SIMON PORTDAUFO-
CV* CV* CONCEPT CONCEPT PIPELINE* PIPELINE* SCHOOL SCHOOL WORK* WORK* THESIS_FLAMENCO THESIS_FLAMENCO ART ART CENTRE CENTRE HK_07 HK_07 FABRIK째G* FABRIK째G* Z_GALLERY Z_GALLERY COMPETITIONS* COMPETITIONS* IBF_08 IBF_08 FARO FARO DE DE SATELLITE SATELLITE GRAPHIC GRAPHIC DESIGN* DESIGN*
GENERAL The big idea is dead. Architectural projects are too complex to be facilitated by one overarching concept, as life is too complicated to be solved by one thing. In fact, our design environment is too complex to successfully implement one unifying thing as a single solution to every aspect of a project. Change design challenges us to “simplify complexity,” when, in effect, it should challenge us to “simplify complication” because complexity, after all, is what we strive for. Beauty = Complexity - Complication.
IDEAS A visual, auditory, or kinesthetic concept or a combination of these whitin an arts discipline
ATTITUDE A complex mental state involving beliefs, feelings, values and dispositions to act or think in certain ways
ENGINE An engine is something that produces some effect from a given input. Foundational component ellements of programming used to construct a skeleton or framework for an application
(re) ORGANIZATION Despcription of systems based on complexity and/or order
TOOLING A, implement used in the practice of a vocation. A tool is, among other things, a device that provides a mechanical or mental advantage in accomplishing a task.
EXPERIENCE Experience as a general concept comprises knowledge of or skill in or observation of something or some event gained through involvement in or exposure to that thing or event.
ANARCHITECTURE
CAMOUFLAGE
DISPOSITION
IDEATION
AMPHIBIOUS
PROVISIONAL ISLANDS ARTIFICIAL
ECOLOGY
NATURARTIFICIAL ATTRACTORS
HYPERCONTEXT
SYSTEM
ESTHETIC
FRACTAL COMPLEXITY
KNOWLEDGE
compositional operational material geometrical graphical
FLOWS LAYERS DYNAMISM
MEMBRANE
TROPISM INFORM(ATION)AL FOREIGNESS
SYNERGY
ALIENATION HACKITECTURE
TRANVERSALITY
FORMLESS
STRATEGY
LOGISTIC
NO-BOX
programmatical functional metrical
IN/UNSTABLE CLOUD PROSTHESIS
NO-PLACES HETEROTOPIA TRANSITIVE MATHEMATICS
INTELLIGENCE
ALGORITM STRUCTURE
SITUATION
TOPOLOGICAL HYPERPLACE
ENERGY
temporal canonical ecological socio-cultural
NETWORKS PERIPHERY
VARIATIONS
RURBAN
IDEAS A visual, auditory, or kinesthetic concept or a combination of these whitin an arts discipline
ATTITUDE A complex mental state involving beliefs, feelings, values and dispositions to act or think in certain ways
ENGINE An engine is something that produces some effect from a given input. Foundational component ellements of programming used to construct a skeleton or framework for an application
FABRICATION
GENERATION
ANALYZATION
STRANGLER FIG BRANCHING MATERIAL SYSTEM BUBBLE GUM COLLAGING MORPHOGENESIS TECTONIC PENETRATION_LIQUID
CONVENTIONAL FRAMEWORK VOID PANOPTISM 3D TESSALATION CLOTH FORCES GENERATIVE COMPONENTS
ANTI-FORM HOMOGENEOUS DUAL(ITY) PATTERNS RHYZOMATIC HYBRID SELF-URBANISM PROVISIONAL BLOBS VOYEURISM MULTILAYERED TRAJECTORY INDIVIDUALITY INCUBATOR REGENERATION PRAGMATOPIA PATCHWORK ARCHITECTURE
(re)ORGANIZATION Despcription of systems based on complexity and/or order
TOOLING A, implement used in the practice of a vocation. A tool is, among other things, a device that provides a mechanical or mental advantage in accomplishing a task.
EXPERIENCE Experience as a general concept comprises knowledge of or skill in or observation of something or some event gained through involvement in or exposure to that thing or event.
THESIS °° VECTOR VECTOR THESIS ARCHITECTURE ARCHITECTURE PROJECT DESCRIPTION Project Year Prof.
Thesis - flamenco art centre 2nd Master Arch. 2007 W. LIevens (NERO)
GENERAL Jerez de la Frontera is the birthplace of flamenco, the whole city breaths flamenco. The project is situated in the centre. The idea was to Recover the public spacefor the enjoyment of everyone, to promote theharmonious and sustainable development of the territory and to recover the heart of the city.
SITE ** SITE
Existing historical buildings and cultural facilities _ churches,... Existing historical buildings and cultural facilities _ others,... Public network
JEREZ DE LA FRONTEIRA The cityʼ’s recent evolution, particularly in the second half of the past century, has brought about a gradual isolation of the area, that together with the populationʼ’s settlement outside the historic center, has strongly contributed to its architectural and functional decay. Nowadays, abandoned buildings, empty lots, and inadequate uses are common. At the same time, the populationʼ’s socioeconomic level is one of cityʼ’s lowest, sometimes living in overcrowded and uninhabitable places. This area has turned into a marginal pocket in the very heart of the historic district. Through a Special Plan it has been possible to undertake a detailed analysis of every element, so unveiling the two aspects of this site: its historic value (very disfigured today), and the measures necesssary to invert its evolution, or rather, to turn it into a center of attraction because of the quality of its buildings and spaces. The urban void of the Plaza de Belén as it is today,
FLUI
In this project, i understood city as fluid container, continuously generate temporal crowd organizations derived from the interactions of the people flow.
Liquid architecture is not the mimesis of natural fluids in architecture First and foremost it is a liquidizing of everything that has traditionally been crystalline and solid in architecture. It is the contamination ofmedia. This means the smooth merging of, for instance, wall and floor, of body and geometry, of object and environment, of floor and volume, of action and form of course, this is called inter-action, because the point of action is always exactly in between object and subject, and this “in between” is where skin, environment and interface come together. Liquid architecture is always trying to connect one act to another, of putting a virus in the program itself, about the hyperbolic linking of events, where every object and every event can have unforeseen and unprogrammed effects. Nothing, no function, no object can remain isolated; everything is brought in a continual process of transformation to the other - everything is necessarily opened up and leaking away.
FLUID DYNAMICS * ID DYNAMICS
VECTOR FIELD ** VECTOR FIELD
The design strategy has focused its design research on Vector Fields and Fluid dynamics as the conceptual and technical basis in the choreography of complex dynamic urban interactions.
The exploration of Vector fields as an urban tool allowed an alternative mode of addressing masterplanning strategies, not as one that is fixed but as one that is relational to possible futures. Developing different parametric systems (landscape/multiple ground condition, circulation, massing, program distribution and navigation) as a series of urban fields that correlate with one another to organizeand integrate differentiated urban space. This project addresses urban space by studying different programs relations through sectional field navigation. The resolution of the vector as a design tool explores different scales and levels of spatial, structural, material and programmatic differentiation by developing vector to vector properties from a local to a global field space.
MASSING STUDIES MASSING STUDIES *
*
3d vec and
Different type of crowd movement triggered differences of programs distribution and navigation through the site. The research on massing as one of the parametric urban tools allows us to negotiate the context and thefuture conditions, rather than fixed, but gives the input to the site and also be affected by the densification of the site. By setting up the urban inputs we are able to control two or three different type of programs and tectonic system specifically, from either smooth, singular program to the more extreme conditions, which could have the extreme density and height
Working with the intensity parameter in the vector field allowed us to generate a d point cloud to then translate it into a 3d ctor field that allowed us to control speed directionality into a series of topological organizations.
_loop configuration
_loop configuration _loop Navigation
_loop configuration _loop Navigation _loop to loop
STRUCTURE STRUCTURE STRUC
The nex was the tions of able or relation way to
I try to detail a ric mod namic b ing the matter
The vec orienta ture, et site as
_loop Navigation
_loop to loop 3D
** ESTUDIES STUDIES CTURE STUDIES *
xt strategy towards the vector materialization e loop scheme. By linking the different interacf the vectorial lines I managed to develop a varirganizationwithin a gradient logic. The continue n from loop to loop appear as an interesting o link space and navigation strategies.
o develop this continuity from the overall to the and tectonic organization in a series of parametdels. I tried to close the gap between uid dybehavior and material organization demonstrate power of uid to describe interactions beyond into spatial and programmatic distribution.
ctorial coordination is spread along the different ation issues like views, slops, air control, temperatc‌ allowing us to spread this logic across the an organization urban statement.
PROGRAMMING* PROGRAMMING*
_ Contribution to the urban network _ Creating a full preformance of the whole to create 1 thing. _ Auditoria that can house a full rage of large activities _ Flamenco School and plastics _ Centre Square that is works as and attraction pole to the neighboorhood _ Creating networking between several open spaces whtin the distrect _Create bars and tablaos to create an urban atmosphere .
LEVELING LEVELIN
G* NG*
0* 0*
1* 1*
URBAN FABRIC* URBAN FABRIC*
NIGHT LIFE* NIGHT LIFE*
HK_07* HK_07* PROJECT DESCRIPTION Project Year Prof. Collaborators
Hong Kong Headquarters 1st Master Arch. 2007 M. De Maeseneer (mdma.be) Verhees Benjamin (BEL) Smardova Katka (CZ)
GENERAL HK multinational wants to extend their office building in the industrial zone, the new territories (shatin) in Hong Kong with 2 or 3 floors, in order to upgrade the image of the company and building. They want to create a landmark that would change the skyline of the east-bank of Hong Kong.
DESIGN TECHNIQUES DESIGN TECHNIQUES* Digital input was devised so that through numerous interactions among its elements over a given time span, the path generator program restructures and finds form. Most of the digital input consist of materials that can process forces by transformation. Since they are agents, it is essential that they have certain flexibility, a certain amount of freedom to act. It is also essential that this freedom is limited to a degree set by the structure itself. The path generator program was used to calculate the shape of internal and external patterns, of branching column systems. These are similar vectorized systems that economize on the number of paths, meaning they share geometry of merging. All techniques are fully systematic, all features are formed simultaneously. The system is calculating everything at the same time solid and void. Order and form are produced, they come about, and they emerge during the process. The constructive lines are not rigid beams but start as flexible fig structures that meet up and merge into form (bottom up) into a complex inflexibility. This means that these computing techniques either analogue or digital are used to form not just structural form but also a higher level of organizational form.
STRANGLER FIG - GROWING STRUCTURE
RESEARCH* RESEARCH* RESEARCH* In this series of diagrams, the self organizing behavior of the Strangler fig was analyzed in order to evaluate its potential as an organizational tool for new dynamic forms and patterns. By manipulating parameters such primary size, gravity, adhesion weight and branching probability, the resulting patterns range from a mesh to complex fields of random lines. The parameters driving the system were translated as literally as possible into different programmatic scenarios: primary size, gravity, adhesion weight and branching probability were read as potential degrees of flexibility and connectivity found in the new forms of workplaces and collaborative environment and outside skin structure. The higher the number of colliding neighbours is the more open the skin pattern is, and the higher the gravity and length flexibility are, the more cell structured the outside becomes.
PATTERN FORMATION
DYNAMIC PATTERN FORMATION / PLAN DEVELOPMENT
MORPHOGHENESIS* MORPHOGHENESIS* SETUP We started with a non volumetric setup to create the combination between the fexible skin and adaptable floor plans, where all elements are interconnected, a network of lines made of dynamic fig structures with a certain flexibility and each attached from both ends on a rigid perimeter frame. From each point there is a fig line going to each other point or node situated on the adjacent sides of the frame. The system then runs until the first two dimensional pattern is formed. At this time the system becomes slightly stable i.e. when the figs have bundled with their specified nearby neighbours.
ORGANISATION The bottom up process developed by us in the main core of the course combined research and experimentation with the stangler fig system. Several attempts using the fig diagram were made to generate form and structure that could potentially become a space frame for several programmatic activities. We investigated ways to systematise the process in order to advance at a larger scale the organizational diagram and program distribution of the project, and smaller scale, the tectonics and all related structural and infrastructural logics.
OUTPUT Moreover the penetration liquid offers functional space i.e. meeting rooms, conference rooms and communication areas, for the various companies of Hong kong headquarters needing not only more interfaces with outside i.e.: subcontractors, collaborators, customers, consultants…but also an increase of general communication interfacing among partners, directors and employees.
TECTONICS Through various digital experiments with the strangler fig system, logics of structural behavior and strength are sieved out; rules are extracted regarding the fillet at the branching intersection changing radius according to change in angle, or changing its thickness as the gradient or the length of the branch increases. The core of the Strangler fig design framework presents fundamental geometry types and operations and related measurement operations. we used these features offered to generate special components, and compositions of such components forming a complete design configuration. Based on these rules the component thus created in that program intends to mimic the behavior of the strangler fig at the intersection of multiple branches. This joint is realised as an intersection of solid legs which are capable of stretching and the angle between the arms as a fillet. This is employed to create these interdependencies between the legs of the component and furthermore build an interactive continuity between several joints, and generate a structural three dimensional lattice that will become a proposal for the structural integrity of the project.
DIGITAL PRODUCTION* DIGITAL PRODUCTION*
DIGITAL OUTPUT*
DIGITAL OUTPUT*
Z_GAL Z_GAL PROJECT DESCRIPTION Project Year Location Collaborators
Hong Kong Headquarters FabriK°G 2009 (MEX) Mexico DF (condesa) www.fabrikg.com
GENERAL
Z-gallery is a multi-usage art space combined wi public green area. Itʼ’s located in Mexico-city in t area of Condesa and contributes to the complex ban fabric of the big city.
LLERY* LLERY*
ith the x ur-
Secuencia Programatica / Cultural
URBA URB Empty_Lots City_Development
Green_Public_Space
Cultural spaces
The city is a p fore space is va
Green work adding
The use of fre city can be m attractors (art - g
PROGRAM
AN BANSTUDIES* STUDIES*
place for millions. Therealuable aspecialy public space.
ks as an attractor. So by g green, the value rizes.
SEPERATION
ee empty spaces within a multiple. By combining 2 green) you can create a hot spot whitin an area.
CONNECT
OFFICE / CAFE GALLERY SERVICE CONTINU
The truncated octahedron is an Archimedean solid. It has 8 regular hexagonal faces, 6 square faces, 24 vertices and 36 edges. Since each of its faces has point symmetry the truncated octahedron is a zonohedron. A truncated octahedron is constructed from a regular octahedron with side length 3a by the removal of six right square pyramids, one from each point. These pyramids have both base side length, a, and lateral side length, e, of a. The base area is then a². Note that this shape is exactly similar to half an octahedron or Johnson solid J.
TRUNC TRUNC
SPACE-FILLING SPACE-FILLING CATEDOCTAHEDRON* OCTAHEDRON* CATED
Z* Z*
IM IM
PROJECT DE
Project Year Location Collaborators GENERAL
The concept FOODʼ’. Imag ed space with the human as petition entry, create a flow fers to the ma cafetaria of S
MAGE BODY MAGE BODY FOOD* FOOD*
ESCRIPTION
s
Extension cafe 2008 Ghent (BEL) Uytenhoven Pieter
consist of 3 elements ʻ‘IMAGE_BODY_ ge refers tothe old fucntion of the connecth was an exposition area. Body refers to spect and ergonomic features of the com, where floor and wall combine into 1 to for the image to be displayed. Food reain function of the extension itself wich is a Saint Lucas art school Ghent.
S
PRO
Proje Year Loca Colla
GEN
On t desig in th Herit Com SatĂŠ a mo natio gove a sec new alon trian plaz unde the d givin rend lic sp
CUIDAD CUIDAD SATELLITE* SATELLITE*
OJECT DESCRIPTION
ect r ation aborators
ARQUINE 09 Ongoing Mexico DF (MEX) www.fabrikg.com
NERAL
the 50th anniversary of the Satélite Towers (1958) gned by Luis Barragán and Mathias Goertiz, now he process of being catalogued as National Artistic tage, ARQUINE announces its 11th International mpetition, proposing the design of a “FARO of élite” in the plaza where the towers are located. At oment when this milestone of Mexican and interonal modernity runs the risk of an assault by the ernment of the Estado de México, in the form of cond level of the Periférico ring road, this call for ideas proposes to depress the lateral circulation ng the east of the towers and generate a pedesn connection with Ciudad Satélite, extending the za and installing a parking area for 50 vehicles erneath the extension. The competition calls for design of a FARO which would redefine the zone, ng programmatic content to a space that has been dered incommunicado and generating a new pubpace.
FLOCKING ARCHITECTURE*
GRAPHIC GRAPHIC DESIGN* DESIGN*
INDESIGN*
N -TORM OI -U-A O E