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DEPLOYABLE STRUCTURE EXPERIMENTS TENSEGRITY SYSTEMS AND UNDERSTANDING BALANCE EQUILIBRIUM PACKING SYSTEMS - INTRODUCTION TO QUASICRYSTAL STRUCTURES LIGHT EXPERIMENTS
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RELEVANT MATERIAL EXPERIMENTS & ANALYSIS DESIGN CONCEPT DEVELOPMENT STRUCTURAL GROWTH AND DENSITY SHADOW DESIGN- DEVELOPING CONTROL BURNING MAN CONSTRUCTION TIME LINE DETAILING BUILDING PROPOSAL IN CONTEXT
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REALISE 22-23 LIGHT EXPERIMENTS - SHADOW ART & PINHOLE CAMERA 24-26 DIGITAL CULLING EXPERIMENTS 27 CULLING CONCEPTS APPLIED TO ARCHITECTURE 28-30 DIGITAL TO PHYSICAL 31 CARVING SPACE WITH LIGHT 32-33 LIGHT & RELIGION 34 RELIGION FOR ATHEISTS 35-37 LA DEFENSE SITE ANALYSIS 38-39 COMPLEX TIME FRACTURED SPACES 40 MATERIAL DEVELOPMENT 41-42 MASSING & CONCEPT DEVELOPMENT 43 1:100 PHYSICAL MODEL PHOTOS 44 ELEVATIONS 46-50 FINAL RENDERS & META DIAGRAM
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FURTHER RESEARCH 50 +
CONTENTS
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LEARN TO BURN
REALISE
DEPLOYABLE TRELLIS GRIDSHELL In this model I have taken ideas from pantograph structures as well as Bennett linkages which are both efficient methods for creating lightweight collapsible structures. The experiment was designed to create a flat pack form which could then be erected by exerting lateral forces on the structure.
Pantographic Systems & Bennetts Linkage Mechanism
The general concept of deployable structures based on pantographs is that they are deployed and stiffened by means of cables and are applied to the design of the support structure. The simplicity of the system means that its can be erected with ease, whilst also being made up from essentially two components- the rods and the connection nodes. Such a system is flexible to extension or adaptation.
^ Hornbeam leaf opening process
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^ Emilio Perez Pinero’s working model of a travelling theater
^ Experimenting with the erection of a gridshell using a compressing constraints box
^ The gradual deployment of trellis styled gridshell
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DYNAMIC SYSTEMS The iris is a thin diaphragm composed of mainly interconnected tissue and muscle fibres and its purpose is to control the amount of light allowed through to the retina. The iris dilator muscles run radially through the iris like spokes on a bike wheel with a sphincter capability. The detail within the iris decrease as the pupil dilates, and the muscle fibres are more densely packed. This model is based on the concept of the eyes ability to respond to light with these muscles described above. By building this model I hope to develop and explore the potential of this mechanical process for a self deploying structure in response to an environmental condition. The photos illustrate the models journey from a closed surface, pushed to into the centre, to a opening with just circumferential structural presence. It is a potentially very exciting design which could be applied to anything from a stadium roof to a solar chimney aperture.
Adaptable
Addable
Compatible
^ Constricted pupil to fully dilated
Demountable Disassemblable Divisible Expandable Independent Autonomous Multipurpose
Closed-loop Portable
Recyclable Stackable Packable Dynamic ^ Aperture experiment model, from small to large aperture
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^ Aperture experiment model, timber and pins
^ Aperture experiment drawing
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TENSEGRITY SIMPLEX This is a working model of a triangular tensegrity simplex prism. The model rests in a state of equalibrium. Its strength derives from the balance of compression and tension pushing and pulling again one another. When making the model, I once again witness the strange and unintuitive nature of the system, moving from state of disorder to equalibrium with the connection of the final cable bringing the entire system together. Once completed, its simplicity and strength become obvious. The angle of rotation of the two bases is dictated by the requirement for the equilibrium of the shape. A tensegrity prism is stable only at a specific prism rotation angle. The angle can be calculated from the nodal internal force equilibrium for the shape under a self stressed state. In tensegrity prisms it is easily calculated from the symmetrical conditions that the forces are equal for all cables and struts. It works out that the rotation angle is half the angle of a given vertex within the prism, hence the square prism rotation angle is 45 degrees and the Triangular prism is 30 degrees. Truncated tensegrity prisms are formed when the top and bottom bases aren’t identical. Balloon Experiment This idea came about as we discussed tensegrity systems and how balloons themselves are a system in equilibrium, with the air in compression and the balloon membrane being in tension. Balloons of a certain proportion have a good compressional quality (so i thought) so the idea came about to replace the struts in a normal tensegrity configuration with balloons, creating the ultimate minimal structure. For the Burning man Festival it would be ideal as the building materials would be at a minimum and it would be quite a fun process of construction. However this concept idea has its major floors. Balloons are a unstable tensegrity system and therefore the overall structural integrity is in jeopardy if one balloon pops. I wanted to construct a tensegrity simplex using long balloons working towards a truss system, however long balloons lack any real compressional strength.
^ Triangular tensegrity simplex built model, timber and string
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Triangular tensegrity with membranes replacing equivalent tensional entities
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Balloon Tensegrity experiment, exploring the ultimate tensegrity system
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TENSEGRITY SYSTEMS Tensegrity structural model
These photos illustrate a tensegrity sphere experiment I have undertaken. It was constructed from 30 struts, each with a string running from end to end. For a tensegrity sphere to work, a state of vector equilibrium must be achieved, and thus the form is stable and self supporting. The string is in tension throughout the structure, with the wooden posts taking the compressional forces. This therefore makes it a prime example of a Synergetic system. Tensegrity simplexes are the elementary spatial tensegrity system, which can be applied to create various forms. The system is based on isolated struts (islands of compression) and interconnected cables ( a sea of tension) which result in a free stand stable structure.
^ Grasshopper definintion for applying physics to a tensegrity system
^ Photos of a 30 strut tensegrity model
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^ Rendered double layered tensegrity model
^ Ecotect surface analysis, a measure of how light falls on the membrane
^ Triangular tensegrity with membrane response using grasshopper and kangaroo to add tension and compression to elements
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Tensegrity mast structure
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QUASICRYSTALS - 83.24% PACKING EFFICIENCY Nobel Prize in Chemistry 2011 The Nobel Prize in Chemistry 2011 is awarded to Dan Shechtman for the discovery of quasicrystals. Non-Periodic Quasicrystals are formed when tetrahedra are compressed into a given volume. A crystal is a material structure which repeats periodically however a quasicrystal is similar, but it doesn’t repeat itself exactly, despite its regularity. Long term order The tetrahedron forms these intricately complicated and amazingly complex structures. Quasicrystals represent a class of solids which lack translational symmetry, but nevertheless exhibit perfect long-range order and reveal well-defined rotational symmetries. Translational symmetry is when an image or object can be divided into a sequence of identical repetitions which are translated about a line or give vector. So without this form of symmetry the Quasicrystal is non periodic. It has a long term order which means it characterises physical systems in which remote portions of the same sample exhibit correlational behaviour. In science objects that are of a low temperature generally have a highly ordered make up. Entropy, which is often associated with disorder and chaos, can in fact in this example create order.
^ Dan Shechtman, the discoverer of Quasicrystals
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Quasicrystals in Nature Perfect quasicrystals have been found in nature, locked inside a rock from a Russian mountain range. The mineral in question consists of aluminum, copper and iron, and yields a diffraction pattern with tenfold symmetry. It is called icosahedrite, after the icosahedron, a geometrical solid with sides consisting of 20 regular three-cornered polygons and with the golden ratio integrated into its geometry. Quasicrystals have also been found in one of the most durable kinds of steel in the world.
^ Primitive icosahedral phase R-Mg-Cd
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^ Quasicrystal Model make up from 4000 struts
^ Electron diffraction patterns demonstrating how Dan Shechtman notice the 5 fold rotational symmetry - Dodecagonal Quasicrystal
^ Icosahedral Quasicrystal diffraction
^ Penrose tiling found within Quasicrystal structure
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QUASICRYSTAL STRUCTURE The Golden Rhombus To create a Rhombic hexecontrahedron which is show in the rendering is made up from 20 golden rhombus. The rhombic hexecontahedron is a 60-faced polyhedron that can be obtained by stellating the rhombic triacontahedron by placing a plane along each edge which is perpendicular to the plane of symmetry in which the edge lies, and taking the solid bounded by these planes gives a hexecontahedron. The rhombic hexecontahedron is the central core of a Quasicrystal aggregate. Quasi-periodic materials These materials have certain properties which are unique, such as electrical properties, optical properties, hardness and nonstick properties. Most Quasicrystals are made from metal alloys. One of the most common alloys used to create Quasicrystals in the lab is a combination of iron, copper, and aluminum. This model was generated using a 2D drawing of a non period Penrose tiling. The aim was to try and begin to recreate the complex interlayering within the crystal and the intrinsic beauty that comes with it, The crystal as already described has the potential to defract light in beautiful ways. This model is in its early stages but already begins to show signs of an exiting facade system which can shade and control light whilst being aesthetically exiting.
^ Obtuse and Acute golden Rhombohedra. All Facets have the Golden Ratio
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^ Rhombic Hexacontrahedron within the penrose tiling
^ Physical model of a Rhombic Hexacontrahedron
^ Photonic Quasicrystal Lattice at microscopic level
^ Digital Rendering of Quasicrystal patterns using Rhino and Grasshopper
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LIGHT MANIPULATION Quasicrystal structures are better for trapping and redirecting light because their structure is nearly spherical. The finding represents an advance in the field of photonics, in which light is used to transmit and process information which could potentially lead to the development of faster telecommunications and computing devices. Researchers are now exploring ways of miniaturizing the structure in order to use the device with visible light instead of microwaves. They also are examining whether the quasicrystal designs may be useful in electronic and acoustic applications. The image below is Jean Nouvel’s Louvre in Abu Dhabi which has an intricate roof detailing of a similar nature to what the Quasicrystal patterning could potentially create.
^ These drawings show the potential shading produced by such a facade system. These sun path drawings show the movement of the shadow across the ground plane, based on an hourly interval. I hope to use this software to help inform design decisions. Software: Rhino, Grasshopper and Ecotect.
^ Jean Nouvel’s Louvre in Abu Dhabi
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^ Digital Rendering of Quasicrystal patterns using Rhino and Grasshopper
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QUASI-SHADOW THEATRE
LEARN TO BURN
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COMPONENTS AND COMPOSITION
^ 3D Penrose tiling computer model
^ 8 vertex stars floating throughout the Quasicrystal structure
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^ Varying section through the 3 dimensional Quasicrystal
^ Cardboard model bringing the Penrose tile into 3 dimensions
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STABILIZING A SINGLE LAYERED SYSTEM The configuration must be supplied with extra stabilising elements to reach kinematic stability and this can be done in several ways. For a given Quasicrystal pure lattice structure the Neutral Method the number of extra stabilising plates or bars can easily be found. The Neutral Method calculates the redundancy directly in a simple way, and is based on Moebius’ equation for kinematic stability. If the stabilisers are applied to the Quasicrystal rhombs, a plate will have the same stabilising effect as a diagonal bar. If plates are used they may be arranged in such a way that they articulate, emphasise and stress the architectural idea of the structure. The quasicrystal structure lacks triangulation resulting in what by itself is an unstable structure. Here I have constructed a 1:5 model (system 1) with loose joints to help understand the forces better. In my initial model I have just the pure quasicrystal form. This was a highly unstable system, despite building the model out further, it still failed to gain any rigidity.
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A rhombic truss exposed the quasicrystals instable state, resulting in a floppy structure with no rigidity
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In the second attempt I added plates which in turn replaced frame elements reducing any structural redundancy. This had the effect of creating a tighter and stronger structure, however not fully stable.
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Use a lighter and thinner material which packs space in solid geometry. This would be successful structurally however over engineered and less architecturally exciting.
Solid nodes at the junctions. By designing in greater reinforcement at the joints and less in the centre of the struts where the forces are less it helps to ensure a more efficient system.
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Solid junction nodes as well as a degree of stabilising plates to reduce twisting under wind loading as well as aiding the architecture aesthetic. The hybrid of nodes and plates creates a more varied architecture with the solid elements adding definition. This can be read particularly well in plan as the reinforcing ‘snakes’ weave across the building.
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Made up from surfaces, but use scripting and structural analysis software to work out where there needs to be more or less structure and thus the shape of the aperture.
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SHADOW MORPHOLOGY This diagram shows the shadow extent of a experimental massing to understand the daily shadow movement. I hope to use this to influence the building massing and pattern density. The idea is to allow some areas to be fully shaded, some dappled light and some direct sunlight. The desert climate and quasicrystal build up decide the most appropriate building massing. Shadows from the structure will have amazing transformations over the course of the day as the sun changes position and the patterns projected onto the ground. Visual richness with these elements of subtle organization and order within the chaos.
^ Structure exported to Ecotect for environmental analysis
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QUASITHEATRE DEVELOPMENT Rich ambiguity, subtle order
search
Back to a primitive lifestyle through art community and site
lter
climb
She
explore watch
perform
perform
rest shelter Roof Plan
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explore
Ground Floor
Ground Floor zoning
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PHYSICAL GROWTH MODELS
^ Exploring concepts of crystal growth from the Nucleation point. Growth in a 5 dimensional ordered pattern. The structure builds up in layers forming a greater lattice filling all of space. Growth is slow initially but once the core component is constructed the growth is rapid. Defects are possible. (provide a catalyst for structural transformations)
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DENSITY, ORDER AND MASSING
^ Rhino model. Building up the density of the lattice to a more inticate and human scale
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^ Block massing from a side elevation
^ By over laying the Pentagrid axies the order can be demonstrated quite clearly, showing the rotational symmetry
^ Elevation showing the complex twisting and undulating form of the 3D Penrose tiling
^ Ghosted structure showing all the layers and the resultant pattern
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SHADOW ART Surprise order from seemingly chaos Using Grasshopper to edit a structure to form designed shadows. To achieve this I drew the shape where I wanted the shadows to fall at that particular point in the day. A sun angle was added as was the mesh shadow caused by the structure. The outline for shadow culls any structure that has any part outside this area. The shadows can be seem as time keeping method, especially useful at a festival such as Burning man. A moment in time - movement of the sun and the movement of the viewer - progressive evolvement and understanding to the viewer. The Quasi-shadow theatre is a structure that casts shadows across the desert floor creating a playground of patterns. The beauty of the quasicrystals non period tiling comes to light as the shadows transform, growing and shrinking, morphing into various arrays of Penrose tiling. The structures lattice varies in density dependant on the requirement of shading. The nature of the build up of quasicrystals means that the structure can take on very different appearances from different angles. I wanted to play with this concept to try and form shadows that reveal surprise or symbology in the shadow pattern, capturing a moment in time.
12:00 ^ Sculpture precedents that command control of light, manipulating it in clever ways
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^ Grasshopper and screen prints illustrating the process of culling the structure to form desired shadows
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THE MAN IS BURNT
QUASI-SHADOW THEATRE
BURNING making up for what society did to the rest of your year! MAN
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The Unknown Burning man
The Temple
QuasiTheatre Site
7 x Joint Types 1000 x 300mm plytubing
NUCLEATION
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First component vertex star is constructed and fixed using screw foundations, providing a platform for growth
PARTICIPATION
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Engage with people in an interactive exercise of constructing component parts. The light weight nature of the structure allows for quick and easy assembly.
GROWTH
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These components can then be joined to the neucleating site, quickly multiplying the size of the structure.
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Photovoltaic tubes will be placed in a cluster within the structure where direct and diffused lighting can be maximised. This will harness energy during to day to light the building at night becoming self reliant DIRECT LIGHT DIFFUSED LIGHT
Centre Camp
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ARRIVE Base camp established REFLECTED LIGHT
TEMPERATURE FESTIVAL POPULATION
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INTERACTION
AUTONOMY
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Once the structure is complete it will become a playground physically as a structure to climb but also as structure to manipulate light. People will be able to enjoy the shade whilst appreciating the evolving form around them
DECONSTRUCTION
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The structure will begin to be dismantled on the final day
GIFTING
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The quasi-afterlife. The structure can be used to configure new form for exhibitions, installations or furniture.
LEAVE NO TRACE
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The structure will have minimal impact on the ground with screw foundations being used and no waste is produced in the construction process
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PLYTUBING COMPONENT STRUCTURE
^ The connection joints could be 3D printed for precision and strength but for the burning man festival the cheaper alternative would be to use rubber molded joints
^ Vertex star compositions which can be used to build furniture, either in the process of building the overall structure or to gift at the end of the festival
^ Constructing the struts out of plytubing will use far lower quantities of wood, not only this but they can be constructed from low grade timber off cuts. The result of these thin wooden veneers is an extremely strong and light weight material. Above shows it being used as light weight furniture.
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^ Light weight components make it easily to construct and move
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^ Phase one of construction post nucleation
^ Growth stage as component vertex stars are combined
^ Vertical growth
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^ 10 o’clock shadow
^ Internal render
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^ 12 o’clock shadow
^ At approximately 3 o’clock each day the burning man symbol is revealed in the structures shadow
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* 24 hour Culture - exploring the use by night
^ Lighting type 1
^ Concept lighting strategy
^ Experimental lighting effects
^ Night Render in context
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PARIS QUASI-CHURCH
BURN TO REALISE
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SHADOW ART - MANUAL SHADOW DESIGN
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PINHOLE LOUNGE
Using a mirror to reflect the image back to the correct orientation. This was done at the 10mm diameter.
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Testing different diameter apertures from 20mm diameter to 5mm. Note the level of light intake and the comparative detail
REALISE
EXPLORING SHADOW CONTROL
Solid grid, no shadow control
Solid grid, no shadow control
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Grid on grasshopper, with shadow outline defined
Solid grid, no shadow control
Resultant render of the culled structure
Solid grid, no shadow control
Additional storey height added with in same shadow constraint - illustrating the potential of the scrip to help inform design decision.
Solid grid, no shadow control
^ New York Zoning Laws
1. Define maximum size of the building 2. Build this up of a dense grid of lines ( the lines can be the length of a storey or far smaller depending on the desired culling result. 3. Define an area on the ground where you want the shadow to fall, in doing so you are obviously also deciding where the sun will fall directly. 4. The scripting will then cull the redundant structure which isn’t required to form the chosen shadow outline
^ Rem Koolhaas
The 1916 New York City Zoning Resolution imposed height and setback limits and distinguished between residential and industrial districts. Its purpose was clear — to prevent buildings at the scale of the Equitable Building — but figuring out how to implement the resolution was a different story. Architects began navigating how to master the resolution, and with it, usher in a new era in New York City building. In 1922, architect and delineator Hugh Ferriss was commissioned by Harvey Wiley Corbett to draw a series of step-by-step perspectives demonstrating the consequences and potential of the new 1916 zoning laws. Corbett reinvisioned New York as a marvelous city of skyscrapers. As a result of those initial drawings, Ferriss produced a remarkable book entitled The Metropolis of Tomorrow in 1929. It portrayed how New York City would look in the future and how it would change over the course of the proceeding decades. His vision of the city possesses a beautifully eerie, yet calm feel. The drawings, which eschew a human presence, have a post-apocalyptic quality reminiscent of the city of Fritz Lang’s “Metropolis.”
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Negative space
Latitude 51.574 Longitude -0.103
Renders
1 January 2pm
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1 February 2pm
1 March 2pm
1 April 2pm
1 May 2pm
1 June 2pm
1 July 2pm
1 August 2pm
1 September 2pm
1 October 2pm
1 November 2pm
1 December 2pm
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NEGATIVE SPACE
^ Culling a ‘gap’ to let light through
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^ Culling a structure to form the opposite, casting the same space into the darkness of shadow
^ Culled structure within its original volume
^ Both combined. Not neccessarily a complete cull but a material or opacity change
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DETAILED SHADOW MANIPULATION 11:00- 14:00 Cull
^ Demonstrating the culling process, using a frame structure as the base geometry
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^ Kodak logo cast on the opposite wall at set time in the day
This image shows how an elevation structure can be culled resulting in a undulating facade, allowing and blocking light at specific times in the day
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PHYSICAL TEST
1 Define outline where I want the sun to fall 2 Set the suns vector - in this case 14:00 1 May 2012
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3 Digital Rendering of the resultant mass culled to let the light through at this given angle
^ View of model straight on shows the layering, but doesnt reveal the cross cut through
^ The cross would be revealed under the sun at 2pm each day through may and june.
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FROM DIGITAL TO PHYSICAL - FURTHER EXPERIMENTS
^ Model rotated to horizontal planar - potential for floor plate culling
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^ Dense 10mm x 10mm grid broken into planes allows for a greater level of light/shadow accuracy
^ Dense 20mm x 20mm solid planesleast accurate control
^ Dense 10mm x 10mm grid broken into planes allows for a greater level of light/shadow accuracy
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PLANAR CULLING
^ Realising the potential for a system that culls floor plates, forming complex twisting layers designed to let light through at a set angle
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^ Complex layering allows areas to be revealed, then covered, with a dynamic composition of space
^ Intended shadow not fully realised due to the scale accuracy of the model - 10mm x 10mm more successful option
4pm May 1 2012
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CARVING SPACE WITH LIGHT TO CREATE A SERIES OF EVENTS
12- 2pm May 1 2012
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2pm May 1 2012
K VE IN ONSI RESP ESEARCH R
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10am May 1 2012 ^ light incisions
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^ x-rayed planar building
^ Development renders
^ Exploded axonometric study looking at cutting away the floor plates to different depths throughout the day depending on requirement for programme
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LIGHT AS A LANGUAGE FOR WORSHIP
^ Summer Solstice at Stonehenge.
^ Ra is the ancient Egyptian sun god. By the Fifth Dynasty he had become
^ Solar Deity
^ The Maya calendar is a system of calendars used in pre-Columbian
^ Pompeii - understanding the amazing use and importance of light in
Revellers typically gather at Stonehenge, the ancient stone circle in Wiltshire, to see the sun rise. The Heel Stone and Slaughter Stone, set outside the main circle, align with the rising sun. Solstice, or Litha means a stopping or standing still of the sun. It is the longest day of the year and the time when the sun is at its maximum elevation. This date has had spiritual significance for thousands of years as humans have been amazed by the great power of the sun.
a major deity in ancient Egyptian religion, identified primarily with the midday sun. The meaning of the name is uncertain, but it is thought that if not a word for ‘sun’ it may be a variant of or linked to words meaning ‘creative power’ and ‘creator’.
A solar deity (also sun god/dess) is a sky deity who represents the Sun, or an aspect of it, usually by its perceived power and strength. Solar deities and sun worship can be found throughout most of recorded history in various forms. Hence, many beliefs have formed around this worship, such as the “missing sun” found in many cultures.
Mesoamerica. The essentials of the Maya calendar are based upon a system which had been in common use throughout the region, dating back to at least the 5th century BCE.
architecture through history and its religious significance.
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The Mayan ruins at Chichén Itzá are famous for the spectacle of shadow and light at the spring and autumn equinoxes. The snake of light brings the pyramid alive, dancing his way down the steps of the El Castillo pyramid. At the base of the steps is a carved stone snake head. This carefully constructed astral phenomenon can be seen best on the equinoxes, but is still visible for the days directly preceding and after the equinoxes.
The site of Ronchamp has long been a religious site of pilgrimage that was deeply rooted in Catholic tradition, but after World War II the church wanted a pure space void of extravagant detail and ornate religious figures unlike its predecessors. Ronchamp is deceptively modern such that it does not appear as a part of Corbusier’s aesthetic or even that of the International Style; rather it sits in the site as a sculptural object.
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THE SUN AS GOD
Sun Worship and Ancient Astrology as the base for all religion
The great duality
The battle between light and dark, life and death. As far back as 10,000bc - carving etc to do with the sun- showing their respect and admirations for this object
3000BC
Solar Messiahs birth sequence as astrological moments
Symbology in Religion relates back to Sun worship and astrology
- Born of the 25 of December - Born of a Virgin - Star in the East to signal his coming - Adorned by 3 Kings - Baptized at 30 - 12 Disciples - Died for 3 days then resurrected
Three kings of Orions belt
Sirius (Star in the East) aligns with the three kings on Dec 24
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Birth of “gods sun’ at winter solstice
^ Ra represented light, warmth, and growth Anthropomorphized with his life being a series of myths about the suns movement in the sky. Sun god of Horus 3000BC, vs Set was the personification of darkness or night. every morning Horus would win the battle over Set and in the evening vice versa with Set banishing Horus to the underworld. Dark vs light or good vs evil mythical
Tonatiuh- Aztec sun God
Helious Greek sun God
TaiYang Xing Jun Chinese sun God
Surya - Hindu sun God
Jesus Christ - Christian sun God
^ Seth God of darkness and chaos
Equinoxes
Seasons
duality
solstices
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12 constellations
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ORGANISATION RELIGION FOR ATHEISTS
SOCIAL
NATURE
GENIUS-LOCI Inspiring space to contemplate life and connection to time and place
Build a sense of community Reduce social separation Collaboration Meet new people A church for all
Arrangements of time Rituals of religion without the doctrine Institutional power
TARGET AUDIENCE
Greater connection with the environment Acceptance of science Sun worship
Highest percentages of non-believers are found in Western Europe
Estonia 26%
United Kingdom 20%
CULTURE Appreciate art and architecture Humanism Nurture of Identity
Itself a cultural destination as a Museum of light?
ALAIN DE BOTTON
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QUASI-CHURCH bridging gaps in secular society for a growing world of non-believers
“The things religious people get from religion – awe, wonder, meaning and perspective – non-religious people get them from other places like art, nature, human relationships and the narratives we give our lives in other ways,” Andrew Copson, chief executive of the British Humanist Society.
France 33%
EDUCATION Moral Guidance Ritualistic repetition Understand identity
Spain 18%
EX-BANKER IN LA DEFENSE PARIS
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LA DEFENSE PARIS La Défense is named after the iconic statue La Défense de Paris, which was erected in 1883 to commemorate the soldiers who had defended Paris during the Franco-Prussian War. In September 1958, The Public Establishment for Installation of La Défense (EPAD) buildings (of which the Esso Tower was the very first) were built and began to slowly replace the city’s factories, shanties, and even a few farms. The Center of New Industries and Technologies (CNIT) was built and first used in 1958. In the early 1970s, in response to great demand, a second generation of buildings began to appear, but the economic crisis in 1973 nearly halted all construction in the area. A third generation of towers began to appear in the early 1980s. The biggest commercial centre in Europe (at the time), the Quatre Temps, was created in 1981. In 1982, the EPAD launched the Tête Défense competition to find a monument to complete the Axe historique, which eventually led to the construction of Grande Arche at the west end of the quarter. During the same period, hotels were constructed, the CNIT was restructured, and in 1992 Line 1 of the Paris Métro was extended to La Défense, which made the area readily accessible to even more of the city.
^ La Defense business district Paris from the Arc de Triomphe
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LA DEFENSE PARIS
^ La Defense business district Paris - highlighting potential sites
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^ Highrise massing with central axis - ideal location for shadow plaza
Divided into 12 sectors 400 acres (1.6 km2) 3,500,000 square metres (38,000,000 sq ft) of offices 1,500 businesses (of which 14 from the national top 20 and 15 from the global top 50) 150,000 employees 20,000 residents 210,000 square metres (2,300,000 sq ft) 2,600 hotel rooms 310,000 square metres (3,300,000 sq ft) of flagstone and sidewalk 110,000 square metres (1,200,000 sq ft) of greenery 60 modern art sculptures and monuments
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SITE DAYLIGHT ANALYSIS Summer solstice
PLACE DE LA DEFENSE
Winter solstice
^ 10 am
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^ 12 pm
^ 2 pm
^ 4 pm
^ Massing in response to day lighting study
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COMPLEX TIME FRACTURED SPACES
20
JUNE
12:00
COMMUNITY CALM 20
JUNE
PERSPECTIVE
12:00
LOVE
FREE SPEECH PROGRESSIVE THOUGHT OPTIMISM NETWORKS
^ Monolithic external appearance 20
TRUST
^ Fractal carving Process
JUNE
12:00
^ Sectional exploration of the spaces created ^ Using the daily and yearly sunpath movement in order to consider an architectural proposition that has hourly and seasonal light/ shadow patterns
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INTEGRATING CULLING TECHNIQUES
^ Structural cull development drawings
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^ Developing central core space
^ Internal atmophere development- fractual light structure contrasted with heavy stone mass
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MATERIAL DEVELOPMENT
Green Monastic Carbon negative cement based concrete
Pink tinted marble
SUMMER
White marble
AUTUMN
Green marble
WINTER
^ Seasonal Marble tints
^ Development section looking at materiality and light quality
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Novacem has developed a new cement based on magnesium oxide which will address the carbon problem faced by the cement industry. Production of this cement is carbon negative. Researchers at Stanford University have developed a novel way to create a new form of carbon neutral cement by studying the formation of coral reefs and applying the principles at work. Coral takes in minerals and CO2 and then secretes calcium carbonate to build its hard exoskeleton. Inspired by this construction process, Stanford scientist Brent Constanz has developed a way to capture CO2 and dissolve it in seawater to form calcium carbonate, which has properties suitable for use in construction and could replace Portland cement (which is responsible for more than a ton of CO2 for every ton of product created). This new technology could reduce the environmental impact of construction in a big way by capturing and sequestering CO2 emissions while creating a durable building material.
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MASSING DEVELOPMENT
^ Massing study 1 in context
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CONCEPT DEVELOPMENT
Inward facing
^ Culling away from a cube
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^ Muqarna detailing in Islamic and Persian architecture, often used in domes and entrances. This delicate symmetry seen in the vast emptiness of the desert has a surprisingly serene tranquillity
Direct sun at set time
Framed view
Obscura view of the plaza
Sun cut through
dual view from set point
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1:100 PHYSICAL MODEL
^ Overall building shadow
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^ Lasercut model made up from 100 horizontal sections of the building every 30cm up
^ Opening up the sectional model to see the light cutting through to form a cross
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BUILDING ELEVATIONS
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QUASI-CHURCH
12 pm 20 Summ
BEYOND ATHEISM
er Solstice
12 pm 12
arch
20 M
Summer Solstice
Winter Solstice
DEC
Equinox 12pm
nox Equi
20
21
JUNE
ch Mar
Autumnal Equinox
nox
Summer Solstice 3pm
March Equinox
22
SEPT
20
20
MAR
Equi
pm
YEARLY BUILDING CALENDER
DAILY EVENTS
10am
East Circulation
12pm
External Cross (most clear in the Equinoxes)
2pm
Dappled hall light Solid massing
Morning Sun Entrance
5M
oon
Terrac e
Winter Solstice sunset 3.54pm
4 In
divid
ual w orsh
ip
Light culling
3
The a
tre
2P
Evening Sun Entrance
ersp
ectiv e
10am Stair Resultant form
1
Sun
Galle
ry
Morning Sun Entrance
0
^ South East Entrance Approach
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^ Sectional perspective showing internal/ external control of light
^ Metadiagram
Com mun it
y
Rendered shadow
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^ Approach from Place de la Denfense
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^ Main Hall
^ Moon terrace meditation space
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^ Internal Render illustrating a complex space cut by the suns movement
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^ People gathering to witness the Equinox which happens twice a year.
^ Night render showing the building using its carved form and artific ial lights to illuminate the plaza