Design Methodology - Kinetic Architecture-libre

Design Methodology:

Kinetic Architecture

A THESIS

Presented to the Graduate School Faculty of Engineering, Alexandria University

In Partial Fulfillment of the Requirements for the Degree

Of Master of Science

In

Architectural Engineering

By

Architect

Soha Mohamed Abd El-Hady Fouad B.Sc. of Architecture Alexandria University

July 2012

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ABSTRACT Although immense changes occurred in the Egyptian built environment,

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

Upon the belief that the fundamental knowledge of Kinetic Architecture can better assist architects to acquaint the need to enroll motion in the built environment; the thesis first presents different definitions for the term Kinetic Architecture. Next, it historically reviews the use of kineticism in the architectural field since the old ages until present. Also, it describes different trends to apply kineticism in the architectural environment accompanied with explanatory examples.

The technological achievement in different divisions of engineering such as structural, mechanical and materials engineering as well as information and communication technologies has an enormous effect on kinetic design. As a result, the second part of the thesis is dedicated to kinetic design process defining its main elements from structural innovation and materials advancement to embedded computation and at last adaptive architecture.

The research carries on an analytical study by highlighting fifteen architectural project adapting kineticism. The study is based on the different elements affecting the kinetic design process. The evaluating criteria include the way and reason for involving kineticism as well as the effect it has upon the indoor environment and the visual quality.

Finally, the thesis ends with concluding the effect of using kineticism in the architectural field. And, it suggests some systems to be applied to the Egyptian environment. Recommendations for further studies are represented to enrich applying the theory. Key Words: Kinetic, Kineticism, Motion, Adaptive, Responsive, Interactive.

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ACKNOWLEDGMENTS I would like to express my deep recognition and sincere appreciation to

Prof. Dr. Hany M. Abd El Gawad Ayad for his generous patience, valuable guidance, advice and precious time and effort throughout all stages of conducting this thesis. Also, I would like to express my truthful gratitude and sincere appreciation to Dr. Dina Sameh Taha for her endless patience, precious help, comments and continues encouragement and support to accomplish this work.

I am very grateful to all my friends and colleagues for their support and

help. I am thankful to Federica Sabbadini for her help providing me with research materials.

Finally, I would like to express my deep love and appreciation to my family

for all their love, care, support and assistance and for always being there for me.

Table of Contents

XI

TABLE OF CONTENTS

ABSTRACT .................................................................................................................................... VIIACKNOWLEDGMENTS ............................................................................................................... IXTABLE OF CONTENTS ................................................................................................................. XILIST OF FIGURES ....................................................................................................................... XIIILIST OF TABLES .......................................................................................................................... XXINTRODUCTION ........................................................................................................................ XXI

A. BACKGROUND ....................................................................................................... 1

B. RESEARCH AIMS AND OBJECTIVES ................................................................. 3C. MOTIVATION AND RESEARCH IMPORTANCE ............................................... 3D. RESEARCH METHODOLOGY ............................................................................... 4E. RESEARCH STRUCTURE ...................................................................................... 4

CHAPTER ONE: WHAT IS KINETIC ARCHITECTURE? ............................................................ 71. What is Kinetic Architecture? .................................................................................... 91.1.Kinetic Architecture Definition ................................................................................. 91.2.Historical Review ..................................................................................................... 111.3.Kinetic Trends in Architectural Environments ........................................................ 22

1.4.Summary .................................................................................................................. 28CHAPTER TWO: KINETIC DESIGN KEY ELEMENTS ............................................................. 29

2. KINETIC DESIGN .................................................................................................. 312.1.Kinetic Design Key Elements .................................................................................. 31

2.1.2.1. Trends in Embedded Computation ..................................................... 352.1.2.2. Level of Control Mechanisms ............................................................ 382.1.2.3. Ways and Means of Embedded Computation .................................... 392.1.2.4. Typologies of Controlling Change ..................................................... 40

2.1.3.1. Living Environments .......................................................................... 422.1.3.2. Working Environments ...................................................................... 422.1.3.3. Entertainment Environments .............................................................. 422.1.3.4. Public Environments .......................................................................... 43

A.1. Research Problem: ..................................................................................... 2A.2. Research Hypothesis: ................................................................................ 3

1.3.1. Spatial Optimization Systems.................................................................. 221.3.2. Multi-Function Design ............................................................................ 231.3.3. Contextual Adaptability........................................................................... 251.3.4. Mobility ................................................................................................... 27

2.1.1. Structural Innovation and Materials Advancement ................................. 312.1.2. Embedded Computation .......................................................................... 34

2.1.3. Adaptable Architecture ............................................................................ 41

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2.2.Summary .................................................................................................................. 44CHAPTER THREE: KINETIC BUILDINGS' ANALYSIS ............................................................ 45

3. KINETIC BUILDINGS' ANALYSIS ...................................................................... 473.1.Architectural Projects: .............................................................................................. 47

3.2.Analysis: ................................................................................................................. 112

3.3.Summary: ............................................................................................................... 119CONCLUSIONS AND RECOMMENDATIONS ......................................................................... 121Conclusions .................................................................................................................................... 123Recommendations: ......................................................................................................................... 128REFERENCES .................................................................................................................................... i

3.1.1. Institut du Monde Arabe: ......................................................................... 483.1.2. GucklHupf ............................................................................................... 533.1.3. Floirac House "Maison Bordeaux" ....................................................... 573.1.4. The Naked House .................................................................................... 613.1.5. Milwaukee Art Museum "Quadracci Pavilion" ....................................... 653.1.6. Gemini Haus ............................................................................................ 693.1.7. Dragspelhuset: ......................................................................................... 733.1.8. The Leaf Chapel: ..................................................................................... 773.1.9. QiZhong Forest Sports City Tennis Centre "Magnolia Stadium" ........... 813.1.10. Kiefer Technic Showroom ....................................................................... 853.1.11. Sliding House .......................................................................................... 893.1.12. The Olympic Tennis Center "Magic Box" .............................................. 933.1.13. Cherokee Studios Lofts ........................................................................... 973.1.14. The World Trade Center Transportation Hub ....................................... 1013.1.15. Dynamic Tower ..................................................................................... 105

3.2.1. Location: ................................................................................................ 1123.2.2. Structural Systems and Used Materials: ................................................ 1123.2.3. Indoor Environment Types: ................................................................... 1133.2.4. Kinetic Elements and Reasons for Motion: ........................................... 1143.2.5. Relation between Structural System and Used Materials: ..................... 1163.2.6. Relation between Structural System and Used Kinetic Elements: ........ 1163.2.7. Relation between Building Environments and Used Kinetic Elements:1173.2.8. Relation between Building Environments and Reasons for Motion: .... 1173.2.9. Ways of Controlling Kineticism and the Relation with Building Environments: ........................................................................................................... 1183.2.10. Kinetic Systems Effect on Buildings' Visual Quality: ........................... 119

List of Figures

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LIST OF FIGURES

- Figure 1: Thesis Structure. .......................................................................................... 5

- Figure 2: (a) The Colosseum represented the first kinetic retractable roof covering the seating area around the arena (Pepe, 2001). (b) An intriguingly simple device invented by Thomas Jefferson for his home to allow both doors to open simultaneously whenever any is opened. As the device was concealed beneath the floor, its principle was not known until it was uncovered in 1953 (Zuk, 1970, P. 29). ................................................................................................................................... 11

- Figure 3: (a) A sketch showing how a drawbridge at medieval castle worked, typical of such structures that were precursors of modern bascule bridges (Koglin, 2003, P. 4). (b) A view of the entrance door and the drawbridge to Rocca Gradara one of the best preserved medieval structures in Italy which was built in 12th to the 15th centuries (GeoSearch.Italia, N/D). ............................................................................ 12

- Figure 4: (a) A scketch shows how a typical drawbridge works (Hall, N/D). (b) A scketch shows how a typical trunnion bascule bridge works (Ryall, 2000, P. 669). 13

- Figure 5: (a) A schematic of vertical lift bridge (S. Glover, 2007). (b) A rolling bascule bridge while closed (Chase Hill, 1927, P. 467). ........................................... 13

- Figure 6: (a) The construction of the Santa Barbara County bowl revolving stage in 1936 which was destroyed by El-Nino floods during 1939 in the United States of America (SantaBarbaraBowlFoundation, N/D). (b) Architect M. Engere Pettit and physician Lucien Pellegrine "heliotropic house" 1903 (Randl, 2008, P. 57). ........... 14

- Figure 7: A view for Saidman's revolving solarium, Aix Les-Bains, France (Petit, N/D). .......................................................................................................................... 15

- Figure 8: Max Taut's Rotating House, Frublicht (Dawn), 1920 (Randl, 2008, P. 67). ................................................................................................................................... 16

- Figure 9: Tatlin's Monument to the Third International, designed in 1919 (Randl, 2008, P. 68). .............................................................................................................. 17

- Figure 10: Villa Girasole from the air, with the courtyard of the rotating section facing uphill,1935 (Randl, 2008, P. 77). ................................................................... 18

- Figure 11: Villa Girasole: (a) lower floor plan where the villa can rotate 360 degrees over rail tracks (Davies, 2006, P. 87). (b) structural frame showing the spiral staircase as well as the tracks (Randl, 2008, P. 78). .................................................. 18

- Figure 12: The 1,400 square-foot revolving house built by Francois Massau in 1958 still turns, making a complete circle in 90 minutes, admitting more sunlight into its rooms as needed (Tagliabue, 2008). ......................................................................... 19

- Figure 13: (a) The Stuttgart Tower in Stuttgart, Germany (Smart-Travel-Germany.com, N/D). (b) The Dortmund's Florianturm in Dortmund, Germany (Janberg, N/D-a). (c) The concrete Henninger Turm in Frankfurt, Germany (Janberg, N/D-b). (d) The Cairo Tower in Cairo, Egypt (Wikipedia, 2004). ........... 20

List of Figures

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- Figure 14: The Solaleya Dome House, a house for a clean and sustainable future (Solaleya, N/D). ......................................................................................................... 21

- Figure 15: (a) The Suite Vollard, the first fully revolving high-rise apartment building (Zeiler, 2011, P. 362). (b) A plan for the Suite Vollard showing the fixed core and the rotating part (van Poucke, 2008c). ........................................................ 21

- Figure 16: (a) Interlocking Transformation, an interior diagram (Fox, 2009, P. 32). (b) Interlocking Transformation, reconfigurable elements dividing sectors (Fox, 2009, P. 32). .............................................................................................................. 23

- Figure 17: The Bloomframe (HurksGeveltechniek, N/D). (a) In window state. (b) In balcony state. ............................................................................................................. 24

- Figure 18: (a) A diagram shows different ring units connected to each other while in use (Kapfinger, N/D). (b) A ring unit (Serrats, 2005, P. 380). .................................. 24

- Figure 19: (a) An exterior view for the Wind Veil (Kahn, 2000). (b) A close view for the aluminum panels of the Wind Veil (Kahn, 2000) .......................................... 25

- Figure 20: Convertible umbrellas for the courts of the Prophet's Holy Mosque in an opened and closed state (SL-RASCH-GMPH, N/D). ............................................. 26

- Figure 21: The Bengt Sjostrom/Starlight Theater. Study model shows the building's roof (mnartists.org, N/D) while: (a) opened and (b) closed. (d) An inner view for the kinetic roof while opened (Galindo, 2005, P. 78). .................................................... 26

- Figure 22: Mobile Dwelling Unit, the container plan while sub-volumes pushed out (fabprefab, N/D). ....................................................................................................... 27

- Figure 23: Mobile Dwelling Unit. (a) An exterior view while MDU in an opened state (Gardiner, 2003, P. 132). (b) An exterior view while the MDU in a closed state (Block, 2011). ............................................................................................................ 28

- Figure 24: Diagram shows kinetic structures typologies (Fox, N/D). ...................... 31

- Figure 25: (a) The Muscles Tower while activated (Detwiler, 2006). (b)The Carlos Moseley Music Pavilion while being transported to its location and being assembled (Mota, 2007). ............................................................................................................. 32

- Figure 26: (a) Two of the modular units of the Flare-faade system and their control mechanism (WHITEvoid, N/D). (b) A paper model for the Flare-faade system (WHITEvoid, N/D). .................................................................................................. 34

- Figure 27: The Kuwait Pavilion for Expo 92 while changing from closed state to opened one (Hawarny, 2008, P. 30). ......................................................................... 34

- Figure 28: (a) An interior view for Taipei 101 tuned mass damper (TMD) (Wikipedia, N/D). (b) A diagrame shows where the Tuned Mass Damper is located in Taipei 101 Building (Wikipedia, N/D). ................................................................ 35

- Figure 29: The Implant Matrix (InteractiveArchitecture.org, 2006). ........................ 36

- Figure 30: The AMX Whole Home Automation touch panel (AMX, N/D). ............ 37

- Figure 31: The Stereoscope Project while playing an animation on Toronto City Hall faade (AlternativeBerlin, 2010). .............................................................................. 38

- Figure 32: The Interactive Restaurant (RobotectureInteractiveArchitecture, N/D) .. 43

List of Figures

XV

- Figure 33: An external view for Institut du Monde Arabe (WikiArquitectura, 2010). ................................................................................................................................... 48

- Figure 34: (a) The Mashrabiya diaphragm used at Institut du Monde Arabe (Osmers, 2007). (b) Mashrabiya unit sketch (Prisse dAvennes, 2007, P. 137). (c) Mashrabiya used in a Ottoman residential building near Khan El-Khalili, Cairo, Egypt (a.allegretti, 2012). .......................................................................................... 49

- Figure 35: An external view for the flat southern faade of Institut du Monde Arabe shows the "Mashrabiya Diaphragms" that were used (IMA, 2001). ......................... 49

- Figure 36: (a) A view for a group of the mashrabiya diaphragms while functioning (eliinbar, 2011). (b) A detail of the medium sized diaphragm (moreAEdesign, 2010). (c) A detail of small diaphragms (moreAEdesign, 2010). ....................................... 50

- Figure 37: A diagram showing reason for installing mashrabiya diaphragms on the southern faade (Yucel, 1989, P. 92). ....................................................................... 51

- Figure 38: An external view for GucklHupf while being opened (de la Torre, N/D). ................................................................................................................................... 53

- Figure 39: The GucklHupf plans where the red colored rectangular is the main area while the other parts are those being opened, slided or folded (de la Torre, N/D). .. 54

- Figure 40: The GucklHupf section where the red color indicates the accurate area when the structure is closed. Also this section shows the four different levels inside the structure (Ballard Bell, 2006, P. 125). ................................................................. 54

- Figure 41: Transformation in GucklHupf starting from the closed state (Olson, 2009). ........................................................................................................................ 55

- Figure 42: An exterior view for the Floirac House (OrgoneDesign, N/D). .............. 57

- Figure 43: Plans for the Floirac House showing different ways to access levels (Beck, N/D). The Blue color indicates the elevator platform, the red color indicates the main staircase, the green color indicates the service staircase and the yellow color indicates a staircase connecting two levels. ..................................................... 58

- Figure 44: Long section though the Floirac House, where the blue color indicates the elevator platform (Beck, N/D). (a) The elevator platform reaches the second floor. (b) The elevator platform is on the ground floor. ...................................................... 58

- Figure 45: An isometric section showing the elevator platform in red (Beck, N/D).59

- Figure 46: Different views for the elevator platform while functioning (OMA, N/D). (a) The elevator platform when settled in the upper level. (b) The elevator platform while moving between different levels. .................................................................... 59

- Figure 47: An external view for the Naked House (ShigeruBanArchitects, N/D). ... 61

- Figure 48: (a) A 3D modeling for the Naked House showing the rectangular open space, the permanent installations as well as the movable rooms (boxes) (Unit-de-relogement, 2012). (b) An interior view for the half-height wall separating the wardrobes as well as the bathroom from the rest of the open space (Jeska, 2008, P. 73). ............................................................................................................................ 62

List of Figures

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- Figure 49: Interior views of the Naked House (van Poucke, 2011). (a) A view for mobile units when attached to each other. (b) A view for mobile units arranged separately. .................................................................................................................. 62

- Figure 50: (a) A section through the main double height open space (Bradbury, 2005, P. 185). (b) An isometric for the Naked House showing different layer of the building's skin as well as different components (Bradbury, 2005, P. 181). .............. 63

- Figure 51: (a) Different arrangements for the mobile room units (Guzowski, 2007, P. 2). (b) A close view for the moveable units (Stang, 2005, P. 89). ........................ 64

- Figure 52: An external view for the Milwaukee Art Museum Quadracci Pavilion (Smith, 2007). ............................................................................................................ 65

- Figure 53: (a) A water color sketch featuring the Quadracci Pavilion (CALATRAVA, N/D-a). (b) A water color sketch featuring the pedestrian bridge (CALATRAVA, N/D-a). ........................................................................................... 66

- Figure 54: The Burke Brise Soleil, the moveable wings of the museum ranging in motion from totally closed to completely opened (CALATRAVA, N/D-a). ............ 67

- Figure 55: (a) An interior view of the structural frame of the parabolic-shaped skylight in the Quadracci Pavilion (CALATRAVA, N/D-a). (b) The arched promenade at the Quadracci Pavilion (CALATRAVA, N/D-a). (c) The unique shapes of the arched support concrete structures (solaripedia, N/D-b). .................... 68

- Figure 56: An external view for the Gemini Haus (Salzburg.ORF.at, 2012)............ 69

- Figure 57: Center of the house were all exhaust, supply air and waste water are fed into (PEGE, 2001). .................................................................................................... 70

- Figure 58: Panoramic views for the ground floor and the first floor (PEGE, 2001). 70

- Figure 59: (a) Utility lines that are transferred to the rotating house through the firm basement (PEGE, 2001). (b) Glass and aluminum fixes (van Poucke, 2008a). (c) Vertical solar panels attached to the house (Lenardic, N/D). .................................... 71

- Figure 60: (a) A detail for connection between dynamic solar panels and the structure (PEGE, 2001). (b) A detail for the track on which the house moves (PEGE, 2001). ......................................................................................................................... 72

- Figure 61: An external view for Dragspelhuset (24H

List of Figures

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- Figure 66: The red cedar wood used for the exterior cladding (Zeisser, 2007, P. 12), (Park, 2007, P. 59). .................................................................................................... 75

- Figure 67: The reindeer hides covering the interior of the retractable cantilever (Park, 2007, P. 66). .................................................................................................... 76

- Figure 68: An exterior view for the Leaf Chapel glowing at night (KleinDytham|architecture, N/D). ............................................................................. 77

- Figure 69: A plan drawing for the Leaf Chapel showing the components creating the chapel which are the chapel great hall, corridor and storage (A. Pearson, 2005, P. 244). .......................................................................................................................... 78

- Figure 70: (a) The Leaf Chapel when in the closed state (KleinDytham|architecture, N/D). (b) The Leaf Chapel when in the opened state by the end of the wedding ceremony (KleinDytham|architecture, N/D). ............................................................ 78

- Figure 71: (a) An interior view showing the black granite used for flooring as well as the black wooden pews with clear acrylic backrest (KleinDytham|architecture, N/D). (b) A detail for the lace patterns on the movable leaf (KleinDytham|architecture, N/D). ............................................................................. 79

- Figure 72: (a) A section drawing through the Leaf Chapel showing how the chapel was tucked into the ground (Mr.Jacobsen, 2012). (b) An exterior view for the Leaf Chapel featuring the sloping site where the chapel was located (Mr.Jacobsen, 2012). ................................................................................................................................... 80

- Figure 73: The Shanghai QiZhong Forest Sports City Tennis Centre (corus, 2006, P. 24,25). ....................................................................................................................... 81

- Figure 74: A view for the stadium while its roof petals are open presenting a flower (TheTennisStory, 2011). ........................................................................................... 82

- Figure 75: A plan showing different components and seating area for QiZhong Forest Sports City Tennis Centre (ShanghaiCulturalInformation, N/D). ................. 82

- Figure 76: (a) A drawing for the stadium roof while in a close state. (b) A drawing for the stadium roof while in an open state. .............................................................. 83

- Figure 77: The QiZhong Forest Sports City Tennis Center dynamic roof (van Poucke, 2008b). (a) A close view for the roof petals while they are closed. (b) A close view for the roof petals while they are being opened. ..................................... 84

- Figure 78: An exterior view for the Kiefer Technic Showroom (Deisenberger, 2009, P. 21). ........................................................................................................................ 85

- Figure 79: Kiefer Technic Showroom floor plans (ErnstGiselbrecht+PartnerZT-GmbH, N/D). (a) The ground floor plan where the red color marks the kinetic faade. (b) The upper floor plan where the red color marks the kinetic faade. ....... 86

- Figure 80: Different positions for the aluminum panels giving the faade a variety of appearance (WorldBuildingsDirectoryOnlineDatabase, N/D). ................................. 86

- Figure 81: A close view for the moveable aluminum panels showing the guide rails they move on (WorldBuildingsDirectoryOnlineDatabase, N/D). ............................. 87

- Figure 82: A drawing shows different positions for the aluminum moveable panels presenting the relation between solid and void where the grey color presents solid.88

List of Figures

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- Figure 83: An exterior view for the Sliding House (dRMM, N/D). .......................... 89

- Figure 84: An isometric showing the different parts creating the building (dRMM, N/D). .......................................................................................................................... 90

- Figure 85: Plans for the sliding house while the red color presents the sliding part once while closed and the other while completely open (Russell, 2010). (a) The ground floor plan for the Sliding House. (b) The first floor plan floor the Sliding House. ........................................................................................................................ 90

- Figure 86: An isometric drawing showing different positions for the moveable (dRMM, N/D). ........................................................................................................... 90

- Figure 87: (a) A view for the sliding exterior skin while creating an extra sunshade for the terrace (Russell, 2010). (b) Different views for the sliding exterior skin creating different enclosure between the three forms creating the house, and while leaving the courtyard exposed to the sky (Waite, 2009). .......................................... 91

- Figure 88: (a) A detailed section drawing for the glass form while it is closed by the moveable roof/wall structure and while it is opened to the surrounding by sliding the moveable roof/wall structure away (dRMM, N/D). (b) Views for the sliding exterior shell once when closed and the other when completely open (Russell, 2010). ........ 92

- Figure 89: Different exterior views for the house while the moveable structure in different positions (Elite-Choice, 2009). ................................................................... 92

- Figure 90: An external view for the Olympic Tennis from north across the Manzanares River Center (Riley, 2005, P. 118)........................................................ 93

- Figure 91: Perspective for the "Magic Box" showing the movable lids covering the three courts while closed and opened (Riley, 2005, P. 120). .................................... 94

- Figure 92: A plan drawing showing the Olympic Tennis Center main components (Riley, 2005, P. 116). ................................................................................................ 94

- Figure 93: A drawing to show the different 27 opening positions for the three lids covering the courts (Jordana, 2012). ......................................................................... 95

- Figure 94: A close view for a hydraulic jack (van Poucke, 2010). ........................... 96

- Figure 95: An external view for the Cherokee Studios Lofts (Brooks+ScarpArchitecture, N/D). ........................................................................... 97

- Figure 96: Different residential units that vary from loft flats to tri-level units and tow-homes (Brooks+ScarpArchitecture, N/D). ......................................................... 98

- Figure 97: Different views for the operable aluminum panels (Brooks+ScarpArchitecture, N/D). ........................................................................... 98

- Figure 98: A diagram showing reason for installing a kinetic skin (Brooks+ScarpArchitecture, N/D). ........................................................................... 99

- Figure 99: (a) Close view of the perforated anodized aluminum panels(Brooks+ScarpArchitecture, N/D). (b) Detailed view for the operable skin (Brooks+ScarpArchitecture, N/D). ........................................................................... 99

- Figure 100: A study showing the relation between solid and void through different stages starting from all panels are close till reaching the stage when all panels are opened. .................................................................................................................... 100

List of Figures

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- Figure 101: A perspective for the exterior of The World Trade Center Transportation Hub (WorldTradeCenter, N/D). ...................................................... 101

- Figure 102: (a) A sketch for a child releasing a dove into the sky which is the inspiration of the designed building (CALATRAVA, N/D-b). (b) An exterior perspective for the WTC Transportation Hub appears as a flying bird (CALATRAVA, N/D-b). ........................................................................................ 102

- Figure 103: A section for the WTC Transportation Hub (W. Dunlap, 2005). ........ 103

- Figure 104: Section drawing showing the steel ribs that were supposed to move as well as the lightening system (Yee, 2007, P. 63). (b) Interior prespective views for the main hall while the top is closed and opened (LowerManhattanConstructionCommandCenter, N/D). ......................................... 103

- Figure 105: A perspective for the Dynamic Tower (DynamicArchitecture, N/D). 105

- Figure 106: (a) Drawing representing the installation of wind turbines and the way they are involved in the design concept (DynamicArchitecture, N/D). (b) Drawing representing the use of solar panels on top of each rotating floor (DynamicArchitecture, N/D) ................................................................................... 106

- Figure 107: Dynamic Tower floor plans (DynamicArchitecture, N/D). (a) Plan drawing for the villas which are located on the top 10 floors. (b) Plan drawing for the hotel unites which is located on the first lower 20 floors. ................................. 107

- Figure 108: Drawing presenting the technical system will be used to construct the tower (DynamicArchitecture, N/D). ....................................................................... 108

- Figure 109: Drawings representing natural ventilation as well as sunlight filtering (DynamicArchitecture, N/D). .................................................................................. 109

- Figure 110: Different views for the Dynamic Tower while in motion (Cherry, 2010, P. 36). ...................................................................................................................... 109

- Figure 111: The world map where the studied projects are located in Europe, North-America and Asia. ................................................................................................... 112

- Figure 112: Structure systems used for analyzed buildings. ................................... 112

- Figure 113: Share of materials used among the studied projects. ........................... 113

- Figure 114: Different architectural environments in which kinetics were used. .... 113

- Figure 115: Types of kineticism used in buildings under study, such as: (a) Institut du Monde Arabe 1987 (eliinbar, 2011). (b) The Naked House 2000 (Stang, 2005, P. 89). (c) The Olympic Tennis Center 2009 (DominiquePerraultArchitecture, N/D). (d) The Leaf Chapel 2004 (Picasa, 2009). (e) The Sliding House 2009 (Meunier, 2012). (f) The Dynamic Tower (DynamicArchitecture, N/D). .................................................................................. 114

- Figure 116: Ways kinetics were installed in buildings. .......................................... 114

- Figure 117: Reasons for using kinetics, such as: (a) Institut du Monde Arabe 1987 (Dumas, 2009). (b) GucklHupf 1993 (Olson, 2009). (c) Maison Bordeaux 1998 (OMA, N/D). (d) The Naked House 2000 (van Poucke, 2011). (e) Magnolia Stadium 2005 (TheChicagoAthenaeum, 2007). (f) The Leaf Chapel 2004 (IaaC,

List of Figures

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2010). (g) Cherokee Studios Lofts 2010 (Brooks+ScarpArchitecture, N/D). (h) Dynamic Tower (DynamicArchitecture, N/D). ....................................................... 115

- Figure 118: Reasons in which kinetic systems are applied. .................................... 115

- Figure 119: Relation between structure systems and materials share. .................... 116

- Figure 120: Structure systems effect on the way kineticism is installed. ............... 116

- Figure 121: Relation between the different architectural environments and ways kinetics are installed. ............................................................................................... 117

- Figure 122: Relation between different architectural environments and the reason kinetics are used. ..................................................................................................... 117

- Figure 123: Different ways of controlling kinetic systems, such as: (a) Cherokee Studios Lofts 2010 (SlowHomeStudio, 2010). (b) Gemini Haus 2001 (Salzburg.ORF.at, 2012). (c) Milwaukee Art Museum Quadracci Pavilion 2001 (CALATRAVA, N/D-a). (d) Kiefer Technic Showroom 2007 (WorldBuildingsDirectoryOnlineDatabase, N/D). .................................................. 118

- Figure 124: Ways of controlling kinetic systems. ................................................... 118

- Figure 125: Relation between different architectural environments and ways of controlling kineticism. ............................................................................................. 118

- Figure 126: Effect of using kinetic systems on buildings' visual quality. (a) Dragspelhuset 2004 (HomesAndInterorDesign, N/D). (b) The Dynamic Tower (Cherry, 2010, P. 36). (c) QiZhong Forest Sports City Tennis Center 2005 (IaaC, 2010). (d) The World Trade Center Transportation Hub 2014 (CALATRAVA, N/D-b). .................................................................................................................... 119

- Figure 127: (a) The dynamic faade of the Kiefer Technic Showroom (WorldBuildingsDirectoryOnlineDatabase, N/D). (b) The movable solar panels attached to the exterior of Gemini Haus (Lenardic, N/D). (c) The FLARE-faade system (WHITEvoid, N/D). .................................................................................... 125

- Figure 128: (a) The aluminum panels used for the Wind Veil (beautrincia, 2008). (b) The perforated aluminum panels used for the Cherokee Studios Lofts (Brooks+ScarpArchitecture, N/D). (c) The Mashrabiya Diaphragms used for the Institut du Monde Arabe (eliinbar, 2011). ............................................................... 126

- Figure 129: (a) The Bloomframe (HurksGeveltechniek, N/D). (b) The Dragspelhuset (24H

INTRODUCTION

Introduction

1

A. BACKGROUND Since early ages, architecture has been static. A building is as good as its

structure could last. Although the first former definition for the term Kinetic Architecture was in 1970, there are many evidence that kinetics has also been historically used in building components; such as opening shutters and movable bridges since long time ago. However, it had to wait for further advanced technology before evolving into a higher state. By the beginning of the twentieth century many kinetic attempts in buildings began to appear. Kinetic designs were not only used as means to regulate sunlight, maximize space or vary the view, but also they were developed to articulate new artistic, political and philosophical ideas. Many theorists such as expressionist and constructivist designed many untraditional forms emphasizing experience and motion while articulating symbolic meanings. Although these forms that intened to rotate were drawn and described, none of these were built. Later, the use of kinetics in several projects varied from the use of kinetic building components such as stages and turn-tables for both theaters and restaurants, to buildings that revolved as a whole. The use of buildings varied as well from entertainment, to residential and even health facilities. Kinetic structures also were used in extreme or hazardous environments, and in emergencies caused by natural disasters and human will. The relation between architecture and mechinery reflected the faith in progress through technology and movement representing dynamic, mobility and hope for the future.

A progress in the architectural field can be achieved through addressing kinetic structures as part of a whole rather than independently or singularly. Kinetics in buildings may include pragmatic or humanistic purposes or even both. While pragmatic purposes may range from solving problems, optimizing solutions, and implying space efficiency, security etc, humanistic purposes are concerned with the physical and psychological effect of architectural environments' changes upon their users and occupants.

Kinetic systems can be used in defferent trends. Kinetic systems can be used in large open spaces that accommodate many different activities in order to provide different configurations. They may range from interior re-organization to complete structure transformation. The goal of using such kinetic systems is creating spaces that are able to adopt, reconfigure and customize both by users and changing surrounding conditions. Kinetic systems can be used to turn a single space into a multi-function space that can occupy different activities by quickly and spatially reconfigure itself to truly accommodate each particular function when needed. As kinetic systems allow buildings to adopt and respond to changes in the natural surrounding environment such as wind currents, tempreture and light, they also allow buildings to respond and adapt to long-term changes such as changes in the built environment and traffic patterns. By using kinetic systems, buildings are able to respond and adapt to changes that occur beyond codes and regulations. Kinetic systems can be used in designing mobile transformable shelter and units ranging from entire buildings to small single person enclosures that can be easily constructed, deconstructed, reassembled, stored and moved from place to another.

Introduction

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Designing kinetic systems involves mechanical and technological principles. Advancement in material technology in different fields as aviation and navigation amon others helps in creating much more developed, feasible and intelligent kinetic systems. Materials may range from those characterized by their light weight, flexibility or smart materials they inherent. In order to design kinetic buildings, structures may include or consist of folding, sliding, expanding and transforming parts. Some kinetic systems exist within a larger architectural whole in a fixed location allowing it to respond to changing conditions. Other kinetic structures exist in temporary location allowing buildings to be easily transported. Some kinetic structures exist within a larger whole while acting independently with respect to the larger context.

Acting as the brain of the kinetic system, embedded computation is needed while designing kinetic systems. Embedded computation allow kinetic systems to sense change and react according to the desired respond. Different means can be used to detect change such as cameras as well as sensors. Embedded computation systems allow kinetic structures to modify their behavior depending on the changing variables that may rang from wind loads, secsmic conditions, temperature and light. There are some embedded systems allow buildings the abiloity to learn what the best performance will be. Other systems help users control and change settings according to their needs such as acoustics, lighting, climate and security. Embedded computation can allow kinetic system to be remotely controlled through communication means such as the sms (short message service), mail and internet. As a result of using embedded computation long with materials technology and kinetic structures, adaptable environments are created. These adaptable environments may vary from living environments to working, intertainment and public environments.

Applying kinetic systems to built environments will not minimize comfort they should achieve. Kinetic systems can create flexible solutions in order to achieve sustainability. Also, such systems can present creative solutions to meet clients changing desires and needs. Although it is important to imply kineticism since the early stages of design process, kineticism can also be applied to existing built environments as a renovating solution. Kinetic solutions may vary in their complexity by using either local materials with/without embedded controlling systems or advanced materials and high-technologies. The Egyptian environment is valuable to apply kinetic architecture as it is blessed with a prestigious location, moderate weather as well as availability of different sources for renewable energy. Applying kineticism to the Egyptian built environment will help presenting new era in the architectural field.

A.1. Research Problem:

The built environments in Egypt are usually not adaptable to their users changing needs. In addition, they are not creating environmental solutions that benefit from the natural resources that the Egyptian environment is blessed with, such as solar energy, natural ventilation and land availability. This research attempts to understand how kinetic systems can be applied to architectural environments in order to provide solutions to the pressing needs for sustainability, energy saving and the rising fuel prices.

Introduction

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A.2. Research Hypothesis:

Kinetic Architecture could provide a creative and effective solution to environmental problems in both developed and developing countries.

B. RESEARCH AIMS AND OBJECTIVES The research aims at providing non-traditional solutions for applying

sustainability using kineticism. This will be achieved through evaluating kinetic architectural trends as well as comparing different uses of kineticism within the architectural field.

In order to achieve the above mentioned aim, the objectives of this research are to:

i. consolidate definitions, history, and the different trends used in architectural environments.

ii. highlight the fundamental kinetic key elements that affect the design process.

iii. analyze different examples in order to intrigue architects to the enormous transformation kinetic architecture promises.

iv. explore different opportunities to apply "Kinetic Architecture" in our environment.

C. MOTIVATION AND RESEARCH IMPORTANCE This research is held out to introduce a new architectural approach, i.e.

"kinetic architecture". Also, it covers the area of using kinetics in architectural environments whether they were living, work, entertainment or public environments. Kinetics when used in the field of architecture can be a part of a building or the building as a whole depending on how and why it is being used.

As a result, it is important when designing buildings to study their future compatibility with changes that occur whether in the way of using, the number of users, and their desires or any other changeable factors. Using kinetics will help adding new possibilities for future adaptation. Also, it will maximize the benefit of existing resources both natural and artificial. Kinetic building can maximize the use of land, ex. changing orientation or expanding size according to need or desire. Moreover, kinetic building can act and respond to weather changes as well as to users' changeable needs.

New technologies will have a role in developing kinetic architecture, such as new materials (nano materials and those being used in maritime, aviation and space sciences). Computation and sensor technologies will help determining and locating changes that happen within buildings' environment then responding to that change.

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D. RESEARCH METHODOLOGY The research is primarily about introducing an architectural theory, its

definitions, ways, means and design elements. The adopted methods to achieve this purpose include a literature review as well as analysis of several buildings prototypes. In addition, this research adopts a framework for qualitative analysis based on different factors that includes theoretical design elements along with other elements. It was taken into consideration when selecting architectural projects for the analytical study that they present uses as well as kineticism.

E. RESEARCH STRUCTURE The research consists of three main parts in addition to both an introduction

and a section for conclusions and recommendations as follows: Introduction: This section includes the research background, its aims and objectives as

well as its motivation and importance which followed by the research methodology to demonstrate the research premise. Chapter One: What is Kinetic Architecture?

This chapter is based on introducing definitions and reviewing the history of involving kineticism in the architecture that help understanding what is behind the term "Kinetic Architecture". Also, it is based on investigating how advanced technologies and kinetics could be employed in architectural environments by reviewing different kinetic trends. Chapter Two: Kinetic Design Key Elements:

The aim of this chapter is to cover the mechanical and technological principals which are mentioned and explained in order to go through kinetic design. Chapter Three: Kinetic Buildings' Analysis:

Based on the previous chapters, this one will analyze different kinetic projects and explain how those projects achieved different mechanical and technological principals. Conclusions & Recommendations:

In this section, the researcher attempts to correlate the concluded facts aiming to improve and enhance the quality of the architectural product in seeking the advancement of the Egyptian architectural field.

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Figure 1: Thesis Structure.

Introduction

Conclusion & Recommendations

Kinetic Design Key Elements

Structural Innovation & Materials Advancement

Embedded Computation

Adaptable Architecture Sum

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Definitions

Historical Review

Kinetic Trends in Architectural Environments Ch

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Dynamic Tower

The World Trade Center Transportation Hub

Cherokee Studios Lofts

The Olimpic Tennis Center "Magic Box"

Sliding House

Kiefer Technic Showroom

Magnolia Stadium

The Leaf Chapel

Dragspelhuset

Gemini Haus

Milwaukee Art Museum "Quadracci Pavilion"

The Naked House

Floirac House

GuchklHupf

Institut du Monde Arabe

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CHAPTER ONE: WHAT IS KINETIC ARCHITECTURE?


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1. What is Kinetic Architecture? Through this chapter, the researcher introduces "Kinetic Architecture" by

covering three different areas. First, the definitions of the term "Kinetic Architecture" will be presented. Next the researcher will go through the history of "Kinetic Architecture". Last, different kinetic trends that can be found in architectural environments are going to be examined by explaining each supported by examples.

1.1. Kinetic Architecture Definition The term "Kinetic" is an adjective that refers to everything produced by

movement. The term "Architecture" is a noun that refers to the design or style of a building or buildings (Hornby, 2010).When combined together, the term "Kinetic Architecture" refers to the design of buildings that are produced by movement. It has been stated that, "If a building could mediate our needs and the environment outside: its demand on physical resources could be slashed. If it could transform to facilitate multi-uses; its function would be optimized. If a building could adapt to our desires: It would shape our experience"(Fox, 2003 ). The previous statement emphasizes the importance of kinetics in architecture and how it could be used.

Historically, a building's success has been judged depending on the ability to survive time and nature ravages but not by satisfying changing human needs and desires as well as the changing surrounding environments. To start with the term "Kinetic Architecture" it should be mentioned that the Pop Art a visual arts movement in the 1950's and 1960's in Britain and the United States of America had a great influence on the first formal definition by Zuc and Clark in 1970. Thus, Zuc and Clark coined the term "Kinetic Architecture" as "a form should react to the set of pressures establishing an equilibrium, it should not be stable with reference to time. This is not intended to suggest that some structures should not rightfully be static emotionally it may be necessary to provide some degree of fixity and historical continuity but it is to suggest that the architectural form must be free to adapt to changes that take place within the set of pressures acting upon it and the technology that provides the tool for interpretation and implementation of these pressures" (Zuk, 1970, Sanchez-del-Valle, 2005).

Many years later, kinetic architecture was defined by Michael A. Fox (2003) founder of the Kinetic Design Group at MIT as: "buildings and/or building components with variable mobility, location and/or geometry". Another definition was offered later by Chuck Hoberman describing it as "the possibility of movement", to create "transforming environments, responsive building elements, or interactive public spaces" (Sanchez-del-Valle, 2005).

Hoberman structures are inspirations by the geometries found in nature. When he described his structure the Retractable Dome for the German Pavilion at Expo 2000 in Hannover, Germany, he said "I see this dome as a kinetic architectural element", and "Such elements can make spaces that change from indoors to outdoors, allow walls and roofs to disappear when not needed, and create portable shelters that may be quickly unfolded"(Whitehead, 2000).

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At the Smart Architecture Conference in Georgia, USA, Carmina Sanchez-del-Valle (2005) described the term "Kinetic" as "Having the capacity to be affected by reversible geometrical changes in whole or in part without losing the integrity of the system". It was also mentioned, that creating structures both kinetic and adaptive, make them gain the ability to respond to changing conditions like weather, sun location, etc. For that, she justifies the use of adaptive kinetic structures due to the following reasons; economy of means, responsibility towards the natural environment, and the satisfaction of human needs and desires. Moreover, she justifies that these reasons are the same given for most architectural projects; yet what makes adaptive kinetic structures differ from others is their ability to produce work to better modulate efficiencies, broaden the contemporary aesthetic and give it more relevant meaning by turning the embodied energy fully visible.

Kinetic architecture was also defined by Kostas Terzidis (2008) as "The integration of motion into the built environment, and the impact such results has upon the aesthetics, design, and performance of buildings may be of great importance to the field of architecture. While the aesthetic value of virtual motion may always be a source of inspiration, its physical implementation in buildings and structures may challenge the very nature of what architecture really is". In addition, Robert Kronenburg (2007) said that "A building becoming kinetic at the touch of a button can introduce a potent reinvention of something inanimate, giving it the quality of being alive".

According to Michael A. Fox (2003), examples of adaptive kinetic buildings are usually found among those referred to as intelligent, smart, responsive, dynamic, and active. For instance, transformable building was defined "One that changes shape, volume, form or appearance by the physical alteration of structure, skin or internal surface, enabling a significant alteration in the way it is used or perceived. This is architecture that opens, closes, expands or contracts" (Kronenburg, 2007).

Adaptive kinetic architecture creates ecological system as its components have shifting interdependencies when responding to changing environment (Sanchez-del-Valle, 2005). That confirms that kinetic architecture is not only about transformable or moving buildings but also about creating a relation between the built environment and natural environments. "Buildings that continuously attune their configurations in accordance with changing environmental conditions use less energy, offer more occupant comfort, and feature better overall space efficiency than static buildings" (Hoberman, 2008).

Guy Nordenson, Ove Arup & Partners stated that "If architects designed a building like a body, it would have a system of bones, muscles, tendons and a brain that knows how to respond. If a building could change its posture, tighten its muscles and brace itself against the wind, its structural mass could literally be cut in half" (Fox, 2003 ).

To conclude all definitions listed above, "Kinetic Architecture" can refer to buildings or building components that act in respond to surrounding changes whether changes are indoor and/or outdoor and whether they are forced by environmental factors and/or human ever-changing demands.


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1.2. Historical Review By analogy to biological evolution, architectural adaptation was low

compared to higher biological or technological developments, although some exceptions were found (Zuk, 1970).

The invention of the wheel was the motive of using kineticism in architecture. Adaption and mobility were first seen architecturally as movable stones, logs, or skins covering cave or hut openings. Wooden pivots or hinges of leather and even stone pivots were used. "Mention should be made of the removable rope and canvas roof over the Roman Colosseum (circa 70 A.D.), spanning the oval form 620 feet by 513 feet. Sailors were assigned the task of erecting and dismantling this vast early flexible roof supported by poles around the edge of the colosseum" (Figure 2 a). Also, wooden sliding doors and windows' covers were developed in the same era. Moreover, pivots and hinges made of iron and brass were used after the introduction of metals. The use of metal helped increasing the efficiency of both doors and window-shutters as well as enhancing their appearance for the better (Figure 2 b). These adaptive devices were used for both security and weather protection. The use of a variation of doors and drawbridges took place in the Middle Ages for defense. However, the use of drawbridges had to wait for further advanced technology before evolving into a higher state (Zuk & Clark 1970).

(a) (b) Figure 2: (a) The Colosseum represented the first kinetic retractable roof covering the seating area

around the arena (Pepe, 2001). (b) An intriguingly simple device invented by Thomas Jefferson for his

home to allow both doors to open simultaneously whenever any is opened. As the device was concealed

beneath the floor, its principle was not known until it was uncovered in 1953 (Zuk, 1970, P. 29).

The start of using movable bridges was earlier than the Middle Ages; as

there is evidence of using this type of structures in Egypt in the fourteenth century B.C. as well as in Babylon. "According to Herodotus, Queen Nitocris of Babylon built a form of retractile bridge, for protective purpose, across the Euphrates at about 460 B.C" (Koglin, 2003). These ancient movable spans and bridges were used for military purposes as well as water traffic.

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(a) (b) Figure 3: (a) A sketch showing how a drawbridge at medieval castle worked, typical of such structures

that were precursors of modern bascule bridges (Koglin, 2003, P. 4). (b) A view of the entrance door

and the drawbridge to Rocca Gradara one of the best preserved medieval structures in Italy which

was built in 12th to the 15th centuries (GeoSearch.Italia, N/D).

As mentioned before, movable bridges were first used for protective purposes. They were used in medieval castles and forts over moats. The drawbridge, which was usually a bascule type that pivoted upward on trunnions, was commonly used in that era, (Figure 3 a,b). These bridges were used for protective purposes not only while lowered by acting as simple bridges located over moats, but also when raised the floor of their leafs acted as strong doors impeding entry as well as providing resistance to projectiles fired from catapults.

The mechanism of these bridges' movement was by the direct pull of chains near one end, assisted by winches and levers. Bascule bridges were developed in the sixteenth century by Leonardo da Vinci. Lifting became much easier because of the counterweight located on the opposite side of the pivot from the bridge, which also provided against sudden falling from the raised position (Zuk, 1970).

The rotation in modern bascule bridges is accomplished by motor driven gears about horizontal pintle, no longer chain hoists. Whenever movable bridges' dead weight was kept to a minimum, the amount of counterweight, bearings, machinery, and foundations needed would be reduced. Steel is commonly used in such bridges, although few are of aluminum which reduced the dead weight by one-half. For that, it is of a paramount importance to minimize the weight of any kinetic structure. Moreover, kinetic structures will differ from conventional static structures in both shape and material.


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Movable bridges may be classified into several types. Some are employed occasionally such as: bobtailed swing spans, double rotating cantilever draws, transporter bridges, and floating bridges (Figure 4 a). But the movable bridges which are frequently used till today are: ordinary swing spans, trunnion bascule bridges, rolling bascule bridges, and vertical-lift bridges (Figure 4 b and Figure 5 a,b).

(a) (b) Figure 4: (a) A scketch shows how a typical drawbridge works (Hall, N/D). (b) A scketch shows how a

typical trunnion bascule bridge works (Ryall, 2000, P. 669).

(a) (b) Figure 5: (a) A schematic of vertical lift bridge (S. Glover, 2007). (b) A rolling bascule bridge while

closed (Chase Hill, 1927, P. 467).

For a long time, kinetic architecture had never advanced beyond the using of movable doors, windows, or temporary roof. However, few exceptions began to appear in the eighteenth and nineteenth centuries. One of the dining rooms in the Palace of Versailles in France was constructed with a floor part of it could be lowered to another level where servants could set the banquet table and then raised again to the room level.

Modern revolving stages took place at several theaters in Europe and the United States at the beginning of the twentieth century (Figure 6 a). Ye Liberty Playhouse was probably the first permanently revolving stage built in the United States, in Oakland, California, in 1903. Harry Bishop, the manager who designed the stage, had reportedly seen revolving Kabuki stages during a trip to Japan.

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Stagehands rotated the 75 feet in diameter turntable, which rotated on caters, by pushing off from stationary posts at the edge of the stage. "In the decades that followed, architects, stage designers, and critics including Pierre Albert-Birot, Oskar Strnad, and Walter Gropius developed plans for reconfigurable and rotating theaters that exploded the established definition of performance spaces" (Randl, 2008).

(a) (b) Figure 6: (a) The construction of the Santa Barbara County bowl revolving stage in 1936 which was

destroyed by El-Nino floods during 1939 in the United States of America

(SantaBarbaraBowlFoundation, N/D). (b) Architect M. Engere Pettit and physician Lucien Pellegrine

"heliotropic house" 1903 (Randl, 2008, P. 57).

In 1903 the rotating "heliotropic house" was exhibited by famous French architect M. Engere Pettit in consultation with physician Lucien Pellegrine at the Exposition de l'Habitation in Paris. The model was based on a building called Villa Tournesol Pattit which was constructed in south France (Figure 6 b). It was often referred to as a "family Sanatoruim", because the physician's belief that the sun was the cure for most diseases. For a maximum benefit of daylight in different rooms at different times, the house had a cross-shaped plan with large window openings on most walls. Also, it was set on a turntable with ground-level ball-bearing raceway, which helped rotating the house to follow the sun by moving a lever once an hour for a rotation of a few inches. A larger version with a gasoline engine, to rotate the house once per day, was proposed.

In 1929 Jean Saidman, an early expert in the field of actinology, which is a branch of science that explored the chemical effects of light, designed and patented a new type of solarium to improve upon existing ultraviolet light treatments with the assistance of architect Andre Farde. The first version was constructed in the French spa community Aix Les-Bains the following year, and it didn't look like any other building ever constructed (Figure 7). Examination and waiting rooms were featured in the design's base (or pillar) ground floor. Its roof was steeply pitched conical covered with diamond-shaped tiles. The ground floor was connected to the rotating platform above with an elevator and a spiral staircase, which were located in the reinforced concrete base. The eighty-ton steel platform was rotated by an electric motor located in the basement.


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Figure 7: A view for Saidman's revolving solarium, Aix Les-Bains, France (Petit, N/D).

The platform consisted of a monitoring and control room in the center and

four glass-fronted treatment cabins at each side. The cabin platform was situated high in the air for better ventilation as well as trees clearance. A small changing room could be found at the back of each cabin. Also, an adjustable bed could be found in these cabins, with a motorized assembly of nickel oxide or cobalt glass screens, which helps blocking specific wavelengths, as well as lenses and lamps that could be moved into various positions above the patient, connected it. Moreover, lens panel and bed could be configured to direct the sun's ray depending upon the illness and its prescribed treatment. Likewise, the rotation helped keeping all the cabins in sunlight throughout the day. At last, the solarium was used to treat various forms of rheumatism, dermatosis, tuberculosis, rickets, and cancer.

Rotating designs were developed to articulate new artistic, political, and philosophical ideas, while inventors and thinkers saw their rotating designs as an engineered, rational means to regulate sunlight, maximize space, or vary the view. This trend took place in Europe during a time when revolutionary styles of painting, graphic design, literature and architecture were sweeping over the continent, in the first half of the twentieth century. Revolving designs signaled a dramatic break with the past by overturning traditional assumptions about buildings that were stable and static. As well, they announced an allegiance between architecture and machinery and made explicit the modern faith in progress through technology and movement, which reflected dynamic mobility and hope for the future.

Expressionist architecture, which was originated during the first decades of the twentieth century in Germany and other Central European countries, encompassed a broad range of forms that shared a common tendency toward plasticity and away traditional design. "Light-kinetic-principles" were experimented by architects such as Bruno Taut, Erich Mendelsohn, and others to demonstrate the triumph of time and mobility over space. Biomorphic motifs and inspiration from geologic forms were featured and drawn in some designs. Therefore, the ending results were often eclectic, highly individual exercises, which emphasized emotion, sensation, experience, motion, and the articulation of symbolic meaning (Randl, 2008).

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Figure 8: Max Taut's Rotating House, Frublicht (Dawn), 1920 (Randl, 2008, P. 67).

None of the expressionist designs that intended to rotate were built,

although they were drawn and described. In 1920, the Rotating House designed by Max Taut and published in the short-lived magazine Frublicht (Dawn) was to have been constructed six years earlier for Mr. Mendthal on the sand dunes overlooking the Baltic Sea near Konigsberg (Figure 8). The design was a zig-zagging glass walls wrapping around a generally cylindrical plan, which were joined by a series of dormer-like roofs to a central steeply pitched pyramidal core. The glass walls on the main level and the center core above were circled by railed balconies. The primary motive for having the design rotate was philosophical, although the site may have played a part. A text that described this house was spiraling out from Taut's sketch, which helped accentuate the building's whirling dynamism. Taut's Rotating House exhibited a close resemblance to the crystalline forms, which were a central design motif of expressionist architecture, by its faceted, glazed walls and spiked roofs. Later in 1920, designs for suspended and swinging architecture were developed by expressionist Carl Krayl, for instance the Crystalline Star House which hung from the side of a cliff. Crystal designs by Krayl and Taut suggested movement even when static, by their shimmering faceted panes and folded facades.

Concurrent with expressionism, constructivist architecture was a movement that got influenced by constructivist art and originated in the new Soviet Union. In the years following 1917 Russian Revolution, the new government supported works that represented its social and political outlook away from the traditional forms associated with the imperial past. Although constructivist designers worked in a dynamic and heady atmosphere that featured an industrial vocabulary of exposed structural frames, cross bracing and guy wires, their works turned to utopian architectural fantasy because of the few resources available for building. Abstract forms were shaped in concrete, steel, and glass. Kinetic elements were sometimes featured in constructivist architecture designs which brought to life the sense of motion.


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Figure 9: Tatlin's Monument to the Third International, designed in 1919 (Randl, 2008, P. 68).

In 1917, Vladimir Tatlin's Monument to the Third International (Figure 9) marked as the best-known example of constructivist architecture was intended to be the headquarters for the new communist government, as well as an enormous physical symbol of industrial progress, dynamism, and transparency same ideas hoped to be associated by the new regime. Unlikely, the project didn't go further than sketches and a model was exhibited at parades and expositions.

The monument like the offspring of a union between the Eiffel tower and a rollercoaster was consisted of an open iron framework spiraling upward from a wide base to a tight peak, which supported and contained three separate glass-walled volumes that accommodated various legislative and administrative functions. These three parts were different in shape and rotating rate. A cube that was to rotate once per year on its axis set as the lower part of the monument, in the middle a pyramid was formed with a revolving rate once per month, at last and near the monument's top a cylindrical form was set and intended to rotate once each day. The total height was to measure over 1,300 feet high. For that, the Monument to the Third International was to be a sculpture more than architecture. The structure would have exuded movement and energy even when static, same as Taut's house which seemed to be in motion even at rest. Tatlin's monument was to be the aspirations of a dynamic Soviet Union through a stretched coil of latticework and rotating internal components that drew over connections to industry and technology.

As rotation was symbolic and the challenges of creating kinetic structures seemed of little interest to the architects of that time, the designs of Taut, Tatlin, and others were utopian dreams that steeped in avant-garde artistic currents. Nevertheless, the first half of the twentieth century witnessed many designs

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developing full-size structures meant for year-round occupation, which rotated for pragmatic reasons using applicable mechanisms, in Europe and the United States (Randl, 2008).

Figure 10: Villa Girasole from the air, with the courtyard of the rotating section facing uphill,1935

(Randl, 2008, P. 77).

In the early 1935, Villa Girasole was created by an engineer from Genoa,

Angelo Invernizzi, along with a mechanical engineer Romolo Carapacchi, an interior decorator Fausto Saccorotti, and an architect Ettore Fagiuoli (Figure 10).

As Girasole means sunflower, the villa traces the movement of the sun by rotating so that its front will always face the sun. At the center of Villa Girasole, a spiral staircase rises in the 42.35 meters tall tower topped by an elegant lantern, a sort of conning tower or lighthouse, which the rotating movement hinges on. The two storey (L) shaped villa rests on a 44 meter in diameter circular masonry base where the track that it revolves on is located (Figure 11 a,b). Sewer and water connections are made through pipes that lead down from the mobile core to collection containers. These collection containers are hanged off the underside of the house and are the architectural equivalent of colostomy bags. As the rotating part of the house contains all the standard elements of a home, it is functionally independent from the base (Mical, 2005).

(a) (b)

Figure 11: Villa Girasole: (a) lower floor plan where the villa can rotate 360 degrees over rail tracks

(Davies, 2006, P. 87). (b) structural frame showing the spiral staircase as well as the tracks (Randl,

2008, P. 78).


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"In the 1950s, when few people talked about ecology or conserving energy, Franois Massau, a local coal merchant-turned-builder, built what was among the earliest revolving homes". His first house of three (Figure 12) was built in 1958 in Belgium for his sick wife so she can enjoy sunshine and warmth anytime of the day and the year. All three revolving houses Massau built are still functioning today. The house rotates on a steel track supported by a stationary circular brick-and-cement foundation. A small electric motor is used to make the house turn a full 360 degree in 90 minutes. A stationary concrete slab supported by columns creates its roof. A steady supply of water and electricity is assured as well as the removal of sewage wastes even while the structure moves by its tangle of plastic pipe and electrical switches in the cellar. Massau revolving house consists of four bedrooms, kitchen, and a large crescent-shaped living and dining room, creating a 130 square-meter (1,400 square-foot) of energy efficient space (Tagliabue, 2008).

Figure 12: The 1,400 square-foot revolving house built by Francois Massau in 1958 still turns, making

a complete circle in 90 minutes, admitting more sunlight into its rooms as needed (Tagliabue, 2008).

Historian Anton Huurdeman has stated that telecommunication towers are

appreciated as symbols of the information society in the twentieth century, just as high chimneys refered to the industrial progress in the nineteenth century. In the 1950's, the new microwave communication systems required a series of transmitters linked by line-of-sight. At the time when most towers were steel lattice frames, a structural engineer, Fritz Leonhardt, convinced government authorities in Stuttgart, West Germany, to go with an elegant form made of reinforced concrete to be the TV tower which was planned for a prominent hilltop in Stuttgart. After completion in 1956, the Stuttgart Tower (Figure 13 a) was the first reinforced concrete TV tower in the world. The final cylindrical head design including two observation decks and a stationary restaurant overlooking the city and its surrounding hills, vineyards, and forests is one located at a height of over 450 feet.

In 1959, three years later, based on the Stuttgart TV Tower design, a second concrete TV tower was built in West Germany. Dortmund's Florianturm (Figure 13 b) featured an upper and lower head, and a stationary core at the center of its head where the stairs, the elevators, restrooms as well as food preparation space

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were located. In the lower head and revolving around the service core was a turntable floor that carried the restaurant's tables, chairs and diners on a once-every-hour circuit of view, what may have been the first revolving restaurant ever built in a tower (Solaleya, N/D, HousesDesign, 2008).

(a) (b) (c) (d) Figure 13: (a) The Stuttgart Tower in Stuttgart, Germany (Smart-Travel-Germany.com, N/D). (b) The

Dortmund's Florianturm in Dortmund, Germany (Janberg, N/D-a). (c) The concrete Henninger Turm

in Frankfurt, Germany (Janberg, N/D-b). (d) The Cairo Tower in Cairo, Egypt (Wikipedia, 2004).

In the late 1950's, construction began on other towers with revolving restaurants but not serving as TV towers. A concrete tower in Frankfurt, Germany, the Henninger Turm (Figure 13 c), was a silo complex storing 16,000 tons of barley for local brewery and was opened in 1961. The three-storey head with two revolving restaurants and an observation gallery were added on the top of the tower at a height of over 330 feet to serve as rooftop amenities, which converted a potential public eyesore to a landmark structure generating additional income. The entire head structure of Henninger Turm revolved on the exterior (Randl, 2008).

In 1961, the 187 meter-tall landmark designed by Naoum Shebib, Burg Al-Qahira (Cairo Tower) was the tallest freestanding concrete structure of its time (Figure 13 d). Located in Nile's Gezira Island, the structure served as a TV tower. The tower is taller than the pyramids by some 45 meters. The exterior lattice structure of the 14 meters in diameter Cairo Tower resembling a lotus blossom, which was next to the papyrus one of the most revered plants in the ancient Egyptian history, was made of granite and ornamented with approximately eight million tiny porcelain mosaic tiles. A viewing platform and a revolving restaurant located at the tower's top made it possible for users to explore the beauty of this ancient yet cosmopolitan city (WACKER, 2009, Peterson, 2003, Golia, 2004).

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Chapter One

22

1.3. Kinetic Trends in Architectural Environments As a result of all advanced technologies and capabilities available in the

present time, the use of kinetics in architecture can be extended far beyond what has been possible previously. Progress in the architectural field can be accomplished when addressing kinetic structures as a part of a whole rather than independently or singularly. Pragmatic adaptability of employed kinetics is varying from full mobility to interior reconfiguration, and is used in buildings that are efficient in form, lightweight, and inherently flexible with respect to contexts and purposes' diversity. Kinetics is divided into two categories: pragmatic and humanistic. On one hand, pragmatic applications concerned with solving problems, optimizing solutions, and implying space efficiency, shelter, security, transportation, safety, and economics. On the other hand, humanistic are concerned with the physical and psychological effect of the architectural environments' changes upon their users (Fox, 2009). Kinetic trends in architectural environments are dissected into four categories addressing the pragmatic or humanistic considerations, or both:

1.3.1. Spatial Optimization Systems

Spatial optimization systems are most common in large open spaces that may accommodate many different activities. Such spaces have a built-in transformable infrastructure that can provide differing configurations limited by it; for example banquet halls, convention centers, and school gymnasiums. Spatial optimization is defined as, "kinetic architecture that can, from a practical standpoint serve as a means for adjusting spatial configurations based on changing stimuli triggered by environmental and/or human actions". Movable objects creating transformable systems will open an exponential layer of adaptability. Applications in this category may range from multi-use interior re-organization to complete structure transformability. The goal is creating spaces that are capable of adapting, reconfiguring, and customizing both by their inhabitants and by the changing surrounding environments as well as needs, thus reducing both social and environmental costs. The inhabitants' desires and needs may range from privacy to publicity, so it is important to understand and accommodate humanistic considerations on top of the pragmatic spatial optimization of the space.

An example could be the second prize winner project "Interlocking Transformation" for the "Domus BBJ Design Competition" (Domus, 2008). This project aimed to create a responsive interior space configured by the users of a specific flight and could be partially reconfigured in-flight. The interior is divided into three resizable sectors equipped with the technical and the physical apparatus necessary for various parts of the program (Figure 16 a,b).


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(a) (b) Figure 16: (a) Interlocking Transformation, an interior diagram (Fox, 2009, P. 32). (b) Interlocking

Transformation, reconfigurable elements dividing sectors (Fox, 2009, P. 32).

1.3.2. Multi-Function Design

Although multi-function design is commonly used in many products, most architectural spaces are designed to accommodate a single function. Architectural spaces are not limited to the function they were designed to accommodate, for example how a kitchen is used to prepare food for a few hours of the day, and also used for eating or watching TV and sometimes for discussions although it is not designed to accommodate such activities. Another example could be a living room which could be used by a group of people, a couple or even a single person each to accommodate different activities with different lighting and acoustic needs. That also may happen not only within residential spaces but within work spaces as well. As a result, it is important to involve multi-function design in the architectural field in order to create spaces that can determine their configurations quickly and spatially to truly accommodate each particular function when needed. Kinetic elements

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