Prototype city Design portfolio

DESIGN PORTFOLIO STUDIO PROTOTYPE CITY IKEDE AKPEZI VICTORIA STUDENT NO.: 160244203 2016/17 SESSION

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SEMESTER ONE: RE-INVIGORATING LOST SPACES IN SHEFFIELD IKEDE AKPEZI VICTORIA STUDENT NO.: 160244203

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...from lost to found, and lost again.

Sidney Street S1 Sheffield STUDIO PROTOTYPE CITY GROUP: SIMULATION T EAM OVERVIEW STUDENT NAME: AKPEZI VICTORIA TEAMMATES: KANGCHENG ZHENG WEILIN WANG YUFU LIU PAWIMOL SAMSEN

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INTRODUCTION

STUDIO TECHNIQUES

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UNDERSTANDING THE SITE

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Spatial Character, Social Aspects, Site Analysis

Table of Contents

SIMULATION RESEARCH BY DESIGN 16

PROTOTYPING VS SIMULATION

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FINAL ARTEFACT PROPOSAL

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REFLECTIONS

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REFERENCES

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INTRODUCTION

Start: A. Arts tower Western Bank S10 2TN

C. Snow Lane, Sheffield S3 7DB

D. Paradise Square, Sheffield S1 2DE, UK

Studio prototype City This studio focuses on using techniques in computation to design and explore architectural artefacts as well as various methods of site analysis based on data types such as images, sound, video, and geometry.

Project Brief “The goal of the studio is to document, analyse, and propose alternative futures for selected sites within the city.�

(Meagher & Kerr, 2016) At the beginning of the studio, we were presented with five research themes to choose from; Knowledge Space, Simulation, Movement/ Change, Materials and Fragmentation.

Working in groups under the chosen theoretical framework, we were to record tangible and intangible aspects of a specific chosen site using several computational techniques and produce a prototype that would revive these lost spaces. Within restrictions of the framework, the sites would be explored after which a proposal for an architectural artefact would be made. We would then explore how these artefacts could stimulate social interaction and be used as prototypes to assess, record and/or document real world data.

E. Park Hill Flats Sheffield S2, UK

The research theme for my portfolio work is Simulation.

Using a series of questions and images, this will be a narrative description of my studio project.

Research Question 1. How can lost spaces be transformed or revived using architectural artefacts?

2. How can these artefacts be tested through prototyping?

B. University of Sheffield Flyover S10 2TN

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F. Sidney Street, Sheffield S1, 4RG

STUDIO TECHNIQUES . LASER CUTTING TECHNIQUES FOR PROTOTYPE MODELLING We took part in several workshops in this studio to gain an understanding of computational forms of representation, and other tools which we could use to explore the dynamics of our site, and better understand the concept of prototyping. . HUMAN PRINTER WORKSHOP

. PHOTOGRAMMETRY

PROCESS

OUTPUT

Using a predefined ‘code’ designed by my group, we simulated the systematic process of a printer; Scanner --Processor-- Printer.

Using only word of mouth, the printers interpreted data from the scanners to produce an image.

This gave me a clearer understanding of how systems work and how such processes could be applied in an architectural context.

Photgrammetry: Using computational software, this image was created using over 600 pictures to help us explore the materiality of the site in three dimension.

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THE SITE IN CONTEXT Just a few years earlier, our site was simply a parking space with a stream flowing besides it. However, Sheffield’s city council in line with their plans for river restoration created a beautiful, green recreation space where pedestrians and cyclists could walk through, and people could sit down to enjoy beautiful natural scenery.

We chose this green space as our space for consideration we felt it would give us enough dynamics to experiment with using simulations.

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The presence of the stream created a peculiar constraint for our design ideas, as we would have to take into cognizance the impacts any spatial construct would have on the stream.

The site sits behind a teaching institution, which meant that whatever we designed would in some way interact with the current school’s current activities.

We also encountered several art spaces, galleries, and architectural offices. This indicated an artistic predisposition of the residents in the community, as was evident in the numerous vibrant graffiti paintings sprayed on virtually all vertical spaces around the site.

The sitting space was also experiencing a different form of misuse from skateboarders who used the seats as provisional skate rings, destroying them in the process.

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Local Climate Analysis using data from met.gov.uk This was done to inform what aspect of the harsh climatic conditions we were to focus on.

Consequently, there was no available data for wind.

The site was noticeably dark, and we felt this would pose a security threat.

However, analyses of local crime maps indicated that there had been very few reports of criminal activity in the area.

SITE ANALYSIS In response to the design brief, we asked ourselves some quick questions which led to a series of analyses: 1. What’s missing on this site?

2. Why is it considered a lost space?

This led to a series of subquestions; a. What kind of data do we need? b. What would be the most effective way to collect this data? c. How does our data fit into simulation research? d. How will our simulations translate to the real world?

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A sketch diagram to analyse the impacts of wind on the site, as perceived.

GRAFITTI ART

SPATIAL CHARACTERISTICS

INSTITUTIONS

We took a walk around the site to understand it’s character better and we found: A Graffiti B Institutions C Old factory Spaces

OLD FACTORY SPACES

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SITE: SOCIAL ASPECTS

ILLUSTRATION OF THE DIFFERENT SITE CHARACTERS

PEDESTRIANS/CYCLISTS

We conducted a six-hour video recording of the site to create a time lapse video, in order to identify the functions on the site, its users, (harmful and non-harmful) to assess the social impact of our artefact.

STUDENTS/TEACHERS From the neighbouring college, they enjoy taking breaks on the site

Circulation Space for cyclists

In the process, we discovered that all the users of the space (ourselves included) had one thing in common which prevented them from enjoying the space.

The site was the only open space surrounded by several high-rise buildings in the area. Winds chanelled from these buildings all converged on the site making it very cold and uncomfortable. This led to our design decision to create a wind break to provide warmth and shelter, whilst testing its effectiveness using simulations.

GRAFITTI ARTISTS Some people love their art, Some people are disgusted by it NATURE LOVERS Come to enjoy beautiful scenery

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ONLOOKERS from surrounding high-rise buildings

SKATEBOARDERS Destroy seating spaces

CITY COUNCIL WORKERS Carry out maintenance

PASSING TIME...

People waiting to go somewhere else.

ECOSYSTEM Biodiversity of plant and aquatic life

WATER POLLUTANTS Collection of poorly disposed waste from site or transported through the stream

LUNCH TIMERS Residents like to enjoy their lunch outdoors

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SPATIAL CHARACTERISTICS

Map showing the flow of the stream through the city.

The Stream: Porter brook, A distributary of the River Sheaf

Google Map showing the flow of the River through the city Visual representation of Sheffield City Council Plans for River Restoration

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DESIGN CHALLENGE We started to translate our ideas for the artefacts from sketches to three-dimensional models upon completion of analyses.

It was easier to start the ideation process with sketches, the hand to paper style of design made it easier to be more creative with the forms we could create.

Source: www.permaculture.org

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SIMULATION RESEARCH BY DESIGN Simulation stems from human fascination to replicate real world objects and environments.

Simulation is the creation of a copy of a real world scenario for the purpose of exploration, understanding, and testing. This copy can be represented in any number of ways dependeing on the purpose for which it was created.

Spaces can be explored in a variety of ways using simulations with creating real life alterations or damges. It is a useful resource for reducing waste in the building design-construction process.

The differentation between a simulation and an ordinary representation lies in the capacity to produce, test or observe data.

A simulation must in some way replicate properties of the real world scenario that allow for data collection through testing (Groat, 2013). include;

Real World

Google Earth Image

Representation

Graphics by Kangcheng Zheng

Simulation - Provides data Grasshopper screenshot

THE ITERATIVE DESIGN AND TESTING CYCLE OF SIMULATION RESEARCH

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Our first attempts to record and test data using the Flowdesign wind simulaltions were done on an empty site without the artefact.

SITE MODEL/ ITERATIVE TESTING For design simulations to work effectively, data must be tested against a baseline, a point of assessing variations (Kjell, 2014)

Section View of the Site on FlowDesign.

Blue area indicates obstructed windflow patterns e.g. by buildings

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ITERATIVE TESTING

Sketchup Model

FLowDesign Wind Simulation

Retest form using FlowDesign Wind Simulation

Adjust Sketchup Model based on ďŹ ndings from FlowDesign

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ARTEFACT REPRESENTATION Night view of artefact : Incorporating light displays to make the space more vibrant at night.

Flowdesign

Artefact Integrated with photogrammetry model in Elevation

Python

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MORE COMPUTATIONAL TESTING We did a variety of simulations to further test and analyse our designs. In most caes, our assumptions were affirmed, whereas in others, a lack of understanding of the parameters of the data found made the findings unuseful.

Using turtles to simulate randomness in movement. With the right inputs, this could be tweaked to simulate the actual movement of people on our area of interest, to understand the new patterns of movement our artefact would create.

A graphical representation of some data collected using python.

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PROTOTYPING VS SIMULATION

After our first review, we were confronted with the challenge of comparing our simulated data with real world experiences. Using materials available, and a wind anemometer to provide us with data, we attempted to create a prototype of the artefact we designed, and to test its feasibility in the real world.

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UNFORESEEN CHALLENGES The data from the wind anemometer which we used to test the effectiveness of our prototype informed us of two things; 1. The simulated wind direction we recorded was accurate.

2. The wind break did infact slow down the wind speed and provided shelter.

However, we met with some unforeseen challenges which our simulated data did not prepare us for; 1. The form we selected for the windbreak though functional, did not provide experiential comfort.

2. The grafitti, which we had not considerd of too much impact at the first instance had escalated to the point where the site had become useless.

3. Our designs however well intentioned would not serve much good if underlying effects of pollution - waste disposal in the stream and graffiti paintings - were not controlled.

‘ The space once found had become lost again.’

Photos showing vandalism

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PROTOTYPE TESTING REVEALED A NEED TO CHANGE THE DESIGN FORM FROM A TO B

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B

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FINAL ARTEFACT PROPOSAL

A windbreak aesthetically designed to mimic the keys on a piano

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REFLECTIONS/CONCLUSIONS ON THE STUDIO AND TEAM WORK The first few weeks of studio were quite challenging for me.

The topic of simulation was one so strange and unfamiliar that it took some time for my teammates and I to understand the tasks we were supposed to do.

Communication also posed a challenge for us as we were mostly comprised of non-native English speakers.

However, the group dynamics improved with time as we became more comfortable with each other and learnt how best to work with our individual differences. The ability of one of my team mates to speak two languages proved immensely helpful for group communication.

Tasks were usually distributed according to invidual strengths, and I personally focused more on research work, guiding the tasks we were to focus on doing.

Initially, it seemed like there was an uneven distribution of workload between team members, but eventually everyone was eager to take up tasks and complete them.

ON ORGANIZATION At the start of the project, our meetings were properly scheduled, minutes of meetings minutes were taken and deadlines given to each team member were met strictly. However, with time, there was a noticeable decline in our organizational skills, and issues with procrastination usually left us with too much to do, too close to the deadline.

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ON THE ARTEFACT AND SIMULATION RESEARCH: BENEFITS I enjoyed the ease and speed with which we created different iterations and tested them using simulations. The design-testing back and forth eventually created an awareness in my mind of little changes I could make to the artefact to get my desired results. I reason that simulation will prove very useful to me in architectural practice especially in testing grandscale ideas where real-life testing and experimentation would prove too difficult, time wasting and expensive.

I also discovered that simulations remove the constraint of time in experimentation and testing. The ability to pause, rewind, or go forward in time can only exist in virtual environments (at least at the moment), and, given the right parameters, design simulations could move beyond testing designs in the present to testing future scenarios.

Simulations also significantly reduces the wait time between thinking and doing, exposing bad or good design decisions early enough in the timeline.

LIMITS The limits of simulations became apparent to me however, as we proceeded to test a prototype for the artefact on site.

1. It can give you figures, but cannot measure the experiential nature of the designed artefact.

2. Data can easily be tweaked to produce desired results, which defeats the purpose of testing for accuracy.

3. Simulation is constrained by the medium of simulation, as creating copies of real world objects require some form of medium of expression. The ability of the researcher to manipulate the medium also significantly determines the the thoroughness of the data to be extracted.

PERSONAL SKILLS GAINED Ability to work in a team with strongly opinionated individuals.

Intuition to know when to continue with or disregard an idea, no matter how well intentioned.

Assumptions about the needs of a particular site should never be made. Data must be collected for designs to function effectively.

GOING FORWARD In the long run, I think that a community center hosting a cafe, shopping mall, or other such ancillary spaces would be beneficial to the residents of Sidney Street. Such a building should integrate seamlessly with the natural eco-friendly character of the site. the building can sit on the existing car park as there are at least four other car parks within a 1-mile radius of the site.

More effective strategies to discourage grafitti artists, as well as maintenance plans would help to preserve the beauty of the space, preserving it’s functional use for recreation.

REFERENCES Mor, Y., Design Narrative. Š2017 Meagher, M. & Kerr, D., 2016. Module handbook, Studio prototype City. p1 Kjell, A., 2014. Design energy simulation for architects : guide to 3D graphics. New York : Routledge, Taylor & Francis Group.

Wang, D. and Groat, L. 2013. Architectural research methods. [electronic resource] 2nd ed.; Hoboken, N.J. : Wiley.

Proposed Community Center.

Other car parks in the region

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SEMESTER TWO : EXPERIMENTAL ARCHITECTURE IKEDE AKPEZI VICTORIA 160244203 2016/17 SESSION

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Name: Ikede Akpezi Victoria Academic Year: 2016/17 Studio: Prototype City Student No.: 160244203 Studio Portfolio Sheffeld School of Architecture, The University of Sheffeld, Arts Tower, Western Bank, Sheffeld, S10 2TN, UK

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Transforming Temporality in Space DESIGNING A MARKET: RETHINKING PUBLIC SPACES DESIGN FOR PARTICIATION

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The Travelling Market Stall

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TABLE OF CONTENTS Introduction Site

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Design Brief Studio methodologies/ methods Site Documentation Timeline of project

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Experimental Design Case Study

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Group Project

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Site Analysis/Exploration Brief Definition Research Questions

Design Development

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Concept Development Precedent Studies Structural Considerations

Reflections on Group Work Visualizations

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Individual Project Exploring the Market as a metaphor for the City Participation: Definition of terms ‘’Market Survey’’ – Ethnographic Analysis of how a market functions Site Surveillance: Hauplatz Webcam Case Study: Sheffield City Centre Temporary Market 59

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A Toolkit for Performing the Market Precedent Studies and Design Proposals

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Alternative design proposals for Structure Starting points for further Research Reflections/Conclusion

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Bibiliography

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Physical prototyping

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University of Sheffield

Site

BRIEF INFORMATION ABOUT THE SITE Location: Hauplatz, Graz, Austria.

The earliest settlers in Graz came from Slovenia. In 15th-17th century during the war, they strengthened their army to fight with Turkey. They were later defeated by Napoleon.

Napoleon destroyed many buildings except the bell tower.

This is why the tower is a significant piece of the city’s history.

At the time, some local rich men gathered a lot of money to bribe the general, begging him not to destroy the bell tower.

This symbolizes how significant the structure is to them.

The predominant architectural style of Graz city is Baroque.

Oour group design aims were to create an artefact that harmonizes with the distinctive emotive features of the baroque era (geometry, mathematics, symmetry) .

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INTRODUCTION: SITE

KEY ELEMENTS ON THE SQUARE

GRAZ, HAUPLATZ SQUARE In February, 2017, studio prototype city paid a field trip to colourful city of Graz, Austria. After beautiful sightseeing and mountain climbing, we were introduced to our site for our second semester project, The Hauplatz square. We were given 2 hours to capture and document all aspects of the site, as much as we could to inform our semester design projects.

Methods of documentation included videos, sound recordings, photographs, sketches, maps, and any other means available which resulted in a Google drive directory served as a repository from which the entire class could derive data for analysis.

The images, videos and sounds we collected were processed to create 3D Photogrammetry model using Agisoft photo scan which we learned in semester one, a material catalogue of the site’s colours and textures, and a virtual Reality model using steam destinations.

Although we could not have immediate access to the site, this could allow us experience and fell it in a way that our designs could be studied in virtual reality.

As we attempted to capture as much of the site in just 2 hours, we went through an assortment of emotions in freezing cold weather, and in that short time were forced to be rapid partakers of the site’s day-programme. We had to interface with traffic, ask people questions, apologize for taking shots of some people standing by. This highly ethnographic exercise became extremely potent in our formulation of a design brief as it became an assessment of personal experiences, rather than trying to give what ‘they’ needed.

We also paid a guided visit trip to the Kunsthaus museum, as an introduction to the topic of ‘Experimental architecture’.

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DESIGN BRIEF An Experimental Artefact Using speciďŹ c themes in semester one, we tried to understand how certain methodologies could be translated to a prototype that serves as a means for reinvigorating lost spaces.

For the Semester 2 research and design project in Studio Prototype City we worked in smaller groups to develop an experimental design proposal. The goals were to evaluate the site and set out an experimental design agenda, which could be: physical or virtual; digital, conceptual or material; singular or multiple; site speciďŹ c, generic or bespoke; city scale, architectural or intimate; interactive, dynamic or static; etc. (Meagher & Kerr, 2017) Although we were designing a proposal mile away from our site, there was a perquisite requirement for the prototype to have a rational link to the site. Ideas Could be tested using the virtual model, or through studying a similar site much closer to home.

Our ideation process

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CONVENTIONAL MARKET SQUARE Image source: www.austria.

EXPERIMENTAL MARKET SQUARE

A visual summary of studio methodologies

Site Documentation

Diagram : Author’s own

In studying and documenting the site, were able to identify some interesting facts about the square:

Asides from the stalls in the centre of the square itself, the square had a variety or retail stores around, including the Swarovski luxury store, which implied that this space was a thriving commercial hub for the city.

The food delivery trucks for the market stalls arrived from around 9.00 am to 9.30 am on that day.

Tasty local dishes and their brew of coee as we needed to ďŹ ll up our bellies for warmth.

A brief protest in front of the Magistrate of the city of Graz, which was shortly dispersed by the local police that happened on the site that day, the protest escalated a few days later on the square as I discovered through webcam surveillance.

Sounds: The square had a harmony of various sounds, from chatter, to the pulsating locomotive sounds of bicycles, cars, delivery vehicles, and the movement of the tram on its tracks, the site seemed to quite literally come alive as the day progressed.

An old woman begging on the south west corner of the square

A post-box, where a person delivered mail and a postman came to collect the mail for delivery on that same day.

A telegraph pole, that seemed to serve as a point of attraction for conversations. Somehow, having this vertical structure to lean on seemed to attract people to it to converse.

A bicycle parking spot on the south-west corner of the square, with a dedicated bicycle lane which seemed to be ignored by the cyclists as they moved through the square in as many directions as they pleased.

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SITE DOCUMENTATION My contribution to the site documentation was to create an organizational structure for the Google drive depository, along with Belova, D., for effective storage of the vast amount of the data we had collected.

In addition to this, I suggested the idea for creating a material collection/assessment of the textures on the site which we organized into a catalogue (see attached booklet). My first impression upon arrival in Graz was a city made of vibrant colours with distinctly varying textures and I was interested in seeing how much we could identify in our studies, and perhaps find a way of incorporating them in our design proposals.

TIMELINE I designed a timeline to visualize the evolution of our design process. The different points on this timeline are referenced throughout this portfolio.

WEEK ONE SITE ANALYSISD

ESIGN METHODS

Selection of appropriate design methods

CROWD FLOW LINES

CIRCULATION

SOCIAL BEHAVIOUR

IDENTIFY CHALLENGES FROM SITE DATA Uncomfortable climatic conditions Stalls cause too much obstruction

1.Assembly/transport 2.Kinetic architecture 3.Responsive architecture 4.Parametric design 5.Physical prototyping 6.Physical computing 7.Patterns of behaviour 8.Open source design methods 9.Conceptual design 10.Materiality 11.Sustainable architecture

WEEK TWO BRIEF DEVELOPMENT

Daniel Hotel, Graz

View from a Courtyard

CONCEPT DEVELOPMENT

DESIGN FOR CLIMATIC COMFORT

CREATE MORE SPACE ON SITE

OrigamiT

elescopic Poles

Climate Data Collection & Analysis

Wind, Temperature, Humidity

FOCUS ON REDESIGNING STALLS

INVESTIGATE POSSIBILITY OF REUSING STALL COMPONENTS

ANALYSIS OF STALL COMPONENTS

What makes up a stall?

How can the stall be redesign to create more space?

A page from the Catalogue showing textures and materials from the Swarovski building,Hauplatz, Graz.

WEEK THREE DETAILED DEVELOPMENT OF ARTEFACT STRUCTURE

The Murinsel, Graz

The Kunsthaus Museum, Graz.

Examine and Resolve how structure would function PHYSICAL PROTOTYPING Test and resolve modular

Laser cut model of structure and parts

Sketches, 3D Images Test Model on Virtual Site

Different Textures from the fountain on the Square

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I hoped that by creating and understanding the textures of the City, I would get an insight into some deep cultural meanings and nuances in their colour and material choices.

This resulted in a 20 paged material catalogue (See separate leaflet) created by myself and Belova, D., Zhong, M., and Yincheng, W. The amount of information we were able to collect in that short time showed just how much a large group such as our class could achieve through planned collaboration.

WEEK FOUR INDIVIDUAL PROJECTS

QUESTIONNAIRES/ INTERVIEWS

Identifying Stakeholders need i.e Sellers, Buyers, Tourists

SCENARIO DEVELOPMENT

EXPERIMENTAL DESIGN CASE STUDIES

RESPONSIVE MATERIAL PAVILLION

To understand this unfamiliar concept called experimental architecture, we were given a list of case studies to help us understand what constitutes an experiment .

A list of questions to guide our analysis of the case study includes the following: How did the architect actually get from idea to artefact?

What elements and components define the system?

What is it for?

What is the right context for it? What purpose were they trying to achieve and did they achieve it? How was it achieved?

What future plans/proposals have they made for this idea?

What conventional approach to architecture is this idea challenging?

Most importantly, we needed to understand the narrative of the proposal and not just the engineering or technical aspects of it.

The idea behind responsive materials: Materials are dynamic objects with ingrained responses to climatic change, not static elements bent and welded by the architect’s imagination.

Forms following a materials natural response could be stronger and with higher functioning capacity than materials made to conform to a pre-determined notion of a building’s design.

Two fully planar plywood panels are connected by custom joints, which results in the self-forming of a conical surface.

Each piece, designed to fit like a puzzle is then robotically trimmed to ensure precision in the frequent assembly and disassembly the pavilion requires for transportation.

A pavilion of such volume would prove difficult to transport otherwise.

(Menges & Reichart 2012)

The responsive apertures are physically programmed to be open in low-humidity conditions and to closed when the humidity increases, which, asides from removing the responsibility of the users of the space to monitor exterior weather conditions, could hold potentials for vast amount of energy saving technologies.

The pavilion was commissioned by the FRAC Centre, France for a permanent art collection, and showcased in 2013.

The case study I chose was the meteorosensitive (affected by weather conditions) pavilion designed by Prof Achim Menges for the Institute of Computational Design & Construction at the University of Stuttgart.

PAVILLION DETAILS Skin Modules 28 in total made from plywood plates industrially engineered to mimic the natural ‘meteorosensitive’ properties of the spruce cone.

Similar to the spruce cones, the hygroscopic and anisotropic qualities innate to wooden material was used to achieve this, but in combination with a synthetic composite.

The aims of publishing the pavilion include:

Laser scanning of the three dimensional model against the computer generated model revealed accuracy of the self-forming process is within 0.5 millimetres (1 /64 inch).

An inaccurately formed panel would imply that the pieces would not fit perfectly together, a challenge complicated by the unique conical shape of each panel.

To create the awareness for architects and materials to design with the natural properties of materials rather than force them to fit into a completed designed proposal.

To create a climate-responsive design that would not require large amounts of energy or technical assistance to function.

Achieve precision in construction using the advantages of advanced robotics.

Challenge the idea that computation in architecture is restricted only to digital platforms.

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GROUP PROJECT

TEAM MEMBERS Victoria Akpezi Ikede Daria Belova Jing Yan Shaoshuai Zheng

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MY PERSONAL INTEPRETATION OF EXPERIMENTAL ARCHITECTURE Architecture, at its inception has attempted in some levels to serve as a link or communicator between the physical and imaginative.

Experimental architecture is the first step towards any invention or innovation. Conventional practices are accepted because they work, and for as long as they continue work, they will continue to remain unchallenged (Brand, 1997). However, if ideas are not challenged constantly and continuously, it is unlikely to make any real progress, as especially in a field as idea-fuelled as architecture. Experimental architecture thus seems to me as the start of a new way of doing, and experiencing space and what constitutes spatial definitions. It could be an unconventional method of exploring a conventional way of doing.

In my opinion, experimentation as a design method should either be a complex approach to a simple idea, or a simple approach to a complicated idea.

In this case, we did a bit of both, tackling the complexities of the marketplace as a n arena for social interaction using simple mechanical forms and structure, but design to function under complex conditions.

Present stall configuration showing scattered movement

It is not limited to just designing exaggerated forms, or testing unconventional approaches to structure or construction, it could also serve as a critique to ideas about what we have established as convention to how space should be performed.

Photo from class database

DEFINING OUR EXPERIMENTAL DESIGN BRIEF The site has a number of about 11 semi-permanent stalls, which in our opinion, was a major obstruction to the free flow of pedestrian movement / view for the beautiful square. The Hauplatz square has remained predominantly unchanged for years. In contrast, the space in the square itself undergoes rapid changes throughout the year hosting several festivals, events and even protests.

Possible stall configuration to influence more organized movement, and create opportunities to appreciate the beautiful view of the square

Sketch by Jing, Y.

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DESIGN DEVELOPMENT

RESEARCH QUESTIONS Market stalls, which sold a variety of hot food and beverages, fruits, souvenirs, and flowers. The stalls did not have any spaces for sitting, there were only stools for food to be placed on. This, we assumed, was to keep people from staying there longer than necessary.

The stalls also did not have any spaces for sitting, there were only stools for food to be placed on. This, we assumed, was to keep people from staying there longer than necessary.

Our reasoning was that the only physical and functional content of the only semi-permanent structure on the square (market stalls should be able to adapt and transform to meet these diverse spatial requirements.

Additionally, changeable physical forms would not interfere with the possibilities of appreciating the square by observing the historical elements of the site from different points.

We hoped our proposal would accommodate the following issues; • Comfortable co-existence of different functions on the square.

• Adaptability to ‘new’ and unpredicted site functions.

Spaces for sitting, expositions, performances, meetings, etc.

Our first ideas for an experimental artefact was to create a transforming structure that could accommodate the stalls commercial functions in the daytime, and collapse to rest on the ground surface at night.

RESEARCH AIMS • Our aims therefore were to design an experimental artefact that:

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Responds to the existing crowd flow lines and redirects their line of sight to enjoy the surroundings like art in a gallery.

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Stimulates and fosters interaction among people, causing them to pause and possibly participate in the space rather than just pass through.

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Informs how a public space can function in the city, using the market as a case study.

How can we design a structure that challenges the ideals for a conventional market using unconventional forms to accommodate multiple user requirements?

What kind of structure can stimulate collaboration and interaction among people?

How can a marketplace be experienced differently?

How can our artefact inform other market place designs in public spaces?

What futures can we propose using this artefact?

CONVENTIONAL DESIGN METHODOLOGY Conceptual design Participation Construction and Assembly Site analyses EXPERIMENTAL DESIGN METHODOLOGY Kinetic architecture Responsive/Interactive architecture Parametric design Data Collection, Storage and transfer through design.

Open sourcing of components Semi -Temporary - short term design to understand long term concepts Spatial configuration DESIGN METHODS Physical/ Digital prototyping Drawings/Sketches Narrative Space program – Understanding and Defining one Visualizing the artefact using the virtual environment on Steam Destinations

DESIGN DEVELOPMENT 1. We started out by deconstructing the basic market stall, how does the current stall function? What are its dimensions? can parts be used in our new proposal?

Will it work for a long term transformable structure or wear out due to friction?

2. We identified the basic parts of the existing stall. the structural support, and how we could redesign it to fit with our new ideas.

We didn’t want this design to use complicate technologies like sensors, or computational codes and programs, what we proposed was a simple mechanical structure that could possibly even be assembled from existing parts of the stalls on the square today.

Kinds of items sold in Stalls

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DESIGN DEVELOPMENT The first idea was for a simple canopy structure suspended on telescopic columns.

This combined with exploring natural methods of ‘transformation’ using origami led us to a first proposal of a folding structure that folds and opens in response to user definitions, similar to the people’s market, Preston.

Some questions that arose with the folded structure include: How would it be transported and stored after being folded at the end of a day’s activities?

How robust of a railing system is necessary for this structure to function? Perhaps it could be integrated with the existing tram tracks on the site?

How would the sellers store their equipment (pots, pans, heaters, and other accessories) after the structure has been folded away?

In addition, upon further exploration of the structure in sketches, I argued that perhaps we might be in need of a different kind of structure for the following reasons; A sliding/folding structure would only transform along a certain axis of sliding, and this would not meet our aspirations to accommodate such functions as a stage for an event, or an exhibition, or multilevel, children’s recreational space etc.

Also, the wear and tear caused by continuous folding and reopening of the structure might become unsustainable in the long run.

Lastly, the engineering mechanisms for a folded canopy are already quite conventional for a market stall structure, unlike our aspirations to design an experimental form.

Sketches of folding Structure by Daria Belova

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Scenario with the folding envelope Sketch by Daria Belova

PRECEDENT: THE PEOPLES’ CANOPY, PRESTON, UK

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At this point we began to question ourselves if it would be better instead to create a structure that can transform upwards and downwards with some storage spaces underneath. In this case, some parts of the form would function simultaneously as its structure and storage space. Jing suggested that perhaps we should also aim for a configuration that would divert the attention, and line of sight for the site’s visitors, to allow the space to be experienced in visual shots much like an art gallery. This led to an idea for a modular structure that would possess the ability to create different tessellations as needed to produce this effect.

We explored what this would imply for the structure and the site through section drawings.

We reasoned that this way, at the end of a day’s activities, everything would be folded and stored under the ground surface and nothing would need to be carted away. This lent to a second iteration of a structure that could collapse into itself vertically to form different levels.

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DESIGN DEVELOPMENT TESSELATION I created a rough Sketchup model of the site, to appreciates its dimension, in combination with some basic sketches to test what shape or form would create the most effective tessellations. Upon discussions with the rest of the team, we concluded on the triangular structure, as it lent itself readily to proper tessellation, and is the most basic stable shape that can function as a structural element.

I suggested that we added a suspended ‘offset’ triangle to the form to serve as a tabular surface. The whole triangle could transform up and down to form shelters or storage spaces, but perhaps a scenario exists where the structure is assigned by local authorities as 1 triangle per person. In this situation, a person would require a surface to operate within one module. This led to the form we began to develop further.

In choosing this form, our priorities at this phase were not just to resolve a form that would work well on this square only, but to create a system that could lend itself to adaptability and reconfiguration anywhere in the world.

Tesselated structure model , Author’s own

How would this type of modular tesselation of shapes form and function on the site? What rules would apply to it? How would it be operated and what might be the constraints that govern its re-configuration?

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DESIGN DEVELOPMENT Using simple sketches, we tried to visualize the stall structure to understand exactly how it could be assembled in real life.

This informed our decision to insert an oset shapes suspended by nodes which could extend downwards if needed to function as a surface, or remain latched to the roof shelter when not in use.

2100mm

900mm

Sketching the Structural Components

Formit Structural Models by Daria Belova 48

Scenario Sketch with Modular Artefact by Belova, Daria

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DESIGN DEVELOPMENT This idea for nodal support stemmed from our desire to create some sort of rule or programme for the structure of the configurations and also eliminate some of the vertical components which had become quite abundant as the singular structure was multiplied.

The structure lent itself to an interesting variety of configurations and seemed to meet our initial requirements for a free flowing square better.

Jing proposed that the nodes could be connected to some identified particular points which are the ‘anchors’ for each configuration, identified in the diagram. These points could perhaps remain permanently elevated, whereas the rest of the structure would be an extension from these nodal points and extend up or down as manipulated to achieve different levels of configuration.

‘Linkage’ Sketchup Model by JIng

Designing for Nodes

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Scenario illustrating nodal link functions.

Sketchup 3D visualizataion, Author’s Own

REFLECTIONS ON GROUP WORK The concept of multifunctional structures has been an exciting one for designers and users alike.

Concepts towards achieving this have been discussed by famous architects like Yona Friedman, Herman Hertzberger and even the Architecture Machine Group.

It has also been explored in modern day projects like the AMRC Factory 2050.

It holds exciting possibilities of achieving infinite uses witih space which is semmingly finite.

DIGITAL VISUALIZATIONS We used a photogrammetry image of the square created by the studio after the field trip to produce the first simulations and scenarios for the space, using 3DMAX and Sketchup.

The rendering of the square with the intervention of triangular components seemed to communicate a distinctive image of a cold and wet space. In this scenario, the stalls serve as a protection from rainy weather.

SITE SECTION Our earlier attempts at designing the artefacts were focused mostly on the immediate boundary of the square, using the model as a means to define the spaces on the rather ‘triangular’ square.

However, a site section gave us room to explore the site beyond this boundary, by giving the artefact relativity to its immediate surrounding, we were able to study and analyse the impact of the market and its configurations on the surrounding structures.

How would for example, the owner of nearby retail store be affected by a particular kind of configuration?

Would they be a part of the assembly of this configuration? Would they want to be in this process at all?

How might their businesses be affected etc?

Rendering of 3D photogrammetry model by Daria Belova

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PHYSICAL PROTOTYPING The physical model helped to explore what materials would work with our structure. It also exposed the room for weakness and fragility that exists with the telescopic pole. By populating the model with miniature people, we were able to visualise in real terms the human scale of our proposal.

Laser Cut model of the artefact.

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At the end of the group stage of this project, I had some personal new concerns about what we had developed, for example; What level of excavation would be required for this to work?

Might this be an all too expensive and unsustainable solution?

How exactly will these parts be fit together by people?

These questions were unresolved andI tried to pose some solutions for as discussed in my individual project.

Scenario showing the artefact in ‘ Market’ mode.

Scenario showing the artefact in use at a Christmas Event

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INDIVIDUAL WORK: A TOOLKIT FOR PARTICIPATION

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Exploring the Market as a metaphor for the City At the start of this project, our aims as a team were to Participation in the Market Place: design an artefact that met the following criteria; Definitions • An artefact that responds to the existing crowd flow lines, as preferred routes for transition had been de- (Robertson, T. & Simonsen, J. 2013) fined by users separate from government defined ones.

• An artefact that can stimulate interaction and cause people to pause and take part in the space rather than just transit through.

• A dynamic structure that can meet the needs of the sites users at different times of the year, under varying climatic conditions.

• An open source design that can easily be used or configured by its immediate users without need for a trained professional.

• A structure that allows for ‘self-build’ • A structure that is made of locally available or recycled materials.

• A mobile structure that is either easily stored away or can be designed to merge with the ground plane.

A participatory design implies; However, the larger part of our group work ended up • A user driven innovation for product must underfocused mostly on the physicality and structure of the stand the process (Robertson, T. & Simonsen, J., 2013) experimental artefact, largely due to the time available, • Design performance by users ignoring some of our other earlier design questions. As • Working openly, being transparent we split up to work on our individual projects, we sought • Use technologies that support collaboration to answer some of these questions.

My individual project is focused on how this artefact could perform as a tool for participation.

My interpretation of this project is that the Graz, market square is a metaphor for all public spaces, including the larger city. The transactions and interactions that happen around a market form a large part of human activity.

I sought therefore to seek out, who are the performers on this site in particular, and how exactly would this artefact be performed to achieve these different configurations we had imagined?

Could the manual assembly and mechanical aspects of the structure be simplified to encourage participation?

Could this idea function as an open source tool that explores self-build potentials removing the architect as middleman in the most basic forms of design?

What would the manual for a configurable market look like?

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Exploring the Market as a metaphor for a City

‘’Market Survey’’ – Ethnographic Analysis of how a market functions Temporary farmer’s markets are a common feature in most city squares around the world.

In older forms of development, Cities grew up around marketplaces, where goods from distant places could be exchanged for local products.

History also indicates that markets have formed centres from which civilization develops.

Markets therefore, can be interpreted as a central point for interaction and exchange in cities.

Farmer’s market in Times Square

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Graz Christmas Market

The ‘Evolution’ of the Hauplatz through time (Exact Dates Unknown)

A design to be performed by it users requires an understanding of the actors.

As a starting point for proposing a model for participation, I tried to understand the narrative of the square through the evolution of the market.

The prominent Rathaus building, has been present on the square for centuries and served as a useful keyword in getting information on how the site had evolved through time.

In doing this, I identified that the square had possessed its strong commercial values since it’s inception.

Graz ‘Rathauser’

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SITE SURVEILLANCE I used the webcam we had discovered on the site during documentation to do a 32 hour surveillance in hopes of understanding this site’s daily programme.

Using screenshots at 2-hour intervals I was able to identify a few major actors on the site as illustrated below.

This stemmed out of a curiousity to discover how many people typically would want to arrive first for the day to get assembled and ready to sell? And also, what happens at th end of a business day and how might this affect our proposal?

Google analytics, Site Peak periods

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What happens in a city square? Images- Author’s Own

WordCloud illustrating Questionnaire feedback

Case Study: Sheffield City Centre Temporary Market The city center in Sheffield is known to have temporary farmer’s markets appear at certain times of the year.

During the group project, we saw this as a good testing ground to understand exactly how people and traders establish their shopping routine. Thus, so we set out to get some feedback by using questionnaires to answer a few questions such as; SELLERS: 1. How often do you work in the stall?

2. Have you ever changed your stall?

3. Are you satisfied with your stall?

4. Would you mind if your stall was moved after work each day?Do you think a proposal such as this would incur some cost to you? (upon showing a picture of our proposal) SHOPPERS: 1. How often do you shop at the city centre?

2. What activities do you enjoy most at the city centre?

3. Do you have a particular favourite stall? If yes, are there reasons why you prefer this stall?

4. Do you think the stalls are taking too much space on the square?

5. What kind of goods would you prefer the stalls should sell?

6. How do you think the stalls fit in the square 7. Do you think the stalls facility could be improved? If yes, what features would you like to be added?

8. Is there anything else in particular that you really like or dislike about the stalls?

9. How would you feel about having the stalls collapsed at night to create more space?

In addition to the feedback visualised above, some important feedback thatcame out of this exercise are: Sellers enjoy their autonomous control of when they openand close their shops. Some like to stay longer than others after the day’s work to earn some extra money.

A number of people compared shopping at the city centre to shopping at Meadowhall. The nearness to their homes made the square a more accessible place to shop than meadowhall.

The most identified products people wanted to buy were hot food items, similar to those sold at the Hauplatz.

Most people saw images of our proposal and liked the idea of shading from the elements that they could control, but also mentioned they enjoyed unrestricted sunlight in summer.

Most shoppers indicated that they would particularly prefer if the aesthetic quality of the existing conventional farmer’s stalls were improved.

An elderly man suggested that the stalls should be designed bright and colourful as a way to encourage people to bring their kids out to play more.

After a days work, goods are packed in boxes and carried waya till the next day 59

A TOOLKIT FOR PARTICIPATION: PRECEDENT STUDIES Shape Grammers: George Stiny and James Gips (1972) Vardouli (2013) proposed the shape grammar model by George Stiny and James Gips as a more suitable toolkit for participatory design to the infrastructure model.

The shape grammar model is based on the premise that complex forms are a repetition of simple shapes. Much like the way pixels group together to form images.

BASIC DEFINITIONS - ALGEBRA OF TRANSFORMATION Alphabets: CAPS = Shape Definition small caps = Shape Command A+B

+3 - Three steps Higher -3 - Three steps Lower

A

2 where A and B are aligned with the horizontal

Reference Shape

Number indicating what side of the triangle the next shape is to be added in respect to the ‘horizontal’.

Being a triangular model, the limit to this numerical value is A rectangular shape for example would have a limit of 4

C

‘Horizontal’

Semester One ‘Human Printer’ workshop used similar principles

A shape is generated from a shape grammar by beginning with the initial shape and recursively applying the shape rules.

Given a set of instructions, basic components can provide as many specific forms or configurations as necessary.

And more likely re-occuring complex forms could be simplified as;

‘first’ shape

All triangles are equal in size, dimensions and proportion

Scenario showing shape configurations generated using shape grammars

Possible formula for a single linear path = 9(A3 + B2) + A0 .....

A Toolkit for Performing the Market The transformable market stall can function as smaller components to form a completed image. By choosing from a set of predefined formulas, the artefact could then be ‘operated’ by any user.

Santos & Fries, 2011 Using a predetermined formula then, the grammar could function as the operatinng system for the structure’s configurations much like the way a computer renders images.

I tried to create a formula to test this out as a possible toolkit for the performance of the artefact as illustrated;

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I considered the calculations illustrated above however to be a bit too fundamental to develop further largely becaause I do not have preliminary expertise in computer coding/programming or time needed to iron out the details for a praticable mathematical formula.

In addition, it did not make some specific requirements for the configuration immediately obvious.

For example, in what direction would each calculation need to begin from? Perhaps it might be better to use vector components rather than scalar?

Also, it gave rise to some questions such as; Would this imply that upon successful completion of these commands the shapes would automatically assemble themselves to form the market or would it just provide the exact components that people would still then need to assemble?

What formula will be used to identify the core structural shapes if I were to apply the nodal style structure earlier proposed by Jing in the group work?

What sort of education or information would users require to be able to understand the formulas before proceeding to operate the system?

It is worth noting that although this is a seemingly complex idea for something as ‘immediate’ as a space for buying and selling, at some point in history, mobile phones and earlier versions of computer applications were considered to be this complex as well.

However, today mobile phones and computer applications have fit into our lives so seamlessly such that even children are able to understand, use and even manipulate them.

A TOOLKIT FOR PARTICIPATION: PRECEDENT STUDIES

Yona Friedman/Cedric Price (Infrastructure model) I perceived that our project had strong ties with Yona Friedman’s ideas for a reconfigurable city (La Villa Spatiale), and Cedric prices’ dream for the Fun palace.

Fun Palace, Cedric Price

An immense kit of parts with which people could amuse themselves, redefining what recreation looked like.

According to Vardouli (2013), the existing concepts on participatory ‘reconfigurable’ architecture are based on infrastructure model. Vardouli (2013) describes this as “A way of thinking about participatory design, where the parts of design that require expertise and objectivity are separated from the ones that require intuition.”

This implies that the design proposal has some fixed components that serve as the infrastructure, and some moving parts that are assembled by people. The architect in this scenario still functions as an expert, restricting the user’s manipulation of space to these same predetermined structures. The architect in this case presents the framework and options for participation, limiting still the ideals of ‘choice’ which are sought after in participatory design.

This intra-personal seeing, doing, and forgetting thinking to always start fresh, offers a compelling theoretical model for rethinking participatory processes, which implicate multiple subjectivities and ways of thinking.

(Vardouli, 2013)

La Villa Spatiale, Yona Friedman

Architecture Machine group’s Interpretation of Yona Friedman’s FlatWriter

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A TOOLKIT FOR PARTICIPATION: PRECEDENT STUDIES

My opinion about this studio is that the design is seen not as a structure but as a system, and like any system the approach to manipulation needs a set of programs and codes based on analysis of human behaviour. I cannot speciďŹ cally say that the studio did not experiment with more digital methods of prototyping and form exploration.

The Flatwriter. Friedman, (1999)

How the Flatwriter works: Atmosphere Lab [online]

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SCENARIO CARDS Inspired by the Flatwriter, I sought out to seek another manual for the artefact configuration using a deck of cards.

As part of the Reflections in Architectural Design module, I was introduced to the idea of scenario games by a different studio.

They used it as a tool for site analysis, to understand exactly how the users of their sites made decisions in the hopes that this could lead to more efficient design proposals.

I saw this as a way for the market configurations to be prescribed. and created a version of the game that is played using four categories of cards, colour coded for easy differentiation.

Actor - User of the space Agent - External uncontrollable force e.g Weather Mission: Intent of the User Situation: Event that warrants space Configuration

The user could arrange these set of cards in a way that best represents their circumstance. These cards could be integrated into a system for easy access on a digital device, perhaps using a more complicated code as I tried to explore wit the shape grammer. The process implies that the user simply inputs the parameters tht fit their needs and then, the machine would then provide options of some of the best possible configurations.

Computational Self-learning mechanism This machine if properly designed has the potentiontial to serve as a data storage tool that could enable the market function as a self-learning mechanism.

The possibilities for self-learning with this prototype were studied further by Daria Belova for her individual project, and this sort of interconnection between our projects inclined us to work together on many aspects of our on individual project.

This machine could be designed to fit into the square much like parking meters have become a norm for public parking spaces.

Upon selection of the desired configuration, the required components would then be ‘unlocked’ (the premise for this is that all modular stalls are locked on a grid on the ground plane until the machine unlocks them) and would then be assembled manually by the user.

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The model above shows an example of a scenario where a vendor chooses a conďŹ guration using the cards on a windy day for sales.

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ALTERNATIVE DESIGN PROPOSAL The last form we proposed at the group project stage implied that the artefact and its parts would be stored underground. In my opinion, this extra storage/foundation would be a permanent imposition, which defeats the purpose of a temporary travelling market that informs other public spaces.

Also, what level of excavation would be required for this to work?

Might this be an all too expensive and unsustainable solution?

My suggestion is that the structure should function similar to assemble studio’s triangular chair project.

Assemble studio Triangular chair project.

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I am of the opinion that participation is encourage by the crudest modes of assembly rather than more complex systems.

The structure would still use the telescopic columns but function at two heights only, one low enough to be a table, and the other higher enough to be a shelter. With just two options for moving the structure, it becomes quite clear to user what options are available, and restriction encourages creativity from my personal experience.

Artefact can be simply pushed up or down by one or more persons, depending on their pphysical strength

My reasons for redefining the Stall’s composition 1.

A structure that’s lies on a flat plane is a brilliant aspiration. However, people might not even know they could be raised up for decades, whereas, a standing structure attracts people to immediately want to play with it.

2.

This structure neither uses the complex calculations of the shape grammar model nor the use of some permanently fixed parts like the ‘infrastructure’ model.

3.

All parts are moveable and very present on the site, but are lightweight enough to easily moved and stored.

4.

According to Daria’s rules for self-learning, once the market has collected data within a specified time period, it can be shipped back to the factory for design alterations if needed and moved to a different site.

5.

People could be eager to make different shapes and configurations using these market stalls much like the chairs.

As an experiment, its configurations could still be operated using rules for the scenario cards, or a computer programme designed from tyhe shape grammars which specify exactly how many components would be needed to a certain configuration.

The modular nature of the stall would still make the forms tessellate well enough to produce more complex assemblies and each would strengthen the structural stability of the others as they are put next to each other.

Also, rather than underground storage, they could be simply stacked on top of each other at the end of the day, and much like the assemble chairs, could form some visually pleasing forms that would be more like sculptures. The sculptures could also be a grand tourist attraction each morning, people would rush early to see what was left behind after the previous day’s work. To make it more exciting then, the frequent users of the square could see this as an interesting end of day task to do, coming up with different forms to create for people to see the next day.

As I discovered from the market analysis in Sheffield, most farmer’s markets which appear regularly on public spaces do not in fact have any form of storage. Traders would normally bring their goods in the morning and take them back home at closing.

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Artefact Assembly Sketch by Daria Belova

Performers could easily put up shows using the artefact

Artefact can function for as immediate seating for even a beggar

STARTING POINTS FOR FURTHER RESEARCH

REFLECTIONS/CONCLUSIONS

Architects tend to tell a positive narrative. We tend to put a gloss over everything and paint a glossy picture. We want the world to be a better place with our help. - Peter Blundell Jones

Experimentation is beyond testing ideas through a structure. It is also a re-imagining of the city through a proposed structure, a proposal for the future.

I have not extensively resolved the methods of participation discussed above due to time and background knowledge constraints.

However, I consider some aspects of our work could be a springboard for further research: Market Branding: Postcards.

These were a proposal from Daria as a way to collect and transfer information about the square. These postcards could be a marketing tool for the proposal as well, as it holds strong tourism potentials. The grand assembly of the market could be a worldwide broadcast event that calls on people from all parts of the world to test out their creativity on a commercial market square.

They could also be a means of broadcasting the project, constructing a narrative for the market as visualised in each postcard at different times of the year.

Traditionally, postcards show a utopian ideal situation. As a research tool, they could be used to show the less desirable effects of having the structure on the square. For example, what would happen of users such as the protesters got their hands on this very available structure and used it to destroy property? Which leads to questions such as, what kind of authority would have to supervise such a democratic model.

This work is an unfinished project, not designed to function as a fully resolved architectural artefact but as an experimental ground to challenge what experiences can be involved in public engagement and participation using the market as a testing ground for these ideas.

The idea of ‘self- build’ creates a sense of responsibility in the user/participant which is a noble aspiration for something as seemingly casual as a market place.

Artists have used the idea of a travelling artefact, much like Kurt Perschke’s Red ball project to study user experiences at different locations. Our aspirations were for the transformable reconfigurable structure to do the same.

There are several published papers studying the over commercialized leisure activity called shopping.

This project challenges that everyday retail experience. People love to buy things in their spare time, now they can choose to build something as well.

It could also function as a research tool to expose the power dynamics in a public space. As each piece sort of depends on the other, the more ‘powerful’ users of the public space become more evident.

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Scenario Sketch by Daria belova, In class Photogrammetry model

This project could be a way to revive/activate lost spaces as studied in semester one. It requires communication, co-ordination and collaboration which fosters interactivity.

My understanding of studio “prototype city” is that all designs are an experiment and the city with people is the testing ground for these experiments.

The way we visualise and experience our cities are largely determined by the architect’s decisions and the prototype serves as a means to answer the question early on about ‘What kind of experience are we creating exactly?’

Artefacts and buildings are not structures only but a system with inputs and outputs. As with any system, the architectural approach to manipulating space should require a set of programs and codes based on analysis of human behaviour to function effectively.

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BIBLIOGRAPHY WORKS CITED IN TEXT: Meagher, M & Kerr , D (2017) Studio prototype Semester Two Design Brief.

Graz, Austria: Brief Information. Available at http://www.australiaforeveryone.com.au/trips/dest-graz.html.

Accessed March 21, 2017.

Experimentation. Border Topologies Studio. Available at http://maad.postgrad.shef.ac.uk/maad16/index. php/reflections/experimentingbordertopologies/ Accessed May 14, 2017.

Yona Friedman(1999) Structures serving the unpredictable. Rotterdam: NAI Publishers.

EXPERIMENTATION, PARTICIPATION, INTERACTIVITY, COLLABORATION , OPEN SOURCING Matthew Fuller and Usman Haque Urban Versioning (2008) System 1.0 Architectural league of New York: NY Taylor, M. (2016), ‘Time Matters: Transition and Transformation in Architecture’, Architectural Design 86(1), 42--49.

Fox, M. & Kemp, M. (2009);Interactive architecture. New York : Princeton Architectural Nova, N. (2005), ‘A Review of How Space Affords Socio-Cognitive Processes during Collaboration’, Psychology Journal 3(2), 118-148.

Atmospheric Laboratory.‘The art of inhabitation’/ Constructing a place: Available at:http://unit23d.blogspot. co.uk/2013/03/p2-art-of-inhabitation-constructing.html Beyond Archigram: the structure of circulation. Hadas A Steiner; New York; London: Routledge, 2009 Shape Grammer: Santos, F, and Reis, J. A language for automatic design generation.

Delirious New York : a retroactive manifesto for Manhattan.New York : Monacelli Press

“About the Flatwriter” in Friedman, Yona: Pro Domo, Actar, 2006, pg. 136 in AL! Construction Lab Rem Kool- Hertzberger, H. (2000)Space and the architect : Lessons in Architecture 2. Rotterdam: 010 Publishers haas, R. (1994) Dunne, A. & Raby, F. (2013), Speculative Everything: Design, Fiction, and Social Dreaming, MIT Press, CamVardouli, T. (2013), Performed by and Performative for: Rethinking computational models for user partic- bridge. ipation in design, in ‘eCAADe 2013: Computation and Performance–Proceedings of the 31st International Conference on Education and research in Computer Aided Architectural Design in Europe, Delft, The Nether- Cook, P. (1970) 1st ed. Experimental Architecture. Univers books. lands, September 18-20, 2013’.

Decker, M. (2016), ‘Matter Timed’, Architectural Design 86(1), 82--87.

Brand, S. (1997) How buildings learn: what happens after they’re built. Phoenix Illustrated: London Lebbeus Woods; (1993) War and architecture. New York, NY: Princeton Architectural Press.

Mathews, S. (2006), ‘The Fun Palace as Virtual Architecture: Cedric Price and the Practices of Indeterminacy’, Journal of Architectural Education (1984-) 59(3), 39-48.

EXPERIMENTAL ARCHITECTURE CASE STUDIES Block , P., & Kilian, A., Schmitt,P. & Snavely, J. (2006). Cambridge:USA. WhoWhatWhenAir. [digital resource] Menges, A. (2015) Computational Material Culture ICD/ITKE research pavilion [digital resource] Accessed 25 Accessed 24 Feb, Available at: http://transformabledesign.com/project/d-11-2-whowhatwhenair-15/ Feb, Available at: http://www.achimmenges.net/?p=5123 Institut du Monde Arabe / Jean Nouvel [digital resource] Available at : https://www.o25.gr/blog/instiMenges, A & Reichert S. (2012) Performative Wood. Paris tut-du-monde-arabe-jean-nouvel http://www.designboom.com/architecture/hygroskin-a-climate-responsive-kinetic-sculpture/ Emergent Surface [digital resource]. Available at: http://www.hoberman.com/portfolio/emergentsurface.

Chair Design for participation. Available at http://assemblestudio.co.uk/ php?projectname=Emergent+Surface.

Blur building. Available at http://www.arcspace.com/features/diller-scofidio--renfro/blur-building/ MARKET STUDIES History of Graz Square. ‘Rathauser’ Available at Austriaforum.org

Hoberman Associates; The emergent surface. Available at: http://www.hoberman.com/portfolio/emergentsurface.php?projectname=Emergent+Surface

Urban prototype Transformable market. Available at:http://cargocollective.com/brunodacosta/URBAN-PROTOTYPE

Blue carpet square – Newcastle. Available at: https://en.wikipedia.org/wiki/Blue_Carpet

How to Design a Rapid stall? SURF instant shelters. Available at https://www.youtube.com/watch?v=w6ljMr-a5R8&t=119s A Day in the life of a market Stall Holder- A Short Film. Available at https://www.youtube.com/watch?v=03KKWc7aylY&t=869s Designing market stalls. Available at http://www.fao.org/docrep/006/Y4851E/y4851e0a.htm

OTHERS: EXPERIMENTAL THINKING Flatland: The Film. Available at https://www.youtube.com/watch?v=eyuNrm4VK2w Nari Gandhi - Build before drawing available at https://en.wikipedia.org/wiki/Nari_Gandhi Theatre Deli Workshop - How to design for performance. A Stage Piece Performance Workshop for University of Sheffield Architecture Students. Available at: https://vickede.wordpress.com/2017/03/24/set-design-workshop-at-theatre-deli/

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