Trans-ports muscle at architectures non standard
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The programmable modes of Trans-ports. The most important feature of the programmable Trans-ports pavilion is that architecture for the first time in history is no longer doomed to remain static after a dynamic design process ˇ This notion formed the basis for a true paradigm shift in architecture at the millenium shift ˇ Due to the programmability of both form and information content the construct becomes a lean and flexible vehicle for a variety of usage ˇ ONL conceived 6 different modes for the installation at the Biennale 2000 in Venice: 1) in the artmode the construct is a true piece of art, 2) in the officemode the construct becomes the vehicle for showing realized projects, 3) the educational mode turns the programmable vehicle into a transaction space for collaborative design, 4) the infomode exploits the Trans-ports vehicle for broadcasting news, 5) in the commercial mode companies feed the transaction space with their commercial content, and 6) in the dancemode Trans-ports transforms into a multimedia partyzone ˇ
MUSCLE. For the exhibition Non-Standard Architecture ONL realizes a working prototype of the Trans-ports project, called the MUSCLE ˇ Programmable buildings can reconfigure themselves mentally and physically, probably without considering to completely displace themselves like the Walking City as poposed by Archigram in 1964 ˇ Programmable buildings change shape by contracting and relaxing industrial muscles ˇ The MUSCLE is a pressurized soft volume wrapped in a mesh of tensile Festo muscles, which can change their own length ˇ Orchestrated motions of the individual muscles change the length, the height, the width and thus the overall shape of the MUSCLE prototype by varying the pressure pumped into the 94 swarming muscles ˇ The balanced pressure-tension combination bends and tapers in all directions ˇ
Out of control. The public connects to the MUSCLE by sensors, and by input through sliders on the computer screen ˇ The sensors are attached to the reference points of the construction ˇ Coming closer to the sensors triggers a reaction of the MUSCLE as a whole ˇ The public will discover within some minutes how the MUSCLE reacts on their actions, and soon the public starts to find a goal in the play ˇ Another way to communicate with the MUSCLE is to operate the sliders on the computer screen ˇ Bringing the slider to the right probably means that the selected area moves to right ˇ But meanwhile ONL has programmed the MUSCLE to have a will of its own ˇ The MUSCLE may not want to go there, and may try to crawl back ˇ Then a true interaction starts, and the outcome of the transaction process may be unpredictable ˇ The MUSCLE is the prototype for an environment that is slightly out of control ˇ A prototype for a building which is pro-active rather than responsive and obedient to the user ˇ Communication first starts when there are two pro-active parties involved ˇ The utimate goal is to develop an individual character for the MUSCLE during its 3 month performance at the Centre Pompidou ˇ
Credits
Date: 2003
Site: Centre Pompidou Paris
Design architect: Prof ir Kas Oosterhuis
Design team: Kas Oosterhuis, Ilona Lénárd, Bert Bongers, Chris Kievid, Laura Aquili, Remko Siemerink, Sven Blokker
Engineering: ONL, d3bn, festo, buitink
Client: Biennale 2000 Venice, mnam/cci Centre Pompidou Paris