SYNAESTHETIC MUSEUM
MusĂŠe des GLACE 2013
Francois Mangion, Shuchi Agarwal (Bartlett School of Architecture RC2)
CONTENTS 1. sYNAesTHeTIC museum 2. Concept 3. strings & Rays 4. Caustics Through shapes 5. Caustic Networks 4.1. deformed surfaces 4.2. Water surfaces 6. The Caustic Tool 6.1. Light source Analysis 6.2. Point Light source Analysis 6.3. Radial Light source Analysis 6.4. directional Light source Analysis 7. Algorithmic Relation Morphology 7.1. Point Light source Analysis 7.2. Radial Light source Analysis 7.3. directional Light source Analysis 8. Flow 9. The exhibit
Photography_ Francois Mangion
sYNAesTHeTIC museum
The Synaesthetic Museum looks to find a harmony between the visual and aural perceptions in architecture. using light as the architectural generate tool, we hope to create a form which exemplifies the relationship between the form itself and the aural qualities it can create. studying the play of light caustics and sound, the museum hopes to heighten ones awareness of the essential role the human senses plays in the built environment. Re-thinking how light can evolve into inhabitable spaces, the museum will attempt to redefine how people occupy the built environment through sound and not only the typical visual aspects, hence experiencing a homogeneous correlation between the volumetric qualities of both light and sound.
Michael Hansmeyer [http://www.architectural-review.com/]
CONCePT CAusTIC LIGHT PRINCIPLes CAusTIC LIGHT CuRVe
LIGHT FLOW & VOLuMeTRIC VALues
NeW ARCHITeCTuRe
sOuNd GeNeRATION
2nd Layer of detail
Our methodology sHAPes, FORMs and uses light. We developed a way of analysing light down to ray principles in constant movement and change to create a dynamic architectural tool. Through the analysis and application of light projection to both surfaces and 3 dimensional geometric shapes. The caustics generated shape the light rays below and the resulting forms of light are generated with respect to caustic, refraction and reection principles. Even if light distortion might seem random caustic principles are actually precise and the slightest movement of the in the surface and/or light will completely result into a different caustic pattern.. The ambient created within the representation of the light rays is constantly changing with varying intensities and build-ups of intensely packed light rays representing the caustic patterns to be generated. Affecting most of the human senses this architectural language follows the rules of light, represents its behaviour and proposes a porous almost ghostly hologramic space of reection upon the affects the natural world has on the way we live and how, more then before, now light can form our architecture. Our control over light looks to manipulate the dynamic form of the potential architectural space generated. By the movements and forms generated through light caustics. A more intense space has represents more movement, whilst less intense spaces would require less movement. The light is directly converted into an architectural language, caustics become experiential spaces and light generated the architectural proposal itself.
sTRINGs ANd RAYs ARCHITeCTuRAL FORM FINdING
Following our study of caustics, light reflection and refraction from surfaces and shapes the next challenge has been understanding whether or not what we’re doing is going to work and mostly how to represent it architecturally. Our design represents the visual analysis of light as a phenomena, but in principle our architecture represents a study of caustic light performance, in particular caustic generation and how light is scattered in a space. Both light and sound can be analysed with ray and string tracing. The simulation generates a series of light rays (depending on the type of light chosen) and through bounce (after the reflection) or bend (after refraction) the displacement vector is found. Rays and strings as part of our architectural language provides a language to express our simulation which is important to be able to quantify and visualize the results of the simulation and further analyse its architectural value.
Partitura - generating real-time graphics by visualising sound [http://www.abstractbirds.com]
CAusTICs THROuGH
sHAPes
Caustic Curve simulation of the cone shape
Caustic Curve simulation of the torus shape
CAusTIC
NeTWORKs
NeTWORKs A caustic network is essentially many inter-related caustic light traces. Using digital simulation and analogue analysis, caustic networks are created and analysed through 2 basic methods of analysis. 1. Deformed surfaces 2. Water simulated surfaces The basic geometric caustic curves are recorded depending on the surface generated from. In the region of study sufďŹ cient information is recorded to further understand the transition of caustic curves, determining if the end result was direct combination and repetition of caustic curves or if a proper caustic network was generated.
Caustic Network analysis of an undulating irregular surface
Caustic Network Projections
Analysed distorted surface
The main parameters for this tested surface are the introduction of irregular geometry and distortion of the tested surface. Also, the actual surface was designed to have substantial detailed texture generating the caustic networks. The modelling of distortion and undulation was conceptualized within the terms of the potential caustic capabilities. The surface bumps produce varying caustic patterns. The fold and deformation generates varieties in the projection.
Caustic Network analysis of a distorted surface creating dynamic caustic projections
Analysis of Caustic Network development generated by a distorted surface.
Water surface
Refracted Light Rays
dynamic Caustic projections
Light source
Water surface
Refracted Light Projection Plane
the
CAusTIC
tool
Ethereal paper sculptures floating inside a church [http://www.lostateminor.com/]
THe CAusTIC TOOL The computational process The aim of the ‘Caustic `tool’ project is to research and develop computational design methods, in order to design a new intricate type of architecture using light. The process sought inspiration from optical form-creating systems and caustics. Our design process is a fluent, yet at the same time complex, three-dimensional representation – a Light ‘sculpture’. The design process aims for the creation of an ICe Museum; whilst design methods must be carefully selected and considered to support the manufacturing methods, the key is to find the delicate balance between light complexity and computational rigid representation. A simple line and point based geometric object is the output giving birth to 3dimensional value to caustics. The algorithm itself follows the complex nature of light hitting the object and how caustic light is derived through its natural rules and in with its multiple iterations. This creates intricate and elaborate geometry. This ‘Caustic Tool’, represents an architectural vision and creative digital form finding, combined with the possibilities of design through rules of nature and manufacturing methods.
LIGHT sOuRCe ANALYsIs POINT LIGHT SOURCE
RADIAL LIGHT SOURCE
DIRECTIONAL LIGHT SOURCE
Point source
Light source
Point light
Radial light
directional Light
surface
surface
surface
Refracted Light
Refracted Light
Refracted Light
POINT LIGHT sOuRCe ANALYsIs
Caustic ray-tracing analysis of changing water surface using point light source
PLAN VIeW Caustic ray-tracing analysis of changing water surface using point light source
RAdIAL LIGHT sOuRCe ANALYsIs
Caustic ray-tracing analysis of changing water surface using radial light source
PLAN VIeW Caustic ray-tracing analysis of changing water surface using radial light source
dIReCTIONAL LIGHT sOuRCe ANALYsIs
Caustic ray-tracing analysis of changing water surface using directional light source
PLAN VIeW Caustic ray-tracing analysis of changing water surface using directional light source
Algorithmic
ReLATION Morphology
ALGORITHMIC
ReLATION MORPHOLOGY The algorithm used to generated ray-tracing seeks for end points of each and every ‘light ray’ and points generate vectors flowing out according to the certain light angle. These endpoints are made to seek for a distance based relation hence are attracted to the various neighbour points in different distances three dimensionally. It simulates a close logic to the emitted light flowing to generate varying light intensities which in 3 dimensional terms generate a complex tessellated morphology.
POINT LIGHT sOuRCe ANALYsIs
Analysis of the conception of architectonic forms in the relation of individual points generated by the ‘Caustic Tool’ using point light source
PLAN VIEW Analysis of the conception of architectonic forms in the relation of individual points generated by the ‘Caustic Tool’ using point light source
Overlay analysis of generated data in relation to volumetric and architectural properties of resulting arch-caustic curve.
RAdIAL LIGHT sOuRCe ANALYsIs
Analysis of the conception of architectonic forms in the relation of individual points generated by the ‘Caustic Tool’ using radial light source
PLAN VIEW Analysis of the conception of architectonic forms in the relation of individual points generated by the ‘Caustic Tool’ using radial light source
Overlay analysis of generated data in relation to volumetric and architectural properties of resulting arch-caustic curve.
dIReCTIONAL LIGHT sOuRCe ANALYsIs
Analysis of the conception of architectonic forms in the relation of individual points generated by the ‘Caustic Tool’ using directional light source
PLAN VIEW Analysis of the conception of architectonic forms in the relation of individual points generated by the ‘Caustic Tool’ using directional light source
Overlay analysis of generated data in relation to volumetric and architectural properties of resulting arch-caustic curve.
FLOW
suRFACe uNdeR TesT
ReFRACTed LIGHT FLOW
LIGHT FLOW FROM ReFRACTed TO ReFLeCTed
3 dimensional analysis of light flow generated from the relation endpoints or refracted and reflected light rays.
ReFLeCTed LIGHT FLOW
LIGHT FLOW FROM ReFRACTed TO ReFLeCTed
Reected Light
Refracted Light
Link Flow
THe eXHIBIT Through its purely generated design, the museum will feature a striking presence in itself as a modern work of art. The environment and experience becomes as beautiful as the artwork that the museum displays, through its heavy intertwining with the display spaces and light. The ice and water become complimentary, as the water reections enhance the spaces. Ice forms the delicate undulating walls, physically ice becomes a boundary, a protection from the outside, but visually there is no boundary between outside and inside. There is also the light that comes through the ice that indicates a lack of boundary and would make its presence felt on the inside. Light becomes the key in the design of the museum, with an emphasis on both refracted and reected caustics through natural light. Tadao Ando. The Oval, Benesse Arts Museum, Naoshima [ http://calyx.tumblr.com/]