Designing visual experience with data
I would like to thank my thesis supervisor professor Sam Joyce for his encouragement and his extensive knowledge on computational design. This thesis would not have been possible without his guidance. I would like to thank professor Alstan for giving me advice on lighting. I also want to express my gratitude to professor Sawako and Stylianos who taught and sparked my interest in computation design since the first year. I would like to thank my friends and course mates for all the discussion and encouragement. The friendship after all gave me the strength to complete the bachelor degree and now my thesis. I would like to thank my parents and my brother for always being supportive and believing in me.
Overview Introduction Abstract
Focus This section introduces the topic of this paper, the research question, and the thesis statement.
1.1 Introduction We have seen the proliferation of the use of data into all corners of design discipline, from urban planning to tectonic detail, and from interior furnishings to consumer products. Currently, the use of data is most prevalent in presentation and communication between the architect, the engineer and the builder. Software such as AutoCad and BIM is used as an efficient way to store data about buildings. On the other hand, building modelling softwares make it easier for designer to visualize and understand the geometry more precisely. Intelligent use of data also gives the designer the ease to produce different forms and help the process in building complex forms. However, can we use data to help going beyond just form and style? Can we use data to describe the environment and make it an useful tool aiding the design process of creating experience? This thesis is an attempt to describe visual experience through the help of data. Thus, instead of relying on intuition or imagination, I would like to incorporate the use of data to create the architecture that bring out the intended experience.
Waterloo train station in London. The design is the result of parametric propagation of a series of 36 identically configured trusses.
Serpentine Gallery by Toyo Ito. The use of an iterative subdivision of adjacent sides results in architectural openings.
1.2 Abstract The thesis explores the use of data to help designer quantify visual experience then incorporate data into the design process. In this project, I focus on designing visual experience. I used isovist to describe the spatial perception and DIVA to illustrate the light distribution and brightness. The final outcome is a film museum located in Marina Bay Sands area. The project consists of two parts. In the first part, I used genetic algorithm to arrange the space according to the view quality of the context. For the second part, I designed the space with the intended experience according to the precedents research based on isovist and light analysis
Experience Understanding experience Decoding experience Isovist Light
Focus This section discusses visual experience and defines the relevant data metrics to describe visual experience
2.1 Understanding experience Each experience of architecture is multi-sensory. Vision is of the highest hierarchy and primordial dominance. Thus, in this thesis, I chose to focus on designing visual experience as it is the primary sensory of how human relates to the environment. (Juhanni, 1996)
Depth and field
Acoustic intimacy
Shape of scent
Touch
Balance
Light
The environment itself contains data and information. The eye is the device that records the information from the environment whereas the brain internalizes, filter sout the necessary information and constructs or interprets the information accordingly.
Architecture transforms the information of the existing context and imposes it upon our eyes. “Architecture, by unifying foreground, middle ground, and distant views, ties perspective to detail and material to space.” The geometry that the architect constructs draws the observer through allowing the eyes to roam and assemble the image in his mind. From the individual’s point of view, the overlapping perspective of one’s movement in space collates one’s visual experience in space. (Steven, 2007) On the other hand, different architectural geometries form different qualities of light and shadow. Our eyes identify objects through the difference in the object’s illuminance. The sequence of spatial experience could also be understood as the sequence of how light is seen and perceived. When architecture changes the density light and shadow, it reorganizes and alternates the information of light. The eyes record this organization. The mind interprets and translates it into experience. In short, visual experience can be understood through how one perceives the depth of the surrounding objects and how light shine upon them. Thus, the question is how we use data to create the architecture that transforms the environment to generate a new set of information of space and light we want the users to receive?
2.2 Decoding experience Explained earlier in section II, a set of information is needed to evaluate the space. Architecture influences human cognition and experience by creating visual patterns that simulate different aesthetic responses. Visual access and spatial layout can be understood through the isovist concept. On other hand, light can be described by luminance distribution, light typology.
Spatial layout of the rooms leads to different field of view (Gerald, 2005)
Daylight renderings and photographs are often described using luminance
2.3 Isovist Historically many psychologists and architects have taken an interest in describing the perception of space. Notably, the concept of isovist developed by M L Benedikt has shed light on the concept of space hence providing quantifiable description. An observer’s perception of space is described through a set of information from the environment presented at the point of observation. An isovist is defined as a set of all points in a defined environment which are visible from the distinguished vantage point x. (Benedikt, 1979) From then, a set of measures was developed: Area of the isovist The real-surface perimeter of the isovist The occulusivity of the isovist The circularity of the isovist Isovist - visual field
Given a point and its visual field, this visual field is called isovist
The isovist (visual field) is shaped by the obstructing objects
Ax - perceptual spaciousness
Px - perceptual informativeness
The area of isovist indicates the openess and spaciousness of that visual field
Perimeter of isovist measures how much surfaces are seen from a particular point
Qx - perceptual uncertainty
Qx >> 0
Qx > 0
The length of the radial indicates the depth to which surfaces partially cover each other, therefore measures the perceptual uncertainty Nx - perceptual complexity
Nx > 0
Nx >> 0
The jaggedness of the visutal field describes the shape of the visual field hence the complexity and compactness of that visual field
2.4 Light Luminance
Luminance describes the luminous intensity per unit area of light travelling in a specific direction. Often described as brightness, it indicates how much luminous power reaches an observer viewing the surface from a particular vantage point. Light typology
The matrix shows 10 typologies in different examples (High Spatial Contrast & Temporal Variability on the Left to Low Spatial Contrast & Variability on the Right) (Siobhan, 2013)
Light typology In order to understand the strategy and spatial quality in contemporary architecture, a matrix of typology is employed to describe the composition of perceptual luminousity in each space (Siobhan, 2013)
The matrix shows 10 typologies in 10 spaces built in Rhino (High Spatial Contrast & Temporal Variability on the Left to Low Spatial Contrast & Variability on the Right) (Siobhan, 2013) The typologies on the left are Direct and Exaggerated, Direct and Dynamic and Direct and Screened. The Direct and Exaggerated category includes highly variable top lit spaces. The Direct and Dramatic includes side-lit spaces that emit large light patches. The Direct and Screened contains examples of facades or roofs that emit small, but frequent patches of direct sunlight. The Partially Direct contains side-lit spaces that emit sunlight through louvers. The Direct includes side-lit spaces with minimal obsuction. Selectively Direct contains spaces that emit sunlight in discreet instances. The Direct/Indirect is composed of spaces that emit sunlight through thickened openings in the building. The Spatial Inderect is defined by spaces that emit indirect sublight across interior surfaces. The Indirect are spaces that emit indirect light through north facing monitors or openings in the roof. The Indirect and Diffuse contains spaces that utilize diffusing surfaces to minimize the dynamic effects of light and shadow
The brief Film museum Site analysis Concept
Focus This section introduces the final design outcome. It also includes site analysis and a brief introduction about the design concept.
3.1 Film museum Film and architecture Film is an imagination brought to life through projection by the coordination of light, space, and movement. Architecture, similarly, is the result of the imagination of the designer but exists in dimension of time and movement. Many of the most esteemed representatives of the architectural avant-garde of today, such as Bernard Tschumi, Rem Koolhaas, Coop Himmelb(l) au and Jean Nouvel have admitted the significance of cinema in the formation of their approach to architecture. Having a film museum is an attempt to bring out the visual experience linking cinema and architecture. Types and functions There have been museums and galleries around the world that bring the audience closer to understand and engage with the art of film. While some portray cinema as a high-brow and more serious art, others show it in a more quirky way for the fans. Nevertheless, the architecture has to be relevant to the context and the cultural scene. Here, I would like to study exisiting film galleries and cinema museums in the world to understand the functions and types of the exhibits and the museum’s relevance to the city. Shanghai film museum in Shanghai
The goal of Shanghai film museum is to celebrate and introduce to visitors the past and future of Shanghai’s involvement as the centre of Chinese film. The museum involves interactive installations and historic exhibits. The visitors can ad-lib for famous Chinese films in a real sound studio, walk the red carpet, or Carpet of Light, or learn about animation, post-production, sound and live broadcasting in fully equipped studio. (designboom)
National museum of cinema in Turin
The National Museum of Cinema (Museo Nazionale del Cinema) located in Turin, is an Italian motion picture museum. It houses pre-cinematographic optical devices such as magic lanterns, earlier and current film technologies, stage items from early Italian movies and other memorabilia. Besides the main exhibition hall, some areas are devoted to the different kinds of film crew. There is also a series of chapels representing several film genres. The museum keeps a huge and growing collection of film posters, stocks, and a library. EYE film museum in Dutch
EYE is a major cultural institution striving to be the ‘house of film’, a modern museum housing activities related to film. The foyer of the museum acts as a dwelling and distribution area. The exhibition level, projection rooms, the film laboratory are all can be accessed via the room topography. There is also a showroom and an education area. Different films and exhibitions are shown at different time of the year.
3.2 The site Overall
The site chosen is located in Marina Bay Sands. One side of the site is central business district which houses offices while the other side are entertainment, commercial and hotels. The site is also notable with a promonande stretching along the bay offering an extended jogging track for pedestrians. Having a museum here would further activate the urban public space. Together with the art science museum and art exhibits in marina bay sands, a film museum will further promote the art scene at the site.
Photographs of the site
Building type
Mixed uses, offices
Mixed uses, commercial
Civic and community instituion
Hotels
Pedestrian route
Pedestrian route (closer look)
Shadow study
9am
11am
12pm
2pm
5pm
7pm
Site analysis through isovist I conducted a series of site analysis based on isovist. This analysis will be useful for the design development. I put a point on different sides of the given boundary. From here, I collected the reading of different properties of isovist for each side.
Ax
Px
Nx
Qx
Ax
Px Qx
Nx
Ax Nx
Px
Ax
Px
Nx
Qx
Qx
3.3 Concept Functions and types From the study of different film museum, I chose to design a series of rooms with different functions and different area for requirements
Cinema (300 m2)
Exhibition for film making process (200 m2)
Temporary exhibition space (300 m2)
Cafe (100 m2)
Exhibition for antiques and photograph (200 m2)
Office (30 m2)
Gift shop (30 m2)
Involvement with the city The site is heavily occupied with the flow of pedestrians. It also parks in the center of the city. From this analysis, I would like to propose the space for temporary exihibit to be the central space open for the public to engage with contemporary film works. This space also connects people
Dispersed from a central space
Having goodview to the bay
Cinematic experience Similar to the director who chooses a sequence of different frames to present their movie, the architect frames the view and directs them in a sequence of circulation. Most of the time, a movie is a sequence of psychological events that provoke the audience to contemplate certain issues. The protagonist in the film often goes through conflicts and understanding. While Bernard Tschumi directs the cinematic movement in his architecture, I would like to bring out the visual experience that is tied with the journey of a protagonist in my design.
Often in the plot, when a story begins, the audience is introduced to an overall setting to get a glimpse of the context. The plot continues and delves into the conflicts finally runs to the climax where the conflicts seem unsolvable. The knot is then solved and the story ends. The protagonist goes through different phases, from understanding to confused, intense then hopeful and relieved. In the later part of this thesis, I will explain how I will bring about these experience in my architecture.
The game Evolutional growth The goal The function Results
Focus This section explains how spaces and circulation are formed using generative design
4.1 Evolutionary growth Generative machine John Frazer’s “towards evolutionary in architecture” presents a new way we can think of data and how we relate data to design. (John, 1995). Data is seen as DNA. Chromosome is relatable to the structure of data. The phenotype or the design is the expression of the DNA or that data. The design is then evaluated and chosen the same way individuals are selected in natural evolutions. Genetic algorithms allow us to model the evolution design the same way evolution occurs in nature. The method helps us to explore new design solutions, solutions that the designer may ignore or never think of. In cases where the design direction is not well defined, genetic algorithms allow the designer to explore the options and evaluate them more easily.
Surface evolution: Mani Rastogi, 1994 Surfaces evolved under the control of a genetic algorithm and user-selction
Emergent artificial life by John Frazer: The experiment evolve artificial life out of nothing, with neither rules nor seed. It started with a spherical close-packing dataspace. The GE were used to select based on the cell’s ability to survive and develop complex structure
4.2 The goal Functions and requirements From the analysis for the requirement of the museum and the site analysis, I deducted a series requirement that different spaces need based on the function and the design direction. Temporary exhibition space As explained earlier, the temporary exhibition space will have better view towards the bay. It is also more connected to other rooms. Summary: Good view, more visual connectivity, more connected to other room
Exhibition for antiques and photograph The exhibit should be near to the main exhibition space Summary: Nearer to temporary exhibition space
Exhibition for film making process Both of the exhibition spaces should be as close to the temporary exhibition space as possible making the journey of visiting the exhibits more coherent. Summary: Nearer to temporary exhibition space Office Office should be away and less connected to other spaces Summary: Least connected to other room
Cafe The cafe should be located at a place that has good view to the bay Summary: good view, more visual connectivity
4.3 The function The set-up
From one point in the fixed volume, other points were created relative to the original point.
Seven points are formed following the same rule
Voronois were generated based on the positions of these points. Each space is assigned to each cell.
Turning goals into measurands
From the pre-determined goal, I wrote different functions for each requirement: the right area, visual connectivity, good view, accessibility and the space’s nearness to the temporary exhibition space Calculating the right area To create the spaces of the right area, I calculated the floor area of each space, took the calculated area minus the correct area. The minimal difference would be the goal for the optimization
Visual connectivity The visual connectivity measures how much the person inside the space get to see to the view outside. The area of the sides of the space opening up to the view were calculated to measure the visual connectivity.
Quality of the view The quality of the view is measured by an isovist measurand. From the site analysis, side 2 and 3 has higher perimeter indication. These two sides also have better view. Thus, I chose perimeter of isovist as the indicator for better view. From a point inside a given space, an isovist is drawn with regard to other existing rooms and the view it has. The perimeter is then measured. The higher the perimeter, the more surfaces a person see, the better the view.
Accessibility Accessibility measures how connected one room is to others. It is the number of rooms a given space is directly in contact with. In the diagram on the left side, the room in question is in contact with two other rooms so its accessibility is 2.
Nearness to the central space This measurement is introduced to have more control over the circulation in the final result. As explained earlier, the two specified exhibition spaces are priotized to be nearer to the main exhibition space. Thus, I measured the distance between the specific room and the main exhibition room then divide this distance by the total distance between other rooms and the main exhibition room. The smaller this number is, the closer the room in particular is closer to the main exhibition hall The function After looking through all the goals and metrics, I categorized them into three parts. The first is having the correct requirement for area, the second is the space’s response to the view of the environment and the last one represents how the spaces relate to each other. Area Area requirement for all spaces
Visual relationship with the context
Spatial relationship
Maximize view and visual connectivity for temporary exhibition space
Maximize the accessibility for temporary exhibition space
Maximize view for cafe
Minimize the accessibility for office. Minimize the nearness of filmmaking process space and antiques exhibition space
4.3 Results At first, I ran through each criteria seperately to check the quality of each function. I wanted to check if the functions returned the desirable result and whether they gave a smooth climbing hill graph. The three criteria are: having the desirable area, having desirable view and having a circulation according to the objective. The method of calculating each criteria is already explained above. However, I will summarize again. Each criteria is normalized before adding up. Area = (Actual area of each space - desired area of each space)/7 View = Perimeter isovist of temporary exhibition space * 1 + Visual connectivity of temporary exhibition space * 1 + Perimeter isovist of temporary exhibition space Circulation = (Maximize the accessibility for temporary exhibition space * 1) + (Minimize the accessibility for office * 1) + (Maximize the nearness of filmmaking process space + Maximize the nearness of antiques exhibition space) * 1 Area only Temporary exhibition space Gift shop Cinema Office Filmmaking process exhibition
The function result for area
Area result
Antiques exhibition Cafe
The bar represents how close the area is to the desirable goal. The fuller the bar is, the nearer the space is in attaining the ideal area. The number shows the actual area of the space. The graph of function shows the area function is a good model. The result on the right shows that most of the area hit the goal. Thus, the function is good.
View only Temporary exhibition space Gift shop Cinema Office Filmmaking process exhibition
The function result
The view result
Antiques exhibition Cafe
The bar represents how good the view is. To be more specific, the result is the measurement of the isovist perimeter. The fuller the bar is, the higher is the perimeter measurement and the more strategic the position of the space is in terms of the view quality. The number shown is the normalized result of isovist perimeter. The function showed a good graph. Circulation only Temporary exhibition space Gift shop Cinema Office Filmmaking process exhibition Accessibility
Antiques exhibition Cafe
Nearness For the accessibility, the bar and the number represents how many spaces a particular space is connected to. For nearness, the nearer the space is to temporary exhibition space, the fuller the bar is. The number is measured between 0 and 1. The result guaranteed a good function
The test for each criteria was successful. For the next step, I tried to set up an overall function with a suitable weight for each criteria. Set-up 1 The optimization = Area * 5 + View * 1 + Circulation * 1 Where: View = Temporary space isovist perimeter* 1 + cafe isovist perimeter * 1 Circulation = Total accessibility * 1 + Nearness * 1 Accessibility = Maximum accessibility of temporary exhibition space * 1 + Minimum of acccessibility for office * 1 Nearness = Maximum filmaking process exhibition nearness * 1 + antiques * 1 Results
Area
Accessibility
View
Nearness
Temporary exhibition space
Office
Gift shop
Filmmaking process exhibition
Cinema
Antiques exhibition Cafe
The result showed that although the area and circulation was satisfied, the view for temporary exhibition space and cafe was not yet satisfied. Thus, in the next optimization, I reduced the weight for circulation
Set-up 2 The optimization = Area * 5 + View * 1 + Circulation * 0.5 Where: View = Temporary space isovist perimeter* 1 + cafe isovist perimeter * 1 Circulation = Total accessibility * 1 + Nearness * 1 Accessibility = Maximum accessibility of temporary exhibition space * 1 + Minimum of acccessibility for office * 1 Nearness = Maximum filmaking process exhibition nearness * 1 + antiques * 1 Results
Area
Accessibility
Nearness
View
Temporary exhibition space Gift shop
Cinema
Office Antiques exhibition Filmmaking process exhibition Cafe
Set-up 2 The optimization = Area * 5 + View * 1 + Circulation * 0.5 Where: View = Temporary space isovist perimeter* 1 + cafe isovist perimeter * 1 Circulation = Total accessibility * 1 + Nearness * 1 Accessibility = Maximum accessibility of temporary exhibition space * 1 + Minimum of acccessibility for office * 1 Nearness = Maximum filmaking process exhibition nearness * 1 + antiques * 1 Results
Area
Accessibility
Nearness
View
Temporary exhibition space
Office
Gift shop
Filmmaking process exhibition
Cinema
Antiques exhibition Cafe
Both of the results show that the view was adjusted correctly and satisfied but the accessibility and nearness was not satisfied. Thus, I made some adjustment to improve the function
Set-up 3 The optimization = Area * 5 + View * 1 + Circulation * 0.75 Where: View = Temporary space isovist perimeter* 1 + cafe isovist perimeter * 1 Circulation = Total accessibility * 1 + Nearness * 1 Accessibility = Maximum accessibility of temporary exhibition space * 1 + Minimum of acccessibility for office * 1 Nearness = Maximum filmaking process exhibition nearness * 1 + antiques * 1 Results
Area
Accessibility
View
Nearness
Temporary exhibition space
Office
Gift shop
Filmmaking process exhibition
Cinema
The result was still not satisfied in terms of circulation
Antiques exhibition Cafe
Set-up 4 The optimization = Area * 5 + View * 1.25 + Circulation * 1 Where: View = Temporary space isovist perimeter* 1 + cafe isovist perimeter * 1 Circulation = Total accessibility * 1 + Nearness * 1 Accessibility = Maximum accessibility of temporary exhibition space * 1 + Minimum of acccessibility for office * 1 Nearness = Maximum filmaking process exhibition nearness * 1 + antiques * 1 Results
Area
Accessibility
View
Nearness
Temporary exhibition space
Office
Gift shop
Filmmaking process exhibition
Cinema
The result show all the objectives are well matched.
Antiques exhibition Cafe
Area
Accessibility
View
Nearness
Temporary exhibition space
Office
Gift shop
Filmmaking process exhibition
Cinema
Antiques exhibition Cafe
Area
Accessibility
View
Nearness
Temporary exhibition space
Office
Gift shop
Filmmaking process exhibition
Cinema
Antiques exhibition Cafe
Area
Accessibility
View
Nearness
Temporary exhibition space
Office
Gift shop
Filmmaking process exhibition
Cinema
Antiques exhibition Cafe
Area
Accessibility
View
Nearness
Temporary exhibition space
Office
Gift shop
Filmmaking process exhibition
Cinema
Antiques exhibition Cafe
Precedents Precedents study Design elements
Focus This section explains how I used isovist and light analysis to understand visual experience in established precedents
5.1 Precedent study In section 3, I briefly mentioned about the design concept. I want to create cinematic experience where the visitor will go through different journey, from understanding to confused, intense then hopeful and resolved. In section 2, I discussed how experience could be interpreted into data. Here I investigated spaces that correspond to the experience I want to design and interprete these spaces into data. The chosen precedents are specific spaces in the Holocaust museum by Daniel Libeskind, British Museum dome by Norman Foster, Telfair Art Museum by Moshe Safdie and Kiasma Museum by Steven Holl. For each precedent, I analyzed them in two criteria: space and light. I used isovist to describe the space. I created the map for three properties that describe the space: Ax (area of visual field) for spaciousness perception, Qx for uncertainty perception and Nx for compactness perception. The map was developed from a grid of 1m from the floor plan. Each point in the grid holds a number. The scale bars are presented in meter for Qx value and meter sqaure for Ax and Nx. For light, I rendered the images in DIVA at the most two popular visit time of the day: 10am and 4pm. I also put the day to be in the middle of june as it is summer in other countries, for the weather will be more similar to Singapore. An analysis in terms of brightness distribution and light typology is included.
5.2 Jewish Holocaust Museum Architect: Daniel Libeskind Location: Berlin, Germany
1 Axis of continuity
Leading
2 Holocaust tower
Intense
3 Staircase
Hope
4 Garden of exile
Lost,confused
The meaning of the Holocaust museum and the acknowledgement of the erasure of Jewish life is integrated into the consciousness and memory of the city of Berlin. The highlights of the design are the architectural elements on the ground level: the axis of continuity, the holocaust tower, the staircase and the garden of exile. As the vistors walk through these rooms, they will go through different visual experience. Through the isovist and light analysis, I will decode and convey this experience into data.
1 Axis of continuity
3 Staircase
Leading
Hope
The first analysis are the underground axes. Laying out is the path made up of the three axes symbolizing the realities in the history of German Jews. The longest in the Axis of Continuity is seen as the continuation of Berlin’s history. The other two are Axis of Migration and Axis of Holocaust. The three isovists are chosen to analyze the relationship between the space. Isovist analysis Ax - spaciousness perception map
132.387
331.7478 As the person walks down the tunnel, the vision remains constant but become less compact, more open and uncertain at the junction. This is in line with the design intention where the vistor is led through a tunneling vision. The expansion of view and the given perceptual uncertainty represents the opening up of choices at the same time the uncertainty as one reaches the junction of the tunnel. The compactness show that throughout the journey, most of the time, the visitor has no change in vision and rather feel compressed, he does not even get offered to see what is ahead the end of the tunnel.
Nx - compactness perception map
4.73
1.53 Qx - uncertainty perception map
42.96
4.94
Light analysis
Holocaust Museum 10am 21/06
Holocaust Museum 4pm 21/06 Light typology: Selectively Direct. As seen from the light analysis, the brightness (luminance) focus more on the top opening and the light line the sun cast on internal surfaces. The walls are gradually lit and the floor illuminance more or less remain constant.
Holocaust Museum 10am 21/06
Holocaust Museum 4pm 21/06 Light typology: Selectively Direct. The staircase leading to the top brings out hope and leads the visitor to the space above. From the isovist analysis, we can tell the visitors do not get to see the space at the end of the tunnel. However, the light analysis shows that the signal and information from light offers hope and lead sthe visitor towards the end. In this case, the brightness is not focused but rather light up the wall and from the top and diffuse accross the surfaces. The floor also shows a different gradation in brightness
4 Garden of exile
Confused Isovist analysis Ax - spaciousness perception map
Nx - compactness perception map
74.7
1.73
0.78 0.06
Qx - uncertainty perception map
47.27
0.5 In contrast to the axis of continuity, the visual perception is not constant but keeps changing and shifting from open to compressed, from having more perceptual certainty to uncertain, from more compact to less compact each step the vistor takes. The vistor has many path choices each turn he takes. However, the pattern is repeated. Thus, when the visitor makes a move, his vision change but the journey as a whole is repeated. Therefore they will feel tricked and trapped.
Light analysis
Holocaust museum 10am 21/06
Holocaust museum 4pm 21/06
Holocaust museum 10am 21/06
Holocaust museum 4pm 21/06 The illuminance distribution along the space follows the similar pattern as spatial experience. The surfaces get significantly darker towards the end. It also gets brighter with consistent pattern at each pillar, presenting the feeling of being in a maze
2 Holocaust tower
Intense
Holocaust3 10am 21/06
Holocaust3 10am 21/06 Light typology: Selectively Direct For the Holocaust Tower, I have only done light analysis as the spatial arrangement is not relevant. As shown fromt the analysis, the illumincation only focus at one spot while the brightness of the space is even. There is also not much difference in illuminance distribution between morning and afternoon. This gives the feeling of intense and silence
5.3 British Museum Architect: Norman Foster Location: London, England
The courtyard was previous a lost hidden space. The re-design of the Great Court is to revitalize this hidden space and make this an attraction again. It is therefore welcoming. The design offers a new view of the surroundings every step the visitor take.
Isovist analysis Ax - spaciousness perception map
1303.92
65.41 Qx - uncertainty perception map
1059.45
15.75 Nx - compactness perception map
0.526
0.00323 The isovist analysis shows that there is an explosion of view (the value of Ax and Qx is higher near the entrance) when one first comes in the courtyard of the museum.. Although the perceptual complexity keeps changing to the space, the change is rather gradual but not abrupt as the Garden of Exile.
Light analysis
British museum 10am 21/06
British museum 4pm 21/06 Light typology: Direct and Exaggerated The light analysis shows the space is mostly bright. The sunlight is able to light up most of surfaces in the space. There is not any extreme dark corner in the space
5.4 Telfair art museum Architect: Moshe Safdie Location: Savannah, United States
Jepson center is the newest of the Telfair’s building. The building is very open and lets in lots of natural light. The architect want Jepson the feel like part of the city. The two ends of the building face the street to invite people to the museum
Isovist analysis Ax - spaciousness perception map
613924
27057.85 Qx - uncertainty perception map
11683.62
991.82 Nx - compactness perception map
0.066873
0.022173 The isovist analysis also that that visual experience of the space is rather constant. There is also an explosion of view once when walk in the space. The perceptual uncertainty show that the view leads one towards the staircase
Light analysis
Telfair art museum 10am
Telfair art museum 4pm Light typology: Direct and Exaggerated Similar to the British museum courtyard, the space is very well lit. There is not any extreme shadow corner in the space
5.5 Kiasma museum Architect: Stenven Holl Location: Mannerheimplatsen, Finland
Kiasma is a design of intersections. Its site in the center of Helsinki is a focal point between several notable structures: the Finnish Parliament building in the west and Alvar Aalto’s Finlandia Hall in the south. The visitors enter the museum through a spacious lobby with glazed ceiling which serves as the starting point for stairways, ramp and corridors curving off and lead into the rest of the building.
Isovist analysis Ax - spaciousness perception map
255.95
0.00 Qx - uncertainty perception map
987.8
0.00
Nx - compactness perception map
0.78
0.06
Similar to axis of continuity, the first entrance is closed-in providing a rather constant visual experience as one move through the ramp but then leading to the right space to a series of connected rooms.
Light analysis
Kiasama museum 10am
Kiasama museum 4pm Light typology: Indirect and diffuse Similar to the staircase, the space lead the visitor in through the use of light focusing the brightness at the end and from the top
Final designs
Focus This section presents final outcome
6.1 Design strategy Design strategy Previously, I did not specify quality of view for every space but only specify the view for the main exhibition space and the cafe not to limit the result but open up to new options. I chose this design iteration because of the potential for futher design development based on my concept and for the fact that the cinema, the cafe are near to the outside to invite people in. Although in this design iteration, the cinema took a spot that has a good view to outside, I took this as an opportunity to offer the view of the city to the audience after the movie where the screen can be pulled up
Multiple entrances from the site
Internal circulation
Final outcome Similarly, I did the same analysis for the design Ax - spaciousness perception map
Qx - uncertainty perception map
255.95
987.8
0.00
0.00
Nx - compactness perception map
0.78
0.06 I did an analysis the whole plan to see how the spaces relate to each other and how the main tmeporary exhibition space relate to other spaces. The isovist map showed the similarity between the main exhibition hall and telfair art museum precedent. The space is the most spacious and least compact, the quality of space gradually changes. The space also leads to the movie exhibition space and film making process exhibition. Qx map shows the uncertainty in visual field in these two spaces draw people in.
Light analysis I used direct and exaggerated light typology for the temporary exhibition space and the cafe as they are the welcoming space.
10am 21/06
4pm 21/06
Design strategy For the confusing space, I also intend to create the constant shifting in visual experience. However, instead of creating a grid like the Garden of Exile, I put the columns that hold the exhibit diagonally such to create contract and exapnding visual spaces. The intention is shown through the isovist map. Ax - spaciousness perception map
255.95
0.00 Nx - compactness perception map 0.78
0.06 Qx - uncertainty perception map 987.8
0.00
Light analysis Similar to the Holocaust tower, the space for antiques exhibition space is dark and constantly lit up by one corner. The space represents the feeling of intense but also having a glismpe of hope.
10am 21/06
4pm 21/06
6.2
Overall roof plan
B
B
A
A
Final floor plan
Section A-A
Section B-B
View from temporary exhibition space View from temporary exhibition space
View from cafe
View from film-making process exhibition
View from antiques and memorabilia exhibition
Conclusion
Although data is perceived to be subjective, architecture’s ultimate goal is to create aesthetic structures. Data can become the extension of a designer’s judgment, intention, understanding, and memories. A master designer is in control of the whole process and ultimately the final outcome. At least until today, the designer still has to take initiatives and make major decisions. I found inspiration in precedents to create my own new experience. I chose the design premises by myself. Despite this understanding, architects should be open to the new concepts and architecture’s evolution, especially in technology. With this approach, final outcome is not limited by the designer’s initial preconception.
Bibliography 1. Patrik Schumacher, The Omnivore’s Dilemma: A Natural History of Four Meals, 2008 2. Christopher Alexander, Notes on Synthesis of form (Havard Press, 1973) 3. Juhani Pallasma, The Eyes of the Skin, 1996 4. Steven Holl, Juhani Pallasma, Questions of perception phemonology of architecture, 2007 5. Toni Konik, Digital Architectral Design as Exploration of computatble functions, 2010 6. Athina Theodoropoulou, architectural authorship in generative design, 2007 7. John Frazer, towards an evolutionary architecture, 1995 8. Robert Woodbury, Robert Aish, Axel Kilian, Some patterns for parametric design, 2007 9. M L Benedikt, To take hold of space: isovists and isovist field, 1979 10. Alasdair Turner, From isovists to visibility graph: a methodology for the analysis of architectural space, 2000 11. Gerald Franz, Jan M. Wiener, exploring isovist-based correlates of spatial behavior and experience, 2005 12. D. E. Berlyne, Aesthetics and psychobiology, 1971 Siobhan Rockcastle, Towards a Novel Prediction model for visual interest in daylit renderings, 2016 Wilfried Jakob, Pareto Optimization or Cascaded weighted sum: a comparision concepts, 2014