Green Re-Articulates Red by Arthur Mamou-Mani

GREEN RE-ARTICULATES RED Ground and Daylight transformations of the French Communist Party HQ

ARTHUR MAMOU-MANI Fifth Year Diploma Project at The Architectural Association Diploma Unit 2 - 2007/2008 Tutors : Anne Save de Beaurecueil, Franklin Lee

GREEN RE-ARTICULATES RED Ground and Daylight transformations of the French Communist Party HQ

ARTHUR MAMOU-MANI Fifth Year Diploma Project at The Architectural Association Diploma Unit 2 - 2007/2008 Tutors : Anne Save de Beaurecueil, Franklin Lee

Green Re-Articulates Red Table of Content

7. PROJECT DEVELOPMENT 1s t M 1. 5 ay, P

aris -Cir . S u , 1 n cle Rad -Driv en 3h00 i us C

om pon ent

1. CONTEXT Proje ction Axis 2. 3. Grid Dens ity

- HS p - VSp acing acing

P1 P2 P3 P4 P5 P6 P7 P8

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1.1. 1.2. 1.3. 1.4. 1.5. 1.6. 1.7. 1.8.

Oscar Niemeyer’s Architectural Intention Manifesto PCF’s Current Situation “Under the Pavestone: The Beach!” Current Political/Ideological Context in France Environmental and Circulatory Flows in Existing Building Initial Urban Study Panorama Photographs Existing Site

2. ENVIRONMENT P9 P10 P11 P12

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P13 P14

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P15 P16 P17

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2.1. 2.2. 2.3. 2.4.

2.5.

Study of the Parisian Climate Study of the Local Solar Conditions Environmental Measures in the Existing Building Case Study : The Esplanade Theatres in Singapore 2.4.1. Geometrical and Construction Logic 2.4.2. Environmental Simulations Defining a Component 2.5.1. Geometry and Varying Parameters 2.5.2. Environmental Constraints 2.5.3. Behaviour on Different Surfaces 2.5.4. Sun Testing

0 17h0 aris , ay, P 1s t M ing Open 2. 2. horPoint - Anc pn O - Dist

P34 P35 P36 P37

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P38 P39 P40

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P41 P42

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7.1. 7.2. 7.3. 7.4.

Schematic Plan of Intervention Schematic Perspective Front Elevation Associative Model for the Facade Intervention 7.4.1. Symbolic Diagram 7.4.2. Geometry 7.5. Sun Simulation 7.6. Early Proposal 7.6.1. Schematic Plan 7.6.2. Rendering 7.6.3. Front Elevation

8. STRUCTURAL ANALYSIS P43 P44 P45 P46

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8.1. 8.2. 8.3. 8.4.

Front Front Front Front

Staircase Surface 1 Staircase Surface 2 Facade One Element Facade Whole Surface

9. SUN SIMULATION BELOW THE DEMOCRATIC GROUND 3. CIRCULATION P18 P19

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3.1. 3.2.

P20 P21 P22

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3.3.

Circulation Through the PCF Ground Condition Chart 3.2.1. Separated Grounds/Ramps/Grounds 3.2.2. Grounds 3.2.3. Barriers/Articulating Accessibility Case Study of the Pompidou Center

4. PROTOTYPE P23 P24 P25 P26

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4.1. 4.2. 4.3. 4.4.

Plan Sections and Elevations Environmental Simulations Pictures

5. INTERVENTION STRATEGY P27 P28

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P29 P30 P31

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5.1. 5.2.

Intervention Strategy Diagram Using the Right Component 5.2.1. Axonometry and Fabrication 5.2.2. Assembled Component 5.2.3. Structural Simulations 5.2.4. Assembly drawing of On-Site Component

6. EXISTING BUILDING P32 P33

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6.1. 6.2.

Understanding the Construction Logic Analysis of the Building’s Structure

P47 P48 P49

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9.1. 9.2. 9.3.

January 21 / Mid October July 12 / Mid June May 1st / Mid August

10. DRAWINGS P50 P51 P52 P53 P54 P55 P56

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10.1. 10.2. 10.3. 10.4. 10.5. 10.6. 10.7.

Roof Plan in Urban Context Roof Plan Common Floor Plan Ground Level Plan Section A Section B Section C

11. RENDERINGS P57 P58 P59

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11.1. View towards the Democratic Ground 11.2. View towards the Communist Art Gallery 11.3. View towards the back of the building

12. PHYSICAL MODEL P60 P61

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12.1. View towards the Democratic Ground 12.2. View towards the Gallery

Green Re-Articulates Red 1.1. Oscar Niemeyer’s Architectural Intention Urban context, relationship with the site and surrounding buildings

Initial Statement and sketches by Oscar Niemeyer:

“Occupy the site as little as possible, Make the city breathe a little and a free and creative Architecture will arrise. This what concrete asks for.”

Monolithic and Articulated Left: The Monolith on the Pedestal, picture of the PCF Headquarter Right: The articulated aluminum panels reflecting light within the dome

Green Re-Articulates Red 1.2. Manifesto

I. The Historical Context The Party Communiste Francais (PCF) Headquarters, located in the poor and multi-cultural 19th arrondissement of Paris, was designed in 1970 within three days by Oscar Niemeyer while in exile from the Brazilian dictatorship. The architect celebrated in 2007 his hundredth birthday and now describes this building as the closest to his heart. At the time of his first sketches, while the rest of the world was in the midst of the cold war, the PCF was the second most important political party in France scoring 20 percent during the presidential election. Most of French and Parisian philosophers, writers, poets and painters of this period like Jean-Paul Sartre, Albert Camus, Pablo Picasso, Paul Eluard and Andre Breton were members of the party and were donating some of their art pieces to it. In the latest presidential elections, the PCF scored two percent which is ten times less than fourty years ago. Since parties are financed by the state proportionally to their result to elections, the PCF is facing a major crisis that led its leaders to have its wide artistic and real estate asset to be re-evaluated (images 1.). Two levels of the 50 million Euros building will be rented to private companies sharing the PCF’s ideology. The cost of the maintenance is so high that the building had to be listed so as to receive subsidies from the state. This procedure freezes any kind of changes to a building that was initially designed by Niemeyer to accommodate “future modifications”. Similarly to its newly listed headquarter, the Stalinian French Party is frozen in its own past. Communism rhymes in people’s head with U.S.S.R.’s infamous Gulags, bureaucracy and dictatorship. Capitalism has now won the war and individualism has also crushed the beautiful idea of solidarity which initially gave birth to an ideology that has proven to be impossible to apply to reality. The tensed political context of 1970 could explain why this building is often qualified as a “bunker” and today this opacity and monolith-like features amplifies the negative historical echo of communism in people’s mind. Designed to “make the city breath” with an open park as a base, the site has now been surrounded by fences going against Niemeyer’s idea of a democratic building: an Architecture for people. Yet, the PCF building is one of Parisians favourite buildings, the luminous white dome covering the congress room never leaves passer-bys indifferent. The sensuous curves inspired by Brazilian women and Rio’s topography bring gentleness and warmth to the neighbouring inhabitants of this poor and grey district.

Communism in different forms Left: “Thank you Kim Jong Il” written by well disciplined crowds during Arirang Festival in communist North Korea. Right: Anti-Liberal protest in London during the European Social Forum

New Opportunities Left: Existing market on Bd. De La Villette Right: Fair trade label

II. The Opportunities At the end of this year, the PCF will be holding a crucial meeting about its renewal. As a matter of fact, the world has drastically changed since 40 years: ecology is now one of the main concerns, western economy is mainly service driven and delocalise its production force to the south hemisphere where wages are cheap and unions inexistent (Fair Trade image 3). One could say that the industrial revolution and its resulting working/leading class struggle is now transformed into a southern/northern hemisphere struggle. Communism that was once state driven and hyper-centralised has been taken over by the internet generation thus changed into a world wide rhizomatic anti-capitalist organisation (images 2.) As a French and Parisian Architecture student in a “voluntary exile” to England sensitive to both Niemeyer’s building and ideology I would like to lay down this one hypothesis and develop it throughout my year long project:

Politics and Art : Old and New Posters of propaganda

Could Architecture be part of the PCF’s renewal ? In between the act of “Re-Branding” the party and offering a new public ground connecting the party to the people, How can Architecture represent the idea of a new and different communism? Emphasizing interaction vs. traditional passive experience when designing a space for art Left: Trying to see the Mona Lisa in the Louvre Right: Designing for an art piece, Richard Serra in the Guggenheim Bilbao

Transforming society from industrial to service oriented Left: Image from Charlie Chaplin “modern times” showing the alienating aspect of mass production Right: Manufacturing different facade panels for the Zollhof Towers using customized CNC milled Styrofoam as moulds.

Gilles Deleuze (1925-1995) opposes totalitarian and fascist systems (hierarchical) to groups organized as Rhizomes with “no end and no beginning”. Left: tree structure Right: Networked structure or Rhizome

Green Re-Articulates Red 1.3. PCF’s Current Situation

Le Figaro cover story, “financial Crisis for the PCF”, 11th November 2007

El Pais front page “Communist assets for sell”, june 2007

Bankruptcy for the PCF ? By Katell PRIGENT LeJDD.fr The political crisis that faces the PCF could have as a consequence a financial crisis. Last week. Le Monde was announcing the possibility for the PCF to sell his artistic and real estate assets. The rumour has been denied by the communist leaders who however recognize the “delicate situation” in which they currently are. I am talking about a period that people under twenty. It was in 1969, the PCF candidate to the presidential elections, Jacques Duclos scored 21.27% of the votes. USSR was donating one million dollar yearly. Thirty years late, the candidate Marie-George Buffet has fallen under 2%. And the finances of the Party only rely upon itself. Mechanically, the political crisis transforms itself into a financial crisis. The accounting results for 2006 have a surplus of 340000 Euros and the Party receives 6 million euros every year from its 90000 subscribers. But the 4.6 million Euros expenses of the presidential campaign have only been reimbursed for 800000 Euros similarly for Robert Hue in 2002 with his score of 3.37%. [...] According to the status of the PCF, the elected politicians have to give their salary to the party. In 2005, it is more than half the budget that was covered by the salaries of the 12000 communist politicians. Since recent years, this tradition is not respected anymore and they often keep this money to themselves [...] Last week Le Monde mentioned the possibility for the PCF to sell not only their artistic assets but also its headquarter in the 19th arrondissement in Paris. The building on the Place du Colonel Fabien, conceived in 1971 based on Brazilian Architect Oscar Niemeyer was listed as a historical monument last March. Tuesday the Party gathered the press to deny this rumour that seemed quite credible. “We are not on the edge of bankruptcy yet our financial situation is quite tensed” has declared the financial advisor Jean-Louis Frostin. “I can see your cameras filming the Fabien’s cupola, let me reassure you: She is not for sell” said the PCF spokesman Olivier Dartignolles to the journalists. [...] “None of the art pieces that been given to us throughout the year has been evaluated” explained Jean-Louis Frostin

Oscar Niemeyer, rr, meeting the Secreteray of the PCF Georges Marchais in 1977

L‘humanité (communist newspaper) Interviews of Oscar Niemeyer 10th january 2007 How can an architect help to transform the world? O.N. He can fight for a society more fair and more united [...] A young man that protests in the street against the world’s injustice does a better job than mine and the journalists to whom i say that are astounded. Is your commitment to communism still the same ? O.N: I am happy, i am still on the same path. I went out of school and my family was from the bourgeoisie. My grand-father was minister of the Supreme Court in Brazil. I immediately understood that things should be changed. The path is the Communist Party. I entered the Party and stayed there till today, following every moment, good or bad that life imposes. When i speak about Architecture i always say that life is more important than Architecture, Architecture does not change anything, life can change things much more than it. I constantly say it to my colleagues or students: it is not enough to come out from school to be a good architect. One should first know men lives, their misery, their suffering to fully produce Architecture, to create. The most important is to be a man that manages to understand life and one must understand that it s essential to change the world. We seek for coherence. Every Tuesday, we organise in my office a meeting between students, intellectuals, scientists, writers, we exchange philosophical reflexions, political thoughts, on the world, we want to understand life, change life, change human beings.

Green Re-Articulates Red 1.4. “Under the Pavestone: The Beach!” The year 2008 marks the 40th anniversary of the May 68 events. It is also the year Nicolas Sarkozy was elected after saying in one of his speaches that he will end the “spirit of 68”. The May 68 protests were initiated by Parisian students against their University’s political bureaucracy. What started as a local conflict quickly developed into a nation-wide rebellion against any form of authority. This explosion from the French youth had multiple causes and was quite confusing as to what were the overall aims but its most interesting by-product happened on an artistic and social level: May 68 gave birth to a sense of anti-authoritarianism not only in the social area in which it broke the barrier that allowed my parents to meet but it also made everyone an artist. The youth, helped by the rebellious Beaux-Art students, will create half consciously a series of art interventions using graffiti, posters and slogans amongst which the very popular: Under the Pavestone, the beach. It is not a surprise that art movements such as the Surrealists and the Situationists happened around the same time and place nor is it a coincidence that Deleuze and Guattari wrote their book Capitalism and Schizophrenia soon after it. What links all this together is the rejection of hierarchical systems of all kind. It is the desire to discover life through your own means and not through someone else’s predefined codes. May 68 was a far-left movement, yet it rejected the Stalinian authority and the French Communist Party who supported it. One cannot re-design the headquarters without understanding this clash between a communism which came from the people and one which was a tyranny. The strong poetic and political character of wanting to look beneath the pavestone could be associated to Dali’s surreal desire of lifting the sea or the complete enwrapping of urban and natural features by Christo and Jean-Claude. When dealing with the PCF both as a Party with a heavy past but also as a monolithic building, an Architect which had to design its extension would be tempted to use the same analogy and try to lift the drape...

Barricades in Paris during May 1968

Salvadore Dali “Myself at the Age of Six when I Thought I Was a Girl Lifting with Extreme Preaution the Skin of the Sea to Observea Dog Sleeping in the Shade of the Water” (1950)

Christo and Jean-Claude Wrapped Coast, One Million Square Feet, (Little Bay, Australia 1968-69)

Christo and Jean-Claude Wrapped Reichstag, Berlin, 1971-95 P4

Green Re-Articulates Red 1.5. Current Political/Ideological Context in France

"In this election, we’re going to find out if the heritage of May 68 is going to be perpetuated or if it will be liquidated once and forever." Nicolas Sarkozy, President of France. Paris Campaign Rally, May 1st 2007

Nasser Nasser/AP

Serge Hambourg

"Without the freedom and open-mindedness we gained with May 68 I would have never been able to marry my husband who came from a completely different social background than me.

Chantal Mamou-Mani, my mom, “Si Mai 68 M'Etait Conté”

“Be Young and Shut Up”

“Workers Peasant Unity”

“No to Bureaucracy”

“May 68, Beginning of a Long Lasting Struggle”

“No Dialog with the Police State”

“Stop the deportation of our foreign comrades”

“Participation”

“Back to Normal”

May 68 Poster by Atelier Populaire

Green Re-Articulates Red 1.6. Environmental and Circulatory Flows in Existing Building

View from Boulevard de La Villette - The Monolith on its Pedestal Niemeyer’s intention of having a democratic park which would be connected to the city is completely lost as a barrier prevents anyone from entering, leaving a small gated entrance which few people use.

Currently, as there is only one entrance controlled by an interphone, passer-bys do not realise that they could get in therefore starring at the building the fences. The circulation only occurs between this one entrance and the main entrance on the ground level leaving other spaces unused.

View from Rear - The Overheated Facade Nyimeyer’s intention of “not occupying the site too much” led to a dead space at the rear of the building. The teinted southern facade is also overexposed to solar radiation.

The staircase above is the only access the rear of the building. Its access from the street is locked and even though it is possible to go there, no one does it and it remains completely empty. The neighbouring building inhabitants could have access to this area but they are separated from it by a wall.

Green Re-Articulates Red 1.7. Initial Urban Study

Green Re-Articulates Red 1.8. Panorama Photographs Existing Site The remarquable view over Paris on the PCFâ&#x20AC;&#x2122;s roof and the Insalubrious neighbouring building two of the most important contextual factors which should influence the design: - Similarly to the ground, the roof is unused yet designed to be Public. - If destroyed, the neighbouring buildings will leave an empty site which could be an opportunity to give the PCF back its original Architectural intentions

From the roof towards South

From the roof towards South looking down Insalubrious buildings in red

110-114 Boulevard de La Villette

Place du Colonel Fabien From the roof

Green Re-Articulates Red 2.1. Study of the Parisian Climate MONTHLY DIURNAL AVERAGES - Paris

The graph on the right (Monthly Diurnal Average) is showing the average temperatures in relation to direct and diffuse radiations and comfort zones. Paris average temperatures are mainly located under the comfort zone between October and April (blue zone). Direct Solar radiation could help heating up a building but is not convenient for usual activities within the building and the use of too much glass could result in great heat loss. Between the month of April and October a great proportion of the average temperature are located above the comfort zone. During this period the direct solar rays should be blocked, mainly in the middle of the day. Below are the extremes - Brightest day, most overcast day, hottest day and coldest day. The brightest day (the one with the most direct solar radiation) is not the hottest day. Still the temperatures reach 27°C that day. During the hottest day the solar radiation reaches 0.5 kW/m² while in the brightest day, the radiations reaches 0.75 kW/m². Reducing the amount of direct radiation will help cooling the building but also allowing cross ventilation. On the contrary Wind should be stopped during the most overcast and coldest day as it reaches very high values.

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LEGEND Temperature Rel.Humidity Wind Speed

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Comfort : Thermal Neutrality Average diurnal temperature below the confort zone - Heat required Average diurnal temperature in the confort zone - No intervention Average diurnal temperature above the confort zone - Cooling required

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DAILY CONDITIONS - 12th July - Hottest Day

DAILY CONDITIONS - 6th January - Most Overcast Day

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Brightest Hour 13:00 Direct radiation: 750 W/m² Temperature: 25.6 °C

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Hottest Hour 15:00 Temperature: 29.7 °C Direct solar radiation: 493 W/m²

Most Overcast Day Average Direct Radiation: 0%

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Coldest Hour 07:00 Temperature: -6.2 °C Radiation: 0 W/m²

Stereographic Diagrams Location: 48.8°, 2.4° Sun Position: -178.9°, 18.5° HSA: -178.9° VSA: 161.5°

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Location: 48.8°, 2.4° Sun Position: 103.4°, -15.4° HSA: 103.4° VSA: -130.1° Time: 07:00 Date: 21st Jan Dotted lines: July-December.

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Location: 48.8°, 2.4° Sun Position: -176.2°, 64.6° HSA: -176.2° VSA: 115.4°

Green Re-Articulates Red 2.2. Study of the Local Solar Conditions Daily Sun-path Diagram 21st January - 12th July

Shadow Mapping 21st January (Coldest Day)

Shadow Mapping 12th July (Hottest Day)

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Pictures of the Eastern Side of the Building: Taken on Monday 22nd October 2007 at 11:00.

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1. Direct Sun on the facade 2. 3. The sun hits the facade, the users added curtains. 4. Protection from the central core 5. Protection from the surrounding walls

Red area defines hours of the day where the South-East facade is overexposed to direct solar radiation

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75° 1 20°

90° 1 05°

Shadow Mapping 21st January from 9:00 to 17:00

1 35°

75° 1 20°

90° 1 05°

Shadow Mapping 12th July from 6:00 to 20:00

5. P10

Green Re-Articulates Red 2.3. Environmental Measures in the Existing Building

Environmental Measurements in the PCF - Thursday 24th January 2008 from 8h40 to 18h00 2008

345°

View From Office 1

1 5°

330°

The Dome provides Reflexion to the entire building. It is a light in itself. It raises the question of light diffusion through global shapes.

30°

31 5°

45°

J J

300°

60° A

office 1

office 2

285°

75° S

270°

90° O

View Of Office 1 M

On the left of the image, the door leads to another office. Those circulations are rarely used and could be a good opportunity for creating a buffer zone.

255°

1 05° N F 240°

09 D

17 J

1 20°

10 10

1166 225°

1 35°

1 15 5

11 1 41 4

12 12

13 13

21 0°

1 95°

1 50°

1 65°

1 80°

Plan View of the Measured Level Sun Path Diagram indicating the 24th January

Left: View Of Office 1 The Ceiling is tilted to follow the structure. On the left is one of the movable and integrated furniture the Niemeyer designed.

13 1142 13 12 14

1151 11 15 1160 10 16

17 09

Right: View of Office 2

9 1 8 0 °1 19 65°

1 15 0 ° 2

225° 1 35°

2 4 0 °D1 2 0 °

2 5 5 ° 1 0 5 °M

O 270° 90°

20000

1000

18000

900

16000

800

14000

700

12000

600

10000

500

Office 2 measure 1

8000

400

Office 2 measure 2

6000

300

Roof

4000

200

2000

100

Measurement of Luminosity

S2 8 5 ° 7 5 °

A 3 0 0 ° 6J 0 °

31 5° 45°

33300°°

31455°° N

Office 1 measure 1 Office 1 measure 2

0 08:40

Office 1 measure 1

Office 1 measure 2

Office 2 measure 1

Office 2 measure 2

0 09:00

09:20

09:40

10:40

11:00

11:20

11:40

12:50

13:10

13:30

13:50

15:00

15:20

15:40

16:00

17:00

17:20

17:40

18:00

08:40

09:00 09:20

09:40

10:40

11:00

11:20 11:40

12:50

13:10

13:30

13:50

15:00 15:20

15:40

16:00

17:00

17:20 17:40

18:00

Roof P11

Green Re-Articulates Red 2.4. Case Study : The Esplanade Theatres in Singapore 2.4.1. Geometrical and Construction Logic

Studying the Structure “The steel structure is a double-layered space frame with two directions of its triangular external grid following exactly a predefined network of rhombi with constant edge lengths of 1.5m and a third direction of lines of varying length, which enable adapting the grid to the free-form surface.” Source: The Geometrical Processing of the Free-form Envelopes for The Esplanade Theatres in Singapore (Sanchez-Alvarez J.)

Sunshades geometry Two examples of module variation keeping the geometrical constraints H represents the height of the sunshade device, it is normal to the surface defined by the rhombus L is the maximum length that can reach the device, at length L, it would cover entirely the glazing

>> In geometry, a rhombus (or homb; plural rhombi) is a quadrilateral in which all of the sides are of equal length. The diagonals of a rhombus are perpendicular to each other. See on the right for geometrical rules of a Rhombus

Square-On-Diagonal Double-Layered Grid and its polyhedral components

The geometrical rules defining of a Rhombus

L H

l=1.5 m

Colour Coding of the Sunshades

Source http://www.merotsk.de/uploads/tx_cwtcartoongallery/esplanade_theatres_in_s ingapore.pdf

Half a Cube-Octahedron+Diagonal 90 cm

According to the degree of horizontality or of verticality of glazing, a certain type of component is selected. Not all the components are different, the same colours represent similar components. “Except for special edge elements, the two domes required no more than twenty five different rhombic patterns”

1.50 m

External Grid Internal Grid

P12

Green Re-Articulates Red 1.4. Case Study : The Esplanade Theatres in Singapore 1.4.2. Environmental Simulations

Prorotype of the structure

North to South Section through the Lyrical theatre

Northen fragment of the structure within Singapore’s daily and annual sunpath The sun angle represented here is the 5th April at 13:00

12 11

5th April - 13:00 VSA 85.7 ° direcion North Day with the most sun radiation Test Parameters Solar Ray spacing : 1000 Bounces : 5

Section through the system and tested 3D sun angles Initial Ray Angle

1st Bounce of Rays 2nd Bounce of Rays 3rd Bounce of Rays 4th Bounce of Rays

09 9

17 17

08 8 1 20°

1 35°

1 50°

1 65°

1 80°

1 05° 1 st D e c 1 st N o v

1 95°

18 225°

7 5 °1 s t S e p

60°

21 0°

90° 1 st O c t

240 1 °9

1 st A u g 1 st Ju l

19 1 st Ja n 2b 55° 1 st Fe 1 st M a r

45°

270° 1 st A p r

30°

1 st M a y 285° 1 st Ju n 1 5° 300°

31 5° 345°

Architect’s Statement

Axonometric View showing the construction lines

Axonometric View

330°

North Elevation

The Point of this study is to Test the Structure with solar ray analysis and compare the results to the architect’s statement:

Extract from Atelier One’s Website : Design Sun Time: 1200-1300 hrs Sun Altitude Angle: 68 N “This part of the facade is exposed to the highest angle sunlight only, it incorporates the transitional zone from roof to wall.

3rd January - VSA 114.3 ° direcion South Hottest day in the year Test Parameters Solar Ray spacing : 1000 Bounces : 5

Initial Ray Angle

1st Bounce of Rays 2nd Bounce of Rays 3rd Bounce of Rays 4th Bounce of Rays

Shading overhangs are short in the wall section and extend as curve turns towards the horizontal. Views from the interior are virtually uninterrupted. Some interreflection between shading elements contributes at lower angles to the diffuse light internally. The effective shading coefficient will exceed those of either horizontal or vertical shading devices and an SC of less than 0.3 should be achieved (subject to detailed calculation)”

Atelier One Key Points:

- A set angle and attitude of the sun is being used for the design (highest angle, 1200-1300 hrs) - A relationship is instaured between the angle of the glazing and the length of the overhangs. -Inter-reflections between shading elements creates diffuse internal light at lower anlgles - Visibility is one of the paramters - 30% of the glazing is still exposed to the sun

Conclusions from the Analysis: The Northern part of the building is only threatened by rays hitting the upper surface of the structure. No inter-reflections occur within the lower part but it does happen on the upper part. The structure should be tested with lower sun ray angles. A Study should be done about the relationship between the floors and the structure. P13

Green Re-Articulates Red 2.5. Defining a Component 2.5.1. Geometry and Varying Parameters

FRONT 1

Component Geometrical and Symbolic View

CircleRadius 1m 0.5m

45° Len

gth

bsp

line

:0 13 e- y Junst Da th 25 ighte Br

Side

point02 point05[1]

Variables: CircleRadius (Radius of Circle01) = 0.5 EDGE (TValue of point06 and point07) = 0.875 (Neutral) FRONT= 90° Fixed Value: Side Length=2m

=2 m

Cur

ve0 3

CR=1m E=1 F=45°

CircleRadius

90°

CircleRadius

bsplineCurve05

6 rv e0 pli ne bs

rve

CS01

point08 point07

bsplineCurve05

bsplineCurve04

180°

ve0 1

e0 rv

pli

Cur

CR=1m E=1 F=135°

line

ne pli

point09

bsp

bsplineCurve07

CR=1m E=1 F=90°

135°

circle01

ti rec

point02 point05[1]

point03 point05[2]

point06

direction02

point08

CS01 bsplineCurve06

bsplineCurve07 point09

direction02

point08

CS01

CR=1m E=1 F=180°

point09

225°

CR=1m E=1 F=225°

point01 point05[0]

270° bsp

line

Cur

ve0 2

CR=1m E=1 F=270°

Color Coding:

point04 point05[3]

Variables and Base C.S. Hidden Features Construction Features Active Features

point04 point05[3]

point05[2]

315°

point03

CR=1m E=1 F=315°

360°

CoordinateSystem

CR=1m E=1 F=360°

baseCS

Point

point02

point04

point01

point03

G.C. Script transaction modelBased "COMPONENT" { GraphVariable

Polygon

feature CircleRadius GC.GraphVariable {Value = 0.5; LimitValueToRange = true; RangeMinimum = 0; RangeMaximum = 1; RangeStepSize = 0.0;}

EDGE

polygon02

Point

point05

point06

point07

BSplineCurve

EDGE

BSplineCurve

feature EDGE GC.GraphVariable {Value = 0.875; LimitValueToRange = true; RangeMinimum = 0.5; RangeMaximum = 1; RangeStepSize = 0.0;}

BSplineCurve

bsplineCurve04 bsplineCurve03 bsplineCurve02 bsplineCurve05

bsplineCurve01

CoordinateSystem GraphVariable

BSplineSurface

coordinateSystem01CircleRadius

bsplineSurface01

Direction

Circle

direction02

circle01

GraphFunction

BSplineCurve

graphFunction03

BSplineCurve

bsplineCurve07 bsplineCurve06

BSplineSurface

bsplineSurface04 bsplineSurface05

GraphVariable FRONT

Point

point08

point09

feature FRONT GC.GraphVariable {Value = 90; LimitValueToRange = true; RangeMaximum = 360.0; RangeStepSize = 0.0;} feature bsplineCurve01 GC.BSplineCurve {Points = {point06,point07}; ConstructionsVisible = true; IsConstruction = false;} feature bsplineCurve02 GC.BSplineCurve { Points = {point05[0],point05[1]}; IsConstruction = false;} feature bsplineCurve03 GC.BSplineCurve {Points = {point05[3],point05[2]}; IsConstruction = false;} feature bsplineCurve04 GC.BSplineCurve { Points = {point05[3],point05[0]}; IsConstruction = false;} feature bsplineCurve05 GC.BSplineCurve {Points = {point05[2],point05[1]}; IsConstruction = false;}

feature bsplineCurve06 GC.BSplineCurve {Points = {point06,point09,point07}; IsConstruction = false;} feature bsplineCurve07 GC.BSplineCurve {Points = {point06,point08,point07}; IsConstruction = false;} feature bsplineSurface01 GC.BSplineSurface {Curves = {bsplineCurve02,bsplineCurve03}; IsConstruction = true; Visible = false;} feature bsplineSurface04 GC.BSplineSurface {Function = graphFunction03; FunctionArguments = {bsplineCurve07,bsplineCurve04,bsplineCurve02,EDGE};} feature bsplineSurface05 GC.BSplineSurface { Function = graphFunction03; FunctionArguments = {bsplineCurve06,bsplineCurve05,bsplineCurve03,EDGE};} feature circle01 GC.Circle {CenterPoint = coordinateSystem01; Radius = CircleRadius; Support = coordinateSystem01.YZPlane; ConstructionsVisible = true; IsConstruction = true; Visible = false;} feature coordinateSystem01 GC.CoordinateSystem {Curve = bsplineCurve01; T = .5; HandlesVisible = true; IsConstruction = true;} feature direction02 GC.Direction {Surface = bsplineSurface01; U = .5; V = .5;}

feature graphFunction03 GC.GraphFunction {Definition = function (BSplineCurve MidCurve, BSplineCurve VertCurve, BSplineCurve HorCurve, double EDGE) {BSplineSurface myLOFT; if (EDGE<.75) {myLOFT = new BSplineSurface (this); myLOFT.LoftCurves({VertCurve, MidCurve});} else {myLOFT = new BSplineSurface (this); myLOFT.LoftCurves({HorCurve, MidCurve});}};} feature point01 GC.Point {CoordinateSystem = baseCS; XTranslation = 1; YTranslation = 0; ZTranslation = <free> (0); HandlesVisible = true; IsConstruction = false; Visible = true;} feature point02 GC.Point {CoordinateSystem = baseCS; XTranslation = 3; YTranslation = 0; ZTranslation = <free> (0); IsConstruction = false; Visible = true;} feature point03 GC.Point {CoordinateSystem = baseCS; XTranslation = 3; YTranslation = 0; ZTranslation = 2; IsConstruction = false; Visible = true;} feature point04 GC.Point {CoordinateSystem = baseCS; XTranslation = 1; YTranslation = 0; ZTranslation = 2; IsConstruction = false; Visible = true;}

feature point05 GC.Point {Curve = polygon02; T = Series(0,1,.25); SymbolXY = {100, 104}; HandlesVisible = true; IsConstruction = false;} feature point06 GC.Point {Curve = polygon02; T = EDGE; HandlesVisible = true; IsConstruction = true;} feature point07 GC.Point {Curve = polygon02; T = EDGE- .5; HandlesVisible = true; IsConstruction = true;} feature point08 GC.Point {Curve = circle01; T = FRONT*(0.5/180); HandlesVisible = true; IsConstruction = true;} feature point09 GC.Point {Curve = circle01; T = (FRONT*(0.5/180))+0.5; IsConstruction = true;} feature polygon02 GC.Polygon {Vertices = {point04,point03,point02,point01}; IsConstruction = false; Visible = false;} }

P14

Green Re-Articulates Red 2.5. Defining a Component 2.5.2. Environmental Constraints SEE MONTHLY DIURNAL AVERAGES - PARIS to understand the study that follows 1st November is the beginning of the first month which average temperatures are always below the comfort zone. The angle of the solar rays that corresponds to November 1st daily solar path is the same than the one for February 10th. One would want an constant angle from the 1st November to the 1st May. One has to decide which months of the year could be qualified as overly warm. To do so, one should look at several sun path angles within those months and compare them to extract different scenarios to the most extreme protection (no sun during hot months) to the most permissive solution (let the sun from October and April)

Stereographic Diagrams

345°

Left: Location: 48.8°, 2.4° Sun Position: -172.9°, 26.7° HSA: -172.9° VSA: 153.1°

Location: 48.8°, 2.4° Sun Position: -174.4°, 55.8° HSA: -174.4° VSA: 124.0°

15°

330°

30°

315°

45°

30° 10°

315°

45° 20°

20°

1st Jul

30°

300°

1st Jul

1st Jun 60°

20 50°

1st Aug

60°

285°

1st Oct

270°

90°

1st Oct

10 15

1st Mar

255°

105°

1st Mar

255°

10th Feb

1st Nov

1st Apr

80°

9 16

70°

8 90°

75°

1st Apr

80°

60°

285° 1st Sep

70°

270°

50°

75°

1st Sep

105°

1st Nov

1st Feb 240° 1st Dec

1st Feb

120°

240° 1st Dec

1st Jan

225°

135°

210°

120° 1st Jan

225°

135°

150° 195°

210°

150°

165°

180°

195°

Elevation and planar view of Solar Ray

165°

180°

Time: 13:00 Date: 1st May (121)

Time: 13:00 Date: 15th Oct (288) Dotted lines: July-December.

345°

175°

173°

27°

Date: 1st Nov (305) Time: 13:00

Location: 48.8°, 2.4° Sun Position: -173.0°, 32.7° HSA: -173.0° VSA: 147.1°

1st Jun 60°

1st May

40° 20

1st May

30°

300°

40°

1st Aug

Solar Path Diagram for Transitional Monthes

15°

330°

Time: 13:00 Date: 1st May (121) Dotted lines: July-December.

10°

Time: 13:00 Date: 1st Nov (305) Dotted lines: July-December.

345°

“Warmer” Scenario 1st May

“Colder” Scenario 15th October

Data for the Hottest Day - 12th July Data for the Coldest Day - 21st January

Location: PARIS Date/Day: Equation: Declination: Sunrise: Sunset:

1/5 (Day 121 of 365). 2.951 minutes 14.743° 05:37 19:57

Location: Date/Day: 365). Equation: Declination: Sunrise: Sunset:

14.259 minutes -8.269° 07:14 17:57

Location: Date/Day: 365). Equation: Declination: Sunrise: Sunset:

-5.47 minutes 22.123° 05:05 20:46

LOCAL 1. 06:00 2. 06:30 3. 07:00 4. 07:30 5. 08:00 6. 08:30 7. 09:00 8. 09:30 9. 10:00 10.10:30 11.11:00 12.11:30 13.12:00 14.12:30 15.13:00 16.13:30 17.14:00 18.14:30 19.15:00 20.15:30 21.16:00 22.16:30 23.17:00 24.17:30 25.18:00 26.18:30 27.19:00 28.19:30

SOLAR 05:12 05:42 06:12 06:42 07:12 07:42 08:12 08:42 09:12 09:42 10:12 10:42 11:12 11:42 12:12 12:42 13:12 13:42 14:12 14:42 15:12 15:42 16:12 16:42 17:12 17:42 18:12 18:42

LOCAL 1. 07:30 2. 08:00 3. 08:30 4. 09:00 5. 09:30 6. 10:00 7. 10:30 8. 11:00 9. 11:30 10.12:00 11.12:30 12.13:00 13.13:30 14.14:00 15.14:30 16.15:00 17.15:30 18.16:00 19.16:30 20.17:00 21.17:30

SOLAR 06:53 07:23 07:53 08:23 08:53 09:23 09:53 10:23 10:53 11:23 11:53 12:23 12:53 13:23 13:53 14:23 14:53 15:23 15:53 16:23 16:53

LOCAL 05:30 06:00 06:30 07:00 07:30 08:00 08:30 09:00 09:30 10:00 10:30 11:00 11:30 12:00 12:30 13:00 13:30 14:00 14:30 15:00 15:30 16:00 16:30 17:00 17:30 18:00 18:30 19:00 19:30 20:00 20:30

AZI ALT 59.73 3.44 65.15 7.82 70.47 12.39 75.73 17.12 81.03 21.96 86.43 26.86 92.04 31.8 97.98 36.72 104.41 41.57 111.52 46.26 119.58 50.72 128.88 54.81 139.76 58.34 152.44 61.11 166.79 62.83 177.87 63.31 162.7 62.47 148.76 60.44 136.59 57.44 126.17 53.73 117.25 49.52 109.48 44.99 102.58 40.24 96.3 35.37 90.47 30.44 84.93 25.51 79.56 20.62 74.28 15.8 69.01 11.12 63.67 6.59 58.21 2.28

48.8°, 2.4° (15°)

30°

315°

45° 20° 5

30°

300°

1st Jun 60°

90°

1st Oct

9 16

15th Oct

No ve m

255°

-1

00 t13 :00

1st Mar

r1 s

10 14

0 :0

1st Apr

80°

105°

10 24

2. “Colder” Scenario - Blocking beyond October 15th 225°

° 56

20 21

6 5

E 2

N N

r1 s

-1

0 :0

33° 27°

173°

No ve m

y Ma

33°

AZI ALT 125.27 2.56 131.16 6.44 137.3 9.98 143.73 13.12 150.44 15.8 157.44 17.97 164.67 19.58 172.09 20.57 179.6 20.93 172.88 20.64 165.45 19.71 158.19 18.17 151.17 16.06 144.42 13.42 137.97 10.33 131.79 6.83

SOLAR 07:58 08:28 08:58 09:28 09:58 10:28 10:58 11:28 11:58 12:28 12:58 13:28 13:58 14:28 14:58 15:28

165°

Time: 13:00 Date: 15th Oct (288)

LOCAL 09:00 09:30 10:00 10:30 11:00 11:30 12:00 12:30 13:00 13:30 14:00 14:30 15:00 15:30 16:00 16:30

150°

180°

48.8Â°, 2.4Â° (15Â°). 21/1 (Day 21 of 365). -11.181 minutes -20.268Â° 08:41 17:21

135°

8 26

120° 1st Jan

195°

Location: Date/Day: Equation: Declination: Sunrise: Sunset:

9 25

1st Feb

210°

SOLAR 04:34 05:04 05:34 06:04 06:34 07:04 07:34 08:04 08:34 09:04 09:34 10:04 10:34 11:04 11:34 12:04 12:34 13:04 13:34 14:04 14:34 15:04 15:34 16:04 16:34 17:04 17:34 18:04 18:34 19:04 19:34

1st Nov

240° 1st Dec

19 20

11 S 10

70° 18

270°

75°

y Ma

60°

285°

17 18

1st May

50°

33° 27°

40°

1st Aug

AZI ALT 105.57 2.5 111.35 7.18 117.33 11.68 123.59 15.94 130.2 19.89 137.2 23.46 144.64 26.57 152.51 29.15 160.79 31.11 169.4 32.38 178.19 32.91 172.98 32.69 164.28 31.72 155.86 30.03 147.81 27.7 140.19 24.79 133.02 21.4 126.25 17.6 119.86 13.46 113.77 9.05 107.91 4.43

48.8°, 2.4° (15°). 12/7 (Day 193 of

1. “Warmer” Scemario - Blocking beyond May 1st

10°

1st Sep

AZI ALT 71.47 3.47 76.98 8.22 82.46 13.08 87.99 18 93.67 22.94 99.58 27.85 105.87 32.66 112.65 37.33 120.11 41.75 128.43 45.83 137.78 49.44 148.29 52.42 159.94 54.58 172.49 55.75 174.1 55.85 161.94 54.84 150.11 52.83 139.41 49.98 129.88 46.46 121.41 42.44 113.82 38.07 106.93 33.44 100.58 28.64 94.61 23.75 88.91 18.81 83.36 13.88 77.88 9.01 72.38 4.24

48.8°, 2.4° (15Â°). 15/10 (Day 288 of

Scenarios for Solar Rays Blocking

15°

330°

1st Jul

Solar Path Diagram for Extreme Temperatures

t13

:00

1. “Warmer” Scenario 1st May Solar Path Diagram - Perspective

2. “Colder” Scenario 15th October Solar Path Diagram - Perspective

P15

Green Re-Articulates Red 2.5. Defining a Component 2.5.3. Behaviour on Different Surfaces Constraining components to an external agent

The solar rays are all parallel therefore a simple array of sun-shading components would not need to have differences. We shall look at more intricate cases in which the base surface is curved. This requires the intelligence of computation.

Array 1 - “Warmer” Scenario - 1st May

Array 2 -“Colder” Scenario - 15th October

Altitudes

Azimuthes

Solar Path - 1st May Solar Path - 15th October

Array 1 and 2 CircleRadius= 0.5 m EDGE=0.875 (neutral) FRONT= May (55.95) TIMEDEC (Time of the Day)=0.5 (12:45)

Array 1 and 2 CircleRadius= 1 m Changing CircleRadius which is the variable representing the length of the opening has no implication on the angle of aperture.

43.27°

Array 1 and 2 CircleRadius= 0.5 m EDGE=0.95 There is no continuity between the threads composing the components

Array 1 and 2 CircleRadius= 0.5 m EDGE=1 A precise relationship has to be found between the EDGE variable and the azimuth+global form position

40.25°

48.46°

52.73°

56.26°

40.25°

43.27°

48.46°

52.73°

29.23° 43.27° 48.46°

33.26°

24.83°

55.95° 52.73°

14.96°

20.07°

59.21°

29.23° 36.93°

14.96°

33.26°

24.83°

14.96° 3.98°

48.46°

24.83°

40.25°

33.26°

24.83°

14.96°

43.27° 9.58°

33.26°

56.26°

55.95°

36.93°

40.25°

59.21°

33.26°

36.93°

40.25°

14.96°

3.98°

20.07°

3.98°

29.23°

3.98°

36.93°

3.98°

43.27°

Array 1 CircleRadius= 1 m EDGE=1 (45Deg) FRONT= May (55.95) TIMEDEC (Time of the Day)=0.5 (12:45)

Array 1 Construction Lines showing the difference between the angles (see zoomed axo)

Zoomed Axonometry The only angle varying is the one located at the center of the polygon’s diagonal line, which sides are the sun’s azimuth and the the normal to the polygon at the center of its diagonal.

Array 1 CircleRadius= 1 m EDGE=0.875 (Neutral) FRONT= May (55.95) TIMEDEC (Time of the Day)=0.5 (12:45)

P16

Green Re-Articulates Red 2.5. Defining a Component 2.5.4. Sun Testing

25t

1st January - Overlay of Shadows from 9:00 till 13:00

yMa

h ju

t 1s

-B -1

o ari en

0 3:0

-1 5-

t An

gle

wes

- 13

:00

- Alt

itud

- Lo

itu Alt

ary

de ltitu -A

2:4

janu

Radiance rendering for 25th June - 13:00 Brightest Day

y Da

1st

Radiance rendering for 1st January - 13:00 Day with the lowest sun Angle

est

er"

t righ

arm "W

Section 1. Circle Radius = 0.5 m FRONT = 56° EDGE = 0.875

Setup: The Components are being assembled into clusters of three by three, forming a facade of 6m by 6m. This cluster forms the opened area of a box which depth relates to the component’s impact on the sun ray angles.

5.3 m

0.8 m

2.2 m

4.5 m

1.7 m

25t

4.1 m

h ju t righ -B

tob

- Lo

wes

ari

t An

gle

:45

- 13

:00

-A

ary

lde

ltitu -A

janu

1st

13:

Circle Radius = 0.5 m FRONT = 33° EDGE = 0.875

Section 2.

est

ltit

- Alt

itud

h ju

25t

1s er"

righ

-B

arm W

tes

- Lo

wes

t An

gle

- 13

:00

ary

janu

itud

ltit

1st

Circle Radius = 1 m FRONT = 56° EDGE = 0.875

Alt

-A

:45

3:0

-1

ari

Section 3.

- Alt

itud

h ju

25t

lde

t An

ari

gle

:45

- 13

:00

-A

ltit

- Alt

wes

itud

- Lo

Alt

ary

janu

13:

1st

Circle Radius = 1 m FRONT = 33° EDGE = 0.875

tob

Section 4.

tes

righ

-B

Situd

Conclusions: Sections - Depth of spaces and Mezzanines It depends on the point reached on the floor by the 1st January Solar Ray. The Lengths of Mezzanines are always similar what changes is the depth of the spaces: Going from 15.8 m where the FRONT angle and the CircleRadius parameters are the lowest to 17.4 m when those two parameters are the greatest.

Section 1. Total Length : 16.4 m Section 1. Mezzanine : 8.9 m Section 2. Total Length : 15.8 m Section 2. Mezzanine : 8.9 cm Section 3. Total Length : 17.4 m Section 3. Mezzanine : 8.9 cm Section 4. Total Length : 16.2 m Section 4. Mezzanine : 8.9 cm

Success: -The back wall is never exposed to direct solar rays while remaining as close to it as possible. -No Direct Solar rays enter during the whole day between the period that the specific constrained components has been set to. -When CircleRadius increases it allows more diffuse lightning inside and increases the area of transparency. Failure: Not enough light enters within the room. This should be quantitatively tested with Lux and Program. P17

Green Re-Articulates Red 2.5. Defining a Component 2.5.5. Generative Component Sequence Below is a sequence showing live changes of the sun-shading component in G.C. A script was written in C+ to calculate bouncing solar rays with the help of Ying Chen from Buro Happold.

P17â&#x20AC;&#x2122;

Green Re-Articulates Red 3.1. Circulation Through the PCF Right : Analysis of the different circulation types and paths available throughout the building and from the street.

Exploded Plan Axonometry and Circulation Diagram Legend

Below : Plan and Section through the site

Staircases Emergency Staircases Lifts Car access

First Level +8.70

) (+4.70

Clos er-Gro u ed E ntran nd Le vel ( ce +

0.00 )

evel round L Upper-G nce tra Main En

Low

Aâ&#x20AC;&#x2DC; Upper Ground Level

+4.70 S

0) 0.0 Exit l (+ ncy ve rge Le me nd nd E rou ce a r-G tran we en Loervice

Car Entran ce

Main Entr ance

Avenue Ma thurin

Moreau

and

te illet aV eL rd d xit yE leva enc Bou erg Em

ce ran ent vice Ser

Lower Ground Level +0.00

nce n ntra Fabie E sed nel Clo Colo du ce Pla

Roof Accessible to public

Closed Entrance +0.00

Place Du Colonel Fabien

Level -1 +0.00

Section AAâ&#x20AC;&#x2122;

Gallery Space / Reception Area

P18

Green Re-Articulates Red 3.2. Ground Condition Chart 3.2.1. Separated Grounds/Ramps/Grounds 1. Separated Artificial Grounds

Separating the building from the ground using pilotis was a paradigm of modernist Architecture. Yet Niemeyer builds his building as extension of the ground, what is then elevated is often used as a roof to connect buildings between them. This unusual type is called “Marquise”. 1.1. Elevated floors_Marquise

1.1.2.

1.1.1.

1.1.3.

1.1.2.

1.2 Elevated Solids

1.1.1. Arcade 1.1.2. Unaccessible Marquise_Roof 1.1.3. Walkable Marquise(s)_Roof

2. Ramps, Staircases and Stramps

Ramps are not classified within the elevated ground category since they touch the ground on both ends thus being in between the artificial elevated ground and the artificial ground 2.2. Linking Two Parts of a City

2.1. Linking Building to the City

height :10m

=3°

height :4m

1936 - 1943 : Ministry of Education and health, Rio de Janeiro

2.3. Linking parts of the building within it

11m 3m

10° 8°

2.5. Links parts of the building outside it

2.5.2. Un-covered

2.5.1. Covered

2.4. Stramps and Staircases

2.4.3.2.4.2.

2.4.1.2.4.4.

2.5.1. Covered

2.4.1. Open

2.5.2. Un-covered

2.4.2. Enclosed within a volume 2.4.3. Linked to the city 2.4.4. Linking two parts of a building within it 2.4.5. Linking two parts of a building outside it 2.4.6. Linking two parts of a city

3. Grounds

Grounds whether artificial or natural, could be defined as surfaces connected in their entirety to the earth (Local groundl level) 3.1. Artificial Sloping Grounds 3.1.1. Appropriate for Walking

3.1.1.3.3.1.1.5.

3.1.1.2.

1950 - 1970 : Cathedrale, Brazilia, Brazil

1953 : Bienal Fundation, Sao Paolo, Brazil

3.1.1.3.3.1.1.4.3.1.1.5.

3.1.1.1. Within the City 3.1.1.2. Within the building 3.1.1.3. Linked to the City 3.1.1.4. Inhabitable Bifurcation 3.1.1.5. Entirely Paved

3.1.1.6. Partly Paved Partly”Natural”

3.1.1.6.3.1.1.3.

3.1.1.2.

1998-2002 : Greather Authority London (London City Hall) by Norman Foster

3.1.1.2.3.1.1.7.

3.1.1.7. Entirely “Natural”

3.1.1.3.3.1.1.4.

3.1.1.7. Stramps and Staircases

10°

5°

+2m +0m -3m

1986-1995 : Museu Brasileiro de Escultura by Paulo Mendes da Rocha

1972 : Employment Office, Bobigny, France

1953 : Temporary Pavilion for the fourth bicentenary exhibition, Sao Paulo, Brazil

P19

Green Re-Articulates Red 3.2. Ground Condition Chart 3.2.2. Grounds 3.1.1.5.

3.1.1.3.

3.1.1.2.

3.1.1.3.3.1.1.6.

808,58

806,24

13°

806,24

801,82

799,10

796,21

41°

8°

810,66

RUA VERGUEIRO

801.40

AVV. .2 3D EM AIO O

V73

796.90

1952 : Edificio Copan, Sao Paolo

3.1.2. Appropriate for seating_laying down

4.1.3. For Cars

3.2. Artificial Unaccessible Grounds

62 °

15°

56 °

165°

45 °

20 m 128°

24°

40 °

29°

36°

35 ° 36°

31 °

13°

59°

14°

9°

61°

8°

37° 19°

80 °

44°

4°

62 °

15°

56 °

165°

45 °

20 m 128°

31 °

3.3.4. 4.3.1.

3.3.4. 3.3.2.

3.3.4. 3.3.1.

29°

36° 36°

13°

14°

59°

9°

61°

37° 19°

80°

8°

3.3. Natural and Artificial Flat Grounds

24°

35 °

40°

44°

4°

3.3.4. 3.3.2.

3.3.1. Fully Paved 3.3.2. Partly Paved, Partly Natural 3.3.3. Fully Natural 3.3.4. Link to the City

P20

Green Re-Articulates Red 3.2.3. Barriers / Articulating Accessibility 5. Limits/Barriers/Guides Barriers are a big issue for any so-called “public” Architectural project. Since the notion of “Ground” in Architecture goes hand in hand with the one of “Democratic Space”, barriers could be seen as the enemy of democracy. Barriers not only block the access to a space but also force to take a specific path or entrance. If steel barriers or walls are often ugly and aggressive, water or highly angled slopes can diminish their harshness. They can also help to guide people to specific view points.

5.1. Steel Fences

5.3. Elevated Floors

5.4. Vegetation

Vegetation, in the case of the PCF, not only prevents from people accessing special areas but it also hides unwanted features such as air conditioning vents.

5.2. Water

5.6. Height limitations

5.5. Steep Slope (see 4.2)

5.7. Fragile or Subtle Barriers

5.6. Temporary Barriers due to unexpected events or changes.

From the initial ambition of having a barrier free building, Niemeyer disregarded some basic principles such as balustrades.

6. Articulating Accessibility

Working with the ground requires a reflexion on structural / porosity / interconnectivity / light reflection issues.

Architect is not Oscar Niemeyer

6.1 Structure

Elements of accessibility imply very specific structures. In most cases, an external element supports the weight of the ramps. A specific case that has not been encountered is when the ramp would itself be structural.

6.2 Inter-connections

Connections between two Architectural elements related to accessibility either imply structure, light, porosity or accessibility itself.

6.3. Security

6.4. Porosity

Accessibility in Architecture is a domain that is constrained by legal issues: Handicapped people, firemen, security. All this has often not been taken in consideration by Oscar Niemeyer thus leading to a negative transformation of the initial concept.

Smooth and continuous surfaces used for accessibility are often associated with dark spaces. Oscar Niemeyer used several modular methods to provide natural light within the building.

P21

Green Re-Articulates Red 3.3. Case Study of the Pompidou Center

50m

History Ordered by French president George Pompidou, the centre that carried his name to posterity was built in place of a large open-air Parking lot in the middle of the Latin Quarter in Paris. The jury of the international competition was chaired by Jean Prouvé and had amongst its member Oscar Niemeyer who was by then in exile from Brazil’s dictatorship. Niemeyer did not like at first the winning proposal of Renzo Piano and Richard Rogers because of its brutality but was convinced later on by Prouvé.

140m

The main point of the proposal was a gigantic inclined plaza occupying half of the site and that would be the location of multiple barrier-less events. Two years before that, the student rioted against the government during the event of Mai 68. The winners, themselves were both in their thirties.

Scale The plaza was designed to be as wide and long as the museum itself in order to accommodate popular events or happenings outside the enclosed boundaries of the galleries. The scale of this plaza creates an area that one cannot ignore, the slope itself pushes the passer-bys to become viewers.

Texture The plaza is subdivided into tiles of 8 meters by 13 meters and is distributed by large boat-like parking exhaust, all those features increase the perception of scale. The few greenery of this plaza is bound to the edge and is used to separate the linear and the more meandering flows.

Usage The plaza covers and hides a gigantic parking lot. The only indications of this are extravagant exhaust vents. On the gentle slope forming the plaza, the architects (Renzo Piano and Richard Rogers) planned tent-like structures to accommodate events or simply to protect from rain. This architecture probably became unnecessary and too fragile to stay. Parking

4º - 7%

Should such a democratic ground have more architectural elements or is its flatness enough? Is its neutrality the reason of its success?

A Feeling of Democracy - A Political Space The scale, dimension and neutrality of the plaza highlight the events and organization of people enabling both large scale formations as well as intimate activities. In either case, the plaza awakes a sense of democracy and publicness to the person that pass by it. It makes one feel that he is part of something greater than himself. It is therefore a very strong political ground as the Roman forum use to be. P22

Green Re-Articulates Red 4. Prototype 4.1. Plan

345°

1 5°

330°

30°

19.2

31 5°

45°

1 st Jul 1 st Jun 300°

60°

10.2

Sun Path of the 1st May / Mid 21h00 August in Paris, France 1 st M ay

1 st Aug

05h00

10.1

06h00 33.0

285°

75°

1 st Sep 07h00

19h00

1 st Apr

18h00

270°

50.5

90°

08h00 1 st Oc t

17h00 1 st M ar

16.2

9h00

255°

16h00

1 05°

1 st Nov

10h00

11.9 1 st Feb

15h00 11h00

240°

14h00

1 st Jan

1 20° 1 st Dec

12h00 4.2

13h00

Initial Prototype

18.2

225°

1 35°

24.5

21 0°

1 50°

1 95°

1 65°

The plan shows the relationship between the component and the surface it stands on. It responds to two factors: The Sun and its location (angle of the polygon it stands on). This plan also shows the two surfaces dedicated to two different functions : Stairs and Sun Protection.

1 80°

P23

Green Re-Articulates Red 4.2. Sections and Elevations The Design follows two main rules : -One component and the surface it seats on responds to the sun ray of the 1st May/1st September. -One component and the surface it seats on is fully accessible for people to walk on. The global shape is composed of blown-up versions of a small component : Lofting two curves defines ruled surfaces that are on one side curved and on the other straight. The components sit on a grid defined by the isocurves of those surfaces.

19.2

4.2 0.3

4.7

5.0

2.5

27.3

4.3

27.3

4.4

16.8 0.3

230

8.1

7.5

1.9

Front Elevation

Back Elevation

“Accessible” Side Elevation

31.9

“Sun” Side Elevation

P24

Green Re-Articulates Red 4.3. Environmental Simulations

1) Axonometry of the Prototype Set up: 1st May from 08h00 till 19h00 Action: Range of Shadows and Reflexions

Conclusions: Shadow: A very low quantity of direct light enters the prototype during the whole day. Direct light patches can be observed in the morning and in the afternoon. Reflexion: Light is being diffused within the prototype. Next step for the project: Set up the global shape according to specific hour constraints during the 1stMay/1st September.

1st January

1st May

1st July

2) Simulating the prototype at key days of the year Set up : 1st January from 08h00 till 19h00 (Lowest angle) 1st May from 08h00 till 19h00 (Set up) 1st July from 08h00 till 19h00 (brightest day) Action: Range of Shadows and Reflexions

Conclusions: Side View towards the “Sun” surface

Shadow: 1st January: - Wide and long light patches can be observed during the whole day.. - Light is diffused everywhere in the prototype and on the surface itself 1st May and 1st July ; -Direct light patches are much smaller but more numerous, they get larger in the afternoon. Spaces look much darker. - Light is less diffused within the space Next step for the project: Test the impact of translucency. Define which area is never touched by direct light for the display of paintings

Side View towards teh “stairs” surface

P25

Green Re-Articulates Red 4.4. Pictures The purpose of this study is to look at the light and shadow conditions of the “global shape”. The “global shape” is generated from blown up components, they provide shading to a larger area.

Front Views

P26

Green Re-Articulates Red 5.1. Intervention Strategy Diagram Buffer Zone + Front Facade Protection

“Precious” Art Gallery

Programmatic Openess: - Private / Shared Space for members of Party

Programmatic Openess: - Highly secured and controlled space Type of Spaces: - Maximum amount of flat smooth walls.

Type of Spaces: - Circulatory and common spaces for workers

Type of Component: - Component: Fabric and Plywood, block every Sun-Ray

Type of Light: - Direct: Sept.-May / Diffused : May - Sept. - Direct after 16h00 all year

Type of light: - Diffused light all year long

Type of Component: - Fabric / Steel glass - Terrasses: Fabric/Resin/Glass/Steel

Fair Trade and Local Product Market Programmatic Openess: - Completely Public and open Type of Spaces: - Spaces Covered but not enclosed, Needs to be protected from direct light when temperature is warm because of fresh products. Type of light: Direct : September to May, Diffused May to September

Public “Green and Red” Library

Type of Component: - Canopy : Concrete/Resin and Steel, open. - Floor: Steel/Glass Flat Component

Programmatic Openess: - Open to everyone until late at night. Type of Spaces: - A “calm” library with little views outside and a controlled (1) sun-light.

- A “noisy” library with balconies and views (2) Type of light: - Two floors with direct light from September to May and diffuse light from May to September. - One floor with direct light limited in depth Type of Component: -“Calm” Library: Fabric and steel. “Noisy” Library: Resin and steel.

Democratic Ground

Entrance to the Extension

Programmatic Openess: - Completely Public and Open

Type of Component: Door, Resin and Steel

Type of Spaces: - Staircase with stages or flat islands guiding the flow and the activities. Type of Light: Shaded or Direct Type of Component: -

Stairs : Resin/Steel Barrier (1): Fabric/Steel Tree openings (2) : Resin/Steel, vertical opening Handicap Ramp (3): Resin/Steel, Flat Bench/Stage (4 and 5): Resin/Steel

Sculpture Covered Yard Programmatic Openess: - Public during the day and at night for special events. Type of Spaces: - Spaces Covered but not enclosed Type of Component: - Component: Fabric and Steel

Type of Light: - Direct from September to May, Diffused from May to September.

P27

Green Re-Articulates Red 5.2. Using the Right Component 5.2.1. Axonometry and Fabrication

Laser Cut Steel/Wood Depending on the function. - Wood for Sunshade/Fabric. - Steel for Staircase/Concrete

Tensionned Fabric Filled with Concrete or with translucent insulation

Flattened Fabric

Laser Cut Glass Curves on the surface are engraved to prevent the stairs to be slippery

P28

Green Re-Articulates Red 5.2.2. Assembled Components These two components were laser-cut from steel and assembled using nuts and bolts. Fabric was stretched on the frame and the bolts were placed before pouring the resin with a syringe. MAIN PROBLEM: Nuts and Bolts are covered with by resin. The assembly of components would be irreversible.

RESIN / FABRIC/ STEEL COMPONENT

Distance d would vary according to the amount of stress found locally

FABRIC/ STEEL COMPONENT

P29

Green Re-Articulates Red 5.2.3. Structural Simulations

Concrete is the material assigned to the module. Compressive ultimate strengh: 5.e+006 Pa Tensile Ultimate Strengh: 5.e+006 Pa

1. Axonometry of Test Set-up The Tested Part is the concrete element of staircase component. Continuous pressure is therefore applied on the top part.

The stress on the top surface is constant every where since it is the surface on which people walk. To calculate the pressure in Pascals: P=F / A where P is pressure, F is Force and A is Area F=N / A 500kg is being used as a safety weight. After calculation, a pressure of 5000Pa is applied

1. Equivalent Von-Mises Stress Max tensile stress

Max compressive stress

2. Total Deformation

Exageration of the deformation *5

P28

Green Re-Articulates Red 5.2.4. Assembly Drawing of On-Site Components

0.6 2

2.52

9.5 7

14 .95 °

113.21°

9 2.3 85.35° 1.2 5

117.93°

81 .11 °

2.6 5

2.50

20 .49 °

21 .17 °

39 .35

2.7 6

2.6 9

9.6 7°

2.76

15. 66°

43° 15.

2.50

° .40 13 2.4 8

2.6 2

2.5 0

2. 50 20 .34 °

9.27

70.29°

° .47 121

119.73° 5 2.5

58. 80

3° 0.8 12

2.8 5

10. 52

52° 13.

40.61°

2.55

3.8 9°

39.23°

2.50

11 0.8 0°

2.50

0 5.0

° .67 37

° 61.13 ° 61.13

97° 88.

2.5 0

° .39 109

101.65°

5 2.6 116.01°

10.52

7.51 4.3 9°

° .13 16

9.1 6

9.27

47.78°

2.5 0

19 .53 °

2.5 0

2.5 2

° .42 95

19 .2 7°

5 2.6

° .45 130

° .10 55

117.79°

7.51

9.16

87.31°

0 2.5

2.50

7.57

0 2.5

95.02°

4° 4.7 12

15.87

74° 115.

.77 36

0 2.5

16. 45°

2. 50

2.6 9

2. 50

18.64°

2.5 0

2.44

7.57

0 2.5

76.50°

21 .12 °

2.5 0

2.5 0 2.8 4

0° 9.7

83.74°

82.03°

5° 81.5

7.79

2° 42.0

15 .87

74.92°

88.46°

5° .7 21

° .92 100

0 2.5

7.2 5

4° 4.2 12

105.46°

7 2.7

62.04°

72.27°

4 2.8

Structural Edge Steel members located at the edge connect the components together. They vary in depth depending on structural requirements.

° .65 20

0° 4.6 10

° .14 94

14. 49

° 76.92

0° 100.9

° 78.35

7.79

90.91°

116.81 °

7.2 5

2.5 4

7.5 6

2.62

19 .5 5°

87.78°

2.58

77 .70 °

2.50

2.6 5

2.77

0 2.5

77.70°

5 2.7

59. 20

4° 5.5 10

° .88 10

9.5 3

.70 38

7.36

2.5 0

2. 75

22.09°

° 97.14

° 20 0. 11

14 .49

85.65°

7.5 6

° .40 52

53 9. 5 2.7

0 2.5

.81° 118

3° 72.2

2.68 126.76°

95.92°

7° .0 16

40° 103.

3° 81.4

9 9.4

8 2.6

111.92°

40° 16.

16.40°

3° 7.321.1 6

9° 15.8

88.65°

2.50

0 2.5

9.49

° .61 78

8 2.5 .94° 123

2.5 0

15 .2 8°

87 .2 4°

2.50

15 .2 8°

7.18

2.5 0

Central Opening: Its complex geometry makes it very difficult to build as it would have to be made of many different parts A smarter way would be to replace it with a tubular profile.

84.72°

2.50

.77 36 85.53°

54 .54

50 2.

0 2.5

2.19

0 0.5

2° 3.3 12

° 44.06

94.47°

° 103.09

91° 76.

54. 54 .57 36

1.25

2.5 0

2.50

36 .57

.12 37 102.81° 2.5 0

3.1 3°

2.5 0

66.64°

83.92°

.52° 108

93.39°

88.35°

2.5 0

2.0 3 2.5 0

103.80°

80.64°

3.8 5°

.12 37

5.00 3.8 2°

38 .7 0

1.25 .33 37

80.66°

68.92°

fabric unfolded pattern

98.43°

3.3 5°

79 .7 0

0 2.0 6 8.8

77.83°

96.08°

0 2.5

° 95.01

.35 39

2. 50

56. 37

78.88° 0 2.5

61. 10

2.2 2

79 .7 0

.33 37 69.41°

120.7 9°

38.5 4°

2.5 0

100.33°

100.04°

0 2.5

100.70°

20 1.

69.28°

0 2.5

1° 103.6

1.1 5

39° 76.

56. 37

5.00 0 2.5 60. 93

0 0.5

93.39°

86.61° 0 5.0

P31

Green Re-Articulates Red 6.1. Understanding the Construction Logic

The first sketch of Oscar Niemeyer defined a curved building that would go as close as possible to the neighbouring building in order to make as much space as possible for a front park and perspective but also to hide the existing wall. To achieve this curvature and allow all the glass panels to be flat, the architectâ&#x20AC;&#x2122;s team invented a system composed of two modules. When arranged in specific ways, those modules would define a certain curvature.

80,17

64,15

20,6

21,0 3

23,17 7,42

6,5 6

98 6,

5 4,3

8 ,5 18

4,86

17,32

5 ,4 51 23 ,35

9 ,3 42

1 ,5 38

3 ,3 35

P32

Green Re-Articulates Red 6.2. Analysis of the Buildingâ&#x20AC;&#x2122;s Structure

Measuring the distance between columns and counting their relations

F/5

3F/4

15 ,3 1

Initial Statement: Each Column is being linked by a segment. The differ ence between the -curved lined between columns and the straight ones is less than 1m as shown in the middle diagram.

14 ,5

F/5

F/36 F/36 F/36 F/36 F/36 F/36 F/36 F/36 F/36

Diagram showing the division of forces between mullions, small columns and large columns.

F/4

Conclusions: 1 ,8 15

- The Distance between the large columns and between the smaller columns is never

F/5

5 ,7 14

equal. - The subdivision of forces between large columns and smaller columns is not

F/5

equal. - A larger amount of sub-columns might be explained by a need to support the link between core and building

F/5

Ground Floor

Common Floor

8,26 8,26

Diagram showing the supported areas and their overlaps- One can notice the structural redundancies where the core is.

Capacity: -8 mullions on East side -7 mullions on West Side

7,67

15 ,3 1 7 ,6 5

The circles have for center point the middle of the columns and for radius the mid point of the line that connects two sets of columns towards NORTH

7 ,0 6

14 ,5 8

7, 65

89 5,

Capacity: -14 mullions on West side -13 mullions on East side

Finding the maximum structural capacity of each columns

4 ,7

Largest Circle Diameter - for large Columns: 15.81 m - for small Columns: 8.26 meters

3 5,

1 ,8 15

67 7,

08 7,

5 ,7 14

Maximum Number of mullions supported by a single column: - Large columns : 14 - Small columns : 8

Section showing the distribution of forces. The floor plates are not cantilevering since the mullions take a small part of the forces. There is a larger slab thickness when standing on the 1.00m columns than at on the edge when its supported by the mullions.

12.41 7,67 15,31

11.50 2.36

1.00

3.31

7,64

0.60

F/4 7 ,06 14 ,5 8

Capacity: -13 mullions on West side -17 mullions on East Side

7 ,6

5, 89

15 ,8 1

71 4,

67 7,

5 ,7 14

The circles have for center point the middle of the columns and for radius the mid point of the line that connects two sets of columns towards SOUTH Largest Circle Diameter - for large Columns: 15.81 m - for small Columns: 9.44 m

0.20

F/4

3F/4

3.00

F/4

3F/4

2.6

F/4

3F/4

F/4

3F/4

F/4

3F/4

29.4

21.6

The coreâ&#x20AC;&#x2122;s connection to the main volume does not touch the ground which means that the core itself is not used as structure for the floor slab

1.90

08 7,

Capacity: 9 mullions on each side

3F/4

44 9,

Maximum Number of mullions supported by a single column: - Large columns : 17 - Small columns : 9

4.0

95.47

P33

Green Re-Articulates Red 7.1. Schematic Plan of Intervention This Schematic Plan view compiles most of the site constraints such as: - Sun (As an evolution from last prototype, the global is defined by an hourly constraint not to let in light from 9h00 till 18h00 which are the hottest hours) - Existing building and existing structure (The curvature module that defined the mullion will be extended and kept.) - Trees

oreau athurin M Avenue M

Place du Colonel Fabien

345°

1 5°

330°

30°

45°

te let Vil La de rd va ule Bo

31 5°

1 st Jul

1 st Jun Sun Path of the 1st300° May in Paris, France

60° 1 st Aug

21h00 1 st M ay

05h00 06h00 75°

285°

1 st Sep 07h00

19h00 1 st Apr 18h00 270°

90° 1 st Oc t 08h00

1 st M ar

17h00 9h00

255°

1 05° 1 st Nov

16h00 10h00

1 st Feb

15h00

240°

11h00 14h00

1 st Jan

13h00

12h00

225°

1 20° 1 st Dec

1 35°

21 0°

1 50° 1 95°

1 80°

1 65°

P34

Green Re-Articulates Red 7.2. Schematic Perspective

Public staircase placed on Facade leading to roof

Connection between building and Market Place

Ramps leading to multiple levels Initial Sketch - Front View

Initial Three-Dimensional Sketch The initial proposal seemed very heavy handed, it wrapped the whole building, erasing its identity. The Front facade is not in need of such a large intervention and the staircase would break the sense of privacy for the people working in the PCF building. Many features seemed superfluous.

Initial Sketch - Back View P35

Green Re-Articulates Red 7.3. Front Elevation

2.36

0.79

0.20

1s t

Ma y, P ari s,

17 h0 0

1.60

19.20

1s t M ay, P aris , 13h0 0

24.06

0.20 0.40

2.60

Adapting the component to the existing facade The grid on which the component is placed is calibrated to the existing facade. A big change is from the previous studies is that the component starts twisting in space which has an important impact on the fabrication (refer to 5.2.4 on page 31)

1.90

4.86

2.96

P36

Generative Component Parametric Global Strategy Symbolic Diagram of the facade proposal

Green Re-Articulates Red 7.4. Associative Model for Facade Intervention 7.4.1. Symbolic Diagram CoordinateSystem baseCS

1. Cluster defining the Sun-driven Component 1.1. The Component In defined by four points. Those four points could be located anywhere within the main coordinate system 1.2. A point shares the same altitude and azimuth angle as the sun at a particular time, day and location. (The sun is set to 1st May in Paris, France 13h00) 1.3. This Sun Ray influences a coordinate system located in the centroid of the component. 1.4. Four lines surrounds the component. Those are used later on for the Loft Script.

Point

point03

point04

Polygon

CoordinateSystem

polygon02

coordinateSystem01

1.1 Point

Point

point05

BSplineCurve bsplineCurve _top

BSplineCurve bsplineCurve _bottom

BSplineCurve

Point Sun_pt

Point

Centralpt

Point origin_pt

Line

point16

Sunray_line

CoordinateSystem

bsplineCurve_right bsplineCurve_left

CoordinateSystem

centralCS

origin_CS

1.2

1.3

BSplineSurface

Circle

bsplineSurface01

circle02

GraphVariable

Point

CircleRadius

point14

Direction

Point

GraphVariable

Line

direction01

Frontpt

graphVariable01

line02

Point

1.4

Line

Point

line03

PointAngle

Point

GraphVariable

point18

point19

graphVariable02

1.5

1.7

Point

Leftpt

Rightpt

Point

Global_pt2_ Global_pt1_

1.5. The Sun-driven Coordinate system drives two movements: The lateral rotation and the frontal. in this cluster the front rotation is determined by a Circle which radius is controled by the variable Circle Radius.

Point

bsplineCurve01_Pole00

bsplineCurve01_Pole04 bsplineCurve01_Pole07 bsplineCurve01_Pole09 bsplineCurve01_Pole11 bsplineCurve20_Pole00 bsplineCurve01_Pole13 bsplineCurve01_Pole14 bsplineCurve01_Pole01 bsplineCurve01_Pole05 bsplineCurve01_Pole06 bsplineCurve01_Pole08 bsplineCurve01_Pole10 bsplineCurve01_Pole12 bsplineCurve01_Pole15

bsplineCurve51_Pole00

3.1

1.6

Point Global_pt4_

3. Existing Building Key Points In odrer to design the extension only selected key points are used in the parametric model those points are extracted from the existing mullions location 3.1 Roof Points

Point Global_pt3_

Point

bsplineCurve14_Pole00 bsplineCurve51_Pole01

Point

bsplineCurve20_Pole01

bsplineCurve14_Pole01

Point

bsplineCurve14_Pole05

bsplineCurve14_Pole04

Point

bsplineCurve14_Pole07

bsplineCurve14_Pole06

Point

bsplineCurve14_Pole09

bsplineCurve14_Pole08

Point

bsplineCurve14_Pole13 bsplineCurve14_Pole15 bsplineCurve14_Pole11 bsplineCurve14_Pole12 bsplineCurve14_Pole14

3.2 Base Points

bsplineCurve14_Pole10

3.2

1.6. The Lateral Movement is initiated by the way the sun driven coordinate system intersects the edge of the component. 1.7. The Lateral Movement is recorded as values in Graph Variables that will influence, through a â&#x20AC;&#x153;condition scriptâ&#x20AC;? the way the surfaces defin ing the component will be lofted.

Point point02

Point point01

BSplineCurve

bsplineCurve _midfront

bsplineCurve _midback

BSplineSurface BSplineSurface

BSplineSurface1BSplineSurface2

_Global_Comp_ _Global_Comp_ _Global_Comp_ _Global_Comp_ _Global_Comp_ _Global_Comp_ _Global_Comp_ _Global_Comp_ _Global_Comp_ _Global_Comp_ _Global_Comp_ _Global_Comp_ _Global_Comp_ _Global_Comp_ _Global_Comp_11 _Global_Comp_09 _Global_Comp_02 _Global_Comp_04 _Global_Comp_06 _Global_Comp_08 _Global_Comp_14 _Global_Comp_13 _Global_Comp_12 _Global_Comp_03 _Global_Comp_10 _Global_Comp_01 _Global_Comp_05 _Global_Comp_07

CoordinateSystem

2. Cluster defining the Global Component

coordinateSystem02

Point

BSplineCurve

Global_Sun_pt

2.1. Point defining the appropriate Sun-Angle for the Global Component (Here 1st May at 17h00)

BSplineCurve

Global_Left_Line

Direction

Global_Right_Line

Direction

Point

direction03

point07

point08

direction04

4. Global Components The Components are applied on the facade

2.1 Line

Line

Opening_Line

2.2. The Sun Ray is used to define the opening of the Global Component Point

Variables: - Anchor Point: Controls the vertical position of the opening. - DistOpn:Controls the distance of the opening

point10

Point Shift_pt

line04

CoordinateSystem

Point

coordinateSystem03

point09

Point point06

Direction direction05

BSplineCurve

Line

bsplineCurve11

line05

2.2

2.3. Defining the grid and its density on which the smaller component will be populated

2.3

BSplineSurface bsplineSurface02

Variables: - HSpacing: Controls the Horizontal density of the Point Grid - VSpacing: Controls the Vertical density of the Point Grid

BSplineCurve

bsplineCurve15

bsplineCurve17

Point point11

Polygon

2.4. Populating the component (1.) onto the point grid.

polygon01

Point Pop_pt_01

Point Pop_pt_02

Point Pop_pt_03

Point Pop_pt_04

_Local_Cp_

2.4

_Local_Comp_01

Color Coding: Variables and Base C.S. Hidden Features Construction Features Active Features P37

Generative Component Parametric Global Strategy Parametric Diagram of the Facade Proposal

Green Re-Articulates Red 7.4.2. Geometry

t 1s

1s t M 1. 5 ay, P aris -Cir . S u , 1 n cle Rad -Driv 3h0 en ius Com 0 pon ent

Proje ction Axis 2. 3. G rid - HS pacin Dens i ty g - VSp a

0 h0 17

Plan of the Parametric Model

is , ar ,P ay M

cing

h00 is , 17 r a P ay, 1s t M ing Openint . 2 . 2 horPo - Anc pn O - Dist

Axonometry of the Parametric Model

54 0

P38

Green Re-Articulates Red 7.5. Sun Simulation

6 2, 3 2, 36

2, 6 2

Solar Analysis of Front Facade The Front facade self-shades partially which makes some components redundant.

12h00

13h00

14h00

The sun start hitting the front facade in between 12h00 and 13h00 The northern part of the facade should be fully protected

15h00

: 15 0. 1 °

00 h 5h ut , 1 Azim y Ma °, st .5 , 1 : 46 s i r e Pa titud Al

. 9° 29 1 :

Par Alti is , 1s tud t M e: a 52. y, 14 8°, h00 Azi mu th

. 8° 00 113 16h uth : , y a im s t M . 1°, Az s, 1 8 Pari de : 3 u Altit

Paris , 1s t May, 13h00 Altitude : 55. 8°, Azimuth : 174. 6 °

Part of the font facade that will receive direct light at 13h00

16h00

The sun start hitting the front facade fully after 15h00. Before that, only half of the facade is being directly touched

P37

Green Re-Articulates Red 7.6. Early Proposal 7.6.1 Schematic Plan

oreau athurin M Avenue M

Place du Colonel Fabien

4,72

345°

1 5° 4

330°

30°

tte ille aV

1 s t J ul

45°

1 s t J un 300° Sun Path of the 1st May in Paris, France

L de rd va ule Bo

31 5°

60° 1 s t Aug

21h00 1 st M ay

05h00

06h00 75°

285°

1 st S ep 07h00

19h00 1 s t A pr 18h00 270°

90 39

t08h00 1 s t Oc

,0 2

1 st M ar

17h00 9h00

255° 16h00

1 05° 1 s t N ov

10h00

1 s t Fe b 15h00

11h00

240° 14h00

1 st Jan

13h00

1 20° 1 st Dec

12h00

225°

1 35°

21 0°

1 50° 1 95°

1 65° 1 80°

P40

Green Re-Articulates Red 7.6.2. Renderings

Render 1 Front View

1st May

16h00

Global form orients itself to the above sun angle: Only a soft and low winter afternoon sun light is let in.

MAIN PROBLEMS: - In this initial Proposal the ground was reduced to the back of the existing building, making the relationship with the existing building quite weak. The ground should be the main feature of the proposal. - There is no parametric relationship between surfaces (i.e. shaded area) - The facade uses a unique component which makes it very monolithic

Render 2 Back View

P41

Green Re-Articulates Red 7.6.3. Front Elevation

11.51

6.60

9.70

9.72

1.15

10.39

17.05

8.84

13.01

Initial Elevation The democratic ground being the main connector between the urban context and the building there was a need to extend it. More diversity was needed for the facade as it still appeared monolithic.

13h00

16h00

9h00

Parisian Solar Path on the 1st May Both the small components and the overall shape are linked to these specific sun angles P42

Green Re-Articulates Red 8.1. Front Staircase Surface 1

5 Supports

Fixed Support

Fixed Support Street Line

Axonometric View

Context

Total Deformation

Maximum Principal

Fixed Support

Plan View

Equivalent Stress

Plan View

Axonometric View

> Max Tensile Stress

= Max Compression Stress

P43

Green Re-Articulates Red 8.2. Front Staircase Surface 2

Fixed Support

2 Supports

Fixed Support

Fixed Support Street Line

Context Axonometric View

Total Deformation

Maximum Principal

Plan View

Equivalent Stress

Plan View

Axonometric View

> Max Tensile Stress

= Max Compression Stress

P44

Green Re-Articulates Red 8.3. Front Facade One Element Analysis of a single element on the facade

Defining the material and comparing with results

Previous model, three fixed supports on the edges Thickness: 0.1 m Sun Opening Width: 2m

Back Views Total Deformation

Equivalent Stress

Maximum Principal

Set Up Back View

Total Deformation Front View

Maximum Principal Stress

Equivalent Stress

Supports

Max tensile stress

Max compressive stress

Max compressive stress - Fixing the component to the floors and adding structural support to the edges distributes the stresses more evenly.

P45

Green Re-Articulates Red 8.4. Front Facade Whole Surface All the module are attached being assigned three fixed edges and earth gravity

Total Deformation of the Simulated model Thickness of model: 0.1 m LWidth of Sun Opening: 2m

Maximum Principal Stress of a thicker model Thickness of model: 0.2 m

Back Front

Exageration of the simulation times 0.5 (2.2e+004)

The tension and compression happens on the back surface of the two arches which forms when the material is being deformed Every element from in this frame is different which explains the gradient in the stress.

Maximum Principal Stress

Maximum Principal Stress of a thicker model Thickness of model: 0.2 m

Front of Model

Conclusion: - Tension seems to be concentrated around one point near the lower part of the fully fixed vertical element. - Compression follows a diagonal path from the upper right to lower left. - The larger uniform thickness creates more stresses for an equal area.

Back of Model P46

Green Re-Articulates Red 9.1. January 21 / Mid October Set-up for the testings Observations: North 345°

January 21st is in average the coldest day of the year in Paris (Source: Meteonorm Database) where temperature go negative. For this test we would want to see a large area of direct sun touching the ground as opposed to july or May.

1 5°

330°

30°

31 5°

North

45°

1 s t J ul

1 s t J un 300°

60° 1 s t Aug

10h30: Direct light enters in the morning mainly under the canopy part where views the six first view are located.

1 s t M ay 285°

75° 1 s t S ep

1 s t Apr

90°

1 s t M ar 255°

1 s t Oc t

: 30 10

: 30 6 1

13: 00

270°

3 7

1 05°

240° 1 s t J an

1 20° 1 s t Dec

13:00

225°

1160

1 35°

15 21 0°

14 1 95°

13 1 80°

12 11

109 7

1 50°

1 80° 1 95° 65°

1 50° 21 0°

225° 1 35°

16h30: Night

11 42

10:30 16:30

1151

1 s t Nov

1 s t Feb

13h00: Almost all the views tend to confirm that more light patches enter the building during the coldest day than the hottest day, especially view 8.

240° 1 20°

255° 1 05°

270°90°

285°75°

300°60°

31 5°45°

330° 30°

345° 1 5° N

1 65°

January 21 / Mid-October

Jan 21 10:30

Jan 21

13:00

Jan 21 16:30 P47

Green Re-Articulates Red 9.2. July 12 / Mid June Set-up for the testings Observations: North 345°

30°

31 5°

North

45°

1 s t J ul 60° 1 s t Aug

1 s t J un 300° 20

13:00

1 s t M ay 285°

75° 1 s t S ep

13 1124

10:30

16: 30

270° 17

1 s t M ar 255°

15 14

1 s t Feb

10 16

90°

10: 30

16:30 09

1 s t Nov

1 20° 1 s t Dec

1 95°

12 06

1 80°

1 50°

12 1 65°

16h30: The area that received a lot of direct light in the 1st May test receives less light.

1 35°

11 14

15 21 0°

9 10

13h00: The patches of direct light are almost invisible.

3 7

1 05°

240° 1 s t J an

225°

1 s t Oc t

10h30: More direct light enters through the large component of th sculpture yard than in May.

11 15 18

13: 00

1 s t Apr

July 12this the hottest day in average in Paris (Source: Meteonorm Database). Idealy, NO DIRECT SUN should enter at all. The curvature of the component is not designed according to the curvature of the but only for one hour of a day therefore in the afternoon light still enters the building. Since the afternoon and the mornings are cooler, those patches could be asppropriate.

1 5°

330°

1 80° 1 95° 65°

1 2150° 0°

225° 1 35°

240° 1 20°

255° 1 05°

270°90°

285°75°

300°60°

31 5°45°

330° 30°

345° 1 5° N

July 12 / Mid-June

July 12 10:30

July 12 13:00

July 12 16:30

P48

Green Re-Articulates Red 9.3. May 1st /Mid August

Set-up for the testings Observations : North 345°

The Sun-path Curve of 1st May - 15th August is the main driver for the entire design. Before this period, the Sun enters the building to warm it up, after it blocks everything. This is in theory. This test should prove if it works practicaly.

1 5°

330°

30°

North 31 5°

45°

1 s t J ul

1 s t J un 300°

60° 1 s t Aug 06

75° 1 s t S ep

10:30

16: 30

1 s t M ar 255°

13: 00

15 18

270°

13 12 14

1 s t Apr

- 10h30: Almost no direct light hits the ground.

13:00

1 s t M ay 285°

90°

10 : 30

1 s t Oc t

16:30

4 3 7

09 09 17

1 05° 10

1 s t Nov

- 13h00: The patches of direct light that enter the building are quite thin under the stair component but much larger under the roof element covering the sculpture yard (highlighted in red). 6

1 s t Feb

11 14

240° 1 s t J an

225°

1 35°

15 21 0°

11 14 1 95°

13 1 80°

1 50°

1 80° 1 95° 65°

1 50° 21 0°

225° 1 35°

240° 1 20°

255° 1 05°

270°90°

- 16h30: The patcher are much wider but still covers less than half the ground of the building. A very large patch of direct light enters the building through the front opening on View 8 (Highlighted).

1 20° 1 s t Dec

285°75°

300°60°

31 5°45°

330° 30°

345° 1 5° N

1 65°

May 1 - Mid-August

May 1 10:30

May 1 13:00

May 1 16:30 P49

Green Re-Articulates Red

10. Drawings

Green Re-Articulates Red 10.1. Roof Plan in Urban Context

Private entrance

Public entrance under canopy

Public entrance Through Staircase â&#x20AC;&#x153;democratic groundâ&#x20AC;?

Existing Market Place which could be linked to covered Market under canopy

P50

Green Re-Articulates Red 10.2. Roof Plan

P51

Green Re-Articulates Red 10.2. Common Plan

Possible re-organisation of interior with a â&#x20AC;&#x153;buffer zoneâ&#x20AC;? corridor behind protected facade.

Art Gallery Separate access from main building

P52

Green Re-Articulates Red 10.4. Ground Level Plan

P53

Green Re-Articulates Red 10.5bis Elevation towards existing building

P54bis

Green Re-Articulates Red 10.5. Section A

P54

Green Re-Articulates Red 10.6. Section B

P55

Green Re-Articulates Red 10.7. Section C

P56

Green Re-Articulates Red 11.2 View towards the Democratic Ground

P57

Green Re-Articulates Red 11.2 View towards the Art Gallery

P58

Green Re-Articulates Red 11.3 View towards the back of the building

P59

Green Re-Articulates Red 12. Physical Model 12.1. View towards the Democratic Ground

P60

Green Re-Articulates Red 12.2. View towards the Art Gallery

P61

Green Re-Articulates Red: Ground and Daylight Transformations of the French Communist HQ Acknowledgment: First I would like to thank all my family and especially my parents Alain and Chantal Mamou-Mani for their constant love and support. Thank you to Anne Save de Beaurecueil and Franklin Lee, having such wonderful, dedicated and complementary tutors made my fifth year very enjoyable. Thank you to Gérard Fournier, Lina Larini, Cédric Clérin, Laurent Klajbaum and Claudine Ludwig for all the time you have taken to talk to me in Paris and for all the precious information you have given me. I hope you will find this project relevant and inspiring. Thank you to Jean Déroche for the great stories on Oscar Niemeyer and on how the building was made. Thank you to Sophie Hyafil, Architecte des bâtiments de France, for thinking my building could be real. Thank you to Simos Yannas and Joanna Goncalves for helping me with the “Green” part of the title. Thank you to Mike Weinstock for believing in this project. Thank you to Andrew Matthews, Stephen Proctor and Gareth Wilkins for allowing me to apply the knowledge I gained to the professional world. Thank you to Jean-Louis Courtois for all his help on the physical model. Thank you to all my tutors, Jonas Lundberg, Steve Hardy, Yosuke Obuchi, Alan Dempsey, Eugene Han, George L. Legendre and Charles Taschima. Thanks you to Chris Matthews and Chris Pierce, my sixth year tutors. Thanks you to Kengo Skorick for your generous help. Thank you to Sanem Alper for all your support and positive energy throughout the year.

A special Obrigado to Oscar Niemeyer, the greatest living Architect and above all, a beautiful and inspiring human being.