Incubator for Manhattan

Have noted up the advice given during the tutorial on Tuesday and will act upon the various comments next week.

It was a concern that the structure would have to become more substantial in Manhattan area due to the heights the roller coaster would potentially need to reach, the draft view from height highlighted the problem clearly.  Having spoken with Colin and discussing the studies I had already carried out to determine the spans, delineation and also the width of the track, we worked through what scenario could work.

I’m happy that we concluded the columns can still be slender albeit with bracing at a high level, and the lateral bracing and stability is achieved by the delineation and the spans dictated by the curvature.  The maximum loading when the pod and panels are in the same location  can traverse to the supporting columns either side of the span, so with that problem now resolved I can continue to finish the design.

sketch structure

In order to progress with some of my many unfinished drawings I also needed to resolve some of the gaps in the architects cabin design.  The taxonomy consists of many many hand sketches and so these will need to be organised in a coherent drawing, however, I used anthropometric data to determine the overall size needed and as a result of those studies, have fine tuned the size of the cabin, and developed a draft sketch combining the components which form the whole system.  Working through these as a unit helped to co-ordinate some of the structural elements with some of the technology and environmental elements.  It is not completely resolved yet, but the form is.

anthropometric study anthropometric study- seating anthropometric data floor plan

The cabin can seat a design team of up to eight people, seating is adjustable and can swivel around for discussion/meeting.   The seats are not a permanent feature they can be removed if need be/preferred and kept at the docking station. Many iterations have been gone through to achieve this, a number of alternatives were not feasible  either due to construction, technology or safety issues.

wheel system for cabin

I have researched roller coaster cart, tracks, wheels systems and also the equivalent in terms of rail and monorail systems.  There are similarities in terms of the tracks, rails, drive wheels and bogies, however, the type of system depends on the combination of elements ie, type of cart/cabin, type of track, movement, stoppage etc.

The drive wheel and bogie system sketched above will provide the contact and stability needed on the track we want.  The track needs to be steel hollow section and ideally curved to prevent detritus/residue build up especially as maintenance will not be three times a day like a roller coaster.  Thought also needed to be given to the elements and how the cabin could help to shield the mechanisms.

Drive Wheels & Bogie

The wheel and bogie system will sit on the track and sit within the base of the cabin.  The lower section of the cabin being stainless steel panels which will act as a skirt.  To minimize the need for extra weight and also reduce the power requirements of the cabin, natural ventilation is provided by using the venturi affect, this will enable stale air to be sucked out of the cabin as it moves and fresh air filtered in.  I_beams will form a chassis with which the aluminium floor plate will sit complete with ventilation grilles.

.Chassis

architects cabin15042016

This is a draft sketch working through the key components that form the architects cabin,  having spoken with Charles about this he thought it would be good to have some vignettes showing how the cabin is being used both by the architects and/or the design team.  As mentioned previously my intention was to do a full section which would show the cabins relationship to the adjacent building and people within, and also people on the ground.

I thought the initial drawing would be a view, then the front of the cabin peels away to reveal the interior vignette, and then other parts peel away to reveal the structure, the environment and technology.  If this was the case the drawing could unfold like a concertina, but, I need to just do it, and see if it will work.

With reference to a format, I have two thoughts.  Putting all the work into an Auctioneers Catalogue A4 with A3 fold outs where needed.  The auctioneer catalgue would allow for the varying media, objects, sculpture and booklets/leaflets.  The booklets being an architect’s diary, Coade Stone Catalogue,  basically process work which Charles wants to see but which would be too ugly to sit within the catalogue.

Some examples which I thought I could utilize are as follows:

https://issuu.com/lamodern/docs/lama_march2015-final  accessed 13-4-16

 

 

https://issuu.com/artiana/docs/auction_catalogue__low_res_  accessed 13-4-16

The Collection of Lydia Winston Malbin.  New York. Sotheby’s. Introduction by Ester Coen. Published by Sotheby’s 1990.

default ddpph08001001newyork_times.750

The other thought I had was about a Broadsheet Newspaper for three time periods.  1816 time period would present the innovation of  Coade Stone, and the research work which led to Coney Island, 1916 time period when Coney Island was the incubator of innovation and 2016 the incubator for Manhattan.  The problem I foresee with this format is that to be realistic, text should be a minimum which is not the case with a Broad Sheet and also how to contain the process work, and many other work.  Although I did think newspapers always have leaflets, advertisements, and sometimes souvenir pull out guides/booklets.

As you know, the whole format issue is where I am stuck, I need to resolve it as soon as possible with which to move forward, I know what to do with all the unfinished work in terms of your comments and advice, it is purely ‘time’ to work through each item and finish, but this can only be done if I know where it will sit and with what.

My other concern is that the many many sketches and hand drawing/scribbles which I have done to figure things out from the beginning, it seems the trend is not to have these integrated on final sheets as they look unprofessional, although Charles would like these and had mentioned having an appendix, he also mentioned including a page of the exploration study best bits.  I know you said at the tutorial in London that all tech needs to be integrated and I am thinking to do this, but the lighting studies, load paths and process scribbles etc etc that Charles wants need to have a home.

Can you offer suggestions?

Manijeh you asked me to remind you about your fifth year project, that would be helpful too.  I have to say I’m very worried about the time left and the volume of work, can you please give some indication of what you expect to see by the Crit day.  I know you mentioned 95% work complete, but is that work, format, the whole shabang ??

Many thanks

 

 

ladies & gents image : https://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwj0hsv72o_MAhUDQBQKHddiCq8QjB0IBg&url=https%3A%2F%2Fwww.loc.gov%2Fitem%2Fsn78004456%2F1914-02-08%2Fed-1%2F&bvm=bv.119408272,d.ZWU&psig=AFQjCNHFAXEX05VM3ilBt_-OPmLQ66JLiw&ust=1460777546276712

5th avenue image: https://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=&url=http%3A%2F%2Flibrary.duke.edu%2Frubenstein%2Ffindingaids%2Finline%2Fdorisdukephotos_ddpph08001%2F&bvm=bv.119408272,d.ZWU&psig=AFQjCNHFAXEX05VM3ilBt_-OPmLQ66JLiw&ust=1460777546276712

new york times 2016 image: https://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=&url=http%3A%2F%2Fen.kiosko.net%2Fus%2F2016-01-19%2Fnp%2Fnewyork_times.html&bvm=bv.119408272,d.ZWU&psig=AFQjCNGSJT7msz7EyaF-Vonnzb_tII12IA&ust=1460777741853688

 

 

 

One thought on “Incubator for Manhattan

  1. Good problem solving to figure out how to resolve the tall but slender columns supporting the rollercoaster in Manhattan – the sketches are interesting and the use of colour conveys a sense of fun and experimentation while still demonstrating a technical concept – would be great for this to translate into your final technical drawings.
    The ergonomic design of the cabin is interesting but it would be good to draw it up to show how it is adaptable as a workspace allowing it to be occupied by a group as shown in your sketch or as the office of a single architect to imagine, formulate and experiment with the city as its testing ground. Too often you seem to get bogged down by requirements, safety, etc and while this is important to understand to make the proposal believable you also need to show the enormous potential of this proposal and the imaginative and incredibly new way of designing and constructing buildings that it creates. Make sure you balance between these two extremes of the pragmatic and the conceptual – its important that every drawing and the overall portfolio has both in order for a project like yours to succeed.
    The sketches of how the wheels meet the track and how their complex configuration allows the rollercoaster to move in the way it needs to are interesting but I’m worried that you are giving yourself double work by sketching all these drawings and then having to redraw them for the portfolio – I know its probably part of your process but try to get them into the computer and resolved as soon as possible so those ideas don’t get lost.
    As for the portfolio format, I think its important to choose a format that suits your project and not one that will detract from it. The auctioneers catalogue doesn’t seem to suit since it doesn’t relate to your project narrative. While I can see how the broadsheet newspaper might work because of the headlines and stories as the project develops, it seems it would be too much of a side project and it would be hard to make all the work you have done to date fit this format. Instead, your project seems more suited to being formatted as a sort of manual for the construction of a new type of architectural rollercoaster and a handbook for how it will change the way architecture is designed, tested and built. A lot of the projects that I’ve shown you which combine technical drawings with more conceptual ones would suit this format a way to really embrace what you’re interested in which is how things work with exposing the potential of the project as a conceptual idea. I like Charles’ idea to include the sketches and your way of thinking through the project – and perhaps this could be the architect’s sketches or diary as you call it. Find a way to cross-reference the sketches with the design and technical drawings as well as the views along the rollercoaster.
    I know there is not a lot of time left and still a lot of work to do so it would be good for you to make a list of every drawing/ piece of work you need to do between now and the end of year submission – this should include any work you need to reformat which should be listed as such and then new drawings that you still need to do. We can work through the list on Tuesday to see what is essential and what can be eliminated or combined to find a way to get it all done by the end of the year. Its important to not panic but just keep working! Don’t worry about the crit etc – just work backwards from what you would like to have at the deadline on 13 May and find a way to do that work from now until then. We’re here to support you but you need to use tutorials each week to show us examples of resolved technical drawings, views, conceptual drawings and portfolio layouts so that you can keep going for the rest of the week without wasting any time. Good luck – and looking forward to seeing the developed views and some of these technical drawings on Tuesday. Have a think about the manual format and bring in a few pages – just keep it minimal and simple so it won’t take too much time to get everything to the same level. I will email you some nice manual examples now and I can bring my 5th year technical studies in on Tuesday to show you – its not anything groundbreaking but just to give you an idea of designing just enough of the rollercoaster for people to believe it can exist without having to design everything.

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