Bio-Mimic Transformation Thesis Book by RMA

TRANSFORMATION OF ARCHITECTURAL SPACE
WITH THE AID OF SPACE SAVING.

SHAPE-SHIFTING BUILDING
(EXTENSION OF EXPO CENTER, KARACHI)
By
BAKHTAWAR ASLAM MUGHAL

CE17AR07
Supervised By
AR. SHAZIA ABRO

ASSISTANT PROFESSOR
DEPARTMENT OF ARCHITECTURE AND

PLANNING CENTRE OF EXCELLENCE IN ART &
DESIGN MEHRAN UNIVERSITY OF ENGINEERING AND
TECHNOLOGY JAMSHORO
Submitted in partial fulfillment of the requirement for the degree of

Bachelor of Architecture
October 2021
DEDICATION
This thesis is dedicated to:
The sake of ALLAH, my Creator and my Master.
with profound respect and love to
“MY PARENTS”
Who taught me that even the largest task can be

accomplished if it done one step at a time.
I need to pay my heartiest thank to my beloved Parents
for making me what I am today.
ii
DEPARTMENT OF ARCHITECTURE AND PLANNING
CENTRE OF EXCELLENCE IN ARTS AND DESIGN
MEHRAN UNIVERSITY OF ENGINEERING AND TECHNOLOGY,

JAMSHORO, SINDH, PAKISTAN
CERTIFICATE
This is to certify that the work presented in this project report/thesis title on
“TRANSFORMATION IN ARCHITECTURE SPACE WITH THE AID OF
SPACE SAVING (EXTENSION OF EXPO CENTER, KARACHI)’’ has been entirely
been written by the student Mrs. BAKHTAWAR ASLAM having Roll No.
CE17AR07 herself under the supervision of ASST. PROFESSOR AR. SHAZIA
ABRO.
Project/Thesis Supervisor Chairperson

Ar. Shazia Abro Ar. Hina Marvi
(Assistant Professor) Department of Architecture
Centre of Excellence in Arts and Design
The work presented in this book is evaluated by external examiners
(1) (2) (3)
Dated
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ACKNOWLEDGEMENTS
Thanking Allah almighty for all his favors who gave me courage and knowledge to
complete my research and it may be a delight to thank those who made this thesis
possible. My guardians both my father MR. ASLAM MUGHAL and my mother
MRS. NAHEED ASLAM and my siblings for their consistent bolster, for believing
in me and for their never finishing cherish and care without which I would never have
been able to be the individual who I am today.
I would like to give my utmost appreciation to all my thesis supervisor AR. SHAZIA
ABRO who has helped me in becoming better beings through his vision, dedication in
the project, active support and valuable comments throughout the various stages has
made possible the completion of my research work in the right direction.
I would like to thank my respected teachers AR. FAHAD SHAMS NIZAMANI and
AR. IRFAN ALI BROHI who always supported me throughout my entire degree
program and their guidance, criticism and helpful discussions.
To PROF. DR. BHAI KHAN SHAR (Vice chancellor of C.E.A.D, M.U.E.T,

Jamshoro) for his encouragement and providing the best condition in the department.,
to AR. HINA MARVI (Head of Department, Department of Architecture and
Planning, C.E.A.D, M.U.E.T, Jamshoro) for his support, guidance and providing good
academic environment.
Special thanks to my friend and senior AR. SAAD MEMON and AR. HAMZA
NIAZ JUNAIDI who always believed in me completely, helped me and always
supported me throughout this thesis research.
Also, I would like to thank my class fellows of 17 BATCH, especially my dear friend
GHUFRANA KHAN and AIEMAN SHABBIR for supporting me and making my
journey worth remembering.
I would like to thank MYSELF for always trusting on inner strength and working
hard to achieve the goals.
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ABSTRACT
Architecture has always been part design and part science, but, once again, the world
is in an era where the two have great potential to help one another to move forward
gradually. By incorporating motion into architecture, Architects give occupants
another dimension by which to interact with their surroundings. Architects can not
only communicate motion, but can also engage occupants in what it means to have
transition and morphing states of architecture. Field of Architecture is always
dynamic in its nature. But from early age of humanity, buildings are constructed
almost always static. In this era of advancement, Architecture must be evaluated and
continue its dynamic nature, to continue the chain of tradition of innovation in the
field of Architecture.
The focus of this research is on transformable architectural designs, especially those

that have the purpose to save space. This is usually achieved by enabling a space to be
used in different ways and for different purposes by transforming it according to what
is needed. The research discusses the different forms of movable and transformable
architecture and the various purposes for making transformable designs. Then spatial
solutions and mechanisms of space-saving transformations are studied.
The research employed the both quantitative and qualitative methods using different
approaches like case studies of similar existing projects, surveys, etc. This
introduction to shape-shifting architecture highlights its purposes and benefits, and
provides strategies for designing moving building elements that optimize
sustainability in architecture.
This research through I could be able to find the possibilities and solutions to design
the Transformable Exposition Center which is Transform according to the user needs
and the building major aim to space saving through the Shape-Shifting Technique.
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INTRODUCTION TO THESIS
This thesis research is centralized to the area of Shape-shifting architecture, that is the
reconciliation of motion into the built environment, and the impact such results have
upon the space saving, aesthetics, design and performance of buildings may be of
great importance to the field of architecture. In spite of the fact that the stylish
estimation of virtual movement may consistently be a wellspring of motivation.
CHAPTER NO. 01 contains the basic definitions and fundamental terminologies of

the dynamism in Architecture or Transformable Architecture. It is plainly portraying
the establishment of work done through dynamic plan and its hugeness. The
investigation has vision to the postulation premium, explain the motivation for doing
the exploration and besides gives a dream to the points and goals of the examination.
a vision to the aims and objectives of the research.
CHAPTER NO. 02 carryout the detail investigation of past work done in the field of
Transformable Architecture. In this part, we additionally mindful of the verifiable
foundation of such endeavors which can lead us to move further for the research.
Furthermore, gives an idea that which type of other field touches the domain of
Transformable Architecture within the vast field of architecture.
CHAPTER NO. 03 contain the study about Organization of form and space
(Relationship and Organization) that help to understand the geometry and helps to
create the inter formal and inter spatial form and space of shape-shifting building.
CHAPTER NO. 04 includes the methodologies of research that how the certain
research is obtained through quantitative and qualitative research methodologies,
queries of objectives and the questionnaires and interviews were conduct in order to
gain information about the scope and limitation of project. Simply it describes a
method of how to achieve our objectives.
CHAPTER NO. 05, discusses the Case Studies related to topic (movement,
transformation, shape-shifting architecture) that how building transform, which purposes,
mechanisms, ways of form and form transformation. It includes one national Case study,
two International Case studies and two proposed project Case studies. These contextual
investigations offer help us to consider the factors in detail, which can be used to design
our project.
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CHAPTER NO. 06 is about the probable outcome of the research conducted through
different research phases and what results and outcome are obtained through selective
conduct of research and how it is going to achieve the defined aim and objectives of
the research into design project.
CHAPTER NO. 07 investigation and examine about reasonable site for project like
Exposition Center. It includes Site selection and comparative analysis of three sites
which are depicted, furthermore, detailed site analysis of selected site is also
discussed.
CHAPTER NO. 08 consists of the design brief of Transformable Exposition Center,

its requirements, design and special consideration, building components, basic
criteria, space-saving techniques, mechanisms and concept of Project. This part
additionally contains a design brief which conveys rough spatial necessities and area
of various spaces of a Transformable Exposition Center.
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TABLE OF CONTENTS
DEDICATION...............................................................................................................ii
CERTIFICATE.............................................................................................................iii
ACKNOWLEDGEMENTS..........................................................................................iv
ABSTRACT...................................................................................................................v
INTRODUCTION TO THESIS....................................................................................vi
TABLE OF CONTENTS............................................................................................viii
LIST OF FIGURES......................................................................................................xv
LIST OF TABLES.......................................................................................................xx
CHAPTER 01 INTRODUCTION..............................................................................1
1.1 PROGESSION OF THIS CENTURY...............................................................1
1.2 MOVEMENT IN ARCHITECTURE................................................................2
1.3 SPACE RELATION WITH ARCHITECTURE...............................................2
1.4 ARCHITECTURE IS A HUMAN MADE SENSE OF PLACE.......................3
1.5 MOTIVATION FOR THE RESEARCH...........................................................4
1.6 PROBLEM STATEMENTS..............................................................................4
1.7 AIMS 5
1.8 OBJECTIVES....................................................................................................5
1.9 CONCLUSION..................................................................................................6
CHAPTER 02 LITERATURE REVIEW..................................................................7

2.1 INTRODUCTION TO LITERATURE REVIEW.............................................7
2.2 TRANSFORMABLE ARCHITECTURE..........................................................7
2.2 HISTORY OF TRANSFORMABLE ARCHITECTURE.................................8
2.3 STUDY OF TRANSFORMABLE ARCHITECTURE.....................................8
2.4 HUMAN PERCEPTION AND EXPERIENCE................................................8
2.4.1 TRANSFORMATION...........................................................................9
2.5 SPACE SAVING AND UTLIZATION WITH TRANSFORMATION.........11
2.6 THE CONCEPT AND THEORY OF TRANSFORMABLE ARCHITECTURE 11
2.7 THEME............................................................................................................14
2.8 HARMONIZATION WITH PHYSICAL ENVIRONMENT.............................16
2.9 THE CONCEPT OF MOVEMENT IN ARCHITECTURE............................17
2.9.1 HISTORY.............................................................................................18
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2.9.2 DEPLOYABLE BAR STRUCTURES................................................19
2.10 DEFINITION OF DIFFERENT TERMS OF ARCHITECTURE WITH
MOVABLE ELEMENTS................................................................................21
2.10.1 ADAPTABLE ARCHITECTURE.......................................................21
2.10.3 RESPONSIVE ARCHITECTURE......................................................23
2.10.4 TRANSFORMABLE ARCHITECTURE............................................24
2.11 FUNCTIONAL CHANGE...............................................................................25
2.12 IMAGINATIVE CHANGE.............................................................................26
2.13 LOCATION CHANGE....................................................................................27
2.14 CLIMATE-ADAPTIVE BUILDING SHELL.................................................28
2.14.1 DEFINITION.......................................................................................29
2.15 PURPOSES FOR MAKING TRANSFORMABLE DESIGNS......................29
2.16 KEY INFLUENCES........................................................................................30
2.16 CONCLUSION................................................................................................31
CHAPTER 03 THE DESIGN OF SPACE BASED ON ARCHITECTURAL

GEOMETRY...................................................................................32
3.1 INTRODUCTION............................................................................................32
3.2 GEOMETRY COMPOSITION.......................................................................32
3.3 GEOMETRY CONCEPTS IN ARCHITECTURAL DESIGN.......................33
3.4 SYMMETRY AND TRANSFORMATIONS.................................................33
3.5 ORGANIZATION OF FORM AND SPACE (SPATIAL RELATIONSHIP)...34
3.5.1 SPACE WITHIN A SPACE................................................................34
3.5.2 INTERLOCKING SPACES................................................................36
3.5.3 ADJACENT SPACES..........................................................................37
3.5.4 SPACES LINKED WITH A COMMON SPACE:................................38
3.6 ORGANIZATION OF FORM AND SPACE (SPATIAL ORGANIZATION). 39
3.6 1 CENTRALIZED ORGANIZATION...................................................40
3.6.2 LINEAR ORGANIZATION................................................................41
3.6.3 RADIAL ORGANIZATION...............................................................42
3.6.4 CLUSTERED ORGANIZATION.......................................................44
3.6.5 GRID ORGANIZATION:....................................................................45
3.7 CONCLUSION..................................................................................................47
CHAPTER 04 METHODOLOGY...........................................................................48
4.1 INTRODUCTION............................................................................................48
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4.2 EDUCATIONAL RESEARCH METHODS...................................................48
4.2.1 THE DESCRIPTIVE METHOD.........................................................49
4.3 TYPES OF SELF-REPORT RESEARCH.......................................................49
4.3.1 SURVEY RESEARCH........................................................................49
4.3.2 QUESTIONNAIRE..............................................................................50
4.3.3 ANALYSIS OF RESULTS..................................................................50
4.3.4 INTERVIEW STUDY.........................................................................50
4.3.5 PRETESTING THE INTERVIEW PROCEDURE.............................50
4.3.6 OBSERVATIONAL RESEARCH: THE CASE STUDY...............................50
4.4 RESEARCH STRUCTURE.............................................................................50
4.4.1 QUALITATIVE RESEARCH.............................................................51
4.4.2 QUANTITATIVE RESEARCH..........................................................52
4.4.3 MIXED METHODS RESEARCH.......................................................52
4.5 RESEARCH AND DISCOVER......................................................................52
4.6 RESEARCH METHODOLOGY.....................................................................53
4.7 CONCLUSION................................................................................................57
CHAPTER 05 CASE STUDY...................................................................................58

5.1 INTRODUCTION............................................................................................58
5.2 CASE STUDIES..............................................................................................58
5.3 CASE STUDY # 01.........................................................................................59
5.3.1 INTROUCTION...................................................................................60
5.3.2 AIM......................................................................................................61
5.3.3 CONCEPT............................................................................................61
5.3.4 BAUHAUS, ITS VITALITY AND ITS SPIRIT.................................62
5.3.5 THE CITY, THE PARK AND THE MUSEUM.................................63
5.3.6 THE PARK, ITS SEASONS AND THE MUSEUM...........................63
5.3.7 THE MUSEUM, ITS EVENTS AND EXHIBITIONS.......................64
5.3.8 STRUCTURE DETAIL.......................................................................65
5.3.9 GEOMETRY........................................................................................68
5.3.10 TECHNICAL DETAIL........................................................................69
5.3.10.1 DETAIL ROLLER BEARING..................................................................... 69
5.3.10.2 DETAIL FLEXIBLE LINES IN THE CORE............................................. 70
5.3.11 PUBLIC SPACES................................................................................70
5.4 CASE STUDY # 02.........................................................................................71
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5.4.1 INTRODUCTION:................................................................................72
5.4.1.1 IDEAS EXHIBITION...................................................................................... 72
5.4.1.2 ‘MY KARACHI’ EXHIBITION.................................................................... 73
5.4.1.3 DAWN ALL ABOUT LIFESTYLE’ EXHIBITION.................................... 73
5.4.1.4 IT AND TELECOM ASIA EXHIBITION..................................................... 73
5.4.2 EXPO CENTER...................................................................................74
5.4.3 SPECIFICATION................................................................................75
5.5 CASE STUDY # 03.........................................................................................76
5.5.1 INTRODUCTION................................................................................76
5.5.2 CONCEPT............................................................................................77
5.6.3 SUSTAINABILITY.............................................................................77
5.5.4 FORM...................................................................................................78
5.5.5 PLANNING AND CONSTRUCTION................................................79
5.5.6 PLANNING ACCORDING TO CLIMATIC SCENARIOS...............80
5.5.7 HABERDASHER’S PUZZLE.............................................................81
5.5.8 IDEA....................................................................................................81
5.6 CASE STUDY # 04.........................................................................................83
5.6.1 INTRODUCTION................................................................................84
5.6.2 DESIGN...............................................................................................85
5.6.2.1 DESIGN ELEMENTS AND SOLUTIONS.................................................... 86
5.6.3 PLANNING.........................................................................................87
5.6.4 MATERIALS/ CONSTRUCTION......................................................88
5.6.5 THE STRUCTURE..............................................................................89
5.6.6 CABLE-STAYED BRIDGE................................................................89
5.6.7 BURKE BRISE SOLEIL.....................................................................90
5.6.8 SUSTAINABILITY.............................................................................91
5.7 CASE STUDY # 05.........................................................................................92
5.7.1 INTRODUCTION..................................................................................93
5.7.2 INSPIRATION.......................................................................................93
5.7.3 PROVISIONS & CONSTRAINS..........................................................95
5.7.4 TECHNICAL DETAIL........................................................................96
5.7.5 MOTOR...............................................................................................98
5.7.6 CONCLUSION....................................................................................98
5.8 A HOUSE IN A SUITCASE.........................................................................100
5.8.1 DESCRIPTION..................................................................................100
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5.9 ALL I OWN HOUSE.....................................................................................101
5.9.1 DESCRIPTION..................................................................................101
5.10 K-SPACE.......................................................................................................102
5.10.1 DESCRIPTION..................................................................................102
5.11 CREATIVE HUB EURO RSCG OFFICES..................................................103
5.11.1 DESCRIPTION..................................................................................103
5.12 STANDBY OFFICE......................................................................................104
5.13 DRAWER HOUSE........................................................................................105
5.13.1 DESCRIPTION..................................................................................105
5.14 TOTAL FURNISHING UNIT.......................................................................105
5.14.1 DESCRIPTION..................................................................................105
5.15 NINE-SQUARE GRID HOUSE....................................................................106
5.15.1 DESCRIPTION..................................................................................107
5.16 ARCHILAB LIVING ROOM........................................................................107
5.16.1 DESCRIPTION..................................................................................108
5.16 OPTIBO.........................................................................................................108
5.16.1 DESCRIPTION..................................................................................109
5.17 HOME / OFFICE FOR A GRAPHIC DESIGNER.......................................109
5.17.1 DESCRIPTION..................................................................................109
5.18 CIRCUIRBOX...............................................................................................110
5.18.1 DESCRIPTION..................................................................................110
5.19 YO! HOME....................................................................................................111
5.19.1 DESCRIPTION...................................................................................111
5.20 CONCLUSION OF THE CHAPTER............................................................112
CHAPTER 06 DATA ANALYSIS AND OUTCOME OF RESEARCH............113

6.1 INTRODUCTION..........................................................................................113
6.2 OUTCOME THROUGH QUESTIONAIRE.................................................113
6.2.1 RESPONSES FROM APPENDIX-A................................................113
6.3 OUTCOME THROUGH PERSONAL OBSERVATION.............................118
6.4 OUTCOME THROUGH LITERATURE REVIEW.....................................119
6.5 LIGHT WEIGHT MATERIALS THAT USE IN TRANSFORMABLE
STRUCTURES..............................................................................................121
6.6 OUTCOME THROUGH CASE STUDIES...................................................121
6.7 CONCLUSION OUTCOME OF THE RESEARCH....................................122
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CHAPTER 07 SITE SELECTION & SITE ANALYSIS.....................................123
7.1 SITE SELECTION.........................................................................................123
7.2 SITE SELECTION CRITERIA.....................................................................123
7.3 BASIC INFRASTRUCTURE........................................................................124
7.4 SITE PROPOSALS........................................................................................124
7.5 PROPOSED SITE 01.....................................................................................124
7.5.1 GENERAL CHARACTERISTICS OF THE SITE...........................125
7.5.2 AREA OF SITE.................................................................................125
7.5.3 SITE PLAN........................................................................................126
7.6 PROPOSED SITE 02.....................................................................................126
7.6.1 GENERAL CHARACTERISTICS OF THE SITE...........................127
7.5.2 ROAD NETWORKS.........................................................................127
7.5.3 SITE PLAN AND ORIENTATION..................................................128
7.6 PROPOSED SITE 03.....................................................................................128
7.6.1 GENERAL CHARACTERISTICS OF SITE....................................129
7.6.2 SITE PLAN........................................................................................129
7.7 COMPARATIVE ANALYSIS OF THE PROPOSED SITES......................130
7.7.1 GRAPHICAL REPRESENTATION OF COMPARATIVE ANALYSIS 130
7.7.2 COMAPARATIVE ANALYSIS.......................................................131
7.8 SITE ANALYSIS OF THE PROPOSED SITE.............................................131
7.8.1 LOCATION PLAN............................................................................132
7.8.2 LANDMARKS...................................................................................132
7.8.3 FLOW & PAUSES NEAR TO SITE.................................................133
7.8.4 CONTOUR & SURFACE...................................................................133
7.8.5 SCALE & MODULATION...............................................................134
7.8.6 VIEWS FROM THE SITE.................................................................134
7.8.7 VIEWS TOWARDS THE SITE..........................................................136
6.6 CONCLUSION..............................................................................................142
CHAPTER 08 DESIGN BRIEF..............................................................................143

8.1 TRANSFORMABLE EXPOSITION CENTER............................................143
8.2 DESIGN BRIEF FOR RESEARCH & DEVELOPMENT PROJECT-II......143
8.3 DESIGN CONSIDERATION........................................................................144
8.3.1 SITE FUNCTIONING IN ARCHITECTURAL COMPOSITION...144
8.3.2 ORIENTION......................................................................................144
8.3.3 LIGHT................................................................................................144
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8.3.4 ACOUSTICS......................................................................................144
8.3.5 VENTILATION.................................................................................145
8.3.6 WALL SURFACE.............................................................................145
8.3.7 FLOOR SURFACE............................................................................145
8.3.8 FIRE EXTINGUISHMENT...............................................................145
8.3.9 AIR CONDITIONING.......................................................................145
8.3.10 COLOURS.........................................................................................145
8.4 SPECIAL CONSIDERATION......................................................................146
8.5 BUILDING COMPONENTS........................................................................146
8.5.1 ENTRANCE.......................................................................................146
8.5.2 PARKING..........................................................................................146
8.5.3 EXHIBITION HALLS.........................................................................147
8.5.4 LOBBIES...........................................................................................147
8.5.5 CONGRESS CENTER......................................................................147
8.5.6 ATRIUM............................................................................................148
8.5.7 OUTDOOR EXHIBITION AREA......................................................148
8.5.8 FOYER AREA.....................................................................................148
8.5.9 ADMINISTRATION...........................................................................148
8.5.10 OTHER FACILITIES........................................................................148
8.5.11 FOOD COURT..................................................................................149
8.6 BASIC CRITERIA.........................................................................................149
8.7 SPECIFIED OBSERVATION.......................................................................150
8.7.1 ENVIRONMENTAL.........................................................................150
8.7.2 SOCIAL.............................................................................................150
8.7.3 ECONOMY........................................................................................150
8.8 USE OF SPACE-SAVING TECHNIQUES..................................................151
8.8.1 DESIGN REQUIREMENTS FOR EXPOSITION CENTER...........151
8.8.2 COMPRASION OF AREAS.............................................................154
8.9 DESIGN REQUIREMENTS AND AREAS IN SQFT.................................154
8.10 SHAPE SHIFTING MECHANISM...............................................................156
8.10.1 ACTUATOR......................................................................................157
8.11 CONCEPT FORMATION.............................................................................157
8.11.1 MOVETECTURE..............................................................................158
8.12 CONCLUSION..............................................................................................158
REFERENCES.........................................................................................................123
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LIST OF FIGURES
Figure 1.1: Victorinox Swiss army knife.......................................................................1

Figure 1.2: General principle.........................................................................................2
Figure 1.3: Shape Transformation..................................................................................3
Figure 1.4: Shape transformation...................................................................................4
Figure 2.1: Show the Form Transformation with respect to the Eras............................7
Figure 2.2: Idea of unfolding, transformable modules by Michael Jantzen, 2000,
New York..................................................................................................10
Figure 2.3: Bengt Sjostrom Starlight Theatre, Rockford, Illinois, USA, 2003,
Studio Gang Architects. Example of transforming the interior event
into the outside one...................................................................................10
Figure 2.4: Veltins-Arena, Hentrich, Petschnigg und Partner, 1998-2001,
Germany...................................................................................................14
Figure 2.5: Millennium Stadium, Populous, 1999, Cardiff-UK..................................14
Figure 2.6: Wembley Stadium, Populous and Foster and Partners, 2003-2007,
London, England.......................................................................................14
Figure 2.7: Milwaukee Art Museum, Santiago Calatrava, 2001, US..........................15
Figure 2.8: Institut du Monde Arabe, Architecture-Studio, Ateliers Jean Nouvel, 1987,
Paris, France..............................................................................................16
Figure 2.9: Archigram, Architecture without architecture...........................................17
Figure 2.10: Nomadic Tents.........................................................................................18
Figure 2.11: Movable Theater Emilo Pérez Pinero......................................................19
Figure 2.12: Pfalzkeller Emergency Service Center, Calatrava...................................19
Figure 2.13: Alcoy Community Hall, Calatrava..........................................................20
Figure 2.14: Dom-ino House, Le-Corbusier................................................................21
Figure 2.15: Dom-Ino Pavilion / Benyuan Design and Research Center....................22
Figure 2.16: Movable walls..........................................................................................22
Figure 2.17: Rolling Bridge by Thomas Heatherwick.................................................23
Figure 2.18: Building’s Geometric Facade Transforms to Regulate Daylight............24
Figure 2.19: Living Room, Seifert Stockman, Gelnhausen, Germany........................25
Figure 2.20: Bauhaus Museum....................................................................................26
Figure 2.21: A shape-shifting home by D’ Haus company, London...........................27
Figure 2.22: The Shed, designed by Diller Scofidio + Renfro.....................................28
Figure 2.23: Climate-Adaptive Building Shell............................................................29
Figure 2.24: Shape Transform according to climate.........................................................30
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Figure 2.25: Opening and Closing of form..................................................................30
Figure 2.26: Flexibility of shape and form...................................................................30
Figure 2.27: Transformation of form and shape according to functional Reason.......30
Figure 3.1: Geometrical Composition..........................................................................32
Figure 3.2: Two Ornaments Based on the same Sequence of Congruence Transformation.33
Figure 3.3: Folding Study and Industrial Origami.......................................................34
Figure 3.4: Space within a Space.................................................................................34
Figure 3.5: Relationship of Two spaces.......................................................................35
Figure 3.6: Enveloping Shapes....................................................................................35
Figure 3.7: Interlocking Space.....................................................................................36
Figure 3.8: Organization of Interlocking spaces..........................................................36
Figure 3.9: Adjacent Space..........................................................................................37
Figure 3.10: Spatial relationship of Adjacent space.....................................................37
Figure 3.11: Different ways to create Adjacent Space.................................................38
Figure 3.12: Space linked with a Common Space.......................................................38
Figure 3.13: Circular space share with two spaces......................................................39
Figure 3.14: Intermediate Spaces.................................................................................39
Figure 3.15: Centralized Organization.........................................................................40
Figure 3.16: Regular Shapes use in Centralized Organization/...................................41
Figure 3.17: Configuration of Two or more Spaces....................................................41
Figure 3.18: Linear Organization.................................................................................41
Figure 3.19: Repetitive Spaces.....................................................................................42
Figure 3.20: Organization of shapes............................................................................42
Figure 3.21: Radial Organization.................................................................................43
Figure 3.22: Regular shapes use in Radial Organization.............................................43
Figure 3.23: Pinwheel Pattern with in the linear arms.................................................43
Figure 3.24: Clustered Organization............................................................................44
Figure 3.25: Organization pattern................................................................................44
Figure 3.26: Ways od paths..........................................................................................45
Figure 3.27: Ways of patterns......................................................................................45
Figure 3.27: Grid Organization....................................................................................45
Figure 3.28: Regularity and Continuity of Grid...........................................................46
Figure 3.29: Addition and subtraction along the Structural system.............................46
Figure 3.30: Formal Manipulations..............................................................................47
Figure 3.31: Natural features into the grid...................................................................47
xvi
Figure 4.1: Show the structure of educational research method..................................48
Figure 4.2: Show the Research structure......................................................................51
Figure 4.3: Show the structure of research and discover.............................................52
Figure 4.4: Methodology of Objective # 01.................................................................53
Figure 4.7: Methodology of Objective# 04..................................................................56
Figure 5.1: Location plan of Bauhaus Museum Dessau..............................................59
Figure 5.2: Bauhaus Museum Dessau..........................................................................60
Figure 5.3: Form...........................................................................................................61
Figure 5.4: Concept......................................................................................................61
Figure 5.5: Form Change according to Events.............................................................62
Figure 5.6: Exterior view.............................................................................................63
Figure 5.7: Seasonal Movement in Building................................................................64
Figure 5.8: Functional Movement in Building.............................................................64
Figure 5.9: Structural Detail Process...........................................................................68
Figure 5.10: Geometry of Bauhaus Museum...............................................................68
Figure 5.11: Rotating Platforms of Bauhaus Museum.................................................69
Figure 5.12: Detail of roller bearing............................................................................69
Figure 5.13: Detail of cable storage.............................................................................70
Figure 5.14: Interior Spaces.........................................................................................70
Figure 5.15: Location plan of Expo Center..................................................................71
Figure 5.16: Expo Center, Karachi..............................................................................72
Figure 5.17: Pakistan Military Exhibition....................................................................72
Figure 5.18: Conventional Center................................................................................73
Figure 5.19: Parking.....................................................................................................74
Figure 5.20: Specifications...........................................................................................75
Figure 5.21: Shape Shifting Home...............................................................................76
Figure 5.22: D’ Dynamic Building..............................................................................77
Figure 5.23: Interior of Shape-Shifting Home.............................................................78
Figure 5.24: Form.........................................................................................................78
Figure 5.25: Exterior view...........................................................................................79
Figure 5.26: Shape and Form Transformation.............................................................80
Figure 5.27: Haberdasher’s Puzzle..............................................................................81
Figure 5.28: Eight in One.............................................................................................82
xvii
Figure 5.29: Transformation........................................................................................82
Figure: 5.30: Location plan Milwaukee Art Museum..................................................83
Figure 5.31: Milwaukee Art Museum..........................................................................84
Figure 5.32: Design of Milwaukee Art Museum.........................................................85
Figure 5.33: Concept of Milwaukee Art Museum.......................................................86
Figure 5.34: Transformation of wings.........................................................................86
Figure 5.35: Interior of Museum..................................................................................87
Figure 5.36: Roof.........................................................................................................87
Figure 5.37: Exterior View..........................................................................................88
Figure 5.38: Structure...................................................................................................89
Figure 5.39: Bridge of Milwaukee Art Museum..........................................................90
Figure 5.40: Burke Brise Soleil....................................................................................90
Figure 5.41: Mobile Sunscreen....................................................................................91
Figure 5.42: Location plan of Jamia Bilal Mosque......................................................92
Figure 5.43: Foundation Stone & Entrance Door........................................................93
Figure 5.44: Sliding Roof as Masjid Al-Nabawi.........................................................94
Figure 5.45: Semi covered courtyard & Entrance of courtyard...................................94
Figure 5.46: Roof of the Mosque with open to sky (left), covered with sliding Roof
(Right).......................................................................................................95
Figure 5.47: Sliding Roof.............................................................................................95
Figure 5.48: Wind Catchers.........................................................................................96
Figure 5.49: Gear-Motor Single Phase.........................................................................97
Figure 5.50: Orient AC specification...........................................................................97
Figure 5.51: Roof slides with wheels on the rails........................................................98
Figure 6.1: Showing Professions of Responders........................................................113
Figure 6.2: Finding of Interviews...............................................................................118
Figure 6.3: Finding of Literature Review..................................................................119
Figure 6.4: Finding of Materials................................................................................121
Figure 6.5: Finding of Case Studies...........................................................................121
Figure 7.1: Location of Proposed Site 01...................................................................124
Figure 7.2: Area of Site..............................................................................................125
Figure 7.3: Proposed Site Plan...................................................................................126
Figure 7.5: Road Network around Site......................................................................127
xviii
Figure 7.9: Graphical Representation of Comparative Analysis...............................130
Figure 7.10: Location Plan for selected Site..............................................................132
Figure 7.11: Landmarks near to the Site....................................................................132
Figure 7.12: Flow and Pauses near to the Site...........................................................133
Figure 7.13: Contour and Surface of the Site.............................................................133
Figure 7.14: Scale and Modulation to the Site...........................................................134
Figure 7.15: Regent Plaza, Hotel and Convention Center.........................................134
Figure 7.16: Faysal Bank Limited (FBL)...................................................................135
Figure 7.17: Skyline of the Rare Side Residential buildings.....................................135
Figure 7.18: Skyline of the Shahrah-E-Faisal at the Site...........................................136
Figure 7.19: Arial View of the Site from Shahrah-E-Faisal......................................136
Figure 7.20: Arial View of the Site in Night from Shahrah-E-Faisal........................137
Figure 7.21: View of the Site from nearby Pedestrian overhead Bridge on Shahrah-
E-Faisal...................................................................................................137
Figure 7.22: Average Temperature of Karachi..........................................................138
Figure 7.23: Average Sea Temperature of Karachi...................................................138
Figure 7.24: Average Rainfall in Karachi..................................................................139
Figure 7.25: Precipitation Amount of Karachi...........................................................139
Figure 7.26: Average Rainfall Days of Karachi.........................................................140
Figure 7.27: Monthly Wind Speed of Karachi...........................................................140
Figure 7.28: Wind Rose of Karachi...........................................................................141
Figure 7.29: Cloudy, Sunny & Precipitation Days of Karachi..................................142
Figure 7.30: Average Daylight & Sunshine of Karachi.............................................142
Figure 8.1: Show the special consideration of Design...............................................146
Figure 8.2: Show the Space saving Techniques.........................................................151
Figure 8.3: Show the Mechanism of Shape-Shifting.................................................156
Figure 8.4: Linear Actuator Details...........................................................................157
xix
LIST OF TABLES
Table 4.1: Methodology of Objective# 01...................................................................53

Table 5.1: General characteristic of Case Study 01.....................................................59
Table 5.4: General Characteristics of Case Study 05...................................................92
Table 6.1: Outcome of Question # 01........................................................................114
Table 6.10: Outcome of Question # 10......................................................................116
Table 7.1: General details of Proposed Site 01..........................................................125
Table 7.4: Shortlisting One Site.................................................................................131
Table 8.1: Comparison of Areas................................................................................154
Table 8.2: Area of Spaces..........................................................................................155
xx
Transformation of Architectural Space with the Aid of Space Saving.
Shape-Shifting Building (Extension of Expo Center, Karachi)
CHAPTER 01
INTRODUCTION
1.1 PROGESSION OF THIS CENTURY
“Almost no buildings adapt well. They’re designed not to adapt; also budgeted and
financed not to, constructed not to, administered not to, maintained not to, regulated
and taxed not to, even remodeled not to. But all buildings (except monuments) adapt
anyway, however poorly, because the usages in and around them are changing
constantly” (Brand 1994, 249).
Our age is rapidly evolving in the twenty first century, and as a result everyday lives,
activities, and requirements are continuously changing. The areas that are utilized are
undoubtedly affected by this flux, as a result of the practical diversities and aesthetic
concerns, a redesign is required, on the other hand rigid and immovable structures are
unable to adjust to these constantly changing circumstance.
When creating a structure, one of the most crucial considerations for an architect must
consider is space. It can apply to any natural form that can change shape to adapt to a
new condition in its most general form in transformable architecture. Architects can
not only express motion, but also engage occupants in the meaning of architectural
change. Transformable architecture emphasizes its motives and benefits, as well as
ways for designing and producing moveable structure components that improve design
management and allow for more efficient use of space. There are several examples of
transformable structure in nature, as well as numerous probable explanations for their
evolution.
Figure 1.1: Victorinox Swiss army knife

Source: google
1
Originating from inside a cutler's workshop in 1884, Victorinox is a quality,

functionality, innovation and iconic design, and has done for more than 130 years.
which is the best example of space utilization in one small thing with its different
operation.
1.2 MOVEMENT IN ARCHITECTURE
In design with movement, it is desirable to achieve transformable, motion-capable and

user-friendly designs. The words used to describe buildings with movable parts or
components associated with a shape change include adaptable, collapsible,
deployable, enabling, evolutionary, flexible, intelligent, kinetic, mobile, performance
based, reconfigurable, responsive, revolving, smart, transformable, and transportable.
Figure 1.2: General principle

Source: Google
1.3 SPACE RELATION WITH ARCHITECTURE
Space is the relative position of one third-dimensional object to another. Space is one of
the most important considerations an architect must think about while designing a
building because the size of rooms and hallways, the height of ceiling and the ease of
entering and existing each living area must carefully match the function of the building.
Architects chose dimensions of rooms to match the number of people who will occupy
the space and the amount of activity that will occur in it. To make a building more
interesting, architect will experiment with aesthetic qualities of space by varying the
width and height of rooms through which people will move. Architects also speak of
space as the amount of land that be occupied by a building on a site. The remaining
area is called open space.
2
1.4 ARCHITECTURE IS A HUMAN MADE SENSE OF PLACE
A sense of place is an extension of the building type, and it’s the job of the designer to
identify and develop what’s needed for the demographic that is going to occupy it. It
means creating adaptable and flexible spaces that best support the activity the building
is meant to host, but it also means looking at the whole site for possibilities in
reinforcing the message trying to be sent with the architecture.
Inspired by the course ARCH 524, conducted by Assoc. Prof. Dr. Ayşen Savaş in the
METU (Middle East Technical University) Department of Architecture, Turkey, this
study aims to understand the possible ways of transforming architectural space by the
defined function of exhibition. The condition of exhibiting is claimed to manifest a
“temporary” and reciprocal relation between the architectural space and the artwork
therefore, it redefines architectural space as a temporary entity open to intervention.
For this reason, “site-specific artwork” is believed to play a pragmatic role in the
creation of the “new space”. This study will focus on the selected works of the artist
Esther Stocker. Stocker’s productions offer systematic and analytic readings that
analyze and decipher spatial qualities. Her productions are claimed to shift the
conventional definitions of architectural terminology and introduce physical, visual
and cultural/social levels of understanding both for the built, and the yet-to-be-built
space. Throughout this study, the transformation process is commonly referred to as
construction, and definition, which will, at the end of the process, generate a “new
space” open to continuous transformation. The analysis of the same space will provide
new intellectual agents for the promotion of theoretical methods in architectural.
Figure 1.3: Shape Transformation

Source: Google
3
1.5 MOTIVATION FOR THE RESEARCH
NOTHING IS PERMANENT because our life is subject to continuous changes, just

look at the scientific and technological progress that the world, indeed the human
intellect, is making. We are making giant strides from every point of view, creating a
continuous state of evolution and improvement. The Architecture is made of structure,
foundation and materials. But in reality, it’s much more than this, it’s environment,
it’s past, present and future. There is a bridge between what we are now and what we
have been. Architecture is made of indelible signs that allows us to become what and
whom we are. Architecture is a matter of transformation.
(OPTIMUS PRIME) It is a famous movie character from the movie, ‘Transformers’

who can transform into another form of existence, a truck, when in need. He is a robot
in disguise who can talk, protect and help Earth. This character leads all other forms
of mechanic transforming bodies and consist of helping options. He is more of a
problem solver with the show of flexibility. Transforming being that is flexible in nature
and can solve problem.
1.6 PROBLEM STATEMENTS
Do not finding the ways of maximizing the potential of built spaces while creating architecture with tectonic qualities
Do not use one space for different functions and to compact the
Lack of similar Iconic in the region
necessary
space in that
way.
PROBLEM STATEMENT
Do not Design such type of space in response toLack of technologies

interchangeabl e parts and techniques use in buildings
Do not step forward to smart living
Figure 1.4: Shape transformation.

Source: Google
4
Field of Architecture is constantly dynamic in its inclination. Architects consistently

contribute their part in the development of this discipline. Be that as it may, from
early period of mankind, structures are built quite often static. In this period of
progression, Architecture must be assessed and proceed with its dynamic nature, to
proceed with the chain of custom of development in the field of Architecture.
Building and structures that are able to rapidly take on new shapes, forms, functions,
or character in a controlled manner through changes in structure, skin and /or internal
surfaces connected by articulated joints.
1.7 AIMS
“Building like an Art Piece”
To design a kind of toolbox with all the options, purposes and solutions in
transformable architecture that can adapt and change, it is much more sustainable way of
living for a coming day. (Keywords: Something to change, Give a new trend, Space
utilization, Transformation)
1.8 OBJECTIVES
 To understand out what transformable and Shape-shifting architecture.

 To explore the possibilities of maximizing the potential of use of spaces
through transformable design.
 Exploring the spatial geometry for interactive transformation design and inter
formal and inter spatial compatibility of shape and form for harmonies
transformable building design as per climatic and environmental scenarios.
 Design the Transformable Building that have ability to Transform according to
the user need with respect to space saving.
 Research Question
 How can transformable architecture help to use space more efficient?

 What is transformable architecture?
 What are the reasons to make architecture transformable?
 Which techniques are used to make transformations?
 Which movements (sliding, rotating), are used in which case?
 When are the moving parts manually/ mechanically transformed?
5
1.9 CONCLUSION
The chapter contains the essential definitions and fundamental terminologies of the
Movement in Architecture or Transformable Architecture. It is clearly characterizing
the foundation of work done through active design and its significance. The
exploration has vision to the thesis interest, elucidate the inspiration for doing the
research and furthermore gives a vision to the aims and objectives of the research.
Keywords: Transformable, transportable, kinetic connection, movement mechanisms,

dynamic structures, deployable, mobile architecture, transformable, sustainable,
flexible, space-saving, movable, user friendly.
6
CHAPTER 02
LITERATURE
REVIEW
2.1 INTRODUCTION TO LITERATURE REVIEW
Literature review is a systematic and critical analysis of the literature on a specific

topic. It describes trends, quality, relationship, inconsistencies and gaps in the
research and it details how the works enhance your understanding of the topic at
large. A literature review is an overview of existing literature (books, articles,
dissertations, conference processing and other sources) in a particular scholarly area.
 Gather information about your topic including the source used by others who
have previously conducted research.
 Find out if your specific research question has already been answered.
 Find out what areas or perspectives have not yet been covered by others on your topic
 Analyze and evaluate existing information.
2.2 TRANSFORMABLE ARCHITECTURE
Transformable architecture is a suitable strategy for buildings and architectural

structures that need to be reconfigured, either by being folded to a compact form for
ease of erection and transportation or by changing their geometry and shape, in order
to be able to respond to altering functional and aesthetic requirements. One of the
crucial needs for architecture in the changing world is to respond to the changing
requirements of its users and to allow them to experience their architectural ambition
in reality through involvement in the architectural design process [1].
Figure 2.1: Show the Form Transformation with respect to the Eras.
7
Source: Google
8
Transformability can be considered as an important way to respond to the building

user’s ambitions. There is also a general trend toward the design of buildings that interact
with the environment so that they can save energy and reduce running cost.
Transformable architecture can create an innovative, dynamic space in which users have
more opportunities to effectively make use of changes in their surrounding environment.
It also opens a way to meet environmental needs and even to generate unexpected
situations. For example, designers can convey historical, social and political messages
through transformation. Therefore, it is true to say that transformability is not only
important from an architectural point view but it is a crucial step toward improving
human creativity and understanding. In this research the main characteristics of
transformable architecture are considered in two main categories of human perception
and experiences and the creation of intelligent spaces.
2.2 HISTORY OF TRANSFORMABLE ARCHITECTURE
Transformable architecture inspired by the Origami Art as tool for form exploration.
Origami, from Ori means folding and kami means paper is the art of paper folding,
which is often associated with Japanese culture. In modern usage the word Origami is
used as an inclusive term of all folding practices, regardless of their culture of origin.
2.3 STUDY OF TRANSFORMABLE ARCHITECTURE
The movements in architecture can be interpreted in several perspectives to meet their

purposes. The moving architecture defined in several definitions, including kinetic,
responsive, transformable, and adaptable [1]. To address the limitation in space, one
of the defined categories that can be utilized is transformable architecture.
Transformable can be interpreted as the ability of an object to make changes to adjust
to environmental conditions. So, in more detail, transformable architecture is a design
that can vary according to different functions [2]. Referring to the classification made
by [2], these transformations are regrouped into four objectives to address climate
problems, space openness, flexibility, and functional transformability.
2.4 HUMAN PERCEPTION AND EXPERIENCE
It can be argued that one of the crucial responsibilities of architecture in an ever-

changing world is to create an environment that provides users with opportunities to
extend their creative, social, environmental and aesthetic knowledge. This can be
9
done
10
by experiencing different aspects of the buildings that inhabit their surrounding

environments. It is quite clear that architects can play an important role in this issue
by designing spaces in which a mutual interaction between the environment and the
user is possible. Such architecture goes beyond its basic task of providing a shelter for
its users and reconfirms the well-known statement that ‘architecture is not a goal
itself’. However, the question is how architecture can be involved in the process of
reflecting social and historical activities and be used as a learning environment for its
users that infuses the message of the architect and the concepts that are behind the
design of the architecture? Many architects have already tried to answer this question
by designing static buildings that are architecturally vibrant and have transformable
environments that allow the users to experience different scenes during the period of
their stay in the building. Among these architects are Daniel Libeskind, Renzo Piano
and Richard Rogers with their designs for the Jewish Museum in Berlin and the
Centre George Pompidou in Paris. What is realized in the work of these architects is
that the configuration of static architectural and structural components allows the
visitors to realize, experience and interact with the environment as they walk through
the buildings. In these cases, architecture is a stationary body that can infuse the sense
of the passing of time and a virtual transformation only when the visitors move inside
the building. Therefore, architecture can convey new meanings and remind users of
what has occurred in the past and generate new perspectives that illustrate the future.
2.4.1 TRANSFORMATION
“I want to reinvent the built environment in order to extend the reach of consciousness.”
[3] In this way Michael Jantzen voiced his idea of transformation. Transformable
buildings are able to change their shape, space, appearance by the physical alteration
to their structural components, outer shell or internal surfaces. “Truly transformable
architecture must enable a dramatic alteration in the character of the whole
architectural environment. This is architecture that opens, closes, expands or
contracts.” [4] Introducing transformation characteristics to a stationary building
brings something magical about this performance – a building becomes kinetic at a
touch of a button. By simple or more complicated operation building changes its form
and gives the impression of being alive.
11
Figure 2.2: Idea of unfolding, transformable modules by Michael Jantzen, 2000, New
York
Source: Arch Daily
At the same time the transformation process may prove to be a challenging issue. The
mechanisms used to enable movement have to be reliable, robust, maintenance-
minimum, easy operable. Important features of mechanical movements of building
parts are opening and closing joints. They have to be designed thoroughly to avoid
any unexpected faults. New materials that help to maintain flexibility and integrity
over prolonged time and new strategies employed by industries can help to solve this
problem.
The important additional aspect of transformable architecture is ability of the building

to interact with external environment and respond to climatic situations. Roofs,
windows or other parts of the facade can be opened for example for light or closed for
any other atmospheric reasons. This kind of control removes the barrier that buildings
usually have between inside and outside, and again contributes to environmental
sustainability.
Figure 2.3: Bengt Sjostrom Starlight Theatre, Rockford, Illinois, USA, 2003, Studio Gang
Architects. Example of transforming the interior event into the outside one.
Source: Arch Daily
12
2.5 SPACE SAVING AND UTLIZATION

WITH TRANSFORMATION
Transformable architecture directs to design flexible space when users want a space
not only for one function but can be easily used for other functions as well [2].
Simulation in the form of role playing is conducted to identify the families’ daily
routines in one week. Each role will further be processed into space needs that are
related to flexible space theories. Functional transformability is classified again into
four criteria for space saving solutions including movable functional walls, where
functional components are placed in a field which can be moved indoors; function on
the outside, functional components are placed in fields in the room (walls, roof or
floor) to be moved manually for use; functions in the center, functional components
that are stored centrally to be used by transferring to surrounding spaces; and movable
walls, which divide the spaces for two functions carried out simultaneously. The four
solutions are defined as ways to access various needs provided by furniture as
complimentary in a space.
2.6 THE CONCEPT AND THEORY OF TRANSFORMABLE

ARCHITECTURE
More recently, the architecture and patent literature has also provided a number of
helpful definitions. The first known came from a patent in 1969 by Thomas
McSherry. Borrowing from the field of mechanics he defines transformable structures
as those with “two or more elements connected such that the spatial relation of the
members is changed or transformed by the relative movements of at least one of the
members. Such members are connected by articulated joints which are pivoted, or
hinged, together with connecting members which are rigid or flexible” (McSherry
1969, 1).
According (Le Corbusier, 1986) “Architecture is a machine for living in”. This
definition of Le Corbusier’s seems to be more applicable to life today in which always
everything is constantly changing. Architecture today should not only provide a
shelter for its users, but it also should provide an interactive environment in which
users can by themselves be able to control and redesign their surrounding
environment on the basis of their requirement and ambitions and at the same time
have the architecture influence their imagination and creativity. The idea of
transformation can redefine the identity of today’s architecture in such a way that it
can more efficiently adapt to a new user’s requirements. The examination of
13
transformable buildings and the concepts explained earlier reveals that a new identity
can be achieved through transformation.
14
Le Corbusier’s quote above makes more sense in transformable architecture. The

values of the machine including functionality, regularity, efficiency and moveability
that are considered to be in opposition to those of art, can be integrated with the
values of art in transformable buildings. Consequently, transformable architecture is
not only considered as a machine, it is valued for its aesthetic and artistic
characteristics that are achieved through transformation.
According to (Kappraff 1990) In most cases, the invention of such structures is

driven primarily by a fundamental concept of geometric change, even though the
mechanism of the transformation is very often significantly different from that used in
nature.
According to (Pelegrino 1999) Transformable structures can be defined as structures

that are “capable of executing large configuration changes in an autonomous manner.
The configuration of such structures changes between a compact, packaged state, and
a large, deployed state”.
According to (Vincent 1999) This definition does not differentiate between product
design and application for human habitation. In its most general expression, it can
apply to any natural form that can change shape to adapt to a new condition. There are
many examples of transformable structures in nature, and many apparent reasons for
their evolution. Whether one observes the motion of a worm, a wing of an insect, or a
petal of a flower, any transformation in their geometric configuration is a vital part of
their existence. The understanding of the spatial configuration of transformations and
mechanisms that allows natural forms to change has led the human analytic thought to
the creation of other transformable forms that serve various domains.
According to Norberg-Schultz (Norberg-Schulz, 2000), architecture can define a

place and give meaning to it. Architecture can even change the human understanding
of space. Furthermore, a building can convey a new message to its users and can
establish a new identity which may affect positively or negatively the user’s life.
Conventional static buildings usually convey a pre-defined meaning and identity to
their users and designers are usually the only people who are involved in the design
process. Therefore, what users feel and achieve by living in these buildings is what
designers have predetermined.
15
Jonathan Bell, 2000 provided a broad definition of transformable in an edition of

Architectural Design entitled “The Transformable House” which he co-edited with
Sally Godwin. In the introduction he suggests that transformable "means many things-
--the integrations of technology into the home, the use of modular systems to facilitate
construction and planning, or the development of complex devices for modifying and
customizing architectural space on a day-to-day basis" (Bell 2000b).
Robert Kronenburg uses the term transform to describe a class of “buildings that
change shape, space, form or appearance by the physical alteration of their structure,
skin or internal surface, enabling a significant alteration in the way it is used or
perceived” (Kronenburg 2007).
The transformable work of Chuck Hoberman has been defined similarly as "objects
with the ability to change size and shape” (Gonchar 2010). His student, Maziar Asefi,
focused his study on transformable structures and defines them as "a distinct class of
structures consisting of rigid, or transformable elements, connected by moveable
joints that can change their geometry reversibly and repeatedly and have the innate
characteristic of controlled reconfiguration" (Asefi 2010).
By combining the definitions offered by the Oxford Dictionary with those in the
design fields we might adopt the following working definition:
Transformable architecture: buildings and structures that are able to rapidly take on
new shapes, forms, functions, or character in a controlled manner through changes in
structure, skin and/or internal surfaces connected by articulated joints.
16
2.7 THEME
 By the early 21st century three interrelated themes had emerged. The first is
for functional buildings such as bridges which can elevate their midsections to
allow tall ships to pass, or stadiums with retractable roofs such as the Veltins-
Arena, Millennium Stadium in Cardiff, or Wembley Stadium.
Figure 2.4: Veltins-Arena, Hentrich, Petschnigg und Partner, 1998-2001,

Germany.
Source: Bundesliga
Figure 2.5: Millennium Stadium, Populous, 1999, Cardiff-

UK
Source: Wikipedia
Figure 2.6: Wembley Stadium, Populous and Foster and Partners, 2003-2007, London,
England
Source: Archello.com
17
 A second theme is for fantastic structures that can perform Transformer style
changes of shape or which have a visually stunning appearance. The bird-
like Burke Brise soleil at the Milwaukee Art Museum is a well-regarded
example of this, though it also has a functional aspect in that its movement
allows it to shade the crowds from the sun or protect them from storms.
Figure 2.7: Milwaukee Art Museum, Santiago Calatrava, 2001,

US.
Source: InHabitat.com
18
 The third theme is for movement to occur on the surface of the building,
creating what Buckminster Fuller called a "skin-like articulation" effect. A
classic example of this is the Institut du Monde Arabe.
Figure 2.8: Institut du Monde Arabe, Architecture-Studio, Ateliers Jean Nouvel, 1987, Paris, France
Source: Arch daily
2.8 HARMONIZATION WITH PHYSICAL ENVIRONMENT
People are constantly interacting with the geography theylive in. There are times
when people benefit from the nature or avoid it: climate change, daily weather
conditions, sun, wind, and the user’s preference to be inside or outside the structure.
While designing rigid and immovable structures, physical environment usually
become the most important design problem. Adaptation to the environment is an
important input for usability and lifetime. For kinetic structures, physical environment
has been the cause of movement. Energy saving can now be provided thanks to
constructions that can be adapted to daylight, wind and climate conditions. Thus, a
building with movement mechanisms can make a significant contribution to the
reduction of energy dissipation in buildings, and assist in maintaining and improving
internal comfort levels.
19
2.9 THE CONCEPT OF MOVEMENT IN ARCHITECTURE
For centuries, architecture has been perceived as permanent structures that are
identified with the concepts of stability, rigidity and immobility, [5]. The dominance
of static notions in architecture also restricted the flexibility in space design. It has not
been considered that the spaces or the structures might be changed according to the
future needs. Even though the change has been neglected in the architectural design, it
has always been a part of human being and society since the needs, lifestyles,
activities and space requirements are changing constantly. Thus, the architecture
should respond to the changing needs of dynamic society. Moreover, the concepts of
movement, fluidity and adaptability should be considered within the design of
architectural space and structure.
At this point, an obvious question arises: how an architectural space and structure can
be integrated with the concept of movement while the architecture still stands at the
threshold between past 552 and future, and static and dynamic.
To answer this question, the relationship between movement and structure should be
investigated first.
In fact, movement and structure can coexist in architecture. (Fig2.9) The root of the
idea of capturing movement within structure dates back to ancient times. Nomadic tents
can be shown as the first examples of transformable structures, which were built with
flexible outer skins for protection against environmental extremes and to meet the
housing needs of nomads [6] The shapes of these tents change according to the life
styles of the nomads.
Example: Show the history of movement in architecture.

Figure 2.9: Archigram, Architecture without architecture.
Source: Author
20
2.9.1 HISTORY
he transformable structures proposed in the late 20th and early 21st centuries are reviewed in terms of the concepts of movem
Temporary protective covers for outdoor activities, emergency shelters or bridges after natural disasters, exhibition halls, pavilions, trave
Which lent feasibility to walls freed from the function of load bearing and to building cantilevers.
20 CENTURY
The importance of the concepts of change, movement, flexibility and adaptability started to increase a
19 CENTURY
Radical changes started in building technologies by the invention of new building materials
MIDDLE OF 18 CENTURY
18 CENTURY One of the great

changes in
human history
Awning started with the
Figure 2.10: Nomadic Tents
Constructio Industrial
ns became Source: Google
Revolution.
widespread
in Europe.
21
2.9.2 DEPLOYABLE BAR STRUCTURES
Deployable bar structures are impressive examples of transformable structures, which

have the ability to change their shapes according to changing circumstances.
Pioneered by Spanish architect Emilo Pérez Pinero, different types of deployable bar
structures have been developed by architects, engineers and researchers. Pinero was
the first who built such a deployable structure composed of scissor like elements
(SLEs) that was intended for a movable theatre [2] (Figure 2.11). Considering the
capability of deployability and transportability of the structure, it can be said that the
concept of movement was achieved in Pinero’s design as structurally and
architecturally since it offers flexibility and adaptability to the change. By using the
principles of SLEs.
Figure 2.11: Movable Theater Emilo Pérez Pinero

Source: Google
Pfalzkeller Emergency Service Center that is placed underground (Figure 2.12).

Calatrava developed a movable structure to cover the elliptical pitched-glass roof of
the building in order to control the daylight. Constructed with aluminum slats, the
structure is composed of two symmetrical rotating arched-shaped wings. The slats are
fixed to the ground from their lower ends and freed from the structure 557 at their
upper ends.
Figure 2.12: Pfalzkeller Emergency Service Center, Calatrava

22
Source: Arch Daily
23
Another impressive design of Calatrava is the Alcoy Community Hall that is built
underground to accommodate 600 people for all kinds of social and cultural and
events. Calatrava developed a transformable structure composed of stainless-steel
slats to cover the western entrance of the Hall (Figure 2.13). When the structure is
raised, it becomes a huge entrance door for the Hall. It becomes a part of the plaza
when closed.
In recent years, the concepts of movement, flexibility and adaptability have become
increasingly predominant in architecture. Numerous transformable structures have
been proposed in response to changing spatial, functional and environmental
conditions. The author of the paper has also developed different structures that have
ability to change their geometric shapes according to changing circumstances.
Figure 2.13: Alcoy Community Hall, Calatrava.

Source: Google
24
2.10 DEFINITION OF DIFFERENT TERMS OF

ARCHITECTURE WITH MOVABLE ELEMENTS
 Adaptable
 Kinetic
 Responsive
 Transformable
2.10.1 ADAPTABLE ARCHITECTURE
According to the Oxford English Dictionary (OED) adaptable means: Capable of

being applied or used in different conditions or contexts; capable of being modified,
altered, or amended, esp. so as to be put to a new use or serve a new purpose. Able to
adjust to new conditions or situations, or to changes in one ‘s environment. Adaptable
Architecture is mostly socially motivated and is therefore is able to be changed
according to changing users or changing needs of users. Examples are the open floor
plans of Le Corbusier like the Dom-ino House system (fig. 2.14), where load bearing
walls are not necessary, this enables to arrange the layouts very freely and they are
also changeable after construction. Other examples are movable wall systems, that are
able to divide spaces into different configurations very rapidly.
Figure 2.14: Dom-ino House, Le-Corbusier

Source: Google
A pavilion called "Dom-Ino" is presented by 2017 Bi-City Shenzhen Biennale of
Urbanism\Architecture (UABB) - Sub-exhibition in Shangwei Village. Different from
conventional buildings, this pavilion has no walls, but 24 huge iron doors. Doors can
be either opened or closed at any angle by rotating, which allows the space to
“breathe”
"Dom-Ino House" proposed by Le Corbusier in 1915, brings infinite possibilities of

free plan and elevation to architectural design. 100 years later, an old building left
25
with
26
unfinished concrete structure frame, found abandoned in an ordinary village of

southern China, is strikingly similar to the "Dom-Ino House" prototype, and is
demonstrating its application of the "Domino System" in the Shangwei Village, like a
specimen.
Figure 2.15: Dom-Ino Pavilion / Benyuan Design and Research Center.

Source: Arch Daily
Figure 2.16: Movable walls.

Source: Arch Daily
27
2.10.2 KINETIC ARCHITECTURE: In the book Ephemeralization (Michael Fox,

2001) “kinetic architecture is defined generally as buildings and/or building
components with variable mobility, location, and/ or geometry”, this is reached by
“folding, sliding, expanding and transforming in both size and shape”. The motion is
very important in kinetic designs, often more than the actual function and many times
it is designed to get attention. The moving parts and mechanisms are mostly clearly
visible. Good examples are the architecture of Santiago Calatrava or the Rolling
Bridge by Thomas Heatherwick(fig.2.16).
Many kinetic designs are rather sculpturing than architecture, as many designs have
not a actual function but make for instance the wind visible through movable parts.
Figure 2.17: Rolling Bridge by Thomas Heatherwick.

Source: Architectural-Review.com
2.10.3 RESPONSIVE ARCHITECTURE
The word responsive comes from the Latin word responder, which means to answer
or to react to something. In the article “Responsive systems/appliance architectures”
from the Architectural Design magazine it is described as follows: ‚responsive
‘suggests mutual reaction and exchange, with adjustments occurring continually on
both sides of the equation (Hookway, Branden and Perry, 2006). So Responsive
Architecture describes elements which are able to answer quickly to a environmental
or social changes in the built environment. Often responsive elements are facades that
can respond to different weather conditions.
28
Figure 2.18: Building’s Geometric Facade Transforms to Regulate Daylight

Source: www.inhabitat.com
Responsive architectures distinguish themselves from other forms of interactive

design by incorporating intelligent and responsive technologies into the core elements
of a building's fabric. For example: by incorporating responsive technologies into the
structural systems of buildings architects have the ability to tie the shape of a building
directly to its environment (see figure: 2.17). This enables architects to reconsider the
way they design and construct space while striving to advance the discipline rather
than applying patchworks of intelligent technologies to an existing vision of
"building".
According to Nicholas Negroponte (1960) responsive architecture is the natural result

of the mix of computing power into assembled spaces and structures, and that better
performing, increasingly sound structures are the outcome.
2.10.4 TRANSFORMABLE ARCHITECTURE
According to the OED the word transform expresses a change in the form, nature, or
appearance of something. In the research Flexible: architecture that responds to
change transformable architecture is described as “buildings that change shape, space,
form or appearance by the physical alteration of their structure, skin or internal
surface, enabling a significant alteration in the way it is used or perceived”
(Kronenburg, 2007).
29
In Transformable and Kinetic Architectural Structures, it is characterized as “a

distinct class of structures consisting of rigid, or transformable elements, connected
by moveable joints that can change their geometry reversibly and repeatedly and have
the innate characteristic of controlled reconfiguration” (Asefi, 2010). So
transformable architecture are designs that can be changed according to different
functions. The focus lies less on the aesthetic appearance but more on the functional
performance.
Example: Window Transform into Balcony.

Figure 2.19: Living Room, Seifert Stockman, Gelnhausen, Germany.
Source: Arch Daily
Fig. 2.18 this house can draw one room out of the envelope, which is then without
roof. The transformation can be either controlled by the users, it has to be done mostly
manually in this case, or a system with sensors is controlling the transformable
elements and the devices close or open according to sun, wind, rain and so on. Often
climate driven transformations aim to make the building more sustainable, so can the
sun help to heat a building or the sun can be kept outside to need less air conditioning
to safe energy.
2.11 FUNCTIONAL CHANGE
One of the reasons for the use of movement is that it can convert spaces according to
the different requirements of the users. In this context, expandable, shrinkable
foldable and opening and closing surfaces are designed to increase space diversity.
Due to movement, space forms can be changed for different functionalities. Also,
depending on the number of users, the capacities of the rooms can be increased and
restored when they are not in use. The volumetric elements provided in the structures
change the location of the structure in according to the usage requirements.
30
Example: Functional Changing.

Figure 2.20: Bauhaus Museum
Source: Arch Daily
Fig 2.19, the simple geometry of the building references the used aesthetics of the
Bauhaus era, but it is the rotating elements that connect to the school’s tradition of
technological innovation. The aim of the project is to establish a connection between
different settings and functions in Dessau and create a responsive design that brings
the campus into the twenty first century.
The museum site is located near active areas of Dessau. Surrounding by the City Park,
the museum acts as an important landmark integrated into the campus. Thanks to the
two rotating platforms, the building can open up and act as an invitation for people to
enter the park and the museum. It is also responsive to the changing seasons and can
adapt to varying occupancy loads throughout the year.
2.12 IMAGINATIVE CHANGE
One of the most important effects that the movement brings to the structure while
gaining a new dimension through architectural movement is to change the aesthetic
perception and create an imaginary appearance on the users. Changing the appearance
of kinetic structures brings different emotions in people. This formation, in
constructions, increases the popularity of the buildings at the same time. Imaginative
change brought by structural forms or created by movement may construct new
meanings in mind and increase visual memory.
31
Example: Imaginative Changing.

Figure 2.21: A shape-shifting home by D’ Haus company, London.
Source: Dezeen.com
The D*Haus Architect concept 'metamorphosizes' into eight different configurations

based around a series of hinges. It responds to seasonal conditions automatically, or
can be moved using hydraulics and rails controlled by a handle. The shapeshiting
design is based on the Haberdasher's Puzzle, designed by mathematician Henry
Dudeney in 1908. Called D*Dynamic, throughout the year internal walls become
external, and doors become windows.
Called D*Dynamic, the structure (pictured) was inspired by the work of an early 20th
Century mathematician who discovered a way to dissect a square and rearrange its
parts into an equilateral triangle. The 'folding' house shapeshifts into eight different
configurations that automatically adapt to the changing seasons.
2.13 LOCATION CHANGE
Real movements that adopt to changes in nature and its shapes have unlimited amount
of variations. This adaptation guarantees survival and is necessary for all species. In
the simplest terms, principles have been developed to make buildings stand straight to
ensure that the buildings survive against the effects of the wind; this is inspired by the
human body, which is capable of tightening the muscles and changing their posture.
There are systems that allow displacement to occur in the structure as well as those
that prevent movement with a controllable movement mechanism. The need to change
the location in the building is mostly due to the desire to adapt to the environmental
conditions, and sometimes to change the view or to create spatial diversity.
32
Example: Location Changing.

Figure 2.22: The Shed, designed by Diller Scofidio + Renfro.
Source: Arch Daily
An architecture of infrastructure. “It’s thrilling to be part of this brave new project

that’s inventing all the rules,” said Elizabeth Diller. “The opportunity to design a
ground-up building for the arts forced the question What will art look like in the next
10 years, 20 years and beyond.”
According to the architects, the Shed is “all bone and muscle, no fat.” In other words,
it is designed with the utmost functionality. For example, each arts space is
completely sound-isolated, meaning that the entire building can be used for different
functions at the same time. The completion of this shape-shifting arts building marks
the end of stagnant theater spaces. In keeping up with the changing nature of the arts
world, structures like the Shed are designed to cater to cross-disciplinary artists who
want creative control over their environment. The seminal project, thanks to its spatial
elasticity, may spark a new generation of buildings that will be transformers in their
own right.
2.14 CLIMATE-ADAPTIVE BUILDING SHELL
Climate-adaptive building shell (CABS) is a term in architecture that depicts the

group of facades and roofs that associate with the inconstancy in their condition in a
dynamic manner (see figure: 2.22). Ordinary structures have static structure
envelopes, and can in this manner not act because of changing climate conditions and
occupant requirements. Climate-adaptive building shell, then again do be able to
change with time. Well-planned CABS have two primary capacities: they add to
vitality putting something aside for warming, cooling, ventilation and lighting; and
they incite a positive effect on the indoor environmental quality of buildings.
33
Figure 2.23: Climate-Adaptive Building Shell

Source: Arch Daily
2.14.1 DEFINITION
Loonen et al. defines CABS as follows:
“A climate adaptive building shell has the ability to repeatedly and reversibly change
some of its functions, features or behavior over time in response to changing
performance requirements and variable boundary conditions, and does this with the
aim of improving overall building performance.”
2.15 PURPOSES FOR MAKING TRANSFORMABLE DESIGNS
The rapid developments in social, economic and technological fields change the
lifestyle, behaviors, habits and needs of today's people at the same rate. Accordingly,
our expectations from the spaces that we act in constantly change. Designed initially
for a specific action and need, the same building does not provide expected functional
performance after a period of changing user requirements. With the flexibility
provided in architectural design, they must be convertible and changeable after the
design has been completed.
There are four main reasons which are been high lightened for making transformable
designs. These purposes are:
34
Adaptability to the climate Opening and closing of buildings or functions
Figure 2.24: Shape Transform according to Figure 2.25: Opening and Closing of form
climate Source: Illustration by Author
Source: Illustration by Author
Flexibility Transformation for functional reasons.
Figure 2.26: Flexibility of shape and form. Figure 2.27: Transformation of form
Source: Illustration by Author. and shape according to functional
Reason Source: Illustration by Author.
2.16 KEY INFLUENCES
- Social aspect
 users’ conceivable needs

 users’ indefinite needs
 familiar user
 unfamiliar user
- Spatial-physical context
35
 inner spatial-physical context

 Spatial-physical limitations of inner layout; the reconfiguration of inner space
layout in order to join it with the outer spatial-physical context; the
reconfiguration of inner space layout according to newly developed guidelines
from the immediate outer spatial-physical
 outer spatial-physical context
 influences of constant changes in the immediate physical surroundings; natural
influences; non-contextual architecture
- Technically technological aspect
 the influence of thetically technological aspect during the conceptual design

phase - software
 The influence of thetically technological aspect during the phase of
transformability concept accomplishment - hardware
- Economic aspect
 design of structures – minimal dimension spaces with a high level of space

qualities;
 Rationalization of the construction process.
2.16 CONCLUSION
This Chapter carryout the detail study of previous work done in the field of
Transformable Architecture. In this chapter, we also aware of the historical
background of such efforts which can lead us to move further for the research. And
gives an idea that which type of other field touches the domain of Movement in
Architecture within the vast field of architecture.
36
CHAPTER 03
THE DESIGN OF SPACE BASED ON

ARCHITECTURAL GEOMETRY
3.1 INTRODUCTION
The definition of architecture of Hybrid Space is “The art or science of building;

specify: the art or practice of designing structures and esp. inhabitable ones” [8]. This
definition sharply defines the architecture as an art. An art definitely addresses to
deliver something with aesthetic value. Kimberly Elam expresses “Architecture has
some of the strongest educational ties to geometric organization because of the
necessity for order and efficiency in construction, and the desire to create
aesthetically.
“The purpose of geometry of design is not to quantify aesthetics through geometry but
rather to reveal visual relationships that have foundations in the essential qualities of
life such as proportion and growth patterns as well as mathematics. Its purpose is to lend
insight into the design process and give visual coherence to design through visual
structure. It is through this insight that the artist or designer may find worth and value
for themselves and their own work” [3]. Kimberly Elam description on the geometry
function explained that the geometry has relevant function to express the visual
relationship of an object based on its proportion and also the development pattern of
the object.
3.2 GEOMETRY COMPOSITION
As describe in Figure 1 and Figure 2, there is a form transformation as a result

variances of existing basic shapes manipulation, such as the combination of rectangle
and triangle shape and the combination of square and triangle shape. The processes of
basic form manipulation are:
37
Figure 3.1: Geometrical Composition
Source: www.google.com
38
There is a complex form composition in the site plan design in the mural area at the
front of the entrance. The composition shapes are square, triangle, circle, and
rectangle shape that creates a pure geometry form. In addition, there is a separate part
of pure geometry form, but the form has been transforms.
3.3 GEOMETRY CONCEPTS IN ARCHITECTURAL DESIGN
Composition in architecture starts with elements and their relations. Geometry is able
to make a contribution to this process by dealing with geometric figures and forms as
elements as well as proportions, angles and transformations as relations between
them. Structures build the foundation of composing.
Geometry can be seen as the science to describe structures. Max Bill works in his art
with geometric structures as processes, for example in his variations about a single
theme, the process from triangle to octagon. With his variations he clarified his
methods for generating artworks.
Max Bill thought about the relationship between structures and art. In his opinion
rhythmical order as the creative act of the artist produces an artwork starting with a
general structure.
3.4 SYMMETRY AND TRANSFORMATIONS
Another fundamental notion in the history of architecture is the concept of symmetry

closely connected with the idea of harmony. “Symmetry”, derived from the Greek
“syn” which means together and “metron” which means measure, is understood as the
harmony between the parts of an object and the way of the combination of several parts.
Vitruv [15] described in this comprehension “Symmetria” as an important category of
architecture.
Figure 3.2: Two Ornaments Based on the same Sequence of Congruence Transformation
39
Figure 3.2 shows a student work (Markus Weissenmayer) of creating patterns by

congruence transformations. The students had to choose a start element and to
develop a sequence of congruence transformations in a storyboard. Then the same
storyboard is applied to another start element. This simple task tries to achieve an
understanding of structural thinking. The process of congruence transformations can
be expressed in a clear way by the operations of folding and cutting. Folding gets
more and more important for creating processes in architecture as well as in industry.
A study about the geometric symmetry conditions of folding by a student of
architecture (Eric Pigat)
[12] and an example of industrial origami [17] are shown in Figure 3.3. The
mathematical comprehension of symmetry as transformation processes only starts
nowadays to influence the creating processes in architecture.
Figure 3.3: Folding Study and Industrial Origami.

3.5 ORGANIZATION OF FORM AND SPACE (SPATIAL

RELATIONSHIP)
3.5.1 SPACE WITHIN A SPACE
A space may be contained within the volume of a larger space.
Figure 3.4: Space within a Space.

Source: Google
A large space can envelop and contain a smaller space within its volume. Visual and
spatial continuity between the two spaces can be easily accommodated, but the
40
smaller,
41
contained space depends on the larger, enveloping space for its relationship to the
exterior environment.
In this type of spatial relationship, the larger, enveloping space serves as a three-
dimensional field for the smaller space contained within it. For this concept to be
perceived, a clear differentiation in size is necessary between the two spaces. If the
contained space were to increase in size, the larger space would begin to lose its
impact as an enveloping form. If the contained space continued to grow, the residual
space around it would become too compressed to serve as an enveloping space. It
would become instead merely a thin layer of skin around the contained space. The
original notion would be destroyed.
Figure 3.5: Relationship of Two spaces.

Source: Google
To endow itself with a higher attention-value, the contained space may share the form
of the enveloping shape, but be oriented in a different manner. This would create a
secondary grid and a set of dynamic, residual spaces within the larger space.
Figure 3.6: Enveloping Shapes

Source: Google
42
The contained space may also differ in form from the enveloping space in order to
strengthen its image as a freestanding volume. This contrast in form may indicate a
functional difference between the two spaces or the symbolic importance of the contained
space.
3.5.2 INTERLOCKING SPACES
The field of a space may overlap the volume of another space. An interlocking spatial
relationship results from the overlapping of two spatial fields and the emergence of a
zone of shared space. When two spaces interlock their volumes in this manner, each
retains its identity and definition as a space. But the resulting configuration of the two
interlocking spaces is subject to a number of interpretations.
Figure 3.7: Interlocking Space

Source: Google
The interlocking portion of the two volumes can be shared equally by each space. The
interlocking portion can merge with one of the spaces and become an integral part of
its volume. The interlocking portion can develop its own integrity as a space that
serves to link the two original spaces.
Figure 3.8: Organization of Interlocking spaces.

Source: Google
43
3.5.3 ADJACENT SPACES
Two spaces may about each other or share a common border.
Figure 3.9: Adjacent Space

Source: Google
Adjacency is the most common type of spatial relationship. It allows each space to be
clearly defined and to respond, each in its own way, to specific functional or symbolic
requirements. The degree of visual and spatial continuity that occurs between two
adjacent spaces depends on the nature of the plane that both separates and binds them
together.
Figure 3.10: Spatial relationship of Adjacent space.

Source: Google
Limit visual and physical access between two adjacent spaces, reinforce the
individuality of each space, and accommodate their differences.
Appear as a freestanding plane in a single volume of space.
Be defined with a row of columns that allows a high degree of visual and spatial
continuity between the two spaces.
44
Figure 3.11: Different ways to create Adjacent Space

Source: Google
be merely implied with a change in level or a contrast in surface material or texture

between the two spaces. This and the preceding two cases can also be read as single
volumes of space which are divided into two related zones.
3.5.4 SPACES LINKED WITH A COMMON SPACE:
Two spaces may rely on an intermediary space for their relationship.
Figure 3.12: Space linked with a Common Space

Source: Google
Two spaces that are separated by distance can be linked or related to each other by a
third, intermediate, space. The visual and spatial relationship between the two spaces
depends on the nature of the third space with which they share a common bond. The
intermediate space can differ in form and orientation from the two spaces to express
its linking function.
45
Figure 3.13: Circular space share with two spaces.

Source: Google
The two spaces, as well as the intermediate space, can be equivalent in size and shape
and form a linear sequence of spaces.
Figure 3.14: Intermediate Spaces.

Source: Google
The intermediate space can itself become linear in form to link two spaces that are
distant from each other, or join a whole series of spaces that have no direct
relationship to one another.
The intermediate space can, if large enough, become the dominant space in the
relationship, and be capable of organizing a number of spaces about itself.
The form of the intermediate space can be residual in nature and be determined solely
by the forms and orientations of the two spaces being linked.
3.6 ORGANIZATION OF FORM AND SPACE

(SPATIAL ORGANIZATION)
The basic ways of arranging and organizing spaces of a building:
 In a typical building program, there are usually requirements for various kinds
of spaces. There may be requirements for spaces that:
 Have specific functions or require specific forms
 Are flexible in use and can be freely manipulated
 Are singular and unique in their function or significance to the building
organization
46
 Have similar functions and can be grouped into a functional cluster or repeated
in a linear sequence
 Require exterior exposure for light, ventilation, outlook, or access to outdoor spaces
 Must be segregated for privacy
 Must be easily accessible
The decision as to what type of spaces’ organization to use in a specific situation will
depend on:
1. The building program such as:
 Functional relationships.
 Dimensional requirements.
 Hierarchical classification of spaces.
 Requirements for access, light, or view
2. Exterior conditions of the site that might limit the organization's form or
growth. Or that might encourage the organization to address certain features of
its site.
3.6 1 CENTRALIZED ORGANIZATION
A central, dominant space about which a number of secondary spaces are grouped. A
centralized organization is a stable, concentrated composition that consists of a
number of secondary spaces grouped around a large, dominant, central space.
Figure 3.15: Centralized Organization

Source: Google
The central, unifying space of the organization is generally regular in form and large
enough in size to gather a number of secondary spaces about its perimeter.
The secondary spaces of the organization may be equivalent to one another in

function, form, and size, and create an overall configuration that is geometrically
regular and symmetrical about two or more axes.
47
Figure 3.16: Regular Shapes use in Centralized Organization/

Source: Google
The secondary spaces of the organization may be equivalent to one another in

function, form, and size, and create an overall configuration that is geometrically
regular and symmetrical about two or more axes.
Figure 3.17: Configuration of Two or more Spaces.

Source: Google
3.6.2 LINEAR ORGANIZATION
A linear sequence of repetitive spaces.
A linear organization consists essentially of a series of spaces. These spaces can either
be directly related to one another or be linked through a separate and distinct linear
space.
Figure 3.18: Linear Organization

Source: Google
A linear organization usually consists of repetitive spaces which are alike in size,
form, and function. It may also consist of a single linear space that organizes along its
length a series of spaces that differ in size, form, or function. In both cases, each space
along the sequence has an exterior exposure.
48
Figure 3.19: Repetitive Spaces.

Source: Google
Spaces that are functionally or symbolically important to the organization can occur
anywhere along the linear sequence and have their importance articulated by their size
and form. Their significance can also be emphasized by their location:
 At the end of the linear sequence

 Offset from the linear organization
 At pivotal points of a segmented linear form.
Figure 3.20: Organization of shapes.

Source: Google
3.6.3 RADIAL ORGANIZATION
A central space from which linear organizations of space extend in a radial manner.
A radial organization of space combines elements of both centralized and linear

organizations. It consists of a dominant central space from which a number of linear
organizations extend in a radial manner. Whereas a centralized organization is an
introverted scheme that focuses inward on its central space, a radial organization is an
extroverted plan that reaches out to its context. With its linear arms, it can extend and
attach itself to specific elements or features of its site.
49
Figure 3.21: Radial Organization

Source: Google
As with centralized organizations, the central space of a radial organization is

generally regular in form. The linear arms, for which the central space is the hub, may
be similar to one another in form and length and maintain the regularity of the
organization’s overall form.
Figure 3.22: Regular shapes use in Radial Organization.

Source: Google
The radiating arms may also differ from one another in order to respond to individual
requirements of function and context. A specific variation of a radial organization is
the pinwheel pattern wherein the linear arms of the organization extend from the sides
of a square or rectangular central space. This arrangement results in a dynamic pattern
that visually suggests a rotational movement about the central space.
Figure 3.23: Pinwheel Pattern with in the linear arms.

Source: Google
50
3.6.4 CLUSTERED ORGANIZATION
Spaces grouped by proximity or the sharing of a common visual trait or relationship.
Figure 3.24: Clustered Organization

Source: Google
A clustered organization relies on physical proximity to relate its spaces to one

another. It often consists of repetitive, cellular spaces that have similar functions and
share a common visual trait such as shape or orientation. A clustered organization can
also accept within its composition spaces that are dissimilar in size, form, and
function, but related to one another by proximity or a visual ordering device such as
symmetry or an axis. Because its pattern does not originate from a rigid geometrical
concept, the form of a clustered organization is flexible and can accept growth and
change readily without affecting its character.
Figure 3.25: Organization pattern.

Source: Google
Clustered spaces can be organized about a point of entry into a building or along the
path of movement through it. The spaces can also be clustered about a large defined
field or volume of space. This pattern is similar to that of a centralized organization,
but it lacks the latter’s compactness and geometrical regularity. The spaces of a
clustered organization can also be contained within a defined field or volume of
space.
51
Figure 3.26: Ways od paths.

Source: Google
Since there is no inherent place of importance within the pattern of a clustered

organization, the significance of a space must be articulated by its size, form, or
orientation within the pattern.
Figure 3.27: Ways of patterns.

Source: Google
3.6.5 GRID ORGANIZATION:
Spaces organized within the field of a structural grid or other three-dimensional

framework. A grid organization consists of forms and spaces whose positions in space
and relationships with one another are regulated by a three-dimensional grid pattern or
field.
Figure 3.27: Grid Organization.

Source: Google
A grid is created by two, usually perpendicular, sets of parallel lines that establish a
regular pattern of points at their intersections. Projected into the third dimension, the
grid pattern is transformed into a set of repetitive, modular units of space.
52
Figure 3.28: Regularity and Continuity of Grid.

Source: Google
The organizing power of a grid results from the regularity and continuity of its pattern
that pervades the elements it organizes. Its pattern establishes a stable set or field of
reference points and lines in space with which the spaces of a grid organization,
although dissimilar in size, form, or function, can share a common relationship.
A grid is established in architecture most often by a skeletal structural system of

columns and beams. Within the field of this grid, spaces can occur as isolated events
or as repetitions of the grid module. Regardless of their disposition within the field,
these spaces, if seen as positive forms, will create a second set of negative spaces.
Figure 3.29: Addition and subtraction along the Structural system.

Source: Google
Since a three-dimensional grid consists of repetitive, modular units of space, it can be

subtracted from, added to, or layered, and still maintain its identity as a grid with the
ability to organize spaces. These formal manipulations can be used to adapt a grid
form to its site, to define an entrance or outdoor space, or to allow for its growth and
expansion.
53
Figure 3.30: Formal Manipulations.

Source: Google
To accommodate the specific dimensional requirements of its spaces or to articulate

zones of space for circulation or service, a grid can be made irregular in one or two
directions. This dimensional transformation would create a hierarchical set of
modules differentiated by size, proportion, and location.
Figure 3.31: Natural features into the grid.

Source: Google
A grid can also undergo other transformations. Portions of the grid can slide to alter
the visual and spatial continuity across its field. A grid pattern can be interrupted to
define a major space or accommodate a natural feature of its site. A portion of the grid
can be dislocated and rotated about a point in the basic pattern. Across its field, a grid
can transform its image from a pattern of points to lines, to planes, and finally, to
volumes.
3.7 CONCLUSION
This Chapter carryout the detail study of Geometry in Architecture. In this chapter, we
Exploring the spatial geometry for interactive transformation design of building that
helps to the structure and space design with the spatial relation and organization of
Form and space. It gives us idea of inter formal and inter spatial compatibility of
shape and form for harmonies transformable building design.
54
CHAPTER 04
METHODOLOGY
4.1 INTRODUCTION
This chapter includes the research methodology of the dissertation. The methodology
may include publication research, interviews, surveys and other techniques, and
could include both present and historical information.
4.2 EDUCATIONAL RESEARCH METHODS
Research is the formal, systematic application of scientific method to the study of

problem: educational research is the formal, systematic application of the scientific
method to study of educational problems. The structure of educational research
method are given below:
SURVEY
RESEARCHES
HISTORICAL METHOD
DESCRIPTIVE METHOD QUESTIONNAIRE

TYPE OF SELF-
REPORT
RESEARCH
INTERVIEWS
EDUCATIONAL RESEARCH METHODS
CORRELATIONAL METHOD
CASUAL- COMPARATIVE METHOD CASE STUDY
EXPERIMENTAL METHOD
Figure 4.1: Show the structure of educational research method

Source: Author
1. The Historical Method, involves studying, and explaining past events.
2. The Descriptive Method, involves collecting data in order to test hypothesis
or an answer question concerning the current status of the subject of the study.
3. Correlational Method, attempts to determine whether, and to what degree, a
relationship exists between two or more quantifiable variables.
55
4. Casual-Comparative Method: In this method, the difference between the

groups (the independent variable) is not, was not, or could not be determined by
researcher.
5. Experimental Method: In this study, researcher manipulates at least one
independent variable and observes the effect on one or more dependent
variables.
In order to confirm the hypothesis, this study can rely on both Qualitative and
Quantitative methods of research, through Descriptive Method of Research.
4.2.1 THE DESCRIPTIVE METHOD
Descriptive research involves collecting data in order to test hypotheses or to answer

questions concerning the current status of the subject of the study. The researcher
must give careful thought to sample selection and data collection, which population
has the desired information is not always readily apparent. Frequently, since one is
generally asking questions that have not been asked before, or seeking information
that is not already available, a descriptive study requires the development of an
instrument appropriate for obtaining the desired information.
A logical way to initially categorize descriptive studies is in terms of how data are
collected, through self-report or observation. In a self-report study, information is
solicited from individuals using, for example, questionnaires, interviews, or
standardized attitude scales. In an observation study, individuals are not asked for
information; rather, the researcher obtains the desired data through other means, such
as direct observation.
4.3 TYPES OF SELF-REPORT RESEARCH
 Previously Survey Researches
 Questionnaire
 Interview Study
 Observational Research: The Case Study
4.3.1 SURVEY RESEARCH
A survey is an attempt to collect data from members of a population in order to

determine the current status of that population with respect to one or more variables.
56
4.3.2 QUESTIONNAIRE
Questionnaire must be accompanied by an introduction that what is being asked of the

respondent, and why, and which hopefully motivates the responder to fulfill the
request. The introduction should be brief, and addressed specifically to the potential
responder. The letter should explain the purpose of the study, emphasizing its
importance and give the responder a good reason for cooperating.
4.3.3 ANALYSIS OF RESULTS
The simplest way to present the results is to indicate the percentage of responder who
selected each alternative for each item. Relationships between variables can be
investigated by comparing responses on one item with responses on other items.
4.3.4 INTERVIEW STUDY
An interview is essentially the oral, in-person administration of a questionnaire to

each member of a sample. When well conducted an interview can produce in-depth
data not possible with a questionnaire; on the other hand, it is expensive and time-
consuming, and generally involves smaller samples.
4.3.5 PRETESTING THE INTERVIEW PROCEDURE
Feedback from a small pilot study (small scale study, which is conducted in order to
evaluate feasibility of the key steps in full-scale research) can be used to revise
questions in the guide that are apparently unclear, do not solicit the desired
information, or produce negative reactions in subjects. Insights into better ways to
handle certain questions can also be acquired. The pilot study will determine whether
the resulting data can be quantified and analyzed in the manner intended.
4.3.6 OBSERVATIONAL RESEARCH: THE CASE STUDY
A Case study is the in-depth investigation of an individual, groups, or institution. The

primary purpose of a case study is to determine the factors, and relationship among
the factors, that have resulted in the current behavior or status of the subject of the
study.
4.4 RESEARCH STRUCTURE
For this research, mixed methods research combining quantitative and qualitative
research methods is used as the major component. For web-based data collection and
57
literature review analysis a qualitative method is adopted. While for questionnaire and
interviews, the quantitative method is preferred. The following diagram shows the
overall structure of the research approach used in this study. The approach employs a
variety of research methods including aspects of quantitative and qualitative research.
Each part of the diagram represents a different research method used for exploring the
research issues. In addition, the diagram is explained in the following section starting
with quantitative and qualitative research methods.
As the diagram indicates, the importance of use of smart spaces with respect to
climate change is investigated through literature review and gives some strategies
which can be useful while designing such spaces. Previous survey researches and case
studies of similar examples of Kinetic Architecture used to developed a relationship
between adaptable spaces and its built environment. Interviews of some technical
persons can help to understand that what are the pros. and cons. to use this technology
i.e., dynamism in architecture, in Pakistan. Materials are the soul of structure, in this
study, we also investigate the possibilities and use of such materials which can make a
building more energy efficient.
RESEARCH STRUCTURE
QUALITATIVE QUANTITATIVE MIX METHODS
Figure 4.2: Show the Research structure

Source: Author.
4.4.1 QUALITATIVE RESEARCH
Creswell in his book Research Design: Qualitative, Quantitative, and Mixed Methods
approaches, point out that qualitative research demonstrates a different approach to
scholarly inquiry from methods of quantitative research. Qualitative inquiry employs
different assumptions; strategies of inquiry, and methods of data collection, analysis,
and interpretation. Although the processes are similar, qualitative procedure rely on
text and image data, have unique steps in data analysis, and draw on diverse strategies
of inquiry.
58
4.4.2 QUANTITATIVE RESEARCH
Quantitative research has been characterized by various scholars and writers.

Numerous researchers point out that quantitative research design us a valuable
approach to scientific research because it offers precise measurement and data. In
quantitative research, researchers will count and classify, and build statistical models to
explain what is observed. This research approach deals with data collection in the form
of numbers and statistics.
4.4.3 MIXED METHODS RESEARCH
Qualitative and quantitative research approaches are woven into the research process. Mixed
methods research describes the two different research approaches and how they are
combined to make an effective and efficient research method. Brannen indicates that
“The claims that qualitative research uses words while quantitative research uses numbers is
overly simplistic. A further claim that qualitative studies focus on meanings while
quantitative research is concerned with people’s views and actions.” In order to mix research
in an effective manner, researchers need to consider all of the relevant characteristics of
quantitative and qualitative research.
4.5 RESEARCH AND DISCOVER
Identify issue relevant to your field.

02
Explore subjects you are familiar with.
01 03Choose your topic that can help your work in
04 See a problem from a new perspective.
Research and
05
59
4.6 RESEARCH METHODOLOGY
OBJECTIVE # 01:
To Understand out what transformable and Shape-shifting architecture.
Data
Query Methods
Collection
To find the relationship between Analytical comparative Case

Quantitative,
transformation and shape- Studies relevant Projects.
qualitative
shifting architecture.
Investigate the smart adaptable Case study maquette and

Quantitative,
space through transformation. Simulate (manual and
Qualitative
computerize).
find out the feasibility of space Literature Review and Case

Descriptive,
saving through the studies could be done regarding
Qualitative
transformation. scope of space saving.
Table 4.1: Methodology of Objective# 01

Source: Author
OBJECTIVE # 01
To understand out what transformable and shape- shifting architecture
CASE MAQUETTE LITERATURE

STUDY & SIMULATE REVIEW
OUTCOME:
We can able to introduce the new methods of enhancing architecture in the city and new building Aesthetic and materials can
Figure 4.4: Methodology of Objective # 01.

Source: Author
60
OBJECTIVE # 02:
To explore the possibilities of maximizing the potential of use of spaces through

transformable Design.
Data
Query Methods
Collection
Find maximum comfort on Spatial parameters of space and

minimal space. its forms for small spaces. Qualitative
(Modular Case Studies).
Find high standard of living is Interviews (TEDx talks), survey
paired with an optimal Quantitative,
researches, web-based data
economic output. Qualitative
collection.

Source: Author
OBJECTIVE # 02
To explore the possibilities of maximizing the potential of use of spaces through transformable design
CASE STUDY INTERVIEWS, SURVEY RESEARCH
OUTCOME:
ild up due the multi-dimensional response to both quantitative and qualitative functional or non-functional requirement befor
Figure 4.5: Methodology of Objective # 02

Source: Author
61
OBJECTIVE # 03:
Exploring the spatial geometry for interactive transformation design and inter
formal and inter spatial compatibility of shape and form for harmonies
transformable building design as per climatic and environmental scenarios.
Query Methods Data

Collection
Analyze the architect’s project that Explore the Geometry with

Quantitative,
worked on the spatial and formal respect to spatial Organization
qualitative
shape and form. & relationship of form and
space.
Find the compatibility of shape and Web-data collection.
form that response to changing Maquettes (manual or Descriptive,
functional, spatial or environmental computerized) Qualitative
needs.
Study the important factors are to Case studies, interviews,

design something that can move or Observation.
Qualitative
transform throughout the year in
response to changing temperature.
Source: Author.
OBJECTIVE # 03
y for interactive transformation design and inter formal and inter spatial compatibility of shape and form for harmonies transformable building design as p
CASE MAQUETTE LITERATURE

STUDY REVIEW
OUTCOME:
xible to adapt to the changes happening in the surrounding environment in order to make it sustainable and also providing a
Figure 4.6: Methodology of Objective # 03

Source: Author
62
OBJECTIVE # 04:
Design the Transformable Building that have ability to Transform according to

the user need with respect to space saving.
Query Methods Data Collection

Make the detail design brief Complete the stages of
according to the project nature. Qualitative
research. (Chapter vise).
Data collection by the relevant Comparative analysis of

projects for the areas and relevant projects. Quantitative
specifications.
Find the different possibilities to Maquettes and sketches
gain space by compacting and (Manual or graphical)
Descriptive,
changing the functions according
Qualitative
to the needs of the user through
the design brief.

Source: Author.
OBJECTIVE # 04
Design the Transformable Building that have ability to Transform according to the user need with respect to space s
COMPLETE THE RESEARCH

COMPARATIVE ANALYSIS MAQUETTE/SK ETCHES
OUTCOME:
mable architectural, especially those that have the purpose to save space. This is usually achieved by enabling a space to be us
Figure 4.7: Methodology of Objective# 04

Source: Author.
63
4.7 CONCLUSION
Methodology of this research gives us a proper way to investigate the issues regarding
this research and show us a way to achieve the probable outcomes of the research. It
will help us to understand, define and frame Transformable architecture from a
complex movement approach. And it will help us to explore active and more efficient
ways to help the maximizing potential use of space and explore the spatial and formal
compatibility of shape and form with transformable building design.
64
CHAPTER 05
CASE STUDY
5.1 INTRODUCTION
 A case study is a research strategy and empirical inquiry that investigates a

phenomenon within its real-life context.
 Case studies are based on the in-depth investigation of a single individual,
group or event to explore the causes underlying principles.
 A case study is a descriptive and exploratory analysis of a person, group or
events.
 Case study research can be single or multiple case studies, includes
quantitative evidence, relies on multiple sources of evidence and benefits from
the prior development of theoretical propositions.
 Case studies are analysis of persons, groups, events, decisions, periods,
policies, insinuations other systems that are studied holistically by one or more
methods.
5.2 CASE STUDIES
Five case studies have been done in this regard. Case studies aim to analyze the
specific features, strategies, concept and new techniques of the specific requirements,
environment or organization.
1. New Bauhaus Museum, Germany.

2. Expo Center, Karachi.
3. Shape-Shifting House.
4. The Milwaukee Art Museum, United State.
5. Jamia Bilal Mosque, Osmanabad, Hyderabad.
All Case studies are related to the objectives of the research.
65
5.3 CASE STUDY # 01
This case study to relate query of objective 03 and objective 04, that Find maximum
comfort on minimal space and find the reason to make functional transformations is
most of the times to save space.
NEW BAUHAUS MUESUM
Figure 5.1: Location plan of Bauhaus Museum Dessau

Source: Google Earth
Name The new Bauhaus Museum
Floor Area 4500.0 sqm
Completion Year 2015
Height 24.4 m (80 ft)
Architect Penda
Architectural Style Muslim Architecture
Address Dessau Germany
Type cultural / museum
Table 5.1: General characteristic of Case Study 01
66
5.3.1 INTROUCTION
Penda's proposal for the New Bauhaus Museum competition features a transformable
design that serves as an “extension of the city on one hand and as a connector to the
surrounding park on the other.” The design features two rotating platforms that can
open to connect the museum to the sculpture park during the day and close at night.
Although not selected as the winning design, Penda's "Flexible Bauhaus" proposal
was one of the finalists selected to participate in the second stage of the competition.
Figure 5.2: Bauhaus Museum Dessau

Source: ArchDaily.com
The museum site is located near active areas of Dessau. Surrounding by the City Park,
the museum acts as an important landmark integrated into the campus. Thanks to the
two rotating platforms, the building can open up and act as an invitation for people to
enter the park and the museum. It is also responsive to the changing seasons and can
adapt to varying occupancy loads throughout the year.
Related: The History of the Bauhaus Movement
67
5.3.2 AIM
‘Penda's aim was to create a museum that connects and interacts with those multiple
settings of daily life in Dessau in a very direct and responsive way,’ explain the
architects. ‘Their design for the new Bauhaus Museum is a fusion of clear geometry
and technological elements, that offer a great amount of flexibility and integration to
Dessau’s city center.’
Figure 5.3: Form

5.3.3 CONCEPT
The goal is to create a museum, which acts as an extension of the city on one hand
and as a connector to the surrounding park on the other. The museum connects with
its monolithic building envelope and height to the surrounding city blocks of Dessau
and with its materiality to the neighboring vegetation of the park, respecting its
specific natural conditions within the city. Its height adapts to the neighboring
building blocks to blend in with the urban fabric. With its alternating appearance and
by adapting to events and happenings in the park, the Museum has the capability to
become a new source of inspiration for the City of Dessau.
Figure 5.4: Concept.

68
5.3.4 BAUHAUS, ITS VITALITY AND ITS SPIRIT
The Bauhaus was an era of innovation and technical achievements, a new clarity in
architecture, design and art. The Bauhaus is not about form. It is about the
performance of form. Not about shape, but about the logic of shape. Not about
aesthetics, but how to adapt aesthetics to a daily use.
An institution, that adapts to the vivid nature of the City Park in a supporting way and
as a dynamic platform hosting different sorts of events for its community.
Museum
closed.
Moving
at the
museum.
Walking
up
Public
Filmtigh
t At The
Museum
. Party
Under
The
Roof.
Concert
at the
museum.
Public
filmtight
at the
museum.
Party
under
the roof.
Figure 5.5: Form Change according to Events.
69
5.3.5 THE CITY, THE PARK AND THE MUSEUM
With the Restoration of Dessau’s City Centre, the Museum site borders frequented
and vivid areas of Dessau. Situated within the Park, the museum offers an urban
center point of important pathways and view axis. Due to its flexible transformation,
our Proposal reacts to the frequencies of the surrounding in a very natural way.
Figure 5.6: Exterior view.

Source: Arch Daily.com
When the 2 platforms rotate, the building opens up and invites people into the park
and the museum. Therefore, the building aims to be an entrance sculpture to the park.
At night and at times the area is not heavily frequented, by closing its platforms, the
museum naturally minimizes the dark and deserted areas of the park.
5.3.6 THE PARK, ITS SEASONS AND THE MUSEUM
We see the new Bauhaus Museum as an addition to the qualities of the City Park.
Therefore, the design needs to be able to adapt to the park and react to the varying
occupancy loads during different seasons throughout the year.
 During the warmer months of the year, the Museum has to be an integrated
element to the vitality on the park.
 Visitors and Citizens of Dessau are streaming to the park, lying in the sun,
going for a run, playing with kids or watching a concert.
70
Figure 5.7: Seasonal Movement in Building.

5.3.7 THE MUSEUM, ITS EVENTS AND EXHIBITIONS
The museum sits as a slender, horizontal structure in the park and combines all needed
areas in one compact building envelope, providing a small footprint within the park.
By nature, a museum is composed of two areas of different sentiment: The public areas,
which should invite visitors, which is open and transparent to the outside and the
exhibition spaces, an introvert entity, which is isolated from natural daylight to protect
the artwork.
Figure 5.8: Functional Movement in Building.

71
All public areas, featuring the lobbies, event spaces, a museum store and the cafe are
situated on the lower levels of the museum in 2 cuboids with a rectangular footprint of
9x36 Meters and 7 m height. Each entity sits on a circular platform rotating around a
stable core in its axis, where Staircases, Elevators and the Buildings Hardware like
cables and (flexible) pipes are located. The 2 flexible entities are able to rotate around
the cores to interact with the public life in the park and to adapt to the needs and the
demands of its environment. A museum which is not defined by its form, but by its
performance.
5.3.8 STRUCTURE DETAIL
All public areas - comprising the lobbies, event spaces, museum store and the café - are
situated on the lower levels of the museum in two cuboid volumes. Each entity sits on a
circular platform rotating around a stable core in its axis, where staircases, elevators and
the building’s hardware are located. These two flexible entities are able to rotate around the
cores to interact with public life in the park, and adapt to the needs and the demands of its
environment
Four foundations
lay the basis for
the museum with
a technical room,
storage rooms and
toilets.
A platform
connects the
foundations and
contains the basic
construction of
the rotating public
areas.
72
Take the
inserted cores
The middle round

stem is finished
around these two
elongated volumes
which are
supported with
rollers on the
platform and rotate.
The exhibition
halls are located
on the upper
floors which are
supported on the
cores and…
73
Like a bridge
construction, the
loads of the floors
and roof panels
are carried on and
over to the
supports via a
facade framework.
Since the
interior of the
exhibition
should not be
influenced by
direct sunlight,
only narrow
openings in the
facade near the
cores are
suggested.
A horizontal sheet
underneath with
an upwardly
narrowing
distance forms the
basis.
74
For the external

vertical sheets, the
façade pattern is
based on the
textile pages by
aunta stoeiz and
anni albers and
offers the
possibility of
accommodating
different lighting
requirements in a
single entity.
Figure 5.9: Structural Detail Process.

5.3.9 GEOMETRY
The simple geometry of the building references the aesthetics of the Bauhaus era, but
it is the rotating elements that connect to the school’s tradition of technological
innovation. The aim of the project is to establish a connection between different
settings and functions in Dessau and create a responsive design that brings the campus
into the twenty first century.
Figure 5.10: Geometry of Bauhaus Museum.

75
The slender building is characterized by two rotating platforms, which allow the
structure to open up in an inviting manner. At night, and when the area is not heavily
frequented, the museum naturally minimizes the dark and deserted areas of the park
by closing up. While the height of the museum responds to the surrounding city
blocks, at ground level the scheme seeks to be a dynamic and welcoming sculptural
presence.
Figure 5.11: Rotating Platforms of Bauhaus Museum.

5.3.10 TECHNICAL DETAIL
5.3.10.1 DETAIL ROLLER BEARING
Rollers on the supports of the rotating platforms ensure even load distribution and even
movement along the circular axes.
Figure 5.12: Detail of roller bearing

76
5.3.10.2 DETAIL FLEXIBLE LINES IN THE CORE
Flexible Cable Storage

By rotating the two building blocks in the lower area of the museum by 180 degrees
clockwise and counterclockwise.
Figure 5.13: Detail of cable storage

If the connections for water and power lines need flexible systems a type of cable
winch in the floor structure takes up the excess length of the cables in the resting
position and provides sufficient capacity for the lines when the construction is
possible.
5.3.11 PUBLIC SPACES
All public areas — comprising the lobbies, event spaces, museum store and the café
— are situated on the lower levels of the museum in two 9X56-meter cuboid
volumes. Each entity sits on a circular platform rotating around a stable core in its
axis, where staircases, elevators and the building’s hardware are located. These two
flexible entities are able to rotate around the cores to interact with public life in the
park, and adapt to the needs and the demands of its environment.
Figure 5.14: Interior Spaces

77
5.4 CASE STUDY # 02
This case study to find the which types of different events, exhibitions and different
functions that are be in a one building and how much spaces require of people
according to the population in a building.
Expo Center, Karachi
Figure 5.15: Location plan of Expo Center

Source: Google Earth
Name Expo Center Karachi
Floor Area 4500.0 sqm
Height 24.4 m (80 ft)
Architect Penda
Address University Rd, Karachi
Type Conventional center

Source: Author
78
5.4.1 INTRODUCTION:
Karachi Expo Center is the convention center where Pakistani products are
showcased internationally. The center consists of 8 halls. Trade Development
Authority of Pakistan also helps support the exhibitions at the center.
Figure 5.16: Expo Center, Karachi

Source: Google
5.4.1.1 IDEAS EXHIBITION
IDEAS 2012 held at Karachi Expo Center Pakistani military arms and equipment
exhibitions are held under the theme 'IDEAS' (International Defence Exhibition and
Seminar). This is a four-day exhibition.
Figure 5.17: Pakistan Military Exhibition

Source: Google.com
79
5.4.1.2 ‘MY KARACHI’ EXHIBITION
Since 2003, 'My Karachi' themed exhibitions are held annually at Expo Center
Karachi where companies and traders of Karachi as well as foreign exhibitors market
their products. This three-day long exhibition is organized annually by the Karachi
Chamber of Commerce and Industry (KCCI). The products are showcased for around
one million visitors. This will provide a platform for business-to-business and
business-to- consumer meetings. Importance of this exhibition is emphasized as city
of Karachi is considered the economic and financial hub of Pakistan.
Figure 5.18: Conventional Center

Source: Google.com
5.4.1.3 DAWN ALL ABOUT LIFESTYLE’ EXHIBITION
Another prominent exhibition theme at Expo Center Karachi is 'Dawn Lifestyle'. It is

sponsored by Dawn Media Group since 2001.
5.4.1.4 IT AND TELECOM ASIA EXHIBITION
Exhibition showcases IT and telecommunication technologies in 3-day exhibitions at

Expo Center Karachi.
80
5.4.2 EXPO CENTER
Karachi Expo Center Exhibitions are one of the most effective tools of trade
Promotion. Leading trade centers of the world provide permanent exhibition facilities
to encourage buyer-seller interaction. Karachi Expo Centre is located in the
commercial Capital of Pakistan. It has a distinction of being in the back yard of CAR
countries, accessible to the Middle East and a gateway to other Asian Countries.
Karachi being cosmopolitan, adds flavor for international marketing geopolitically.
Figure 5.19: Parking

Source: Google.com
Karachi Expo Centre is equipped with modern facilities based on international

standards creating a market and a world of its own. It comprises of three independent
linked halls measuring 6690 Sq.m base area. Two halls contain mezzanine floor
measuring 445 Sq.m each, while the third hall has a space of 1270 Sq.m on its two
mezzanine floors. Congress center houses the press, secretarial services, a large
modern kitchen and a cafeteria on its first floor. The second floor is available for
conferences/seminars for a sizeable gathering. The whole complex is centrally air-
conditioned. Adequate warehousing and parking facilities are also available.
81
5.4.3 SPECIFICATION
- Congress Centre: 2710sqm.

 Ground Floor Hall (Office, Ticket booths, Information center, waiting Area,
Toilet) = 900sqm
 First Floor Hall (Restaurant, Coffee Shop, Office, Toilet) = 900sqm
 Second Floor Conference Hall = 910sqm
- Exhibition Hall # 01: 2230sqm (+Mezzanine: 445sqm)
- Foyer Area: 1034sqm. - Parking: 20905sqm.
Karachi Expo Center buildings are centrally air conditioned, with many restaurants
and parking areas for 2400 cars.
Figure 5.20: Specifications

Source: Google.com
82
5.5 CASE STUDY # 03
This case study to relate objective 01 and objective 03, that to figure out what
transformable and Shape-shifting architecture is and exploring the spatial geometry
for interactive transformation design of building as per climatic and environmental
scenarios.
A HOUSE FOR ALL SEASONS: SHAPE-SHIFTING HOME TRANSFORMS

THROUGHOUT THE YEAR IN RESPONSE TO CHANGING
TEMPERATURES
5.5.1 INTRODUCTION
The D*Haus Architect concept 'metamorphosizes' into eight different configurations

based around a series of hinges. It responds to seasonal conditions automatically, or
can be moved using hydraulics and rails controlled by a handle. The shapeshifting
design is based on the Haberdasher's Puzzle, designed by mathematician Henry
Dudeney in 1908
Figure 5.21: Shape Shifting Home

Source: Dezeen.com
Called D*Dynamic, throughout the year internal walls become external, and doors
become windows. Architects said the house will cost £2 million, but if they are able to
produce it in bulk, this will drop to £800,000. Mr Woolfson told MaiIOnline the team
is currently working on a design for the first D*Haus in Cambridgeshire. The
83
designers are hoping to submit planning permission for the building early next year.
84
5.5.2 CONCEPT
There are houses for cold climates, designed to keep in the heat, and there are homes
for hot climates, built to allow air to sweep through and keep its owners cool - but
never did the two meets, until now.
A pair of London architects has designed an incredible 'folding' house that shapeshifts
into eight different configurations and automatically adapts to the changing seasons.
Called D*Dynamic, the structure was inspired by the work of an early 20th Century
mathematician who discovered a way to dissect a square and rearrange its parts into
an equilateral triangle.
Figure 5.22: D’ Dynamic Building

Source: Dezeen.com
For example, in the summer, bedroom one faces east and tracks the sunrise using
a series of sensors.
5.6.3 SUSTAINABILITY
As the owner wakes up, the house automatically rotates to ensure they are constantly
bathed in sunlight, while the house generates energy through its solar panels.
In winter, the house is in a square formation, with small windows and high thermal mass,
which the designers describe as 'literally hugging itself.'
As the seasons change and climate warms, the house opens up, 'like a flower' to allow
light and air to penetrate the inside of the building creating panoramic views of the
surroundings.
85
Figure 5.23: Interior of Shape-Shifting Home

Source: Dezeen.com
The house is the brainchild of architects David Grunberg and Daniel Woolfson, who
launched the D*Haus company to develop the concept.
The architects said the house will cost £2 million ($3.1 million), but if they are able to
produce in in bulk, this could drop the price to £800,000 ($1.2 million).
5.5.4 FORM
'D*Dynamic literally unfolds itself,' said the designers.
'The internal walls become external walls, doors become windows and windows
become doors.
'A house like this has never been done before in the history of architecture and we
believe that creating buildings that can adapt and change is a much more sustainable
way of living.'
Figure 5.24: Form

Source: Dezeen.com
86
As the owner wakes up, the house automatically rotates to make sure they are
constantly in sunlight, while the house generates energy through its solar panels.
During winter, the house is in a square formation, with small windows and high
thermal mass, which the designers describe as 'literally hugging itself'. Swipe the
yellow bar above to see the house transform.
The layout consists of two bedrooms, an open-plan living room and a bathroom, but it
can be adapted to suit the needs of different living situations. Aside from moving to
provide more light, or expand the view, the house is also designed to save money on
heating, and prevent energy waste
5.5.5 PLANNING AND CONSTRUCTION
The largest part of the house would remain stationary with solid foundations, and this
is the plumbing, electrics and services would be built.
Each of the component parts of house would be sealed from the elements to keep the
internal spaces weatherproof, and when the modules link together a sealed connection
similar to a car door would allow transition from one space to another.
Mr Woolfson told MaiIOnline the team is currently working on a design for the first
D*Haus in Cambridgeshire, and is hoping to submit planning permission early next
year.
The layout consists of two bedrooms, an open-plan living room and a bathroom, but it
can be adapted to suit the needs of different living situations. Aside from moving to
provide more light, or expand the view, the house is also designed to save money on
heating, and prevent energy waste.
Figure 5.25: Exterior view

Source: Dezeen.com
87
5.5.6 PLANNING ACCORDING TO CLIMATIC SCENARIOS:
As the designers explained: 'Solar radiation from the sun can have a significant impact
on a buildings performance.
'Whilst often a source of overheating due to inadequate controls, with thoughtful

design it can provide a cheap and abundant source of energy in your building.
'This energy can be utilized to heat spaces in winter, provide hot water, and even generate
ventilation for cooling in summer.'
Figure 5.26: Shape and Form Transformation

Source: Dezeen.com
'Conceived for the harsh, climatic extremes from 'Lapland to Cape Horn and Aleutians
to Auckland' The D*Haus concept can respond dynamically to its environment by
controlled adaptation to seasonal, meteorological and astronomical conditions,'
continued Mr Grunberg and Mr Woolfson.
'The flexibility of the D*Haus allows adaptation from winter to summer, and day to
night by literally moving inside itself.
'The thick heavy external walls unfold into internal walls allowing glass internal walls
to become facades. Doors become windows and vice versa.'
The shape-shifting home was first conceived as part of Mr Grunberg's graduation

project, for which he designed a house that could withstand the extreme sub-Arctic
temperatures in Lap Land.
88
5.5.7 HABERDASHER’S PUZZLE
The pair's design is based on the work of English author and mathematician Henry
Dudeney, a leading puzzle creator.
In 1903 Dudeney invented a way to cut an equilateral triangle into four pieces that
could be rearranged into a square, a conundrum he dubbed the Haberdasher's Puzzle.
Figure 5.27: Haberdasher’s Puzzle

Source: Dezeen.com
The architects said the house (pictured) will cost £2 million ($3.1 million), but if they are
able to produce in in bulk, this could drop the price to £800,000 ($1.2 million). They
said: 'A house like this has never been done before in the history of architecture and we
believe that creating buildings that can adapt and change is a much more sustainable way
of living'
In the puzzle, each of the pieces are hinged and form a chain that can be transformed
into the square, or the original triangle. Mr. Dudeney specialized in logic puzzles and
mathematical games, and regularly submitted puzzles to newspaper and magazines
under the pseudonym 'Sphinx'.
5.5.8 IDEA
In a release, D*Haus described their house concept, as 'a product of an applied

mathematical realisation'.
'The D*Haus Company is set to cause a revolution in architecture and design by

transforming Dudeney’s idea from the conceptual, to the physical,' the release adds.
89
'Inspired by Dudeney’s logic puzzle, each D*Haus dwelling is capable of adapting to

changing patterns of living in the future.
'D*Haus is continuing the journey that Dudeney began by breathing new life into a
century-old concept; not only to define a space, but a lifestyle.'
Figure 5.28: Eight in One

Source: Dezeen.com
Figure 5.29: Transformation

Source: Dezeen.com
90
5.6 CASE STUDY # 04
This case study to relate objective 04, that to Find the compatibility of shape and form
that response to changing functional, spatial or environmental needs and find the
different possibilities to gain space by compacting and changing the functions
according to the needs of the user.
MILWAUKEE ART MUSEUM BY SANTIAGO CALATRAVA: A

SPECTACULAR KINETIC STRUCTURE
Figure: 5.30: Location plan Milwaukee Art Museum

Source: www.googlemap.com
Name Milwaukee Art Museum
Floor Area 141997.51sqft
Architect Santiago Calatrava
Architectural Style Spectacular Kinetic Architecture
Address 700 N Art Museum Dr, Milwaukee, WI 53202, United States

Source: Author
91
5.6.1 INTRODUCTION
The Milwaukee Art Museum is an iconic contemporary building overlooking

lake Michigan in Wisconsin, USA. Founded in 1888, it was formed when Milwaukee
Art Institute and Layton Art Gallery merged their collections which were then
partially housed in a building designed in 1957 by Eero Saarinen as a war memorial.
In the latter half of the 20th-century, the museum underwent a process of expansion. It
then came to include the War Memorial Center in 1957 as well as the brutalist Kahler
Building (1975) designed by David Kahler, and the Quadracci Pavilion (2001) created
by Spanish architect Santiago Calatrava.
Figure 5.31: Milwaukee Art Museum

The Milwaukee Art Museum addition completed in 2001, also known as the
Quadracci Pavilion, was Spanish architect Santiago Calatrava’s first built project in
the USA. Time Magazine named it the Number One design of 2001.
92
5.6.2 DESIGN
Design Philosophy
The Milwaukee Art Museum is one project that blurred the boundaries between
engineering and architecture. It combined the latest technology with the strong craft
tradition of Milwaukee.
Calatrava’s proposal was a pavilion-type construction on the axis with Wisconsin

Avenue, the main street of the city center. The structure was evolved paying heed to
the original building by Eero Saarinen, the topography of the city, and with due
consideration of the surrounding lake context and culture.
Figure 5.32: Design of Milwaukee Art Museum

93
5.6.2.1 DESIGN ELEMENTS AND SOLUTIONS
There are multiple elements in the structure inspired by its location facing the lake:
mobile steel blinds inspired by the wings of a bird, a wired pedestrian bridge with a
raised mast inspired by the shape of a sailboat, and a curved gallery of a single floor
resembling a wave.
Figure 5.33: Concept of Milwaukee Art Museum

According to the architect, the design “responds to the culture of the lake: the
sailboats, the weather, the sensation of movement and change”. He said, “the shape of
the building is both formal, completing the composition; functional, controlling the
level of light; symbolic, opening to receive visitors, and iconic, creating a memorable
image for the Museum and the city.”
Figure 5.34: Transformation of wings.

The striking set of “wings” – the Burke Brise Soleil (from the French for “sun breaker”)
– that adorns the Milwaukee Art Museum is a feature one cannot miss. The wings form
94
a movable sunscreen that can be adjusted throughout the day to shade the interiors of
the museum while giving the building a sense of mobility. It takes three and a half
minutes for these censor-clad fins to open or close.
Figure 5.35: Interior of Museum

5.6.3 PLANNING
The 13,192 m² four-storied structure adds a variety of spaces to the museum,

primarily public spaces. At the coast level, the expansion comprises a reception hall,
an auditorium with 300 seats, meeting spaces, a store, an educational center with a
conference room, and a 1500 m² gallery space for temporary exhibitions.
Figure 5.36: Roof.

95
The functional areas of the main building include the parking garage, the gallery
space, the pavilion (ring beam and A-frames), and the south terrace. The restaurant is
placed at the focal point of the pavilion providing a panoramic view of the lake.
The Wind hover hall is a large reception hall serving as the grand entrance of the
pavilion. It is the architect’s interpretation of a Gothic cathedral composed of flying
buttresses, propped arches, ribbed vaults, and a central nave topped by a 27.43 meters
high glass roof. The presbytery of the hall is reminiscent of a ship’s bow, with floor-
to- ceiling windows facing Lake Michigan.
5.6.4 MATERIALS/ CONSTRUCTION
Construction Materials
A massive white form of steel and concrete taking after the form of a ship, the
Milwaukee Art Museum sets itself apart in both geometry and materials. The
prominent use of reinforced concrete was an offshoot of the material’s fluidity and
moldability. Metal and glass were the other primary materials put to use while
constructing the pavilion. The application of metal is noticeable in elements like the
mobile sunscreen while the glass is used in places like the glass roof above the central
hall and the windows.
Figure 5.37: Exterior View

96
5.6.5 THE STRUCTURE
One of the first challenges while developing this project was designing the footing.
The construction site was an abandoned landfill along the lakeshore. But below the
filling level and the lake, there was a presence of competent bearing strata that could
support construction.
Figure 5.38: Structure

A base slab of concrete was designed to extend the load and allow the installation of a
more robust waterproofing system. The raft type slab is extended without any pillars
or pilings where moisture could penetrate.
The carefully placed concrete arch elements transfer the loads to the foundation wall
and the central beam. The size and position of openings in concrete beams were
carefully determined.
5.6.6 CABLE-STAYED BRIDGE
A cable-stayed pedestrian bridge 85.34m long, 4.87m wide with a 58.52m pylon that
supports 10 main sections through 9 cables with closed bovine and 18 backup cables.
With a span of 73 meters, the bridge links downtown Milwaukee to the museum
97
perched at the lakeshore. The pylon of the bridge and the backbone of the pavilion are
tilted 48 degrees to the pavilion and are on the same axis.
Figure 5.39: Bridge of Milwaukee Art Museum

5.6.7 BURKE BRISE SOLEIL
The Burke Sunbreaker rests on the domed upper part of the Windhover Hall. With a
wingspan of 66.14 meters, it consists of 72 steel fins, which vary in length from 7.92
to 32 meters and weigh 90 tons. The pivot line for the slats is based on the axis of a
linear mast which is inclined at 48 degrees.
Figure 5.40: Burke Brise Soleil

98
5.6.8 SUSTAINABILITY
The mobile sunscreen of the Milwaukee Art Museum is one of its sustainable
features. The sensors that cover the fins are constantly monitoring wind speed and
direction. The wings are adjusted according to the wind as well as the light and
shading requirements making it responsive to the weather.
Figure 5.41: Mobile Sunscreen

A 3,840 square foot green roof is a source of aesthetic and environmental benefits
including the extension of roof life, energy conservation, and stormwater
management.
The hand-built structure was made by pouring concrete into wooden forms, some of
which displayed a craft of quality typical to furniture, coupled with steel and glass.
The Milwaukee Art Museum is an amalgamation of cutting-edge technology and old
craftsmanship, conserving the city’s strong tradition of art.
99
5.7 CASE STUDY # 05
In this case study to Find the movable elements that is movable roof panels and find
the technical detail of movable elements that what kind of techniques and mechanism
use in the building.
JAMIA BILAL MOSQUE, USMANABAD, HYDERABAD, PAKISTAN
Figure 5.42: Location plan of Jamia Bilal Mosque

Source: www.googlemap.com
Name Jamia Bilal Mosque
Addition of Sliding Roof 2016
Architectural Type Mosque & Madrasa
Address Gaw-Shala / Osmanabad, Hyderabad, Pakistan
Table 5.4: General Characteristics of Case Study 05

Source: Author
10
5.7.1 INTRODUCTION
Mosques are very basic symbols to the Muslims. In recent times, many Architectural
Styles developed in the mosque as Muslims conquer the lands. Sub-Continent has its
own style for the mosque but several sectarian influences very the designs
accordingly.
Jamia Bilal Mosque is situated in Osmanabad, locally known as Gaw-Shala, in a

densely populated area of Hyderabad, Sindh. The mosque affiliated with Sunni-Islam.
The construction of the mosque completed in 1986. Initially it serves as a mosque,
later, a religious library was also added in the mosque for the locals in same year. The
mosque had a load bearing structure with tear-garder roof. The construction techniques
were very old.
Figure 5.43: Foundation Stone & Entrance Door

Source: Author
As population of the nearby areas increases, committee of the mosque feels that
mosque must be extended, but it is not possible horizontally, so committee decided to
extend mosque vertically. The extension work started in 2016, which is still in
progress. The tear-garder roof, replaces by Reinforced Cement Concrete (R.C.C) slab,
and make mosque a double story building as it was single story before.
5.7.2 INSPIRATION
The main focus of the construction was to add some architecturally innovative
elements. Committee want to make a resemblance between Jamia Bilal Mosque to
Masjid Al-Nabawi, Medina, Saudi Arabia. They added many physical features like
wall paintings of famous mosques, calligraphy, etc. There were limited options which
10
can be apply to this already built structure.
10
Figure 5.44: Sliding Roof as Masjid Al-Nabawi

Sliding Roof of Bilal Mosque
But as the main desire was to make some innovative feature in the mosque, so they
decided to add a “Sliding Roof” to cover the courtyard, same as the sliding roof of the
Mosque of Prophet, Medina, Saudi Arabia.
Figure 5.45: Semi covered courtyard & Entrance of courtyard

Source: Author
The three R.C.C Dome-Slab with floral design of fiber glass, completely resemblance
with roof of Prophet’s Mosque. Sliding roof was the most flexible option to this
resemblance as there are many other features as which cannot be made either leak of
skill labor or leak of technology, etc.
10
5.7.3 PROVISIONS & CONSTRAINS
To construct a sliding roof was a most tricky task to the local labors. The committee
didn’t hire any architect for design but an Assistant Civil Engineer (Diploma in Civil
Engineering) Muhammad Younus Ansari, as served as not just the assistant Engineer
but the contractor and head mason also. There was no any example of similar work
not just in nearby area but in the whole Hyderabad and its neighboring towns. This
was the most important issue to make this slab, because technical persons just on rely
on the internet.
Figure 5.46: Roof of the Mosque with open to sky (left), covered with sliding Roof (Right)
Source: Author
Leak of similar work was not the only issue; availability of similar machines and
conveyors are the second most problematic issue. Machines which slide the roof, not
available in Hyderabad, so they have to look to the Karachi’s Market (nearest big city
to Hyderabad).
10
Figure 5.47: Sliding Roof
Source: Author
10
Another problem was to how to put a motor on the roof. The structure previously a
courtyard of mosque, so that it was not easy to make a direct R.C.C slab onto the load
bearing walls. So technical persons decided to put sliding roof on four R.C.C beams,
on which roof can slide. But now next challenge was to fulfill its electrical needs.
Mosque has not a good economic plan, so it is very necessary to find out the
alternatives.
Renewable energy resources are commonly used not just in our country but
throughout the world, so Solar Energy Panels were the best solution for this energy
needs of sliding the roof. Other passive techniques like Wind-Catchers (see figure:
5.28) were also uses to minimize the energy usage and make the building more energy
efficient. A wind catcher is a traditional Iranian architectural element to create natural
ventilation in buildings.
Figure 5.48: Wind Catchers

Source: Author
5.7.4 TECHNICAL DETAIL
The machine which was used to slide the roof, named Gear-Motor Single Phase, same
machine which is used in Lifts. And average life of machine is 20 years.
Size of 1 roof 14’-0” x 15’-0” = 210 sq.ft
Total no. of roofs 3
Total size of the roofs 210 x 3 = 630 sq.ft.
10
Figure 5.49: Gear-Motor Single Phase

Source: Author
And By using active devices, too cool down a space of 12’-0” x 14’-0” or 168 sq .ft,
we need 1.5 ton of cooling device or air condition.
And
1 Gear-Motor = 3 Amp.
3 Gear-Motor = 9 Amp.
Whereas,
1.5-ton A.C – 8-9 Amp. And, covers = 168 sqft
Then, to cover 630 sqft area, we requires 3.75 or 4
A.Cs
4 A. Cs require = 9 x 4 = 36 Amp. = 4320

Watt
Figure 5.50: Orient AC
specification
Whereas, 3 Gear-Motor = 9 Amp. = 1080 Watt Source: Author
If, we consider that A. Cs run 5 hours in a day, then
4320 Amp. x (5 x 60) = 1296 k-watt

And, if machine used 6 times in a day and it take roughly 5 min. to slide all 3 roofs,
then
1080 Amp. x (5 x 6) = 32.4 k-watt
Hence, sliding roofs take less energy than active device to cool down such space of
the mosque.
10
5.7.5 MOTOR
This is the gear-motor is place with each of movable roof panel that helps to move the
roof according to need of requirements.
Figure 5.51: Roof slides with wheels on the rails

Source: Author
5.7.6 CONCLUSION
There are many new strategies, i.e., Sliding Roofs, and old passive strategies, i.e.,
Wind Caters are used to make structure more comfortable rather than used any
mechanical system. The cumulative benefits of all such strategies not just make
mosque economical but more unique in the town. They also used Solar panels to
make mosque more sustainable and energy efficient as much of the electrical
consumption fulfill through it. Use of these renewable resources now become popular
in the town and such innovative techniques allow people to learn more about
Architecture, and this mosque done it in very efficient way.
10
CASE
STUDIES OF
FURNITURE AND MODULES
10
5.8 A HOUSE IN A SUITCASE
Eva’s prats y Ricardo Flores
5.8.1 DESCRIPTION
The project investigates minimum space in our daily activities, the pieces of furniture
open according to each moment of the day. Thus, the unique space of the room 9x3x3
meters varies in size and use during the everyday activities. These two big packages
are the ones that put the inhabitants in relationship with the space of the room. When
they open them, they guess why they have such size: in their different parts, hidden
uses appear and fragment the big unique space into smaller spaces of human scale.
11
5.9 ALL I OWN HOUSE
PKMN Architecture
5.9.1 DESCRIPTION
Movable library-style shelving units slide from side to side to reveal and hide
compartments that serve various functions in this Spanish apartment by Madrid-based
PKMN architectures.
To maximise the functionality of the restricted space, the kitchen, bedroom and
storage are housed within a series of moveable units made from heavily textured
oriented strand board.
11
5.10 K-SPACE
6a Architects
5.10.1 DESCRIPTION
The installation for both permanent and temporary spaces adapt a library archive
storage system. Five of these units are specifically designed to combine display and
storage, and slide on tracks to reveal or conceal products, transparency and opacity.
The units reveal its contents through the perforations and mirrors the surroundings in
its surface creating a constantly changing installation.
11
5.11 CREATIVE HUB EURO RSCG OFFICES
Atelier Phileas.
5.11.1 DESCRIPTION
The purpose of reshaping the creative HUB of Euro RSCG is to join and facilitate
synergies between the 4 creative points of the agency: advertisement (20 creative
staff, jointly or in competition between them), edition (17creative staff, working alone
or with another colleague in complex projects), visual identity (5 creative staff,
working alone), internal communication (8 creative staff + free-lance: 5 people).
11
5.12 STANDBY OFFICE
Bothe Richter Teherani
5.9.1 DESCRIPTION:
This mobile office module caters to the needs of the modern office nomad, its “office
in an office” concept enables you to work in your own secluded space. Even in an
open plan office.
11
5.13 DRAWER HOUSE
Nendo
5.13.1 DESCRIPTION
The residential functions are condensed into one side of the wall, and can be pulled
out, when necessary, like drawers. A simple mechanism, but this adaptive and flexible
space is very effective in the limited housing situation in Tokyo.
5.14 TOTAL FURNISHING UNIT
Joe Colombo
5.14.1 DESCRIPTION
Colombo combined all of these ideas of machines for living into his total furnishing
unit, a large- but theoretically portable – block that comprised kitchen appliances and
storage, book shelves and television, bathroom, wardrobe and stowaway bed. The
user only had to plug it in.
11
5.15 NINE-SQUARE GRID HOUSE
Shigeru Ban
11
5.15.1 DESCRIPTION
The spatial composition combines the systems of two walls and universal floor. A
large square floor space, 10.4 meters to a side, can be partitioned by full-height
sliding doors into nine square areas. These sliding doors allow a variety of spatial
arrangements, adjustable to accommodate seasonal or functional needs.
5.16 ARCHILAB LIVING ROOM
Juan Pablo Molestina
11
5.16.1 DESCRIPTION
The compact box transforms into several functions like bed couch table and storage
spaces by opening itself through folding.
5.16 OPTIBO
White Design
11
5.16.1 DESCRIPTION
A Sofa, chairs, dining table and Queen-size bed are all contained in a 24-inch-deep
space beneath the floor. Just a tap on the screen’s table icon triggers a hydraulic hum.
A cherry wood rectangle rises out of the floor to become a tabletop. Then comes the
Sofa.
5.17 HOME / OFFICE FOR A GRAPHIC DESIGNER
Roger Hirsch, Myriam Corti
5.17.1 DESCRIPTION:
The Graphic Designer’s home doubles in function as an office that must

accommodate two to three persons at work. This is achieved in 56 sqm area through a
freestanding 4 x 2.4-meter cabinet that contain the office equipment and divides the
space into living and sleeping quarters.
11
5.18 CIRCUIRBOX
Studio X Design Group.
5.18.1 DESCRIPTION
Circuit box is a concept for a minimal dwelling conceived as a possible answer to the
continuous reduction of inhabited space. It consists of a compact system that contains
a multifunctional furnishing system equipped with all the necessary elements for
contemporary living in a very small space.
Circuit Box is composed of a series of nested rings gradually decreasing in size and
hanging from a rail system along which they slide, passing one through the other. The
larger ring serves as a container for the other rings and has been anchored to a wall
like an electric plug.
12
5.19 YO! HOME
Simon Woodroffe
5.19.1 DESCRIPTION
The prototype Yo! Home apartment squeezes all the rooms of an average two-
bedroom house into a space no bigger than a one-bedroom apartment. A master
bedroom can be lowered down over the sunken seating area of the living room, while
a breakfast center slides out from the walls of the kitchen and a dining table folds up
from the floor. Rooms can be reconfigured using sliding partitions, giving residents
the option of an open-plan layout.
12
5.20 CONCLUSION OF THE CHAPTER
This chapter covers the case studies of five comparable projects, out of two are
international, one is national, one is proposed project and while one is local. These
case studies offer assistance us to ponder the variables in detail, which can be utilized
to plan our project. As this research is all about the sustainable and shape or form
shifting aspects of building through Transformable Architecture, author attempted to
select such ventures, who can fulfill our requirements. But as we all know that,
Transformable Architecture still in a test stage, so these case studies grant a thought
of all approximate development in building.
From all case studies we are able to conclude that, Movement in building is not just
the need of time, but can be make a more aesthetical built environment and it can
moreover be utilized the space properly. Dynamic architecture permits us to move
advance towards more sustainable built environment. This may lead us to go beyond
inactive procedures for sustainability. Since these innovations are in their exploratory
stage, so these are not that much temperate as detached strategies, so it is way better
to plan our buildings in collaborative way to both dynamic and detached strategies.
12
CHAPTER 06
DATA ANALYSIS AND OUTCOME OF RESEARCH
6.1 INTRODUCTION
This chapter reviews the outcomes of the research with the help of proper
methodology by surveying through questionnaires, site surveys, literature study, case
studies and personal observations. These outcomes are the basis of the thesis and
achieving the goals and objectives to provide a better future the research outcome are
defined below respective their categories one by one:
6.2 OUTCOME THROUGH QUESTIONAIRE
The estimate responder for questionnaire survey are 66 persons. All the responses or
the outcomes for the questionnaire survey is written below:
6.2.1 RESPONSES FROM APPENDIX-A
OCCUPATION
30 28
25
25
20
15
10
5
4
3
2 2
1 1
0
Figure 6.1: Showing Professions of Responders.

Source: Author
The questionnaire has been filled by different professions so that we can get the
responses of everyone in our environment and how important it is for us to make the
public spaces the part of our living.
12
Q.1: According to your perspective, what is Transformation?
An operation that converts. 20.3%
Modification of something. 34.4%
Major change in someone or something appearance or form. 45.3%
Table 6.1: Outcome of Question # 01

Source: Author
Make the building or structure that have to change in form or shape in order to
functional manner.
Q.2: How do you want to see Transformation in a Building?
Restoration. 12.5%
Form and Shape shifting. 60.9%
Adaptive Reuse 26.6%

Source: Author
Form and Shape Shifting would be a new introduction for people and construction industry.
Q.3: Will the Building’s movement take a new trend in Architecture?
Yes 84.4%
No 15.5%

Source: Author
Building’s movement is an iconic idea in architecture, we could be use new

techniques in it along the feasible design.
Q.4: Pakistan lacks behind in adopting modern techniques in Architecture?
Yes 95.3%
No 4.7%

Source: Author
Pakistan lacks behind in advance technologies, so these advance techniques of

building give the new, advance and fresh step in architecture field.
12
Q.5: Building should be flexible in term of shape and form shifting?
Yes 92.2%
No 7.8%

Source: Author
Q.6: Why should be Shape and Form shifting is important in the building?
Aesthetic. 23.4%
Space Saving. 57.8%
Of the Environmental Scenarios. 18.8%

Source: Author
Shape-Shifting is the effective way to space saving it can help to space reduce and
extend in term of user requirements.
Q.7: Why space saving is important?
Space Comfort. 20.3%
Space Aesthetic. 4.7%
Space Utilization. 75%

Source: Author
Space utilization is the most important consideration for Architect while designing
and it is the versatile approach.
Q.8: Does building have ability to provide a space according to user needs
and requirements?
Yes 96.9%
No 3.1%
Source: Author
Every designer/architect first motive is fulfilling the needs and requirements of the
users. Shape-shifting techniques used for the space requirement and according to the
population.
12
Q.9: In your opinion, Which Space / Building should be Transform according

to user need?
A small Space. 32.8%
A Commercial Building. 34.8%
A Residential Building. 32.4%

Source: Author
Q.10: In contemporary design, where space wasting occurs the most?
In Residential house. 31.3%
In Commercial Building. 53.1%
Parks. 15.6%

Source: Author
Commercial building is one there the land is not utilize properly and many
commercial building designs are typical not adding the innovative that effect the
economy and land efficiently.
Q.11: Do you agree that such a wastage of space is due to inefficient land utilization?
Agree. 65.6%
Strongly Agree. 29.7%
Disagree. 4.7%

Source: Author
Q.12: Would you like to see Architecture from a new perspective with new
Technologies?
Yes 96.9%
No 3.1%
Source: Author
In Pakistan, a few buildings have the advance technologies, so the shape-shifting

building give the new prospective in architecture of Pakistan.
12
Q.13: If a space which serve 5 people at one time and then that space can be use
for 20 people later, do you think this the best way to space utilization?
Yes 77.4%
No 22.6%

Source: Author
Q.14: Do you agree that new techniques like movement in building are better
than conventional techniques?
Yes 77.8%
No 22.2%

Source: Author
Q.15: Do you think that if we use the one space of the building for many other
functions in different other ways, could it be a space saving?
Yes 95.2%
No 4.8%

Source: Author
Q.16: Which type of building would you like to be constructed in Pakistan in

future?
Form changes according to

functional requirements and needs.
(Different type of Geometry)
66.7%
Stay the same. (Similar type of

Geometry)
33.3%

Source: Author
12
Q.17: Do you think Transformation of form and shape provide more freedom
of design to architects?
Yes 98.4%
No 1.6%

Source: Author
6.3 OUTCOME THROUGH PERSONAL OBSERVATION
This thesis research requires observe the space where people are living and the public
spaces, in both cases they do not know how the space is utilized in a proper manner.
Pakistan has lack of the smart living and lack of technologies and advanced
techniques that use in building. Observation also approaches that how we make the
“space” and “Form” flexible and iconic through the Transformation. The growing
need of land and consequently sudden shooting the price of land in the cities, Space
saving also important in the design process. We can be save space through the shape
and form shifting and give the possible all requirements and needs of users. Give the
maximum comfort in minimum space.
Transformab
le system is
more iconic
Transformatio & asthetical
n can appealing Lack of
incorporate similar
with not only
new buildings buildings
but already in the
build INTERVIE region
structures too.
W TO
RANDOML Lack of
Space saving
through the
Y PEOPLE technolog
space and y to
form shifting
is the more construct
efficient way such
than others. A step buildings
forward to
smart
living
Figure 6.2: Finding of Interviews.

Source: Author
12
6.4 OUTCOME THROUGH LITERATURE REVIEW
A literature Review is a systematic and comprehensive analysis of books and

scholarly articles and other sources relevant to a specific topic providing a base of
knowledge of s topic.
Explore the
relationship
between
transformation and Explore the themes
Harmonization of shape-shifting with respect to
the architecture transformable
transformable features.
architecture with
the physical
environment.
Types of
Find out the transformable
feasibility of
space saving
Literature systems.
through the
transformation
review
Find the different Different term
possibilities to gain
space by compacting of movment in
and changing the architecture
functions according Sustainable
to the needs of the
user. aspects of
movement in
architecture.
Figure 6.3: Finding of Literature Review.

Source: Author
With the help of detailed literature review, it helped me in finding the

objectives which is as follows:
1. To understand out what transformable and Shape-shifting architecture.
Through the study of detail literature review we’ve came to know the We can to
introduce the new methods of enhancing architecture in the city and new building
Aesthetic and materials can be introduce. Investigate the smart adaptable space
through
12
transformation. Transformable architecture is a suitable strategy for buildings and

architectural structures that need to be reconfigured, either by being folded to a
compact form for ease of erection and transportation or by changing their geometry
and shape, in order to be able to respond to altering functional and aesthetic
requirements.
2. Exploring the spatial geometry for interactive transformation design

and inter formal and inter spatial compatibility of shape and form for
harmonies transformable building design as per climatic and
environmental scenarios.
Literature review helped me in analyzing Such design would build up due the multi-
dimensional response to both quantitative and qualitative functional or non-functional
requirement before, during and after transformation. Explore the Architecture
describes elements which are able to answer quickly to an environmental or social
changes in the built environment. Analyze the compatibility of shape and form that
response to changing functional, spatial or environmental needs.
Through literature review the outcome is that Find the different possibilities to gain
space by compacting and changing the functions according to the needs of the user.
Analyze the architect’s project that worked on the spatial and formal shape and form.
We can be able to building from static to dynamism that a space or building elements
can be achieve which can able to change itself. i.e., manually or automatically.
13
6.5 LIGHT WEIGHT MATERIALS THAT USE IN

TRANSFORMABLE STRUCTURES
Figure 6.4: Finding of Materials.

Source: Author
6.6 OUTCOME THROUGH CASE STUDIES
Five case studies have been done in this regard. Case studies aim to analyze specific
issues within the boundaries of a specific environment, situation or organization.
CASE STUDY # 01 CASE STUDY # 01 CASE STUDY # 01 CASE STUDY # 01 CASE STUDY # 01
NEW
BAUHAUS EXPO CENTER, SHAPE-SHIFTING
MUESUM, KARACHI. HOME
MILWAUKEE JAMIA
ART MUSEUM, BILAL
UNITED MOSQU
Compatibility of shape Movable system is more

Different kinds of events, Strategies of Transformable
Reason to make functional and form that response to economical and
exhibitions and different and Shape-shifting
transformations is most of changing functional, sustainable to
functions that are be in a architecture and the spatial
the times to save space. spatial or environmental environment than any
one building and know the geometry for interactive
Fusion of clear geometry needs and know the other mechanical system.
spaces require of people transformation design of
and technological elements, building from static to Know the movable
according to the population building as per climatic and
that offer a great amount of dynamism that a space or elements, Techniques and
in a building. environmental scenarios.
flexibility and integration building elements can be mechanism
enabling a space to be used
and how to adapt aesthetics achieve which can able to
in different ways and
to a daily use. Also know change itself. i.e.,
purposes by transforming it
the technical elements of the manually or
according to what is needed.
movable parts. automatically.
Figure 6.5: Finding of Case Studies.

Source: Author
13
6.7 CONCLUSION OUTCOME OF THE RESEARCH
At the end of this dissertation, we should be able to,
 Introduce the new methods of enhancing architecture in the city and new
building Aesthetic can be introduce.
 Such design would develop new techniques and building material via
Transformation.
 Come up building from static to dynamism that a space or building elements
can be achieve which can able to change itself. i.e., manually or automatically.
 Such design would build up relation between people and building better from
the past.
 New techniques explore and established their implementation in the building.
 Such design would build up due the multi-dimensional response to both
quantitative and qualitative functional or non-functional requirement before,
during and after transformation.
We can able to design transformable architectural, especially those that have the
purpose to save space. This is usually achieved by enabling a space to be used in
different ways and for different purposes by transforming it according to what is
needed. Discusses different forms of movable and transformable architecture and the
various purposes for making transformable designs. Then spatial solutions and
mechanisms of space-saving transformations can be studied.
13
CHAPTER 07
SITE SELECTION & SITE ANALYSIS
7.1 SITE SELECTION
Indicates the practice of new facility location, both for business and government. Site
selection involves measuring the needs of the new project against the merits of
potential locations. The practice came of age during the 20 th century, as governments
and corporate operations expended to new geographics on a national and international
scale. According to the research I have done the cities im analyzing to work on
Islamabad and Karachi, but until now my Research is on the sites located in Karachi.
7.2 SITE SELECTION CRITERIA
Site means the parcel of land. The land that is usually selected for specific project
after the feasibility report has been made, it is conducted either by government agency
or a private owner, the study will also high light several promising sites each of these
locations are visited and evaluated by the doing start.
 The site is easy and direct approach by both public and private transport.
 This site is enough to provide the maximum recreational facilities.
The site selection criteria are the beginning of any successful project. The district, the
neighborhood and obviously, the site drives the design of any building or idea. It
shapes future development and it has the potential to be the impetus for a reoriented
perspective of a city or neighborhood. Without a site that is selected and evaluated
with a real vision, a project can fail before a brick is even laid on the site.
The following criteria that allow for an inclusive and objective process:
 Location.
 Accessibility.
 Climate.
 Views.
 Site Factors. Cost.
13
 Landmarks.
 Urban Design.
 Transportation.
 Timing.
7.3 BASIC INFRASTRUCTURE
 Electricity
 Water Supply
 Telephone Line
 Supply Of Gas
 Sewerage And Drainage
 Site Must Be Free from Any Kind of Pollution
7.4 SITE PROPOSALS
The proposal of sites depends upon the location and accessibility of the site. Because
the project is the iconic so, we should to focus the site feature that will be enhance the
city fabric.
There are some site that select for the Transformable building Exposition Center are:
7.5 PROPOSED SITE 01
Figure 7.1: Location of Proposed Site 01

Source: Google Map
13
7.5.1 GENERAL CHARACTERISTICS OF THE SITE
Total Area 2503244 Square Feet / 58Acres
Site Area 522720 Square Feet / 12Acres
Location In-Front of Civic Center
Accessibility University Road
Orientation North oriented
Topographical Status Plain Land
Cost of the land Very Expensive
Table 7.1: General details of Proposed Site 01

Source: Author
7.5.2 AREA OF SITE
Figure 7.2: Area of Site

Source: Google Map
13
7.5.3 SITE PLAN
Figure 7.3: Proposed Site Plan

Source: Author

Source: Google Map
13
7.6.1 GENERAL CHARACTERISTICS OF THE SITE
Area 375,000 Square Feet / 8 Acres
Location Opposite to Regent Plaza, Karachi
Accessibility Shahrah-E-Faisal Road
Orientation North oriented

Source: Author
7.5.2 ROAD NETWORKS
Figure 7.5: Road Network around Site

Source: Author
13
7.5.3 SITE PLAN AND ORIENTATION

Source: Author

Source: image from google maps
13
7.6.1 GENERAL CHARACTERISTICS OF SITE
Area 240, 185 Square Feet / 5.51 Acres
Location Abdul Sattar Edhi Ave. / Sea View Road, Crescent Bay,
Karachi
Accessibility Abdul Sattar Edhi Ave. / Sea View Road
Orientation North-East road facing

Source: Author
7.6.2 SITE PLAN

Source: Author
13
7.7 COMPARATIVE ANALYSIS OF THE PROPOSED SITES
To select a Site for a project like “Commercial Public Building”, we should keep some
basic factors in our mind to shortlist a proper site. The basic factors are,
 Location of the site
As Movable building is an iconic building, so Location of the must be well known and
attracted to public.
 Accessibility to the site
A Public building carry a no. of occupants, so the access road network should allow a
smooth vehicular flow to avoid traffic conjunction.
 Orientation of the site
Renewable energy resources are very essential for project. To utilized most of these
resources, orientation must be considered to select any site.
7.7.1 GRAPHICAL REPRESENTATION OF COMPARATIVE ANALYSIS:
COMPARATIVE ANALYSIS
8
9.5
SITE
10
9
9
10
SITE
10
10
9
8
SITE
5
7.5
0 2 4 6 8 10 12
OTHERSORIENTATIONACCESSIBILITYLOCATION
Figure 7.9: Graphical Representation of Comparative Analysis

Source: Author
14
7.7.2 COMAPARATIVE ANALYSIS
SITE NO. 01 02 03
ACCESSIBILITY
Main Boulevard 15/ 15 15 10
Linked Road 10/ 08 10 02
GENERAL CHARACTERISTICS
Cost of the Site 10/ 06 08 10
Views 15/ 15 15 15
Location 15/ 08 10 05
Noise Pollution 10/ 02 03 08
Air Pollution 10/ 04 03 10
Traffic Conjunction 6/ 02 04 06
Commercial Zone 10/ 08 10 05
Residential Zone 6/ 06 04 06
ORIENTATION
w.r.t Wind 8/ 06 06 08
w.r.t Sun Direction 8/ 06 06 08
w.r.t Front Facing 10/ 10 10 10
TOTAL 133/ 96 104 103
Table 7.4: Shortlisting One Site

Source: Author
Note: 0 to 4 numbers donate the negativity of the factor, while 5 number is moderate,
whereas 6 to 10 numbers donate positivity of the factor.
7.8 SITE ANALYSIS OF THE PROPOSED SITE
After selecting one site, even more detail analysis will be done to get maximum
knowledge about the site and its context. This is done by doing site visits and some
data from the Internet.
14
7.8.1 LOCATION PLAN
The Shortlisted site is situated in the Expo Center, Infront of Civic Center, at the
University Road, Karachi.
Figure 7.10: Location Plan for selected Site

Source: Author
7.8.2 LANDMARKS
Figure 7.11: Landmarks near to the Site

Source: Author
 Civic Center.
 SSOC building
 Mashriq Center
 National Stadium, karachi.
14
7.8.3 FLOW & PAUSES NEAR TO SITE
Figure 7.12: Flow and Pauses near to the Site

Source: Author
7.8.4 ACCESSIBILTY
Figure 7.13: Accessibility of the Site

Source: Google Maps
14
7.8.5 SCALE AND MODULATION
Figure 7.14: Scale and Modulation to the Site

Source: Author
7.8.6 ROAD NETWORKS
Figure 7.15: Road Networks

Source: Google Image
14
7.8.7 VIEWS FROM THE SITE
Figure 7.16: Expo center, Karachi

Figure 7.17: Civic center

14
Figure 7.18: SSOC building

7.8.8 VIEWS TOWARDS THE SITE
Figure 7.19: Arial View from Sir shah M. Suleman road

14
Figure 7.20: View from the Site to expo center.

Source: Author
Figure 7.21: Aerial View of the Site from the Main Road.
Source: google image
14
Climate of Karachi
Karachi has an arid climate, albeit a moderate version of this climate. Karachi is
located on the coast and as a result has a relatively mild climate. Karachi has two
main seasons; Summer & Winter, while spring and autumn are very short. Summer
season persists for longest period during the year. Karachi also receives the monsoon
rains from July to September. The city enjoys a tropical climate encompassing warm
winters and hot summers. The humidity levels usually remain high from March to
November, while very low in winter as the wind direction in winter is North Easterly.
Figure 7.22: Average Temperature of Karachi

Source: https://www.weather-pk.com/en/pakistan/karachi
Figure 7.23: Average Sea Temperature of Karachi

14
Rainfall
The average annual rainfall for Karachi is 174.6 millimeters (6.87 in) (1981–2010);
the highest annual rainfall of 713 millimeters (28.1 in) was recorded in 1967. Annual
monsoon rains for Karachi amount to 146.5 millimeters (5.77 in). The city
experienced above-normal monsoon rainfalls in 2003, 2006, 2007, 2009, 2010 and
2011, while in 2004 and 2005 the city received below-normal rainfall. In 2009 the
country received 30% below normal rainfall with the exception of Sindh, including
Karachi, which received above normal monsoon rains.
Figure 7.24: Average Rainfall in Karachi

Figure 7.25: Precipitation Amount of Karachi

Source: https://www.meteoblue.com/en/weather/forecast/week/karachi_pakistan_1174872
14
Figure 7.26: Average Rainfall Days of Karachi

Wind Speed
The diagram for Karachi shows the days per month, during which the wind reaches a
certain speed. An interesting example is the Tibetan Plateau, where the monsoon
creates steady strong winds from December to April, and calm winds from June to
October. Wind speed units can be changed in the preferences (top right).
Figure 7.27: Monthly Wind Speed of Karachi

15
Wind Rose
The wind rose for Karachi shows how many hours per year the wind blows from the
indicated direction. Example SW: Wind is blowing from South-West (SW) to North-
East (NE). Cape Horn, the southernmost land point of South America, has a
characteristic strong west-wind, which makes crossings from East to West very
difficult especially for sailing boats.
Figure 7.28: Wind Rose of Karachi

15
Cloudy/Sunny Days
Figure 7.29: Cloudy, Sunny & Precipitation Days of Karachi

Figure 7.30: Average Daylight & Sunshine of Karachi

6.6 CONCLUSION
This chapter analysis and discuss about suitable site for project like Transformable
building. Through a concept of evaluation table discussing about all important factors
of every site. Then Shortlist the most feasible for project. It’s also containing all
factors to analyze the shortlisted site.
15
CHAPTER 08
DESIGN
BRIEF
8.1 TRANSFORMABLE EXPOSITION CENTER (EXTENSION OF

EXPO CENTER, KARACHI).
Exposition center means one or more related structures, including fixtures and
equipment, owned, operated or leased by a district and used primarily for conventions,
expositions, trade shows, musical or dramatic events or other events involving Edu-
actional, cultural or commercial activities, and not primarily for recreational.
It is a large building that is designed to hold a convention, where individuals and

groups gather to promote and share common interests. It is typically offer sufficient
floor area to accommodate several thousand attendees. Very large venues, suitable for
major trade shows, are sometimes known as exhibition halls.
Exposition centers typically have at least one auditorium and may also contain
concert halls, lecture halls, meeting rooms, and conference rooms. Some large resort
area hotels include in it. The design must be created wisely because the private and
public spaces must be designed in a way that people must have different interaction
routes. Inlets and outlets must be designed properly; each space must be bifurcated by
the other.
8.2 DESIGN BRIEF FOR RESEARCH & DEVELOPMENT

PROJECT-II
A Transformable Exposition building is a Shape-Shifting building, as opposed to
a static building and is defined by its Performance differently in various jurisdictions
with respect to Space Saving. It is used as a Public Building, where the multi different
functions are occurs. The building used for different purposes, events, exhibitions and
uses in different ways. Design for the Building is a fusion of clear geometry and
technological elements, that offer a great amount of flexibility and integration city.
Creating buildings that can adapt and change is a much more sustainable way of
living
15
 It is not about form; it is about the performance of form.
 Not about shape, but about the logic of shape.
 Not about aesthetics, but how to adapt aesthetics to a daily use.
15
8.3 DESIGN CONSIDERATION
Basically, architectural design consideration is a statement of design though or design

approach (program) that indicated the list of physical characteristics of building and
its parts, equipment, product or material that the people would like to have used in the
building and the manner in which they will influence the building design. List of
requirements and zoning order and other physical standards that will affects the
building design. Design consideration purpose is to define the environment of user
requirements not only in the physical sense but also based on the attitude of public
uses.
8.3.1 SITE FUNCTIONING IN ARCHITECTURAL COMPOSITION
The mechanical elements are basic but not only considerations for the entire job of
climatic control. The orientation, the plan arrangement and the user of material can
contribute of the quality of comfort achieved and to the economy all considered for
the efficient functioning of the building.
8.3.2 ORIENTION
Wind, sun and view are vital considerations. It is important that the sun rays and the
high velocity winds do not enter the building center directly.
8.3.3 LIGHT
The problem of lighting in an exposition center are highly technical and the
equipment available is constantly changing. Artificial lighting levels in exposition center
are extremely high, and they cannot rely on day lighting owing to their configuration
and the need for high in position or location to attract to visitors and display goods.
Lighting can contribute to an attractive environment with pleasant and safe place and
can facilities work by providing acceptable visual condition. But lighting can also have
a pleasant effect, safety and make work difficult through disturbance in the form of
glare disturbing reflections and shadows, so artificial light as well as natural light is
considered in the design.
8.3.4 ACOUSTICS
Acoustical control involves happiness, absorption and relation or reinforcement of

sound. Acoustically absorbent material is required to soak up noise in such case as
15
corridors, halls, toilets and restaurant.
15
8.3.5 VENTILATION
Ventilation is imperative for basic health and for erection of an efficient environment.
If fresh air is no allowed the increased collection of Co2 and bad smell will have a
harmful effect on the health of individual. Ventilation standard vary from 11cubic ft.
air/minute per/ 38 cubic ft of air depending on space per person.
8.3.6 WALL SURFACE
Wall paintable in soft cheerful colors can make an exposition center building more
active and friendly. Ceiling and walls have smooth surface, which are easily cleaned.
8.3.7 FLOOR SURFACE
Floors of Transformable building should be made of Light weight material.

Comfortable and easy to clean and walk. For Transformable building laminate, cork
or vinyl flooring is the effective because these are light weighted and sustainable.
8.3.8 FIRE EXTINGUISHMENT
The installation of fire extinguishing should be considered in the design in the

building. Chemical extinguishers are also very helpful for emergency use during the
early stage of every fire.
8.3.9 AIR CONDITIONING
The term is sometimes used in the process of humidity or soak up the air in a building,
but it is more generally desirable to any of the processes, which may be applied on the
air in the building to correct environment atmosphere.
8.3.10 COLOURS
The characters of the interior depend to a consider able degrees of lighting and color.
Avoiding dark contrasts, particularly flooring and ceiling should be lighting in color
has emotional effect to exposition center. Tasteful use can enhance environment
condition. A cheerful, soft cool color creates a quiet atmosphere, so colors will be
used according to events or by spaces.
15
8.4 SPECIAL CONSIDERATION FOR SHAPE-SHIFTING

BUILDING
As it is the unique Architectural approach to Shape-Shifting the essence of Exposition

Center, Special consideration must be taken for Transform the structure.
Consideration may include:
Usage of
proper
Technical
and Technology
Mechanical and
Consideratio techniques.
n of Environmenta
Building l
Transformati consideration.
on timing.
SPECIAL
CONSIDER
- -ATION Form and
Consideration
Function
of materials.
Consideration
Social and Sustainable

Culture design
influence. approach.
Figure 8.1: Show the special consideration of Design

Source: Author.
8.5 BUILDING COMPONENTS
8.5.1 ENTRANCE
 Main entrance. (Segregate to exit)

 Building entrance (segregate to exit)
8.5.2 PARKING
Following are the spatial requirements for the provision of a Parking Slot;
15
 VIP parking.
 General public parking.
 Staff parking.
 Taxi stands or bus stop.
8.5.3 EXHIBITION HALLS
Following are the spatial requirements for the designing of Exhibition Hall;
 Display floor including mezzanine.

 Loading and unloading bay
 Toilets for male and female
 HVAC
 Electric control room
 Storage room
8.5.4 LOBBIES
The lobby space type includes
 Foyers.
 Entries to halls.
 Security screening areas.
 Near the entrance to a building.
 Demarcated space and are meant to welcome.
 Direct tenants and visitors.
 Control access, and provide exit ways from buildings.
8.5.5 CONGRESS CENTER

Congress center is an Office building. Following are the spatial requirements for the
designing of Congress Centre;
 Reception/information
 Foyer
 Security check in
 Meeting room
 Conference room
15
8.5.6 ATRIUM
An atrium is a part of a building, which extends up through several floors of the

building and often has a glass roof. It is used mostly above the waiting areas, lobbies,
common spaces.
8.5.7 OUTDOOR EXHIBITION AREA
 Near to the main entrance.

 Easy to display.
 Natural features.
 Indirect access to the building.
 Avoid direct natural light.
8.5.8 FOYER AREA
Foyer also known as intermediate area between the exterior and interior of a building.
It helps to segregate the spaces.
8.5.9 ADMINISTRATION
Following are the spatial requirements for the designing of Administration Block
 Chairman’s secretariat
 Vice Chairman’s secretariat
 Director
 Executive branch
 Managerial branch
 Library
8.5.10 OTHER FACILITIES
 Workshop facilities.
 Storage facilities.
 Ballroom.
 Meeting rooms.
 Banquet halls.
 Control room.
16
8.5.11 FOOD COURT
 Dining (indoor / outdoor)

 Kitchen food services
 Outlets
 Lavatories
8.5.12 WAREHOUSE
Following are the spatial requirements for the designing of ware house;
 Main storage area

 Workshop for repairing stands
 Loading dock for equipment’s
 Lavatories.
8.6 BASIC CRITERIA
To provide facilities to all, as specified in a complete full functioning entity

characterized by:
 Modernity in Form.
 Sense of Space.
 Special and an Essential Balance.
 Flexibility in Design.
 Flexible Planning.
 Site adopted Urban Form.
 Balance built up and one Space.
 The nearness and functions to permit, interaction between different activities.
 Easy Circulation.
 Acoustics.
 Use of common Building Material and design Demands.
 Suitable Exposure to Natural Appearance of materials in exterior.
16
8.7 SPECIFIED OBSERVATION
8.7.1 ENVIRONMENTAL
 Green spaces and Landscaping.

 Protection from environmental hazards (dust, glaze, sand, pollution, etc)
 Climatic opportunities.
 Good ventilation.
 Plantation within and outside the building.
 Environmental response to all planning and design.
8.7.2 SOCIAL
 Social response of building and planning.

 Good working.
8.7.3 ECONOMY
 Economical use of land.

 Easy and cost-effective maintenance of building.
 Climatic suitability.
 Widest use of local material and techniques in building and design.
 Practical and feasible design for implementation.
16
8.8 USE OF SPACE-SAVING TECHNIQUES
8.8.1 DESIGN REQUIREMENTS FOR EXPOSITION
CENTER. According to the data provided by the Expo center,
Karachi.
Figure 8.2: Show the Space saving Techniques.

Source: Author
16
 Total area = 58 Acre area.

 Car parking 2400 cars (225019 sqft) 5Acre area.
 6 Halls with mezzanine floor. (180024 sqft) 44 Acre area.
- Hall 1= 24003 sqft + mezzanine=4790sqft.
- Hall 2= 24003 sqft + mezzanine=13670sqft
 Foyer area =11130 sqft area
 Congress center = 29170 sqft area
- Ground floor = 9690sqft
- First floor = 9690sqft
- Second floor = 9795sqft
 Display area (Indoor and Outdoor)
 Food court.
Facilities:
Parking 2400 Cars.
Public address system inside each hall.
More than 250 Telephone lines internal telephone
exchange. Pay Card phone.
Centrally Air conditioned.
Premises security.
Conference / Seminar area.
Restaurant seating 250 Guest.
Three halls with Extra mezzanine space.
Painting display area in corridor.
Ware housing facilities.
Open display area.
16
According to the data provided by the Expo Center, Lahore:
 Total area = 42 Acre

 Car parking (1000 cars)
- Car parking 1 = 570 cars
- Car parking 2 = 430 cars
 Exhibition Halls
- Hall 01 (1 Acre)
- Hall 02 (1 Acre)
- Hall 03 (1 Acre)
 Convention Hall (43000 sqft)
- Auditorium 01
- Auditorium 02
- Foyer
- Summit Room
- Meeting Rooms
 General Hall (1 Acre)
- Hall A
- Hall B
 Open Event Area
Amenities & Facilities
- Air Conditioning
- AV Facilities
- Box Office
- Closed Circuit TV
- Compressed Air
- Food Services
- Internet Access
- Security
- Decorative Services
- Event Planning
- Guest Sservices
16
For the project, it would be very helpful to calculate the area according to the function
of spaces and the number of people.
8.8.2 COMPRASION OF AREAS
Proposed Transformable
Expo Center, Karachi Expo Center, Lahore
Expo Center
Area: 30 Acres Area: 40 Acre Area: 12 Acre
Parking: 2400 Cars Parking: 1000 Cars Parking: 1000 Cars
Halls: 6 Halls: 4 Halls: 3
Congress Center:1 Congress Center:1 Congress Center:1
Table 8.1: Comparison of Areas.

Source: Author
8.9 DESIGN REQUIREMENTS AND AREAS IN SQFT
For
No. Requirements Quantity Given Area
Person
1. Main Entrance 1 -
2. Parking 600 - 144 86400 sqft

sqft
3. Convention Hall 1 15510sqft
- Entrance 2 - - 200sqft
- Foyer 2 - - 100sqft
- Registration Area 1 2 7sqft 150sqft
-- Auditorium 2 400 5 sqft 4000sqft
Conference Room 2 30 30sqft 2340sqft
- Meeting Room 2 30 6 sqft 1000 sqft
- Offices 20 20 100sqft 2600 sqft
- Information Counter 1 5 7sqft 750 sqft
- Stairs 2 - 144sqft 370sqft
16
- Service Area 1 - - 2000sqft
- Lifts 4 5 per 50sqft 1000sqft
- Lavatories 4 - 250sqft 1000sqft
4. Exhibition Hall 3 85050sqft
- Display Area 1 1000 5sqft 15400sqft
- Display kiosks 100 - 80 sqft 10400sqft
- Corridors 1 - 0.3 sqft -
- Exit 2 - - 200sqft
- Service area 1 - - 2000sqft
- Information Counter 1 2 7sqft 150sqft
5. Cafeteria 1 10900sqft
- Dinning area 2 150 30sqft 5850sqft
- Service area 1 - - 1000sqft
- Lavatories 2 - 250sqft 500sqft
- Kiosks 20 40 50sqft 1300sqft
- Storage area 2 - 120sqft 240sqft
- Receiving area 1 - - 150sqft
- Office area 1 - 100sqft 1000sqft
- Prayer area 2 50 5 sqft 700sqft

TOTAL COVERED AREA= 111460SQFT = C.A X 0.3 +C. A
=144900 SQFT (3 ACRES)
PARKING AREA= 86400SQFT (2 ACRES) TOTAL = 5 ACRE
TOTAL SITE AREA = 8 ACRE
Table 8.2: Area of Spaces.

Source: Author
16
8.10 SHAPE SHIFTING MECHANISM
Figure 8.3: Show the Mechanism of Shape-Shifting

Source: Arch Daily
16
8.10.1 ACTUATOR
An actuator is a component of a machine that is responsible for moving and

controlling a mechanism or system, for example by opening a valve. In simple terms,
it is a "mover".
An actuator requires a control signal and a source of energy. Its main energy source
may be an electric current, hydraulic fluid pressure, or pneumatic pressure.
Figure 8.4: Linear Actuator Details

8.10.2 HYDRAULICS
Hydraulics is mechanical function that operates through the force of liquid pressure.
In hydraulics-based systems, mechanical movement is produced by contained,
pumped liquid, typically through cylinders moving pistons. As an efficient and cost-
effective way to create movement or repetition, hydraulic system-based equipment is
hard to top.
Figure 8.5: Hydraulic Details

16
8.11 CONCEPT FORMATION
Architecture has had to face the continuous change of living conditions over the years.
In this sense, radical changes in many areas triggered from the 1960s and gaining
momentum along with the 1990s have once again made the existence of architecture
problematic and created many problem areas to face. One of these problematic areas
is the relationship between architecture and movement.
Accordingly, Transformation in architecture have been revisited many times in

context of technological innovations to address the changing sociocultural and
functional needs of the age.
8.11.1 MOVETECTURE
“MOVEMENT + ARCHITECTURE = MOVETECTURE”
Within this perspective, there is a need for a conceptualization problematizing the

architectural production of movement in order to understand and explain the radical
changes that dynamic structures have created both on the architectural production and
the architect’s design practice. In this respect, Movetecture, created by combining the
concepts of movement and architecture, expresses a conceptualization on the
architecture of movement in built environment. Concentrating on the design of
architectural structures that create movement, it opens up a discussion on the design
of movement itself rather than the visual dynamism that evokes movement.
Although there are many conceptualizations focusing on the different aspects of

movement in architecture like Shape-shifting Architecture, Interactive Architecture,
Responsive Architecture, Liquid Architecture, kinetic architecture the
conceptualization of Movetecture directly addresses the architectural construction of
movement rather than the effects of movement in architecture.
8.12 CONCLUSION
This chapter discuss about the summary of whole book and outcomes of the all
chapters. It contains the all-Basic component which make a Transformable Building,
an Exposition Center. This chapter also carry approximate spatial requirements and
area of different spaces of an Exposition building.
17
REFERENCES
[1] Lee J D 2012 Adaptable, kinetic, responsive, and transformable architecture:

an alternative approach to sustainable design (Doctoral dissertation).
University of Texas.
[2] Reuter R 2017 Space-saving Techniques by the Use of Transformable

Architecture.
[3] Michael Jantzen, 2000, M-vironments, M-velopes & The M-house.
[4] Robert Kronenburg, 2007 p.146 Free-form Transformation Of Spatial Bar

Structures Developing a design framework for kinetic surfaces geometries by
utilizing parametric tools.
[5] Zuk, W., Roger H.C., Kinetic Architecture, New York: Van Nostrand
Reinhold Press, 1970.
[6] Harris, J.B., Li, K.P., Masted Structures in Architecture, Oxford: Butterworth-
Heinemann, 1996.
[7] Simon, S. Archigram: Architecture without architecture, Cambridge, Mass:

MIT Press, pp.36-39, 2005.
[8] Transformable and transportable architecture, Architect Carolina De Marco

Werner, Barcelona, España. September, 2013.
[9] Lukez, P., Suburban Transformations, Princeton Architectural Pres\s: New

York, 2007.
[10] Chilton, J.C., Choo, B.S. and Wilkinson, D. (1998). A Parametric Analysis Of
The Geometry Of Retractable Reciprocal Frame Structures, In Lightweight
Structures In Architecture, Engineering And Construction, Vol. 1, 547-555.
[11] Kinetic Design Group Web Page Available at: Http://Kdg.Mit.Edu/, Last
Accessed: 01/11/03
17
[12] Hernandez, C. and Zalewski, W. (1993). Expandable Structure For The

Venezuelan Pavilion At Expo'92, Space Structures. London: Ed. Thomas
Telford, Vol. 4, 1710-1719.
[13] Le Corbusier, Toward an Architecture, introduction by Jean- Lois Cohen,

translated by John Goodman. Los Angeles: Getty Publications, 2007.
[14] Reuter R 2017 Space-saving Techniques by the Use of Transformable

Architecture.
[15] Kronenburg R 2007 Flexible: Architecture that Responds to Change London:

Laurence King.
[16] Thogersen N2017 Small spaces needs smart solutions: Designing furnitures
for small spaces, in connection with human wellbeing.
[17] Lee J D 2012 Adaptable, kinetic, responsive, and transformable architecture:

an alternative approach to sustainable design (Doctoral dissertation).
University of Texas.
[18] Christian Schittich, In detail: small structures, (Birkhäuser, 2010)
[19] Maziar Asefi, Transformable and Kinetic Architectural Structures: Design,

Evaluation and Application to Intelligent Architecture (VDM Verlag Dr.
Müller, 2010).
[20] Transformation principles in the architectural design of a contemporary house.

(Vladimir Andjelkovic, University of Belgrade, 2016)
[21] De Marco Werner, C. (2013). Transformable and transportable architecture:

analysis of buildings components and strategies for project design. Master
Thesis, Barcelona: Universidad Politécnica de Cataluña.
[22] Chang D 2017 Co-living in Bandung Basin Peri-Urban: An Interdisciplinary

Model towards Sustainable Urbanization HABITechno International Seminar
– Ecoregion as a Verb of Settlement Technology and Development.
17

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TRANSFORMATION OF ARCHITECTURAL SPACE

WITH THE AID OF SPACE SAVING.

BAKHTAWAR ASLAM MUGHAL

AR. SHAZIA ABRO

DEPARTMENT OF ARCHITECTURE AND

Submitted in partial fulfillment of the requirement for the degree of

This thesis is dedicated to:

The sake of ALLAH, my Creator and my Master.

with profound respect and love to

Who taught me that even the largest task can be

I need to pay my heartiest thank to my beloved Parents

for making me what I am today.

MEHRAN UNIVERSITY OF ENGINEERING AND TECHNOLOGY,

Project/Thesis Supervisor Chairperson

The work presented in this book is evaluated by external examiners

(1) (2) (3)

To PROF. DR. BHAI KHAN SHAR (Vice chancellor of C.E.A.D, M.U.E.T,

The focus of this research is on transformable architectural designs, especially those

CHAPTER NO. 01 contains the basic definitions and fundamental terminologies of

CHAPTER NO. 08 consists of the design brief of Transformable Exposition Center,

CHAPTER 02 LITERATURE REVIEW..................................................................7

CHAPTER 03 THE DESIGN OF SPACE BASED ON ARCHITECTURAL

CHAPTER 05 CASE STUDY...................................................................................58

CHAPTER 06 DATA ANALYSIS AND OUTCOME OF RESEARCH............113

CHAPTER 08 DESIGN BRIEF..............................................................................143

Figure 1.1: Victorinox Swiss army knife.......................................................................1

Table 4.1: Methodology of Objective# 01...................................................................53

1.1 PROGESSION OF THIS CENTURY

Figure 1.1: Victorinox Swiss army knife

Originating from inside a cutler's workshop in 1884, Victorinox is a quality,

1.2 MOVEMENT IN ARCHITECTURE

In design with movement, it is desirable to achieve transformable, motion-capable and

Figure 1.2: General principle

1.3 SPACE RELATION WITH ARCHITECTURE

1.4 ARCHITECTURE IS A HUMAN MADE SENSE OF PLACE

Figure 1.3: Shape Transformation

1.5 MOTIVATION FOR THE RESEARCH

NOTHING IS PERMANENT because our life is subject to continuous changes, just

(OPTIMUS PRIME) It is a famous movie character from the movie, ‘Transformers’

1.6 PROBLEM STATEMENTS

Do not Design such type of space in response toLack of technologies

Do not step forward to smart living

Figure 1.4: Shape transformation.

Field of Architecture is constantly dynamic in its inclination. Architects consistently

“Building like an Art Piece”

 To understand out what transformable and Shape-shifting architecture.

 How can transformable architecture help to use space more efficient?

Keywords: Transformable, transportable, kinetic connection, movement mechanisms,

2.1 INTRODUCTION TO LITERATURE REVIEW

Literature review is a systematic and critical analysis of the literature on a specific

2.2 TRANSFORMABLE ARCHITECTURE

Transformable architecture is a suitable strategy for buildings and architectural

Transformability can be considered as an important way to respond to the building

2.2 HISTORY OF TRANSFORMABLE ARCHITECTURE

2.3 STUDY OF TRANSFORMABLE ARCHITECTURE

The movements in architecture can be interpreted in several perspectives to meet their

2.4 HUMAN PERCEPTION AND EXPERIENCE

It can be argued that one of the crucial responsibilities of architecture in an ever-

by experiencing different aspects of the buildings that inhabit their surrounding

The important additional aspect of transformable architecture is ability of the building

2.5 SPACE SAVING AND UTLIZATION

2.6 THE CONCEPT AND THEORY OF TRANSFORMABLE