ARCHiMEDiA ARCHiMEDiA Marina Meyer University of the Witwatersrand Architectural Thesis 2007 PART ONE: RESEARCH AND DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 CONTENTS ACKNOWLEDGEMENTS 5 PREFACE 7 PART ONE: RESEARCH AND DEVELOPMENT 8 01: Pink Elephant 14 Media culture Scale Surveillance 02: ?Archimedia? 20 Timeline: a century of media and architecture (archimedia) Symbolic architecture ?The duck? versus ?the shed? Brand architecture 03: Public space and the city 32 Case studies: public squares Mapping conclusions Event and Time Virtual and Real space Audience 04: Media facade 44 Media screen CONTENTS  ARCHiMEDiA  PART TWO: DESIGN DEVELOPMENT 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 Case studies: screen facades Media skin Case studies: non-structural skins Case studies: structural skins that mutually support each other PART TWO: DESIGN DEVELOPMENT 58 01: The site 66 Neighbourhood features Walking the site A history of event and gatherings in the square Current zoning Future proposals Cultural band Series of public spaces 02: The concept 76 Memory Permeability of the strip 03: Final design 80 Landscaping contrasts The roof top green strip Facilitating events along the strip Touching the ground Planning CONTENTS  PART ONE: RESEARCH AND DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 Reading the strip Circulation Services and sustainability The exoskeleton The structural spine The day facade- materiality The night facade- function 04: The model 102 APPENDIX 118 REFERENCES 119 ARCHiMEDiA  PART TWO: DESIGN DEVELOPMENT 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ACKNOWLEDGMENTS MOM & DAD ISAAC NICOLAS PAUL KOTZE JOANNA XIMENA JHONNY LIALE ACKN OWLEDGEMEN TS Thank you for the amazing opportunities you have given me throughout my life. You have provided me the tools to achieve my dreams. Without your continuous love, support and belief in me I would not be where I am today. I am eternally grateful and proud to call you my parents. I owe everything to you. I share this achievement with you! Without your strength, enthusiasm, constant reality check and focus on the bigger picture I would not have made it to the end. Thank you for believing in me no matter what. You are the most talented architect I have ever met and someday the world will see it too... You are always a driving force in my life even when you are on the other side of the globe. I can?t wait to face whatever happens in this life or the next with you. You are the most stimulating and inspirational person I will ever meet and I was lucky enough to meet you so young. Thank you for your undying belief in my ability and this project. Without our inspirational discussions I would have been bored and beaten down by bureaucracy and conformity. You have restored my faith in Architecture and are a real inspiration to me. Thanks for being the best friend anyone could ask for. You always listened with patience to my constant complaining about architecture and politics. It was greatly appreciated. I know we will share many more achievements together. We finally made it and we are still standing!!! Thanks for your words of perseverance and your strong belief in me and this project- even when I was rock bottom. I am so proud to graduate with you and your work and talent are a real inspiration to me. You are the most innovative, considerate editor a person could ask for. Thank you for always taking time to read through my crazy concepts- no matter how unreadable. I look forward to many more creative collaborations. Thanks for your encouragement to fight the power when times were rough. Our many years of friendship have certainly been memorable. It?s time for us to take the power back, piss in the wind and take over the world. Thanks to all my fellow colleagues who I have had the pleasure of learning and working with over the years. ARCHIMEDIA  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 I, Marina Meyer, am a student registered for the course of Master of Architecture (Professional) in the year 2007. I hereby declare the following: I am aware that plagiarism (the use of someone else?s work without permission and/or without acknowledging the original sources) is wrong. I confirm that the work submitted for assessment for the above course is my own unaided work except where I have stated explicitly otherwise. I have followed the required conventions in referencing thoughts, ideas, and visual materials of others. For this purpose, I have referred to the Graduate School of Engineering and the Built Environment style guide. I understand that the University of the Witwatersrand may take disciplinary action against me if there is a belief that it is not my unaided work or that I have failed to acknowledge the source of the ideas or words in my work. PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  PREFACE I have always been fascinated with architecture and media (Archimedia) because of their ability to define an environment and evoke emotion. Both architecture and media have an amazing ability to adapt and develop with new technologies and communications making them a very successful and popular means of expression. This thesis will attempt to expose and understand the relationship between media and architecture (?Archimedia?). This relationship has been around for centuries. The only constant in this relationship is change and this is what people have come to rely on. ?Archimedia? embraces this instability and sees it as an opportunity for a rejuvenation of the architectural language. Although the relationship between Architecture and Media will be explored in this thesis it will not presume to be resolved. It is a topic born of instability and is usually left untouched and unresolved. There is new freedom to be found in this relationship and Archimedia embraces it. The contents of this thesis are arranged according to issues that Media and Architecture face today, where theory and common practice are presented together with the hope of exposing new ideas and realities. As this topic is progressing and changing so fast, so too will these issues, and most probably by the time this thesis is published it will already be outdated. However this means that the topic can continuously be reassessed when there is more to report. PRE FA CE ARCHIMEDIA  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  PA RT 1: RESEA RC H AN D DE VE LOPMEN T PART ONE: RESEARCH AND DEVELOPMENT THESIS DEVELOPMENT 10 PART ONE: RESEARCH AND DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 THESIS DEVELOPMENT PROCESS (www.googleimages.com) (www.googleimages.com) ARCHiMEDiA 11 PART TWO: DESIGN DEVELOPMENT 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 THESIS DEVELOPMENT 1 PART ONE: RESEARCH AND DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 THESIS DEVELOPMENT PROCESS We live in a very visual media culture where people have become media hungry because we are constantly bombarded with colourful, controversial and mundane images. new technologies such as internet and computers facilitate the virtual body and it is developing faster then the real body. mono functional zoning and lack of varied programs does not facilitate the everyday an the extraordinary like media. The potential of the media facade is constantly overlooked and underestimated. Media and architecture are in constant battle for the limelight and therefore often conflict each other instead of embracing each other. ? ? ? ? ? (www.deviantart.com) (www.deviantart.com) ARCHiMEDiA 1 PART TWO: DESIGN DEVELOPMENT 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PINK ELEPHANT 1 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 Pink Elephant... PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 1 What comes to mind? Do the words ?pink elephant? appear in your mind or does an image of a pink elephant appear. Most people would see the image of the pink elephant. This is because people are visually based. People think in images and media feeds people?s visual appetite. Like Media, architecture is visually based and therefore dynamic. It also has the potential to satisfy man?s visual appetite. Both architecture and media are constantly sending cultural or political messages. These messages are most successful when presented visually. Strong visuals in media and architecture can evoke emotion and reaction from their audience. Architecture and media are constantly evolving and adapting to the culture and socio-dynamics they portray, trying to find fresh and exciting ways of depicting their messages. 01 : PIN K ELE PHAN T PINK ELEPHANT 1 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 MEDIA CULTURE Even before cellular phones, computers and televisions, man was living in a predominantly visual Media culture of communication. After the discovery of rock paintings it became clear that even primitive man had been using visuals to communicate. It is human nature for people to want to connect and communicate whether it is through an email, a phone call, a fax, a letter, a telegram or a cave painting. A media culture is global and new technologies have allowed various media cultures to share- facilitating a global media culture. Architecture has always been providing the infrastructure for this culture from the headquarters of the CNN to a cave in Africa. This is because architecture is an extension of our bodies. (www.ifib.uni-karlsruhe.de) Our bodies are vessels for receiving and projecting media, be it with voice, sound, movement or with visuals. We are constantly producing media and architecture provides us with an extended ?body? to enhance this media. In many cities around the world, considerably more in developed countries, this very visual ?media culture? has become one of speed and image overload. (Couldry; McCarthy, 2004: 23) New technologies in cities, combined with ever present media and information, have blurred the boundaries between public and private domains and the architectures of real and virtual worlds. This new age has been referred to as the ?electronic age? or the ?age of communication? of a new type of man- a man whose architectural environment, physiological and psychological make up has been radically altered by his use of electronic media. This ?media culture? comes down to man?s obsession to communicate and this obsession has consumed man. Everyday and all day people in major cities are connecting- receiving, sending, downloading or uploading. All these fast growing technologies and communications have consumed our time, especially over the last few decades. New technologies have started to alter our sense of space and even our physical being. Many of our everyday gestures, social problems, physical ailments and even psychological problems today are all due to the machines and their specific requirements that we constantly design and build for. (www.ihedate.com) MEDIA CHOICES This image is a typical street scene in many cities. This clearly demonstrates mans obsession to communicate and voice his stories. The media is overtaking our urban environments. This image also shows just how spoilt we are for choice and how competitive media has become today, even resorting to being offered FREE! (www.deviantart.com) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 1 These modern advances in the way we communicate, mediate and interact have both complicated and provided us with exciting new opportunities in our lives and in our architectural environments. New technologies and new forms of media have infiltrated our architecture in terms of design and construction and have produced an unprecedented global shift for people and architecture. The Guggenheim Museum in Bilbao by Frank Ghery would not have been possible to build had it not been for the latest technology computer software known as ?Catia? that could generate the design. Many architects have come to depend on these advances in media and technology in order to produce a building. (www.antjetecture.com) GUGGENHEIM BILBAO DESIGN DEVELOPMENT: Frank Ghery?s initial sketch Computer imagery Finished building People and architecture are constantly communicating messages to their audience. Architecture has and always will be a complex form of cultural expression and communication, directly linked to changes and slows in socio-economic and cultural tendencies. It is only natural that architecture has adapted and developed along side this new ?electronic age?. NIGHT EARTH The satellite image of the earth at night clearly shows how few in the world are exposed to this electronic new media and the architectures it brings. It also clearly illustrates that most of the earth is rural even though ironically the urban centres control the rural areas. KEY Rural: dark blue Urban: yellow Sea: black (www.googleimages.com) (www.googleimages.com)(www.googleimages.com)(www.googleimages.com) PINK ELEPHANT 1 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 SCALE Scale plays an important role in facilitating a global ?media culture?. Scale or the extent of people that a certain medium would reach is what differentiates various communications from each other. New technologies have allowed media to become more accessible and to reach a larger audience; therefore events have gotten bigger and even global. Although we have always been aware of ?outer space?, man going into space was one of the most significant events in our evolution and forever changed our perception of scale. The famous images of earth from space were posted onto every newspaper and television screen to everyday people in cities around the world. New technologies in media allowed this famous image to reach a much larger audience. This audience has started to share and interact across larger spaces and the emergence of a standard globalised ?media culture? has begun. New technologies such as satellites, which brought about cellular phones, the internet and global television networks made the globe even smaller and easier to network and survey. (www.ihedate.com) This new global perception of culture has affected our indigenous architectural languages tremendously. The world is now seeing the emergence of ?Tuscan? or ?Bali? style architecture in Africa. Indigenous architectures are loosing their identities and scale and media have played a large part in this. New media technologies such as billboards and the urban screen, along with the invention of the train, motorcar and the plane have introduced global architecture of big spaces, high speeds and complex programs. Architecture has had to accommodate this larger audience and bigger spaces. (Venturi; Brown; Izenour, 1977: 8) Cities are now built to accommodate these new machines and can be built further apart. This has altered our perception of the spaces we inhabit and the perception of ourselves. New technologies have allowed people to view their environment from different perspectives, changing people?s perception of scale. As a result of this shift in scale and events, man?s perception of his own scale has gotten smaller as the world?s scale got bigger (globalisation). Ironically this virtual world of networks, with no fixed scale made man?s perception of large scales smaller. THE ?BLUE MARBLE? This is a famous photograph of the Earth taken on 7 December 1972 by the crew of the Apollo 17 spacecraft at a distance of about 29,000 kilometers. This image was the first clear image of an illuminated face of Earth. NASA archivist Mike Gentry has speculated that The Blue Marble is the most widely distributed image in human history. (www.wikimedia.com) (www.googleimages.com) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 1 SURVEILLANCE Another obsession of man?s that came about through the evolution of media and communications is surveillance and idea of it. Surveillance has become such a big part of our ?media culture? that it seems almost natural. ?Reality? shows such as ?Big Brother?1 and ?Survivor?2 along with tabloid magazines have allowed us to indulge in this habit. We have become delusional over what is false and what is real, what is important and what is trivial. We have become a ?media culture? of gossip and surveillance. In the past people in cities only knew their local environments and little else, but today high definition, fast paced media in most cities has expanded people?s consciousness. (Schwarzer, 2004: 18) The internet has played a major part in this and programs like ?Google Earth?3 or websites like ?Times Square 24.com?4 are free for anyone with internet access to download and view cities around the globe. The eye has been replaced by the lens. (Colomina, 1994: 15) This has turned the idea of architecture into ?consumer objects for a mass audience?. (Schwarzer, 2004: 167) FACSIMILE -CALIFORNIA Architects Diller and Scofidio make a bold comment on the ?surveillance culture?. A digital flat screen suspended by a moving vertical structure that rides on a horizontal tracking system scans the fa?ade. The transparency of the glass building is enhanced through this virtual transparency. (www.dillerscofidio.com/) The screen travels along the facade and broadcasts live and pre-recorded video imagery. (www. arcspace.com) The combination of live and pre recorded images naturally correspond with the speed and direction of the scanning motion. This is a unique interpretation of the urban screen and the idea of the fa?ade as a screen. In this project the fa?ade is used as an instrument of deception much like the computer screen or television. (www.arcspace.com) (www.arcspace.com) (www.arcspace.com) (www.arcspace.com) ?ARCHIMEDIA? 0 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 = ?ARCHiMEDiA? ARCHITECTURE MEDIA + PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 1 What is ?Archimedia?? ?Archimedia? is a product of the successful fusion between Architecture and Media. This is where both architecture and media work in synergy- complimenting each other. This give and take relationship between architecture and media has been going on for centuries and when architecture and media are integrated successfully (?Archimedia?), they establish a powerful symbol. 02 : AR CHIMEDI A ?ARCHIMEDIA?  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 FUTURISM 1907 BAUHAUS 1919 CONSTRUCTIVISM 1917 A CENTURY OF SYMBOL AND - ?ARCHIMEDIA? : Some popular architectural movements and architects over the last century have been chosen to demonstrate that ?archimedia? has been practised for a very long time. All of the selected groups have used ?archimedia? to sell their ideals and image to the their public and in so doing have become popular cultural imagery of their time. All these architectural movements and architects have claimed to reject the traditional and move towards the future. This timeline will expose this theory as false and prove that these ?new? or ?revolutionary? ideals in architecture are actually very traditional. Old symbols are continuously replaced with new ones, carrying on the long standing tradition of ?archimedia?. Futurism was an Italian and Russian movement inspired by technology and modernism. It lasted from 1907- 1944 and was founded by Filippo Tommaso Marinetti. They explored their future ideals through paintings, sculpture, poetry, music and architecture and attempted to dominate the political and social states of their countries. This movement claimed to reject ideas of the past and attempted to maintain a futuristic ethos. They believed that technology would triumph over man and this science fiction ethos is still believed today by many. This movement still has followers, one of them is a well know film director Ridley Scott from the 1980?s, who created the film ?Blade Runner? as a tribute to this movement. (www.unknown.nu/futurism) After World War 1 in 1917 there was crisis and turmoil in Germany; inspired by the Russians, the workers and soldiers of Germany attempted to seize power of Germany and the German Revolution was started. (Koln, 1990: 25) Bauhaus attempted to move away from the old Germany with new objectives of modernism. Bauhaus meaning ?Architecture house?- was a School of architecture that was started by Walter Gropius in 1919 and lasted till 1933. He was the School?s director from 1919- 1927. It was funded by the Social democratic party and once they lost control of the government in 1924 the school did not last much longer after 1925. (Grange, 1997: 15) The school then became a private venture and there are still followers of the Bauhaus school today. (www.bauhaus.de, cit) After the Russian revolution of 1917 a new social regime began. This movement emerged from the constructivist art movement. Constructivist architecture wanted to instill the avant-garde in everyday life. It was to be the symbol of this new Russia. The movement was founded by Vladimir Tailtlin and flourished during the Soviet Union from around 1920- 1930. (www. gyro.co.nz) In order to be taken seriously all the work had to be heavily symbolic in content and design, working towards what they believed would be a utopian Russia. Unfortunately Russian people never caught on and this school of mass production remained a movement of one of a kind drawings. (www.huntfor.com) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  DILLER & SCOFIDIO 1986 ARCHIGRAM 1960 REM KOOLHAAS 1980 GOOGIE 1940 Googie, is also known as populuxe or doo-wop. It is a movement inspired by the car culture and the Space Age. The movement originated from southern California in the late 1940s and continued into the mid1960s. It reflects American society?s emphasis on futuristic designs and their fascination with space-age themes at the time. The movement was named after a coffee shop named ?Googie?. (www.spaceagecity. com) The shop was designed by John Lautner using Googie principles. Googie heavily influenced retro-futurism. The cartoonist style is portrayed in the popular Jetsons cartoons, and the original Disneyland in Anaheim, California featured a Googie Tomorrowland. (www.anaheimcolony.com) Archigram was an experimental group developed in the 1960?s. The word Archigram is a combination of the words ?Architecture? and ?Telegram?. The idea behind it was a short, concise, shocking piece to be created and delivered quickly with the ability to be ?churned? out. The founding members were Peter Cook, Ron Herron, Dennis Crompton, Michael Webb and David Green. (Academy Group Ltd, 1994: 3) Various projects, pamphlets and magazines were published by the group. They attempted to move away from the continuing, traditional European architecture at the time with a tongue in cheek approach. (Cook, 1991: 8) All projects aimed to address environmental and social issues of the future such as population growths, new technologies, etc. (www.designboom.com) Rem Koolhaas and the office he founded, OMA, in 1980 have claimed to have revolutionise the idea of architecture as symbol. He himself has become a symbol- making a transition from cult hero to global ?starchitect?. (www. IconMagazine.com) Like his predecessors he sees the importance of symbols in space and has spent his life attempting to recreate the idea of the functional symbol. He is trying to do this by launching a campaign to ?Kill the skyscraper.? (Koolhaas, 2004: 53) He attempts to reject ideas of the past and form what he believes to be a ?new? way of thinking. He targets skyscrapers as a symbol of the old and his solution is the Hyperbuilding- a smaller, fatter version of the skyscraper. Effectively he has replaced an old symbol with a new symbol. Diller and Scofidio are a media based architectural firm who have used ?archimedia? as part of what they claim is an ?architectural evolution?. This husband and wife team fuse architecture with the visual arts and performing arts. (www.artnet,com) Although most of their early works have been purely media installation art, video art and electronic art, they are starting to become serious about their architecture and the integration of today?s media culture. (www.DADA architetti associate) Many of their projects attempt to make what they perceive as revolutionary comments on society and media. Much of their work remains unbuilt and on computer. (www.dillerscofidio.com) ?ARCHIMEDIA?  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 Skydome Chips shop Los Angeles Airport Sands tower The Space Needle FUTURISM 1907 BAUHAUS 1919 CONSTRUCTIVISM 1917 GOOGIE 1940 Seagram Taitlin?s Tower Ministry BuildingBauhaus Dessau Bauhaus Dessau UCL Library La torre Serbatoio Cloud hanger La Citta Nuova Bauhaus Museum Typical Bauhaus balcony Lenin Tribute The Cloud- Iron Narkomtiazhprom Constructivist Tower PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  REM KOOLHAAS 1980 Seattle Library Seattle Library Shenzhem Stock exchange Maison Lemoine CCTV Headquarters DILLER & SCOFIDIO 1986 ICA Waterfront Museum Alice Tully Hall ICA Waterfront Museum Blur project Eyebeam MuseumCook?s Tower The Walking City Plug in City Plug in City Instant city airship ARCHIGRAM 1960 Towers as symbols of power, prestige and the future Use of large scales Play on/ attempt to defy gravity Shock value Bordering on science fiction Bold urban forms Modular design Forms of media and the idea of a Media facade expressed Popular cultural imagery of the time Fundamental ideas of structure and rhythm in design All images (www.googleimages.com) ?ARCHIMEDIA?  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 SYMBOLIC ARCHITECTURE The fusion of architecture and media (?archimedia?) has been going for centuries. This influential relationship is evident throughout the ages. ?Archimedia? stands as a powerful symbol. Symbols around which power, a certain way of thinking or fundamental cultural values has found expression. (Brauer, 2002: 51) This architectural expression then and even today has always been considered just as important as the structural integrity and solidarity. Both media and architecture attempt to impress upon people ideals and beliefs. Therefore they both strive to achieve the same thing, making the relationship between them seem natural. The world has a history of iconographic or symbolic tradition. Architecture has always stood as a symbol or icon, ?representing its patrons: the pyramids of Giza, the monumental temples of the Greeks, the massive rotundas in ancient Rome, medieval churches, the palazzo built by the influential families of the Renaissance- all no more than symbols of power, representation, wealth, etc.? (Venturi; Brown; Izenour, 1977: 115) Aztec temple The Parthenon Egyptian pyramids Arc de Triomph St Peter?s Cathedral Notre Dame Symbols around which power, a certain way of thinking or fundamental cultural values has found expression. Eiffel Tower PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  Later political movements such as the Soviet Union and Hitler?s regime saw the importance of ?archimedia?. Their public buildings became a medium of symbolic expression of their political goals and ideals. Buildings were once again symbols of power and prestige much like the ancient architectures. Later modern day moguls built towers and skyscrapers which became these same symbols of power and influence such as the Statue of Liberty and the Empire state building. (Brauer, 2002: 4) Years later some ?big? name architects like Le Corbusier and Rem Koolhaas adopted this idea of ?archimedia? for power and prestige and they themselves used their architecture to reinforce their status. Archimedia is symbolic architecture of image and communication over space. Image and communication dominates the space as an element in the landscape. As the authors of ?Learning from Las Vegas? put it so accurately; all cities and buildings ?communicate constant messages- functional, symbolic and persuasive- to people as they move about.? (Venturi; Brown; Izenour, 1977: 55) This is why it is so crucial to understand ?archimedia? and to use it to define the appropriate message. Instead of creating an architecture of styles and signs without symbol, that is lost in translation. London Bridge Soviet building Ronchamp Swiss RE Tower CCTV Headquarters Empire State Building Trump Tower Ponte TowerEiffel Tower All images (www.googleimages.com) ?ARCHIMEDIA?  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 THE ?DUCK? VERSUS THE ?DECORATED SHED? In the book ?Learning from Las Vegas?, the author?s thoroughly explore this idea of architecture and media as symbol. The conclusion is that this relationship can be broken down into two forms of architectural symbolism. This first being ?the Duck?- embodied symbol: The duck is derived from ?the Long Island Duckling?, a roadside food stand in the shape of a duck. The architecture has taken on the shape of the name- duckling. Little is left to the imagination. For the author?s of ?Learning form Las Vegas?, the duck represents the embodied symbol because the form is directly derived from the content. (Jencks, 1978: 45) The second is the ?decorated shed?- applied symbol: The decorated shed is named after a typical urban scenario where the main fa?ade of a very standard shed or building is fronted by a signage depicting what the function of the shed is, either written or decorated with images of the function. The symbol in this case is applied to the standardised shed. (Venturi; Brown; Izenour, 1977: 89) (Venturi; Brown; Izenour, 1977) (Venturi; Brown; Izenour, 1977) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  The duck eats the shed and dies because the shed tasted so bad: Today these symbols have evolved further into brand architecture. The duck (embodied symbol) has eaten the shed (applied symbol) and both have died in the process, bringing about the birth of the brand as symbol. This is somewhere in between embodied and applied symbol as the brand is constantly swapping between the two symbols. (Fanuchi, 2003) ?ARCHIMEDIA? 0 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 BRAND ARCHITECTURE Symbols have been continuously revisited and today these symbols are known as brands. These brands represent people, corporations and cities. Today these symbols or brands are portrayed through architecture, as it can give shape to thoughts and visions, ?transforming mere buildings into dynamic images of corporate philosophies.? (Brauer, 2002: 59) The fashion industry has been one of the biggest industries to take on this theory when designing their stores. They spend millions of Dollars making sure that their brand image is expressed in everything which makes the brand visible, including the buildings. The ultimate goal for a brand is to be immersed in everyday life much like architecture is. An established brand is the most valuable asset a company can have. It seeks awareness and loyalty from its consumers so that they buy the brand not just the product. Both brand and architecture achieve loyalty by reflecting the identity of their supporters and providing them with an image of ?living their dream?. (Brauer, 2002: 8) Much like architecture, a brand establishes a defined personality and in turn defines a certain lifestyle. Both derive strength from their supporters who base their support on popular or successful environments created by the brand or the architecture. New technologies are offering interesting and exciting ways for ?archimedia? to sell a brand. Few of the well known and largest global brands have grasped the opportunity of learning from the past and making use of architecture in their communication strategy. (Brauer, 2002: 2) The communicative and image building potential of architecture is enormous and companies are starting to focus on it as a means of selling and representing their brand. APPLE STORE -MANHATTAN Front elevation Glass cube covered in media Floating logo in box Entry glass stairway (www.googleimages.com)(www.googleimages.com)(www.googleimages.com)(www.googleimages.com) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 1 Apple5 has been very successful at using ?archimedia? to portray its brand and corporate philosophy. Their apple brand logo is one of the most recognisable symbols in the world. (Useem, 2007: 55) This brand has established a devoted customer base in the computer manufacturing industry. Before the individual stores, Apple was dependant on mega retailers who had little incentive to position apple products as unique. The company decided to innovate and launch the ?Apple Experience?6. They wanted to translate brand identity from software and hardware into the stores and it is paying off. The stores were designed as a product so that the experience would stimulate more senses then just the visual such as audio and tactile senses. Today each store adds ?1000 new users to the Apple platform. Store openings have become events with thousands of people lining up outside hours before. (http://ifostore.cachefly.net/fifth_avenue/index.html) Apple has changed peoples expectations of what retail should be and is setting the precedent for global brands. (Useem, 2007: 54) These stores are proving that the combination of architecture and corporate philosophy (media) is the key to any successful, dynamic and sustainable brand. The Apple store in Manhattan New York on Fifth Ave is a flagship store. It is the first to be open 24 hours a day, seven days a week. A Glass cube 32 feet square is the only part of the store visible from the street. The all important Apple logo is suspended in this free standing glass cube. Below ground there is 10 000 square feet of retail. (Useem, 2007: 56) The sleek and efficient architectural design image has become synonymous with the brand. This is achieved by international store consistency in material: glass, stainless steel and wood and the uncluttered feel of the shelves and shop fronts. The glass cube is a powerful symbol and has been likened to that of the Louvre glass pyramid entry and the Muslim Ka?ba temple in Mecca. (www.macdailynews.com) The Ka?ba temple in Mecca Apple Store in Manhattan The Louvre in Paris (www.googleimages.com) (www.googleimages.com) (www.googleimages.com) (www.googleimages.com) PUBLIC SPACE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ? Public space is the city?s medium for communication with itself and its audience. Urban planning of the city is the moderator in a city of free players and the public space is the glue that holds them together.? Mirjam Struppek (www.intelligentagent.com) (www.gettyimages.com) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  Why public space and the city? Media has always been attracted to public spaces because it provides the ideal platform for exposure within the city. New urban media such as digital screens, neon billboards and moving advertisements are redefining the connection between the public, the event and the space they inhabit, bringing about a new value to the context. (www.firstmonday. org ) Today many major cities are bombarded with new urban media. This has a positive and negative effect on the city. In places like Times Square- New York, Picadilly Circus- London, Tokyo- Japan and Las Vegas- Nevada, the effect has been positive and new urban media has turned these places into urban monuments. (www.timessquarenyc.org/) They are continuously interacting with the public 24 hours a day, unlike many of the traditional, blank city spaces of the years before. This animated new media landscape of our cities has replaced the traditional city spaces. 03 : PUBLI C SP AC E AN D TH E CI TY (www.gettyimages.com) PUBLIC SPACE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 CASE STUDIES : Public spa ce Piazza San Pietro, otherwise known as St Peter?s is the hub of the historical Vatican City. The piazza fronts St Peter?s church, which is one of the most important Churches in Catholicism. The church soars above visitors and dominates the skyline as a symbol of the Pope and the Catholic faith. Bernini?s colonnade welcomes the public with open arms and anchors the space. The public space has a slight gradient towards the centre. This and the colonnade cradle the public space. Stairs and a raised platform leading to the church entrance establish hierarchy. Pompidou Square is situated in the main tourist district of Paris- the Beauborg quarter. Pompidou centre forms an interesting backdrop for public events on the square. The Pompidou centre is a bold rectangular massing that rises above the typical Parisian row housing of the district. This stark contradiction to the area is said to be what draws up to 25 000 large crowds daily. The square has an effective gradient sloping towards the Pompidou centre entrance doors. This aids access and acts as seating for an outdoor auditorium or amphitheater. In 1839 Union Square opened to the public. The oval shape, lush planting and large central statue was inspired by the fashionable residential squares of London at the time. The square is cradled by many high rise residential, cultural and commercial buildings. The square intersects Broadway- a main road that runs diagonal to the typical 90o grid of New York. The square is raised and acts much like a podium. The raised platform is appropriate for gatherings, speeches and parades. Co n te x t Urban massin g To po gr ap hy All three spaces use a gradient to showcase the spaces successfully. The gradient cradles or elevates the spaces- creating hierarchy (www.googleimages.com) (www.googleimages.com) (www.googleimages.com) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  CASE STUDIES : Public spa ce Mary Fitzgerald Square lies in the centre of the Newtown precinct. Newtown is being developed as the cultural and entertainment precinct of Johannesburg. Newtown?s very horizontal massing and the vast scale of the barren square, is a stark contrast to the very vertical language of the city skyline behind. The M1 highway runs along the site and provides a viewing platform of the large open space. The entire square is paved and flat. This makes the space seem hard and uninviting, much like a parking lot, more then a public event space. Although the flatness facilitates large events it does not facilitate the everyday. Hillbrow is an overcrowded, high density residential area that is riddled with crime. Joubert Park is Hillbrow?s most predominant public space and attracts visitors daily for socialising. The park is surrounded by a dense urban framework. Trees and planting nestle and shield the park from the high density surrounding Hillbrow area. Periphery activity that could potentially filter into the park is cut off by a fence. Joubert Park has paved walkways, with shaded grass patches. A slight gradient slopes towards the gallery. A fence cuts off the natural flow into the gallery from the space that the gradient would naturally facilitate. Beyer?s Naude Square, formerly known as Market Square, is considered to be the ?historical heart? of Johannesburg. Unlike the old ?Market Square? the space today remains functionless. Dull high rise buildings and busy streets cutting through the square isolates and breaks up the spaces, making them seem scattered. The basement parking entrances further break up the space and limit visibility into the space. There is a gentle slope running in an east west direction through the site. East being the highest point. The space has uninviting grass areas with paved pathways along the periphery of the grass patches. Co n te x t Urban massin g To po gr ap hy All three spaces have not considered the scale and massing of the surrounding urban spaces. This makes them unsuccessful. (author?s own) (author?s own) (author?s own) PUBLIC SPACE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 CASE STUDIES : Public spa ce Both the centre and the square act as a cohesive unit that facilitates each other. The square acts as a grand threshold into the building, allowing pedestrians to rest, or pass through the public space. The pompidou centre is a modern art gallery, art library and industrial design centre. This varied program attracts users day and night. Buskers and performers generate activity in the public space throughout the day. The square is surrounded by roads but is easily permeated and very accessible to people moving through or wanting to stop and rest. The square is a popular meeting and gathering place in New York City. Union Square has been a gathering place for commerce, entertainment, political events and recreation. Throughout the day the square is bustling with tourists and city residents, especially in summer. The large raised circular colonnades are easily permeated and act as a grand threshold into the public space. The large bases of the columns also serves as seating and shading for spectators and people passing through. The square is usually occupied by tourists or for religious ceremonies such as Sunday mass and Christmas. The religious and important historical value of the site attracts people throughout the year. Pe rmeabili ty & M o v eme n t All three spaces are easily permeated. Clear orientation, fixed focal points and high visibility make these squares successful. The features in all three spaces works in synergy. The positive features create a series of experiences to attract the public. Pr o gr am & O ccup atio n Public att ra ction & repulsio n PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  CASE STUDIES : Public spa ce A palisade fence limits access to the park through three access points. This fence also isolates the park from busy periphery activity and the Art gallery. The fence is meant to combate crime but is not successful. The only program still active today is the JHB Art Gallery that is fenced off from the park. People are forbidden to have spiritual or political gatherings, play soccer or music and hawk. This limited program means the space is very limited and almost useless. Busy streets, terraced planting and concrete basement parking entry ways limits permeability and access across the entire square. The fortress like Public library and Legislature building contribute to the inaccessibility. The public library is only open during office hours and the Legislature building is not accessible from the square. Lack of varied program means the square is usually vacant at night and on weekends. The space is mostly popular for political protests. The square is not easily permeated due to the concrete bollards that surround the square. Most activity takes place on the periphery with many people passing through rather then stopping. Besides from large events the square has no other program. Lack of retail and entertainment facilities along the edge of the square provides little interest for people passing through. Museum Africa is not enough of a program to activate the site. Pe rmeabili ty & M o v eme n t All three obstruct easy permeability into the spaces by means of bollards, fences or retaining walls. None are easily accessible. Pr o gr am & O ccup atio n Public att ra ction & repulsio n The features in all three do not work as a cohesive unit. A mixture of positives and negatives conflict each other constantly. PUBLIC SPACE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 MAPPING CONCLUSIONS The City Square is the most important space in the city. It defines the city and what it stands for. This space provides the ideal platform where the audience (locals and tourists) can relate to the city. It is the space that holds the urban framework together and if not correctly designed then it can be the negative space in the city that repels people. It is about more then an open ground with a central feature or media scattered around the space. It has to be very sensitive to the people that visit the space everyday, with a well thought out program that leaves people with a lasting impression. A fine balance between the media and the architecture in these spaces can be the definitive difference between attraction and repulsion. These mappings of some very well known squares reveal that a successful public square is a fine balance between public and the individual. Constant flexibility of the space is sustainability of the space. Varied programs facilitate flexibility by catering for varied users and events. However these programs must be responsible by providing above and beyond the needs of the city and its users. The Johannesburg public spaces analysed in these mappings are not as successful as the international ones and this is a problem for the city of Johannesburg. Instead of these spaces feeding the city they have become isolated breading grounds for crime and grime. Lack of imaginative programs and flow through the spaces has clogged these potentially successful spaces and many public spaces in the city have become repellents. This needs to change and the importance of these spaces needs to be acknowledged by all. The spaces can no longer remain stagnant and must be rejuvenated and develop with the rest of the quickly evolving city and the various cultures and activities these spaces must continuously accommodate. In all three chosen public spaces in and around the city of Johannesburg; Mary Fitzgerald Square, Joubert Park and Beyers Naude Square, small aspects of each of the spaces works in some isolated instances. However there is greater potential for the spaces to work as a cohesive unit that feeds a network within the city. From these mappings it is clear that the use of effective gradients, media and varied programs all provide the means for this rejuvenation and flexibility. PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  EVENT AND TIME Architecture is not about the conditions of design but the design of conditions, these conditions being environment, time and event. (Venturi; Brown; Izenour, 1977: 50) Many architects seem to forget this principle and are more concerned with aesthetics rather then with the conditions a building will face. Architects are constantly designing the time as much as the space and media is one of the important conditions to consider as media is constantly developing and changing the time and events of a space. New media and technologies allow for a range of events in one space. If collaborated successfully it can be the design of ideal conditions. William J. Mitchell, Professor of Architecture and Media Arts and Sciences at MIT has written many books on the subject of Architecture and Media. (www.media.mit.edu) One of his theories is based on the idea of the pencil. The invention of the pencil was revolutionary as one could be anywhere at anytime in any place and use a pencil to write or draw. This was lost in the early days of computer technology. The computers could only be used in specific laboratories. The room?s sole purpose was to house the computer thereby separating it from the everyday physical environment. Today however a room labelled a computer room, does not mean people with laptops are confined to this space. They are free to use the portable media where ever they want; in an office, in a restaurant or outdoors. The laptop or portable media allows this freedom today. The same applies to the phone. In the early days of telephones, phone booths were the only place people could use a phone. Today cellular phones can be used anywhere, as long as there is signal. One could argue that new communications have allowed the phone booth or computer room to encompass many spaces. (http://web.media.mit.edu) Therefore new wireless technologies have allowed man to return to the idea of the pencil; portable, unobtrusive and flexible. (www.ihedate. com) This old way of living applied in a new context has affected our architecture. Spaces do not have to be specifically labelled anymore. They can be used in a more ad hoc/ spontaneous way. Groupings can be made around particular moments or events rather then purely around function. This means that architects must build environments that are flexible- comfortable spaces that respond to basic human needs such as natural light, air and heat and can then be injected with flexible media and events. (http://web.media.mit.edu) PUBLIC SPACE 0 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 Some of the most successful public spaces are designed for a variety of events. This is because these spaces were designed around main events but also caters for the spontaneous events that can occur naturally in a public space. For example the public space that fronts the Pompidou Centre in Paris by Richard Rogers and Renzo Piano. The public space can cater for large or small events and as a result it is usually bustling with people throughout the day. This is achieved by introducing a gradient to the space so that the space can become one large auditorium or a series of small amphitheaters. (www.arcspace.com) POMPIDOU CENTRE -PARIS Another way of attracting various scales of events at different times is to use varied programmes, like OMA?s Parc de la Vuillette. The architects broke the space up into parallel bands packed with multi functions to create interest and excitement. People can weave through the varied programmes and are encouraged to bump into each other, creating a series of interests along the way. Public spaces are moving away from mono-functional zoning and are implementing multi-programmes into the spaces. (Wilkes, 2004: 64) This creates a series of experiences or events in a space and attracts more users into the space, making the architecture more successful because flexibility in architecture means sustainability of usage. PARC DE LA VUILLETTE -PARIS Divided into parallel strips of program allowing bump to happen between. (www.googleimages.com)(www.googleimages.com) (www.googleimages.com) (www.googleearth.com) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 1 WORLD VIRTUAL AND REAL SPACE Today a media space is both virtual and real. Most people consider a media space to be defined by the structure of the physical or the ?real?. This would include the building, audio equipment, camera equipment, computer technologies, and the structures that house these. We cannot physically understand virtual spaces but most of us enter it everyday virtually. (www.ihedate.com) It is referred to as cyberspace and is inhabited by ?virtual? communities and architectures. Both real and virtual spaces are defined by the cultural aspirations and the behavioral environment that is created by the people who inhabit the space. Architects need to consider these spaces to be just as important as real space. A good architect would design for both bodies in every aspect of life. Toyo Ito, a famous Japanese Architect who has been concerned with the Real and the Virtual in Architecture for sometime now stated that ?We of the modern age are provided with two types of bodies, the real body which is linked with the real world by means of fluids running inside and the virtual body linked with the world by the flow of electrons.? (www.designboom.com) He went on further to describe the characteristics of these two bodies as the following: ELECTRONIC BODY REAL BODY - Virtual body - Primitive body - Electronic/ artificial - Natural - Skin= Media suit - Skin = Clothing & shelter - Mind expanded - Physical body expanded New technologies such as the internet, interactive screens and the computer accommodates these virtual and the real bodies. These two bodies constantly overlap and continue to proceed simultaneously through time. Each body sometimes relies on the other to continue this process of growth and development. In today?s urban world shaped by digital technologies there are large gaps between these two bodies in architecture. The virtual body is usually not considered as a body to design for and is usually overlooked. The virtual body is developing faster than the real body, extending our mind by altering our virtual perceptions. The idea of the machine controlled by the virtual world, taking over our lives and inevitably our world seems so plausible that it has become one of many people?s fears. It seems even more plausible when one considers that many cities have come to rely on this virtual world as a kind of reality. Popular movies like ?The Matrix?7, ?Blade runner?8 and ?Minority Report?9 play on this fear by blurring the lines between the real and the virtual worlds. This constant swap between the two bodies has affected our idea of reality and our architectural perception of reality and the virtual. (www. ihedate.com) PUBLIC SPACE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 Toyo Ito believes that media with traditionally established styles such as paintings, books and movies will in future be ranked parallel, free of hierarchy, fused together into one medium and there will be ?no boundaries between a museum, an art gallery, a library or a theatre? there will simply be public buildings that serve the public- allowing media to happen in an ad hoc fashion within the spaces. This theory is much like William J. Mitchell?s pencil theory, that spaces will not be designed for specific functions. Rather buildings will come down to three simple elements; plate (slabs), tube (column) and skin (fa?ade) that can be multi programmed with the real and the virtual world. (www. designboom.com) SENDAI MEDIATEQUE -JAPAN Architect Toyo Ito puts theory into practice by attempting to embody the real and the virtual bodies in this project. The architect tries to cater for both by creating very minimal spaces (blank canvas), punched by tubes of light. The comfortable spaces can accommodate a wide range of media. This gives rise to a rich, complex multifunctional programme involving interaction between the two bodies. (www.galinsky. com) (www.googleimages.com) (www.googleimages.com)(www.googleimages.com) (www.googleimages.com) (www.googleimages.com) (www.googleimages.com) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  AUDIENCE All architecture, events and media have an audience, in the past the bigger the space and the greater the event, the larger the audience. However new technologies today such as the internet, have allowed the physical spaces to be small and still cater for a large virtual audience. (www.ihedate.com) Because of this architects have had to be more outrageous and adventurous with their designs in order to capture a larger virtual and real audience. Before new technologies such as the television, radio or internet After new technologies the gatherings became bigger gatherings were small and so was the audience. and so did the audience- virtually and physically. Architecture needs to accommodate these varying audiences such as pedestrians, land traffic and possibly air traffic as well as the virtual audience at anytime. The people, who visit the real space, require a total sensual experience of the spaces they visit- audio, visual, mental and tactile. People who visit the space virtually require audio, visual and mental stimulation. In order for a media building or space to be successful both real and virtual audiences both should be considered and equally designed for to satisfy all their desires and needs. Over the last few decades new media in many cities all over the world has forced audiences of the real world to move indoors to their living rooms furnished with televisions, radios, magazines, etc. Audiences have become blind to the architecture and their viewing experiences have become primarily centred on lifestyle, sex, violence and consumption. (Schwazer, 2004: 27) New wireless technologies have brought these people outside into the city spaces. This recaptured audience in the cities are searching for interesting, innovative spaces. It is up to the architects to keep this lost audience captivated by the city?s public spaces, instead of driving them back to their virtual worlds housed in their private dwellings. The successful merging of architecture and media will provide the means and desire for the audience of both virtual and physical to come outside of their private spaces and share, interact and connect outdoors in functional, innovative and exciting spaces. (www.googleimages.com) (www.googleimages.com) MEDIA FACADE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 (www.gettyimages.com) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  What is a media facade? Most people would think a media fa?ade is simply an urban screen or billboard. But the media of a fa?ade is about more then a screen or sign. The media facade goes far deeper then advertising and entertainment- it is about ideals, symbols and beliefs. The facade has always been the ?screen? facade as it has always reflected the ideals and preferences of it?s client or the people that it serves. Therefore the idea of a ?media? facade of architecture has been around for centuries and it has been happening globally. The media fa?ade is the media skin- a sustainable skin that sells the building or the brand. When the structure and sustainability of a building are expressed in the fa?ade (skin) it enhances the media and the architecture (?archimedia?). The adaptation of the fa?ade along with new technologies affecting media and architecture is crucial to the development of ?archimedia?. Although it seems that the most successful media facades should be dazzled in lights and moving images, these intense facades speak nothing of the architecture they hide. A successful media facade can be read like an interesting book that tells a story about the structure, the client, the people and the city. 04 : TH E MEDI A FA CAD E MEDIA FACADE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 MEDIA SCREEN In the age of communication most cities have come to depend on the urban screen. These screens cater for various functions: to beatify the city, for surveillance, for security, for accessing data and information, by acting as a social catalyst, becoming the story teller and promoting consumerism. (www.intelligentagent.com/) The screen/ sign in the city has brought event to the surface (fa?ade) and today they generate more income then the buildings they front because of the advertising potential. Today many public spaces in cities all over the world are littered with signs and screens- the buildings have disappeared. (Venturi; Brown; Izenour, 1977: 34) Architectural facades have lost architectural meaning and started to take on a product promotional role, providing the ideal surface for the new city parasite, the urban screen, to attach to and flourish. These screens and billboards easily and quickly attach to existing infrastructure and are easily changeable to accommodate the new. Signs/ screens have gotten bigger, brasher and bolder to accommodate new transportations, larger distances and high speeds. (Venturi, Brown, Izenour, 1977: 10) This digital landscape of media screens and signs has become the new urban ?landscape?. Most of the signs/ screens are hardly distinguishable from the high rise buildings they front- overtaking the buildings and the skyline. (www.timessquarenyc.org) This evolving, digital landscape is so successful because it offers an endless array of new ?realities? and affiliations, providing people with the means to escape from the mundane everyday of an otherwise cold, hard city. The architectural fa?ade needs to become as flexible and changeable as the urban screen in order to survive this new ?age of communication? where the urban screen is the latest accessory. TIMES SQUARE THEN An old image before there was signage and screens. The space is clearly defined by the physical infrastructure. TIMES SQUARE NOW A new image of Times Square clearly illustrates how the media (signage, screens) defines the place. (www.timessquare.com) (www.timessquare.com) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  NEW YORK BLACK OUT In the 1960?s Times Square in New York was on a downward spiral from being a glamorous entertainment district to an area of cheap thrills. ?Massage parlours? replaced the glamorous movie theatres of the 50?s. In the late 1980?s a large commercial development was proposed to counteract the crime and grime. This meant that all the lights would be taken down and the streets would read the same as any other commercial district. People protested the removal of the signage and the old theatres. As an experiment all the lights in Times Square were turned off to demonstrate how much the signs contribute to the space. After the developers saw the space without the signage and lighting they decided to keep the space as it was and new zoning rules were enforced that all buildings in the area had to have signage and lighting of certain intensity. A new unit of measuring light was developed ? the LUTS (Light Unit Times Square). Today the lights and signage have transformed the area into a pop culture icon and Times Square has become a landmark for New York. It is referred to as an urban park, just as important as the countries nature reserves. (http://www.timessquarenyc.org/) (www.gooleimages.com) MEDIA FACADE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 CASE STUDIES : Sc reen Fa cade s Co n te x t D esc riptio n The three use low resolution graphics for artistic purposes and to attract visitors. The Kunsthaus Graz seems totally out of context and has been referred to as the ?friendly alien?, ?the slug? and the ?blob?. It is a total change from the typical traditional Austrian architecture that surrounds it. This project is architect Peter Cook?s first built project and it seems to be a direct copy of the ?walking city? project he developed in the 60?s. The screen facade is made up of 930 40 watt fluorescent rings that function as pixels. Each pixel has a light variable between 0 to 100%. The screen is known as ?BIX?, this is derived from the combination of the words ?Big? and ?pixel?. (www.danda.be) Blinkenlights was a project that lasted 23 weeks. Europe?s largest hacker group turned the Haus des Lehrers (House of the Teacher) building, in East Berlin, into a nocturnal public electronic doodle pad and game board to celebrate their 20th anniversary. Interaction was encouraged as passersby could email in simple animations or play games with other callers, using the web-based ?blinkentools?. 1000 emailed animations were sent in and displayed. The screen facade was made of 150- watt lamps mounted on a tripod behind each of the 144 white washed windows of the upper eight floors. Each lamp was connected to a control center via a relay on/off switch and was controlled by a software system. walking city Kunsthaus Met Lofts design is inspired by the Bauhaus movement. This block of apartments is unlike the typical apartment blocks of Los Angeles because its facade is an ?interactive art display? of LED lights. This innovative idea for an apartment block facade has made the apartments sought after and exclusive. The project was designed by Electroland so as to position the apartments as unique from the many found in Los Angeles. Red LED lights are embedded into the facade. The entry courtyard is an interactive light floor that activates the LED facade. A video camera facing the building transmits images to a plasma screen in the lobby, so visitors inside can see the effect their footwork is (www.gooleimages.com)(www.gooleimages.com)(www.gooleimages.com) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  CASE STUDIES : Sc reen Fa cade s Co n te x t D esc riptio n The three use high resolution graphics for advertising and entertainment. The screens here have turned these areas into urban landmarks. Q-Front Vision is also known as Q?s Eye. It is situated in the centre of one of the busiest intersections in the Shibuya district in Tokyo. The Shibuya district has been compared to ?Times Square? in New York because of the many signs and screens that fill the streets. The intersection where the building stands is an icon of Japan and has been featured in many movies. Q front is a shopping centre that houses many famous brands. (www.qfront.com) The screen sits behind a clear, glazed curtain wall and has been made entirely out of LED clusters. It also projects sound and is a very prominent feature amongst all the other signage and screens. Times Square has 26 million annual visitors each year, and has become an ?iconic world landmark?. On New Years eve every year +/- 750 000 people congregate to watch a crystal ball being lowered from the top of the New York times building. Real estate here has attracted many businesses such as financial, publishing, and media firms. The square is featured in many movies and is strongly associated with popular American, urban culture. (www.timessquare.com) The signage and screens are constructed of typical LED screens or lit up neon billboards. The signage and screens attach to the buildings facades and are changeable and therefore flexible. Fremont Street was the first street in Las Vegas to be paved in 1925. The screen covers the entire entertainment pedestrian street. Fremont Street is lined with street vendors, big screen movie theatres, gaming facilities and Las Vegas casinos such as the Fremont hotel. Over 16 million annual visitors come to the Fremont Street Experience each year and it also serves as a backdrop for movies, television, commercials and special events. (www.fremontstreetexperience.com) The $ 17 Million LED screen consisting of 2 million lights. This is the largest LED screen in the world. A performance is activated every half hour along with sound for entertainment. The three use low resolution graphics for artistic purposes and to attract visitors. (www.gooleimages.com) (www.gooleimages.com)(www.gooleimages.com) MEDIA FACADE 0 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 CASE STUDIES : Sc reen Fa cade s O rie nt ation & Sp ee d Low resolution screen facades means that the screens can be seen over large distances and acts as free advertising for the building- attracting a large audience. Pu rp ose / Pr o gr a m All three screen facades are programmed to appeal to streets and fast speeds as well as slow speeds, broadening the audience. The kunsthaus is purely used for artistic works. No advertising is permitted and the program of the screen is meant to advertise the program of the building. The screen facade is orientated towards the main street and the River Mur beyond. The low resolution screen appeals to high speed traffic such as vehicles and slow traffic such as pedestrians. People can view this screen over large distances. Blinkenlights was an artistic project aimed at entertaining and interacting with viewers. The screen facade is orientated towards the parking and the commercial buildings across the busy streets. The positioning of the building means that it can be seen over large spaces. The Met Lofts screen facade is an interactive artistic project with a unique surveillance aspect to it. The screen is orientated towards the parking and the street. In Los Angeles this makes sense as most of the people use vehicles to travel around instead of walking. RIVER MUR PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 1 The overhead screen is mostly for entertainment to attract visitors to the retail strip. It is also a very appealing backdrop to the busy street. The fremont street experience is a unique one as the screen replaces the sky. The screens determine the environmental conditions. Visitors are surrounded by entertainment and graphics 24 hours a day. The screen is purely aimed at pedestrians and the speed of viewing the screen is slow. The 24 hour a day screens animate the streets of Times Square and are purely for commercial and advertising reasons. The screens and signage are orientated along the streets where major vehicular and pedestrian traffic flow. This large amount of people moving through the space per day makes the facades of these buildings very commercially viable and the owners of these facades earn thousands of dollars just to rent the facades. CASE STUDIES : Sc reen Fa cade s O rie nt ation & Sp ee d All three examples are orientated along strong passages of vehicle and pedestrian movement. Pu rp ose / Pr o gr a m All three areas cradle viewers in a vibrant/ entertainment environment by means of urban screens. Q-front?s facade is used for entertainment and advertising. Many people stop and watch as they move through the space. Although Q front is situated at a busy vehicular and pedestrian intersection it appeals mostly to pedestrians as the detailed graphics are absorbed better when watched. Although Q front is one of the biggest screens in the intersection it is surrounded by signage and screens and this does distract from the Q front facade. MEDIA FACADE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 MEDIA SKIN The living skin is the metamorphosis of the typical, non responsive fa?ade into a responsive skin. This living skin will breathe- receive information or stimuli, interpret it and respond physically. Most of the highly developed facades of today are fed information on how to respond, they cannot think for themselves. New technologies are constantly exploring the idea of the building skin being able to process information for itself and then physically respond, in real time, to environmental stimuli. These external and internal environmental stimuli would have to accommodate people, weather, sound and movement. (www.hyposurface.org/) For optimum function these skins could become structural and would also have to function within networks, accommodating and shielding other buildings and their skins when necessary. (www.oframbfra.com/) The fa?ade should work on a constant circuit of information that would collect data, store data and then relay information back and forward as a physical output. Buildings would optimise the function of spaces and materials and rely less on the world?s resources, which is currently a huge global problem. This skin architecture is referred to today as ?hyposurface? architecture. By efficiently implementing this ?hyposurface? architecture with media such as the urban screen into all of our buildings facades we could effectively mediate the needs of people and the environment through the skin of our buildings. (www.hyposurface.org/) This living skin would create a unique interaction between ?user sensibility? and the material world where form truly would follow function. (www.oframbfra.com/) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  CASE STUDIES : Non- st ru ctu ral Sk in s Co n te x t Const ru ctio n The porous fa?ade is a pixelised screen of 30 000 parallel glass tubes in a honeycomb formation. The skin is both reflective and transparent to pedestrians with kaleidoscopic views inside and outside. The dot matrix reflects and absorbs light. The tube matrix has become the billboard for the store as closed tubes subtly spell out the store name. This high end store by Jun Aoki uses the idea of capturing and reflecting light as advertisement for the brand Louis Vuitton. The store sits among many other big name brand stores in Tokyo?s shopping district. Set on a prominent site in the central part of Paris, the Arab Institute was one of many projets encouraged by the French President during the 1980s. Its purpose was to foster knowledge of Arab world culture in the arts and science technologies fields. All three skins use the capturing and reflecting of light to advertise and light up spaces inside the building. Architect Jean Nouvel has reinterpreted the traditional timber Arab latticework screens in glass and steel. 30,000 high tech light-sensitive mechanical devices (similar too camera lenses) are designed to regulate the penetration of light into the building as well as light levels and transparency. Countless mechanical malfunctions make it unsuccessful. The facade catches light with all of its surface and then distributes it into the three levels of the gallery space and ground floor. The glass skin is a free standing structure supported by a metal frame. There is an empty floor (?light plenum?) between floors where light is collected and then distributed. The museum by architect Peter Zumthor, stands like a box of light on the shores of Lake Constance in Austria. Its inner light is always changing, depending on the type of exhibition, the time of the day and the color of the sky. (www.gooleimages.com) (www.arcspace.com) (www.arcspace.com) (www.gooleimages.com) (www.arcspace.com) (www.arcspace.com) MEDIA FACADE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 CASE STUDIES : St ru ctu ral Sk ins th at mutually sup po rt each othe r Pr o gr a m All three buildings use the skin to sell the building. The skin is now the media. This skyscraper for the Swiss Reinsurance Company, towers above the London Skyline. The very organic structure has been nicknamed the ?Gherkin? because of its shape and inability to relate to it?s surroundings. The architects, Norman Foster and Partners, have argued that the highly sculptural building is intended to resemble the bow of a ship, referencing the nautical history of the area. However this tower is a complete contrast to the surrounding functional Canary Wharf buildings. The tower has brought about a significant amount of media attention and it seems almost intentional. The 40 floor tower is a commercial venture. The iconic Headquarters in London were developed for the Swiss Reinsurance company. Co n te x t In Tokyo, Japan many big name brands have invested millions into bold facades and forms in order to stand out amongst the many. This building by Herzog and De Meuron cost an estimated $80 million, most of this for the structural skin. The Prada building is supposed to sell the brand. The skin is supposed to enable viewers to see constantly changing images of the Prada products inside and the city outside. Unfortunately the convex and concave curvatures always produce a considerable amount of glare, which prohibits these views. The skin is unsuccessful as it takes away from the products. (www.galinsky.com) The program is simply floors of retail space. The skin is supposed to function as a billboard for the brand. The Public Library sits as an object in the space rather then a building. The building does not relate to the rest of the city context and appears as more of a sculpture then a functional building. The architect, Rem Koolhaas claims that this Library is breaking away from the idea of the traditional Library- unprogrammed spaces have replaced specific programs. This 355,000 square foot library acts as a single unit encompassing many medias. Both architect and object like building have become media sensations and the building has been named the Pritzker Architecture Prize Laureate for 2000. The very open spaces have no specific programs to allow for flexibility of space and function. (www.gooleimages.com) (www.gooleimages.com) (www.gooleimages.com) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  Pr o gr a m All three structures use the skin as a structural shell with infill panels of glass or ETFE cushions as a protective skin. LAB Architects beat 177 international entries with this fractal design. They saw their design as one of ?difference and coherence? bringing together distinct elements and activities while maintaining a visual and formal coherence. They believed that this design reflected the true spirit of federation - independent identities combining to form a larger whole. The varying facade accommodates various orientations, based on views, affiliations and environmental concerns. Each facade of federation square is distinctly different from the other, whilst maintaining overall coherence with geometry. The complex was designed as a public civic centre and meeting place that links Melbourne?s CBD to the Yarra river and surrounding gardens. Co n te x t Herzog & De Meuron won the international competition to design the new National Stadium for the 2008 Summer Olympics in Beijing, China. The stadium is 330 metres long by 220 metres wide, and is 69.2 metres tall. While the basics of stadium design have changed very little since the Colosseum of ancient Rome, the aesthetics have changed dramatically. The new National Stadium, referred to as the nest, is located on a gentle rise in the centre of the Olympic complex. The stadium is conceived as a large collective vessel which will make a bold impression near or far. The stadium meets all the requirements of an Olympic Stadium and is very reminiscent of the Allianze arena by Herzog and De Meuron. Architects PTW and engineering firm Ove Arup won the contract to design and build the 2008 Olympic National Swimming Centre in Beijing. The building is estimated at a combined cost of $100 million. The National Swimming Centre will be located in the western part of the Olympic Green, within a plot area of 70,800m?. The Olympic Green is north of Beijing city centre surrounded by 760ha of lush forest. The multi-functional aquatic centre, required extensive use of digital technology, energy-reduction and water-saving methods. CASE STUDIES : St ru ctu ral Sk ins th at mutually sup po rts each othe r All three buildings use the skin to sell the building. The skin is now the media. (www.gooleimages.com) (www.gooleimages.com) (www.gooleimages.com) (www.gooleimages.com) MEDIA FACADE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 Const ru ctio n M a te rials / Glazin g Concrete, steel exoskeleton, metal decking. Double glazed prefabricated cladding. A superstructure. Concrete slabs on profiled metal decking attach to the concrete core. The floors also latch to the skin to restrain them from movement. The floors are grouped in sections of 6 floors- supported by the skin. Brunelleschi inspired the spiralling, structural skin of the building. He found that they were more effective at supporting the building and controlling the curvature. Buckminster Fuller was also a strong believer in these ideas and Norman Foster worked under him in his early years. (Skyscraper news.com) ? ? ? Rhomboid-shaped steel grid Diagonal, anodised aluminium filigree frame with laminated safety glass with a punctiform glass-fixing system. The glass panes were inserted with flush sealing. This takes into account the possible seismic displacements that Japan suffers from. The panes vary between flat, concave and convex ?bubbles?. The aluminium mullion and transom system is attached to the diagonally running steel structural framework behind. The rhomboid-section horizontal tubes run along the free edge of the floors contributing to a stiffer hyper-static structure. The tubes allow the floor slabs to be thinner and the plates make the tubes lighter. (www. architecture.superrera.cam) ? ? All three buildings use a strict diagonal geometry as structural skin. Steel structure, Double insulated glazing with Aluminium mesh in between to deflect 90 percent of the direct sunlight from the west side. A steel framework is criss crossed by structural steel bars. The outer skin?s diamond pattern was engineered to give the building added strength in case of an earthquake or strong winds. This angled skin also gives the building an open-air feel by allowing natural light in. (Koolhaas, 2004: 32) The use of a steel diagonal structure with an aluminium glazed skin attached to it is very similar to the Prada Store and The Swiss RE tower seen before. ? ? CASE STUDIES : St ru ctu ral Sk ins th at mutually sup po rts each othe r (www.gooleimages.com)(www.gooleimages.com) (www.gooleimages.com) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  Const ru ctio n M a te rials / Glazin g Three cladding materials; sandstone, zinc (perforated and solid) and glass have been used within a fractal geometry modular basis. Fractal geometry as a form of structural geometry has been around since the 17th century. This fractally incremental system uses a single right angle triangle, whose proportion is maintained across the single tile shape. (www.maintexas.edu) One panel is composed of one triangle and the construction module of the mega-panel composed of five panels. Mega-panels are fixed to separate frames, offset from the curtain wall glazing of the spaces. (www. Labarchitects.com)These facades are independent from the structural grid and continuously change to create visual interest. ? Steel superstructure *ETFE (Ethylene Tetrafluoroethylene) cushions The steel structural elements mutually support each other and converge into a grid-like formation, almost like a bird?s nest. The basic structure is a steel frame that has been overlaid with random steel sections. The spaces in the structure will be filled with inflated ETFE cushions, similar to the Allianz Arena. The cushions will be mounted on the outside of the structure to make the structure completely weatherproof. Rain is collected for rainwater recuperation and the sunlight filters through the translucent material providing the lawn with essential UV-Radiation. ? ? Steel superstructure *ETFE (Ethylene Tetrafluoroethylene) cushions The structure known as water cubes plays on the geometry of water bubbles in a rectangular form. The system is based on a concept from two Irish Professors of Physics at Trinity College, Dublin. It consists of three different steel nodes and steel members that will be fabricated from a steel plate and bolted together on site. The benefits are that the facade will look like water bubbles and it is ideally suited to withstand the seismic conditions found in Beijing. Blue ETFE cushions will clad the walls and roof. The ETFE cushions will also be used to capture solar energy to heat the pool. ? ? All three structures employ a complex understanding of spatial and surface geometry. CASE STUDIES : St ru ctu ral Sk ins th at mutually sup po rts each othe r (www.gooleimages.com)(www.gooleimages.com)(www.gooleimages.com)(www.gooleimages.com) ARCHIMEDIA  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  PA RT 2: DESIG N DE VE LOPMEN T PART TWO: DESIGN DEVELOPMENT DESIGN DEVELOPMENT 0 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 DESIGN DEVELOPMENT PROCESS PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 1 DESIGN DEVELOPMENT  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 DESIGN DEVELOPMENT PROCESS outcomes inform needs/ requirements PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  needs informs program program informs target market DESIGN DEVELOPMENT  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 DESIGN DEVELOPMENT PROCESS the varied and dispersed program allows for much flexibility and therefore sustainability of space overlapping and bumping = interest and opportunity PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  To link the spaces by means of a building strip, establishing a series of varied spaces To diffuse the power and dominance of the highway To ease permeability and movement through the existing spaces To create a backdrop to the square that facilitates the events To mark gateways in and out of the public spaces To create a media facade that is sustainable, adaptable and flexible To compete with the vertical language of the city skyline by means of greenery (green strip) and lighting (light tower) To introduce a flexible and varied program that facilitates the everyday ? ? ? ? ? ? ? ? THE SITE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 (author?s own) (author?s own) DAY TIME NIGHT TIME PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  01 : TH E SIT E The search for a site... The siting of any building is crucial, especially a public building that stands true to the archimedia principles. The M1 highway has always been a prominent aspect of my city experience. The spectacular viewing platform introduced me to the city and dazzled my curiosity of the city skyline. The highway also defines the city edge, one side a dense vertical urban framework and the other a vast horizontal language of mine dumps and industrial warehouses with housing scattered beyond. The M1 highway on the edge of Johannesburg city has become an important media platform for the city, mass communicating messages of urban, speed and advertising in between. Some companies have even used prominent buildings along the city skyline as an advertising canvas. Ponte is crowned with the vodacom logo, Cell C has claimed the pinnacle of the diamond building and many other companies are caching onto this. Mary Fitzgerald Square has always drawn attention from the highway. The vast open, flat plane of the square is a stark contrast to the city skyline. Temporary events throughout the year like confetti on the square always draws attention and is very visible for highway commuters. The Site appealed to me because of certain aspects; Its ability to facilitate the temporary, large or small, this allows for a constant state of revision. The day and night potential of the space. The huge potential to showcase media in and around the space. Its good visibility from the highway. Its easy accessibility for pedestrians and vehicles and now even more with the construction of Nelson Mandela Bridge. Its ability to mix and bring various cultures and people together much like media. As it is today the site is not reaching it?s full potential. Bollards obstruct the flow through the square and the everyday is not facilitated or encouraged because of a lack of a varied program. Although the site has a history of event and gatherings since the formation of the Johannesburg city, it is lacking in something. Most days the site feels empty and lost- waiting to be activated. It only seemed natural that archimedia would be the key to this rejuvenation. ? ? ? ? ? ? THE SITE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 1. SARS 2. Carr str off ramp 3. Old railway station 4. Nelson Mandela bridge 5. Queen Elizabeth bridge 6. Rissik str 7. Fuel Bar 8. M1 Highway 9. Kippies 10. Brickfields 11. Metro Mall 12. Carfax 13. Cultural Centre 14. Market Theatre 15. Museum Africa 16. Nikki?s Oasis 17. Mary Fitzgerald Square 18. West Street Parkade 19. Worker?s Library 20. Gauteng Tourism 21. Turbine Hall 22. FNB Complex 23. Parking 24. The Diamond building 25. Reserve Bank 26. Horror Cafe 27. Newtown Park 28. Astor Cash & Carry 29. Transport House 30. Bassline 31. Dance Factory 32. Moving into dance 33.Discovery Sci-bono 34. SAB 35. Bus Factory JDA 36. Johannesburg Library 37. Beyers Naude Square 38. The Directorate 39. Johannesburg City Hall 40. Bank of Lisbon NEIGHBOURHOOD FEATURES PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  WALKING THE SITE (All images author?s own) THE SITE 0 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 1887 At the turn of the 20th century, the Newtown Precinct was officially declared Brickfields by Paul Kruger. The area was rich in clay and brick making became the most popular industry in the area after many Afrikaner families were evicted off their farm lands. The sun-baked brick making industry boomed during the 1888- 1889 Mining Boom of Johannesburg. The square was known as Aaron?s ground and was a popular gathering site for wagons and Miner?s strikes. By 1896 +/- 7000 people of all races lived in the area that was later named Burghersdorp. Poverty and lack of sanitation and portable water lead to Burghersdorp becoming one of Johannesburg?s first slums. This lead to disease. 1904 In April 1904 the local fire brigade set the area alight to combat the bubonic plague. Everything was destroyed and the area was surveyed, re-planned and renamed Newtown by October 1904. This land was close to the centre of Johannesburg and the railway line. Many immigrants and businesses bought stands in the area because of its central location and economic viability. This included trading companies, banks, brick companies, a brewery, and fisheries. The area remained a commercial area for milling, production of sugar and food merchandising. In 1939 Aaron?s ground was renamed Mary Fitzgerald Square in honour of the first woman trade unionist who played a key role in the 1910 miners? strike. A HISTORY OF EVENT & GATHERINGS IN THE SQUARE (museum africa archives) (museum africa archives) PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 1 1984 The precinct remained a commercial area for industry years. In 1984 the Johannesburg Flea Market was officially opened in Mary Fitzgerald Square. (www.joburg.org.za) During the day the site was a popular gathering place for taxis. However every Saturday morning people would gather in the hundreds to view the many stalls that occupied the square. The flea market is still held in the square today but not as often as in the 1980?s. 2001 In 2001 the government decided to invest R28 million rand to turn the precinct into the cultural and entertainment heart of Johannesburg. The precinct became a mixed use precinct to encouraged people back into the area to live, work and play. 2007 Mary Fitzgerald Square is still used as a gathering place for entertainment, commercial, and cultural events. THE SITE HAS A HISTORY OF POLITICAL, CULTURAL, COMMERCIAL AND ENTERTAINMENT EVENT AND GATHERINGS (museum africa archives) (www.joburg.org) (author?s own) THE SITE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 CURRENT ZONING Mary Fitzgerald Square Newtown Park PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  FUTURE PROPOSALS KEY 1. CARR STREET DEVELOPMENT Mixed use: Retail, Commercial, Residential 2. MAJESTIC DEVELOPMENT by KOA Mixed use: Retail, Commercial, Residential 3. OLD MUTUAL DEVELOPMENT Mixed use: Retail, Commercial, Hotel 4. NO 2 CENTRAL PLACE Government, Commercial 5. TRANSPORT HOUSE Commercial 6. NEWTOWN NORTH DEVELOPMENT by Osmonde Lang Mixed use: Retail, Commercial, Residential 7. PIM STREET DEVELOPMENT Mixed use: Retail, Commercial, Residential 8. ZENPROP DEVELOPMENT Mixed use: Retail, Residential ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 1 2 3 4 5 8 7 6 Mary Fitzgerald Square Newtown Park THE SITE  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 CULTURAL BAND A band of cultural, entertainment and educational facilities surrounds and cradles the public spaces and has the potential to feed them.! Mary Fitzgerald Square Newtown Park A band of cultural and institutional activities surrounds the public spaces except along the edge marked with an arrow. This important edge is currently disregarded and remains a service road. It needs to compete with the dominant highway, The concept is to link the two public spaces with a thin long building. This strip will anchor the free edge of the site- capturing and feeding the spaces. The strip will continue the theme of the cultural/ institutional band, that has started to cradle the spaces, making them work as a unified unity. PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  Within the band there are two public spaces- Mary Fitzgerald Square and Newtown park. These spaces should be linked by a strip to create a series of spaces.! City Edge SERIES OF PUBLIC SPACES CONCEPT  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  02 : CONCEP T The concept... The social strip The strip becomes the social vein that feeds and facilitates the existing public spaces. Public functions of the program will be housed in this strip- a living, permeable screen that breathes and interacts with the spaces and the people that move through or around it. The highway strip The strip also sets up a strong language with the highway as the height will almost be the same as the highway, which is currently the most dominant massing on the site. The strip will attempt to diffuse the power and dominance of the highway. The two strips will almost seem to talk to each other. The threshold This strip will act as an important threshold into the public spaces from the city edge. This thin strip gesture is a very traditional concept. A gesture such as the traditional colonnade that defines the ?piazza? or public space; like a portico it is the ?porch? or entrance ?stoep? for receiving guests; like the piano noble it is used for entertaining, eating, living and receiving guests- much like the intended program of the strip and finally like the traditional peristyle that is a columned porch or open colonnade that surrounds the court. The media strip Finally the strip is a media strip that is read like a billboard. A long thin surface that projects and reflects the people and media of the city. The media skin or screen will be changeable and flexible, adapting to the event on the square. The strip could stand out or be a subtle backdrop to the events on the square. CONCEPT  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 MEMORY MINING MEMORY The steel structure is reminiscent of the mining shaft structures that used to occupy the Johannesburg landscape. The mining industry played a large role in the development of the Johannesburg City. HIGHWAY MEMORY The linear strip gestures towards the highway strip. INDUSTRIAL HERITAGE OF THE AREA The steel is reminiscent of the industrial heritage of the area. The area was a booming industrial area and steel warehouses were built to house goods. RAILWAY MEMORY The idea of a strip and a steel structure running through sites is very reminiscent of the railway lines of Johannesburg City. (www.googleimages.com) (www.googleimages.com) The linear strip and steel structure generates memories of significant aspects of the site and the city! PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  PERMEABILITY OF THE STRIP (www.googleimages.com) The building is raised off the ground allowing for easy movement through the building from the back street to the square. highway square strip hall street The strip is very permeable much like the highway, creating a series of different spaces. ! ! FINAL DESIGN 0 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 1 03 : FINA L DESIG N The strip... The strip starts to create event of the everyday by introducing movement, program and people into an otherwise blank canvas that is only active during a featured event. Much like the Pompidou Centre has done for the Beauborg quarter or St. Peter?s cathedral has done for the city of Rome, so too will the strip bring about people, tourism and act as a permanent feature to Newtown- Reinforcing the area as the ?entertainment and cultural hub of Johannesburg City?. This strip adds to the potential life and energy of the site by bring it to the forefront and marking it proudly. FINAL DESIGN  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 LANDSCAPING CONTRASTS Both public spaces are in strong contrast with each other The square remains a vast blank canvas and the park space is moulded and textured for relaxing and play. Bollards are removed allowing free flow through the flat square.! ! PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  THE ROOF TOP GREEN STRIP Nature reclaims the skyline: In the city the green strip becomes as important as the media The green strip competes with the strong vertical language of the city skyline backdrop. the strip reaches out into the landscape embracing it bringing inside out & vice versa! ! FINAL DESIGN  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 FACILITATING EVENTS ALONG THE STRIP M1 Highway The strip The strip sets up a strong linear language with the site much like the highway. This anchors the square and helps facilitate the events.! PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  A MUSIC EVENT (STAGES) The building strip becomes a backdrop to the stage. The facade could be lit up as an interesting backdrop. Lighting and sound could also be attached to the steel structure. AN EXHIBITION (TENTS) The building strip assists the event. The building becomes a focal point of the event or exhibition and the facade could advertise the event or information regarding the event. AN OUTDOOR THEATRE The building strip becomes a screen. The square becomes an outdoor theatre as images could be projected onto the facade. FINAL DESIGN  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 This barcode illustrates that the context is different on either side of the strip the light tower is raised and only touches the market area lightly so as not to interfere with what works SQUARE covered exhibition hall lig ht to w er gateway out of square overhead floors slow traffic and light tower pulls eye into existing market gateway into the square - bridge frames view & slows vehicle entry existing one t raffic out of the squa re main entrance people slip under the building and can move through to Miriam Makeba street (retail strip), creating a series of varied spaces MIRIAM MAKEBA STREET office lobby BUSY Proposed residential/ retail development Museum Africa MARKET letable retail letable retail ! TOUCHING THE GROUND PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  Proposed residential/ retail development Worker?s library gateway into the square - bridge frames view & slows vehicle entry existing one t raffic in to the squa re structure reaches out to the landscape embracing it and allowing movement through to the back residential green space. entrance The vibrant energy is channeled through the strip to filter out into the Mary Fitzgerald Square and Newtown Park QUIET colonnade space allows for shaded seating or informal traders & artists to showcase PARK ! FINAL DESIGN  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PLANNING meeting/ training rooms letable office space exhibition space light tower Service and circulation cores Conference meeting/ training rooms 1075m2 Temporary exhibition 2220m2 Restaurant/ Cafeteria 675m2 Lobby space Exhibition Hall 790m2 KEY AREA exhibition hall Letable office 5070m2 Ground floor retail 1480m2 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  0 1 2 3 4 5 6 7 spaces are flexible blank canvases to facilitate changing media, technology and needs to allow for maximum flexibility FLEXIBILITY = SUSTAINABILITY ! sky walk cafeteria sky bar covered exhibit hall seating FINAL DESIGN 0 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 Basement parking entrance ramp from Miriam Makeba street 79 parkings over 4 floor = 316 underground parkings Scale 1:800 ! BASEMENT PLAN- PARKING PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 1 READING THE STRIP The meeting / training rooms are projecting glass boxes allowing people to read the strip from inside the building as well as from the outside Scale 1:250 It is important to be able to read the strip from the inside and the outside. ! Balconies and popping facades creates interest and shadows but still allows people to read the building as a long thin strip from the outside. FINAL DESIGN  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 CIRCULATION meeting/ training circulationexhibition circulation core circulation core circulation 0 1 2 3 4 5 6 7 Exhibition circulation intentionally is directed one way- from the ground floor entry up- ending at the skywalk cafeteria on the fifth floor. Once people are in the cafeteria, a ramp draws people up through the cafeteria- over a double volume auditorium space- to the roof top bar/ club. The bar/ club leads directly onto the green roof strip with indoor/ outdoor seating and strips of different grasses and shrubbery. The exhibition and meeting/ training spaces have the potential to be separated and split up for separate rental and usage of the various kinds of spaces. People can filter through the entrance into the exhibition hall or straight through to retail/ meeting/ training or offices. PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  basement parking covered exhibition hall letable officesexhibition space MIRIAM MAKEBA STREET MARY FITZGERALD SQUARE service core/ exhibition circulation service core/ office circulation core & meeting/ training circulationexhibition circulation core circulation core circulation core circulation FINAL DESIGN  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 basement parking covered exhibition hall letable officesexhibition space MIRIAM MAKEBA STREET MARY FITZGERALD Hot air rises and escapes through mechanical louvres along the roof edge cool air travels through the building, cooling the public space SERVICES AND SUSTAINABILITY Services and sustainability are crucial in a building of this size and significance in the city. Leading by example in terms of energy harvesting/ rain water recuperation and energy saving should set the trend for any future developments in the city. (Although the initial construction costs will be high the running, maintenance and most importantly environmental costs will be significantly reduced.) ! PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  THE EXOSKELETON Mary Fitzgerald Square w es tern fa cad e Air comings in through the gap in the first skin and moves up through double skin gap - cooling the western facade Sun Rays double glazin g Rain water downpipes are housed in the double skin & collected & stored to be used to water the park double glazin g Scale 1:250 All services are housed in the exsokeleton and this allows for maximum floor space! FINAL DESIGN  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 THE STRUCTURAL SPINE Glazed steel balustrade to specialist detail DETAIL 1 Soil Derbigum waterproofing fully sealed to wall and slab with 150mm overlaps Large stones Small stones Filter cloth 100 diameter pvc drain pipe Screed 340 standard eco slab to manufacturer?s spec. Pre- fabricated cantilever beam bolted to M.S I beam M.S steel square section 80 diameter bolted to cantilever clamp M.S steel 30 diameter circular hollow section (as bracing) bolted to 80 diameter M.S steel square hollow section DETAIL 2 Purpose made M.S steel 30 diameter circular hollow section ON THE FACADE: bolted to 80 diameter M.S steel square hollow section INSIDE: bolted to M.S. steel I beam inside (Both acting as bracing) DETAIL 3 Detail 3 Detail 1 Detail 3 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  M.S steel square hollow section bolted to cantilevering brackets (acting as bracing) M.S steel cantilever brackets made to design and welded to specialist shopfront mullion Semi- transparent photovoltaic glazing panel fixed to cantilever bracket with glazing tape DETAIL 5 Semi- transparent photovoltaic glazing panel ( this glazing panel is an effective shading device, protecting against; excessive solar gain, glare and damaging UV rays as well as being a solar panel, generating up to 40 watts of power per square metre) Steel mullion framework ?shopfront type? bolted to Steel I Beam with single glazed sections M.S. steel I Beam bolted to slab DETAIL 4 M.S. steel pre fabricated truss bolted to M.S steel I beam Detail 2 Detail 4 Detail 5 Detail 6 Standard service skirting for cabling attached to shopfront M.S steel purpose made circular plate, tying bracings together Purpose made M.S steel 30 diameter circular hollow section ON THE FACADE: bolted to 80 diameter M.S steel square hollow section INSIDE: bolted to M.S. steel I beam inside DETAIL 6 FINAL DESIGN  PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 THE DAY FACADE- MATERIALITY SEMI- TRANSPARENT PHOTOVOLTAIC GLASS PANELS Is an environmentally sound power station by day and a full colour screen by night. The 1m by 2m panels are the world?s largest semi-transparent solar panel generating up to 40 watts of power per panel. Moving Images can be projected onto the glass. SAND BLASTED GLASS PANELS The standard sand blasted glass panels will glow in the day and can be lit up at night. It can also be lit up in different colours and will obstruct direct harsh sunlight in the day. the media skin evolves and adapts to change and flexibility by reflecting, projecting and activating (www. googleimages.com) ! PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA  ELECTROCHROMIC GLASS PANELS Electrochromic glass is an energy-saving component that changes color from clear to dark. An electric current is activated manually or by sensors which darkens or lightens the panels- reacting to light intensity. Glass darkening reduces solar transmission into the building. the media skin evolves and adapts to change and flexibility by reflecting, projecting and activating (www. googleimages.com) (www. sageglass.co.za) FINAL DESIGN 100 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 THE NIGHT FACADE- FUNCTION SCREEN FACADE Semi transparent Photovoltaic glazing panels also functions as a display screen. Images can be projected onto the glazing panels and the facade becomes a screen facade for an outdoor theatre. LIGHT TOWER The tower covered in sand blasted glass panels diffuses light inside, creating interesting exhibit space. At night the tower can be lit up as an advertisement for the event on the site and the building. ADVERTISING/ INFORMATION The facade allows for advertising and this will generate an income for the building. The facade can also be used to advertise or inform people of exhibits being held in the strip. the media skin transforms at night further enhancing flexibility and therefore sustainability! PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 101 ARTISTIC/ EXHIBIT FACADE The double skin allows for lighting to be placed behind so that the skin glows at night and this could be interactive or for artistic purposed. Images can also be exhibited on the facade and the facade becomes an exhibiton wall. MEDIA SKIN The structural skin has become the media skin and acts as a subtle advertisment for selling the building. GREEN FACADE The natural vegetation showing through the structure becomes the green facade in the city. the media skin transforms at night further enhancing flexibility and therefore sustainability THE MODEL 10 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 10 04 : TH E MODE L The model... Images of the final model were captured and compiled in a collage of images. These images showcase the design and capture the essence of the project. THE MODEL 10 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 10 THE MODEL 10 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 10 THE MODEL 10 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 10 THE MODEL 110 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 111 THE MODEL 11 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 11 THE MODEL 11 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 11 THE MODEL 11 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 11 ARCHIMEDIA 11 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 APPENDIX 1. Big Brother is a reality television show where contestant are locked in a house for a month where they are monitored for 24 hours a day, 7 days a week. 1 contestant is voted out each week by the housemates and the remaining contestant wins $1 million. This reality show happens in many countries around the world. 2. Survivor is a reality show where contestants are stranded on an island around various locations. They are left to fend for themselves and have various challenges. They can be voted out each week by the tribe members. The remaining contestant wins $1 million. This reality show has become international. 3. Google Earth is a free computer software program that allows users to view aerial photos of any location in the world via the computer screen. 4. Times Square.com is an internet website that has a dedicated feed of various cameras positioned throughout Times Square. Anyone with internet access can log on and survey the site. 5. Apple Inc. is an American multinational corporation with a focus on designing and manufacturing consumer electronics and closely related software products. Apple had worldwide annual sales in its fiscal year 2006 (ending September 30, 2006) of US$19.3 billion. Apple also operates 183 (as of June 2007) retail stores in the United States, and more in the United Kingdom, Japan, Canada, and Italy. 6. The ?Apple experience? is a term used to define the exciting, inspiring experience a customer has when entering an apple store. 7. The Matrix is a trilogy of three movies that describes a world taken over by the machine. The machines control the world and the world is just a computer program that we are fed everyday. 8. Blade Runner is a popular movie that is now a cult movie that was inspired by the futurism movement. This movie talks about a world taken over by androids (robot humans). 9. Minority Report is a movie about the downfalls of technology. Technology in this movie can predict a crime before it happens and a man is framed unfairly because of the downfall of this technology. 10. *ETFE (Ethylene Tetrafluoroethylene) is the building material of the future. This wonder polymer, a transparent plastic related to Teflon, is replacing glass in some of the most innovative buildings being designed and constructed today. It is a durable, adaptable plastic. The interesting property for architects is that the resin can be spun into a thin, surprisingly durable, film, which manufacturers such as DuPont pack in rolls- like a sturdier version of plastic cling-wrap. It can be used in sheets or inflated into pillows, and with its incredible versatility, it has become the go-to material for those in search of an alternative to more traditional materials, such as glass. PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 11 REFERENCES Books - Venturi, Robert; Brown, Denise; Izenour, Steven (1977) Learning from Las Vegas. Cambridge, Mass.: MIT Press. - Schwarzer, Mitchell (2004) Zoomscape- Architecture in motion and media. Princeton Architectural press, New York. - Brauer, Gernot. (2002) Dynaform + cube: Architecture as brand communication. Basel; Boston: Birkh user. - Stone, Harris (1983) Monuments and Main Streets: Messages from Architecture. New York: Monthly Review. - Colomina, Beatriz (1994) Privacy and Publicity: modern architecture as mass media. Mass: MIT Press, Cambridge. - Couldry, Nick; McCarthy, Anna (2004) Mediaspace : place, scale, and culture in a media age Routledge, New York. - Koolhaas, Rem (2004) Content. Taschen GMBH, Germany. - Cook, Peter (1972) ARCHIGRAM Vista Publishers: Great Britain. - Beavon, Keith (2004) Johannesburg: The making and shaping of the City. Unisa Press, South Africa. - Borden, Iain; Ruedi, Katerina (2000) The Dissertation: An architectural students handbook. Architectural Press, Burlington. - Brownell, Blaine (2006) Transmaterial: A catalog of materials that redefine our physical environment, Princeton architectural press, New York. - Bush-Brown H. Beaux (1976) Arts to Bauhaus and Beyond. Billboard Publications, New York America. Dissertations - Wilks, Brett, (2005) Recovering lost silence, M.Arch, University of the Witwatersrand. - Fanucchi, Marco (2003) The ?brandscape? as contemporary cathedral : Proudly South African - Joburg - Newtown, M.Arch, University of the Witwatersrand. Journals - Useem, J (2007) Simply Irresistible, Fortune Magazine. Vol. 155, No. 5. pp 53- 57. Internet - Times square.com Inc. (2003) Times Square.com. INTERNET http://www.timessquare.com/history/history_101.html Cited 15 November 2006. - Galinsky (2006) Kunsthaus Graz INTERNET http://www.galinsky.com/buildings/kunsthausgraz/index.htm Cited 29 March 2007. - Adobe Systems Incorporated (2007) Living skins: Architecture as interface by Peter HallCopyright INTERNET http://www.adobe.com/designcenter/ thinktank/livingskins/ Cited 29 March 2007. - Design boom (2007) Peter Cook INTERNET http://www.designboom.com/eng/interview/cook.html Cited 29 March 2007. - Stijn rolies (2007) Danda: Kunstahus Graz INTERNET http://www.danda.be/reviews/130/ Cited 29 March 2007. ARCHIMEDIA 10 PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 - DADA architetti associati (2007) Installing Diller and Scofidio at the Whitney INTERNET http://architettura.supereva.com/allestimenti/ 20031029/index.htm Cited 25 March 2007. - Icon Magazine (2004) Rem Koolhaas by Marcus Fairs INTERNET http://www.icon-magazine.co.uk/issues/013/rem_text.htm Cited 24 March 2007 - Blinkenlights (2007) Blinkenlights INTERNET www.blinkenlights.da Cited 12 May 2007. - Arcspace (2007) Jun Aoki. INTERNET. www arcspace.com/architects/Jun-Aoki/vuitton/index.html Cited 12 May 2007. - Fremont Street Experience (2007) Fremont Street INTERNET http:// vegaexperience.com/press.cfm Cited 12 May 2007. - QFront.co.ltd (2004) Qfront INTERNET www.gfront.co.jp. Cited 29 March 2007. - Big media (2002) Mary fitz-first woman of Joburg INTERNET www.joburg.org.za/july-2002/brixton3.stm Cited 10 June 2007. - JDA (2007) Newtown Projects INTERNET www.jda.org.za/newtown/projects.stm Cited 10 June 2007. - JDA (2004) Newtown businessplan INTERNET www.jda.org.za/newtown/docs/businessplan-newtownjuly 2004.pdf Cited 10 June 2007. - Skyscraper news.com (2007) Swiss Re, aka the Gherkin INTERNET www.skyscraper news. Com/swiss.thm Cited 12 May 2007. - Galinsky (2006) Prada Store,Tokyo INTERNET www.galinsky.com/buildings/pradatokyo Cited 29 March 2007. - Federatton Square Pty Ltd (2007) Federation Square. INTERNET www.fedsq.com/index.cfm Cited 12 May 2007. - Lab architects (2007) Federation square.INTERNET www.labarchitecture.com Cited 12 May 2007. - Times Square District management assoc. Inc (2004) Times Square INTERNET www.timessquarenyc.org Cited 12 May 2007. - alneirabeie.R (1995) Precedents: L?institutedu Monde Arabe INTERNET www.arch.mcgill.ca/prof/mellin Cited 29 March 2007. - Ateliers Jean Nouvel (2007) Arab Institute INTERNET www.jeannouvel.com Cited 29 March 2007. - AR Creativ,LLC (2005) Architects : Jean Nouvel. INTERNET http://architects.arbitat.com/nouvel/ Cited 29 March 2007. - Mellofts (2007) Metlofts INTERNET www.metlofts.com/templates/template-metlofts/home Cited 29 March 2007. - Academy group Ltd (1994) A guide to archigram Academy Group Ltd. London Cited 29 March 2007. - Peter Cook- Archigram (1991) Birhauser verlag Basel. Germany Cited 29 March 2007. - Bayer. H Gropius.W Gropius.I (1952) Bauhaus Charles.T Branfford Company Boston Cited 10 June 2007. - Antonio Sant?Elia (2006) Manifesto of futurist architecture INTERNET www.unknown.nu/futurism/architecture.html Cited 10 June 2007. - designboom (2007) Toyo Ito INTERNET www.designboom.com/eng/interview/ito.html Cited 10 June 2007. - findarticles (2007)Sendai Mediateque inaugurated INTERNET http://findarticles.com/p/articles/mi-m1248/b/5/89/ai-7443934 Cited 10 June 2007. - Cyberspace (2007) The body-Upgradable hardware INTERNET http://scholars.nusedu.sg/cpace/cityofbits/parke2.html Cited 8 May 2007 - Casalegno Federico (2003) William J Mitchel Interview INTERNET http://web.media.mit.edu/federico/creativity/mitchell/ wjm-trans.htm Cited 8 May 2007. - VK (2007) London screens and much more INTERNET www.screens.ru/eng/atv-systems-magazine.htm Cited 8 May 2007. - Strupple. M. (2007) Urban screens: The potential of urban screens for urban society INTERNET www. Urbanscreens.org Cited 5 May 2007. PART ONE: RESEARCH AND DEVELOPMENT PART TWO: DESIGN DEVELOPMENT 01: Pink Elephant 14 02: ?Archimedia? 20 03: Public space and the city 32 04: Media facade 44 01: The site 66 02: The concept 76 03: Final design 80 04: The model 102 ARCHiMEDiA 11 - Slaatta.T (2006) Urban screens towards the convengence of architecture + audiovisual media INTERNET www.firstmonday. org/issues/special 11-2/slaatta/index.html Cited 5 May 2007. - Jackson, M (2007) The actuality of virtual architecture. INTERNET http://www.ifib.uni-karlsruhe.de/web/ifib_dokumente/ downloads/mark_jackson.pdf Cited 5 May 2007. - Destree, T. (2007) Oramba. INTERNET http://www.oframbfra.com/ Cited 5 May 2007. - Picon, A (2007) Architecture and the virtual towards a new materiality. INTERNET http://www.ihedate.com/generated/objects/ documents//SEM1_PICON_PRAXIS.pdf Cited 5 May 2007. - Gauteng News (2001) New square set to become a magnet for mucis lovers. INTERNET http://www.gpg.gov.za/ publications/2001/december/07.html Cited 8 August 2007. - New york city department of parks and recreation ( 2005 ) Union Square INTERNET http://www.nycgovparks.org/sub_your_park /historical_signs/hs_historical_sign.php?id=6533 Cited 8 August 2007. - MIT Lab (2007) Faculty profiles: William J. Mitchell INTERNET. http://www.media.mit.edu/people/bio_wjm.html Cited 8 August 2007. - Galinsky (2007) Sendai Mediateque. INTERNET. http://www.galinsky.com/buildings/sendaimediatheque/index.htm Cited 12 May 2007. - Public art lab (2006) Miriam Struppek. INTERNET. http://www.mobile-studios.org/?id=51. - Arcspace.com (2007) Diller and Scofidio. INTERNET. http://www.arcspace.com/architects/DillerScofidio/moscone/ Cited 8 August 2007. - Hyposurface corp. (2007) Hyposurface. INTERNET. http://www.hyposurface.org/ Cited 8 August 2007. - Macdaily news.com (2007) Apple?s Mecca. INTERNET. http://www.macdailynews.com/index.php/weblog/comments/apples_ mecca_project_provokes_muslim_reaction/ Cited 8 August 2007. - Antjetecture.com (2007) Why digital architecture will not go away. INTERNET. http://www.antjetecture.com/essays/digiarch.html Cited 8 August 2007. - Design Museum (2007) Archigram INTERNET http://www.designmuseum.org/design/archigram Cited 29 March 2007. - Adaptive Path, LLC (2007) Six Design Lessons From the Apple Store Jesse Garret INTERNET http://www.adaptivepath.com/publications/ essays/archives/000331.php Cited 31 March 2007 . - Wikimedia Foundation, Inc.(2007) Wikipedia: Apple Inc. INTERNET http://en.wikipedia.org/wiki/Apple_inc Cited 31 March 2007. - Dsrny (2007) Diller and scofidio: Slected projects INTERNET http://www.dillerscofidio.com/projects.html Cited 25 March 2007. - Artnet (2004) Architectural Follies by Jerry Saltz INERNET http://www.artnet.com/magazine/features/jsaltz/saltz4-16-03.asp Cited 25 March 2007