i n te r ac ti ve _ M E DI A::s ca[pe

interactive_MEDIA::scape
SOMA District_San Francisco Bay

M A T T HE W S G O O D WIN
MATTHEW S. GOODWIN
ARCHITECTURAL THESIS: 2007_2008

A R C HIT E CT U R E SE N IO R T HE SI S
BACHELORS OF ARCHITECURE
CALIFORNIA POLYTECHNIC STATE UNIVERSITY
SAN LUIS OBISPO
KAREN LANGE, ADVISOR
hello moto
interactive_MEDIA::scape
SOMA District_San Francisco Bay
interactive_MEDIA::scape SOMA District_San Francisco Bay

MATTHEW S. GOODWIN
ARCHITECTURAL THESIS: 2007_2008
BACHELORS OF ARCHITECURE
CALIFORNIA POLYTECHNIC STATE UNIVERSITY
SAN LUIS OBISPO
KAREN LANGE, ADVISOR
I would like to say thank you to my professor Karen Lange for being architec-
turally quirky and making funny noises to get me and the rest of studio 400-
08’ through thesis, DJ Flo for keeping the Danish music pumping, and to my
parents for their love and support throughout college. Cheers...

danke schon
C O NT E N T S
+ +

+ +

manifesto site research 78

01 manifesto [intent]
24 hr site study 106

issues program 114

06 issue 01
concept design 124

critical positions 134

design development
10 Le Corbusier_Karl Chu
final design 140

critical research
rebar table 196
18 Processed Form: FOA
bibliography 202

case studies
18 01_Eyebeam Museum [diller+scofidio]
34 02_Landesgartenschau [Zaha Hadid]

experiments
38 01_Film + Media
40 02_Mobius Strip
42 03_Moire Pattern
44 04_Fiber Optic Wall
46 05_Fiber Optic Table
50 06_[e]mergent form
52 07_Musical [e]mergence 01
56 08_Musical [e]mergence 02

experiment analysis
60 experiment analysis
d o D
y o u F
r e m e m b e r A
a B
t i m e 1
w h e n 9
t h e 7
c i t y 9
w a s . . .
manifesto [intent]

manifesto [intent]
Implementing new forces to the existing makeup of
an area will in turn instigate new life, social culture,
events, spaces, interaction and development.
Means of achieving these elements come by
analyzing and mapping the underlying factors
and forces of an area; i.e. demographics, history,
culture, circulation, transportation, climate,
context, voids, solids, noise, views, movements and
uses. These forces are considered the genetic
makeup of the area and produce physical and
social environments.1 The elements combined
produce the area itself as a manifestation
of their own genetics. I see this approach to
analyzing a site as a way to plot areas that may
be regenerated, or in this instance, instigated to
create new events that breed social interaction.
As program is inserted into the analyzation of site,
another arrangement to fuel social interaction
can come through cross programming and
indeterminate use [event space].2 As each of
the instigation sites are realized, programmatic
placement will lead to unpredictable social
interactions. The architectural form becomes a
generative process of cross-programmatic layout
and genetic manipulation of the site. Therefore
the physical and social architecture is an evolution
manifestation of these inputs and parameters.
While there are many ways to spark social
interaction and events, two such mediums stick
out as primary catalysts. Music and film are
creative fields that not only produce creative
interaction and discovery between creators, but
also from their audiences as well. Music and film
1 FOA. Phylogensis foa’s ark. p. 23
2 Tschumi, Bernard. Event-Cities 2. p. 13
ANIFESTO[intent
bring together a vast mix of people ranging from
identical to polar opposites. Bringing this vast mix
of people together in various levels of interaction
can regenerate a creative culture and social
aspect to any site, but in an even greater degree in
the density of urban spaces.
Whether we realize it or not, architecture creates
cultural and social changes, spaces and events.
Where spaces lack these elements, a human
cultural and social void is present. Urban cities that
have been created with an industrial mindset tend
to face this dilemma. Workers come in during the
morning, work all day, and then leave the area by
night. The area is only activated during the work
hours and left as dead space during the night.
Cities are now trying to redevelop these post-
industrial areas into centers of life and culture.
Architecture has the ability to spur this new sense
m a n i f e s t o [ i n t e n t ]
of life in areas via social instigative architecture.
Leading to this instigative effect through rigorous
research of how an area’s social, cultural,
historical, and physical systems work can allow
mapping an urban area’s points of intensity.
Where points of intensity are greatest the area
is stable and full of life. Where points of intensity
are lowest there is the need to regenerate and
instigate. By mapping these areas we can start
pulling, pushing and growing these intensity
points. From points that are deemed necessary
to regeneration the architecture can begin to
influence and instigate this change.
So why the need for social interaction and
instigation? They are a way to “generate ideas,
illusions, emotions, associations and other mental
01
 ANIFESTO[intent
constructs.”3 These generated products of social
interaction are what push our culture to keep
developing. They breed our culture and lifestyles.
They are what bring people together or keep them
apart. Human interaction is an absolute basis to
life. The introduction of music and film to fuel this
interaction is a response of how the two mediums
bring people together. They are essential to our
modern culture because they create inspiration,
memories, and produce relaxation or energy.
Music moves the mind, body and soul. It can be
used to respond to our emotions. It can bring us
together and push us apart. Film also brings us
together, but can transport us into a fantasy realm
that produces the ‘suspension of disbelief.’ The
creators can begin to blend with the users and
create a relationship that feeds off each other.
For example, the Eyebeam Museum competition
entry won by Diller and Scofidio brought together

m a n i f e s t o [ i n t e n t ]
the users and creators of new media technology.
The relationship of how the two interacted
reversed. Creators investigated the reactions
of users first hand by seeing them interact with
their work, and at the same time users learned
how creators worked. A deeper look into the
functional relationships between user and creator
are presented later in this book. The integration of
music and film is an effective way to instigate social
interactions in an area that begs for it.

In this thesis I aim first define the underlying the

forces of the site’s genetic makeup, research
techniques to augment these forces, map them, in
order to implement music and film as a catalyst to
instigate new social interaction and life.

3 UN Studio. “Manifesto #17.” ICON Magazine. p.81

02 03
research
ISSUE ONE
thesis How can intense site studies and programmatic research instigate a camcorder filming a projector project an image of what the camcorder is filming. created a
[IDEA] an architecture that creates a new lively and social downtown cyclical function that made an image that went into infinity due to the cycle of the camcorder
atmosphere in the SOMA district of San Francisco, California filming the projector project itself. Also led to a discovery of time lapse in real time and led to
that engages the public and creates interactions with themselves the discovery of a 4d space.
and their surroundings.
taking two black plastic meshes and overlapping them, then shifting the top surface at a slight
angle in both the x and z directions. led to a pattern known as the moire pattern that comes
research from two typical paths or patterns, but when crossed or shifted creates a new pattern or field.
[INVESTIGATE] stemmed from the idea of Tschumi’s ‘event-fields’

film+media
simple paper studies of taking one surface with a plane on top and another plane on the
bottom, then twisting the paper according to the mobius form, creating a continuous surface.
in progress

completed

labeling the sides A & B I could see the flow and interaction between the two planes.
moire patterns
an 15”x18” wall mount piece for the abstract show that interacted with passersby. the top
9” was a mirrored surface and the bottom 9” was black board. on each surface was an 8x8
grid of fibre optic cables.. the mirror surface cables were the input and the black surface was
experiments mobius strip the output. a spotlight aimed at the mirrored surface activated the fibre optics by inputting light
to the top half, then emitting light on the bottom half. a user would stand in front of the mirror,
see themselves, then notice a silhoutte of themselves moving in the grid of lights on the bottom
interactive half. this installation was an experiment on how one might interact with light, technology and
space. it made the user question how it worked and could inform if their curiousity insisted.
fibre optic

connections
new media center for research and exhibition. diller+scofidio took two programs and interwove
them to create an interactive, voyeuristic experience between the researcher and the exhibitor.
want to see how they effectively brought the public into a new realm through architecture.

Eyebeam [d+s]
FOA used data and studies to sculpt a land that flows perfectly with circulation and function to
create a dynamic building that incorportates the user and the landscape. investigating the use
of studies to generate form and how they created a great functional and public space.
Yokohama Terminal
United Net Studio incorporates design models to achieve their ‘architecture’. Their “deep planning”
principle allows them to design spaces that are based on exhausted research and studies of a
case studies sites conditions. want to understand their analytical approach to form generation and ability
to engage users with the architecture on an artistic and information based level.
UN Studio
His “event-space” theory that you can bring two not necessarily related paths and intertwine them
to create an “event field” that yields new discoveries and interactions. I want to see how we can
Bernard Tschumi bring together different users of an urban setting and create new spaces and interactions. How
can architecture engage its surroundings i.e. space and people.

Looking at effective public spaces to see how they work. Frank E. Mahan’s thesis work and his ideas
Other of creating indeterminate space that is flexible to numerous users in an urban setting. Zaha Hadid’s
ideas of connections and engagement of space and its surroundings. Any example of where
architecture instigated or engaged multiple users of an urban setting.

what is the nightlife, daylife, mornings, evenings, afternoons like in the SOMA district. then what
about during a sports event, or a convention show. there is a massive flux of people, how does it
affect the region. investigate the slippage effect of the businessman to the nightman.
culture / society
new lofts, restaurants, shopping, development. existing building uses and their activity rates. time
site studies -program analysis of these spaces and their effect on the area. how does the area fluctuate, move.
[SOMA] san francisco context
how often are cabs, city buses, the metro lines, nearby train stations.
How does this mass transit affect an urban downtown area like San Francisco.
circulation / transportation How do people move around and through the site.
6 07
what range of people live in the area. what is their cullture they bring with and their professions.
demographics what can be learned from the residents and their lifestyles and views towards the area they live.
what can engage them and outside residents to instigate a more lively ‘downtown’ area.
critical positions

C R I T I C A L _ P O S I T I O N
1. Karl Chu, Genetic Space
Le Corbusier, Villa Savoye
3. Le Corbusier, Carpenter Center
10
Critical Position [Corbusier_Chu]
The following is a reaction to Kenneth Frampton’s discussion
of Le Corbusier in “Le Corbusier and ‘l’Esprit Nouveau’,” from
his book Oppositions: Le Corbusier 1905-1933 and Karl Chu’s
manifesto “Genetic Space” which Karen Lange provided us.
Architecture within the last one hundred years
has changed dramatically with the advent of
computers. The architect of the early 20th century
determined architecture is influenced by space,
time and movement and creates the relationship
between them. Architects of the 21st century
are delving into the biological sciences and how
architecture may grow organically by its own
means. While both architects create space, the
means to achieve this space has significantly
changed. Le Corbusier of the early 1900s believed
the human and their environment was the ultimate
element of architecture. The architecture was
a response to how people used and interacted
with their environments. On the contrary, the
contemporary architect, Karl Chu writes in his
manifesto Genetic Space that we are at a turning
point in architecture; where architecture will
grow from itself using the convergence of genetic
information and computation.
“The goal is to engineer a new species from
scratch.”1 Karl Chu presents a radical idea
that through the convergence of genetics and
computation we are at a threshold of a new
civilization where everything will spawn from
the intrinsic properties that make up physical
universe, like mathematics, physics, philosophy
and metaphysics.2 He cites that we have the
ability to transform genetic make-ups and create
1 Chu, Karl. “Genetic Space”
2 Karl Chu’s profile on Columbia’s website
RITICAL_POSITIO
new biological species. He re-conceptualizes the
architectural process and believes the new design
process must grow from itself like an organic
system. He believes it will become a generative
process that will be derived from the vast
matrices of information our world thrives on, and
the realization of biogenetics.3 This architecture
will grow organically from its own internal and
metaphysical forces. There would be no influence
from the past, because the architecture would
be growing with the forces that affect it at the
exact time it is growing. Karl Chu’s re-conception
of architecture sharply contrasts Le Corbusier’s
work of the early 1900s. Corbusier believed
architecture is developed to accommodate the
human body, where Chu believes architecture
needs to be a replication of how the human body’s
biology develops.
C R I T I C A L _ P O S I T I O N
Le Corbusier set up a system for architecture that
he titled the “Five Points of Architecture.” They
included the following; pilotis, a free plan, open
facades, ribbon windows and roof gardens. The
pilotis elevated the building mass off the ground,
the free plan opened up spaces, the free facades
were the vertical sibling to the openness of the
free plan, the ribbon windows exploited the free
façade, and the roof garden brought the green
space occupied by the building on the ground level
up to the roof level.4
At Villa Savoye Le Corbusier lifted the home above
the ground level on pilotis, thereby freeing the
ground floor for workspace and car parking. The
second level then became the living floor with a
living room, kitchen, bedrooms, and an outdoor
3 Chu, Karl
4 Frampton, Kenneth. Oppositions
11
 RITICAL_POSITIO
awareness for students and faculty in different
courtyard. A ramp then connected the second
disciplines. Again we can see Corbusier’s work as
floor to the third floor that led to a rooftop garden.
a dynamic catalyst for people movement through
His inspiration came from his interest in the
space. Bernard Tschumi also later examined this
monk’s residences at Charterhouse of Ema. At the
notion of indeterminate interaction amongst users
Charterhouse, the working space was located on
in his work on event space.
the first floor, with living and praying space on the
second floor. This separation inspired Corbusier
Bernard Tschumi invented the term event-space;
to experiment with his new housing type.5 By
space where events occur as an indeterminate set
lifting the home and setting it on thin columns,
of unexpected outcomes. Tschumi presents the
using ribbon winds to wrap the second level,
example of how event space can be achieved, “one
and thin walls, he gave the home a light, floating
may combine or assemble programmed activities
appearance. The movement from an open free
so that they charge a spatial configuration in
plan on the ground level, to an outdoor/indoor
such a way that, by mixing otherwise common or
space on the main level, and eventually ending in a
predictable programmatic items, they generate
procession up to the roof level creates a dynamic
uncommon or unpredictable events.”6 He has also
experience through the space.
coined this configuration of spaces the in-between
areas. Unpredictable events can include the
Furthering Corbusier’s ideas of people movement
movement, mixture and dispersal of a crowd, the
through space and time we can look at the
C R I T I C A L _ P O S I T I O N

1. Carpenter Center diagram showing circulation path intersection
2. Exploded view of Parc de la Villete’s program, field and movement diagram
3. Parc de la Villete, Bernard Tschumi
C R I T I C A L _ P O S I T I O N
crossing of paths of two different and discovery of
Carpenter Center at Harvard University. The site
new spaces and views. What remains important is
of the building was an existing open space that
these unpredictable events, are unpredictable, and
was a major diagonal circulation thoroughfare for
a seemingly infinite amount of different events may
students and faculty. The center was programmed
occur in the space. One might ask, what makes the
for the department of Visual and Environmental
unpredictable events architecturally interesting
Studies, as well as the Harvard Film Archive.
and stimulating? These events spur interaction
Corbusier took this opportunity of existing
between people and space which may lead to
movement and incorporated it into the program
new social interactions, relationships, possibilities
for the center. He designed a ramping walkway
and discoveries of the architecture and the site
that fed from the existing circulation path, and
itself that, had the determinate programs been
made a diagonal cut up and through the second
established, might have never occurred.
level of the building. This ramping walkway brought
students and faculty into a building that they would
The associated design elements and ideas of
not necessarily access. As they pass through the
Corbusier’s work are what initially inspire me for
building, they encounter the visual arts facility and
my senior thesis. Through developing circulation
people getting ready for performances or studying
spaces that moved up, across, around and through
the arts. This instigated a new relationship and
space, Le Corbusier was able to create not only a

5 Frampton, Kenneth 6 Tschumi, Event-Cities 2

12 13

C R I T I C A L _ P O S I T I O N
1. Event Space Field diagram; AB417 Society Think Tank
2. Karl Chu’s dance center. Derived from analytic information of dance
3. Rendering of generative information surface mapping experiment
14
dynamic experience but a interactive one as well.
Tschumi’s works on creating in between spaces
that instigate events are also an inspiration. In my
thesis project I want to create and instigate these
interactions in places that would not typically exist.
Through site and programmatic research I will
implement spaces, which by my determination,
will spark new interactions and social spaces
between users not typically brought together.
Circulation spaces will bring together all types of
people in all different fields and link the different
instigation sites. Corbusier and Tschumi’s ideas
of space and movement will be fused with current
and future methods to conduct site research, and
to determine how form can be generated and be
the generator of these spaces and events. They
will take into account programmatic relationships,
spatial relationships, structure, mechanical, and
other essential architectural ingredients.
I will, however, also implement issues Karl Chu has
been examining. The idea of organically growing
and generating an architecture that responds
to internal information will help me grow my
instigation sites. The sites will be generated from
their internal forces as well as their external forces
such as location, demographics, culture, existing
circulation, transportation, context, climate, access
and views. However much I do agree with Karl Chu
and his forward thinking processes, I must add
that I still believe there must be a human element
to spatial definition and creation in this organically
grown architecture. Millions of iterations can be
run through computer models to produce the
most efficient and spatially intriguing form, but it
must be tweaked and molded by the human hand
to remain good architecture.
In my surface mapping and emergent experiments,
RITICAL_POSITIO
which are discussed later in the book, I began
to touch on Karl Chu’s ideas. A code was set up
that contained underlying information, similar to
a genetic code, when the code’s information was
exposed and computed, a form was produced
that inherited the code’s information. Like Karl
Chu’s philosophy of forms generated from the
convergence of underlying genetic information and
computational techniques, the experiment drove
to map an area through the areas underlying
information, then write a code that could produce
a form that was not initially apparent. Only through
analyzing the given information parameters, was
the underlying form given life. This can fuel into my
thesis by way of mapping the site and its inherit
information. The application of these principles
is described in more detail in my experiment
reflection dialogue.
C R I T I C A L _ P O S I T I O N
Reading these two articles instigated me to
investigate other examples of current works
and how I can begin to produce and research
experiments that implement these design
philosophies. Corbusier’s movement through
space combined with Chu’s organic architecture
can produce an architecture that grows from
its site and creates a dynamic experience for its
users and surroundings.
15
critical research

Critical Research [FOA]
The following is a research paper I wrote in an attempt to
understand FOA’s design techniques through the use of an
open-diagram and intense computer modeling that enfolds all
internal and external factors of a project into a design tool.
Processed Form:
FOA’s Open Diagrammatic Design
“A diagram prescribes performance so at anyone time
you are making a number of decisions. It describes a
relationship across a number of parameters, but it is
not metric. You can add other parameters to it; you
can stretch it. You revisit it constantly and analyze it.
You make decisions constantly while allowing for re-
evaluation and evolution.” – Farshid Moussavi
An interest in a temporal based architecture that
involved discovery and experimentation rather
C R I T I C A L _ R E S E A R C H
RITICAL_RESEARC
What resulted was a classification system of their
projects, similar to ones found in plant and animal
biology, that listed a series of 7 families whom of
which described a set of traits that could be found
in each project. Each project was then labeled a
species, as each project built on top of each other,
inheriting these architectural traits that evolved
over the ten years they had been practicing. This
immediately put FOA into the contemporary wave
of an interest in the biological sciences. What
remains important is their interest in the use of
an open-diagram that can include the specifics of
each project, but remain an open-ended design
tool for a wide variety of projects. I will critically
analyze FOA’s biologically influenced project
classification system, as well as the accompanying
rhetoric and reasoning, and finally explain why the
use of the diagram is a successful and intriguing
performance-driven architectural design tool.

1. FOA”s Architectural Surface ‘families’ and their general characteristics.
2. FOA’s Classification System [taxonomy] of their projects
3. A taxonomy example of animals
18
than the production or perfecting of what they
already knew, Farshid Moussavi and Zaela Polo
of Foreign Office Architects (FOA) use the open,
flexible nature of the diagram and its ability to
prescribe performance and continually develop, as
well as the increasing power of the computer to
analyze complex systems of information, to create
an architectural language that would be open to
the specifics of each project, while maintaining an
overall design model that could be applied to any
context. After almost a decade after they opened
their office, FOA was commissioned to do a series
of shows around the world that displayed their
work over the past ten years. This gave FOA an
opportunity to produce a fresh view of their work.
Concerned with the ideas of an architectural
language and authorship, they wanted to research
whether or not their use of the diagram and their
open/flexible approach to the specifics of each
project produced a series of common traits.
C R I T I C A L _ R E S E A R C H
In biology, classification systems are set up to
include a family, then individual species within that
family. The key to this is the activity of reproduction,
where species of the same group reproduce
with one another and produce offspring, who
will inevitably inherit the traits of its parents. The
offspring’s traits go through a morphogenetic
process where the traits they received from their
parents, evolve into a new set of altered traits.
These new traits are a result of the species
adaptation to its environment and its specific
needs. This process is known as evolution, where
the species is changing over time to better adapt
to its environment, or in other terms improve
its performance. This system produces an
information feedback loop, where the traits are
constantly evolving and checking themselves in
their environments to see what works best thereby
improving performance. The species is the carrier
19

C R I T I C A L _ R E S E A R C H
1. FOA;s Yokohama Port Terminal.
2. Detail of timber construction.
3. Detail of stone paver construction.
20
of this information, to test what works and what
doesn’t.
FOA used these principles as a metaphor to
classify their projects, and better understand
the common traits that each project, or species,
exhibited. They could not do this until they had a
population of projects to classify and gather each
project’s respective traits. This was a powerful
move for the firm as they moved away from
describing their projects as types, and into labeling
them as species. FOA argued the use of types
(e.g. residential, civic, commercial) was too static
and did not properly describe their work. Species,
on the other hand, “are sets of morphological
relations that vary across time and space, and
therefore offer a much more effective tool to
operate within a constantly shifting environment,”
(Moussavi, Phylogenesis). These traits are
diagrams of architectural surfaces that each
exhibits different behavior and characteristics.
Each of these architectural surfaces diagrams
is grouped into 7 separate families, which
are function, faciality, balance, discontinuity,
orientation, geometry, and diversification. Within
each family, there are several differentiated types
of their respective surface diagram. For example,
under the function family, there is the “ground”
surface and the “envelope” surface. The ground
is a flat surface diagram whose primary function
is the construction of a connected ground. The
envelope is a tube surface diagram whose function
is to enclose space or surfaces. The projects,
or species, are then products of these surface
diagrams. As FOA created the classification
system, they created their own information
feedback loop by testing the projects traits, and
seeing how they interact with their environment,
program, users, structure and material. If one
RITICAL_RESEARC
succeeds, then it might be carried to another
project. For instance, in their Yokohama Port
Terminal project they used timber to create a
massive public landscape that would be used
by hundreds of different types of users from
skateboarders to picnickers. In a later project in
Barcelona that called for another massive public
space, they decided to use large interlocking
pavers because they had learned from the
previous project that timber could not withstand
the abuse of a large public space where people
would be walking, running, biking and skating
over. Through the use of a new performance
driven material they created morphology of their
architectural surface diagram. Setting up a system
of classification where they map lineages through
each project, they are successfully able to develop
a way to see what works and doesn’t, as well as
identifying possibilities they have not yet explored.
C R I T I C A L _ R E S E A R C H
But why use the rhetoric of architectural families,
species, and growing. The immediate assimilation
is to biology, which also happens to be a major
contemporary topic in architectural discourse.
Over the past thirty years architectural discourse
has looked at biology and the computer’s ability
to simulate biological processes. Architects
could create models that would incorporate
spatial, temporal, programmatic, structural,
environmental, social, cultural and economic
factors. As soon as this was the topic of the time,
firms across the world began to relate their work
to that of biology. We see firms like Emergent,
Patterns, Zaha Hadid, Xerofirotarch; amongst
others discussing and producing work and creating
names that resemble what we see in the natural
world. These firms are well known because of their
names and what they are searching for, but even
more so because of the popularity and interest we
21

see in the current architectural discourse. Along
with a biological obsession, there is the obsession
with the ability of the computer to produce models
where the architect can input information and
begin to script a project. Through a series design
models, firms like U.N. Studio and FOA can take a
specific design model that might fit the parameters
of a certain project. Aside from the architect’s
personal interests and ambitions in architecture,
the rhetoric contemporary architects use, is
aiming at a need to authorize their work, and in
our capitalist society, sell it. It stems from the
internal needs to create organization, coherence
and signature within a firm, as well as external
needs to market, sell, and control a firm’s work,
and if possible, the contemporary architectural
discourse. In FOA’s case, the classification of
their projects into families and species, however
metaphorical it might be, adds a signature to
C R I T I C A L _ R E S E A R C H
their work that captures the current biological
discourse, and sets them apart from other
firms using the design model technique. Another
trick FOA uses besides their design models, and
biological rhetoric, is in their own name. As they
describe themselves as “a medium to augment a
site’s forces,” (Moussavi, ICON) we see their name
as Foreign Office Architects. Being foreign to their
project-species they create, they remove culpability
of their work. They are still responsible, but they
begin to remove themselves and let their projects
and process take the spotlight.
1. Yokohama Port Terminal’s “no-return” diagram. In projects on large urban scales where the public
is a major factor, and the need to control space,
flows, materials and users, is there a way to
produce an architecture that responds to these
mass amounts of factors, and within this process
what can be done to work efficiently with all this
information to produce a space that maximizes
22
RITICAL_RESEARC
use as well as creates a process that evolves over
time to produce this efficiency. Diagrams are able
to incorporate flows of people, programmatic and
spatial considerations, environmental factors,
material characteristics and structural systems, all
of which respond to each other and begin to create
a system that is constantly changing and evolving
at each point of the diagram. This inherently
involves temporal strategies to deal with the
change of these factors over time. Architecture
does not literally spring from a diagram, so it
must not be construed that a vector line on a
computer will be the floor plane of a building,
or that the diagram will produce the structural
and material system. But rather, it will be where
an architectural surface will correspond with a
programmatic concern, which will connect with
a circulation use, and then the architect can add
material to accommodate the program and the
C R I T I C A L _ R E S E A R C H
circulation, and finally a structural and mechanical
system that fits these parameters. If the program
or the material changes, then the diagram can
be consulted to adjust these parameters. FOA
describes this process as a bottom up logic of
parametric design while consulting construction
techniques from a top down approach. They
critically used the diagram in their Yokohama
Port Terminal Project where they created a “no-
return” diagram. Where program, and circulation
were the main driving factors for the layout of
the diagram. At each point of the diagram, they
placed an architectural surface like I previously
highlighted that related to the local parameter of
the program, circulation, material, structure and
environment. These points of the diagram start to
include ergonomic and functional information that
determine the scale and geometry of the surface’s
deformations, as well as the technical information
of the structures’ load bearing capacities. Once
23
 RITICAL_RESEARC
all the information is set in place, the diagram
can start to become a constructible-dimensioned
drawing. The other major benefit of the diagram
is its ability for openness. One, in the specifics of
a project where it can evolve over the course of
the project, and two, its ability to work over any
scale of projects. This will lead to a coherence,
and increased performance of one’s architectural
design over time.

Diagrammatic design in architecture is not a new
tool, but with the use of the computer and its ability
to process infinite layers of information, we are
able to produce a more effective and performance
driven architecture that enfolds all aspects of a
projects’ site and program, rather than shunning
the site and looking to repeat a successful
prototype. The diagram can be used as a prototype
that adjust itself to the specific parameters of
C R I T I C A L _ R E S E A R C H

C R I T I C A L _ R E S E A R C H
each project, and can be used as design tool
that evolves itself over time. In the search for
a performance driven architecture that can
interpret all aspects of any given project, the use of
the diagram and the computer-model has proved
successful for firms like Foreign Office Architects.

1. Theater Dimension Diagrams

2. Skateboard Ramp Dimension Diagrams

24 25
case studies

01_case study:
EyeBeam Museum [diller+scofidio]
new york city//manhattan
A Virtual Experience Novella
Cross-Programming and Folding
Interactive Event-Space
Media Technology Interactivity
In Diller Scofidio’s winning competition entry for the
Eyebeam Museum in New York City, they altered
the idea of what a ‘museum’ should be. Through
the practice of integration they brought together
the fields of exhibition and production in to one
continuous space. I want to see how in an urban
setting, they brought the public into this space, and
created events that would typically never occur
between the researchers and the public.
To begin this case study I think we should take
CASE STUDY_01 EyeBeam [d+s]
a walk through of the Eyebeam Museum of New
Media Art to gain a better understanding of how
Diller and Scofidio executed such an innovative
architectural and social plan.
A Virtual Experience Novella
Approaching the building from the street you
notice a scrolling text and moving images on the
concrete surface that is displaying current events
at the museum. Entering the lobby doors you
immediately see the interior glazing to your left
that gives a frame to the sub-level theatre and live
performance space. As you keep moving you are
confronted with the option to take the stairs to
your right which lead down to the theatre, head
straight ahead to the media library, take the public
elevator also to the right, or take the gently sloping
ramp to the left which takes you into the rest of the
building. The ramp looks intriguing as you notice
28
CASE STUDY_01 EyeBeam [d+s
people socializing in a glass rectangle box. You
move into the space next to the cocktail bar and
become shocked by what you thought was a mere
circulation space, has been transformed into an
extension of the lobby as a social mingling zone for
the researchers, fashionistas and digerati alike.
You finish off your cocktail and continue towards
what you see is the mediateque.
Inside the mediateque you rest in one of the comfy
chairs, which at first glance is a standard modern
piece, but once activated, transforms into a digital
field of screens, headphones, plug ins, control
devices, which all link into the museums servers
and allow you access to all of the work that is
currently and previously created in the space your
in. You get your fill and head up the stairs out of
the space, but while heading upstairs you notice
to your left researchers/designers in a room
CASE STUDY_01 EyeBeam [d+s]
studying archived work. You question if you were
supposed to see that but continue upwards into
the next exhibition space.
You are confronted by a large moving image
that looks like it has been half-toned dotted in
Photoshop, but it is moving and adapting to your
position as you move through the room. As you
move pass the exhibition something catches your
eye, a classroom with researchers attending a
lecture. The only separation is glass that is mildly
transparent, but has moving images on it, and
what appears to be the topic of the lecture. You
stop for a second, and realize, the image is the
one you just walked through and is the one that
adapted to you. You begin to realize this is not
your typical museum. The creators of what you
experienced, are studying your reactions and
the project’s reactions in real time, several feet
from where you are. This unexpected interaction
29
 CASE STUDY_01 EyeBeam [d+s
intrigues you and you continue interacts with it; therefore, during manifestation
upwards. Many more of these they are integral to how the piece is designed and
interactions occur as you climb functions. It is here that D+S wanted to blur this
through the building until you relationship between designer and exhibitor.
reach the rooftop terrace and
finish your night with a French, In the Eyebeam Museum they accomplished this
digital experimental art film on diagrammatically by creating a single plane ribbon,
the rooftop outdoor cinema. with one side being the production/research side,
You sip on a few more drinks and the other the exhibition/public side. Folding
and tinker with ahi tar tar while this ribbon upon itself led to a series of levels
you contemplate the experience that alternate between exhibition and production.
you just went through. The The cross programming manifests itself when
interactivity of the museum, if they sheared the ribbon and began to shift the
you can still call it a museum, levels next to one another, thereby bringing a
inspires you with your own work, production level, up next to a exhibition level, and
and you jot down notes in your an exhibition level next to a production level. They
sketchbook while taking in the coined this process of folding and crossing the
New York City skyline.1 program into one another, terming it “controlled
contamination.”12
CASE STUDY_01 EyeBeam [d+s]

CASE STUDY_01 EyeBeam [d+s]

Cross Programming and
Folding Interactive Event-Space
Going back to the idea of bringing together This idea of “controlled contamination” between
two separate fields and seeing how they could exhibitors and researchers stems from Diller
possibly interact was a major part of D+S’s design Scofidios earlier research about voyeurism and
philosophy on the project. As we understand theater. The exhibitor or researcher, is an actor
museums, they are a place where one enters a within the building who at moments is on display
space and experiences a piece in its finished form, for others and the building itself. By mixing the
thereby avoiding the process of seeing its physical program, and adding circulation elements that
or digital manifestation. The designer’s process transverse upwards through the central areas
of producing the of the building, set up points or fields of possible
piece is removed interaction between exhibit and production areas.
from the public’s At these points where the programmed spaces
1. entry lobby w/ fiber optic flooring eye. With media slip next to, above, or below each other, these
2. presentation space with adjacent production space art, the public actors can view one another performing their
3. entry lobby
is the end user activities. This occurrence of one user watching
who ultimately another user interacting with an exhibited piece,

1 From analyzation of diagrams, images, plans, sections, and writings 2 Mitnick. p.14
from Mitnick. Diller Scofidio Eyebeam Museum
30 31

CASE STUDY_01 EyeBeam [d+s]
4. interaction diagram between researchers and visitors
5. projected keypad on liquid crystal glass ‘party wall’
6. wearable device
7. technology lounge chair in mediateque
32
or producing a piece, questions the relationship of
the researcher and visitor. Are the researchers
producing the material the museum in themselves,
is the public interacting with the pieces the
museum, who and what is exactly on display? This
blurring between users and their functions, along
with the different programmed spaces folding into
and out of each other further exemplify the ability
of Diller and Scofidios to create an interactive
event-space.
Media Technology Interactivity
Diller and Scofidio take the idea of interactivity
beyond the theoretical sense of social and
pedagogical interaction, and incorporate it in the
use of media technology throughout the building,
which in this case, is a viable necessity to the
program of the building. At ground level where the
users enter the building, the ground is illuminated
with text and moving images through the use of
fiber optic cable gridding. Fiber optic cables work
when at one end, light enters the cable, then at
the other end, light is emitted from the cable. The
[in]put of the fiber optics in this case was a grid
of LED lights that can read images and text from
a computer. These images and text in turn are
[out]put through the other end of the cable, which
end at the surface of the concrete. This is a very
innovative idea and creates this questionable floor
of concrete, and also adds a dynamic dimension to
its typically static materiality. 3
The glazing systems, or “smart party walls” as
they coin them, are used throughout almost all
of the building. These systems include a layer of
liquid crystal between transparent conductive film
and laminated glass. At the top and bottom of
3 About Signage. Mitnick. p.42
CASE STUDY_01 EyeBeam [d+s
the glazing, is an electrical current that controls
the opacity, transparency and translucency of
the wall. The top is a positive current and the
bottom is a negative current. They created this
system so where there are areas that change in
light sensitivity is a necessity, they can control the
characteristics of the glass in a flash. The glazing is
also engraved with a touch sensitive menu that is
tied into a virtual projection and can allow visitors
to access researchers work, or for information
and events to be posted. It is a 2D poster that
ultimately becomes 4D because it interacts with
its users and changes over time but stays in the
same matter.4
In the mediateque the lounge chairs are
equipped with flat screens, flexible lap keypads
and headphone jacks which all connect into the
Eyebeam Museum’s media server and the Internet.
CASE STUDY_01 EyeBeam [d+s]
Visitors and researchers alike can interact with
this system for research or pure entertainment.
Along with chairs, Diller Scofidio created a device
that goes over your shoulders and responds to
the artwork you are presently looking at. It houses
information and comments from the curator,
and the artists themselves, then allows you to
provide your input and response to the art piece.
This furthers the interaction between visitor and
designer.5
4 About Smart Party Walls. Mitnick. p.37
5 About Interactive Self-Media. Mitnick. p.34
33
 34
CASE STUDY_01 EyeBeam [d+s]

8. sectional program diagram

9. facade / cut view

CASE STUDY_01 EyeBeam [d+s]

35

CASE STUDY_01 EyeBeam [d+s

CASE STUDY 01 EyeBeam [d+s]
CASE STUDY_01 EyeBeam [d+s]

10. exploded axonometric circulation diagram 12. exploded axonometric circulation diagram
11. sectional circulation diagram 13. sectional circulation diagram
36 37
CASE STUDY 01 EyeBeam [d+s]
CASE STUDY_01 EyeBeam [d+s]

14. section of [production] and [exhibiton] spaces

38 39
CASE STUDY 01 EyeBeam [d+s]
CASE STUDY_01 EyeBeam [d+s]

15. mechanical/data diagram

16. section detailing exhibition space with support tech room
17. fiber optic flooring
18. entry lobby bar and ramp
19. performing arts theatre

40 41
 42
CASE STUDY 01 EyeBeam [d+s] CASE STUDY_01 EyeBeam [d+s]

20. computer animated study models

43

02_case study:
Landesgartenschau [zaha hadid]
Weil Am Rhein, Germany
“The suggested structure does not sit in the
landscape as an isolated object, but emerges from the
fluid geometry of the surrounding network of paths.”1
In 1999 the Landesgartenschau (state flower
exhibition) was built to serve as an event and
exhibition space for the garden festival in Weil
am Rhein during that summer. The form was
generated by external site conditions and program
implementation. Site conditions like circulation
paths, site views and local climate began to sculpt
the building as if it apparently grew from the site.
Three existing paths generated three forms that
continued these paths and rose over, cut through
and around the building. From these dominating
forms, programmatic spaces were inserted along
CASE STUDY_02 Landesgartenscaau
the routes. Circulation paths were therefore not
interrupted; rather they were exemplified as they
grew above, around and through the building. The
Landesgartenschau became an extension of the
landscape. All types of visitors were offered new
ways to experience the site and an invitation to the
exhibition space.
The existing site conditions are external forces that
contain hard data about the Weil Am Rhein site
location. The data used in the Landesgartenschau,
along with Zaha Hadid’s architectural aesthetics,
drove the form of the building. Existing circulation
1. ramping ways that go up and over the building studies led to the sweeping path forms and
2. interior open pathways cut through the building.
views and climate conditions led to the specific
placement of programmatic spaces.
1 Hadid, Zaha. “Landesgartenschau” Part of a packet
received while touring Zaha Hadid’s office in London.
44
CASESTUDY_02Landesgartens
Incorporating existing circulation paths through
the building not only produces a wonderful
architectural form, but also creates a series
of event spaces. Imagine the building having no
circulation paths that cut through around or over
the building, the visitors, whether attending the
exhibition or simply experiencing the park, would
be forced to walk around the building to experience
the site or the building itself. In this instance, the
walkway paths are inclusive in the building as
they are simply an extension of the site’s existing
pathways. Visitors using the park might walk on the
ramping pathway over the building and discover
the outdoor terrace and decide to stay for a cup of
coffee. Another visitor might cut diagonally through
the building and happen to notice an interesting
display in one of the galleries, thereby sparking
their interest to enter the building and see what
CASE STUDY_02 Landesgartenscaau
other discoveries they can make.
Indeterminate action is a social instigator and
architecture has the ability to produce spaces that
produce spaces that have the cause and effect
relationship of these actions.
45
experiments
 EXPERIMENT 01 [Film + Media]
01_experiment: of the users body became apparent, like we see
Film + Media in third person video games. The people said they
were uneasy walking around because of their
Self Surveillance / Voyeurism distorted perception. This distorted perception is
Discovery: Infinite Continuim what was achieved through this experiment.

The film+media experiment began through my Aside from the my initial investigations and hopes
interest in film, media and the idea of surveillance. for the experiment, a new element that I did not
Inspiration was derived from Diller and Scofidios foresee came into play. Because the way the setup
works on voyeurism and video surveillance of the video camera and projector was positioned,
experiments. the image resulted in frames that gradually got
smaller and went into
First, a video project was placed on a table and infinity.These images
aimed at a white wall. Secondly, a video camera that stretched into
was placed 2’ behind the projector and propped inifinity were also
up on several thick books, so the height of the tied to time. As each
camera was equal to the top of the projector. The frame stepped back
video camera was also aimed at the white wall and got smaller, there
surface. The camera was then hooked up into the was a time delay. It
[Film+Media]

[Film+Media]
projector and both turned on. The resulting display became apparent
was an image of the video projector, projecting when waving my hand,
itself. Video projectors are typically used to project or seeing the time
other images or film. They are the worker who code on the video
creates the end product, and are usually in the camera roll through
back scenes. In this experiment, this relationship time. It created this
EXPERIMENT_01

EXPERIMENT_01
between end product and worker is inversed. The fourth dimension on
worker, is displaying itself as the end product. the image. Not only
What becomes hidden in the image is the video was the continuous
camera, they are now the worker almost taking process of the video
over the position of the video projector. camera filming the
projector project
The video camera is ultimately spying on itself itself, there was
1. video frame grabs of film time loop experiment from the back, creating a somewhat out of body infinite continuim in
experience for the video projector. Recent work the image itself. It
has been done to create out of body experiences was a very interesting
for humans. A video camera was hooked up to a discovery in both
person’s upper body, and aimed facing their head aspects through the
and beyond. The camera’s video was hooked into use of film and media
goggles that the user wore. A third person view
48 49
 EXPERIMENT 02 [Mobius Strip]
02_experiment:
Mobius Strip
Continuous Plane
Diagrammatic Event Space

The mobius strip is a complex mathematical

model that explains a surface that is continuous,
or goes on for inifinity. When looked at it in a
diagrammatical sense, it has the ability to bring
together several programs that would unseemingly
go together, and see what type of reactions
can be made possible. The idea of continuity or
smooth surfaces can be linked to the idea of folded
architecture or indeterminate actions through
programs.

Starting with a single ribbon of paper, with two

respective sides, I looped and then twisted the
ribbon so each end connected and created a
Strip]

Strip]
surface that linked both planes. Drawing on one
side of the plane and leaving the other blank
showed this ultimate continuity that is possible
EXPERIMENT_02 [Mobius

EXPERIMENT_02 [Mobius
through the diagrammatic aspect of the mobius
strip. While each side maintains their own
properties, they now are connected and linked into
a new form.

The mobius strip was inspired by the “Mobius

House” by UN Studio in the Netherlands. In the
house they took the same approach to the mobius
strip by looking at it diagrammatically, and how
they could interpret that into a new architecture
1. twisted ribbon paper that forms a continuous surface
[mobius strip] for the house. In the house they brought together
two families and their daily lives by doing event-time
studies of a normal day in the families life, and
where possible connections could occur. It was a
very provacative project and furthered the idea of
indeterminate architecture or event space.
50 51
 EXPERIMENT 03 [MoirePatterns]
03_experiment:
Moire Patterns
Event Fields

“A moire pattern is an interference pattern

created, for example, when two grids are overlaid
at an angle or when they have slightly different
mesh sizes” (Wikipedia.org].

In this experiment I wanted to look at how two

separate fields, when brought together, can create
a new event. In this case, I used two square pieces
of plastic mesh and started by overlapping them,
shifting their angles, and tilting them up from one
another. You can see the resultant patterns to
the left. When I folded a single piece of mesh, it
created a much more dramatic moire pattern.
EXPERIMENT_03[MoirePatterns]

EXPERIMENT_03[MoirePatterns]
This experiment brought out the idea of two
separate entities coming together to form a
new product. It too ties into folded architecture
and event space. Putting it into the architecture
realm, it could be used or seen when placing
several programs together, intertwined, or
overlapped and seeing what new event, space, or
interaction can occur from such a combination.
The indeterminancy of the outcome can be seen
here in these simple moire patterns. Two pieces
of mesh with a structured grid, but when brought
together in a random way, produce a pattern that
could not finitely be calculated before.
1. folded plastic mesh altered in photoshop to discover
Moire Pattern

52 53
 XPERIMENT 04 [FibreOpticWall
04_experiment:
Fibre Optic Wall
Interactive Architecture

The fiber optic wall was the next step to the film+media
experiment, only this time engaging the user on a
different level. I wanted a piece that would grab the
users attention, make them question how they are
perceiving it, begin to interact with it, then look further
into how the piece is working. The fiber optic wall was
the solution to this process.

A 18”x36” piece was conceived with the top 18”x18”

being made of mirrored styrene and the bottom out of
black illustrator board. A 10x10 grid of holes was on
each 18”x18” square. From one hole at the top, to the
corresponding hole at the bottom, a fiber optic cable
would run. A spot light was then fixed about 8’ from the
EXPERIMENT_05[Fibre Optic Wall]

EXPERIMENT_05[Fibre Optic Wall]

wall, and shone directly on the upper square surface.
The light hitting the upper square would infiltrate into the
fiber optic cable, and would be emitted from the end of
the cable, on the bottom half. The process is illustrated
in the diagram to the left.

It was an exhibit for the 5th Year Abstract show

1. user interacting with wall at abstract show fall 2007
2. fibre optic system on back of wall
54
and was going to be a wall mounted piece that was
centered at just below eyeline. The mirror would grab
the users attention because everyone is intrigued to
see their reflection, while they were seeing themselves
in the mirror, they would look below, and recognize a
shadowed imprint of their head in a grid of lights below.
This intrigue of how their shadow could possibly be
below would intrigue the user to move themselves and
notice the changing shapes in the light. Once the
user began to interact with it, they would question
the process and approach the back side of the
piece, to discover the vast grid of fiber optic cables.
55
 XPERIMENT 05 [FiberOpticTabl
05_experiment / vellum:
re::ACTIVE table [fiber optic table]

Techno / Human Interactivity

Physical Manifestation

A table in its purest form with a technological

twist, the re::ACTIVE table creates an interactive
experience with itself and the user. The table no
longer functions as a stratic inanimate object,
rather it takes on a dynamic experience generated
from the user and their activities whether with
light, video projections, or objets placed on the
table. A series of underlying fiber optic grids
receive light [input] from one end and emit [output]
it from the opposite side of the table.

The table, constructed out of steel, plexiglass,

plywood and 340’ of fiber optic cables, is an
EXPERIMENT_05[Fibre Optic Table]

experiment in how a simple looking piece of

EXPERIMENT_05[Fibre Optic Table]

1. user waving hand and created shadow effect on
opposite side of table
furniture can engage its user beyond the
simple use of being a table. Stemming from the
experiment of the fiber optic wall, the re::ACTIVE
table used a system of 14x14 grids that rested
under a piece of frosted plexiglass. The grid is not
apparent from above while it rests in seclusion
under the frosted plexi, but when light is introduced
via video project or light source, the table comes
alive with one half of the table flooded with light,
and the other half glowing in a 14x14 blurred grid
of lights. Add the element of a video projector or
fluctuating light source and the table comes alive
as the emitted light dances around the grid and
outputs the light values that are being inputted
from the light source.

Introduce the human element and this is where the

interactivity begins. If you look to the left you can
see an example of a user interacting with the table,
56 57

EXPERIMENT_05 [Fibre Optic Table]
1. initial sketch of program combination
2. users interacting with table at vellum show
3. music in itunes and its visualizer function, along
with a video projector create a moving surface
58
XPERIMENT 05 [FiberOpticTabl
by waving his hand under the light, and realizing his
shadow created on the opposite side of the table.
The table’s surface is moving with his movement.
Add a glass or a magazine, once they move
around, their shadow moves around as well. The
table is intended to be an enhancer to the activities
of the table. If two people were conversing at
the table having a drink, it would only add to the
conversation.
The construction of the table was a great
learning experience in itself. First modeling it in
the computer let me take advantage of precise
measurements, cuts and welds. I created a frame
from tube steel and plate steel, and welded all
the connections. Once done welding I grinded the
welds down to make smooth surfaces for future
connections to the plexiglass and for aesthetic
reasons. Then came the fiber optic gridding. To
achieve a surface that would be emit enough light
EXPERIMENT_05 [Fibre Optic Table]
to receive the shadow effects, I implemented a
14x14 grid. 196 strands were used at 21” a
piece, resulting in the use of 340’ of cables. I drilled
the holes at 9/64” to allow the fiber cable and its
jacket to fit snug in each hole and therefore defeat
any need for adhesives. The plywood sheet of grid
was then wired with all 196 cables, stretching
from one side to the next. After the cables were
wired I placed the sheet on supports within the
frame of the table then placed the sanded piece of
plexi on top. The supports I made for the plexi and
plywood were inset deep enough to create a flush
surface with the plate steel. I connected the plexi
to the steel with a clear silicone adhesive, similar to
glass to glass connections.
The table was presented at the Vellum Furniture
competition and well received. Users interacted
with it as I intended and proved it successful.
59

EXPERIMENT_06[emergent form]
1. 4x4 surface mapped with points generated
through random order
2. points distorted according to assigned values at
each coordinate
3. 3 Dimensional display of [e]mergent form
60
XPERIMENT 06 [emergentform
06_experiment:
[e]mergent form
Interpretive > Generative Form
Computer > Physical Manifestation
This experiment was inspired by work from Michael
Hansmeyer’s work on visualizing L-Systems
through surface mapping [mh-portfolio.com/indexl.html]. I took
his work as a case study to how I can generate
a form through the input of information, or data.
I also wanted to examine the process of data, to
computer, to form, to physical manifestation.
Starting with the letters A, B and C, I created a
string of letters, then arranged them in a random
order through a mathematical algorithm. These
letters were then assigned values; A=+1, B=0,
C=-1. The random order was broken into sets of
EXPERIMENT_06[emergent form]
3 and each set was mapped to a point on a 4x4
gridded surface in the computer. At these points,
the set was related to the X, Y, & Z vertices. For
example, the set [BAC} would relate by B=x, A=y,
C=z. Once they were assigned, each point could be
manipulated in the x, y & z directions according to
their sets values. After going through each point,
the 2d surface was now altered into a 3d distorted
surface. This modeling was done in Rhino Modeling
Software.
Once I was done modeling the form, I unfolded the
surface and was able to print it, then physically
construct the form by cutting out the individual
facetted pieces. I also built a structural frame to
support the form. Being able to use information, an
indeterminate algorithmic generated pattern, and
computer modeling software was a great process
to examine a way to generate form.
61
 XPERIMENT 07 [musical emer
07_experiment:
musical [e]mergence
Generative Form through Music

Stemming from the [e]mergent form experiment,

I wanted to create a form that was generated
from another medium, such as music, using a
randomization program to generate a form. I knew
that in iTunes Shuffle feature, they use an algorithmic
code to produce a random shuffle of music. Having my
appropriate randomization method, I then chose three
different albums, that were in three different genres,
as well as time periods.

The first piece I chose was Radiohead’s new album

“In Rainbows” made in 2007 and under the genre
of electronic. Secondly I chose Death From Above
1979’s “You’re A Woman I’m A Machine” produced
in 2004 and under the eccentric “electronic dance
E XP E R IM E N T_ 0 7 [ mu s ic a l e m erg en c e]

E XP E R IM E N T_ 0 7 [ mu s ic a l e m erg en c e]
punk.” Third and last I chose the classic Bob Dylan
album “Highway 61 Revisited” from 1965 and under
the Rock genre.

After establishing the albums for the experiment I

assigned each album a letter and a value [+1,0,-1],
that corresponded to their production year. Radiohead
was given the letter [A] and the value of [+1] because
it was the most recent album. DFAB 1979 was given
the letter [B] and the value of [0] because it was in the
middle of both albums in the dimension of time. Lastly,
Dylan was given the letter [C] and the value of [-1]
because it was the oldest of the three albums.

From this process so far, I had several elements

working into what was going to become a form. Music,
time, different programs [genres], and all of those
combined the [in]put of information.

62 63
 XPERIMENT 07 [musical emer
Artist
A Radiohead
Album
In Rainbows
Year
2007
Genre
Electronic
I then created a playlist in iTunes and arranged the
B Death From Above 1979
C Bob Dylan
You’re A Woman I’m A Machine
Highway 61 Revisited
2004
1965
Electronic Dance Punk
Rock albums from most recent to least recent. Radiohead
A A
was at the top and Dylan was at the bottom. This
A B
A
A
A
B
established a layering of time through the playlist.
A A
A
A
C
B
Once they were arranged chronologically, I shuffled
A C
A
A
C
A
the playlist and created a completely random pattern.
B B
B
B
C
B
From that pattern I listed the songs according to their
B C
B
B
A
C
letter and generated the string of letters:
B B
B B
B C
B
C
A
A
[ABABACBCCABCBCACBBCAAABBCCABAABABACBCCABCBCABCBB]
C A
C
C
C
B
B
C
I broke the sequence into sets of [3] and [4] rows.
C C
C A [ABA][BAC][BCC][ABC]
C B
C A
[BCA][CBB][CAA][ABB]
1. initial iTunes playlist [CCA][BAA][BAB][ACB]
2. shuffled iTunes playlist [CCA][BCB][CAB][CBB]

This set of numbers was then mapped to a 4x4

gridded surface and each set was related to the [x,y,z]
geometric components of each point, and also related
to the positive and negative directions of each axis.
E XP E R IM E N T_ 0 7 [ mu s ic a l e m erg en c e]

E XP E R IM E N T_ 0 7 [ mu s ic a l e m erg en c e]
(+)X = A (-)X = C XYZ = 0 = B
(+)Y = A (-)Y = C
(+)Z = A (-)Z = C

Each point on the mapped surface was distorted in the

[x,y,z] directions according to each letter’s value. This
created a 3 Dimensional topological form.

The album art from “In Rainbows” “You’re A Woman I’m A Machine”
and “Highway 61 Revisted” were applied to the initial 4x4 2d
surface, layered according to most recent year on top, then each
layers opacity altered according to the frequency the album played
in the playlist. Once the points shifted the surface distorted, thereby
1. physical models distorting the image with the form.

The form generated was through a system of music,

information and time through analyzation and a
mathematical algorithm to generate indeterminancy
within given parameters.

64 65
 08_experiment:
musical [e]mergence 2
Music Spatial Fields

08
A further investigation into the musical [e]mergence
experiments led me to apply a similar process to the
surface image in the same way I approached the form.

In this experiment I set up the same surface map

structure with the same music, values, and letter sets.
However, the surface reacted to the densities of the
value sets at each point on the surface. At each point
I looked at what album was more prevalant, and from
that information created a gradient color point that
related to its album color, and frequency of play at that
point. For example:

[AAB] - At this point, the album A, Radiohead’s “In

Rainbows,” was more frequent, therefore a circular
EXPERIMENT_08[musical emergence02]

EXPERIMENT_08[musical emergence02]
point color with a radius of [+2] would be applied. [+2]
was chosen to span the albums value in each direction
of the surface, and lead to the possible mixture and
overlap between nearby points.

Breaking it down, if all the albums were at one point,

XPERIMENT
they would each have a radius of [+1] and an opacity
of 33%. If an album had 3 values at one point, then it
would have a radius of [+3].

This distribution of frequency points when distorted

began to stretch across their respective fields and
1. computer model interact with other points. If this was at a larger scale,
2. physical model it would be a topological form with speakers at each
point playing the album with the most freqeuncy at
that point, thereby creating an array of musical spatial
fields..

66 67
experiment analysis

Experiment Analysis
Film+Media thru Musical [e]mergence
My experiments helped my thesis much more than
I ever anticipated. There was a need to research
how to perform, achieve, construct, and realize
each experiment. During this research I studied
topics that pertained to my thesis and helped
me grow not only my experiments, but also my
architectural ideas. Each experiment also led to
the next one, and it became a process of growth
and development. For example, the fiber optic wall
led to the fiber optic table, or the emergent form
led to the musical emergence. What came from
the experiments were understandings on how
different elements may be combined and what that
net reaction or end result is.
Film + Media
A NA LYSIS
In the first experiment, Film + Media, my initial
intention was to create a voyeuristic view of a
projector and distort its function or relationship
to what it projects. The basis of the idea was to
see how the worker [projector] can display itself,
or show itself and how it works, thereby adding
a pedagogical effect to its function. Instead of
EX PER IM EN T
it projecting images, and leaving the process of
projecting the image or who the projector is vague,
the projector is now displaying itself working.
The idea grew from case studies on Diller and
Scofidio’s Eyebeam museum where researchers
were set on display as part of the museum, so as
film+media and fiber optic wall set up to inform the museum goers who are producing
the work they are viewing.
What came from this experiment was beyond
what I ever anticipated. The projector, with the
video camera, did indeed project itself, but not just
once, it projected an infinite amount of images.
70
X P E R I M E N T A N A LY S I S
There was a continuum of images in the projection
that went on to infinity. Because the camera
faced the wall and the back of the projector, and
the projector was projecting onto that wall, the
resulting image was a continuous loop of footage
that as each image dropped further back, a time
lapse occurred. This effect was amazing because
it set up these spaces in between each frame that
had their own time zone, if you will. As the camera
time code would role, you could see the change of
time as it hit every frame until it went out of sight in
the depth of the repeated image. If you waved your
hand in front of the camera it was as if a million
hands were waving one after another into infinity.
Fiber Optic Wall
This discovery furthered my interest of interactivity
with technology, such as film and media. It led me
to my next interactive experiment, the fiber optic
A NA LYSIS
wall. In my winter quarter of third year at Cal Poly
a fellow student named Nathan Smith worked with
fiber optic cables, and sparked my interest in how
light feeds into and out of the cables. I knew you
could have a cable bent or twisted in any direction,
and light would feed in from one side and still
emit from the other. Combining this knowledge
EX PER IM EN T
I previously had, along with some research on
interactive walls, I created the fiber optic wall. I
imagined it from the beginning as a wall fixture
that would react with users as they passed by,
and as they reacted with it and became intrigued,
would stop and look behind the piece to see how
it works. The idea of intriguing then informing has
always been a major push for me. At our fifth year
Abstract Show I set up the piece and it worked
exactly how I imagined it. Tom DiSanto commented
he was thrilled to see how it worked after he
interacted with the piece. Intriguing the user
beyond a pieces surface value was another look at
71

engaging the user.
I discovered several elements through
this experiment, fiber optic technology,
implementing the technology, user interaction
and the reality of how interactive and
informative ‘interactive architecture’ can be.
Our society has become quite a fast past
consuming machine, and where stimulation
is everywhere it is hard to keep the attention
of anyone. In this experiment, it was able
to attract users for a brief moment. That
brief moment could engage the user and
provoke them to experience the space and
its surroundings in a way they previously had
not. It could become a place that sparks social
interaction amongst its users, or a social
viewing place, whatever the user prefers, it
could lead to a more vibrant, dynamic space.
A NA LYSIS
X P E R I M E N T A N A LY S I S
along with speakers playing music within the table. The
table’s surface was on one half displaying the projected
image, and the other a grid of changing colors and
light. Users noticed this relationship between the
projected image and the grid and became intrigued.
They would wave their hand under the projection and
notice their hand’s shadow moving across the grid.
They would then peer under the surface to see the vast
array of cables. Like, the fiber optic wall, the process of
interaction, intrigue and then provoking the user was
executed.
Information/Surface Mapping
Setting aside the interactive experiments I wanted to
explore emergence through different elements. In this
case, it was through information and surface mapping.
Michael Hansmeyer (mh-portfolio.com) and his work in
exploring interpretive and generative processes was
the inspiration for this investigation. He generated a

Fiber Optic Table
The verticality of the wall took a horizontal shift
and became the basis for my vellum piece,
the fiber optic table. When exploring coffee
tables that ranged from simple elegant forms
to complex structures, they were quite static
EX PER IM EN T
A NA LYSIS
series of letters that all had assigned values and were
in a random pattern. These letters were arranged in
sets of three and mapped to a 2 dimensional surface
and ultimately transformed according to x, y and z
positions into a 3 dimensional form. The random
iterations inspired me because it drew on the idea
of indeterminacy. Taking a set of elements grouped

1. fiber optic table set to engage users at vellum
2. surface map information transformed
72
when used by people. An idea for creating
a coffee table that reacted with how it was
used, whether it is having a drink, reading a
magazine, or a conversation with someone
was conceived. The surface of coffee tables
is the key part to the table because it allows
these functions. The surface in the fiber optic
table wanted to interact with these actions.
The table inherited the technology of the wall
using a video projector to animate the surface.
At the Vellum Furniture Show 2007 I had a
video projector playing the iTunes visualizer
EX PER IM EN T
together in their typical fashion, then applying a
randomization to them to create new, unexpected
interactions is an architecturally intriguing idea. Input of
information and mapping a surface created information
fields. Those fields began to leak into on another when
the outputted form became distorted.
Musical Emergence
This led to creating musical emergence. Virtually the
same experiment, this time the information was from
three albums placed in an iTunes playlist and randomly
shuffled. From the random shuffled playlist a random
pattern of music was created, and the playlist was
73

broken up into sets of three. Each album was
labeled a letter, Radiohead’s “In Rainbows” was
A, Death From Above 1979’s “You’re A Woman
I’m A Machine” was B, and Bob Dylan’s “Highway
61 Revisted” was C. Values corresponding to the
album’s production date on a scale of +1 to -1
were assigned to the letters with A=+1, B=0 and
C=-1. When I mapped the random sets of songs
to the points on a surface, it set up musical fields.
Each set that was mapped related to the x, y and z
positions at that point. For example, the set [A,C,B]
would relate as A=x, C=y and B=z. Each point
was then transformed in the x, y and z directions
according to the sets values. When the points
were distorted it was interesting to see how the
musical fields spread into or veered away from one
another.
Musical Emergence was another way to map an
A NA LYSIS
X P E R I M E N T A N A LY S I S
events and interactions that were previously
unforeseen. On a side note, I also learned how to
go from information, into the computer, produce
a form, export that to the physical realm, and then
construct it. It was a slight version of the CAD to
CAM construction process.
Mobius
Two other experiments I also performed looked
at form and the possibility of indeterminacy within
them. The Mobius strip was a diagrammatic
approach to bringing together two separate
elements, in this case, two sides of a paper, and
seeing how they can become a continuous surface,
while still retaining their individual characteristics.
The idea of the fold played into this experiment
and became more apparent as our discussions in
ARCH 492 on Greg Lynn’s article became more
detailed. I also looked at the Mobius strip after

area, or surface, through information, and see
how the inputted information sets up fields that
interact with one another. However, it explored
how randomization effects and indeterminacy of
fields can result in new interactions. The iTunes
playlist feature created a system of information
that was linear and grouped each album into
EX PER IM EN T
A NA LYSIS
it was used in UN Studios Mobius House. While
literally the house is not entwined in a mobius
strip, but diagrammatically the way they set up the
program of the house creates the metaphorical
effect. The spaces interact with one another on a
level that would not typically be seen. I understood
their process and was very intrigued by the

1. mobius strip mathematical study
2. moire pattern discovered
74
its own set. These linear sets when mapped on
a surface interacted within their own fields and
the interaction was determinate because the
placement was fixed. Using the shuffle feature in
iTunes created a system that randomly grouped
the albums into mixed sets. The resulting field
at each point contained an assortment of all
three albums. As they were distorted the fields
morphed into, grew apart or slide against one
another. As these fields interacted, they created
random occurrences, or indeterminate events.
From information analyzation, mapping and
randomizing, events can occur that spawn new
EX PER IM EN T
intertwining of program and the indeterminate
events that occurred from them. This was an
example of form as the creator of events and
indeterminate actions.
Moire
“A figural effect resulting from the superposition of
two regular fields.”1 Cal Poly alumni Frank Mahan
describing a Moire Pattern. The moiré pattern
experiment was similar to the Mobius strip in its
1 Mahan, Frank E. Indeterminate Use 2002. California Polytechnic
State University San Luis Obispo.
75
 X P E R I M E N T A N A LY S I S
attempt to diagrammatically see what new programs and users, and the ability to map a city
connections or events could occur. It was through information analysis and implementation.
an attempt to see what can be produced
from two separate entities, where the end
result could not previously be seen in the
entities making the product. I thought of this
experiment relating to program where several
programs each with their own individual
characteristics and spatial fields come
together, but where they begin to intersect or
overlap creates a new series of events and
fields that were previously not recognizable,
therefore being indeterminate.

Interactive Architecture
The interactive process, which is created
by the cause and effect relationship to a
piece and its user, is a very architecturally
stimulating idea. Buildings have a basic stasis
A NA LYSIS

A NA LYSIS
to them. They are structured to some form
of ground and remain the same over many
years. How then does architecture continue to
engage its users beyond the initial interactions
with space? Integrating installations such as
these interactive pieces can provoke new life
to dead spaces. They can engage the space
EX PER IM EN T

EX PER IM EN T
and its surroundings over time as it continually
changes with events and users.

The product of each experiment resulted

in a web of interconnected ideas and
reactions. The overlying ideas of interaction
1. interactive experience with ‘aperature wall’ and indeterminacy played a huge role in the
experimental processes. Ideas that are a
major part of my thesis, because they deal with
engaging many different users and programs
at the same time. These experiments will aid in
creating architectural form that can generate
interactive and indeterminate events between
76 77
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 S I T E S I T E S I T E S I T E S I T E S I T E S I T E S I T E
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S I T E S I T E S I T E S I T E S I T E S I T E S I T E S I T E
S I T E S I T E S I T E S I T E S I T E S I T E S I T E S I T E
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S I T E S I T E S I T E S I T E S I T E S I T E S I T E S I T E
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S I T E S I T E S I T E S I T E S I T E S I T E S I T E S I T E
S I T E S I T E SS II TT EE S I T E S I T E S I T E S I T E S I T E
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 EXISTING INFLUENCES_ SAN FRANCISCO
p u b l i c s p a c e s t h a t b r e e d l i f e

SF// ME DIAPAR K Site

Hotels
1 St. Regis Hotel
2 W Hotel
3 Hotel Vitali
4 The Palace Hotel
5 Hyatt Regency
6 Four Seasons
7 Griffin
8 Courtyard Downtown

Cultural Centers
S I T E 9 SF MOMA
10 Afrikan Museum
11 Jewish Heritage Museum
12 Ferry Building

R es taurants
13 Salthouse
14 Gordon Biersch Brewery
Americana

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16 Slanted Door

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 TRANSPORTATION DIAGRAM_ SAN FRANCISCO
p u b l i c t r a n s p o r t a t i o n s y s t e m s

Ferry Term inal

A lameda
Oakland
Tiburon

BAR T Train
Embarcadero Station
S I T E Montgomery Station

BAR T EMB. Train

Ferry Station

H
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Brannan Station

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 HISTORICAL ASPECTS
San Francisco, 1970s-present

OLD EMBARCADERO FREEWAY

RUINED SITE LINES AND WATERFRONT
ACTIVITIES AND SPACES

S I T E

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 SI TE ACCESS

TRANSPORTATION ACCESS
[FERRY, MUNI, BART]

OPEN SPACE CONNECTION

[EMB, YERBA BUENA, MARITIME GARDENS]

CULTURAL AREA CONNECTION

[MOMA, YERBA BUENA]

S I T E

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 SOLAR PATTERNS

JUNE 21 [summer solstice]

[ALLOW MOST SUMMER SUNLIGHT]
-50% sun exposed spaces
-50% shaded spaces
-Even in Summer when it is more direct
and hot sun, San Francisco still remains
cool from the wind whipping off the bay.
-Allowing sufficient light to inflitrate site
will result in a comfortable climate.
-Spaces should be sculpted to allow for
these par ameter s.

DEC. 21 [winter solstice]

20:35 05:48 [ALLOW ALL WINTER SUNLIGHT]
[60.1 deg] S I T E [52.6 deg] -80% sun exposed spaces
-20% shaded spaces

18:00
09:00

15:00
12:00
[70.1 deg]

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 WIND PATTERNS
NW WINDS
12.5 mph
WNW WINDS 25% / yr -Direction
8.9 mph -Speed
58% / yr -Rate of Occurrence

W WINDS
13.7 mph
17% / yr
S I T E

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 TID AL CURRENTS
[IN + OUT OF THE BAY]

FOLLOWS UND ERWATER

TOPOGRAPHY, TI D AL MOVEMENT
AND SURFACE TOPOGRAPHY

S I T E

1 knot 2 knot 3 knot 4 knot

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 TI DAL MO VEM ENTS

5.7ft = high
yearly range = 4.6 ft
wate r l in e
3.4ft = mean

1.1ft = low

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 S IT E VIEW S

north b ay sf

north emb /city

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south b ay sf

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24 HR SITE STUDY
 4 H R _ S I T E I N V E S T I G AT I O N
24 HR_site investigation
user > time study model

The 24 hour site study was an analytical approach to

study people’s use of hte site and their surrounding
areas. I took ten different types of people and gauged
their activitiy levels throughout a 24 period. Activities
would include walking through the site, driving by,
using public transit, using buildings, using open space,
parking, eating and using facilities. The intensity of
use came from how many of that type of user was
performing one of the specified activities.

By digitally m odeling the data I can artistically and

anlytically see how the site’s is used by different users
and through what times of the day. From that, I can see
what type of users begin to converge with and diverge
from each other. The possibliity of interaction becomes

24HR_SITEINVESTIGATION
noticeable through this study, while it also shows the
vast difference of users in this intense urban space.

From this study I would like to plot another series of

graphs that become a sectional flow diagram of each
of the three sites. This will allow me to interpret the
flows of these different users throughout the site
throughout the day, which can begin to correspond to
climatic, circulation, transportation, sight, noise, and
contextual data.

1. excel spreadsheet of data analyzation and input

2. user type-time analysis of site and surrounding area

108 109
 24HR_SITEINVESTIGATION
111
 24HR_SITEINVESTIGATION
113
program

PROGRAM [interactive_MEDIA::scape]
Music + Cinema:
Research / Exhibition
Theater
Hotel
The program I chose was in response to several
things. One, my personal interest in the fields of
music and cinema, then with the accompanying
larger architectural interest of large urban public
spaces. Secondly, I wanted to see if bringing
together programs that are typically separated
could create a new typology of urban space. Thirdly,
while studying last summer in London, I frequented
the recently gentrified Southbank area on the
Thames River. There I found several theaters,
music venues, museums, skateparks, open spaces,
restaurants, amongst other things. There was
always something going on and you could see vast
amounts of different people enjoying the entire area.
The idea these culure centers could bring together
so many different types of people intrigued me and I
wanted to pursue this mysel. Lastly, because of the
site’s location at the edge of the SOMA district and
the Embarcadero, this series of programs would fit
into the already existing art and culture fabric of the
area, if not extend the fabric.
Choosing each of the three major programs was
a direct response to my interests. The Research
facility was an exploration at seeing if several fields
could combine to produce a more interactive, and
cross-influential system. In the research facility you
see musicians mixing with directors on films, and
vice versa. Combining the Research facility with the
Exhibition gave the research users an opportunity
to test their work with the public. Ultimately music
and film are for the masses, and by bringing them in extension of the already successful Embarcadero.
at an earlier point, maybe we can find new forms of
music, cinema and exploration. It was an inspiration
that was derived from the cross-programming
of the Eyebeam Museum by Diller and Scofidio.
Although the programs connect at certain points,
and might share the same surfaces, the public
is never able to actually peer into, or access film
studios, music studios, research labs, or anything
of the like. The programs interlock, and provide a
system for multiplicity of surfaces.
The Theater is part of the program to let the
researchers and exhibitors display their final
products on site. The theater can also be the hub
for Film, and Music festivals. Similar to ones we see
like the Cannes Film Festival or the Sundance Film
Festival. As a location on the water, the hotel, and
ample public space, it is the perfect opportunity to
host these festivals.
M
Finally, the Hotel was the third addition to the
program. I have always been intrigued by the social
A
and public aspects of hotels, especially in large
urban environments. As I was programming the
R
other two spaces, I was curious as to what other
type could be an attractor to these types of spaces,
G
as well as a large urban space. The hotel became
an obvious choice. The hotel functions as a place
O
for researchers, exhibitors, art critics, lovers, fans,
exhibitionists can reside while they work or play in
R
the surrounding spaces. Not only would it attract
this demographic of people, but businessmen and
P
women on work trips to the adjacent financial
district of San Francisco, locals looking to get away,
and hundreds of other types of people could enjoy
the waterfront hotel.
These programs combined form a pier system
that is open to the public to enjoy and becomes an
117
 SPACE amount width (ft.) length (ft.) height (ft.) area (sq ft.) total area (sq ft.) volume (cu. Ft.)
Music+Film Research/Exhibition
pr Recording Studio 2 40 60 10 2400 4800 24000
pr Sound Performance Lab 1 30 40 10 1200 1200 12000
pr Moving Image Lab 1 30 40 10 1200 1200 12000
pr Film Studio Set 3 40 60 10 2400 7200 24000
pr Post Production Space 2 30 40 10 1200 2400 12000
pr Data/Mechanical 3 12 15 8 180 540 1440
pr Offices 5 10 12 8 120 600 960
pu Exhibition Spaces 5 30 40 12 1200 6000 14400
pr/pu Mediateque 1 50 70 15 3500 3500 52500
pr Restrooms 4 15 25 8 375 1500 3000
pu Restrooms 4 15 25 8 375 1500 3000

Sub Total 31 30440

structural = 2% 0.02 605.2
circulation = 22% 0.22 6657.2
mechanical = 3% 0.03 907.8
1. Music+FIlm Research + Exhibition Program 38430.2
Total 38,500sf
Total Users 38500/15sf= 2,567 people

SPACE amount width (ft.) length (ft.) height (ft.) area (sq ft.) total area (sq ft.) volume (cu. Ft.)
Music/Film Venue
Dress Rehearsal Rooms 2 11 10 8 110 220 880
Green Room 1 30 20 10 600 600 6000
Backstage 1
Stage 1 30 36 25 1080 1080 27000
2. Music/Film Venue Program

M
Audio/Video Control Room 1 12 10 8 120 120 960
Data/Mechanical 1 12 10 8 120 120 960
Bar
outdoor 1 8 20 8 160 160 1280

A
indoor 1 8 12 8 96 96 768
Lounge (talk, laugh, drink, love) 0 0
indoor 1 20 15 9 300 300 2700
100% Interaction

R
space amt pu/pr outdoor 1 40 80 10 3200 3200 32000
Lobby 1 pu/pr 50% Interaction Floor Space
Restrooms
1
6
60
15
80
25
35
8
4800
375
4800
2250
168000
3000

G
Information Desk 1 pu/pr 0% Interaction Coat Check 1 5 8 8 40 40 320
Lobby 1 50 60 15 3000 3000 45000
Mediateque 1 pu/pr Ticket Booth 1 8 11 8 88 88 704

O
Offices 3 10 12 8 120 360 960
Lounge 2 pu/pr Storage 3 10 12 8 120 360 960
Seating Space = 7sf/prsn 2 50 40 20 2000 4000 40000
Restrooms 8 pu/pr

R
Exhibition Spaces 5 pu/pr
Totals 29 200' 20794
17000
331492

Office/Studios 5 pr Total Users 17000/15sf = 1133 1130 people

P
Recording Studio 3 pr
Sound Performance Lab 1 pr
Moving Image Lab 1 pr
Film Studio Set 3 pr
Post Production Space 3 pr
Data/Mechanical 3 pr
3. Activity Matrix
119
 SPACE amount width (ft.) length (ft.) height (ft.) area (sq ft.) total area (sq ft.)
Hotel
Lobby 1 40 60 15 2400 2400
Restrooms 4 15 25 8 375 1500
Rooms
suite a 60 15 25 8 375 22500
suite b 40 20 25 10 500 20000
suite c 20 20 30 10 600 12000
suite d 10 20 35 12 700 7000
penthouse 2 25 40 15 1000 2000
storage/utilities 13 8 6 8 48 624
Restaurant
Kitchen 1 40 50 10 2000 2000
Seating 1 50 80 12 4000 4000
Entrance Lounge 1 15 25 10 375 375
Restrooms 2 15 25 8 375 750
1. Hotel Programming Blocks Storage 1 10 12 8 120 120
Outside Seating 1 30 50 15 1500 1500
Pool 8370
Restrooms 2 15 25 8 375 750
Seating 40 60 8 2400
Cabanas 4 10 40 7 400 1600
Pool 1 25 50 4 1250 1250
Bar 1 8 30 8 240 240
Lounge 1 40 60 8 2400 2400
Nightclub 7065
Recording Recording Post Post
Production
Production
Lounge 1 40 70 12 2800 2800
Lounges Dancefloor 1 50 70 20 3500 3500
Studios

M
Studios Restrooms
Seating
4
1
15
60
25
80
8
12
375
4800
1500
4800
Lounges VIP Lounge 1 20 30 12 600 600

A
Bar 2 8 40 10 320 640
Film Film Exhibitions "Kitchen"
Storage
2
1
20
10
40
10
10
8
800
100
1600
100
Studio Studio Sound Moving

R
DJ Booth 1 6 12 8 72 72
Meeting Rooms 2 15 25 10 375 750
Performance Image
Sets Sets Lab Lab
Gym/Exercise 1 25 40 10 1000 1000

G
Exhibitions Offices
Lobby Mediateque Admin
Janitor
4
2
10
10
12
12
8
8
120
120
480
240
Exhibitions Information
ExhibitionsExhibitions

O
Laundry 1 20 20 8 400 400
Desk Café 1 20 30 10 600 600

R
Sub Total 191 102091

Circulation 22% 22460.02

P
Structure 2% 2041.82
Mechanical 3% 3062.73
Parking 20% 20418.2
2. Program Bubble Diagram showing the spatial layout of Total 150073.77
spaces and what might become cross programming. Total Users 183,000/15sf= 12200 people

121
I NT ERL O C K I NG P ROGRAM

RESEARCH
EXHIBITION
concept design
Concept Design

O N C E P T _ D E S I G
> going digital

My concept of bring together several forms of

media began to materialize when I figured out my
programmatic situations. This immediate design
came through an analysis of the program and
the site conditions, i.e. solar factors for massing
placement, and activity areas, wind patterns to
also the same effect.

Another pivotal moment here was the decision

to go fully digital. I have always worked analog
until recently and decided to hone my skills on the
computer and attempt to produce forms that I
could not realize physically. I wanted to explore
transformative geometry, double curving forms,
and of course digital work-flow processes [which I
soon found out is a whole thesis project in itself...

C O N C E P T _ D E S I G N
network ya!]

The site lent itself to a new extension, a new space

of freedom to test designs that would lead to an
experiment in new urban typologies, and the type
of program, structure and framework that might
be set up for those instances.

Here you see the initial massing that included the

hotel, venue and resarch and exhibition spaces.
These all were pushed to the edges to create a
central urban park space that could open to the
public and allow many users to interact.

127
The formal gesture of the landscape was to show a

O N C E P T _ D E S I G
various surface that could become the roof of the
venue or the lobby of the hotel. It was to explore
something similar to Yokohama Port Terminal that
was one surface but held many uses that typically
would not work together.

The extensioin from the city was from my own

experience of being in the Embarcadero area
and knowing the rich history of the skateboarding
scene and now the growing SOMA district. It is
a prime opportunity to extend out into the water
and explore a new music + cinema driven urban
environment.

C O N C E P T _ D E S I G N
129
C O N C E P T UAL S E CTION _01

The first conceptual section I created that tried to show the

ideas of a manufactured landscape that was bordered by a
hotel, theater, and a research/exhibition space. The section
shows the general massing of the program and how I imag-
ine the general length and circulation patterns of the pier sys-
tem. It begins to illuminate the extension of the Embarcadero.

131
C O N C E P T UAL S E CTION _02

A conceptual section created for our 5th year Section

Show. In this new development I switched the location of
the hotel tower to the south side, to allow sunlight to flood
the center of the piers. This way the urban park is not over-
shadowed by the hotel tower. I also started to speculate on
different activity areas of skateboarding, gardens, water
features, ampitheaters, walkways, and so forth. All which
lead to the idea of this urban park and what surrounds it.

133
design development
 ESIGN DEVELOPMENT
Design Development
model > print > sketch ∞

When I started diving deeper into the digital

modeling, I wanted to fine tune each step of
my process, so I began to print line drawings
and renderings of the rhino model, then I
would take trace and sketch over that part of
the model, to get it closer to where I wanted.
This led to some new discoveries as I was able
to draw by hand, and manipulate geometries
on paper, then fine tune them back in Rhino.
It was a great process of working on the
computer then bringing it back to my hand
and is what ultimately developed my digital
model and project.
rhino drawing
On this page, the top drawing is a 2d elevation
view of the rhino model in its early stages

D E S I G N D E V E L O P M E N T
(exhibition building). I printed the drawing then
used trace to draw over it and started to draw
where loads from the roof might meet the
ground, while at the same time incorporating
programmatic spaces and major circulation
spaces. The gesture of the structure ramping
to the left was to act as a major structural
piece that would bring the circulation up
through the exhibition rooms, and became
expressed on the exterior. This process
continued through all aspects of the digital
model and design process.

137
trace drawing
 alternating, transformative geom-
etry on stairs to bar

D E S I G N D E V E L O P M E N T
ramping exhibition rooms

circulation area

139
final design
Final Design
all systems go

I N A L _ D E S I G
Interactive::MEDIA_SCAPE is a system of
piers that grow out of the SOMA district in
San Francisco, CA and extends the creative
urban space that characterizes SOMA. The
cross-programming of music+film with the
infinite activities of an urban space, begin
to generate a formal logic of space and
structure that emerges in response to local
and programmatic conditions.

It is an extension of Howard Street, the Ferry

Terminal and the Embarcdero Waterfront
Promenade. Pulling the creative influence of
San Francisco and the SOMA District, the
project creates an urban pier system that
is fueled by the mediums of music + film.

N
Producers, creators, researchers mingle

G
with the public and create a dynamic system

I
between the user and usee. The urban space

S
becomes a kind of set in itself where the users
become characers of the space.

E
D
SPACES AND SURFACES become

_
multitudinous in their ability to take on

L
different functions and events. Where the

A
roof of a film studio ends, the beginnning of

N
an outdoor amphitheater begins. Many other
surfaces begin to take on this characteristic

I
F
thereby setting the surfaces and spaces in a
series of dynamic situations.

The STRUCTURAL LOGIC becomes an

adaptable system that responds to
programmatic conditions, coupled with its
associated climatic conditions and controls.
The structure itself begins to deform and 145
adjust to withstand loads and stresses.
It becomes porous for lighted spaces

I N A L _ D E S I G
[circulation, lobby] and begins to close
where darken spaces occur, or the need
for increased structure is prevalant. The
structures unique formation also creates
an exciting interior and exterior spatial
experience.

The highlight of the project, the Research and

Exhibition buildings, take on a series of shared
surfaces. The roof of a music studio is the
floor of an exhibition room, and the roof of the
exhibition room is the floor of the exhibitions
main processional staircase and bar lounge.
This logic begins to open up the contraction
and expansion of music and film.

N
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147
Site Plan
Urban Urban Ocean

I N A L _ D E S I G
The site developed through checking environmental
controls and adjusting my conceptual design.
The hotel moved to the southeast to allow more
sunlight for the urban park. The research was
located across from it, and the venue became the
product of the two.

As one created and produced in the research

facility, they exhibited it in the exhibition building.
Then they maybe slept in the hotel, and later that
month, it premiered in the venue.

An existing parking lot to the south was converted

to an extension of the urban park and connected
through a skywalk. There is no immediate
connection straight from Howard, only a void to the

N
ocean. Thereby connecting the visual status to the

G
end of the pier, but allowing and forcing the users

I
to move around a bit, and get loose.

S
E
D
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A
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149
m u s i c + c i n e ma
RE S E ARC H / E XHIBITION
RE S E ARC H EN TRAN CE

153
RE S E ARC H L OBBY

155
 N
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1. Roof walk above the Research Building. The entrance is at the top of the pub- 2. The connecting bridge from the Research Lobby to the Exhibition Lobby.
lic pavillion and terminates at the end of the building in a viewing deck. At this
particular location, you can peer through the Research building’s skylights and
see what activity is taking place in the Lobby.

157
E XH I B I T I O N E N TRAN CE

159
 N
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1. Main processional stairs that loop around the exhibition spaces and give the users the opportunity to enter which 2. The Exhibition bar and lounge area. It is the end sequence of the exhibition rooms and is located just above the lobby.
exhibition space they want to when they want to. The stairs have lighting in the perforations and give an exciting light- The stairs feature the same lighting and transformative geometry effects as the main stairs do.
ing effect exaggerating the processional quality of the stairs.
Another important feature, is how the stairs become the bar itself, and as a counter to have drinks and socialize with
The main stairs are also under a skylight system that was developed in response to the circulation system. It provides friends or new people you meet. The steps are also set at such a wide tread, that they double as pavillion seats.
ample daylighting and an open quality as you move up and through the exhibiton rooms.

Another feature of the staircase, is the transformative geometry that was used in designing the stairs.

161
1.Another view of the bar / lounge. Above the bar is a cantlievered viewing deck that comes out from the last exhibi-
tion room. It provides a vantage point over the entire interior space of the lobby, bar, outside, as well as the research 2. The Exhibition lobby. As you enter the lobby on the right, you immediately
center to the left. are re-connected visually with the bay, as the research center behind the
Exhibition building cantilevers over the water and frames a view of the ocean.

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3. Exhibition Lobby from the Experimental Theater balcony.
163
 N
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3. Aerial of the Exhibition [left] and Research [right] buildings. In the front is the roof viewing deck.

You can also see where the building splits in the middle. This is to allow lighting to reach the two interior
circulation systems for both the Exh. and the Res. buildings. It also allows for a re-connection with the bay.
165
E XH I B I T I O N E LE VATION

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1. The elevation shows the exoskeleton structure of the Exhibition building. It also shows where the porous areas of the
building correspond to the program that requires more light [lobby, circulation systems].

167
E XH I B I T I O N S E C TION [ longitu d ina l]

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1. The section shows the interlocking of the program, the multiplicity of surfaces and the procession of the exhibition
rooms. Music and film studios are buried underneath exhibition rooms and the pavillion as they need zero light, and the
exhibition rooms ramp up and then back down in a processional effect somewhat inspired by the Guggenheim in NYC.

169
E XH I B I T I O N / RE S E ARCH S E C TION [t r a n s v e r s e ]

N
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2.This section combines both buildings and again details the interlocking of programs. It also exhibis the
structural logic. Where more porous areas are more light is available. In that structural system, members
begin to find their load paths and trace their way to the ground, or a larger beam. The system starts to sup-
port window systems and programmable spaces.
171
 + EX P L O DE D S TRU CTU RE
E XH I B I T I O N CIRCU LATION D IAGRA M

RO O F

MAI N ST RU C T U RE

exhibit room D

G L AZ I NG
lounge / bar

exhibit room C
experimental theater

exhibit room B

exhibit room A

U PPER L EVEL

lobby

mediateque

L O WER L EVEL

F I N A L _ D E S I G N
173
1. End of the Exhibition building looking towards the Theater.

175
T H E AT E R EN TRAN CE

177
1. Exiting the Theater.

179
1. Above the hotel skywalk into the Theater. 3. North side of the Theater

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2. South side of the Theater at the end of 4. North side of the Theater ramp up
the piers showing the public area to main walkway 181
T H E AT E R S ECTION

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1. Ramping walkway leads into main lobby area and 2nd level of the Theater.
Support spaces and 1st level lobby beneath.

183
URBAN P A R K

185
A M P H I T EAT E R TID AL E FFE CTS
Low Tide vs. High Tide

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1. The amphitheater fountain on LOW TIDE thereby having no water and allowing new activities and access. 2. When it is HIGH TIDE the water creeps in through vents and creates a public fountain. This idea stemmed
from LOVE Park in Philadelphia that had a major public fountain that changed function whether or not it was
filled with water. As well as a public landscape project in Seattle where the tide determined whether or not
you could access a sculputure.

187
 N
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1. Viewing deck from the public pavillion almost ocnnects into the exhibition space but acts as a
teaser to the users. Allowing them to peer into the circulation space.
189
SI TE S EC T I O N

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1. Structural system is based on a standard concrete piling and beam system with decking. It was based off
many of the piers you find in San Francisco and Manhattan. The buildings lie on mini-man made islands which
is possible because of the shallow depth of only 9’ in this area of the bay.

191
 N
G
I
S
E
D
_
L
A
N
I
F
1. A view from Howard St. out into the San Francisco Bay 2. BRIDGE SECTION: The bridge that connects the southern embarcadero, and across the embarca-
dero at the new park, ramps up and over embarcadero blvd and brings the public into the urban park, or con
nects via a skywalk to the hotel. The roadway ramps down from the embarcadero and runs out to the hotel.

193

Entrance to bridge from S. EMB
Cantiliver bridge over park
Entrance to Research from N. EMB
Amphitheater Fountain
Skywalk from Hotel to Theater
Conclusions
digital mindbending
The choice to go digital was great, but I wish I
could have produced a physical model via 3D
printing. Maybe in the future. As far as the design
goes, I was very happy. I created an urban space
that was fueled by what I’m precisely interested
in, and when people approached the project [and
the table] at our shows, it was an easy attractor,
because, music and film bring vast varieties of
people together, no matter what background or
preferences. I think that is crucial to architecture,
as we are the creators of space and what people
use. Creating spaces for people to act out these
intentions in a creative, pedagogical manner is
exactly what I look for.
If I could add criticism, I would like to have
N
performed the digital model in an even more rigid
G
manner. Meaning I would have liked to implement
I
parametric modeling and scripting to refine the
S
process as well as the model. Oh well, maybe at
E
Harvard or something...
D
_
L
A
N
I
F
195
rebar table
 Rebar Table
Transformative Geometry Detail / Show Table / Bar

The table was an exploration about the

transformative geometry I explored while creating
the stairs of the exhibition space, as well as all
the structural systems in the project. I wanted to
create a table for my final show that would detail
this architectural and mathematical idea.

I chose rebar as the material so it would remain

strong on the cantilever but still maintain a overall
lightness, and easy transferrability.

I hand drew initial sketches and dimensioned

drawings to understand in plan and elevation how
the geometrical changes would occur. In Rhino, I
quickly modeled my drawing to get more precise
angles and dimensions. From the digital model

E
I was able to quickly buy the material, cut the

L
material then weld it together.

B
The design comes from the bar space in the

A
exhibition building where a piece of the counter

T
extends out and creates a bit of a focal point to

_
meet socially [thats the hope]. I imagined it as a

R
place where I could project my digital animations
and people could come around as they see the

A
reverse projection, then come into a theater like

B
area, and hopefully converse about the project and

E
spark some type of social INTERACTION.

R
1. Hand technical drawing of table It proved very succesful at both shows, and I
2. Digital rendering of table digital model learned a lot from the computer to construction
process.

199
 Bibliography:

I B L I O A G R A P H
Art Center College of Design. L.A. Now. University of California Press. Los Angeles, CA. 2001

Berkel, Ben Van and Bos, Caroline. UN Studio Design Models Architecture Urbanism Infrastructure. New
York. Rizzoli International Publications, Inc. 2006.

Berkel, Ben Van. Mobile Forces. Rotterdam, Netherlands. Ernst and Sohn. 1994.

Berkel, Ben Van and Bos, Caroline. Move: Imagination. Rotterdam, Netherlands. 1999

Berkel, Ben Van and Bos, Caroline. UN Studio Fold. Rotterdam, Netherlands. Nai Publishers, 2002.

Columbia University. “Karl Chu Biography.” 2006. Columbia University. November 29th, 2007
http://www.arch.columbia.edu/index.php?pageData=8882/23/4/1632/

Chu, Karl. “Genetic Space.” 2000.

Dovey, Kim and Dickson, Scott. “Architecture and Freedom? Programmatic Innovation in the Work of

y
Koolhaas/OMA.” University of Melbourne. Journal of Architectural Education pp. 5-13. 2002 ACSA, Inc.

h
Foreign Office Architects. The Yokohama Project. Actar. London, UK. 2002.

p
a
Foreign Office Architects. Phylogenesis foa’s ark. Actar. London, UK. 2004.

r
g
FOA and UN Studio. “Manifestos.” ICON. Issue 050 August 2007. Media 10 Limited. London, UK.

o
Frampton, Kenneth. Oppositions, Le Corbusier 1905-1933. Ed. Winter/Spring 1979.

i
l
Hadid, Zaha. “Project Portfolio.” London, UK. 2007

b
i
Lynn, Greg. “Architectural Curvilinearity: The Folded, the Pliant and the Supple,” 1990.

B
Mitnick, Keith. Diller + Scofidio: Eyebeam Museum. Michigan. Michigan Architectural Papers, 2003.

MVRDV. KM3 Excursions on Capacities. Barcelona, Spain. Actar, 2005.

Tschumi, Bernard. Event-Cities 2. Cambridge, Massachusetts. The MIT Press, 2000.

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aufwiedersehen