-
Design Methodology:
Kinetic Architecture
A THESIS
Presented to the Graduate School Faculty of Engineering,
Alexandria University
In Partial Fulfillment of the Requirements for the Degree
Of Master of Science
In
Architectural Engineering
By
Architect
Soha Mohamed Abd El-Hady Fouad B.Sc. of Architecture Alexandria
University
July 2012
-
VII
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.
Upon the belief that the fundamental knowledge of Kinetic
Architecture can better assist architects to acquaint the need to
enroll motion in the built environment; the thesis first presents
different definitions for the term Kinetic Architecture. Next, it
historically reviews the use of kineticism in the architectural
field since the old ages until present. Also, it describes
different trends to apply kineticism in the architectural
environment accompanied with explanatory examples.
The technological achievement in different divisions of
engineering such as structural, mechanical and materials
engineering as well as information and communication technologies
has an enormous effect on kinetic design. As a result, the second
part of the thesis is dedicated to kinetic design process defining
its main elements from structural innovation and materials
advancement to embedded computation and at last adaptive
architecture.
The research carries on an analytical study by highlighting
fifteen architectural project adapting kineticism. The study is
based on the different elements affecting the kinetic design
process. The evaluating criteria include the way and reason for
involving kineticism as well as the effect it has upon the indoor
environment and the visual quality.
Finally, the thesis ends with concluding the effect of using
kineticism in the architectural field. And, it suggests some
systems to be applied to the Egyptian environment. Recommendations
for further studies are represented to enrich applying the theory.
Key Words: Kinetic, Kineticism, Motion, Adaptive, Responsive,
Interactive.
-
IX
ACKNOWLEDGMENTS I would like to express my deep recognition and
sincere appreciation to
Prof. Dr. Hany M. Abd El Gawad Ayad for his generous patience,
valuable guidance, advice and precious time and effort throughout
all stages of conducting this thesis. Also, I would like to express
my truthful gratitude and sincere appreciation to Dr. Dina Sameh
Taha for her endless patience, precious help, comments and
continues encouragement and support to accomplish this work.
I am very grateful to all my friends and colleagues for their
support and
help. I am thankful to Federica Sabbadini for her help providing
me with research materials.
Finally, I would like to express my deep love and appreciation
to my family
for all their love, care, support and assistance and for always
being there for me.
-
Table of Contents
XI
TABLE OF CONTENTS
ABSTRACT
....................................................................................................................................
VIIACKNOWLEDGMENTS
...............................................................................................................
IXTABLE OF CONTENTS
.................................................................................................................
XILIST OF FIGURES
.......................................................................................................................
XIIILIST OF TABLES
..........................................................................................................................
XXINTRODUCTION
........................................................................................................................
XXI
A. BACKGROUND
.......................................................................................................
1
B. RESEARCH AIMS AND OBJECTIVES
.................................................................
3C. MOTIVATION AND RESEARCH IMPORTANCE
............................................... 3D. RESEARCH
METHODOLOGY
...............................................................................
4E. RESEARCH STRUCTURE
......................................................................................
4
CHAPTER ONE: WHAT IS KINETIC ARCHITECTURE?
............................................................ 71.
What is Kinetic Architecture?
....................................................................................
91.1.Kinetic Architecture Definition
.................................................................................
91.2.Historical Review
.....................................................................................................
111.3.Kinetic Trends in Architectural Environments
........................................................ 22
1.4.Summary
..................................................................................................................
28CHAPTER TWO: KINETIC DESIGN KEY ELEMENTS
.............................................................
29
2. KINETIC DESIGN
..................................................................................................
312.1.Kinetic Design Key Elements
..................................................................................
31
2.1.2.1. Trends in Embedded Computation
..................................................... 352.1.2.2.
Level of Control Mechanisms
............................................................
382.1.2.3. Ways and Means of Embedded Computation
.................................... 392.1.2.4. Typologies of
Controlling Change
..................................................... 40
2.1.3.1. Living Environments
..........................................................................
422.1.3.2. Working Environments
......................................................................
422.1.3.3. Entertainment Environments
..............................................................
422.1.3.4. Public Environments
..........................................................................
43
A.1. Research Problem:
.....................................................................................
2A.2. Research Hypothesis:
................................................................................
3
1.3.1. Spatial Optimization
Systems..................................................................
221.3.2. Multi-Function Design
............................................................................
231.3.3. Contextual
Adaptability...........................................................................
251.3.4. Mobility
...................................................................................................
27
2.1.1. Structural Innovation and Materials Advancement
................................. 312.1.2. Embedded Computation
..........................................................................
34
2.1.3. Adaptable Architecture
............................................................................
41
-
Table of Contents
XII
2.2.Summary
..................................................................................................................
44CHAPTER THREE: KINETIC BUILDINGS' ANALYSIS
............................................................ 45
3. KINETIC BUILDINGS' ANALYSIS
......................................................................
473.1.Architectural Projects:
..............................................................................................
47
3.2.Analysis:
.................................................................................................................
112
3.3.Summary:
...............................................................................................................
119CONCLUSIONS AND RECOMMENDATIONS
.........................................................................
121Conclusions
....................................................................................................................................
123Recommendations:
.........................................................................................................................
128REFERENCES
....................................................................................................................................
i
3.1.1. Institut du Monde Arabe:
.........................................................................
483.1.2. GucklHupf
...............................................................................................
533.1.3. Floirac House "Maison Bordeaux"
....................................................... 573.1.4.
The Naked House
....................................................................................
613.1.5. Milwaukee Art Museum "Quadracci Pavilion"
....................................... 653.1.6. Gemini Haus
............................................................................................
693.1.7. Dragspelhuset:
.........................................................................................
733.1.8. The Leaf Chapel:
.....................................................................................
773.1.9. QiZhong Forest Sports City Tennis Centre "Magnolia
Stadium" ........... 813.1.10. Kiefer Technic Showroom
.......................................................................
853.1.11. Sliding House
..........................................................................................
893.1.12. The Olympic Tennis Center "Magic Box"
.............................................. 933.1.13. Cherokee
Studios Lofts
...........................................................................
973.1.14. The World Trade Center Transportation Hub
....................................... 1013.1.15. Dynamic Tower
.....................................................................................
105
3.2.1. Location:
................................................................................................
1123.2.2. Structural Systems and Used Materials:
................................................ 1123.2.3. Indoor
Environment Types:
...................................................................
1133.2.4. Kinetic Elements and Reasons for Motion:
........................................... 1143.2.5. Relation
between Structural System and Used Materials: .....................
1163.2.6. Relation between Structural System and Used Kinetic
Elements: ........ 1163.2.7. Relation between Building Environments
and Used Kinetic Elements:1173.2.8. Relation between Building
Environments and Reasons for Motion: .... 1173.2.9. Ways of
Controlling Kineticism and the Relation with Building Environments:
...........................................................................................................
1183.2.10. Kinetic Systems Effect on Buildings' Visual Quality:
........................... 119
-
List of Figures
XIII
LIST OF FIGURES
- Figure 1: Thesis Structure.
..........................................................................................
5
- Figure 2: (a) The Colosseum represented the first kinetic
retractable roof covering the seating area around the arena (Pepe,
2001). (b) An intriguingly simple device invented by Thomas
Jefferson for his home to allow both doors to open simultaneously
whenever any is opened. As the device was concealed beneath the
floor, its principle was not known until it was uncovered in 1953
(Zuk, 1970, P. 29).
...................................................................................................................................
11
- Figure 3: (a) A sketch showing how a drawbridge at medieval
castle worked, typical of such structures that were precursors of
modern bascule bridges (Koglin, 2003, P. 4). (b) A view of the
entrance door and the drawbridge to Rocca Gradara one of the best
preserved medieval structures in Italy which was built in 12th to
the 15th centuries (GeoSearch.Italia, N/D).
............................................................................
12
- Figure 4: (a) A scketch shows how a typical drawbridge works
(Hall, N/D). (b) A scketch shows how a typical trunnion bascule
bridge works (Ryall, 2000, P. 669). 13
- Figure 5: (a) A schematic of vertical lift bridge (S. Glover,
2007). (b) A rolling bascule bridge while closed (Chase Hill, 1927,
P. 467). ........................................... 13
- Figure 6: (a) The construction of the Santa Barbara County
bowl revolving stage in 1936 which was destroyed by El-Nino floods
during 1939 in the United States of America
(SantaBarbaraBowlFoundation, N/D). (b) Architect M. Engere Pettit
and physician Lucien Pellegrine "heliotropic house" 1903 (Randl,
2008, P. 57). ........... 14
- Figure 7: A view for Saidman's revolving solarium, Aix
Les-Bains, France (Petit, N/D).
..........................................................................................................................
15
- Figure 8: Max Taut's Rotating House, Frublicht (Dawn), 1920
(Randl, 2008, P. 67).
...................................................................................................................................
16
- Figure 9: Tatlin's Monument to the Third International,
designed in 1919 (Randl, 2008, P. 68).
..............................................................................................................
17
- Figure 10: Villa Girasole from the air, with the courtyard of
the rotating section facing uphill,1935 (Randl, 2008, P. 77).
...................................................................
18
- 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).
.................................................. 18
- 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).
.........................................................................
19
- Figure 13: (a) The Stuttgart Tower in Stuttgart, Germany
(Smart-Travel-Germany.com, N/D). (b) The Dortmund's Florianturm in
Dortmund, Germany (Janberg, N/D-a). (c) The concrete Henninger Turm
in Frankfurt, Germany (Janberg, N/D-b). (d) The Cairo Tower in
Cairo, Egypt (Wikipedia, 2004). ........... 20
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List of Figures
XIV
- Figure 14: The Solaleya Dome House, a house for a clean and
sustainable future (Solaleya, N/D).
.........................................................................................................
21
- 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).
........................................................ 21
- Figure 16: (a) Interlocking Transformation, an interior
diagram (Fox, 2009, P. 32). (b) Interlocking Transformation,
reconfigurable elements dividing sectors (Fox, 2009, P. 32).
..............................................................................................................
23
- Figure 17: The Bloomframe (HurksGeveltechniek, N/D). (a) In
window state. (b) In balcony state.
.............................................................................................................
24
- Figure 18: (a) A diagram shows different ring units connected
to each other while in use (Kapfinger, N/D). (b) A ring unit
(Serrats, 2005, P. 380). .................................. 24
- Figure 19: (a) An exterior view for the Wind Veil (Kahn,
2000). (b) A close view for the aluminum panels of the Wind Veil
(Kahn, 2000) .......................................... 25
- Figure 20: Convertible umbrellas for the courts of the
Prophet's Holy Mosque in an opened and closed state (SL-RASCH-GMPH,
N/D). ............................................. 26
- Figure 21: The Bengt Sjostrom/Starlight Theater. Study model
shows the building's roof (mnartists.org, N/D) while: (a) opened
and (b) closed. (d) An inner view for the kinetic roof while opened
(Galindo, 2005, P. 78).
.................................................... 26
- Figure 22: Mobile Dwelling Unit, the container plan while
sub-volumes pushed out (fabprefab, N/D).
.......................................................................................................
27
- Figure 23: Mobile Dwelling Unit. (a) An exterior view while
MDU in an opened state (Gardiner, 2003, P. 132). (b) An exterior
view while the MDU in a closed state (Block, 2011).
............................................................................................................
28
- Figure 24: Diagram shows kinetic structures typologies (Fox,
N/D). ...................... 31
- Figure 25: (a) The Muscles Tower while activated (Detwiler,
2006). (b)The Carlos Moseley Music Pavilion while being transported
to its location and being assembled (Mota, 2007).
.............................................................................................................
32
- Figure 26: (a) Two of the modular units of the Flare-faade
system and their control mechanism (WHITEvoid, N/D). (b) A paper
model for the Flare-faade system (WHITEvoid, N/D).
..................................................................................................
34
- Figure 27: The Kuwait Pavilion for Expo 92 while changing from
closed state to opened one (Hawarny, 2008, P. 30).
.........................................................................
34
- Figure 28: (a) An interior view for Taipei 101 tuned mass
damper (TMD) (Wikipedia, N/D). (b) A diagrame shows where the Tuned
Mass Damper is located in Taipei 101 Building (Wikipedia, N/D).
................................................................
35
- Figure 29: The Implant Matrix (InteractiveArchitecture.org,
2006). ........................ 36
- Figure 30: The AMX Whole Home Automation touch panel (AMX,
N/D). ............ 37
- Figure 31: The Stereoscope Project while playing an animation
on Toronto City Hall faade (AlternativeBerlin, 2010).
..............................................................................
38
- Figure 32: The Interactive Restaurant
(RobotectureInteractiveArchitecture, N/D) .. 43
-
List of Figures
XV
- Figure 33: An external view for Institut du Monde Arabe
(WikiArquitectura, 2010).
...................................................................................................................................
48
- Figure 34: (a) The Mashrabiya diaphragm used at Institut du
Monde Arabe (Osmers, 2007). (b) Mashrabiya unit sketch (Prisse
dAvennes, 2007, P. 137). (c) Mashrabiya used in a Ottoman
residential building near Khan El-Khalili, Cairo, Egypt
(a.allegretti, 2012).
..........................................................................................
49
- Figure 35: An external view for the flat southern faade of
Institut du Monde Arabe shows the "Mashrabiya Diaphragms" that were
used (IMA, 2001). ......................... 49
- Figure 36: (a) A view for a group of the mashrabiya diaphragms
while functioning (eliinbar, 2011). (b) A detail of the medium
sized diaphragm (moreAEdesign, 2010). (c) A detail of small
diaphragms (moreAEdesign, 2010).
....................................... 50
- Figure 37: A diagram showing reason for installing mashrabiya
diaphragms on the southern faade (Yucel, 1989, P. 92).
.......................................................................
51
- Figure 38: An external view for GucklHupf while being opened
(de la Torre, N/D).
...................................................................................................................................
53
- 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). .. 54
- Figure 40: The GucklHupf section where the red color indicates
the accurate area when the structure is closed. Also this section
shows the four different levels inside the structure (Ballard Bell,
2006, P. 125).
.................................................................
54
- Figure 41: Transformation in GucklHupf starting from the
closed state (Olson, 2009).
........................................................................................................................
55
- Figure 42: An exterior view for the Floirac House
(OrgoneDesign, N/D). .............. 57
- 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.
..................................................... 58
- Figure 44: Long section though the Floirac House, where the
blue color indicates the elevator platform (Beck, N/D). (a) The
elevator platform reaches the second floor. (b) The elevator
platform is on the ground floor.
...................................................... 58
- Figure 45: An isometric section showing the elevator platform
in red (Beck, N/D).59
- Figure 46: Different views for the elevator platform while
functioning (OMA, N/D). (a) The elevator platform when settled in
the upper level. (b) The elevator platform while moving between
different levels.
....................................................................
59
- Figure 47: An external view for the Naked House
(ShigeruBanArchitects, N/D). ... 61
- 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) (Unit-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).
............................................................................................................................
62
-
List of Figures
XVI
- 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.
..................................................................................................................
62
- 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). ..............
63
- Figure 51: (a) Different arrangements for the mobile room
units (Guzowski, 2007, P. 2). (b) A close view for the moveable
units (Stang, 2005, P. 89). ........................ 64
- Figure 52: An external view for the Milwaukee Art Museum
Quadracci Pavilion (Smith, 2007).
............................................................................................................
65
- Figure 53: (a) A water color sketch featuring the Quadracci
Pavilion (CALATRAVA, N/D-a). (b) A water color sketch featuring the
pedestrian bridge (CALATRAVA, N/D-a).
...........................................................................................
66
- 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). ............ 67
- Figure 55: (a) An interior view of the structural frame of the
parabolic-shaped skylight in the Quadracci Pavilion (CALATRAVA,
N/D-a). (b) The arched promenade at the Quadracci Pavilion
(CALATRAVA, N/D-a). (c) The unique shapes of the arched support
concrete structures (solaripedia, N/D-b). ....................
68
- Figure 56: An external view for the Gemini Haus
(Salzburg.ORF.at, 2012)............ 69
- Figure 57: Center of the house were all exhaust, supply air
and waste water are fed into (PEGE, 2001).
....................................................................................................
70
- Figure 58: Panoramic views for the ground floor and the first
floor (PEGE, 2001). 70
- Figure 59: (a) Utility lines that are transferred to the
rotating house through the firm basement (PEGE, 2001). (b) Glass
and aluminum fixes (van Poucke, 2008a). (c) Vertical solar panels
attached to the house (Lenardic, N/D).
.................................... 71
- Figure 60: (a) A detail for connection between dynamic solar
panels and the structure (PEGE, 2001). (b) A detail for the track
on which the house moves (PEGE, 2001).
.........................................................................................................................
72
- Figure 61: An external view for Dragspelhuset (24H
-
List of Figures
XVII
- Figure 66: The red cedar wood used for the exterior cladding
(Zeisser, 2007, P. 12), (Park, 2007, P. 59).
....................................................................................................
75
- Figure 67: The reindeer hides covering the interior of the
retractable cantilever (Park, 2007, P. 66).
....................................................................................................
76
- Figure 68: An exterior view for the Leaf Chapel glowing at
night (KleinDytham|architecture, N/D).
.............................................................................
77
- 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).
..........................................................................................................................
78
- Figure 70: (a) The Leaf Chapel when in the closed state
(KleinDytham|architecture, N/D). (b) The Leaf Chapel when in the
opened state by the end of the wedding ceremony
(KleinDytham|architecture, N/D).
............................................................ 78
- Figure 71: (a) An interior view showing the black granite used
for flooring as well as the black wooden pews with clear acrylic
backrest (KleinDytham|architecture, N/D). (b) A detail for the lace
patterns on the movable leaf (KleinDytham|architecture, N/D).
.............................................................................
79
- Figure 72: (a) A section drawing through the Leaf Chapel
showing how the chapel was tucked into the ground (Mr.Jacobsen,
2012). (b) An exterior view for the Leaf Chapel featuring the
sloping site where the chapel was located (Mr.Jacobsen, 2012).
...................................................................................................................................
80
- Figure 73: The Shanghai QiZhong Forest Sports City Tennis
Centre (corus, 2006, P. 24,25).
.......................................................................................................................
81
- Figure 74: A view for the stadium while its roof petals are
open presenting a flower (TheTennisStory, 2011).
...........................................................................................
82
- Figure 75: A plan showing different components and seating
area for QiZhong Forest Sports City Tennis Centre
(ShanghaiCulturalInformation, N/D). ................. 82
- Figure 76: (a) A drawing for the stadium roof while in a close
state. (b) A drawing for the stadium roof while in an open state.
..............................................................
83
- 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. .....................................
84
- Figure 78: An exterior view for the Kiefer Technic Showroom
(Deisenberger, 2009, P. 21).
........................................................................................................................
85
- Figure 79: Kiefer Technic Showroom floor plans
(ErnstGiselbrecht+PartnerZT-GmbH, N/D). (a) The ground floor plan
where the red color marks the kinetic faade. (b) The upper floor
plan where the red color marks the kinetic faade. ....... 86
- Figure 80: Different positions for the aluminum panels giving
the faade a variety of appearance
(WorldBuildingsDirectoryOnlineDatabase, N/D).
................................. 86
- Figure 81: A close view for the moveable aluminum panels
showing the guide rails they move on
(WorldBuildingsDirectoryOnlineDatabase, N/D).
............................. 87
- Figure 82: A drawing shows different positions for the
aluminum moveable panels presenting the relation between solid and
void where the grey color presents solid.88
-
List of Figures
XVIII
- Figure 83: An exterior view for the Sliding House (dRMM, N/D).
.......................... 89
- Figure 84: An isometric showing the different parts creating
the building (dRMM, N/D).
..........................................................................................................................
90
- Figure 85: Plans for the sliding house while the red color
presents the sliding part once while closed and the other while
completely open (Russell, 2010). (a) The ground floor plan for the
Sliding House. (b) The first floor plan floor the Sliding House.
........................................................................................................................
90
- Figure 86: An isometric drawing showing different positions
for the moveable (dRMM, N/D).
...........................................................................................................
90
- Figure 87: (a) A view for the sliding exterior skin while
creating an extra sunshade for the terrace (Russell, 2010). (b)
Different views for the sliding exterior skin creating different
enclosure between the three forms creating the house, and while
leaving the courtyard exposed to the sky (Waite, 2009).
.......................................... 91
- Figure 88: (a) A detailed section drawing for the glass form
while it is closed by the moveable roof/wall structure and while it
is opened to the surrounding by sliding the moveable roof/wall
structure away (dRMM, N/D). (b) Views for the sliding exterior
shell once when closed and the other when completely open (Russell,
2010). ........ 92
- Figure 89: Different exterior views for the house while the
moveable structure in different positions (Elite-Choice, 2009).
...................................................................
92
- Figure 90: An external view for the Olympic Tennis from north
across the Manzanares River Center (Riley, 2005, P.
118)........................................................ 93
- Figure 91: Perspective for the "Magic Box" showing the movable
lids covering the three courts while closed and opened (Riley,
2005, P. 120). .................................... 94
- Figure 92: A plan drawing showing the Olympic Tennis Center
main components (Riley, 2005, P. 116).
................................................................................................
94
- Figure 93: A drawing to show the different 27 opening
positions for the three lids covering the courts (Jordana, 2012).
.........................................................................
95
- Figure 94: A close view for a hydraulic jack (van Poucke,
2010). ........................... 96
- Figure 95: An external view for the Cherokee Studios Lofts
(Brooks+ScarpArchitecture, N/D).
...........................................................................
97
- Figure 96: Different residential units that vary from loft
flats to tri-level units and tow-homes (Brooks+ScarpArchitecture,
N/D). .........................................................
98
- Figure 97: Different views for the operable aluminum panels
(Brooks+ScarpArchitecture, N/D).
...........................................................................
98
- Figure 98: A diagram showing reason for installing a kinetic
skin (Brooks+ScarpArchitecture, N/D).
...........................................................................
99
- Figure 99: (a) Close view of the perforated anodized aluminum
panels(Brooks+ScarpArchitecture, N/D). (b) Detailed view for the
operable skin (Brooks+ScarpArchitecture, N/D).
...........................................................................
99
- Figure 100: A study showing the relation between solid and
void through different stages starting from all panels are close
till reaching the stage when all panels are opened.
....................................................................................................................
100
-
List of Figures
XIX
- Figure 101: A perspective for the exterior of The World Trade
Center Transportation Hub (WorldTradeCenter, N/D).
...................................................... 101
- 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).
........................................................................................
102
- Figure 103: A section for the WTC Transportation Hub (W.
Dunlap, 2005). ........ 103
- 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). ......................................... 103
- Figure 105: A perspective for the Dynamic Tower
(DynamicArchitecture, N/D). 105
- Figure 106: (a) Drawing representing the installation of wind
turbines and the way they are involved in the design concept
(DynamicArchitecture, N/D). (b) Drawing representing the use of
solar panels on top of each rotating floor (DynamicArchitecture,
N/D)
...................................................................................
106
- Figure 107: Dynamic Tower floor plans (DynamicArchitecture,
N/D). (a) Plan drawing for the villas which are located on the top
10 floors. (b) Plan drawing for the hotel unites which is located
on the first lower 20 floors. .................................
107
- Figure 108: Drawing presenting the technical system will be
used to construct the tower (DynamicArchitecture, N/D).
.......................................................................
108
- Figure 109: Drawings representing natural ventilation as well
as sunlight filtering (DynamicArchitecture, N/D).
..................................................................................
109
- Figure 110: Different views for the Dynamic Tower while in
motion (Cherry, 2010, P. 36).
......................................................................................................................
109
- Figure 111: The world map where the studied projects are
located in Europe, North-America and Asia.
...................................................................................................
112
- Figure 112: Structure systems used for analyzed buildings.
................................... 112
- Figure 113: Share of materials used among the studied
projects. ........................... 113
- Figure 114: Different architectural environments in which
kinetics were used. .... 113
- 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).
..................................................................................
114
- Figure 116: Ways kinetics were installed in buildings.
.......................................... 114
- Figure 117: Reasons for using kinetics, such as: (a) Institut
du Monde Arabe 1987 (Dumas, 2009). (b) GucklHupf 1993 (Olson,
2009). (c) Maison Bordeaux 1998 (OMA, N/D). (d) The Naked House
2000 (van Poucke, 2011). (e) Magnolia Stadium 2005
(TheChicagoAthenaeum, 2007). (f) The Leaf Chapel 2004 (IaaC,
-
List of Figures
XX
2010). (g) Cherokee Studios Lofts 2010
(Brooks+ScarpArchitecture, N/D). (h) Dynamic Tower
(DynamicArchitecture, N/D).
....................................................... 115
- Figure 118: Reasons in which kinetic systems are applied.
.................................... 115
- Figure 119: Relation between structure systems and materials
share. .................... 116
- Figure 120: Structure systems effect on the way kineticism is
installed. ............... 116
- Figure 121: Relation between the different architectural
environments and ways kinetics are installed.
...............................................................................................
117
- Figure 122: Relation between different architectural
environments and the reason kinetics are used.
.....................................................................................................
117
- Figure 123: Different ways of controlling kinetic systems,
such as: (a) Cherokee Studios Lofts 2010 (SlowHomeStudio, 2010).
(b) Gemini Haus 2001 (Salzburg.ORF.at, 2012). (c) Milwaukee Art
Museum Quadracci Pavilion 2001 (CALATRAVA, N/D-a). (d) Kiefer
Technic Showroom 2007 (WorldBuildingsDirectoryOnlineDatabase, N/D).
.................................................. 118
- Figure 124: Ways of controlling kinetic systems.
................................................... 118
- Figure 125: Relation between different architectural
environments and ways of controlling kineticism.
.............................................................................................
118
- Figure 126: Effect of using kinetic systems on buildings'
visual quality. (a) Dragspelhuset 2004 (HomesAndInterorDesign,
N/D). (b) The Dynamic Tower (Cherry, 2010, P. 36). (c) QiZhong
Forest Sports City Tennis Center 2005 (IaaC, 2010). (d) The World
Trade Center Transportation Hub 2014 (CALATRAVA, N/D-b).
....................................................................................................................
119
- Figure 127: (a) The dynamic faade of the Kiefer Technic
Showroom (WorldBuildingsDirectoryOnlineDatabase, N/D). (b) The
movable solar panels attached to the exterior of Gemini Haus
(Lenardic, N/D). (c) The FLARE-faade system (WHITEvoid, N/D).
....................................................................................
125
- 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).
...............................................................
126
- Figure 129: (a) The Bloomframe (HurksGeveltechniek, N/D). (b)
The Dragspelhuset (24H
-
INTRODUCTION
-
Introduction
1
A. BACKGROUND Since early ages, architecture has been static. A
building is as good as its
structure could last. Although the first former definition for
the term Kinetic Architecture was in 1970, there are many evidence
that kinetics has also been historically used in building
components; such as opening shutters and movable bridges since long
time ago. However, it had to wait for further advanced technology
before evolving into a higher state. By the beginning of the
twentieth century many kinetic attempts in buildings began to
appear. Kinetic designs were not only used as means to regulate
sunlight, maximize space or vary the view, but also they were
developed to articulate new artistic, political and philosophical
ideas. Many theorists such as expressionist and constructivist
designed many untraditional forms emphasizing experience and motion
while articulating symbolic meanings. Although these forms that
intened to rotate were drawn and described, none of these were
built. Later, the use of kinetics in several projects varied from
the use of kinetic building components such as stages and
turn-tables for both theaters and restaurants, to buildings that
revolved as a whole. The use of buildings varied as well from
entertainment, to residential and even health facilities. Kinetic
structures also were used in extreme or hazardous environments, and
in emergencies caused by natural disasters and human will. The
relation between architecture and mechinery reflected the faith in
progress through technology and movement representing dynamic,
mobility and hope for the future.
A progress in the architectural field can be achieved through
addressing kinetic structures as part of a whole rather than
independently or singularly. Kinetics in buildings may include
pragmatic or humanistic purposes or even both. While pragmatic
purposes may range from solving problems, optimizing solutions, and
implying space efficiency, security etc, humanistic purposes are
concerned with the physical and psychological effect of
architectural environments' changes upon their users and
occupants.
Kinetic systems can be used in defferent trends. Kinetic systems
can be used in large open spaces that accommodate many different
activities in order to provide different configurations. They may
range from interior re-organization to complete structure
transformation. The goal of using such kinetic systems is creating
spaces that are able to adopt, reconfigure and customize both by
users and changing surrounding conditions. Kinetic systems can be
used to turn a single space into a multi-function space that can
occupy different activities by quickly and spatially reconfigure
itself to truly accommodate each particular function when needed.
As kinetic systems allow buildings to adopt and respond to changes
in the natural surrounding environment such as wind currents,
tempreture and light, they also allow buildings to respond and
adapt to long-term changes such as changes in the built environment
and traffic patterns. By using kinetic systems, buildings are able
to respond and adapt to changes that occur beyond codes and
regulations. Kinetic systems can be used in designing mobile
transformable shelter and units ranging from entire buildings to
small single person enclosures that can be easily constructed,
deconstructed, reassembled, stored and moved from place to
another.
-
Introduction
2
Designing kinetic systems involves mechanical and technological
principles. Advancement in material technology in different fields
as aviation and navigation amon others helps in creating much more
developed, feasible and intelligent kinetic systems. Materials may
range from those characterized by their light weight, flexibility
or smart materials they inherent. In order to design kinetic
buildings, structures may include or consist of folding, sliding,
expanding and transforming parts. Some kinetic systems exist within
a larger architectural whole in a fixed location allowing it to
respond to changing conditions. Other kinetic structures exist in
temporary location allowing buildings to be easily transported.
Some kinetic structures exist within a larger whole while acting
independently with respect to the larger context.
Acting as the brain of the kinetic system, embedded computation
is needed while designing kinetic systems. Embedded computation
allow kinetic systems to sense change and react according to the
desired respond. Different means can be used to detect change such
as cameras as well as sensors. Embedded computation systems allow
kinetic structures to modify their behavior depending on the
changing variables that may rang from wind loads, secsmic
conditions, temperature and light. There are some embedded systems
allow buildings the abiloity to learn what the best performance
will be. Other systems help users control and change settings
according to their needs such as acoustics, lighting, climate and
security. Embedded computation can allow kinetic system to be
remotely controlled through communication means such as the sms
(short message service), mail and internet. As a result of using
embedded computation long with materials technology and kinetic
structures, adaptable environments are created. These adaptable
environments may vary from living environments to working,
intertainment and public environments.
Applying kinetic systems to built environments will not minimize
comfort they should achieve. Kinetic systems can create flexible
solutions in order to achieve sustainability. Also, such systems
can present creative solutions to meet clients changing desires and
needs. Although it is important to imply kineticism since the early
stages of design process, kineticism can also be applied to
existing built environments as a renovating solution. Kinetic
solutions may vary in their complexity by using either local
materials with/without embedded controlling systems or advanced
materials and high-technologies. The Egyptian environment is
valuable to apply kinetic architecture as it is blessed with a
prestigious location, moderate weather as well as availability of
different sources for renewable energy. Applying kineticism to the
Egyptian built environment will help presenting new era in the
architectural field.
A.1. Research Problem:
The built environments in Egypt are usually not adaptable to
their users changing needs. In addition, they are not creating
environmental solutions that benefit from the natural resources
that the Egyptian environment is blessed with, such as solar
energy, natural ventilation and land availability. This research
attempts to understand how kinetic systems can be applied to
architectural environments in order to provide solutions to the
pressing needs for sustainability, energy saving and the rising
fuel prices.
-
Introduction
3
A.2. Research Hypothesis:
Kinetic Architecture could provide a creative and effective
solution to environmental problems in both developed and developing
countries.
B. RESEARCH AIMS AND OBJECTIVES The research aims at providing
non-traditional solutions for applying
sustainability using kineticism. This will be achieved through
evaluating kinetic architectural trends as well as comparing
different uses of kineticism within the architectural field.
In order to achieve the above mentioned aim, the objectives of
this research are to:
i. consolidate definitions, history, and the different trends
used in architectural environments.
ii. highlight the fundamental kinetic key elements that affect
the design process.
iii. analyze different examples in order to intrigue architects
to the enormous transformation kinetic architecture promises.
iv. explore different opportunities to apply "Kinetic
Architecture" in our environment.
C. MOTIVATION AND RESEARCH IMPORTANCE This research is held out
to introduce a new architectural approach, i.e.
"kinetic architecture". Also, it covers the area of using
kinetics in architectural environments whether they were living,
work, entertainment or public environments. Kinetics when used in
the field of architecture can be a part of a building or the
building as a whole depending on how and why it is being used.
As a result, it is important when designing buildings to study
their future compatibility with changes that occur whether in the
way of using, the number of users, and their desires or any other
changeable factors. Using kinetics will help adding new
possibilities for future adaptation. Also, it will maximize the
benefit of existing resources both natural and artificial. Kinetic
building can maximize the use of land, ex. changing orientation or
expanding size according to need or desire. Moreover, kinetic
building can act and respond to weather changes as well as to
users' changeable needs.
New technologies will have a role in developing kinetic
architecture, such as new materials (nano materials and those being
used in maritime, aviation and space sciences). Computation and
sensor technologies will help determining and locating changes that
happen within buildings' environment then responding to that
change.
-
Introduction
4
D. RESEARCH METHODOLOGY The research is primarily about
introducing an architectural theory, its
definitions, ways, means and design elements. The adopted
methods to achieve this purpose include a literature review as well
as analysis of several buildings prototypes. In addition, this
research adopts a framework for qualitative analysis based on
different factors that includes theoretical design elements along
with other elements. It was taken into consideration when selecting
architectural projects for the analytical study that they present
uses as well as kineticism.
E. RESEARCH STRUCTURE The research consists of three main parts
in addition to both an introduction
and a section for conclusions and recommendations as follows:
Introduction: This section includes the research background, its
aims and objectives as
well as its motivation and importance which followed by the
research methodology to demonstrate the research premise. Chapter
One: What is Kinetic Architecture?
This chapter is based on introducing definitions and reviewing
the history of involving kineticism in the architecture that help
understanding what is behind the term "Kinetic Architecture". Also,
it is based on investigating how advanced technologies and kinetics
could be employed in architectural environments by reviewing
different kinetic trends. Chapter Two: Kinetic Design Key
Elements:
The aim of this chapter is to cover the mechanical and
technological principals which are mentioned and explained in order
to go through kinetic design. Chapter Three: Kinetic Buildings'
Analysis:
Based on the previous chapters, this one will analyze different
kinetic projects and explain how those projects achieved different
mechanical and technological principals. Conclusions &
Recommendations:
In this section, the researcher attempts to correlate the
concluded facts aiming to improve and enhance the quality of the
architectural product in seeking the advancement of the Egyptian
architectural field.
-
Introduction
5
Figure 1: Thesis Structure.
Introduction
Conclusion & Recommendations
Kinetic Design Key Elements
Structural Innovation & Materials Advancement
Embedded Computation
Adaptable Architecture Sum
mar
y
Ch
ap
ter
Tw
o
The
oret
ical
Stu
dy
Sum
mar
y
What is Kinetic Architecture?
Definitions
Historical Review
Kinetic Trends in Architectural Environments Ch
ap
ter
On
e
Fun
dam
enta
l K
now
ledg
e
Kinetic Building's Analysis
Ch
ap
ter
Th
ree
Cas
e S
tudi
es
Sum
mar
y
Dynamic Tower
The World Trade Center Transportation Hub
Cherokee Studios Lofts
The Olimpic Tennis Center "Magic Box"
Sliding House
Kiefer Technic Showroom
Magnolia Stadium
The Leaf Chapel
Dragspelhuset
Gemini Haus
Milwaukee Art Museum "Quadracci Pavilion"
The Naked House
Floirac House
GuchklHupf
Institut du Monde Arabe
Ana
lysi
s
-
CHAPTER ONE: WHAT IS KINETIC ARCHITECTURE?
-
What is Kinetic Architecture?
9
1. What is Kinetic Architecture? Through this chapter, the
researcher introduces "Kinetic Architecture" by
covering three different areas. First, the definitions of the
term "Kinetic Architecture" will be presented. Next the researcher
will go through the history of "Kinetic Architecture". Last,
different kinetic trends that can be found in architectural
environments are going to be examined by explaining each supported
by examples.
1.1. Kinetic Architecture Definition The term "Kinetic" is an
adjective that refers to everything produced by
movement. The term "Architecture" is a noun that refers to the
design or style of a building or buildings (Hornby, 2010).When
combined together, the term "Kinetic Architecture" refers to the
design of buildings that are produced by movement. It has been
stated that, "If a building could mediate our needs and the
environment outside: its demand on physical resources could be
slashed. If it could transform to facilitate multi-uses; its
function would be optimized. If a building could adapt to our
desires: It would shape our experience"(Fox, 2003 ). The previous
statement emphasizes the importance of kinetics in architecture and
how it could be used.
Historically, a building's success has been judged depending on
the ability to survive time and nature ravages but not by
satisfying changing human needs and desires as well as the changing
surrounding environments. To start with the term "Kinetic
Architecture" it should be mentioned that the Pop Art a visual arts
movement in the 1950's and 1960's in Britain and the United States
of America had a great influence on the first formal definition by
Zuc and Clark in 1970. Thus, Zuc and Clark coined the term "Kinetic
Architecture" as "a form should react to the set of pressures
establishing an equilibrium, it should not be stable with reference
to time. This is not intended to suggest that some structures
should not rightfully be static emotionally it may be necessary to
provide some degree of fixity and historical continuity but it is
to suggest that the architectural form must be free to adapt to
changes that take place within the set of pressures acting upon it
and the technology that provides the tool for interpretation and
implementation of these pressures" (Zuk, 1970, Sanchez-del-Valle,
2005).
Many years later, kinetic architecture was defined by Michael A.
Fox (2003) founder of the Kinetic Design Group at MIT as:
"buildings and/or building components with variable mobility,
location and/or geometry". Another definition was offered later by
Chuck Hoberman describing it as "the possibility of movement", to
create "transforming environments, responsive building elements, or
interactive public spaces" (Sanchez-del-Valle, 2005).
Hoberman structures are inspirations by the geometries found in
nature. When he described his structure the Retractable Dome for
the German Pavilion at Expo 2000 in Hannover, Germany, he said "I
see this dome as a kinetic architectural element", and "Such
elements can make spaces that change from indoors to outdoors,
allow walls and roofs to disappear when not needed, and create
portable shelters that may be quickly unfolded"(Whitehead,
2000).
-
Chapter One
10
At the Smart Architecture Conference in Georgia, USA, Carmina
Sanchez-del-Valle (2005) described the term "Kinetic" as "Having
the capacity to be affected by reversible geometrical changes in
whole or in part without losing the integrity of the system". It
was also mentioned, that creating structures both kinetic and
adaptive, make them gain the ability to respond to changing
conditions like weather, sun location, etc. For that, she justifies
the use of adaptive kinetic structures due to the following
reasons; economy of means, responsibility towards the natural
environment, and the satisfaction of human needs and desires.
Moreover, she justifies that these reasons are the same given for
most architectural projects; yet what makes adaptive kinetic
structures differ from others is their ability to produce work to
better modulate efficiencies, broaden the contemporary aesthetic
and give it more relevant meaning by turning the embodied energy
fully visible.
Kinetic architecture was also defined by Kostas Terzidis (2008)
as "The integration of motion into the built environment, and the
impact such results has upon the aesthetics, design, and
performance of buildings may be of great importance to the field of
architecture. While the aesthetic value of virtual motion may
always be a source of inspiration, its physical implementation in
buildings and structures may challenge the very nature of what
architecture really is". In addition, Robert Kronenburg (2007) said
that "A building becoming kinetic at the touch of a button can
introduce a potent reinvention of something inanimate, giving it
the quality of being alive".
According to Michael A. Fox (2003), examples of adaptive kinetic
buildings are usually found among those referred to as intelligent,
smart, responsive, dynamic, and active. For instance, transformable
building was defined "One that changes shape, volume, form or
appearance by the physical alteration of structure, skin or
internal surface, enabling a significant alteration in the way it
is used or perceived. This is architecture that opens, closes,
expands or contracts" (Kronenburg, 2007).
Adaptive kinetic architecture creates ecological system as its
components have shifting interdependencies when responding to
changing environment (Sanchez-del-Valle, 2005). That confirms that
kinetic architecture is not only about transformable or moving
buildings but also about creating a relation between the built
environment and natural environments. "Buildings that continuously
attune their configurations in accordance with changing
environmental conditions use less energy, offer more occupant
comfort, and feature better overall space efficiency than static
buildings" (Hoberman, 2008).
Guy Nordenson, Ove Arup & Partners stated that "If
architects designed a building like a body, it would have a system
of bones, muscles, tendons and a brain that knows how to respond.
If a building could change its posture, tighten its muscles and
brace itself against the wind, its structural mass could literally
be cut in half" (Fox, 2003 ).
To conclude all definitions listed above, "Kinetic Architecture"
can refer to buildings or building components that act in respond
to surrounding changes whether changes are indoor and/or outdoor
and whether they are forced by environmental factors and/or human
ever-changing demands.
-
What is Kinetic Architecture?
11
1.2. Historical Review By analogy to biological evolution,
architectural adaptation was low
compared to higher biological or technological developments,
although some exceptions were found (Zuk, 1970).
The invention of the wheel was the motive of using kineticism in
architecture. Adaption and mobility were first seen architecturally
as movable stones, logs, or skins covering cave or hut openings.
Wooden pivots or hinges of leather and even stone pivots were used.
"Mention should be made of the removable rope and canvas roof over
the Roman Colosseum (circa 70 A.D.), spanning the oval form 620
feet by 513 feet. Sailors were assigned the task of erecting and
dismantling this vast early flexible roof supported by poles around
the edge of the colosseum" (Figure 2 a). Also, wooden sliding doors
and windows' covers were developed in the same era. Moreover,
pivots and hinges made of iron and brass were used after the
introduction of metals. The use of metal helped increasing the
efficiency of both doors and window-shutters as well as enhancing
their appearance for the better (Figure 2 b). These adaptive
devices were used for both security and weather protection. The use
of a variation of doors and drawbridges took place in the Middle
Ages for defense. However, the use of drawbridges had to wait for
further advanced technology before evolving into a higher state
(Zuk & Clark 1970).
(a) (b) Figure 2: (a) The Colosseum represented the first
kinetic retractable roof covering the seating area
around the arena (Pepe, 2001). (b) An intriguingly simple device
invented by Thomas Jefferson for his
home to allow both doors to open simultaneously whenever any is
opened. As the device was concealed
beneath the floor, its principle was not known until it was
uncovered in 1953 (Zuk, 1970, P. 29).
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.
-
Chapter One
12
(a) (b) Figure 3: (a) A sketch showing how a drawbridge at
medieval castle worked, typical of such structures
that were precursors of modern bascule bridges (Koglin, 2003, P.
4). (b) A view of the entrance door
and the drawbridge to Rocca Gradara one of the best preserved
medieval structures in Italy which
was built in 12th to the 15th centuries (GeoSearch.Italia,
N/D).
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.
The mechanism of these bridges' movement was by the direct pull
of chains near one end, assisted by winches and levers. Bascule
bridges were developed in the sixteenth century by Leonardo da
Vinci. Lifting became much easier because of the counterweight
located on the opposite side of the pivot from the bridge, which
also provided against sudden falling from the raised position (Zuk,
1970).
The rotation in modern bascule bridges is accomplished by motor
driven gears about horizontal pintle, no longer chain hoists.
Whenever movable bridges' dead weight was kept to a minimum, the
amount of counterweight, bearings, machinery, and foundations
needed would be reduced. Steel is commonly used in such bridges,
although few are of aluminum which reduced the dead weight by
one-half. For that, it is of a paramount importance to minimize the
weight of any kinetic structure. Moreover, kinetic structures will
differ from conventional static structures in both shape and
material.
-
What is Kinetic Architecture?
13
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).
(a) (b) Figure 4: (a) A scketch shows how a typical drawbridge
works (Hall, N/D). (b) A scketch shows how a
typical trunnion bascule bridge works (Ryall, 2000, P. 669).
(a) (b) Figure 5: (a) A schematic of vertical lift bridge (S.
Glover, 2007). (b) A rolling bascule bridge while
closed (Chase Hill, 1927, P. 467).
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.
Modern revolving stages took place at several theaters in Europe
and the United States at the beginning of the twentieth century
(Figure 6 a). Ye Liberty Playhouse was probably the first
permanently revolving stage built in the United States, in Oakland,
California, in 1903. Harry Bishop, the manager who designed the
stage, had reportedly seen revolving Kabuki stages during a trip to
Japan.
-
Chapter One
14
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).
(a) (b) Figure 6: (a) The construction of the Santa Barbara
County bowl revolving stage in 1936 which was
destroyed by El-Nino floods during 1939 in the United States of
America
(SantaBarbaraBowlFoundation, N/D). (b) Architect M. Engere
Pettit and physician Lucien Pellegrine
"heliotropic house" 1903 (Randl, 2008, P. 57).
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.
In 1929 Jean Saidman, an early expert in the field of
actinology, which is a branch of science that explored the chemical
effects of light, designed and patented a new type of solarium to
improve upon existing ultraviolet light treatments with the
assistance of architect Andre Farde. The first version was
constructed in the French spa community Aix Les-Bains the following
year, and it didn't look like any other building ever constructed
(Figure 7). Examination and waiting rooms were featured in the
design's base (or pillar) ground floor. Its roof was steeply
pitched conical covered with diamond-shaped tiles. The ground floor
was connected to the rotating platform above with an elevator and a
spiral staircase, which were located in the reinforced concrete
base. The eighty-ton steel platform was rotated by an electric
motor located in the basement.
-
What is Kinetic Architecture?
15
Figure 7: A view for Saidman's revolving solarium, Aix
Les-Bains, France (Petit, N/D).
The platform consisted of a monitoring and control room in the
center and
four glass-fronted treatment cabins at each side. The cabin
platform was situated high in the air for better ventilation as
well as trees clearance. A small changing room could be found at
the back of each cabin. Also, an adjustable bed could be found in
these cabins, with a motorized assembly of nickel oxide or cobalt
glass screens, which helps blocking specific wavelengths, as well
as lenses and lamps that could be moved into various positions
above the patient, connected it. Moreover, lens panel and bed could
be configured to direct the sun's ray depending upon the illness
and its prescribed treatment. Likewise, the rotation helped keeping
all the cabins in sunlight throughout the day. At last, the
solarium was used to treat various forms of rheumatism, dermatosis,
tuberculosis, rickets, and cancer.
Rotating designs were developed to articulate new artistic,
political, and philosophical ideas, while inventors and thinkers
saw their rotating designs as an engineered, rational means to
regulate sunlight, maximize space, or vary the view. This trend
took place in Europe during a time when revolutionary styles of
painting, graphic design, literature and architecture were sweeping
over the continent, in the first half of the twentieth century.
Revolving designs signaled a dramatic break with the past by
overturning traditional assumptions about buildings that were
stable and static. As well, they announced an allegiance between
architecture and machinery and made explicit the modern faith in
progress through technology and movement, which reflected dynamic
mobility and hope for the future.
Expressionist architecture, which was originated during the
first decades of the twentieth century in Germany and other Central
European countries, encompassed a broad range of forms that shared
a common tendency toward plasticity and away traditional design.
"Light-kinetic-principles" were experimented by architects such as
Bruno Taut, Erich Mendelsohn, and others to demonstrate the triumph
of time and mobility over space. Biomorphic motifs and inspiration
from geologic forms were featured and drawn in some designs.
Therefore, the ending results were often eclectic, highly
individual exercises, which emphasized emotion, sensation,
experience, motion, and the articulation of symbolic meaning
(Randl, 2008).
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Chapter One
16
Figure 8: Max Taut's Rotating House, Frublicht (Dawn), 1920
(Randl, 2008, P. 67).
None of the expressionist designs that intended to rotate were
built,
although they were drawn and described. In 1920, the Rotating
House designed by Max Taut and published in the short-lived
magazine Frublicht (Dawn) was to have been constructed six years
earlier for Mr. Mendthal on the sand dunes overlooking the Baltic
Sea near Konigsberg (Figure 8). The design was a zig-zagging glass
walls wrapping around a generally cylindrical plan, which were
joined by a series of dormer-like roofs to a central steeply
pitched pyramidal core. The glass walls on the main level and the
center core above were circled by railed balconies. The primary
motive for having the design rotate was philosophical, although the
site may have played a part. A text that described this house was
spiraling out from Taut's sketch, which helped accentuate the
building's whirling dynamism. Taut's Rotating House exhibited a
close resemblance to the crystalline forms, which were a central
design motif of expressionist architecture, by its faceted, glazed
walls and spiked roofs. Later in 1920, designs for suspended and
swinging architecture were developed by expressionist Carl Krayl,
for instance the Crystalline Star House which hung from the side of
a cliff. Crystal designs by Krayl and Taut suggested movement even
when static, by their shimmering faceted panes and folded
facades.
Concurrent with expressionism, constructivist architecture was a
movement that got influenced by constructivist art and originated
in the new Soviet Union. In the years following 1917 Russian
Revolution, the new government supported works that represented its
social and political outlook away from the traditional forms
associated with the imperial past. Although constructivist
designers worked in a dynamic and heady atmosphere that featured an
industrial vocabulary of exposed structural frames, cross bracing
and guy wires, their works turned to utopian architectural fantasy
because of the few resources available for building. Abstract forms
were shaped in concrete, steel, and glass. Kinetic elements were
sometimes featured in constructivist architecture designs which
brought to life the sense of motion.
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What is Kinetic Architecture?
17
Figure 9: Tatlin's Monument to the Third International, designed
in 1919 (Randl, 2008, P. 68).
In 1917, Vladimir Tatlin's Monument to the Third International
(Figure 9) marked as the best-known example of constructivist
architecture was intended to be the headquarters for the new
communist government, as well as an enormous physical symbol of
industrial progress, dynamism, and transparency same ideas hoped to
be associated by the new regime. Unlikely, the project didn't go
further than sketches and a model was exhibited at parades and
expositions.
The monument like the offspring of a union between the Eiffel
tower and a rollercoaster was consisted of an open iron framework
spiraling upward from a wide base to a tight peak, which supported
and contained three separate glass-walled volumes that accommodated
various legislative and administrative functions. These three parts
were different in shape and rotating rate. A cube that was to
rotate once per year on its axis set as the lower part of the
monument, in the middle a pyramid was formed with a revolving rate
once per month, at last and near the monument's top a cylindrical
form was set and intended to rotate once each day. The total height
was to measure over 1,300 feet high. For that, the Monument to the
Third International was to be a sculpture more than architecture.
The structure would have exuded movement and energy even when
static, same as Taut's house which seemed to be in motion even at
rest. Tatlin's monument was to be the aspirations of a dynamic
Soviet Union through a stretched coil of latticework and rotating
internal components that drew over connections to industry and
technology.
As rotation was symbolic and the challenges of creating kinetic
structures seemed of little interest to the architects of that
time, the designs of Taut, Tatlin, and others were utopian dreams
that steeped in avant-garde artistic currents. Nevertheless, the
first half of the twentieth century witnessed many designs
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Chapter One
18
developing full-size structures meant for year-round occupation,
which rotated for pragmatic reasons using applicable mechanisms, in
Europe and the United States (Randl, 2008).
Figure 10: Villa Girasole from the air, with the courtyard of
the rotating section facing uphill,1935
(Randl, 2008, P. 77).
In the early 1935, Villa Girasole was created by an engineer
from Genoa,
Angelo Invernizzi, along with a mechanical engineer Romolo
Carapacchi, an interior decorator Fausto Saccorotti, and an
architect Ettore Fagiuoli (Figure 10).
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).
(a) (b)
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).
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What is Kinetic Architecture?
19
"In the 1950s, when few people talked about ecology or
conserving energy, Franois 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).
Historian Anton Huurdeman has stated that telecommunication
towers are
appreciated as symbols of the information society in the
twentieth century, just as high chimneys refered to the industrial
progress in the nineteenth century. In the 1950's, the new
microwave communication systems required a series of transmitters
linked by line-of-sight. At the time when most towers were steel
lattice frames, a structural engineer, Fritz Leonhardt, convinced
government authorities in Stuttgart, West Germany, to go with an
elegant form made of reinforced concrete to be the TV tower which
was planned for a prominent hilltop in Stuttgart. After completion
in 1956, the Stuttgart Tower (Figure 13 a) was the first reinforced
concrete TV tower in the world. The final cylindrical head design
including two observation decks and a stationary restaurant
overlooking the city and its surrounding hills, vineyards, and
forests is one located at a height of over 450 feet.
In 1959, three years later, based on the Stuttgart TV Tower
design, a second concrete TV tower was built in West Germany.
Dortmund's Florianturm (Figure 13 b) featured an upper and lower
head, and a stationary core at the center of its head where the
stairs, the elevators, restrooms as well as food preparation
space
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Chapter One
20
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).
(a) (b) (c) (d) Figure 13: (a) The Stuttgart Tower in Stuttgart,
Germany (Smart-Travel-Germany.com, N/D). (b) The
Dortmund's Florianturm in Dortmund, Germany (Janberg, N/D-a).
(c) The concrete Henninger Turm
in Frankfurt, Germany (Janberg, N/D-b). (d) The Cairo Tower in
Cairo, Egypt (Wikipedia, 2004).
In the late 1950's, construction began on other towers with
revolving restaurants but not serving as TV towers. A concrete
tower in Frankfurt, Germany, the Henninger Turm (Figure 13 c), was
a silo complex storing 16,000 tons of barley for local brewery and
was opened in 1961. The three-storey head with two revolving
restaurants and an observation gallery were added on the top of the
tower at a height of over 330 feet to serve as rooftop amenities,
which converted a potential public eyesore to a landmark structure
generating additional income. The entire head structure of
Henninger Turm revolved on the exterior (Randl, 2008).
In 1961, the 187 meter-tall landmark designed by Naoum Shebib,
Burg Al-Qahira (Cairo Tower) was the tallest freestanding concrete
structure of its time (Figure 13 d). Located in Nile's Gezira
Island, the structure served as a TV tower. The tower is taller
than the pyramids by some 45 meters. The exterior lattice structure
of the 14 meters in diameter Cairo Tower resembling a lotus
blossom, which was next to the papyrus one of the most revered
plants in the ancient Egyptian history, was made of granite and
ornamented with approximately eight million tiny porcelain mosaic
tiles. A viewing platform and a revolving restaurant located at the
tower's top made it possible for users to explore the beauty of
this ancient yet cosmopolitan city (WACKER, 2009, Peterson, 2003,
Golia, 2004).
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Chapter One
22
1.3. Kinetic Trends in Architectural Environments As a result of
all advanced technologies and capabilities available in the
present time, the use of kinetics in architecture can be
extended far beyond what has been possible previously. Progress in
the architectural field can be accomplished when addressing kinetic
structures as a part of a whole rather than independently or
singularly. Pragmatic adaptability of employed kinetics is varying
from full mobility to interior reconfiguration, and is used in
buildings that are efficient in form, lightweight, and inherently
flexible with respect to contexts and purposes' diversity. Kinetics
is divided into two categories: pragmatic and humanistic. On one
hand, pragmatic applications concerned with solving problems,
optimizing solutions, and implying space efficiency, shelter,
security, transportation, safety, and economics. On the other hand,
humanistic are concerned with the physical and psychological effect
of the architectural environments' changes upon their users (Fox,
2009). Kinetic trends in architectural environments are dissected
into four categories addressing the pragmatic or humanistic
considerations, or both:
1.3.1. Spatial Optimization Systems
Spatial optimization systems are most common in large open
spaces that may accommodate many different activities. Such spaces
have a built-in transformable infrastructure that can provide
differing configurations limited by it; for example banquet halls,
convention centers, and school gymnasiums. Spatial optimization is
defined as, "kinetic architecture that can, from a practical
standpoint serve as a means for adjusting spatial configurations
based on changing stimuli triggered by environmental and/or human
actions". Movable objects creating transformable systems will open
an exponential layer of adaptability. Applications in this category
may range from multi-use interior re-organization to complete
structure transformability. The goal is creating spaces that are
capable of adapting, reconfiguring, and customizing both by their
inhabitants and by the changing surrounding environments as well as
needs, thus reducing both social and environmental costs. The
inhabitants' desires and needs may range from privacy to publicity,
so it is important to understand and accommodate humanistic
considerations on top of the pragmatic spatial optimization of the
space.
An example could be the second prize winner project
"Interlocking Transformation" for the "Domus BBJ Design
Competition" (Domus, 2008). This project aimed to create a
responsive interior space configured by the users of a specific
flight and could be partially reconfigured in-flight. The interior
is divided into three resizable sectors equipped with the technical
and the physical apparatus necessary for various parts of the
program (Figure 16 a,b).
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What is Kinetic Architecture?
23
(a) (b) Figure 16: (a) Interlocking Transformation, an interior
diagram (Fox, 2009, P. 32). (b) Interlocking
Transformation, reconfigurable elements dividing sectors (Fox,
2009, P. 32).
1.3.2. Multi-Function Design
Although multi-function design is commonly used in many
products, most architectural spaces are designed to accommodate a
single function. Architectural spaces are not limited to the
function they were designed to accommodate, for example how a
kitchen is used to prepare food for a few hours of the day, and
also used for eating or watching TV and sometimes for discussions
although it is not designed to accommodate such activities. Another
example could be a living room which could be used by a group of
people, a couple or even a single person each to accommodate
different activities with different lighting and acoustic needs.
That also may happen not only within residential spaces but within
work spaces as well. As a result, it is important to involve
multi-function design in the architectural field in order to create
spaces that can determine their configurations quickly and
spatially to truly accommodate each particular function when
needed. Kinetic elements