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TUM Emerging Thecnology Lab. C. Derix Studio M. Deutrom, T. Ishihara, M. Izaguirre, H. Zimmerman
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THE GRAMMAR OF TRANSITIONSR
HFF Main Foyer:Behavioural Mapping Data Summary:
Common Paths & Areas for Conversation
Matthew Deutrom
Common path through space
Common position of people in a conversation 3 = Most common spot for conversation/s(recorded location on more than ten seperate occasions)
Most common position of a person standing(recorded location on more than ve seperate occasions)
Smoking
Waiting
Talking/conversation
Main Lobby: HFF
Talking on the phone
sign
sign
sign
sign glass
glass
glass
glass
glass
glass glass
glass
glass
glass
glass
silver
redred gre sign
sign
white
whitewhite
white
whitewhite
whitewhite
white
corridor
black
black
black
black black blackblack black
black
black
black
sign
red
black
glass
grey bridge
grey bridge
red
red
silver
signred
grey grey
grey
sign
grey
red
bridge
bridgeglass
door
stair
path walked
attractor vector
CAFE
MAIN ENTRY
HENRY ZIMMERMAN 03
IMPLICIT SPACE STUDIO [EMERGING TECHNOLOGIES]
START
NODE/STATE
NODE/STATE
TRANSITION FROM ONE SPACE TO ANOTHER
Triangle denotes direction and amount of space (obviously always away from closest surface - which we must stay
near to travel on most direct path)
INTENSITY OF GEOMETRY (height to apex perpendicular to pathway), shown here with a dotted line from the apex to boundary of direct path, indicates a moment ideal for conversation (we tend to move to the center of space to
of the most direct path to see around a corner (I now believe this is not inherent but a spatial / design quality to be desired and utilized).
the INTENSITY OF GEOMETRY exhibited here is
space surrounding the same ‘direct’ pathway depicted in grey. This pathway forces people to move through it faster to achieve the same
variation completely eliminates the opportunity for a space of pause that could be used for conversation or simply slowing ones movement.
1
2
KEY
AN EXAMPLE OF HOW THE GEOMETRY COULD BE MANIPULATED:
DIRECT PATHWAY (circulation)4 5 6
3
1
1
2
SIDE A
SIDE B
DIRECT PATHWAY (circulation)
NEW DIRECT PATHWAY
ROTATION (to optimize geometry & to enhance relationship of artwork)
DIRECT PATHWAY (circulation)4 5 6
3
1
1
2
SIDE A
SIDE B
Artworks are similar
also must be separated
also must be separated
Shaded Region = Slow Space
DIRECT PATHWAY
SIDE A
SIDE B 1
1
2
3
4 5 6
Circles are drawn from the medial axes as a way to de-termine the location of the walls. The walls are drawn as tangents between the circles. (need to refine method).The artworks have a set of values recorded that determi-ne there relationship to eachother and the architectural features that are shaped through the construction of this diagram.Each number represents a NODE. These NODES in turn represent an individual work of art.
Each number represents a NODE. These NODES in turn represent an individual work of art.
The artworks have a set of values recorded that determi-ne there relationship to eachother and the architectural features that are shaped through the construction of this diagram.
Approach Angle
Angle to face work at 90�
Angle to turn towards next work
30�
Optimal Viewing Distance
1
2
3
Distance to next work = length of red line
1
2
3
Direct Pathway
The Parameters detailed:
>Optimal Viewing Distance -(Necessarily means ‘Size of Work’)>Approach Angle>Distance to next work>Angle to turn towards next Artwork
How the parameters combine with the geometry to generate space -
Walls generated as tangents to circles -
The “Direct Pathway”
Medial Axes Pathway
2D Artwork
Transition space
02.01. Circulation passes in front of you Circulation passes behind you
Optimal viewing position
The “Direct Pathway”
The Pathway people will use in order to slow down and view the artwork.(Medial Axes)
2D Artwork
Transition space
2 Types of Orientation to Circulation
STUDY PROCESS model + code
Typology studies By changing each one of the parameters randomly, we endeavor the potential of each type of the geometry composition.Distance between center of the circle and direct path way is significant criteria for the topology.Thus we first categorized geometries by the distance.The classification using the distance variable is represented as e.g. “SSSS” (‘same, same, same, same’ - s = same side as first node), or “SSDS” (‘same, different, different, same’ - d = different side than first node).
In this typology, two of the types are special: SSSS and DSDS. All of the other types can be explain as a combination of these two and at the same time they cannot represent each other. It can be said that they are linear independent.
For that reason, following study on dimension change in the parameter “Length” deal with only three of the types. SSSS, DSDS(basis types) and SSDS(combination).
Analysis
Approach angle has affect locally.there are three types interms of approach angle: saw tooth, united space, look back. When the length of the pathway is changed, separation of each node is emphasized or deprecised. Length is one of determining factor of area scale thus longer wall creates lager space.In addition, when the pathway is long and distance between center of the space and pathway is rela-tively short, that space becomes shallow. In other words, the affect of approach angle or distance is depreciated.
Interms of rotation we reach to two conclusion. When 2 or more nodes are on the same side, increasing rotation unifies their space. The room becomes less faceted and more simple. And the rhythm of, what we have termed, ‘pocket’ gallery spaces is eliminated or reduced with increasing rotation. When the nodes alternate sides rotation has the opposite effect. Instead, increasing rotation makes the nodes space more isolated from those adjacent to it, both visually and spatially.
Those categories are di-vided into detailed brunch by other parameters.
SSDS• stretch• stretch+gradual• stretch+sharp• sharp+stretch• sharp+gradual• sharp+sharp• gradual+stretch• gradual+gradual• gradual+sharp
SSSS• gradual curve• sharp turn• 2 corners• stretch
DSDS• 1 corner• 2 corners• 3 corners• 4 corners• stretch
COMPRESSEDCURVY
EXTEND
SAW TOOTHSCULPTURE
2D WORKS
SSSS:
When the pathway is stretched, the entire geometry looks like saw tooth and where the length is shorter the saw tooth is keen. When the pathway is gradually winding and length of each node is short, the entire shape becomes close to circle. In other words, radius of curvature is proportional to the length. Length has less things to do with sharp corner.
two corner
sharp turn
gradual curve
stretch
COMPRESSEDEXTEND
DSDS:
DSDS is head-shaker type. That is a ptatron has to turn every time they move to the next node. When length is short, this turn occurs often and entire space becomes confused. If the length is longer side change is less important.
stretch
2corners
1 corner
3corners
4corners
sssCURVY
dsGRADUAL
SSDS: This case is combination of continuous one side part and side changed part.
SAW TOOTH
HEAD SHAKER
EXTENDEXTEND COMPRESSED
UNITED SPACE
SAME SIDE OF THE PATHWAY
DIFFERENT SIDE OF THE PATHWAY
distance
distance
approach
length
approach
distance
Plan System
Artwall
1. PLAN2. Artwall = Highest ceiling
3. Slow Space = Lower
The diagram determining ceiling and roof height:
> Highest ceiling height is at the Artwall.. > Stopped space is also very high but slopes away from the Artwall.
> Slow space is medium height and shears the roof away from the portion created by the Artwall and Stopped space, creating an opening to bring in light. (This opening should not face south).
> Ceiling height above the Direct Pathway is the lowest corresponding to the most circulation and the fastest circulation.
>>The relationship of height to speed of circulation is; the slower the circulation = the greater the ceiling height And conversely, the faster the circulation = the lower the ceiling height
Medial Axes Pathway
Direct Pathway
Slow - Space
Stagnant/ Stopped Space
(viewing space)
Height Change System
Hoki Museum
Reference
Against Symmetry Towada Art Center
Project situation
Project Composition
Project rendering
Project section