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Outline

Title
Abstract
Figures
Background
Designing
2. Research Hypothesis
Research Aims and Objectives
Research Methodology
Historical Review
Multi-Function Design
Chapter Two: Kinetic Design Key Elements
Kinetic Design
Kinetic Design Key Elements
Structural Innovation and Materials Advancement
Chapter Three: Kinetic Buildings' Analysis
Kinetic Buildings' Analysis
2. Used Materials
Introduction
Kinetic Design Key
4. Used Materials
Structural Systems and Used Materials
Summary
Conclusions and Recommendations
Conclusions
Recommendations
References
All Topics
Art
Architecture

Design Methodology Kinetic Architecture

Profile image of Soha FouadSoha Fouad

2012

Abstract

Although immense changes occurred in the Egyptian built environment, given products didn't consider occupants' changing needs and activities as well as changing environmental conditions. The research aimed to present non-traditional solutions in order to create environments able to respond, adapt and interact in motional behaviors.

Figures (140)
The start of using movable bridges was earlier than the Middle Ages; as there is evidence of using this type of structures in Egypt in the fourteenth century B.C. as well as in Babylon. "According to Herodotus, Queen Nitocris of Babylon built a form of retractile bridge, for protective purpose, across the Euphrates at about 460 B.C" (Koglin, 2003). These ancient movable spans and bridges were used for military purposes as well as water traffic.
The start of using movable bridges was earlier than the Middle Ages; as there is evidence of using this type of structures in Egypt in the fourteenth century B.C. as well as in Babylon. "According to Herodotus, Queen Nitocris of Babylon built a form of retractile bridge, for protective purpose, across the Euphrates at about 460 B.C" (Koglin, 2003). These ancient movable spans and bridges were used for military purposes as well as water traffic.
As mentioned before, movable bridges were first used for protective purposes. They were used in medieval castles and forts over moats. The drawbridge, which was usually a bascule type that pivoted upward on trunnions, was commonly used in that era, (Figure 3 a,b). These bridges were used for protective purposes not only while lowered by acting as simple bridges located over moats, but also when raised the floor of their leafs acted as strong doors impeding entry as well as providing resistance to projectiles fired from catapults.
As mentioned before, movable bridges were first used for protective purposes. They were used in medieval castles and forts over moats. The drawbridge, which was usually a bascule type that pivoted upward on trunnions, was commonly used in that era, (Figure 3 a,b). These bridges were used for protective purposes not only while lowered by acting as simple bridges located over moats, but also when raised the floor of their leafs acted as strong doors impeding entry as well as providing resistance to projectiles fired from catapults.
For a long time, kinetic architecture had never advanced beyond the using of movable doors, windows, or temporary roof. However, few exceptions began to appear in the eighteenth and nineteenth centuries. One of the dining rooms in the Palace of Versailles in France was constructed with a floor part of it could be lowered to another level where servants could set the banquet table and then raised again to the room level.
For a long time, kinetic architecture had never advanced beyond the using of movable doors, windows, or temporary roof. However, few exceptions began to appear in the eighteenth and nineteenth centuries. One of the dining rooms in the Palace of Versailles in France was constructed with a floor part of it could be lowered to another level where servants could set the banquet table and then raised again to the room level.
Movable bridges may be classified into several types. Some are employed occasionally such as: bobtailed swing spans, double rotating cantilever draws, transporter bridges, and floating bridges (Figure 4 a). But the movable bridges which are frequently used till today are: ordinary swing spans, trunnion bascule bridges, rolling bascule bridges, and vertical-lift bridges (Figure 4 b and Figure 5 a.b). - s
Movable bridges may be classified into several types. Some are employed occasionally such as: bobtailed swing spans, double rotating cantilever draws, transporter bridges, and floating bridges (Figure 4 a). But the movable bridges which are frequently used till today are: ordinary swing spans, trunnion bascule bridges, rolling bascule bridges, and vertical-lift bridges (Figure 4 b and Figure 5 a.b). - s
Stagehands rotated the 75 feet in diameter turntable, which rotated on caters, by pushing off from stationary posts at the edge of the stage. "In the decades that followed, architects, stage designers, and critics including Pierre Albert-Birot, Oskar Strnad, and Walter Gropius developed plans for reconfigurable and rotating theaters that exploded the established definition of performance spaces" (Randl. 2008). In 1903 the rotating "heliotropic house" was exhibited by famous French architect M. Engere Pettit in consultation with physician Lucien Pellegrine at the Exposition de l'Habitation in Paris. The model was based on a building called Villa Tournesol Pattit which was constructed in south France (Figure 6 b). It was often referred to as a "family Sanatoruim", because the physician's belief that the sun was the cure for most diseases. For a maximum benefit of daylight in different rooms at different times, the house had a cross-shaped plan with large window openings on most walls. Also, it was set on a turntable with ground-level ball-bearing raceway, which helped rotating the house to follow the sun by moving a lever once an hour for a rotation of a few inches. A larger version with a gasoline engine, to rotate the house once per day, was proposed.
Stagehands rotated the 75 feet in diameter turntable, which rotated on caters, by pushing off from stationary posts at the edge of the stage. "In the decades that followed, architects, stage designers, and critics including Pierre Albert-Birot, Oskar Strnad, and Walter Gropius developed plans for reconfigurable and rotating theaters that exploded the established definition of performance spaces" (Randl. 2008). In 1903 the rotating "heliotropic house" was exhibited by famous French architect M. Engere Pettit in consultation with physician Lucien Pellegrine at the Exposition de l'Habitation in Paris. The model was based on a building called Villa Tournesol Pattit which was constructed in south France (Figure 6 b). It was often referred to as a "family Sanatoruim", because the physician's belief that the sun was the cure for most diseases. For a maximum benefit of daylight in different rooms at different times, the house had a cross-shaped plan with large window openings on most walls. Also, it was set on a turntable with ground-level ball-bearing raceway, which helped rotating the house to follow the sun by moving a lever once an hour for a rotation of a few inches. A larger version with a gasoline engine, to rotate the house once per day, was proposed.
Figure 7: A view for Saidman's revolving solarium, Aix Les-Bains, France (Petit, N/D).
Figure 7: A view for Saidman's revolving solarium, Aix Les-Bains, France (Petit, N/D).
Figure 8: Max Taut's Rotating House, Frublicht (Dawn), 1920 (Randl, 2008, P. 67).
Figure 8: Max Taut's Rotating House, Frublicht (Dawn), 1920 (Randl, 2008, P. 67).
Figure 9: Tatlin's Monument to the Third International, designed in 1919 (Randl, 2008, P. 68).
Figure 9: Tatlin's Monument to the Third International, designed in 1919 (Randl, 2008, P. 68).
Figure 11: Villa Girasole: (a) lower floor plan where the villa can rotate 360 degrees over rail tracks (Davies, 2006, P. 87). (b) structural frame showing the spiral staircase as well as the tracks (Randl, 2008, P. 78). As Girasole means sunflower, the villa traces the movement of the sun by rotating so that its front will always face the sun. At the center of Villa Girasole, a spiral staircase rises in the 42.35 meters tall tower topped by an elegant lantern, a sort of conning tower or lighthouse, which the rotating movement hinges on. The two storey (L) shaped villa rests on a 44 meter in diameter circular masonry base where the track that it revolves on is located (Figure 11 a,b). Sewer and water connections are made through pipes that lead down from the mobile core to collection containers. These collection containers are hanged off the underside of the house and are the architectural equivalent of colostomy bags. As the rotating part of the house contains all the standard elements of a home, it is functionally independent from the base (Mical, 2005).
Figure 11: Villa Girasole: (a) lower floor plan where the villa can rotate 360 degrees over rail tracks (Davies, 2006, P. 87). (b) structural frame showing the spiral staircase as well as the tracks (Randl, 2008, P. 78). As Girasole means sunflower, the villa traces the movement of the sun by rotating so that its front will always face the sun. At the center of Villa Girasole, a spiral staircase rises in the 42.35 meters tall tower topped by an elegant lantern, a sort of conning tower or lighthouse, which the rotating movement hinges on. The two storey (L) shaped villa rests on a 44 meter in diameter circular masonry base where the track that it revolves on is located (Figure 11 a,b). Sewer and water connections are made through pipes that lead down from the mobile core to collection containers. These collection containers are hanged off the underside of the house and are the architectural equivalent of colostomy bags. As the rotating part of the house contains all the standard elements of a home, it is functionally independent from the base (Mical, 2005).
Figure 10: Villa Girasole from the air, with the courtyard of the rotating section facing uphill,1935 (Randl, 2008, P. 77).
Figure 10: Villa Girasole from the air, with the courtyard of the rotating section facing uphill,1935 (Randl, 2008, P. 77).
"In the 1950s, when few people talked about ecology or conserving energy, Frangois Massau, a local coal merchant-turned-builder, built what was among the earliest revolving homes". His first house of three (Figure 12) was built in 1958 in Belgium for his sick wife so she can enjoy sunshine and warmth anytime of the day and the year. All three revolving houses Massau built are still functioning today. The house rotates on a steel track supported by a stationary circular brick- and-cement foundation. A small electric motor is used to make the house turn a full 360 degree in 90 minutes. A stationary concrete slab supported by columns creates its roof. A steady supply of water and electricity is assured as well as the removal of sewage wastes even while the structure moves by its tangle of plastic pipe and electrical switches in the cellar. Massau revolving house consists of four bedrooms, kitchen, and a large crescent-shaped living and dining room, creating a 130 square-meter (1.400 square-foot) of energy efficient space (Tagliabue. 2008). Figure 12: The 1,400 square-foot revolving house built by Francois Massau in 1958 still turns, making a complete circle in 90 minutes, admitting more sunlight into its rooms as needed (Tagliabue, 2008).
"In the 1950s, when few people talked about ecology or conserving energy, Frangois Massau, a local coal merchant-turned-builder, built what was among the earliest revolving homes". His first house of three (Figure 12) was built in 1958 in Belgium for his sick wife so she can enjoy sunshine and warmth anytime of the day and the year. All three revolving houses Massau built are still functioning today. The house rotates on a steel track supported by a stationary circular brick- and-cement foundation. A small electric motor is used to make the house turn a full 360 degree in 90 minutes. A stationary concrete slab supported by columns creates its roof. A steady supply of water and electricity is assured as well as the removal of sewage wastes even while the structure moves by its tangle of plastic pipe and electrical switches in the cellar. Massau revolving house consists of four bedrooms, kitchen, and a large crescent-shaped living and dining room, creating a 130 square-meter (1.400 square-foot) of energy efficient space (Tagliabue. 2008). Figure 12: The 1,400 square-foot revolving house built by Francois Massau in 1958 still turns, making a complete circle in 90 minutes, admitting more sunlight into its rooms as needed (Tagliabue, 2008).
were located. In the lower head and revolving around the service core was a turntable floor that carried the restaurant's tables, chairs and diners on a once- every-hour circuit of view, what may have been the first revolving restaurant ever built in a tower (Solaleya, N/D, HousesDesign, 2008).
were located. In the lower head and revolving around the service core was a turntable floor that carried the restaurant's tables, chairs and diners on a once- every-hour circuit of view, what may have been the first revolving restaurant ever built in a tower (Solaleya, N/D, HousesDesign, 2008).
Figure 14: The Solaleya Dome House, a house for a clean and sustainable future (Solaleya, N/D).
Figure 14: The Solaleya Dome House, a house for a clean and sustainable future (Solaleya, N/D).
Figure 15: (a) The Suite Vollard, the first fully revolving high-rise apartment building (Zeiler, 2011, P. 362). (b) A plan for the Suite Vollard showing the fixed core and the rotating part (van Poucke, 2008c). In 2002, the eleven storey Suite Vollard (Figure 15 a,b) designed by Bruno De Franco and built by Design Essentials SA in Curitiba, Brazil, is marked as the first full revolving high-rise apartment building. The building has a cylindrical shape with a rectilinear block connected to it on one side. Each floor is an apartment unit which rotation speed and direction are controlled by its residents separately from other units. The cylindrical part, with its fully glazed exterior walls and the balconies extending around, consists of the living space of each apartment, which includes dining room, living room, bedroom, and office. Each floor rotates on a ring-type turntable around the stationary core that hosts all plumbing, electricity and HVAC connections. The rectilinear block where stairs and elevator are located is static same as the center core (Randl, 2008).
Figure 15: (a) The Suite Vollard, the first fully revolving high-rise apartment building (Zeiler, 2011, P. 362). (b) A plan for the Suite Vollard showing the fixed core and the rotating part (van Poucke, 2008c). In 2002, the eleven storey Suite Vollard (Figure 15 a,b) designed by Bruno De Franco and built by Design Essentials SA in Curitiba, Brazil, is marked as the first full revolving high-rise apartment building. The building has a cylindrical shape with a rectilinear block connected to it on one side. Each floor is an apartment unit which rotation speed and direction are controlled by its residents separately from other units. The cylindrical part, with its fully glazed exterior walls and the balconies extending around, consists of the living space of each apartment, which includes dining room, living room, bedroom, and office. Each floor rotates on a ring-type turntable around the stationary core that hosts all plumbing, electricity and HVAC connections. The rectilinear block where stairs and elevator are located is static same as the center core (Randl, 2008).
Figure 17: The Bloomframe (HurksGeveltechniek, N/D). (a) In window state. (b) In balcony state. frame and electronic control. The size, materials and color can be changed upon request, although the maximum width is 3 meters. The facade element can be produced in several transparent and opaque materials. This system can be installed to new as well as_ existing facades. The Bloomframe can _ be automatically operated and single control that can open it in just 15 seconds. To achieve maximum safety and _ security requirements, the system includes provisions to guarantee against collapse during opening and closing, the fully open position is limited mechanically, and an optional infrared detection during electrical movements is installed. The first models are for an apartment building in Arnhem , The Netherlands (Brownell, 2008).
Figure 17: The Bloomframe (HurksGeveltechniek, N/D). (a) In window state. (b) In balcony state. frame and electronic control. The size, materials and color can be changed upon request, although the maximum width is 3 meters. The facade element can be produced in several transparent and opaque materials. This system can be installed to new as well as_ existing facades. The Bloomframe can _ be automatically operated and single control that can open it in just 15 seconds. To achieve maximum safety and _ security requirements, the system includes provisions to guarantee against collapse during opening and closing, the fully open position is limited mechanically, and an optional infrared detection during electrical movements is installed. The first models are for an apartment building in Arnhem , The Netherlands (Brownell, 2008).
The turn-on house, designed by the Austrian design studio Alles Wird Gut in 2002, is an example of the multi-function design (Figure 18 a,b). This design is tracking the idea of astronauts' capsules. The turn-on house is divided into individual ring zones that could be connected to each other and that accommodate different functions. By rotating these ring zones different needs could be achieved according to the users' needs, for example, in a kitchen ring unit a stove could be rotated up and out of the way when not used, or a sofa and a bed could be built into the same ring unit also rotated according to what is needed (Kapfinger, N/D).
The turn-on house, designed by the Austrian design studio Alles Wird Gut in 2002, is an example of the multi-function design (Figure 18 a,b). This design is tracking the idea of astronauts' capsules. The turn-on house is divided into individual ring zones that could be connected to each other and that accommodate different functions. By rotating these ring zones different needs could be achieved according to the users' needs, for example, in a kitchen ring unit a stove could be rotated up and out of the way when not used, or a sofa and a bed could be built into the same ring unit also rotated according to what is needed (Kapfinger, N/D).
The Wind Veil, by Ned Kahn, is 79.248 meter (260 feet) long by 6 storey tall facade for the largest parking garage in Charlotte, North Carolina, USA (Figure 19 a,b). This dynamic fagade consists of 80000 small aluminum panels that are hinged to move freely in the wind (Kahn, 2000). The fagade transforms the invisible wind waves into visible metallic grass waves. On the other hand, these waves create never ending patterns of light and shade inside the building. This system was designed to provide ventilation and shade for the interior of the parking building (Margolis, 2008).
The Wind Veil, by Ned Kahn, is 79.248 meter (260 feet) long by 6 storey tall facade for the largest parking garage in Charlotte, North Carolina, USA (Figure 19 a,b). This dynamic fagade consists of 80000 small aluminum panels that are hinged to move freely in the wind (Kahn, 2000). The fagade transforms the invisible wind waves into visible metallic grass waves. On the other hand, these waves create never ending patterns of light and shade inside the building. This system was designed to provide ventilation and shade for the interior of the parking building (Margolis, 2008).
The Bengt Sjostrom/Starlight Theater (Figure 21 a, b and c), designed by Studio Gang Architects and completed in 2003, is another example of the contextual adaptability. This building was designed to replace a popular outdoor venue by ensuring the proceeding of the shows that took place within the building regardless of the weather as well as maintaining the open-air atmosphere. The roof created an origami-like transformable element that looked like a flower petals, and consisted of six identical triangular panels hinged along the bottom edge (StudioGangArchitects, N/D, Galindo, 2005).
The Bengt Sjostrom/Starlight Theater (Figure 21 a, b and c), designed by Studio Gang Architects and completed in 2003, is another example of the contextual adaptability. This building was designed to replace a popular outdoor venue by ensuring the proceeding of the shows that took place within the building regardless of the weather as well as maintaining the open-air atmosphere. The roof created an origami-like transformable element that looked like a flower petals, and consisted of six identical triangular panels hinged along the bottom edge (StudioGangArchitects, N/D, Galindo, 2005).
umbrellas created a translucent vault spanning between the columns and_ the arcades surrounding the courts, thus making for clear and expansive spaces. These convertible umbrellas are designed in consideration of the extreme seasonal changes in climate so that the internal climate of the building could be radically influenced and at mean time keeping the energy consumption to a minimum (Figure 20 a,b). The opening and closing of these structures are controlled by computer systems that recalculate different factors such as seasons, sun position, external temperature, wind speed, and clouds (SL-RASCH-GMPH, N/D, Addis, 1997).
umbrellas created a translucent vault spanning between the columns and_ the arcades surrounding the courts, thus making for clear and expansive spaces. These convertible umbrellas are designed in consideration of the extreme seasonal changes in climate so that the internal climate of the building could be radically influenced and at mean time keeping the energy consumption to a minimum (Figure 20 a,b). The opening and closing of these structures are controlled by computer systems that recalculate different factors such as seasons, sun position, external temperature, wind speed, and clouds (SL-RASCH-GMPH, N/D, Addis, 1997).
The Mobile Dwelling Unit (MDU) (Figure 22 and Figure 23 a,b) is an example of mobility. it was designed by LOT-EK in 2002. This mobile unit is a container that acts as a space to live, work or even store. Cuts in the metal walls of the container allow for extruded sub-volumes that contain different facilities. When these sub-volumes are pushed out from the sides, they free up the inner space creating a general living area. When they are pushed in, they fill the entire container, interlocking with each other and leaving the container's outer skin flush to allow worldwide standardized shipping. The MDUs were not only designed as individual units but also as ever changing colonies when gathered (LOT-EK, N/D, Kronenburg, 2008) Figure 22: Mobile Dwelling Unit, the container plan while sub-volumes pushed out (fabprefab, N/D).
The Mobile Dwelling Unit (MDU) (Figure 22 and Figure 23 a,b) is an example of mobility. it was designed by LOT-EK in 2002. This mobile unit is a container that acts as a space to live, work or even store. Cuts in the metal walls of the container allow for extruded sub-volumes that contain different facilities. When these sub-volumes are pushed out from the sides, they free up the inner space creating a general living area. When they are pushed in, they fill the entire container, interlocking with each other and leaving the container's outer skin flush to allow worldwide standardized shipping. The MDUs were not only designed as individual units but also as ever changing colonies when gathered (LOT-EK, N/D, Kronenburg, 2008) Figure 22: Mobile Dwelling Unit, the container plan while sub-volumes pushed out (fabprefab, N/D).
Figure 24: Diagram shows kinetic structures typologies (Fox, N/D).
Figure 24: Diagram shows kinetic structures typologies (Fox, N/D).
The Muscles Tower is an example of embedded kinetic structures that could be installed in a larger architectural whole. The project was the winner of the MIT's first mini-skyscraper competition in 2006 (Figure 25 a). The Muscles Tower is a 35 feet skyscraper consisting of an articulated spine controlled by a series of pneumatic muscles that allow the structure to bend in different directions by twisting the jointed core. When the muscles are not active, the tower's rigid core keeps the entire structure straight. By activating several muscles one could cause the tower to curve making it appear to bow. In a full-scale tower, such systems could help stabilize the structure against changing forces such as wind and earthquakes (Than, 2006, Plan65, 2006).
The Muscles Tower is an example of embedded kinetic structures that could be installed in a larger architectural whole. The project was the winner of the MIT's first mini-skyscraper competition in 2006 (Figure 25 a). The Muscles Tower is a 35 feet skyscraper consisting of an articulated spine controlled by a series of pneumatic muscles that allow the structure to bend in different directions by twisting the jointed core. When the muscles are not active, the tower's rigid core keeps the entire structure straight. By activating several muscles one could cause the tower to curve making it appear to bow. In a full-scale tower, such systems could help stabilize the structure against changing forces such as wind and earthquakes (Than, 2006, Plan65, 2006).
surface animation. Sensor systems inside and outside the building communicate the buildings activity directly to the Flare-system which acts as the building lateral line. Each of the units reflects the bright sky or sunlight when in vertical standby position. On the other hand, when it is tilted downwards, its face is shaded from the sky light and appears darker (Jiang, 2011).
surface animation. Sensor systems inside and outside the building communicate the buildings activity directly to the Flare-system which acts as the building lateral line. Each of the units reflects the bright sky or sunlight when in vertical standby position. On the other hand, when it is tilted downwards, its face is shaded from the sky light and appears darker (Jiang, 2011).
Figure 27: The Kuwait Pavilion for Expo 92 while changing from closed state to opened one (Hawarny, 2008, P. 30). The Kuwait Pavilion for the Expo 92 in Seville, Spain, by Santiago Calatrava is an example of dynamic kinetic structures (Figure 27). The structure's roof reflects the organic shapes of palm fronds that can be moved to reflect the weather or time of a day. Sketches drawn by Calatrava showed two hands coming closer to each other then folding together as in prayer creating a rare theme of offering hands and linking of fingers (Harris, 2006, Feuerstein, 2002).
Figure 27: The Kuwait Pavilion for Expo 92 while changing from closed state to opened one (Hawarny, 2008, P. 30). The Kuwait Pavilion for the Expo 92 in Seville, Spain, by Santiago Calatrava is an example of dynamic kinetic structures (Figure 27). The structure's roof reflects the organic shapes of palm fronds that can be moved to reflect the weather or time of a day. Sketches drawn by Calatrava showed two hands coming closer to each other then folding together as in prayer creating a rare theme of offering hands and linking of fingers (Harris, 2006, Feuerstein, 2002).
The Implant Matrix is an example for adaptive control systems (Figure 29). This matrix acts as an interactive geotextile. This system is capable of mechanical empathy and consists of a network of mechanisms that reacts to human occupants. The system responds to human presence by subtle grasping and sucking motions, ingesting organic materials and incorporating them into a new hybrid entity. The matrix's interactive systems employ capacitance sensors, shape-memory alloy wire actuators and distributed microprocessors. The Implant Matrix is installed at the InterAccess Media Arts Center in Toronto (PhilipBeesleyArchitectInc., N/D). Figure 29: The Implant Matrix (InteractiveArchitecture.org, 2006).
The Implant Matrix is an example for adaptive control systems (Figure 29). This matrix acts as an interactive geotextile. This system is capable of mechanical empathy and consists of a network of mechanisms that reacts to human occupants. The system responds to human presence by subtle grasping and sucking motions, ingesting organic materials and incorporating them into a new hybrid entity. The matrix's interactive systems employ capacitance sensors, shape-memory alloy wire actuators and distributed microprocessors. The Implant Matrix is installed at the InterAccess Media Arts Center in Toronto (PhilipBeesleyArchitectInc., N/D). Figure 29: The Implant Matrix (InteractiveArchitecture.org, 2006).
“=< The AMX Whole Home Automation (Figure 30) is an example of such home automation systems. The AMX Whole Home Automation is a single system that offers homeowners the ability to control and manage wide range of home systems. This system has a touch panel connected to all other systems in the home, from where homeowners can operate, control, program, and re-program the system. The AMX Whole Home Automation system controls electronic as well as mechanical devices such as audio and video devices, lighting, openings, and the like (AMX, N/D).
“=< The AMX Whole Home Automation (Figure 30) is an example of such home automation systems. The AMX Whole Home Automation is a single system that offers homeowners the ability to control and manage wide range of home systems. This system has a touch panel connected to all other systems in the home, from where homeowners can operate, control, program, and re-program the system. The AMX Whole Home Automation system controls electronic as well as mechanical devices such as audio and video devices, lighting, openings, and the like (AMX, N/D).
CFE OE EE eee The Stereoscope (Figure 31) is the latest Blinkenlights project and an example for an external communication system. In this project, Toronto City Hall works aS an_ interactive three dimensional computer’ display. Wireless technologies are used to control the lights placed behind the 960 windows of City Hall which allow for a large scale visual concert during the night. People can interact with the building by playing classic computer games on the fagade while using a mobile phone. Also a simple animation tool and an open animation data formats enable people to create simple movies for Stereoscope and then play those on the facade (ProjectBlinkenlights, N/D). 2.1.2.2. Level of Control Mechanisms
CFE OE EE eee The Stereoscope (Figure 31) is the latest Blinkenlights project and an example for an external communication system. In this project, Toronto City Hall works aS an_ interactive three dimensional computer’ display. Wireless technologies are used to control the lights placed behind the 960 windows of City Hall which allow for a large scale visual concert during the night. People can interact with the building by playing classic computer games on the fagade while using a mobile phone. Also a simple animation tool and an open animation data formats enable people to create simple movies for Stereoscope and then play those on the facade (ProjectBlinkenlights, N/D). 2.1.2.2. Level of Control Mechanisms
The Interactive Restaurant (i-Dining) project (Figure 32) by Art Center College of design is an example of such environments. This project consists of six major systems which are floorscape, ceilingscape, tables, vanity/fagade, acoustics (walls), and bar. Each of these systems aims to create an environment with behaviors. The floorscape aims to create constantly evolving and forming groups of any size or shape or number of users. In that case the seating is one element that will influence other systems to further interact with customers (RobotectureInteractiveArchitecture, N/D).
The Interactive Restaurant (i-Dining) project (Figure 32) by Art Center College of design is an example of such environments. This project consists of six major systems which are floorscape, ceilingscape, tables, vanity/fagade, acoustics (walls), and bar. Each of these systems aims to create an environment with behaviors. The floorscape aims to create constantly evolving and forming groups of any size or shape or number of users. In that case the seating is one element that will influence other systems to further interact with customers (RobotectureInteractiveArchitecture, N/D).
Table 1: Kinetic Design Key Elements.
Table 1: Kinetic Design Key Elements.
Figure 33: An external view for Institut du Monde Arabe (WikiArquitectura, 2010). 3.1.1. Institut du Monde Arabe:
Figure 33: An external view for Institut du Monde Arabe (WikiArquitectura, 2010). 3.1.1. Institut du Monde Arabe:
Figure 35: An external view for the flat southern facade of Institut du Monde Arabe shows the "Mashrabiya Diaphragms" that were used (IMA, 2001). Figure 34: (a) The Mashrabiya diaphragm used at Institut du Monde Arabe (Osmers, 2007). (b) Mashrabiya unit sketch (Prisse d’Avennes, 2007, P. 137). (c) Mashrabiya used in a Ottoman residential building near Khan EI-Khalili, Cairo, Egypt (a.allegretti, 2012).
Figure 35: An external view for the flat southern facade of Institut du Monde Arabe shows the "Mashrabiya Diaphragms" that were used (IMA, 2001). Figure 34: (a) The Mashrabiya diaphragm used at Institut du Monde Arabe (Osmers, 2007). (b) Mashrabiya unit sketch (Prisse d’Avennes, 2007, P. 137). (c) Mashrabiya used in a Ottoman residential building near Khan EI-Khalili, Cairo, Egypt (a.allegretti, 2012).
In the Institut du Monde Arabe, Jean Nouvel used Mashrabiya units (Figure 34 a) to represent the Arabic culture. Mashrabiya is a type of a window cover that consists of combinations of backdrop of cut wood and _latticework patterns (Figure 34 b). Mashrabiya characterized the Islamic architecture of the Middle Ages and was popular in many Islamic countries such as Egypt (Figure 34 b) and Iraq. The architect combined the need for sun shading with a "Mashrabiya" pattern and the idea of a light controlling diaphragm in a camera lens (Figure 35). This resulted in a gigantic Islamic pierced screen, which makes this modern high- tech building a permanent reference to traditional Islamic architecture (Heylighen, I004).
In the Institut du Monde Arabe, Jean Nouvel used Mashrabiya units (Figure 34 a) to represent the Arabic culture. Mashrabiya is a type of a window cover that consists of combinations of backdrop of cut wood and _latticework patterns (Figure 34 b). Mashrabiya characterized the Islamic architecture of the Middle Ages and was popular in many Islamic countries such as Egypt (Figure 34 b) and Iraq. The architect combined the need for sun shading with a "Mashrabiya" pattern and the idea of a light controlling diaphragm in a camera lens (Figure 35). This resulted in a gigantic Islamic pierced screen, which makes this modern high- tech building a permanent reference to traditional Islamic architecture (Heylighen, I004).
The mashrabiya diaphragms (Figure 36 a) were influenced by the orientation and are aiming at aesthetic and connotative architectural expressions rather than solutions to climatic constraints in a high-tech air-conditioned building context. The flat southern facade is composed of 240 squares panels, reproducing vertically the horizontal pattern of the parvis. Constituted of 16320 kinetic modules, these diaphragms consist of lozenges, squares, hexagons, circles and combination of them whose reflection matches the mosaic patterns on _ the Institut's floors. Each kinetic panel consists of one large diaphragm in the center, surrounded by sixteen medium sized diaphragms and fifty-five small diaphragms (Figure 36 b,c).
The mashrabiya diaphragms (Figure 36 a) were influenced by the orientation and are aiming at aesthetic and connotative architectural expressions rather than solutions to climatic constraints in a high-tech air-conditioned building context. The flat southern facade is composed of 240 squares panels, reproducing vertically the horizontal pattern of the parvis. Constituted of 16320 kinetic modules, these diaphragms consist of lozenges, squares, hexagons, circles and combination of them whose reflection matches the mosaic patterns on _ the Institut's floors. Each kinetic panel consists of one large diaphragm in the center, surrounded by sixteen medium sized diaphragms and fifty-five small diaphragms (Figure 36 b,c).
Figure 37: A diagram showing reason for installing mashrabiya diaphragms on the southern facade (Yucel, 1989, P. 92).
Figure 37: A diagram showing reason for installing mashrabiya diaphragms on the southern facade (Yucel, 1989, P. 92).
3.1.2. GucklHupf Figure 38: An external view for GucklHupf while being opened (de la Torre, N/D).
3.1.2. GucklHupf Figure 38: An external view for GucklHupf while being opened (de la Torre, N/D).
Figure 39: The GucklHupf plans where the red colored rectangular is the main area while the other parts are those being opened, slided or folded (de la Torre, N/D).
Figure 39: The GucklHupf plans where the red colored rectangular is the main area while the other parts are those being opened, slided or folded (de la Torre, N/D).
The GucklHupf movable panels create a multi-purpose structure. The structure is used as a lake house that can hold different activities from being a shelter in summer days to a contemplative space with a small stage or even as storage in winter days when closed (Figure 41). Also, the movable panels helped the users to control views and the amount of light according to their needs and desires. This transformation creates a communicative interior-exterior space object that provides a shaded, ventilated, temporary location in the landscape while controlling the level of connectivity with the nature and landscape around. Figure 41: Transformation in GucklHupf starting from the closed state (Olson, 2009).
The GucklHupf movable panels create a multi-purpose structure. The structure is used as a lake house that can hold different activities from being a shelter in summer days to a contemplative space with a small stage or even as storage in winter days when closed (Figure 41). Also, the movable panels helped the users to control views and the amount of light according to their needs and desires. This transformation creates a communicative interior-exterior space object that provides a shaded, ventilated, temporary location in the landscape while controlling the level of connectivity with the nature and landscape around. Figure 41: Transformation in GucklHupf starting from the closed state (Olson, 2009).
Figure 42: An exterior view for the Floirac House (OrgoneDesign, N/D). The house was designed in 1994-1996 and was built in 1996-1998.
Figure 42: An exterior view for the Floirac House (OrgoneDesign, N/D). The house was designed in 1994-1996 and was built in 1996-1998.
ways to go across the various zones and levels (Figure 43). Three staircases provoke the inhabitants to select their routes and an elevator platform located in the middle of the house "A machine is its heart" (Figure 44). The movement of the elevator platform continuously changes the architecture of the house. By creating a relation between small, private, painful and sad fact of the husband and the architecture of the house itself resulted in a beautiful place for living the Floirac House "Maison a Bordeaux". Figure 43: Plans for the Floirac House showing different ways to access levels (Beck, N/D). The Blue color indicates the elevator platform, the red color indicates the main staircase, the green color indicates the service staircase and the yellow color indicates a staircase connecting two levels.
ways to go across the various zones and levels (Figure 43). Three staircases provoke the inhabitants to select their routes and an elevator platform located in the middle of the house "A machine is its heart" (Figure 44). The movement of the elevator platform continuously changes the architecture of the house. By creating a relation between small, private, painful and sad fact of the husband and the architecture of the house itself resulted in a beautiful place for living the Floirac House "Maison a Bordeaux". Figure 43: Plans for the Floirac House showing different ways to access levels (Beck, N/D). The Blue color indicates the elevator platform, the red color indicates the main staircase, the green color indicates the service staircase and the yellow color indicates a staircase connecting two levels.
The elevator platform was designed to connect different levels together in an easy accessible way that allows the owner to move around as he is now confined to a wheelchair after surviving a car accident. The elevator platform was not only designed to function as a vertical connector but also to be a living space in the middle of the house (Figure 46). The platform grantees husband's access to books, art work and the wine cellar (Gargiani, 2008).
The elevator platform was designed to connect different levels together in an easy accessible way that allows the owner to move around as he is now confined to a wheelchair after surviving a car accident. The elevator platform was not only designed to function as a vertical connector but also to be a living space in the middle of the house (Figure 46). The platform grantees husband's access to books, art work and the wine cellar (Gargiani, 2008).
The heart of the house is a 3x3.5m elevator platform (Figure 45) that moves freely up and down alongside a tall book-stack connecting the three levels together, while becoming part of the living space or kitchen or transforming itself into an intimate office space.
The heart of the house is a 3x3.5m elevator platform (Figure 45) that moves freely up and down alongside a tall book-stack connecting the three levels together, while becoming part of the living space or kitchen or transforming itself into an intimate office space.
Figure 47: An external view for the Naked House (ShigeruBanArchitects, N/D). 3.2.4.1. General Information:
Figure 47: An external view for the Naked House (ShigeruBanArchitects, N/D). 3.2.4.1. General Information:
Figure 48: (a) A 3D modeling for the Naked House showing the rectangular open space, the permanent installations as well as the movable rooms (boxes) (Unité-de-relogement, 2012). (b) An interior view for the half-height wall separating the wardrobes as well as the bathroom from the rest of the open space (Jeska, 2008, P. 73). The building consists of a simple, rectangular, shed-like space of two storey high and four cubicle mobile room units (Figure 48 a). The internal main space is bordered on one side by the kitchen, the bathroom and the wardrobes which are the only permanent installations in the house and are separated from the open space with a half-height wall or white curtains (Figure 48 b), while on the other side it is bordered by a translucent and opaque wall. Four movable cardboard boxes form the family's private accommodation (Jeska, 2008).
Figure 48: (a) A 3D modeling for the Naked House showing the rectangular open space, the permanent installations as well as the movable rooms (boxes) (Unité-de-relogement, 2012). (b) An interior view for the half-height wall separating the wardrobes as well as the bathroom from the rest of the open space (Jeska, 2008, P. 73). The building consists of a simple, rectangular, shed-like space of two storey high and four cubicle mobile room units (Figure 48 a). The internal main space is bordered on one side by the kitchen, the bathroom and the wardrobes which are the only permanent installations in the house and are separated from the open space with a half-height wall or white curtains (Figure 48 b), while on the other side it is bordered by a translucent and opaque wall. Four movable cardboard boxes form the family's private accommodation (Jeska, 2008).
Figure 49: Interior views of the Naked House (van Poucke, 2011). (a) A view for mobile units when attached to each other. (b) A view for mobile units arranged separately.
Figure 49: Interior views of the Naked House (van Poucke, 2011). (a) A view for mobile units when attached to each other. (b) A view for mobile units arranged separately.
Figure 50: (a) A section through the main double height open space (Bradbury, 2005, P. 185). (b) An isometric for the Naked House showing different layer of the building's skin as well as different components (Bradbury, 2005, P. 181).
Figure 50: (a) A section through the main double height open space (Bradbury, 2005, P. 185). (b) An isometric for the Naked House showing different layer of the building's skin as well as different components (Bradbury, 2005, P. 181).
Although the house itself is a living environment, the four mobile units create portable living environments within the main space. Those mobile living environments does not only may have different uses such as being a gathering place, sleeping place, playing place or even a garden shed, but also they may differ in size according to whether they are separately used or some/all of them gathered together (Figure 51 a). 3.2.4.4. Indoor Environment Quality: The interior is lit by a soft, diffuse light filtering throw the translucent walls adding a sense of spaciousness. Sliding doors provided on two sides of each unit can be closed, left open or even totally removed (Figure 51 b)depending on the level of privacy needed and level of visual connection with the surroundings desired (Jeska, 2008).
Although the house itself is a living environment, the four mobile units create portable living environments within the main space. Those mobile living environments does not only may have different uses such as being a gathering place, sleeping place, playing place or even a garden shed, but also they may differ in size according to whether they are separately used or some/all of them gathered together (Figure 51 a). 3.2.4.4. Indoor Environment Quality: The interior is lit by a soft, diffuse light filtering throw the translucent walls adding a sense of spaciousness. Sliding doors provided on two sides of each unit can be closed, left open or even totally removed (Figure 51 b)depending on the level of privacy needed and level of visual connection with the surroundings desired (Jeska, 2008).
Figure 52: An external view for the Milwaukee Art Museum — Quadracci Pavilion (Smith, 2007). 3.1.5. Milwaukee Art Museum "Quadracci Pavilion"
Figure 52: An external view for the Milwaukee Art Museum — Quadracci Pavilion (Smith, 2007). 3.1.5. Milwaukee Art Museum "Quadracci Pavilion"
Wind- hover Hall i 1S the grand entrance hall for the Quadracci Pavilion. It is Santiago Calatrava’s postmodern interpretation of a Gothic Cathedral, complete with flying buttresses, pointed arches, ribbed vaults, and a central nave topped by a 90-foot-high glass roof. The hall’s chancel is shaped like the prow of a ship, with floor-to-ceiling windows looking over Lake Michigan. Adjoining the central hall are two tow-arched promenades, the Baumgartner Galleria and Schroeder Foundation Galleria, with expansive views of the lake and downtown. The pedestrian bridge extends like an arm connecting the museum with the city adding a sense of direction and movement which is taking it up to the roof, the cables and the canopy that extends on both sides.
Wind- hover Hall i 1S the grand entrance hall for the Quadracci Pavilion. It is Santiago Calatrava’s postmodern interpretation of a Gothic Cathedral, complete with flying buttresses, pointed arches, ribbed vaults, and a central nave topped by a 90-foot-high glass roof. The hall’s chancel is shaped like the prow of a ship, with floor-to-ceiling windows looking over Lake Michigan. Adjoining the central hall are two tow-arched promenades, the Baumgartner Galleria and Schroeder Foundation Galleria, with expansive views of the lake and downtown. The pedestrian bridge extends like an arm connecting the museum with the city adding a sense of direction and movement which is taking it up to the roof, the cables and the canopy that extends on both sides.
The movable wings — the Burke Brise Soleil — are used to control the temperature and light in the reception hall. But it is hard to deny that their primary purpose is to endow the museum with a landmark presence it never had underneath the war memorial. Figure 54: The Burke Brise Soleil, the moveable wings of the museum ranging in motion from totally closed to completely opened (CALATRAVA, N/D-a). a. Structural Innovation & Materials Advancement:
The movable wings — the Burke Brise Soleil — are used to control the temperature and light in the reception hall. But it is hard to deny that their primary purpose is to endow the museum with a landmark presence it never had underneath the war memorial. Figure 54: The Burke Brise Soleil, the moveable wings of the museum ranging in motion from totally closed to completely opened (CALATRAVA, N/D-a). a. Structural Innovation & Materials Advancement:
3.1.6. Gemini Haus Figure 56: An external view for the Gemini Haus (Salzburg.ORF.at, 2012).
3.1.6. Gemini Haus Figure 56: An external view for the Gemini Haus (Salzburg.ORF.at, 2012).
served as lecture hall and backdrop for guided tours that showcased the home’s innovative energy strategy. In the Gemini Haus, minimalist design meets luxury living. Included in the concept are elements like a whirlpool bath and _ central vacuum that makes living around the sun even more of an adventure. All exhaust, supply air and waste water are fed into the center of the rotating house (Figure 57). By this house the architect aims to find connections between technology and nature as well as ecological construction and design. The building consists of two floors. The living room is located in the ground floor and served as a lecture hall during the exhibition. The first floor includes two rooms in a semicircle form (Figure 58).
served as lecture hall and backdrop for guided tours that showcased the home’s innovative energy strategy. In the Gemini Haus, minimalist design meets luxury living. Included in the concept are elements like a whirlpool bath and _ central vacuum that makes living around the sun even more of an adventure. All exhaust, supply air and waste water are fed into the center of the rotating house (Figure 57). By this house the architect aims to find connections between technology and nature as well as ecological construction and design. The building consists of two floors. The living room is located in the ground floor and served as a lecture hall during the exhibition. The first floor includes two rooms in a semicircle form (Figure 58).
Figure 58: Panoramic views for the ground floor and the first floor (PEGE, 2001).
Figure 58: Panoramic views for the ground floor and the first floor (PEGE, 2001).
». Embedded Computation / Control Mechanism:
». Embedded Computation / Control Mechanism:
Figure 61: An external view for Dragspelhuset (24H<architecture, N/D). 3.1.7. Dragspelhuset:
Figure 61: An external view for Dragspelhuset (24H<architecture, N/D). 3.1.7. Dragspelhuset:
The added extension involves a movable cantilever that can be pushed out er the stream. Figure 62: (a) A view for the cabin while the retractable cantilever is pushed in (Park, 2007, P. 60). (b) A view for the cabin while the retractable cantilever is pushed out (Park, 2007, P. 60).
The added extension involves a movable cantilever that can be pushed out er the stream. Figure 62: (a) A view for the cabin while the retractable cantilever is pushed in (Park, 2007, P. 60). (b) A view for the cabin while the retractable cantilever is pushed out (Park, 2007, P. 60).
Kineticism was installed to the building in order to make it flexible to meet different conditions varying from changing weather conditions to different seasons and number of occupants (Figure 63 a,b). In winter, pushing the moving cantilever inside the extension will compact it with a double skin against the cold weather. In summer-time wings, can be unfolded for extra shelter during rainy days, and windows on the cabin head can be open wide (Figure 64 and Figure 65).
Kineticism was installed to the building in order to make it flexible to meet different conditions varying from changing weather conditions to different seasons and number of occupants (Figure 63 a,b). In winter, pushing the moving cantilever inside the extension will compact it with a double skin against the cold weather. In summer-time wings, can be unfolded for extra shelter during rainy days, and windows on the cabin head can be open wide (Figure 64 and Figure 65).
Figure 64: A section showing the extension while the retractable cantilever is pushed in creating a double skin (Park, 2007, P. 67).
Figure 64: A section showing the extension while the retractable cantilever is pushed in creating a double skin (Park, 2007, P. 67).
Figure 65: A section showing the extension while the retractable cantilever is pushed out over the stream (Park, 2007, P. 67).
Figure 65: A section showing the extension while the retractable cantilever is pushed out over the stream (Park, 2007, P. 67).
Figure 66: The red cedar wood used for the exterior cladding (Zeisser, 2007, P. 12), (Park, 2007, P. 59).
Figure 66: The red cedar wood used for the exterior cladding (Zeisser, 2007, P. 12), (Park, 2007, P. 59).
Figure 67: The reindeer hides covering the interior of the retractable cantilever (Park, 2007, P. 66)
Figure 67: The reindeer hides covering the interior of the retractable cantilever (Park, 2007, P. 66)
Figure 68: An exterior view for the Leaf Chapel glowing at night (KleinDytham|architecture, N/D). 3.1.8. The Leaf Chapel: 3.2.8.1. General Information:
Figure 68: An exterior view for the Leaf Chapel glowing at night (KleinDytham|architecture, N/D). 3.1.8. The Leaf Chapel: 3.2.8.1. General Information:
Figure 69: A plan drawing for the Leaf Chapel showing the components creating the chapel which are the chapel great hall, corridor and storage (A. Pearson, 2005, P. 244). g. Building Components: This notion was translated into a built form that climactic moment of every wedding. When the ceremony reaches its end and the groom lifts the bride's veil, a curving wall slides up and out of the way. Arranged in a looping ivy pattern set into the 11 ton moving wall, 4700 polycarbonate lenses project light into a nylon scrim stretched 10 inches from the wall's inside surface.
Figure 69: A plan drawing for the Leaf Chapel showing the components creating the chapel which are the chapel great hall, corridor and storage (A. Pearson, 2005, P. 244). g. Building Components: This notion was translated into a built form that climactic moment of every wedding. When the ceremony reaches its end and the groom lifts the bride's veil, a curving wall slides up and out of the way. Arranged in a looping ivy pattern set into the 11 ton moving wall, 4700 polycarbonate lenses project light into a nylon scrim stretched 10 inches from the wall's inside surface.
The chapel was pushed 12 feet into the ground and was tucked into a sloping site in order to minimize its visual impact on the garden when viewed from the nearby hotel rooms.
The chapel was pushed 12 feet into the ground and was tucked into a sloping site in order to minimize its visual impact on the garden when viewed from the nearby hotel rooms.
Figure 73: The Shanghai QiZhong Forest Sports City Tennis Centre (corus, 2006, P. 24,25). 3.1.9. QiZhong Forest Sports City Tennis Centre "Magnolia Stadium" 3.2.9.1. General Information:
Figure 73: The Shanghai QiZhong Forest Sports City Tennis Centre (corus, 2006, P. 24,25). 3.1.9. QiZhong Forest Sports City Tennis Centre "Magnolia Stadium" 3.2.9.1. General Information:
Figure 74: A view for the stadium while its roof petals are open presenting a flower (TheTennisStory, 2011).
Figure 74: A view for the stadium while its roof petals are open presenting a flower (TheTennisStory, 2011).
The tennis centre covers a total area of 338,836 square meters, of which 85,000 square meters are made up of structures. The Center has a parking with capacity of 993 parking spaces. It has four floors, for a total height of 40 m above ground level. The center has a 15,000-seat center court, a 6,000-seat court, and 20 indoor courts and 22 outdoor courts. There is also a tennis activity center, tennis club, and a players’ lounge (ShanghaiMinhang, N/D). The stadium includes journalist working area, organizer working area, foreign integration office, VIP reception as well as different rest areas (Figure 75).
The tennis centre covers a total area of 338,836 square meters, of which 85,000 square meters are made up of structures. The Center has a parking with capacity of 993 parking spaces. It has four floors, for a total height of 40 m above ground level. The center has a 15,000-seat center court, a 6,000-seat court, and 20 indoor courts and 22 outdoor courts. There is also a tennis activity center, tennis club, and a players’ lounge (ShanghaiMinhang, N/D). The stadium includes journalist working area, organizer working area, foreign integration office, VIP reception as well as different rest areas (Figure 75).
Figure 77: The QiZhong Forest Sports City Tennis Center dynamic roof (van Poucke, 2008b). (a) A close view for the roof petals while they are closed. (b) A close view for the roof petals while they are being opened. Although the moveable roof is extremely simple, the movement system is the first time in the world to be used (Figure 77 a,b). Each of the eight moveable roof petals moves and turns around on one fulcrum, all at the same time. Under each petal, a round truss with an inverted triangle section is located supporting the petal. Each moveable petal can move by one fulcrum and three rails. This mechanical system allows the roof to be opened in 8 _ minutes (ShanghaiCulturalInformation, N/D).
Figure 77: The QiZhong Forest Sports City Tennis Center dynamic roof (van Poucke, 2008b). (a) A close view for the roof petals while they are closed. (b) A close view for the roof petals while they are being opened. Although the moveable roof is extremely simple, the movement system is the first time in the world to be used (Figure 77 a,b). Each of the eight moveable roof petals moves and turns around on one fulcrum, all at the same time. Under each petal, a round truss with an inverted triangle section is located supporting the petal. Each moveable petal can move by one fulcrum and three rails. This mechanical system allows the roof to be opened in 8 _ minutes (ShanghaiCulturalInformation, N/D).
Figure 78: An exterior view for the Kiefer Technic Showroom (Deisenberger, 2009, P. 21). 3.1.10. Kiefer Technic Showroom
Figure 78: An exterior view for the Kiefer Technic Showroom (Deisenberger, 2009, P. 21). 3.1.10. Kiefer Technic Showroom
Figure 80: Different positions for the aluminum panels giving the facade a variety of appearance (WorldBuildingsDirectoryOnlineDatabase, N/D).
Figure 80: Different positions for the aluminum panels giving the facade a variety of appearance (WorldBuildingsDirectoryOnlineDatabase, N/D).
Figure 81: A close view for the moveable aluminum panels showing the guide rails they move on (WorldBuildingsDirectoryOnlineDatabase, N/D). Aluminum panels of the dynamic facade are moved though a complex system of hinges, guide rails (Figure 81) and electrical motors. The system is controlled though an electronic control system (Deisenberger, 2009).
Figure 81: A close view for the moveable aluminum panels showing the guide rails they move on (WorldBuildingsDirectoryOnlineDatabase, N/D). Aluminum panels of the dynamic facade are moved though a complex system of hinges, guide rails (Figure 81) and electrical motors. The system is controlled though an electronic control system (Deisenberger, 2009).
Adding movement to the building's fagade turned it into a kinetic sculpture that can continuously present new faces through an almost infinitely changeable and programmable position patterns (Figure 82). The architect used Kiefer Techin technology in the dynamic facade adding an extra privilege to the showroom by turning it to an eye-catcher advertisement for the services as well as the quality the company is capable of presenting.
Adding movement to the building's fagade turned it into a kinetic sculpture that can continuously present new faces through an almost infinitely changeable and programmable position patterns (Figure 82). The architect used Kiefer Techin technology in the dynamic facade adding an extra privilege to the showroom by turning it to an eye-catcher advertisement for the services as well as the quality the company is capable of presenting.
Figure 83: An exterior view for the Sliding House (ARMM, N/D). 3.1.11. Sliding House SNARE NIE NA BD NINERS SUNN Dh: UNL The house is designed by dRMM Architecture. No information available.
Figure 83: An exterior view for the Sliding House (ARMM, N/D). 3.1.11. Sliding House SNARE NIE NA BD NINERS SUNN Dh: UNL The house is designed by dRMM Architecture. No information available.
Figure 84; An isometric showing the different parts creating the building (ARMM, N/D).
Figure 84; An isometric showing the different parts creating the building (ARMM, N/D).
Figure 86: An isometric drawing showing different positions for the moveable (ARMM, N/D).
Figure 86: An isometric drawing showing different positions for the moveable (ARMM, N/D).
The moveable structure is used to control the incoming sunlight. Also, it is used to adjust the cooling and heating loads of the house according to season and weather. Moreover, by sliding the moveable exterior skin it creates extra sunshade for the terrace (Figure 87 a) or different enclosures between the three parts creating the building (Figure 87 b). As well, the sliding part is used to respond to inhabitants' desires, the level of privacy they need allowing them to create their relation with the surrounding landscape and views.
The moveable structure is used to control the incoming sunlight. Also, it is used to adjust the cooling and heating loads of the house according to season and weather. Moreover, by sliding the moveable exterior skin it creates extra sunshade for the terrace (Figure 87 a) or different enclosures between the three parts creating the building (Figure 87 b). As well, the sliding part is used to respond to inhabitants' desires, the level of privacy they need allowing them to create their relation with the surrounding landscape and views.
By sliding the moveable structure over the house, it changes the different facades of the house according to look and behavior (Figure 89).
By sliding the moveable structure over the house, it changes the different facades of the house according to look and behavior (Figure 89).
Figure 90: An external view for the Olympic Tennis from north across the Manzanares River Center (Riley, 2005, P. 118). 3.1.12. The Olympic Tennis Center "Magic Box"
Figure 90: An external view for the Olympic Tennis from north across the Manzanares River Center (Riley, 2005, P. 118). 3.1.12. The Olympic Tennis Center "Magic Box"
Figure 92: A plan drawing showing the Olympic Tennis Center main components (Riley, 2005, P. 116). The project consists of the magic box that includes three indoor/outdoor courts with covered area for 20,000 spectators, each with different seating capacity. Also, the project includes 16 outdoor courts, five courts with a covered area for 350 spectators each, six practice courts, an indoor swimming pool, headquarters for the Madrid Tennis Federation, a tennis school, clubhouse, press center, stadium boxes and VIP spaces and restaurants (Figure 92).
Figure 92: A plan drawing showing the Olympic Tennis Center main components (Riley, 2005, P. 116). The project consists of the magic box that includes three indoor/outdoor courts with covered area for 20,000 spectators, each with different seating capacity. Also, the project includes 16 outdoor courts, five courts with a covered area for 350 spectators each, six practice courts, an indoor swimming pool, headquarters for the Madrid Tennis Federation, a tennis school, clubhouse, press center, stadium boxes and VIP spaces and restaurants (Figure 92).
Figure 91: Perspective for the "Magic Box" showing the movable lids covering the three courts while closed and opened (Riley, 2005, P. 120). The Olympic Tennis Center encloses sports and multi-functional buildings. It opens up and shapes itself to the various uses. Instead of locating seating areas or the circulation in a way that can view the outside surrounding landscape, the three stadiums are carved out of a simple larger volume. Each of these stadiums creates a different court. The main court characterizes the interior volume, while the other two courts inhabit the remainder and are located on the southern edge (Figure 91). Audiences, athletes, press and staff can separately enter the center through two different entries located opposite to each other. Audiences can enter the Olympic Tennis Center though a long footbridge that leads to the center's ground level which is the main hub. This footbridge sits over the lake. The other entry is for athletes, press and stuff. The metal mesh cladding used for the building's outer skin is one of the architect's design characteristics.
Figure 91: Perspective for the "Magic Box" showing the movable lids covering the three courts while closed and opened (Riley, 2005, P. 120). The Olympic Tennis Center encloses sports and multi-functional buildings. It opens up and shapes itself to the various uses. Instead of locating seating areas or the circulation in a way that can view the outside surrounding landscape, the three stadiums are carved out of a simple larger volume. Each of these stadiums creates a different court. The main court characterizes the interior volume, while the other two courts inhabit the remainder and are located on the southern edge (Figure 91). Audiences, athletes, press and staff can separately enter the center through two different entries located opposite to each other. Audiences can enter the Olympic Tennis Center though a long footbridge that leads to the center's ground level which is the main hub. This footbridge sits over the lake. The other entry is for athletes, press and stuff. The metal mesh cladding used for the building's outer skin is one of the architect's design characteristics.
The three courts creating the Magic Box are covered with movable roofs. Each kinetic roof acts as a lid for the stadium it covers. Together the three movable lids provide a combination of 27 different opening positions (Figure 93). The movable lid covering the central court can have a vertical opening that reaches up to 20m, while the horizontal opening can slide as much as its width. In addition, the other smaller lids covering the other two courts can vertically open up to 25 degrees and can also horizontally slide leaving the inside of the stadiums completely exposed to the sky.
The three courts creating the Magic Box are covered with movable roofs. Each kinetic roof acts as a lid for the stadium it covers. Together the three movable lids provide a combination of 27 different opening positions (Figure 93). The movable lid covering the central court can have a vertical opening that reaches up to 20m, while the horizontal opening can slide as much as its width. In addition, the other smaller lids covering the other two courts can vertically open up to 25 degrees and can also horizontally slide leaving the inside of the stadiums completely exposed to the sky.
The lids are mounted on hydraulic jacks that serve to partially or totally ypen courts' roofs (Figure 94).
The lids are mounted on hydraulic jacks that serve to partially or totally ypen courts' roofs (Figure 94).
3.1.13. Cherokee Studios Lofts Figure 95: An external view for the Cherokee Studios Lofts (Brooks+ScarpArchitecture, N/D).
3.1.13. Cherokee Studios Lofts Figure 95: An external view for the Cherokee Studios Lofts (Brooks+ScarpArchitecture, N/D).
Figure 97: Different views for the operable aluminum panels (Brooks+ScarpArchitecture, N/D).
Figure 97: Different views for the operable aluminum panels (Brooks+ScarpArchitecture, N/D).
The Cherokee Studios building is a 4 _ storey mixed-use housing development that consists of 12 units (Figure 96), 2800 ft’ of commercial retail space on the ground floor and one underground level for parking (Brooks+ScarpArchitecture, N/D). There are 7 two-storey town homes that are located 30 ft to 50 ft above street level. On the fourth floor, 38 ft above street level, the living space for the town home is located. This living space consists of a state-of-art kitchen, great room, bathroom and home recording _ studio/office. Three units are tri-level and have 17 ft high ceiling with mezzanine and open to the landscaped courtyard. The last two lofts are flats with 10 ft high ceiling and open to the landscaped courtyard as well. All units include 2 to 3 bathrooms and with | to 4 bedrooms (RethinkDevelopementCorp., N/D). Figure 96: Different residential units that vary from loft flats to tri-level units and tow-homes (Brooks+ScarpArchitecture, N/D).
The Cherokee Studios building is a 4 _ storey mixed-use housing development that consists of 12 units (Figure 96), 2800 ft’ of commercial retail space on the ground floor and one underground level for parking (Brooks+ScarpArchitecture, N/D). There are 7 two-storey town homes that are located 30 ft to 50 ft above street level. On the fourth floor, 38 ft above street level, the living space for the town home is located. This living space consists of a state-of-art kitchen, great room, bathroom and home recording _ studio/office. Three units are tri-level and have 17 ft high ceiling with mezzanine and open to the landscaped courtyard. The last two lofts are flats with 10 ft high ceiling and open to the landscaped courtyard as well. All units include 2 to 3 bathrooms and with | to 4 bedrooms (RethinkDevelopementCorp., N/D). Figure 96: Different residential units that vary from loft flats to tri-level units and tow-homes (Brooks+ScarpArchitecture, N/D).
Figure 98: A diagram showing reason for installing a kinetic skin (Brooks+ScarpArchitecture, N/D).
Figure 98: A diagram showing reason for installing a kinetic skin (Brooks+ScarpArchitecture, N/D).
3.1.14. The World Trade Center Transportation Hub Figure 101: A perspective for the exterior of The World Trade Center Transportation Hub (WorldTradeCenter, N/D). 3.2.14.1. General Information:
3.1.14. The World Trade Center Transportation Hub Figure 101: A perspective for the exterior of The World Trade Center Transportation Hub (WorldTradeCenter, N/D). 3.2.14.1. General Information:
Santiago Calatrava got inspired by the gesture of a child releasing a dove into the sky (Figure 102 a,b). The hub entrance, the Oculus, consists of 300 steel pieces that features two 150 ft high wings located over a body built of two sets of glass and steel arches that are over 30 ft tall and weights between 10-25 tons for each. As the architect considered the light an important material involved in the design adding a welcome spirit to the interior, sunlight can go down way into the interior of the building to the rail platforms that are 60 ft below street level through the roof's ribbed glass and steel arches. In 2008, in order to reduce construction costs, the design of the steel wings was changed to a non-retractable. Figure 102: (a) A sketch for a child releasing a dove into the sky which is the inspiration of the designed building (CALATRAVA, N/D-b). (b) An exterior perspective for the WTC Transportation Hub appears as a flying bird (CALATRAVA, N/D-b).
Santiago Calatrava got inspired by the gesture of a child releasing a dove into the sky (Figure 102 a,b). The hub entrance, the Oculus, consists of 300 steel pieces that features two 150 ft high wings located over a body built of two sets of glass and steel arches that are over 30 ft tall and weights between 10-25 tons for each. As the architect considered the light an important material involved in the design adding a welcome spirit to the interior, sunlight can go down way into the interior of the building to the rail platforms that are 60 ft below street level through the roof's ribbed glass and steel arches. In 2008, in order to reduce construction costs, the design of the steel wings was changed to a non-retractable. Figure 102: (a) A sketch for a child releasing a dove into the sky which is the inspiration of the designed building (CALATRAVA, N/D-b). (b) An exterior perspective for the WTC Transportation Hub appears as a flying bird (CALATRAVA, N/D-b).
Figure 103: A section for the WTC Transportation Hub (W. Dunlap, 2005).
Figure 103: A section for the WTC Transportation Hub (W. Dunlap, 2005).
Figure 104: Section drawing showing the steel ribs that were supposed to move as well as the lightening system (Yee, 2007, P. 63). (b) Interior prespective views for the main hall while the top is closed and opened (LowerManhattanConstructionCommandCenter, N/D). In the original design, the steel ribs with glass panels between them creating the ceiling of the hub were meant to open to 45 ft wide (Figure 104 a,b) before being reduced to 30 ft wide and changing the ceiling design into fixed later in 2008.
Figure 104: Section drawing showing the steel ribs that were supposed to move as well as the lightening system (Yee, 2007, P. 63). (b) Interior prespective views for the main hall while the top is closed and opened (LowerManhattanConstructionCommandCenter, N/D). In the original design, the steel ribs with glass panels between them creating the ceiling of the hub were meant to open to 45 ft wide (Figure 104 a,b) before being reduced to 30 ft wide and changing the ceiling design into fixed later in 2008.
Figure 105: A perspective for the Dynamic Tower (DynamicArchitecture, N/D). 3.1.15. Dynamic Tower
Figure 105: A perspective for the Dynamic Tower (DynamicArchitecture, N/D). 3.1.15. Dynamic Tower
The architect aims to create a safer building that can last and resist for a longer time by building the Dynamic Tower. The tower will be 420 m (1380 ft) tall. It is designed to be self powered by sun and wind as well as being industrialized making it sustainable and smart. There will be 79 wind turbine systems installed horizontally in the gaps between each of the rotating floors (Figure 106). Also, photovoltaic solar cells will be installed on the roof of each floor to produce solar energy (Figure 106 b). With energy produced from 20% of each of the 80 roofs exposed to sun and light next to the energy produced by wind turbines, the tower will be able not only to fulfill its needs of energy but also to supply 10 similar sized buildings with energy. As almost 90% of the tower will be constructed in factory, the number of on-site workers will be reduces from almost 2000 to 90 (Fisher, 2010).
The architect aims to create a safer building that can last and resist for a longer time by building the Dynamic Tower. The tower will be 420 m (1380 ft) tall. It is designed to be self powered by sun and wind as well as being industrialized making it sustainable and smart. There will be 79 wind turbine systems installed horizontally in the gaps between each of the rotating floors (Figure 106). Also, photovoltaic solar cells will be installed on the roof of each floor to produce solar energy (Figure 106 b). With energy produced from 20% of each of the 80 roofs exposed to sun and light next to the energy produced by wind turbines, the tower will be able not only to fulfill its needs of energy but also to supply 10 similar sized buildings with energy. As almost 90% of the tower will be constructed in factory, the number of on-site workers will be reduces from almost 2000 to 90 (Fisher, 2010).
The Dynamic Tower is made up of 80 pre-fabricated floors. The retail space is located in the first lower 20 floors, while the hotel takes place in the next 15 floors. The residential part of the tower is located in the top 45 floors, 35 floors are dedicated for apartments while the top 10 floors are for luxurious villa-style apartments (Figure 107 a,b). The residential space will range in size from 124 m2 (1330 ft2) for apartments to 1200 m2 (12900 ft2) for villas and all are with a parking space inside. While the tower's wind turbines produce energy, the floors may rotate to fulfill their users' desires of changing views or to follow sun and light to produce energy.
The Dynamic Tower is made up of 80 pre-fabricated floors. The retail space is located in the first lower 20 floors, while the hotel takes place in the next 15 floors. The residential part of the tower is located in the top 45 floors, 35 floors are dedicated for apartments while the top 10 floors are for luxurious villa-style apartments (Figure 107 a,b). The residential space will range in size from 124 m2 (1330 ft2) for apartments to 1200 m2 (12900 ft2) for villas and all are with a parking space inside. While the tower's wind turbines produce energy, the floors may rotate to fulfill their users' desires of changing views or to follow sun and light to produce energy.
Figure 108: Drawing presenting the technical system will be used to construct the tower (DynamicArchitecture, N/D). The tower's units are made of steel, aluminum, carbon fiber and other high quality modern materials. Natural and recyclable materials including stone, marble, glass and wood are intended for the interior finishing.
Figure 108: Drawing presenting the technical system will be used to construct the tower (DynamicArchitecture, N/D). The tower's units are made of steel, aluminum, carbon fiber and other high quality modern materials. Natural and recyclable materials including stone, marble, glass and wood are intended for the interior finishing.
Figure 110: Different views for the Dynamic Tower while in motion (Cherry, 2010, P. 36).
Figure 110: Different views for the Dynamic Tower while in motion (Cherry, 2010, P. 36).
Figure 109: Drawings representing natural ventilation as well as_ sunlight filtering (DynamicArchitecture, N/D). rotate to enjoy all possible views. Using smart, recyclable and natural materials as well as advanced technologies offers all tower users sustainable, clean and safe environments to live and/or work within (Figure 109). With such technologies it is possible to control all systems installed just by voice (Cherry, 2010).
Figure 109: Drawings representing natural ventilation as well as_ sunlight filtering (DynamicArchitecture, N/D). rotate to enjoy all possible views. Using smart, recyclable and natural materials as well as advanced technologies offers all tower users sustainable, clean and safe environments to live and/or work within (Figure 109). With such technologies it is possible to control all systems installed just by voice (Cherry, 2010).
The selected projects are located in three continents; Europe, North- America and Asia (Figure 111). Eight projects are located in Europe where three of them are located in Austria, two are located in France and one is located in each of UK, Spain and Sweden. Three of the selected projects are located in North-America where all are located in the USA. The last four projects are located in Asia where two are located in Japan, one is located in China and one is planned to be located in the Dubai, UAE. Figure 111: The world map where the studied projects are located in Europe, North-America and Asia.
The selected projects are located in three continents; Europe, North- America and Asia (Figure 111). Eight projects are located in Europe where three of them are located in Austria, two are located in France and one is located in each of UK, Spain and Sweden. Three of the selected projects are located in North-America where all are located in the USA. The last four projects are located in Asia where two are located in Japan, one is located in China and one is planned to be located in the Dubai, UAE. Figure 111: The world map where the studied projects are located in Europe, North-America and Asia.
Different structural systems are used for kinetic buildings varying from frame to concrete structures as well as tension ring and prefabricated structures. The most common type used in the buildings analyzed is the frame structure with 46% represented in 7 projects followed by concrete structure with 40% represented in 6 projects (Figure 112).
Different structural systems are used for kinetic buildings varying from frame to concrete structures as well as tension ring and prefabricated structures. The most common type used in the buildings analyzed is the frame structure with 46% represented in 7 projects followed by concrete structure with 40% represented in 6 projects (Figure 112).
Figure 114: Different architectural environments in which kinetics were used. Based on the kinetic design key elements, studied projects are categorized into four environments which are living, working environments, entertainment and public environments (Figure 114). 53% of the analyzed buildings are categorized under living environments varying from single-level private houses to multi-levels private houses and multi-storey residential buildings. Entertainment environments, varying from cultural centers to museums as well as_ stadiums, have a share of 27%, while public environments that varied from transportation hubs to more spiritual facilities like wedding chapels have a share of 13%. Work environments came at the end with a share of only 7% based on one analyzed building which is Kiefer Technic Showroom.
Figure 114: Different architectural environments in which kinetics were used. Based on the kinetic design key elements, studied projects are categorized into four environments which are living, working environments, entertainment and public environments (Figure 114). 53% of the analyzed buildings are categorized under living environments varying from single-level private houses to multi-levels private houses and multi-storey residential buildings. Entertainment environments, varying from cultural centers to museums as well as_ stadiums, have a share of 27%, while public environments that varied from transportation hubs to more spiritual facilities like wedding chapels have a share of 13%. Work environments came at the end with a share of only 7% based on one analyzed building which is Kiefer Technic Showroom.
Many materials are used in kinetics installed on/in buildings. Sometimes only one material is used, while on other times a combination of different materials are being used. Most materials commonly used are characterized by light weight as well as flexibility like aluminum, paper, stainless steel and fibers. Steel and aluminum are the most materials commonly used combined with other materials like glass or some other smart materials such as sensors (Figure 113).
Many materials are used in kinetics installed on/in buildings. Sometimes only one material is used, while on other times a combination of different materials are being used. Most materials commonly used are characterized by light weight as well as flexibility like aluminum, paper, stainless steel and fibers. Steel and aluminum are the most materials commonly used combined with other materials like glass or some other smart materials such as sensors (Figure 113).
Kinetics are being used in buildings by different ways. In buildings under study kineticism is used in six different ways; as kinetic elevation elements, interior elements, roof elements, kinetic walls, kinetic part of the structure itself or as the building as a whole (Figure 115). Sometimes a building can adopt different types of kineticism. The most common kineticism used in the buildings under study are kinetic elevation and roof elements (Figure 116). Figure 115: Types of kineticism used in buildings under study, such as: (a) Institut du Monde Arabe — 1987 (eliinbar, 2011). (b) The Naked House — 2000 (Stang, 2005, P. 89). (c) The Olympic Tennis Center — 2009 (DominiquePerraultArchitecture, N/D). (d) The Leaf Chapel — 2004 (Picasa, 2009). (e) The Sliding House — 2009 (Meunier, 2012). (f) The Dynamic Tower (DynamicArchitecture, N/D).
Kinetics are being used in buildings by different ways. In buildings under study kineticism is used in six different ways; as kinetic elevation elements, interior elements, roof elements, kinetic walls, kinetic part of the structure itself or as the building as a whole (Figure 115). Sometimes a building can adopt different types of kineticism. The most common kineticism used in the buildings under study are kinetic elevation and roof elements (Figure 116). Figure 115: Types of kineticism used in buildings under study, such as: (a) Institut du Monde Arabe — 1987 (eliinbar, 2011). (b) The Naked House — 2000 (Stang, 2005, P. 89). (c) The Olympic Tennis Center — 2009 (DominiquePerraultArchitecture, N/D). (d) The Leaf Chapel — 2004 (Picasa, 2009). (e) The Sliding House — 2009 (Meunier, 2012). (f) The Dynamic Tower (DynamicArchitecture, N/D).
Figure 116: Ways kinetics were installed in buildings.
Figure 116: Ways kinetics were installed in buildings.
There are some reasons behind using kinetics in the sample studied. They may vary from environmental reasons, design concepts, creating flexible spaces and luxury (Figure 117). In some cases there are more than one reason for using kinetics. The most common reason for using kinetics is controlling and filtering the incoming light (Figure 118).
There are some reasons behind using kinetics in the sample studied. They may vary from environmental reasons, design concepts, creating flexible spaces and luxury (Figure 117). In some cases there are more than one reason for using kinetics. The most common reason for using kinetics is controlling and filtering the incoming light (Figure 118).
Figure 118: Reasons in which kinetic systems are applied.
Figure 118: Reasons in which kinetic systems are applied.
Figure 120: Structure systems effect on the way kineticism is installed. Using frames as a structure system made it easier to install different kinetic systems in buildings that varied from elevation elements, interior elements, roof elements, kinetic structure part and kinetic walls. Kinetic walls as well as kinetic structure parts are the most used when structures are frames. Reinforced concrete structures allow for limited flexibility when using kinetic systems. Kinetic elevation elements as well as kinetic interior elements are the most common when structures are concrete (Figure 120).
Figure 120: Structure systems effect on the way kineticism is installed. Using frames as a structure system made it easier to install different kinetic systems in buildings that varied from elevation elements, interior elements, roof elements, kinetic structure part and kinetic walls. Kinetic walls as well as kinetic structure parts are the most used when structures are frames. Reinforced concrete structures allow for limited flexibility when using kinetic systems. Kinetic elevation elements as well as kinetic interior elements are the most common when structures are concrete (Figure 120).
There is a relationship between the structure system and the materials used across the buildings. When frame structures are used, materials such as steel, wood and paper along with other smart materials were easily applied as the structure itself is light weighted. When much heavier structures are used like reinforced concrete structures and tension ring structure, aluminum is the most used to add flexibility and smoothness to the system (Figure 119).
There is a relationship between the structure system and the materials used across the buildings. When frame structures are used, materials such as steel, wood and paper along with other smart materials were easily applied as the structure itself is light weighted. When much heavier structures are used like reinforced concrete structures and tension ring structure, aluminum is the most used to add flexibility and smoothness to the system (Figure 119).
Kinetics were used in living environments to achieve different possibilities that varied from creating flexible spaces, handicap accessibility, controlling light, responding to weather changes, reducing energy consumption, improving natural ventilation as well as design concept and luxury. Light control was the common reason to apply kinetics in work environments as well entertainment and public environments (Figure 122).
Kinetics were used in living environments to achieve different possibilities that varied from creating flexible spaces, handicap accessibility, controlling light, responding to weather changes, reducing energy consumption, improving natural ventilation as well as design concept and luxury. Light control was the common reason to apply kinetics in work environments as well entertainment and public environments (Figure 122).
Figure 121: Relation between the different architectural environments and ways kinetics are installed. When kinetics were applied to living environments, they varied from kinetic elevation elements, interior elements, kinetic walls to kinetic structure part as well as kinetic whole buildings. Using kinetic roofs were most common _ with entertainment environments as well as public environments (Figure 121).
Figure 121: Relation between the different architectural environments and ways kinetics are installed. When kinetics were applied to living environments, they varied from kinetic elevation elements, interior elements, kinetic walls to kinetic structure part as well as kinetic whole buildings. Using kinetic roofs were most common _ with entertainment environments as well as public environments (Figure 121).
Controlling kinetic systems varied from using simple systems to using more complicated ones connected to sensors, detectors and computers. There are four ways to control kinetic systems installed to analyzed projects which are: manual control, automatic control, automatic control with pre-programmed settings and automatic control with pre-programmed settings while allowing users to modify settings according to their needs and desires (Figure 123). The most used way of controlling kineticism is automatic control systems with pre-programmed settings (Figure 124). Automatically controlled kinetic systems with pre-programmed settings are widely used in entertainment environments, while manually controlled kinetic systems are used in living environments (Figure 125).
Controlling kinetic systems varied from using simple systems to using more complicated ones connected to sensors, detectors and computers. There are four ways to control kinetic systems installed to analyzed projects which are: manual control, automatic control, automatic control with pre-programmed settings and automatic control with pre-programmed settings while allowing users to modify settings according to their needs and desires (Figure 123). The most used way of controlling kineticism is automatic control systems with pre-programmed settings (Figure 124). Automatically controlled kinetic systems with pre-programmed settings are widely used in entertainment environments, while manually controlled kinetic systems are used in living environments (Figure 125).
Figure 125: Relation between different architectural environments and ways of controlling kineticism. Figure 124: Ways of controlling kinetic systems.
Figure 125: Relation between different architectural environments and ways of controlling kineticism. Figure 124: Ways of controlling kinetic systems.
Kinetic systems that are applied to the exterior of buildings helped improving the buildings’ visual quality. In the analyzed projects, kinetic systems affected the visual quality by either allowing the building to hide and melt with its natural surrounding environment such as the Dragspelhuset in Sweden or reflecting the changeable daily patterns such as the Dynamic Tower to be built in Dubai, UAE (Figure 126 a,b). Other kinetic systems presented cultural dimension such as the QiZhong Forest Sports City Tennis Center in Shanghai with is kinetic roof appearing as a magnolia blossom which is the national flower of Shanghai (Figure 126 c). Also, other kinetic systems presented social dimensions such as the World Trade Center Transportation Hub that acts as a 9/11 memorial (Figure 126 d).
Kinetic systems that are applied to the exterior of buildings helped improving the buildings’ visual quality. In the analyzed projects, kinetic systems affected the visual quality by either allowing the building to hide and melt with its natural surrounding environment such as the Dragspelhuset in Sweden or reflecting the changeable daily patterns such as the Dynamic Tower to be built in Dubai, UAE (Figure 126 a,b). Other kinetic systems presented cultural dimension such as the QiZhong Forest Sports City Tennis Center in Shanghai with is kinetic roof appearing as a magnolia blossom which is the national flower of Shanghai (Figure 126 c). Also, other kinetic systems presented social dimensions such as the World Trade Center Transportation Hub that acts as a 9/11 memorial (Figure 126 d).
Figure 128: (a) The aluminum panels used for the Wind Veil (beautrincia, 2008). (b) The perforated aluminum panels used for the Cherokee Studios Lofts (Brooks+ScarpArchitecture, N/D). (c) The Mashrabiya Diaphragms used for the Institut du Monde Arabe (eliinbar, 2011).
Figure 128: (a) The aluminum panels used for the Wind Veil (beautrincia, 2008). (b) The perforated aluminum panels used for the Cherokee Studios Lofts (Brooks+ScarpArchitecture, N/D). (c) The Mashrabiya Diaphragms used for the Institut du Monde Arabe (eliinbar, 2011).
needs and desires. Such systems can be efficiently used for temporary buildings, multi- purpose buildings as well as residential and work environments. Although it is better to involve kinetic systems into the design since its early stages, some kinetic systems can be solution for existing buildings. These systems can be used not only to improve space efficiency but also to control the relation with different parts of the building as well as the outdoor environment. The cost of such systems can vary depending on the level of technology applied, materials used and controlling systems used. In low-income housing built by the Egyptian government, residents seek illegal means in order to expand their living spaces by building illegal extensions to the main structure. To face such means, there are systems that can provide flexible kinetic solutions to expand spaces. The Bloomframe (Figure 129 a) is a kinetic system that can be applied to existing buildings in order to allow users to expand the size of the space. This kinetic system can be of great use for living environments. Such system can be installed to residential buildings and hotels that are characterized by their small areas. This system can be applied to the Egyptian architectural environment allowing designers to improve space efficiency by using all area possible for main living facilities while balconies will be optional, occupants can choose whether to open or close them depending on their needs and desires. Another example of kinetic system that can be applied to the Egyptian environment in order to improve space efficiency is that used for the Dragspelhuset (Figure 129 b). This system consists of a retractable cantilever that can be pushed out/in according to needs. The GucklHupf (Figure 129 c) is an example of kinetic systems that can be applied to the Egyptian environment especially for buildings that are not in use all year round such as sea cabin that are used only during summer season.
needs and desires. Such systems can be efficiently used for temporary buildings, multi- purpose buildings as well as residential and work environments. Although it is better to involve kinetic systems into the design since its early stages, some kinetic systems can be solution for existing buildings. These systems can be used not only to improve space efficiency but also to control the relation with different parts of the building as well as the outdoor environment. The cost of such systems can vary depending on the level of technology applied, materials used and controlling systems used. In low-income housing built by the Egyptian government, residents seek illegal means in order to expand their living spaces by building illegal extensions to the main structure. To face such means, there are systems that can provide flexible kinetic solutions to expand spaces. The Bloomframe (Figure 129 a) is a kinetic system that can be applied to existing buildings in order to allow users to expand the size of the space. This kinetic system can be of great use for living environments. Such system can be installed to residential buildings and hotels that are characterized by their small areas. This system can be applied to the Egyptian architectural environment allowing designers to improve space efficiency by using all area possible for main living facilities while balconies will be optional, occupants can choose whether to open or close them depending on their needs and desires. Another example of kinetic system that can be applied to the Egyptian environment in order to improve space efficiency is that used for the Dragspelhuset (Figure 129 b). This system consists of a retractable cantilever that can be pushed out/in according to needs. The GucklHupf (Figure 129 c) is an example of kinetic systems that can be applied to the Egyptian environment especially for buildings that are not in use all year round such as sea cabin that are used only during summer season.

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This paper delves into relationships between twentieth century utopian concepts of movable structures and the kinematic solutions implemented in contemporary architectural projects. The reason for conducting this study is to determine the impact of early architectural conceptions on today's solutions. This paper points out close links that stem from the imagination of artists and architects working in 1960s and 70s and the solutions implemented by contemporary architects of that era. The research method of this paper is based on comparative analyses of architectural forms with adopted kinematic solutions. It is based on archive drawings' studies and the examination of theoretical concepts. The research pertains to different forms of such mobility that evolved in 1960s and 70s. Many of them, usually based on the simple forms of movement were realized. The more complicated ones remained in the sphere of utopian visionary architecture. In this case, projects often exceed technical limitations and capabilities of design tools. Finally, after some decades, with the development of innovative architectural design tools and new building technologies many early visions materialized into architectural forms. In conclusion, this research indicates that modern kinematic design solutions are often based on conceptual designs formed from the beginning of the second half of the twentieth century.

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Kinetic Buildings in Climate-Responsive Architecture
IRJET Journal

IRJET, 2022

Climate-responsive architecture integrates the use of the climate data of an area, to construct efficient buildings that responds to, and works with the local climate, the scope of which includes, but is not limited to temperature, historical weather patterns, sun path and solar position, environmental conditions, seasonality, topography, etc. The design aims to minimize extreme energy use, have reduced impact on the natural environment, and above all, promote sustainability. Kinetic architecture responds to this need of intelligent, interactive, and adaptive architecture by including moving parts which are allowed to operate independently without compromising the structural integrity. Although this concept has been in use since the Middle Ages, an example being the drawbridge, increasing need for smarter use of energy has, in the late 20th century facilitated the use of moving parts in significant portions of the superstructure. Advancements in mechanics, electronics and robotics, fuelled by concepts such as Fuller's Tensegrity has brought into effect functional buildings that allow for these types of movements. This paper explores the use of kinetic buildings in climateresponsive architecture, of which there are few examples, including buildings that use kinetic facades to regulate the entry of sunlight, to prefabricated skyscrapers with rotating floors. Although the concept is in use, it is not as commonly used as it should be to respond and adapt to the drastically changing climatic conditions.

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