Centre A Living Heritage Museum Malay Heritage Centre National Museum of Singapore The Battlebox Asian Civilizations Museum Fuk Tak Chi Museum Chinatown Heritage Centre Singapore City Gallery

SPECIALTY MUSEUMS 1. Vintage Cameras Museum and Click Art Museum 2. Children Little Museum 3. The Gem Museum 4. The Parkview Museum Singapore 5. Peranakan Museum 6. MINT Museum of Toys 7. Singapore Philatelic Museum 8. Art Science Museum 9. Red Dot Design Museum 10. Singapore Musical Box Museum

ART MUSEUMS 1. Singapore Art Museum 2. SAM at 8Q 3. National Gallery Singapore

02

Sit URA MAS

“L e v e r a g i n g o n S U T D a n d C h a n g i B u ec o s y s t e m w i t h a l i v e - i n c o m m u n i in s t i t u t i o n s i n v o l v e d w i t h f r re l a t e d r e s e a r c h a n d d e v e l o p m e n ig e n c e a n d r o b o t i c s t e c h n o l o g y .

Chang

CONNECTIVITY

Pasir Ris

Tampines

Innovation District

Bedok

Changi City

te TE R P L AN

usi n e s s Park (CBP), an innovative it y w o uld attract busines ses and eigh t transportation/aviationt, i n cluding artificial i ntell.�

gi Village

Changi Airport

Round Island Cycling Route

03

Sit URA MAS

In t e r m s o f i t s c u r r e n t s i t u a t i o es t a t e s , a v i a t i o n p a r k s a n d r pr o x i m i t y o f f e r t h e p o t e n t i a l as a h u b t h a t c o n n e c t s v a r i o u s ac t i v i t y .

LOCALITY

Residential District Cha Ind

Changi B Education Institutions

Changi Indust

te TE R P L AN

on , a unique blend of industrial res i d e ntial districts i n close l f o r it to be well u tilized s de m o graphics together through

Changi Aviation Park ngi North ustrial Estate

Business Park

i South trial Estate

04

Sit URA MAS

An d l o o k i n g f u r t h e r i n t o t h e f u an d a t t r a c t i o n i n t h e f o r m s ch a n g i t e r m i n a l 5 w o u l d i n c r e a s i in n o v a t i o n d i s t r i c t a s a h u b ac t i v i t y a n d l e i s u r e .

FUTURE PLAN

Heritage Cluster

New Hubs Proposed Innovation District

Changi East Urban District Waterfront District

te TE R P L AN

tu r e , an increase in population of a waterfront distr ict and in g l y add activity to the C hangi f o r researc h, entrepre n eurial

Changi Aviation Park

Changi Terminal 5

05

the maker culture

opensource hardware “ MAKERSPACES COU LD BE THE SECRET TO MAK I N G S M A R T C I T I E S S M A R T ” W or l d E c o n o m i c F o r u m , 2 0 1 8

1400 >400

Active Mak erspaces Worldwide Makerfaire s oraganized Worldwide

T he Mak er movement first b egan i n 2 005 w i t h t h e p u b l i c a t i o n f ounded by Dale Doug h erty, t he ‘ Make’ m agaz i n e w h i c h h e l p e d p e o p l e s tart hobbies and l earn n ew s kills ( Doughe r t y , 2 0 1 2 ) b y ‘ d o i n g i t t hemselves’.

W hile distancing itself f rom t he t erm ‘ inve n t o r ’ , m a k e r s p r e f e r t o d escribe themselves a s a g roup o f p eople w ho e n j o y l e a r n i n g t h r o u g h c reating physical o bjects with technology. M a k e r s s e e t h e m s e l v e s a s part of a larger m aker community with op e n a n d f r e e e x c h a n g e o f k nowledge and ideas.

N ew tech startups a n d companies have grow n f r o m M a k e r s p a c e s a n d c ontinue to be involved in the community v i a o p e n s o u r c e p r o d u c t s .

Craftsman

Workshop

Designer

Factory

• • • •

Nimble Public Services Grows local skill base Connects Makers Knowledge Sharing

•

Access to equipment

reduces barriers to entry Lowered startup costs in prototyping phase

Maker/ Public

Makerspace

•

• • Variable Products

Standardised Products

Differentiated products Innovations by ordinary people

Personalised Products

06

the museum

“Do not lay up for yourselves treasure s o n e a r t h , w h e r e m o t h and rust destroy and where thieves brea k i n a n d s t e a l �

Matt hew 6:19, ES V How about Museum s

a history ‘A museum is a public, collective pro c e s s b y w h i c h p e o p l e are enabled, thro ugh u nderstanding t hei r r e l a t i o n s h i p t o t h e tangible and intan gible h eritage o f h umani t y a n d i t s e n v i r o n m e n t , to con tribute to t he long-term well-bei n g o f c o m m u n i t i e s a n d sustainability of environments, globally a n d l o c a l l y . ’ Peter Stott

6th Centur y BCE Ur, Ancien t Babylon Princess Ennigaldi’s small educational museum of antiquities. Tablets describing 21st-century-bce artifacts was discovered. Possibility of a educational museum.

1 68 3 E ng l a n d T he f i r s t i n s t a n c e o f a b ui l d i n g b u i l t t o h o u s e c ol l e c t i o n s f o r t h e p ub l i c ’ s v i e w i n g w a s t h e A sh m o l e a n M u s e u m . T h e c ol l e c t i o n w a s g i f t e d

by Elias Ashmole to the U ni v e r s i t y o f O x f o r d .

18th Century Europe T h e A g e o f E n l i g htenment u s h e r e d i n a s p i rit of i n t e l l e c t u a l d i s course and p h i l o s o p h y . C o l l ections w e r e m a d e a v a i l a ble to t h e p u b l i c a s a means to e d u c a t e a n d u p l i ft the p u b l i c c o n s c i o u s ness.

1977 Museums France Today n 1977, the Pompidou Centre was built which held galleries for modern art collections and additional exhibition and cultural activity spaces, a new type of museum for the city.

The na ture of the m useum h as e volved o v e r t i m e , i n t h e p a s t , beginning with private c ollections t i l l t o d a y a l e i s u r e destination for a ll to enjoy.

Visitorship to National Museums and Heritage Institutions Singapore 6, 000,000

5, 000,000

4, 000,000

3, 000,000

2, 000,000

1, 000,000

0 2 012

2013

2014

2015

2016

2017

2018

07

the starchitect

embodying the collective repository Museum Architectu re may at times appear a u t h o r i t a r i a n .

Instead of a seem ingly top-down approach, c a n a m o r e b o t t o m - u p approach involvin g the stakeholders be i n c o r p o r a t e d ?

Architect

S tyle

D esign

Stakeholders

No Monopoly on Style The Guggenheim Bilbao marked the start to an era of ‘star architecture’. Designed by Frank Gehry, the expressive form of the building bearing no relation to its interior function drew crowds creating the ‘Bilbao Effect’ that many other cities wanted to emulate.

City of Arts and Sciences Santiago Calatrava 1998-2005 Valenc ia, Spain

1997 B i l b a o , Sp a i n

Museum of Pop Culture Frank Gehr y 2000 Seattle, Washington, US

Contemporary Arts Center Za h a Ha di d 2003 C i n c i n n at i , O hi o, US

Royal Ontario Museum Daniel L ibesk ind 2007 Toronto, Canada

Denver Art Museum D a n i e l Li b e ski nd 2006 D e n v e r, Co l o ra d o, US

Pompidou Metz Shigeru B an 2010 M etz, France

Heydar Aliyev Center Za ha Ha d i d 2012 Ba ku, Aze rba i j a n

Quadracci Pavilion S a nti a go Ca l atra va 2001 M i l wa u ke e , W i s cons i n, US

Maxxi National Musuem Zaha Had i d 2010 Rome, Ita l y

Military History Museum Dan i e l L i e be s k i nd 2011 Dre s de n, Ge rma n y

Museum of Tomorrow Santiago Calatrava 2015 Rio de J aneiro, B razil

Louis Vuitton Foundation Fra nk G e hr y 2014 Pa r i s, Fra nce

Jewish Museum in Berlin Da n i e l L i be s k i n d 2001 Be rl i n , Ge rma n y

Museum of Rock M VRDV 2016 Rosk ilde, Denmark

Art Science Museum M os h e S a fdi e 2011 S i nga pore

Ordos Museum M A D A rc h i te cts 2011 O rdos . Ch i na

The Louvre Abu Dhabi J ea n N ouv e l 2017 S a a di yat I s l a n d, A bu Dh a bi

Qatar National Museum J ea n N ouv e l 2019 Doh a , Q ata r

08

the artificial

state of the art A r t i f i c i a l N e u r o n S t r u c t ure Bias

Inputs

b

W eig hts

x1

w1

x2

w2

∑

ϕ

xn

wn

Summing Function

T hre s hold

A ct i vat i on Fu n ct i on

ARTIFICIAL INTELLIGENCE

N e u ron Ou t pu t

θ

Supervised

Any technique that allows computers to mimic intelligence

MACHINE LEAR NING Supervised, Unsupe rvised, Reinforcement Learning

DEEP LEARNING

unSupervised reinforcement deep learning Deep wher e

learning deep

is

neural

a

subset

networks

of are

machine

learning

utilized

in

the

lear n i n g m o d e l . A d e e p n e u r a l n e t w o r k i s a n a r t i fici a l n e u r a l n e t w o r k w i t h m u l t i p l e h i d d e n l a y e r s betw e e n t h e i n p u t a n d o u t p u t l a y e r s . T h i s a l l o w s for p r o g r e s s i v e l y h i g h e r o r d e r s o f f e a t u r e s t o b e extr a c t e d f r o m t h e r a w i n p u t d a t a .

09

the artificial

state of the art

People who do not exist - generated from StyleGAN (Karras, Laine, & Aila, 2019)

GAN CODE STRUCTURE

RANDOM INPUT NOISE VECTOR

GENERATOR MODEL

GENERATED DATA

R EA L DATA

UPDATE MODEL

DISCRIMINATOR MODEL

UP DAT E MO DEL BINARY CL ASSIFICATION REAL/FAKE

10

general

+ makers

IN THE SPIRIT

Ta ki n g t h e i n c l u s i v e s p irit of the maker culture a

concept

+ museum

T OF H A C K I N G

a n d applyin g it t o th e a r c h i t e c t u r e o f t h e museum

11

prece

learning

fun p

MUSEUM OF INF

VILLE SP Museum witho

citizen desi

edentS

from art

palace

FINITE GROWTH

PATIALE, out building

ign science

12

learning Art

ARTIST

AR

Trad it io na ll y, a r t i s t h e m e d i u m through which the artist

glim ps es a nd g u e s s e s a t t h e a r t i s t s ’ intentions or lack there

from art

RT

audience

i n teracts w it h t he a u d i e n c e . T h e a u d i e n ce through the art

eof.

13

learning Perf or ma nc e Ar t

ART

ARTIST

Perf or ma nc e a rt o n t h e o t h e r h a n d , utilizes the Artist’s body a mo re d yn am ic s e t t i n g , b u t t h e A r t ist is still very much in

from art

audience

i t self as t he me di um f o r e x p r e s s i o n . T h e viewer observes in c o n trol.

14

learning Participatory Art

AR

ARTIST

Shif ti ng t hi s c o n t r o l t o t h a t o f t he viewer, the viewer is a

is t he i nt er ac t i o n b e t w e e n t h e a r t istic intention and viewer,

of a rt i s us ua l l y u n f i n i s h e d a n d w i th no predetermined outcom

from art

RT

audience

s m u ch as i n co nt ro l a s t h e a r t i s t i n p a r ticipatory art. It

, and between v ie we rs t h a t b e c o m e s t h e a r t piece. Such a work

m e , yet is g re at ly i m p a c t f u l a n d i n c l u s i v e.

15

learning Varying Degrees of Participation

House with Ocean View, 2002 Marina Abramovic

The Artist Marina Abra

Ar ti st C o n t r o l 18 Happenings in 6 Parts, 1959 Allan Krapow Abyss Mask, 1968 Lygia Clark

Pyramid of Roelof Louw

Untitled (P FĂŠlix GonzĂĄ

M R

Co mp li a n c e

The 3 pi ec es b y M a r i n a A b r a m o v i c a re examples of Participator the A ud ie nc e a n d t h e A r t i s t , a n d t he actions and reactions Arti st s ha ve a t t e m p t e d t o d o s o , a l lowing the art to be a res co-a ut ho rs a nd c o l l a b o r a t o r s o f t h e work, imbuing additonal impe rf ec t na tu r e .

from art ART

ARTIST

is Present, 2010 amovic

audience

Rhythm 0, 1974 Marina Abramovic

A u d i ence Control Oranges, 1967

w

Chess: relatives, 2016 Darren Bader

Portrait of Ross in L.A), 1991 รกlez-Torres

Cutpiece, 1964 Yoko Ono

Obliteration Room, 2012 Yayoi Kusama

Measuring the Universe, 2007 Roman Ondak

Collaboration

r y A rt, wher e th e Ar t a t t e m p t s t o b r e a k t he barriers between b y the aud i en ce is t h e f o c u s . N u m e r o u s other contemporary u l t o f the a ud ie nc e b e i n g o n e q u a l f o o t i n g as the artist, as m e aning in t he c re at i o n o f t h e a r t w o r k a nd its unfinished,

16

learning Degrees of Participation

T h e artwork only exists becau

T h e l a tent (hidden) rules are ex

Ar t Pi e c e

from art

Measuring the Universe, 2007 Roman Ondak

s e o f the co ll ec ti ve e f f o r t .

x p r e ssed by t he r es ul t a n t f o r m .

Museum

17

prece

Fun Palace by Cedric Price, 1964

Technology

Cybernetics

Gamet

‘Price thought of the Fun Palace in terms of process, as in time rather than objects in space, and embraced inde nacy as a core design principle.’

(Matthews,

Key takeaways: Indeterminacy amidst determinacy Space as a product of collective creativity Space as a representation of taste, preference & behavior

edent

theory

events etermi-

, 2005)

Architectural Feature: Structure amidst motion Th e d e s i g n o f t h e f u n p a l a ce comprised a se ri e s o f s t r u c t u r a l f r a m es that enclosed la rg e r open spaces that had mobile ar ch i t e c t u r a l s e t s .

18

prece

Museum of Infinite Growth by Le Corbusier, 1931

Removal of Hierarchy

Expanding Collection

‘Let us imagine a true museum, one that contained everyt one that could present a complete picture after the pas of time, after the destruction by time.’

(Le Corbu

Key takeaways: Museums as time-based Growth as a means of expansion

edent

1

Growth

thing, ssage

usier) Architectural Feature: Modularity Th e m u s e u m c o m p r i s e d s t r uctural modular pi ec e s t h a t c o n n e c t e d together in an ou tw a r d s p i r a l . H o w e v e r , this resulted in p o o r r e s o u r c e a l l o c a t ion as exterior wa ll s w e r e u t i l i z e d w i t h i n the interiors as w e l l .

19

prece

Ville Spatiale by Yona Friedman, 1959

Freedom to Customize

Improvisable

Dem

‘With my improvised architecture I am not giving drawing instructions of assembly. You assemble the structure want... Although I am promoting an architecture without ing, I am not saying that the architect is useless.’

(Yona Fri Key takeaways: Architecture as improvisable Rooms moveable like furniture Gallery spaces overlapping with streetscape

edent

mocratic

gs, but as you build-

iedman) Architectural Feature: Customizable Grids Wi th i n t h e g r i d s t r u c t u re, inhabitants ha ve t h e f r e e d o m t o a l t e r t heir dwellings.

A s er i e s o f m a n u a l s g i v e t he user guidance in c r e a t i n g t h e i r h o m e s .

20

prece

Citizen Design Science: A strategy for crowd-creative urban design, 201

Accessibility

Participatory

Bi

‘It is simply not feasible for a designer to analyse tho of design proposals and find commonalities between all In the same way technologies are used to provide tools fo izen Science, they must be employed to evaluate the desi

(Mueller Key takeaways: Crowd knowledge and participation

Simple digital ‘make’ tools to understand latent & tacit user expe Top-down & Bottom-up design via rules & tasks

edent DESIGN

17

active cocreating by non-experts

CITIZEN

rule-mining for design proposals

SCIENCE

representative & evaluable crowd sourced data

ig Data

ousands ideas. or Citigns.’ et al)

erience

Architectural Strategy: User web application ‘T hi s simple web a p p l i cation enables no n- e x p e r t designers to modify given ge om e t r y layouts a c c o r ding to their in di v i d u a l preferences.

The focus is on t h e c o n f i g u r a t i o n o f g eometries, and no t o n t h e b u i l d i n g o f i n f rastructure or cr ea t i n g n e w i t e m s . ’ 21

THESIS S

Fun Palace 1964 by Cedric Fun Palace Price1964 by Cedric Price

Mus Museum of Infinite Grow

the museum as growing

the collective as decision maker

the collective the collective the as decisionasmaker decision maker as reconfigur as

kers ers museu muse Technology

Technology Cybernetics

concept concept

Gametheory Removal of HierarchyRemova

‘Price thoughtinofterms the Fun Palace in terms of process, ‘Letmus u ‘Price thought of the Fun Palace of process, ‘Let us imagine a true as events time rather thanand objects in space, one at as events in time rather than in objects in space, one and that could present embraced indeterminacy as a core design principle.’ of ti embraced indeterminacy as a core design principle.’ of time, after the destru (Matthews, 2005) (Matthews, 2005)

the artificial the artificial intelligence intelligence as curator as curator

Singular

Singular Multiplicity

Multiplicity

the as

Marcel Duchamp’s Marc Mil

the gallery as gesture

useum ble ymbol non-symbol

by Le Corbusier

Cybernetics Gametheory

the a.I as curator

Principles of Principles Open Source ofHardware Open Source Hardware

panding Collection on Growth

Distinct

Permanence Modifiable

Distinct

Vague

Permanence Transient Modifiable Inclusiveness

Vague

Transient Inclusiveness

the Collective Architectural Translation Architectural Translation Growth Participation

the Collective

Participation Artificial Intelligence Artificial Intelligence Reconfiguration Reconfiguration Spectator

Spec

, ined one everything, that contained everything, Utilizing Artificial Intelligence, the notion of the museum In Utilizing Artificial Intelligence, the notion of the museum In Brian O’Doherty’ plete ter the picture passage after the passage as a distinct architectural symbol By is generchallenged. By generthe as a distinct architectural symbol is challenged. the Gallery Space, on by time.’ form from Data that is subsequently voted for bytext and displayed tex ating form from ating Big Data that is Big subsequently voted for by (Le Corbusier) (Le Corbusier) the majority, the authoritarian architect is overthrown. the ‘Gallery as the the majority, the authoritarian architect is overthrown.

Ges the the art within enve Modularity

Exposure Modularity

M

Exposure

M

M

M

the museum STATEMENT

the artificial intelligence as curator

reconfigurable non-symbol

SingularMusuem is an Multiplicity The Makers exploration in rethinking the typology of a museum as more than just a repository Distinct of artifacts and gallery Vague spaces but also a space for the act of creation.

seum of Infinite Growth by Le Corbusier

eum

al of Hierarchy

Expanding Collection

Incorporating the use ofTransient Permanence Artificial Intelligence and working in tandem with Human the Pr stakeholders, the Museum is a product of Generative the Makers processes, Collective decisions and Participation Specialist interventions.

Artificial Intelligence Recon

Growth

M

us imagine a true museum, one that contained everything, that could present a complete picture after the passage ime, after the destruction by time.’

(Le Corbusier)

Utilizing Artificial Intelligence, the notion of the m

With the intention of symbol the is challenged. By g as a distinct architectural ating form from Big Data that is subsequently voted fo Museum’s architecture the majority, the authoritarian architect is overthrow as zeitgeist, the Museum reconfigures itself over time to suit the needs and desires of the age, through a series of modular components.

the gallery as gesture

cel Duchamp’s Mile of String consumes the viewer.

This too is a sustainability strategy by removing the need to demolish and make way for the new, or to expand when demand increases, or shrink in scale when demand falls significantly in an event such as a global pandemic, optimizing energy and resource Virtual Space consumption.

framework

the

Web Interface

Exhibiti

Event

the Curator (Artificial Intelligence)

ctator

Brian O’Doherty’s series of essays on the ideology of Gallery Space, art is deemed seperated from its cont and displayed within the White Cube. In the essay ‘Gallery as Gesture’ the opposite is depicted where art within envelopes the spectator and context.

3D Data

M

Amen

Participation

generates form

Of

22

DEFINI

ITIONS

Assembly Space Work Space Machinery Rooms

makerspace The traditional makerspace is an enclosed volume that houses fabrication equipment and tools. Work benches offer space to collaborate and in certain cases, the spaces have a flexible element for the assembly of projects with varying shapes and sizes.

Types of Museum Configurations

Tandem

Radial

Channel

Hall

Diagrams reinterpreted from ‘A brief analysis of spatial constitution and functional organization of museum architecture : A case study on museums in Hefei’ (2017, Z.Li, Q.Wei, H.He)

museum The traditional museum for art is a carefully controlled environment to prevent damage to the art work. Solemn white spaces for contemplation, and artificial lighting characterize the gallery spaces.

23

defini exhibit type: ‘maker art’ Instead of just another gallery for art, the Maker’s Museum places exhibit as ephemeral and ever-changing.

What is displayed is art that is TRANSIENT in its nature, a tempora traditional notion of an exhibit.

Three new and reinterpreted categories of art define the museum’s e

open-source art

proxy art

We the Rosies, 2018 We the Builders

Display Duration

Media: Varied

‘Things’, ‘Inventions’, ‘Art’, ‘Hacks’ created by the Maker community within the studios and makerspaces of the museum are exhibited for a fixed duration. The exhibit is possibly a combined effort, and directly reflects the desires and interests of the maker culture.

Display Duration

M

Working with intern recreate their sculptu art installations sustainable 3D prin proxy art is exposed and visitor engagemen allowed to degrade be

itions

emphasis on the process of creation (making) by portraying the

ary surrogate for the authentic, or simply a proxy for the

exhibits of ‘Maker Art’.

process art

Balloon Dog, 1994-2000 Jeff Koons

Media: Sustainable 3D Print

national artists to ural and contemporary ‘faithfully’ in nted material, the d to the environment nt; and intentionally efore being recycled.

Slow Angle Walk, 1968 Bruce Nauman

Display Duration

Media: Projection

Projections of recorded perfomance art whose licensing rights the museum has obtained is reinterpreted within the context of the constantly changing human activity, seperated by walls of varying degrees of porosity. No two moments are the same as the external and internal environment changes.

24

defini exhibit space

In considering the effects of the Art on the exhibit space, the tra the gallery to be reinterpreted in three ways: dissolving the white the cube with a layer of media.

open-source art

proxy

Spatial Requirements S

M

L

Spatial Re XL

Creations by makers can range from small to extremely large depending on the nature of the project. The enclosure reconfigures around the working spaces of the makers reducing the need to shift art works around.

L

Only works of the large a selected to be made a p larger than life effect of can be destroyed and recy

Exhibit

Makerspace

Elements

The art is exhibited in close proximity to a makerspace, or studio, where the author of the work can interact or collaborate with the visitor be it in person or by creating works of art in a shared space.

This is translated through an adaptable exhibition space that ‘dissolves’ the white cube at certain points and intermingles the gallery with areas for socializing and the observation of the creation of art.

The exhibition spac comprises the outdoors atriums that enjoy hi exposure to the elemen for this art to be t the public upclose, exclusive art access The deterioration of circumstances poses a the value of art toda

itions

ansient nature of the pieces allow the stereotypical white cube of e cube, the void as replacing the cube, and the act of overlaying

y art

process art

equirements

Spatial Requirements

XL

M

and extra-large scale are proxy so as to achieve a f how something monumental ycled over time.

L

Such art is projected into rooms of varying porosity, immersing the visitor into the virtual physical experience of the recording of the artistic process within the setting of a studio or makerspace.

Holographic Projection Atrium

Exhibit

ces for proxy art s as well as voids and igh human traffic and nts. The intention is touched and toyed by as a form of making sible to the masses. f the art under such a constant critique of ay.

Makerspace

These exhibits are dispersed within zones of human activity such as the makerspace and leisure zones so that the activity occurring externally is in contrast against the projection of the performative process visualized within the exhibit. This allows for constantly new interpretations of past performances for the visitor.

25

THE MAKERS ?

MUSEUM

overview

26

user exp

perience

27

code wo Data Conversion

101010 0110101 0100101 01101001 10101010 01011010 10101010 101010100 101011011 110101101 101101010 1010111 Mesh

Voxel Grid

Point Cloud

Designer Intervention

Work Flow

generator neural network Monitoring Training

16384

Numpy Array

128

64

1

Designer Intervention

tf.generator.summary

Model: “sequential�

Visualize

Failure Detected

1

Data Collection

Conversion

2

Layer

Data Set

Input

3

Dense

Model Training

Visualize

Tools used: Rhino discriminator Grasshopper Python

32

Key libraries: open3d pyntcloud Formats: Pointclouds Meshes Nurbs

64

neural network Tools used:

(None, 4096

LeakyReLU

(None, 4096 Adjust Model

128

Key libraries: numpy Format: .npz

Digital Tools

Rhinoceros 3D is a CAD modRobert McNeel & Associates.

Grasshopper is a visual programming language & environment that runs within Rhinoceros 3D created by David Rutten.

Using Jupyter Notebook, GAN BatchNormalization code comprising TensorFlow and Keras libraries are trained for a fixed number of Epochs.

LeakyReLU Tools used: Python

Python

1

Analysis of

Training Results (None, 4096

Conv3DTranspose 3D data has to be converted into a format that is understood by TensorFlow. In this case, data is voxelized and stored as a binary array.

Output Shap

BatchNormalization

Reshape Curate Dataset

Available Datasets have to be vetted to remove possible defects that would hinder training.

4

Key libraries: Conv3DTranspose TensorFlow Keras

BatchNormalization

If Unsatisfactory

(None, 4,4,

(None, 8,8,

(None, 8,8,

Results of training are analysed by random sampling of the latent space.

Visualization is within Python using Matplotlib library.

(None, 8,8,

Tools used: Python

(None, 16,1

Key libraries: Matplotlib numpy

(None, 16,1

LeakyReLU

(None, 16,1

Conv3DTranspose

(None, 32,3

Total Params: 705,728 Tarsier is a point cloud and is an interpreted, Trainable Params: 697,440 Python 3D scanning library for use in high-level, general-purpose Grasshopper by camnewham.Params: 8,288 programming language crea Non-trainable ed by Guido van Rossum.

Volvox is a point cloud editing plugin for use in Grasshopper

by Henrik Leader Evers & Mateusz Zwierzycki.

Yellow is a mesh and voxel manipulation plugin for use i Grasshopper by Amir Habibi.

orkflow 128 64

0.9596 656 0.99 846321 0 .6789531 0.987632 0.

3214238 0.

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1

Discriminator Convolution Neural Network

Probabilities

Designer Intervention

y()

Point Cloud

Designer Intervention

tf.discriminator.summary() Model: “sequential_1�

pe

If Satisfactory

6)

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Catalogue of Desired Coordinates

3D Software

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Output Shape Spatial Quality Analysis

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8

524,288

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6)

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(None, 16,16,16)

0

6)

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0

,4,64)

0

Conv3D

(None, 8,8,8,32)

64,032

,8,32)

131,072

LeakyReLU

(None, 8,8,8,32)

0

128

of key variations DropoutCoordinates are saved and mapped to

(None, 8,8,8,32)

0

0

Conv3D

(None, 4,4,4,64)

256,064

32,768

LeakyReLU Key libraries:

(None, 4,4,4,64)

0

16,16,16)

64

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(None, 4,4,4,64)

0

16,16,16)

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0

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4097

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,8,32)

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in .

Latent space interpolation serves as a second check for training results. Done in Python.

Tools used: Python Key libraries: Matplotlib numpy

(None, 16,16,16)

Param #

Proceed to Next Phase

Evaluate Data Scope

form a catalogue of form variations and to understand the implicit rules learnt.

Tools used: Python

Generated spatial characterisics are further evaluated in 3D modelling software to determine what is learnt.

Tools used: Rhino Grasshopper Key plugins: Volvox Tarsier Yellow

Matplotlib numpy

Total Params: 326,209

Tensorflow is an open source Numpy is a library for scientific Trainable Params: 326,209 platform for machine learning computing in Python that supcreated by Google Brain Team. s large, multi-dimensional Non-trainable port Params: 0 arrays and matrices, created as a community project.

Keras is an open source neural-network library written in Python created by Francoise Chollet.

Pyntcloud is a Python library for working with 3D point clouds craeted as a community project.

2,016

Matplotlib is a plotting library for creating static, animated & interactive visualizations in Python by John D. Hunter.

Open3D is an open source library that supports developwith 3D data created by the Open3D team.

28

proxy

As a test of concept, the ‘Most Popular’ data was sc from the world’s largest online repository of 3d obj Thingiverse. Data was also color coded according to cat to test the extent of 3D-Convolution Vision.

y data

All Categories

Architecture & Structures Category

3D RGB Convolutions. 1500 samples from each category were chosen from each category and shuff

Art C ategory

craped jects, tegory

Data Sets were obtained from Thingiverse according to 3 different categories and tagged a dif

29

THE MAKERS ?

MUSEUM

overview

30

fferent categories and tagged a different color each to test the extent of the Machinic vision

ai form g

chosen from each category and shuffled into a dataset of 4500.

1500 samples from each category were chosen and shuffled into a dataset o

generation

Metrics

A series of 5 to evaluate t

Porosity

of 4500. After 5600 Epochs, the Latent Space was randomly sampled.

Volume

This metric m the porosity massing at th level. This i mined by the the exposed f the enclosed

Sprawl

This metric m the total vol the massing g and gives ind of the amount space availab

Variability

This metric m how sprawled erated massin compared to i

Connectivity

This metric m the amount of mixing within massing.

This metric m the average e connectivity nodes in the cloud generat

31

checks & Political Structure: Interactive A.I Democracy An Interactive Democracy is defined as utilizing Information Technology to allow citizens (the Collective) to propose new policies, ‘second’ proposals and vote on the resulting laws. The structure envisioned for the Makers Museum is a combination of an Interactive and Representative Democracy capitalizing on A.I as a ‘fair’ curator, where Representatives voted by the Collective work together with the Artificial Intelligence to select the best possible result: majority approval & functionally optimized.

A.I

COLLECTIVE

Steps Intervened by A.I 01-02-05-07

Steps Intervened by Collective 02-03-04-07-08

1 A.I Learns, Distills & Generates Each year, the 3D data of the possible futures of the Museum uploaded by the community is converted into a form that the AI can process. Through an unsupervised machine learning method, the latent understanding of the Collective’s desires is learnt.

Sequence of In

8

Collective Creates Form virtually & physically The Collective creates new data and uploads it into the cloud via the virtual Museum.

Physically, the Reconfiguration Space allows visitors to understand the origins of the Museum’s form and create their own versions of the architecture to be uploaded.

b

7

Collective Usage & Changing Needs As the Community utilizes the tools, furniture and equipment at the museum, the museum auto-reconfigures its equipment layout such that its equipments keep witin the specified safety distancing.

In the event that a new exhbition space is spontaneously designated within the Museum, the AI reconfigures the layout to accomodate the paths taken to the exhbits from the exits and between the exhibits while moving equipment out of the paths.

6

Initiate Rec

balances The Advisors

Data Scientists

Architects

Structural & Systems Engineers

Project Managers

A team of specialists from the Maker Community, chosen by the Collective to provide expert advice on the selection of A.I generated forms as well as negotiate the bureucratic and contextual constraints of the site. These representatives are evaluated by the A.I and proposed to the community based on their specialisations, contributions and activity towards the Maker Community.

Oct

Nov

Dec

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Mon Wed Fri User Contributions in the Year

2

nterventions

Less

human & A.I Intervention

More

1

2

3

Having evaluated the potential forms generated by the AI, the specialists propose a number of viable solutions edited within the constraints set by the community. The Maker community then through an online voting platform on the Museum’s website cast their votes to decide the form of the Museum.

3

Collective Votes I (Form Reconfiguration) In the second stage of voting, the Community votes for the programme and the desired value for each predetermined metric according to their preferences on a scale of 0.0-1.0.

The AI ammasses the results and calculates the average for each programme.

The AI then maps the programmes for each floor using a selforganizing map to reduce higher dimensional data.

4

at

io

n

Collective Votes II (Programme Reconfiguration)

al biAnnu

Re

th Mon

ly

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io

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ra

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5

A.I spatial organization

4

5

configuration

32

the exhbits from the exits and between the exhibits while moving equipment out of the paths.

evaluation metric

6

Initiate Recon

Ground Porosity

Volume

Node Connectivity

Sprawl

Variability

Sorting for Selection The forms generated by the machine is then evaluated and ranked for selection.

Porosity

Metrics A series of 5 metrics were used to evaluate the forms generated.

Volume

This metric measures the porosity of the massing at the ground level. This is determined by the ratio of the exposed faces to the enclosed area.

Sprawl

This metric measures the total volume of the massing generated and gives indication of the amount of space available.

Variability

This metric measures how sprawled a generated massing is as compared to its height.

Connectivity

This metric measures the amount of channel mixing within the massing.

This metric measures the average edge connectivity between nodes in the pointcloud generated.

additional control 1

& AI Intervention TakingHuman into consideration site factors, the generated forms are democratically voted for and manipulated by consideration a panel of Specialist advisors have been assigned as representatives based on Taking into site factors, the selectedwho forms are manipulated in collaboration with the Specialists their credibility in the Maker community as well as their expertise. This allows for a balancing of power between the artificial and human designer agency.

Hybrization via Latent Space Interpolation

161

33

77

Cleaning & Augmentation The Advisors are given the authority to select and edit the machine generated forms to a limited extent.

Ground Connection Extension

Points that are cantilevered over the ground within a certain threshold as determined by the Human are extended via a recursive algorithm.

Floating Points Removal Floating Points are removed according to a Human determined volume threshold. The machine then searches and culls these points.

Volume Threshold

Height Threshold

Coloring New Points

New Points are added to the point cloud by sampling six closest neighbours and taking the average RGB values.

Non-Manifold Edge Removal Non-Manifold edges are removed so that the resulting mesh may be pro -cessed. This is done via a recur -sive manifold edge detection and volume addition to resolve the edge.

Addition & Subtraction of Volume

Volume Selection

Sequential Aggregation 10%

Percentage Recursion Number

The Advisors are given autonomy to edit up to 10% of the generated form, subject to Collective support

33

43 3

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34

THE MAKERS ?

MUSEUM

overview

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6m F a c a d e P a n e l C o m p o nents

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Expanding upon the historical precedent of Yona Friedman’s work in the Principles Ville Spatiale, the 6mx6m module was utilized as the starting point to ‘accomodate all kinds of functions’.

With today’s technology, discretizing the cube into even smaller repetitive parts is a possibility that offers it even greater flexibility and reconfigurability.

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x 56

x 08

x 427

x 16

x 08

c t u r al Fram e

39

mod Pr im ar y & Se c o n d a r y F r a m e C o n n e c tion

Mo d u l e - M o d u l e C o n n e c tion

Part Replacement

dule

40

vertical I de nt if i c a t i o n o f C o r e Z o n e s

L8

Each floor is analysed by the AI to determine the connectivity of each voxel to other voxels on the floor. The point with the highest connectivity and a proportional number of surrounding voxels are designated as doubleheight atrium spaces to serve as points for dissemination.

L7

L6

L5

n o . of voxels

L4

floor area

Level 12 L3 A ugmented Voxels

L2

L1 Dissemin ation Point

systems L16

L24

L32

L15

L23

L31

L14

L22

L30

L13

L21

L29

L12

L20

L28

L11

L19

L27

L10

L18

L26

L9

L17

L25

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vertical C or e Z o n e C o m p o n e n t s

Modular Stairc ase

M odular Plumbing Network

Lift Cluster

Pr e s e n t a t i o n S p ace

C a s u a l S e a ting

systems

Double Volume Void

Mobile Escalator

T e m p o r a r y Exhibitions

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vertical Co re C om po ne n t s : S t a i r s & E s c a l a tors

Escape

Modular Staircase

Modular Plumbing Network

Lift Cluster

Prese n t a t i o n S p a c e

Mobile Escalator

Casual Seating

Temporary Exhibitions

The stairs likewise are construct components being reused.

systems Stai r s

Mobile Escalator Taking inspiration from TEC Hßnert’s mobile escalators used for airplane disembarkation, the Museum similarly employs mobile escalators that plug into the floor cavities.

The flexibility of the escalator positioning allows for new con figurations of even the core spaces of the mus eum. The robots then aid in towing the escalators to their new positions.

Robot engages mobile escalator

ted m o d u l a r l y , w i t h s h a r e d s t r u ctural

43

vertical Co re C om p o n e n t s : L i f t B l o c k

Motor Room

Plumbing Modules

The lift block is incorporated within the s t r u c t u r e o f the Museum as a c l u s t e r s t a c k utilizing the o f t h e 6 m x 6 m module as a reference.

likewise modular vertical porosity frame of

T h e m o t o r r oom located on the top o f e a c h s t a ck contains the machine d r i v e s f o r the for lift operations, while the transparency of the stack a l l o ws for the visibility o f t h e b u i lding services, similar t o t h e P o m pidou Centre, where the b u i l d i n g ’ s p rocesses are apparent to the visitor.

Car Guiderail

systems

Machine Drive

Landing Doors

Lift Car

Counterweight Guiderail

Counterweight

44

vertical C or e Co mp on e n t s : P l u m b i n g N e t w ork

Sewer Pipes

Stormwater Pipes

V a l v e L o c king for m o d u l e r e moval & transport

0.5m

Water Pump Station

1.5m

systems

Rising Main Wet Riser

s

45

vertical

C l ustering Core Zones for Ver

Vertical

I d e n t i f i ed Core Zones based on Connecti vity Analysis

systems

r t i c al Circ ul at io n & S e r v i c e s

Cluster L27-31 Refuge Floor

Cluster L18-27

l Sha f t s

Refuge Floor

Cluster L11-18

Refuge Floor

Cluster L1-11

Cluster L1-4

Connecting Paths for Services C l u s t e r ing of Overlapping Floors

46

vertical

C l ustering Core Zones for Ver

Stair

Lift

I d e n t i f i ed Core Zones based on Connecti vity Analysis

systems

r t i c al Circ ul at io n & S e r v i c e s

Ris e r s

Cluster L27-31 Refuge Floor

Cluster L18-27

r Sha f t s

t Sha f t s

Refuge Floor

Cluster L11-18

Refuge Floor

Cluster L1-11

Cluster L1-4

Connecting Paths for Services C l u s t e r ing of Overlapping Floors

47

facade i En tr an ce / A t r i u m

Le is ur e

Fa br ic at i o n

indexing P r o g r a m m e Considerations Privacy

Daylight

The entrance and atrium zones have two modes of facade treatment. The first serves as an open and transparent entrance to the Museum’s spaces while the second reduces the amount of daylight according to exhibition needs taking place in the atrium spaces.

Leisure zones offer an open unobstructed view to the surrounding area in the event spaces for boisterous activity while more quiet, muted areas with gentle lighting offer a more relaxing environment for makers and visitors to unwind.

Fabrication zones are highly porous and allow in a generous amount of daylight for productive activity.

At the same time, the large windows allow for such activity to be viewed publicly from the exterior of the building.

48

facade i Le ar ni ng

St ud io s

Ad mi ni st r a t i v e

indexing P r o g r a m m e Considerations Privacy

Daylight

Learning zones are demarcated by horizontal louvre facades that rotate to cater flexibly to the lighting needs of the learning and teaching format occuring within the space.

Studio zones used by artists, creators and entrepreneurs utilize vertical fins that offer the possibility for high amounts of privacy by restricting views into the studio while allowing ample daylight in.

Administrative zones fufill the needs for office spaces as well as storage that startups and staff of the museum require. The combination of 3 facade types allows for a facade that can be tailored to the lighting needs of the programme within.

49

facade i Re si de nc e s

Crane Cable

As se mb ly Z o n e

project parts

indexing P r o g r a m m e Considerations Privacy

Daylight

The residence zones are characterized by balcony spaces that serve as a functional threshold to the more private living quarters while not compromising on daylighting and views.

Assembly spaces are paneled almost completely with low-E heat reflective glass, allowing its contents to be showcased to the surrounding area. The double height spaces allow ample sunlight to illuminate the assembly work of large scale pieces.

These spaces are positionally optimized (in appendix) to be on the perimeter of the building volume for visibility as well as practicality in transporting large parts via crane-lift.

The facade is deconstructed and structurally extended to receive incoming equipment and parts or dispatch assemblies.

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facade i P ub li c Ac ce s s

Atrium Zone

Leisure Zone

Fabrication Zone

Learning Zone

indexing P rivate Access

St u d i o Z o n e

Admin Zone

Residence Zone

The color of the facade panels for each module gives indication of the programme behind the facade, with a darker shade representing more private programmes.

This creates a visual connection that informs the visitor of the makeup of the museum, and reinforces the link between participatory design and what is generated, making the importance of each user’s contribution tangible.

51

Object Shifting by Robots i n G r i d

robotic The various robotic tasks to be undertaken in the museum were considered in the design of the robot’s form and movement mechanisms. The dexterity needs of the robot were compared with industry precedents to determine an optimal joint configuration.

Lifting

D e x t e r o u s M o v e m e n t i n XYZ

To

J oi n t C o n f i g u r at io n

Pick Plac e T w i s t

Non-Linear M o t i o n

c tasks

owin g

S e c u r i n g Connections

L i n e a r Motion

Extensio n a r o u n d O b s t a c l e s

Com p l e x M o t i o n

52

industria

C ar te s i a n

C yl in d r i c a l

S CA RA

P ol ar

A rt ic u l a t e d

D el ta

al robots Lin e ar J oi nt s

Rotary Joints

Applications Cartesian robots have extremely stable movement and are ideal for precise digital fabrication such as 3D printing or CNC machining.

Disadvantage: Large footprint

Cylindrical robots have a cylindrical-shaped work envelop. Used often in tight work spaces for simple assembly.

Advantages: Large Payloads Selective Compliance Assembly Robot Arm (SCARA) Advantage: Fast movement in a single plane Disadvantage: Large headroom needed Work envelope difficult to control

Polar robots are comonly used for injection molding, welding and material handling.

Disadvantage: Limited degree of movement

May have more rotary joints, most commonly, 4 or 6 axis. Used commnly for assembly, arc wielding, material handling and packaging.

Advantage: Potentially high Payload Versatile allowing it to reach around obstacles

Delicate, precise and fast movement. Used in pick and place packing lines for small items, such as pharmaceuticals and electronics.

Disadvantage: Low Payload

53

robot Co mp a c t

0.5m

The robot is designed to have a small form factor such that it easily blends into the landscape of the various zones in the museum. At a human scale, these robots are also mobile furniture pieces that shape the zones.

0.5m

Mov e men t

0.5m

Helical Perpendicular Gears Clamping Motion For Non-XY Planar Movement

Rail

Rotation about Robot Axis

Rubber Rollers

design Grid Positioning

r=0.75m 0.25m 0.5m

r=0.1m

0.3m

1.5m

r=0.1m

Removable at Joint

Motorised Wheel

54

robot Co mp a c t The robot is designed to have a small form factor such that it easily blends into the landscape of the various zones in the museum. At a human scale, these robots are also mobile furniture pieces that shape the zones.

0.5m

Fl ex i b l e Upon deployment to an area of alteration, the robotic arm within unfolds to achieve a reach of 1195mm. The 7 axes of rotation allow it to bend around obstacles while carrying out tasks.

1.5m

0.5m

1.5m

0.5m

1.06m

0.75m

Unfol din g Seq u enc e

The total extended reach of the robotic arm of 1195mm allows the bot to comfortably reach the centre point of the smallest voxel unit, a 1.5m cube.

design 7 Axes of Rotation

115mm

0.1m 390mm

0 . 3m

0.1m

300mm

End Of Arm Tooling Storage Expandable Parts Holding

Degrees of Freedom

160 o

165 o

110 o

-110 o

390mm -75 o

240 o

0o

-60 o 105mm

55

robot Co mp a c t The robot is designed to have a small form factor such that it easily blends into the landscape of the various zones in the museum. At a human scale, these robots are also mobile furniture pieces that shape the zones.

Fl ex i b l e Upon deployment to an area of alteration, the robotic arm within unfolds to achieve a reach of 1195mm. The 7 axes of rotation allow it to bend around obstacles while carrying out tasks.

Ve rs a t i l e The Cubot can be outfitted with various End of Arm Tooling that is stored in its shell. In addition, it can be combined with other Cubots to accomplish more complex tasks that require greater articulation.

Rivet Gun

Gripper

Vacuum Suction

Drill Head

Arc Welder

End Eff e cto r s

Rail Gripper

design

Off-Rail Movement

In addition to its movement along the structural rails, the Cubot can execute other forms of movement such that it has some freedom beyond the grid. By engaging the motors of the robotic arm in the same direction and instant, the Cubot can roll about its centroid.

56

PART II Link in description