SOFTspaces | in collaboration with Andreas Kyriakou and Weixin Zhao | under supervision of Patrik Schumacher
This project aims to create a dynamic office environment through the use of actuated fabric surfaces.
Taking inspiration from biomechanics of several natural organisms, these behaviours are reinterpreted to create various methods of actuation. Kinetic actuation enables the soft structuring of space. Flexible fabric membranes become three dimensional, creating a surface that is habitable, circulatory, and mobile. This mobile surface provides rapid redistribution of social groupings. The impact of these redistributions upon the quality of the space may be investigated via crowd simulation. This tool allows for a more accurate simulation of how individuals behave within the space and throughout time. Occupants flow at converge within the ceiling’s topology, congregating within nested spaces of the program distribution. Nested spaces create varying degrees of interaction and autonomy with the goal of facilitating a diversity of communication throughout the workplace. The articulated membrane of the interior, as well of the diversity of interior social conditions, is expressed loosely by the facade. The inside-out strategy of the building’s intervention is completed by this loose wrapping whose form is driven partially by movements of interior activities and partially by mechanics distributed across the membrane.
Ultimately, this architecture hopes to express flexibility through an abundance of sensorial, spatial, and social experiences
SOFTspaces thesis publication. Click to view.
Framing kinetics as a heightened level of phenomenal articulation serves to elevate the importance of this dynamic architecture beyond the pure physicality of its movements. Accepting aesthetic desires and their interwoven relationship with both embedded meaning and spatial reconfiguration, another key aim of kinetic architecture, is essential in the advancement of contemporary architectural phenomenology. Proposing a strategy of architectural softness, this investigation aims to align kinetic architecture with new developments in the phenomenological field. Infiltrating the design museum with what is termed as softness, a three-dimensional intervention is made. Kinetic elements assist the proliferation of this proposed spatial and functional ambiguity through the animation of interiors and exteriors, providing semiotic intent and, perhaps more importantly, affective impression.
Soft Kinetics
Social Scenario + Prototyping
The office typology is the environment in which we intend to intervene. Historically, the modes of social interaction within the workplace have been predetermined. Often these social strategies reflect corporate structures or a company’s mission. But what if these workspaces were to reflect the way in which modern society communicates, which is often spontaneous, quick, and informal? Our proposed strategy of “Soft Office” aims to align spatial configuration with social demands and occupant desires.
“Soft Office” accommodates situationally required degrees of autonomy vs interaction. The flexibility of this system is able to create zones that could be characterized as hive or cell (or anywhere in between) on a single floor plate while adjusting the ratio of these spaces throughout time. The softness of the deformable ceiling surface and its curvatures guides users through the space, leading them to concentrations of social activity or channelling them along circulation pathways. This soft ceiling works to shape and enforce social scenarios, helping to physically enclose space to varying levels of privacy. This way, through the blending of social situations, spaces present a variety of opportunity for chance encounters to occur.
Social Scenario Simulation
Utilizing colour mapping as its foundation, crowd simulation is able to simulate agent behaviours in relation to the space they inhabit. Characterizing areas along a social continuum, agents respond to the social function of the space they inhabit. Programmed with different behaviours, agents may slow down and linger for set periods of time, continue at a steady pace, or increase their speed. This simulation provides information demonstrating the circulation of users throughout the building and the relationship circulation has with social function. As a result, by shifting the social qualities of the space, we are able to return circulation information which can inform the configuration of curve networks and ceiling deformation.
Kinetic Ceiling Prototype | single material
Fabric Ceiling Prototype + Embedded Curve Network | multi-material
Our prototype development interrogated the articulation of elastic surfaces.
First introducing a single network beneath a lycra surface, we investigated the crease that may be formed and the subsequent space it began to suggest below. This idea was expanded to cover the entire ceiling surface of the building floor plate. Introducing a network of curves beneath the ceiling’s deformable membrane creates surface that extends into the space and may be occupied. Spaces formed by the depression of overhead curves may have varying degrees of enclosure based on program or user demand. Investigating multiple materials with different degrees of elasticity displays the possibility of varying flexibility across a single surface. By this method, spatial and social qualities may be embedded within and enhanced by the building’s material properties. Additionally, by varying the surface’s degree of transparency spaces may be physically separated yet visually linked. The last key investigation of the prototypes was an attempt to solve interior-exterior connection. Our prototypical investigation focused on creating sliding ceiling track that, through its motion, would engage rotating arms at the building’s slab edge. The indirect interior-exterior relationship is key to signaling interior activity to external observers. Additionally, through this link, space at the slab perimeter could open to provide area for more intimate meetings or work activities.
Ultimately, the aim of these prototypes was to demonstrate a system of actuated surfaces that, beginning from the interior, create habitable surfaces whose reconfigurations are then linked to a mobile, accommodating exterior envelope.
Fabric Ceiling Prototype + Embedded Curve Network | multi-material
The ceiling network, investigated during the prototypical phase, creates a floor plan, comprised of nested spaces that serve to facilitate the levels of interaction presented by the social continuum, with the goal of the chance encounter existing throughout the space. Additionally, it creates spaces that are nested within one another, allowing for areas that may act as concentrations of privacy or activity.
Soft surfaces create this scale of autonomy to interaction. Through their deformation, surfaces become both occupiable and way-finding. The chance encounter is linked directly to surface reconfiguration. Colour mapping is utilized to demonstrate the degree of social interaction throughout the space (Social Mapping).
Kinetic Ceiling Prototype | multi-material
The ceiling’s curve network is composed of concentric and eccentric curves. This contrast in curvature works to bracket space and reinforce areas of either social engagement or more rapid movement. The depression of curves creates a smooth membrane that users move along and congregate within. Ultimately it is the curve network which enables a diversity of sectional conditions across a single floor plate and crafts dynamic, unfolding circulation amidst program clusters.
In the video above, the surface pictured is made from multiple materials. The introduction of varying degrees of elasticity and transparency suggests regions with limited depression distance as well as areas with increased inter-visibility.
Architectural Intervention
Our research has focused on the activation of elastic and fabric membranes through varying methods of inflation. These varying modes of actuation aim to provide surfaces which differ in their character and behaviour. The contraction and deployment of surface works to provide an office environment that breaks rigid spatial distinctions of the past while raising the probability of the chance encounter, a key social ingredient of the modern office.
Framing kinetics as a heightened level of phenomenal articulation we hope to elevate the importance of this dynamic architecture beyond the pure physicality of its movements. Accepting aesthetic desires and their interwoven relationship with both embedded meaning and spatial reconfiguration, another key aim of kinetic architecture, is essential in the advancement of contemporary architectural phenomenology. Proposing a strategy of architectural softness, this investigation aims to align kinetic architecture with new developments in the phenomenological field. Infiltrating the Design Museum, London with what is termed as softness, a three-dimensional intervention is made. Kinetic elements assist the proliferation of this proposed spatial and functional ambiguity through the animation of interiors and exteriors, providing semiotic intent and affective impression.
An architecture of soft kinetics aims to inhabit the space between input and output — the space between information and expression. Employing a cascade of interrelated movements, the simple triggering of one element may, through adjacency or reverberations within space, create an array of motions and reconfigurations far more dynamic than one element alone. This space between information and expression is a supple, pillowy depth. Within this interstitial space “all life and innovation takes place”.
The building’s program is divided into three main components. The first component, the void, introduces a circulation element into the space. Within the void, interstitial mezzanine platforms are cantilevered. Linking with circulation, these mezzanine areas serve to broadcast meeting activities throughout spaces above and below as well as serve as locations for impromptu conversation. Flanking this vertical space, the two remaining program blocks are characterized by their relationship to context. Within the building’s northern (riverfront) exposure, public functions are placed. These gallery and event spaces are located here to guarantee their visibility to passers-by on the river walk. In combination with the facade actuation, interior public events may be strategically broadcast. At the building’s rear, office functions are located. These internally focused spaces are broadcast their activities to a lesser degree and are linked more closely to the mezzanine levels and meeting activities.
The void acts as the building’s key three-dimensional intervention. Its form is shaped by the human cone of vision. By analysing visual connection lines between public, office, and meeting programs, the shape of the vision cone may be parametrically controlled to grant it a 3D volume. These cones give shape to the cuts within the building’s existing floor slabs.
Within the void, vertical circulation is introduced. This circulation expands upon the idea of vision, creating a winding path that provides the user unfolding points of focus as they progress along its path. The circulation exposes movement throughout the building to those adjacent the void’s edge and is instrumental in creating an inward focused environment. Interstitial mezzanines are introduced between the building’s upper three levels serve to creating meeting spaces that are visible to individuals both working and circulating. The positioning of mezzanines is strategic as they allow visual access to meeting areas. In this way, the act of meeting becomes a public activity, encouraging other office users to join a social gathering if they feel it could be to their benefit.
Facade Prototype | Early kinetic model
The building’s facade is double layered and employs a strategy of both deformation and perforation.
The facade is composed of two primary surface areas: one which is pneumatically activated and one which is activated by hydromatics. Pneumatics serve to actuate primary facade contours. These contours may be expanded to reveal surfaces of high perforation. These perforations allow increased light indoors while providing visibility to both the riverfront (for gallery functions) and river (office functions). The surface between these primary contours is perforated less densely, with its patterning responding to the density of nested spaces on the interior. The motion of this surface is activated by arms slab edges. These arms are key to the interior-exterior connection as they transmit the motion of ceiling curves to the exterior. Depression of ceiling curves, related to the reconfiguration of space, triggers the movement of arms. By this method, the exterior surface becomes and signifier of internal activity.
A secondary facade is inserted as a buffer between the interior and exterior. This membrane is patterned with perforations like the exterior and it serves to hug the spaces of the interior. Better defining interior areas, they also open more intimate spaces at the slab edge for small meeting or conversation.
Hydromatics are placed at ground level and actuate the facade surface to provide shelter to those entering the building or passing by at grade. Hydromatics provide a passive mode of actuation and are suggestive of an initial research interest in cellular expansion. Their localized placement aims to negotiate with London’s damp climate and the building’s dynamic form.
As mentioned previously, the building’s perforations are linked to both primary contours and secondary surface. Providing both direct functionally and semiotic effect, the facade’s perforations are strategically located. Perforations along primary contour lines, take advantage of pneumatic inflation and are densely grouped. Resultantly, they offer maximum view across a large, extended surface. On regions between these dense areas, facade perforations reflect the potential program arrangements of the interior. This patterning is more abstract than in primary regions and is indicative of the building’s activities without revealing their true nature.
Fabric Ceiling Prototype + Embedded Curve Network | perforated material
Ceiling curve networks work in cooperation with furniture rearrangement to create spaces of differing functionality and social character. Desks may be spaced regularly while curves remain relatively flat in order to create and open plan office space, similar to the hive typology. Contrastingly, desks may cluster tightly, curves may depress deeply, and an intimate meeting/conversation area will appear. Ultimately, the flexibility of this system facilitates an office environment that may adjust itself throughout time to both the demands of users and productivity.
