Doctoral Thesis cover
The doctoral thesis Architectural Prototypes II: Reformations, Speculations and Strategies within the Digital Design Field was defended at KTH School of Architecture in Stockholm on June 8th 2012 with opponent Mette Ramsgard Thomsen (PhD, Professor and Head of CITA, Copenhagen). The research studies were conducted at the Division for Project Communication, with thesis subject Architecture. Read more here.
1/2 scale model testing lighting integrated within the lamella system
The design development for the Forumtorget continues, and is now focused on the integration of lighting systems into the lamella based fabrication principles. Studies are conducted through both physcial an ddigital/parametric development, with a desgn team combining the competences within White Arkitekter and LYX furniture produder (and designer Jonas Wannfors, who designed Topografi, in the LYX line of products). A full-scale prototype is planned to be installed at Forumtorget, Uppsala, in March 2013.
Laser cut model of overall design
The development for Formtorget incorporates physical models produced by our inhouse laser cutter, that allows investigations of formal prinsiples in regards to aesthetic qualities, seating comfort as well as fabrication logics. The parametric model used enables the production of models from 1:50 to 1:1 to be produced.
One of several unique entrances to the Koggens gränd housing block
Following an earlier proposal, Dsearch developed a design for a series of 30 unique panels used for fences and view obstruction in the Koggens gränd housing project. Using the Voronoi diagram, a digital design trope overly used in past years and these days integrated as an automated function within Grasshopper, the development was focused on achieving different types of transformations of the pattern, creating panels with shifting densities and local variations that encompass house numbers and protective details for security measures.
One alternative for the facade of Braxen 19
Dsearch developed a series of proposals for massing and facades of Braxen 19, a block in central Linköping. The design prinicples was concieved in response to the ideas formed within the White Linköping office, and will be further refined as the project continues. Two properties of this block was under consideration, and the concept involved two alternate pattern formations, and two alternate modes of execution – a lamella based design and a panel based design.
Image from competition proposal
Dsearch was part of the White competition team for Forumtorget, resulting in a competition win for a new vision for this public square in Uppsala, Sweden. A main feature of the design concept was a close to 70 meter long sofa, a public furniture installation that includes a continuously varying section that provides the possibility to facilitate infinite numbers of seating configurations. The proposal also included an integrated lighting solution, and was based on a parametric design approach, for future design development. Read more on the project here.
Gradually shifting pattern developed in Grasshopper
Koggens gränd is one of Sweden´s first large scale, owner occupied apartment buildings, developed by White arkitekter through in-house management. At a very late stage, Dsearch was asked to develop a pattern to be applied on pre-cast concrete elements at the ground level of the building. The parametric principle allowed for a gradually shifting pattern, that would provide unique formal qualities by each individual entrance. Due to construction restraints the proposal was never completed, but the concept is presented in a comprehensive way in the doctoral thesis, where the particular prinicples for specialist / non-specialist collaboration devised in the project are explained.
Rendering of sign in two different configurations
To complement a previous design for Swedish Travelling exhibitions, Show Unit, I was asked for a quick sketch for a sign to help visitors find their way to the mobile video screening space. The design was based on the original form of Show Unit, and colors will be set to match the particular venue.
SplineGraft structural rack
The SplineGraft project sets up a reactive environment in which sound dampening panels are continuously reshaped by a network of actuating devices, triggered by user movement. The panels are grafted into an existing environment, supported by structural racks allowing a range of different configurations. SplineGraft can be set in different overall shapes independent of its behavior. The different parts are grafted onto each other; the profiled polyurethane panels are articulated by the configuration of the structural racks. The texture of this primary form is reshaped in real time by the control system integrated in the structural racks; a continuous form finding process with emergent patterning effects. In return, the spline ridges of the panels disperse these transformations horizontally.
Structure
The supporting structural racks are assembled from cnc-milled clear acrylic units, each integrating the actuating mechanisms, milled tracks for cabling and etched nickel brass conduits for inter-unit connectivity. The angle between each structural component can be set in five different positions, allowing the rack to be set at a convex or concave configuration, while maintaining conductive links between each part. Each rack of five units is controlled by a micro controller, steering the integrated actuators in the form of dual shape memory alloy wires. The central intelligence of each rack communicates with neighboring racks through radio.
SplineGraft behavior
The behaviour of the SplineGraft is controlled by a genetic algorithm; a computer program that simulates and compresses the geologically slow processes of natural selection to nanoseconds of computational time, in order to evolve solutions to specific problems. The Spline Graft algorithm is in this way trying to emit patterns of movement which stimulate occupation of the space it has been grafted in to. The matching of sensor readings and motor reactions in an apparently intentional way by the Spline Graft, transforms architecture into a cybernetic agent involved in the making and production of space.
Simulated SplineGraft panel
SplineGraft materials
CNC-milled acrylic structural components with integrated wiring, machined polyurethane foam, etched nickel brass conductors, IR Movement Sensor, custom made PCB Cards, AVR Atmega8 Microcontrollers, Radio Modules, diverse electronic components, Flexinol® shape memory alloy actuators with protective Teflon tubes.
Credits
SplineGraft was developed by Krets partners Pablo Miranda and Jonas Runberger.
Electronic hardware developed in collaboration with Åsmund Gamlesæter.
Supporting development Team: Nick Flygt, Emma Sander, Sanna Söderhäll and Sandra Westin.
The SplineGraft project development was supported by AKAD, Vitra Design Stiftung and the Helge Ax:son Johnson Foundation.
SAPS, the Streaming Architecture Projective Space spatial media concepts merges physical space with media environments. The SAPS concepts is founded in the relationship between projected moving image and transformed physical space, supported by real-time Internet broadcast technology.
The physical and mediated aspects of SAPS dissolve the boundaries of its physical surroundings. The classical display case is inverted through the generated content displaced in multiple locations. The visual identity is continuously re-created through daily updates, in a process of responsive management over time.SAPS creates a space in constant motion, through real-time generated imagery distributed via Internet, satellite, and finally anamorphic projected. Real-time media can be merged with pre-recorded audio-visual material. The spatial concept can operated in different types of environments, ranging from new ways of exhibiting in museum context, public places to exhibition spaces and commercial venues.
Streaming Architecture Projective Space concept is developed thorugh series of prototypes in different media and scales. Parallel studies have explored real-time media technologies, transformation algorithms and the performance of SAPS in different spatial configurations.The prototypes have been both on a conceptual level, such as animated collages produced from digital 3D-models, as well as full-scale fully operational enviroments. Media content has consisted of real-time streaming media over Internet connection or via direct camera capture, Video Jockey real-time audio-visual editing as well as pre-recorded material.The prototypes have been developed in sequence, from SAPS.00 animated collages, through SAPS.01 scale physical models, SAPS.02 full-scale prototype, SAPS.03 proposal for a rebuilt cinema and the SAPS.04 proposed interventions in semi-public spaces.
Media, space and technology
The SAPS media content from different sources is simultaneously merged in the physical installation, but can also be clearly separated by the fragmented set-up of the physical interventions. Distortions of projected media are performed in real time, to allow adjustment due to different angles of projection surfaces. These distortions work through anamorphs, perspective distortions, and add another level of complexity to the classical principle, in that they can continuously shift.
SAPS uses broadband Internet and mpeg2/mpeg4 streaming. Television quality will be achieved in the images using public networks for communication and distribution. The technology allows integration of interactive use of mobile telephones. A spectator could take part in the creation of live images and set up a conversational contact with the installation. The international transmission is using a new multicast protocol, which enables the above proposal (and the work with the nonTVTVstation). Splintermind and TeliaSonera are developing this protocol.
The configuration of the physical space is distributed, and opens up the space to the outside, and simultaneously establishes different focus areas. Different spatial interventions both carry the projected media and create a differentiated terrain. Characteristics such as open/closed, light, sound or sightlines are gradually shifting throughout the area. The different spatial conditions together with the manipulable media content allow adaptation to changing activities during the day. Branding element can shift into artwork or curated mediated events such as presentations, VJ-sessions, fashion shows or ambient lounge mingles.
Commission
The SAPS spatial concept can be integrated into an existing environment, be part of a design in development or be established as a separate project. The development is typically initiated though a preliminary study, which defines requirements and suggests a potential design approach, often in collaboration with curators or branding consultants. During the project development phase the SAPS project team uses specially developed tools as a support for the design process, enabling complete control over the development of projection beams, spatial configuration and real-time media distortions.
SAPS.00 included studies through digital animated collages, testing different spaces and functions augmented by media production. The prototypes proposed new spaces for media galleries and commercial spaces, exploring the borders between art and commerce.
SAPS.00
concept development and animated collages:
Jonas Runberger, ssark medialab
concept development:
Ari Leinonen, ssark
concept development and media content:
Mikael Scherdin, Beeoff
concept development and management:
Björn Norberg, Beeoff
SAPS.01, featured a scale prototype with two integrated projectors and a real-time visual mixer. The prototype allowed for hands-on exploration of a series of scale models, while physical parts were subject to projected real-time media. During a workshop event, outside parties were invited to participate in these investigations.The prototype was used as a screen set for a series of show reels, including material for a potential automobile marketing event and initial studies for the SAPS.02 full-scale prototype.
SAPS.01
concept development and physical design:
Jonas Runberger, ssark medialab
concept development and media mixer:
Mikael Scherdin, Beeoff
The SAPS.02 full-scale prototype was designed for the specific gallery space of Art.platform, Stockholm. The spatial set-up featured three separate wall partitions, each with a linked projector. Real-time filters automatically adjusted projected media to be displayed correctly on the curving surfaces of the walls. The SAPS.02 prototype was tested as a show room, conference space, mock-up fashion store and as a video jockey venue with real-time audio-visual performances.
SAPS.02
concept development and physical design:
Jonas Runberger, ssark medialab
concept development and media content:
Mikael Scherdin, Beeoff
Streaming and transformation technologies:
Tomas Linell, Beeoff
The SAPS.02 prototype was developed in collaboration with and with support from research project Cross-disciplinary studies of Complexity and transformation.
The prototype was presented in the Art.platform gallery space in November 2004.
Special thanks to: Cheryl Akner Koler Carolina de la Fe Vidar Hertov Anton Ljungberg Senem Yazan
SAPS.03 is a proposal for a passage way between different levels of the classical Fountain cinema of Vällingby, Sweden. Joining the 1950’s entrance hall with new additions currently under construction, it takes advantage of the vistors’ horizontal and vertical movement as they progress inte the lower levels. The physical part of the installation distorts media when viewed from below, but gives a clear view from the top of the staricase. The media content can be operated through subscription, and adjusted continuously for different ambiences over the day, including material from current shows as well as material from the history of this classical cinema.
SAPS.03
concept development and physical design:
Jonas Runberger, ssark medialab
concept development:
Mikael Scherdin, Beeoff
media content:
Tomas Linell, Beeoff
SAPS.04 returns to the animated collage in a series of proposed additions to wxisting semi-public environemnts. The studies cover lounge situations, meeting rooms, bars and restaurants. Further refining techniques developed in SAPS.01, the animated collage provides valuable support in initial design development, using a combination of photograph, moving image, digital 3D model, image processing and media post-production.
SAPS.04
concept development, spatial design and post-production:
Jonas Runberger, ssark medialab
concept development:
Mikael Scherdin, Beeoff