A melting light by Jonas Swienty Andresen
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Abstract This paper aims to evaluate the relationship between light and ice in the context of the Arctic. Light and ice offer properties that can significantly alter a building’s environment and atmospheric conditions. Therefore, the study will explore how ice’s complex material properties can augment and alter artificial and natural light within a structure. The paper will also evaluate the possibility of using ice to modify a building’s atmospheric conditions. Inspired by the indigenous practices on high altitudes, the project also questions if ice can be (re)introduced as a construction material in the high arctic climate.
A melting light — Advanced Architectural Thesis
The study proposes an auditorium mainly constructed of ice that utilizes ice’s properties to sculpt natural and artificial light into a closed atmosphere of low illumination levels. The arena integrates darkness adaptation, low light scenarios, and showcases how ice can sculpt light into a closed room. The illumination properties of ice will be the significant element altered to develope the Auditorium.
Fig. 00.00 ⸺⸺ (opposite) Studio project, A seed vault hidden in the ice
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The project utilizes a series of methods to uncover and engage with the topic. The paper begins with a contextual and comparable analysis of the region to develope a comprehensive image of the natural environment of the high arctic. The report will also evaluate the psychological impact of the environment on the inhabitants of lowlight rooms. The third section is a series of iterative physical model testing using phenomenological observations to explore different lighting atmospheres within the field of light and ice. The final section synthesizes the previous studies into a project proposal. The project prototype will be developed in the studio and analyzed using physical model tests, daylight simulations, and phenomenological observations. The test results provided significant insight into the light properties of ice and its usability in illuminating rooms.
A melting light — Advanced Architectural Thesis
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1 ⸺⸺ Espen Lunde Larsen, Architectural Probes of the Infraordinary: Social Coexistence through Everyday Spaces (Aarhus school of architecture, 2016), p. 111
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Jonas Swienty Andresen (JSA) PG Unit 13 - Year Five Advanced Architectural Thesis - BARC0011, Year Five, 2020-2021 Thesis Tutor / Luke Lowings Unit Tutors / Sabine Storp and Patrick Weber Module coordinators / Oliver Wilton and Robin Wilson Word count: 9216
A melting light — Advanced Architectural Thesis
MArch Architecture (ARB/ RIBA Part 2)
Light creates ambiance and feel of a place, as well as the expression of a structure. - Le Corbusier Page 4
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Page Introduction
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Section 01 - Svalbard, an extreme environment 01.00 - Introduction to 78 degrees north 01.01 - Site and context 01.02 - Comparing natural light - Raidfjord to London 01.03 - Ice and light 01.04 - Unstable ground - A glaciers typology 01.05 - Inuit Architecture 01.06 - Section conclusion
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Section 02 - The psychology of low light 02.00 - Introduction 02.01 - Loss of a sense 02.02 - Sight and awareness 02.03 - Ocular physiology - Adaptation 02.04 - Section conclusion
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Section 03 - Sculpting light with ice 03.00 - Introduction 03.01 - A room of darkness, premises of the tests 03.02 - The freezing process of ice 03.03 - Thickness of ice and transparency 03.04 - Understanding ice and light 03.05 - Fresh- and saltwater ice 03.06 - Structure, ice and light 03.07 - Areas of interest 03.08 - Controlled deconstruction 03.09 - Augmented surface 03.10 - Lenses of ice 03.11 - Focusing light with ice 03.12 - Section conclusion
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Section 04 - A space on Svalbard 04.00 - Synthesis: studio design project 04.01 - The auditorium 04.02 - Methodology of testing 04.03 - The framework 04.04 - The interior surface 04.05 - Lenses and wall thickness 04.06 - The envelope 04.07 - Interior envelope 04.09 - Section conclusion Conclusion Future work References and Bibliography Appendix
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Introduction
A melting light — Advanced Architectural Thesis
My interest inspired this paper in the relationship between light and material transparency. A combination of light and material transparency may produce various outcomes, giving light the ability to become more than just the illumination of a space. This paper will take a deeper look at the dynamic relationship between ice and light. Manipulating ice and its natural fluctuating properties allows it to achieve various translucency levels, ranging from completely transparent to opaque, transforming light and creating an architectural language that arguments, contains, and exposes light.
1 ⸺⸺ Haggarty J, Cernovsky Z, Kermeen P, Merskey H (2000). Psychiatric disorders in an Arctic community. Can J Psychiatry. p. 360 Fig. 00.01 ⸺⸺ (opposite) On thin ice, inhabitation in the High Arctic
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The paper considers Svalbard at 78 degrees N as the significant area of analysis. Svalbard today is inhabited by a completely foreign architectural design borrowed from the south. However, the architecture are not well adapted to the fluctuating local environmental conditions. Consequently, the buildings have created an unhealthy environment for human habitation, affecting the inhabitant’s mental state1. The paper evaluates the impact of the reintroduction of the indigenous practices of ice on the inhabitant’s quality of life. The report assesses how indigenous architects that snow and light could create an alternative, more organic, and responsive architecture for the high arctic region.
A melting light — Advanced Architectural Thesis
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1 ⸺⸺ Espen Lunde Larsen, Architectural Probes of the Infraordinary: Social Coexistence through Everyday Spaces (Aarhus school of architecture, 2016), p. 111
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Fig. 00.01 ⸺⸺ World map - location of Svalbard
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Introduction continued... The paper will investigate the relationship between light and ice using an auditorium model embedded within the studio project. The goal is to augment light through the ice to become a subdued atmosphere of low light that reflects the surrounding environment. The project will probe the thresholds of natural transitions and question how natural and artificial light can augment different atmospheres. This paper is structured into four parts. The first section is a historical and environmental outline of the context and environmental conditions found in Svalbard. Inspired by the low levels of light found in Svalbard, the second section is a short theoretical outline that discusses the psychological impacts of low light conditions, laying an academic background for the next two sections. The third section will examine the relationship between light and ice through an openended investigation, testing various ways of manipulating light through the ice. The final section aims to synthesize the previous three sections’ conclusions into a design methodology that will develop a desired space within the studio project. The last section aims to prove that ice can act as a construction material on these altitudes and sculpt light into specific desired atmospheres.
Fig. 00.02 ⸺⸺ (opposite) Studio project, ice inhabitation studies
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“In records left by scholars of early civilizations, the Arctic was one of the those distant and fantastic lands. No traveller’s tale of the north was too bizarre to be believed” - Robert McGhee1
Section 01 Svalbard, an extreme environment
Fig. 01.00 ⸺⸺ Svalbard between the clouds 1 ⸺⸺ Robert McGhee (2005), the last Imaginary Place: A human history of the Arctic world.Chicago: University of Chicago Press. P. 272.
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Arctic circle (66°N) North pole
A melting light — Advanced Architectural Thesis
Svalbard (78°N)
Fig. 01.01 ⸺⸺ World map - location of Svalbard
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01.00 Introduction to the Arctic The myth of the Arctic is tied to its unique history and geography. Since it is located on the extreme northern side of the world, there has always been a sense of wonder. It is a territory that exists far more in our cultural imagination than in lived reality because most of the areas are not fully explored since its mostly covered by ice2. Therefore, the region is typically imagined as an abstract territory comprising the sublime landscape, vast geography, and a harsh climate3. However, in line with the hypothesized image, the Arctic territory is vast, sparsely populated, fragile, and sublime. The arctic is a landscape of extremes.; its climate exhibits radical cycles of transformation throughout the year, where seasonal changes blur the distinction between solid and liquid, accessibility and inaccessibility, and the relationship between day and night is all distorted. Scientist defines the Arctic areas as the region that is above the Arctic circle4. The arctic circle is set at 66,5 degrees north of the equator. The Arctic region also represents the latitude above which the sun does not rise nor set on winter and summer solstice. The earth’s tilted axis makes this occurrence happen every summer and winter, which is why the Arctic experiences these radical extremes in climate. People have inhabited these extreme regions for millennia, living a semi-nomadic lifestyle. However, in the past 100 years, the Arctic has been infiltrated with architecture and infrastructure from the southern areas, transforming the informal settlements into permanent cities. As climate change accelerates, the north’s mythic lands become more accessible, and some of the last untouched places on earth may bear the irrefutable marks of development5. Alien ideologies from the south have forced the semi-nomadic settlements to inhabit a spatial practice of static boxes out of tune with the fluid environment. The Arctic environment demands a different approach, as an immersive environment through an architecture that is responsive and adaptive to its local materials and climate conditions6. It poses the question of whether it is possible to reintroduce the past’s indigenous practices and create an architecture that continues to shift in alignment with its environment.
2 ⸺⸺ Cho, L., & Jull, M. (2019). Mediating environments (First edition.). Published by Applied Research and Design Publishing, an imprint of ORO Editions. p. 10 3 ⸺⸺ Sheppard, Lola, and Mason White (2016). “Excerpt from Many Norths: Spatial practice in a Polar Territory.” Landscape Architecture Frontiers, vol. 4, no. 1. P. 10
4 ⸺⸺ National Snow and Ice Data Center (2021) All About Arctic Climatology and Meteorology. [online] Available at: https://nsidc. org/cryosphere/ arcticmeteorology/arctic. html (accessed 13th of Marts) 5 ⸺⸺ Sheppard, Lola, and Mason White (2016). “Excerpt from Many Norths: Spatial practice in a Polar Territory.” Landscape Architecture Frontiers, vol. 4, no. 1. P. 16
6 ⸺⸺ Cho, L., & Jull, M. (2019). Mediating environments (First edition.). Published by Applied Research and Design Publishing, an imprint of ORO Editions. p. 11
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This chapter will introduce the context in which the architectural investigation will take place. It aims to unfold and better understand the high arctic’s unique environmental and natural light condition by focusing on specific situations situated through the studio project. It will use environmental simulations to evaluate the unique features and compare them to London’s local environment to understand the difference. Furthermore, this chapter will introduce ice’s unique material properties and look into how the materiality has informed the past’s indigenous practices.
01.01 Site and context 7 ⸺⸺ Rolf Stange (2018), Spitsbergen Svalbard - A complete guide around the Arctic Archipelago. Polar books. P. 14
Spring has the vigour of birth, summer is quiet and restrained, while autumn flares with the splendour of degeneracy through the gloom of approaching death. The darkness, however, presents a mystery which is pregnant with eternity. - R.A. Glen, under the pole star (1937)1.
A melting light — Advanced Architectural Thesis
The studio project located in Svalbard, Norway, was used as a case study in this paper to evaluate the natural conditions of the high Arctic. Located at 78 degrees north, its climate conditions exhibit an excellent case study to better understand the environmental conditions in the arctic regions. The capital of Svalbard, Longyearbyen, is the current northernmost permanent settlement on earth. However, the place of study will not situate itself in Longyearbyen but further north on the Raidfjord glacier. See fig. 01.02. The glacier is a slow-moving giant that connects the peninsula of Reindyrflya (to the northeast) to the mainland of Spitsbergen. The glacier is surrounded by mountain ranges that significantly alter its environmental conditions. Direct daylight simulations (fig. 01.04 to 01.07) demonstrate the natural daylight conditions during the year. The simulation indicates the natural procession from complete darkness in winter to 24 hours of natural light in the summer months. Even though mountains surround the site, daylight exposure shows that only the glacier western area is notably affected by the
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A melting light — Advanced Architectural Thesis
BARENTSBURG RUSSIAN MINE CITY, 300 PEOPLE
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NY-ÅLESUND - 30 PEOPLE
PYRAMIDEN - ABANDONED RUSSIAN MINE CITY
MAIN CITY: LONGYEARBYEN
SVEAGRUVA, TEMPORARY CITY
Fig. 01.02⸺⸺ Svalbard site map
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A melting light — Advanced Architectural Thesis
Fig. 01.03 ⸺⸺ Site direct daylight analasis over the period of 6 months. From 1st of January to 31st of December.
4482 hours 4032 hours 3584 hours 3136 hours 2688 hours 2240 hours 1792 hours 1344 hours 896 hours 448 hours 0 hours
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Site
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Fig. 01.04 ⸺⸺ October 25th direct sunlight study. Last day of sunlight
Fig. 01.05 ⸺⸺ October 25th direct sunlight study. Last day of sunlight
Fig. 01.06 ⸺⸺ Marts 21st direct sunlight study
24 hours 21.6 hours 19.2 hours 16.8 hours 14.4 hours
Fig. 01.07 ⸺⸺ June 21st direct sunlight study
12 hours 9.6 hours 7.2 hours 4.8 hours 2.4 hours 0 hours
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Image from StyleGAN2-ADA Model
Average color Color 01_Light brown
Fig. 01.08 ⸺⸺ Colour mood of Svalbard. The study was conducted using a StyleGAN2-ADA Model (Machine learning) in Google Colab. The model was trained on 4000 images scraped from Instagram and generated a 512 dimension augmentation of the context.
Color 02_Dark brown
Color 03_Dark grey
Color 04_Light blue/grey
Color 05_White grey
A melting light — Advanced Architectural Thesis
Color 06_Blue grey
Color 07_Blue
Color 08_Dark blue
Color 09_Black
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mountains during the summer months (fig. 01.07) and has a high amount of exposure in early spring and late autumn when the sun arrives (fig. 01.06). However, more notably is the site’s constantly changing spatial effects caused by the seasonal changes. The change in material’s reflective power combined with the atmosphere’s optical conditions amplifies how the natural light is constantly changing from snowcovered mountains in winter to rocky and sparsely vegetated grounds in late summer8. A preliminary study of Svalbard underlines the importance of the context on colors’ ambiance from the natural light. Figure 01.08 shows the wide range of desaturated natural light conditions found in Svalbard over the cause of one year. The images represent how a machine sees Svalbard, and its environmental conditions are created through a StyleGAN2-ADA Model9 trained on 4000 images. The study demonstrates how the environment affects natural light in these regions, and it is essential to be aware of the effect when engaging with these territories.
01.02 Comparing natural light - Raidfjord to London To better understand the natural light conditions in Svalbard, this subsection will conduct a comparison study between Svalbard and London. The comparison study was done using the grasshopper plugin “ladybug” to compare environmental simulations. The model imports and analyses standard weather data collected from weather stations worldwide10. The whole comparison study can be seen in figures 01.09 to 01.22. Unfortunately, there is no weather station on-site on the Raidfjord glacier. However, the study uses data found 80 kilometers south from the research city of New Ålesund, which exhibits a comparable environmental condition. As a defining feature of the Arctic, the natural light on site can only be experienced in a specific portion of the year. Comparing tables
8 ⸺⸺ Neufert, Ernst., and Rudolf. Herz. (1970) Architects’ Data / by Ernst Neufert. 1st English Language Ed / Edited and Revised by Rudolf Herz from Translations from the German by G. H. Berger [and Others] ed. London: Lockwood. Print p.150 9 ⸺⸺ Karras, Aittala, Hellsten, Laine, Lehtinen and Aila (2020) Machine learning [online] Available at: https://github.com/ NVlabs/stylegan2ada (accessed on the 14th of Marts, 2021)
10 ⸺⸺ Ladybug Tools LLC (2021) Ladybug [online] Available at: https://www. ladybug.tools/ about.html (accessed on the 14th of Marts, 2021)
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Raidfjord at 78 Degrees north Polar night
Continous day
Fig. 01.09 ⸺⸺ Yearly sun diagram
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Fig. 01.10 ⸺⸺ Number of polar nights and days per year
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A melting light — Advanced Architectural Thesis
Fig. 01.11 ⸺⸺ Total global illumination Hourly
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London at 51 Degrees north
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Fig. 01.13 ⸺⸺ Yearly sun diagram
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Fig. 01.14 ⸺⸺ Number of polar nights and days per year
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Fig. 01.15 ⸺⸺ Total direct illumination Hourly
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Fig. 01.16 ⸺⸺ Total cloud cover Hourly
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Raidfjord at 78 Degrees north Fig. 01.17 ⸺⸺ Svalbard Sun paths
A melting light — Advanced Architectural Thesis
Fig. 01.18 ⸺⸺ Svalbard Radiation Map
Fig. 01.19 ⸺⸺ Svalbard sun height
Sun maximum angle (35 degrees)
Day
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Sunset Civil (6 degrees) Nautical (12 degrees) Astronomical (18 degrees)
Fig. 01.23 ⸺⸺ Average Lux Classifications
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London at 51 Degrees north Fig. 01.20 ⸺⸺ London Sun paths
Fig. 01.21 ⸺⸺ London Radiation Map
Horizon Sun maximum angle (65 degrees)
Day
Fig. 01.22 ⸺⸺ London sun heights
Sunset Civil (6 degrees) Nautical (12 degrees) Astronomical (18 degrees)
Night
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01.09 and 01.13 - shows the vast differences in natural daylight conditions between Svalbard and London. As London has continuous day and night throughout the year, Svalbard’s natural light conditions change from the polar night in winter to endless days in summer. The daily sunlight is only comparable to London during the transition periods between winter and summer (between August and October and between February and April). Table 01.11 and 01.15 compares the amount of illumination experienced during the year. The amount of lighting experienced in Svalbard is notably lower than in London. It reaches a maximum of 40000 lux between mid-may and midAugust. Comparatively, London experiences the same amount of lux or more between February and November. Another notable feature when comparing the two locations is the illumination during the summer months. As London has a relatively stable day and night rhyme, Svalbard experiences a jump in lux during the night, averaging almost 20000 lux, comparable to the amount of light experienced in winter in London. The last and maybe most notable difference between Svalbard and London is the sun’s maximum angle. When comparing figures 01.19 and 01.22, it becomes clear that the maximum sun angle experienced on-site (35 degrees) is almost half of London’s angle (65 degrees) during the summer. The north’s notably lower sun angle is critical because the natural light is predominantly experienced from the side. The comparison study reveals the low intensity of natural light and the sun’s low angle in Svalbard’s summer months. These low values will be a significant consideration when engaging with the architecture. Furthermore, the shifting daylight hours indicate the essence of creating an architecture that accommodates a seasonal lighting strategy. In the summer months, filtering of natural daylight and curated artificial light in winter is vital to creating sustainable architecture.
Fig. 01.24 ⸺⸺ (Opporsite) Light study of site
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01.03 Ice and light
11 ⸺⸺ Rolf Stange (2018), Spitsbergen Svalbard - A complete guide around the Arctic Archipelago. Polar books. p. 17
A melting light — Advanced Architectural Thesis
12 ⸺⸺ Pogodaiklimat (2021) Weather movements [online] Available at: http:// www. pogodaiklimat. ru/climate/20107. htm- Weather and Climate (accessed on 15th of Marts, 2021)
13 ⸺⸺ Bartels-Rausch T and Montagnat M (2019) The physics and chemistry of ice, Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 14 ⸺⸺ Grenfell TC, Perovich DK. (1981) Radiation absorption coefficients of polycrystalline ice from 400 to 1400 nm. J. Geophys. Res. 86, 7447–7450. P. 7447
The Arctic public image is predominantly known for its relationship to snow and ice and is known in the public consciousness as the land of ice and polar bears11. Water, snow and ice play an essential role in shaping and transforming Svalbard’s Landscape. During the winter season, Svalbard transforms itself into a white wonder landscape and stays like this long into the summer. As seen in Figure 01.25, Svalbard’s average temperature only reaches above 0 degrees 94 days a year. The average temperature range between -13 to -20 degrees in winter and 3 and 7 degrees in summer12. Due to the long periods of temperatures below 0 degrees the context seems ideal for investigating the possibility of reintroducing indigenous practices of snow and ice architecture to create a more sustainable architectural practice in the region. Ice Water is a multiphase material that exists in solid, liquid, and gas form (figure 01.26). In the Arctic context, the transition between ice and water naturally occurs every year. Ice is a rigid material of fused crystals. It can be used as a load bearing construction material while simultaneously holds a series of interesting properties that can amplify, transmit, block and reflect light. The freezing process of water usually determines the appearance of ice. In its purest form, ice is highly transparent at visible wavelengths. However, natural ice usually contains considerable quantities of internal inhomogeneities such as air and soil particles, making the ice appear opaque or nontransparent13. The opaqueness in natural ice is also a result of the freezing process, which captures the internal inhomogeneities and causes the ice to shatter from within14. This scattering makes the light bounce around inside the ice, giving it an opaque appearance that can block light from passing through the material. Due to the variety of materials trapped in the ice ranging from solid impurities to air bubbles, exact data on ice’s optical properties vary greatly. The thawing process in the phase change between water and ice is likewise a critical topic to understand as the ice materiality will most likely be exposed to heat when users are using the architecture. It
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Fig. 01.25 ⸺⸺ Average number of days below 0 degrees
271 days
94 days
Fig. 01.26 ⸺⸺ H2O state diagram
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Fig. 01.27 ⸺⸺ Ice reflectivity diagram
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Fig. 01.28 ⸺⸺ A graph of temperature versus energy added.
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15 ⸺⸺ OpenStax College (2020) Phase Change and Latent Heat [Online] Available at: https://courses. lumenlearning. com/physics/ chapter/14-3phase-changeand-latent-heat/ (accessed on the 15th of Marts, 2021) 16 ⸺⸺ Nuth, C., Moholdt, G., Kohler, J., Hagen, J. O., and Kääb, A. (2010). Svalbard glacier elevation changes and contribution to sea level rise. J. Geophys.
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17 ⸺⸺ Cho, L., & Jull, M. (2019). Mediating environments (First edition.). Published by Applied Research and Design Publishing, an imprint of ORO Editions. p. 87
requires much energy for the phase change between ice and water to occur (for 1kg to phase change, 334 kJ is needed, comparable to heating the same amount of water in liquid state to 78 degrees)15. This energy required to thaw the ice means that the phase change stagnates around 0, leaving a small reflective surface of the water on the ice. If not removed (by for example gravity), the water and ice will stay 0 degrees until the whole medium has changed into water, as seen in Figure 01.28. Phase changes can have a tremendous stabilizing effect and ensure that the ice stays information even though it is exposed to external heat from, for example, users. Together with its relative responsiveness to the climatic conditions, the materiality of ice proves that it offers interesting properties that, in theory, could constantly reconfigure and change the spatial perception and organization. The impurities are captured within the ice in the freezing process, significantly affecting the space’s visual perception. Knowledge of the process a significant addition to the information on the modification of the ice properties.
01.04 Unstable ground - A glaciers typology Svalbard is classified as an “Arctic dessert” with less than 25 cm of annual participation. Svalbard is, however, still covered by 33,775 km2 of Glaciers16, roughly accounting for 60% of the total landmass. Glaciers are a unique typology on earth that can be described as a liquid ground in constant, continual change. Figure 01.31 to 01.33 represents the seasonal, yearly, and long-term changes of a Glacier.
Fig. 01.29 ⸺⸺ Image of the Raidfjord Glacier (site)
Fig. 01.30 ⸺⸺ Image of a floating iceberg
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The restless nature that the project situates itself within makes determining the exact qualities of the surrounding ground conditions a challenging task. However, evaluating the reflective nature of ice on the snow-covered ground can help explain how the surrounding light might behave. As described earlier, the environment can amplify or retard light absorption and completely change a given space’s visual qualities17. Ice and snow are excellent light reflectors
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Fig. 01.31 ⸺⸺ Glacier layers of history and a constantly changing shape
Each season adds a new layer of ice to the glaciers
Fig. 01.32 ⸺⸺ Glacier daily movement Melting and ice carving
Glacial movement from gravity
Accumulation zone
Ablation zone
Fig. 01.33 ⸺⸺ Glacier seasonal and Decades of movement
Glacier loss
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Fig. 01.34 ⸺⸺ Albedo Coefficient
Tundra Sand Dry vegetation Light to dark soil Old snow Fresh snow Fog Bare ice Snow Ice with snow
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Fig. 01.35 ⸺⸺ Construction of an Igloo - Captured from ‘Igloolik Isuma Productions’ A scene from their movie “qaggiq/ Gathering Place (1989)”
A melting light — Advanced Architectural Thesis
Fig. 01.36 ⸺⸺ Asembly in an Igloo - Captured from ‘Igloolik Isuma Productions’ A scene from their movie “qaggiq/ Gathering Place (1989)”
Fig. 01.37 ⸺⸺ Traditional assembly in an igloo
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A melting light — Advanced Architectural Thesis
compared to other materials. As seen on chard 01.34, the albedo coefficient of ice and snow are almost two to three-time higher than water or grasslands18. The reflective environment combined with the low solar angle often results in discomfortable glare19; it is, therefore, vital to consider how the light enters the architecture to avoid discomfort.
01.05 Inuit Architecture Although Svalbard is the only place in the arctic without indigenous settlements20, there is something to be learned from the indigenous practices found elsewhere on similar longitudes. Before the north’s industrialization, indigenous people were known for living in tune with the seasons. Movement and impermanence were ingrained in their very being21. The snow house or igloo, maybe the most famous example of indigenous architecture worldwide, was a radical but straightforward shelter built out of snow in the winter season. These impermanent shelters were an intelligent and precise response in a climate with otherwise so many limitations. A typical igloo for five to six people would take 45 mins for two people to construct. Snow offers an effective insulative property, which helped the igloos maintain an average temperature of -4 degrees despite outside temperatures being ten times lower. The inside temperature was kept just below freezing to avoid melting the structure22. Some would even integrate a tent structure inside the igloo to further heat up the interior23. Depending on the weather conditions, an igloo could typically last from four to six weeks before it had to be rebuilt. During the 80s and 90s, Igloolik Isuma Productions’ (IIP), Canada’s first Inuit independent production company, captured how the indigenous populations traditionally inhabited these impermanent dwellings in Canada. Their tape ‘Qaggiq/Gathering Place (1989)’ (Figures 01.35 to 01.37) shows the whole process from construction to later inhabitation of an Igloo24. Looking at the images, they display
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18 ⸺⸺ NC State University (2021) [online] Available at: https://climate.ncsu. edu/edu/Albedo (Accessed on the 16th of Marts, 2021) 19 ⸺⸺ Cho, L., & Jull, M. (2019). Mediating environments (First edition.). Published by Applied Research and Design Publishing, an imprint of ORO Editions. p. 87 20 ⸺⸺ Wang, Shinan and Roto, Johanna (2019) [online] Available at: https://nordregio.org/ maps/indigenouspopulation-inthearctic/#:~: text=There%20are%20 no%20indigenous%20 people,the%20Faroe%20 Islands%20and%20 Svalbard (accessed on the 5th of April, 2021) 21 ⸺⸺ Sheppard, Lola, and Mason White (2016). “Excerpt from Many Norths: Spatial practice in a Polar Territory.” Landscape Architecture Frontiers, vol. 4, no. 1, . P. 118 22 ⸺⸺ R. Quinn Duffy (1988), The Road to Nunavut. Kingston and Montreal: McGill-Queen’s university Press. P. 21 23 ⸺⸺ Kaj Birket-Smith and William Ernest Calvert (1936), The Eskimos. London: Methuen., p. 126-127 24 ⸺⸺ Morton, Erin, and Sirove, Taryn (2010). “Structuring Knowledges: Caching Inuit Architecture through Igloolik Isuma Productions.” Post Script 29.3: 58-136. Web.
the delicate sensation of lowlight conditions found inside of these impermanent structures. Narrow ‘slits’ in between the compact
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stacking of snow allows low amounts of natural light to illuminate the interior space. The light not only helps light up the interior but also emphasizes the construction principle of an Igloo. When dark, they would light up the interior using artificial light sources, clearly displayed in figure 01.36. With the snow’s reflective quality, the artificial lighting creates a subtle and diffuse interior from otherwise bright sources. The material integrity and low light conditions found inside these traditional dwellings emphasize the indigenous people’s relationship with nature’s natural environment. Not only did they use the organic materials available to them, but they also managed to integrate subtle atmospheres of natural light conditions that would keep them in close connection with the outside world.
01.06 Section conclusion This section has demonstrated how different the environment in the high arctic is. It has proved itself as a region of low resources. Low light intensities and low light angles, which are highly reactive to seasonal movements and material behavior, suggest how we need to think differently when engaging with light and architecture in these remote territories. The section also introduced ice as a construction material in the arctic region. Having this fundamental understanding of ice’s material behaviour can prove vital when engaging the the materiality in later sections.
Fig. 01.38 ⸺⸺ Investigations on the Raidfjord Glacier
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Fig. 02.00 ⸺⸺ Machine learning study of darkness on Svalbard
Section 02 The psychology of low light
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Fig. 02.01 ⸺⸺ (opporsite) Cinema on ice 25 ⸺⸺ Richard S. Westfall. “Newton’s Optics: The Present State of Research.” Isis 57.1 (1966): 10207. Web. 26 ⸺⸺ Roy Sorensen (2004). “We See in the Dark.” Noûs (Bloomington, Indiana) 38.3: 456-80. Web. p. 468
A melting light — Advanced Architectural Thesis
27 ⸺⸺ Stone, T.W. (2017) “The Value of Darkness: A Moral Framework for Urban Nighttime Lighting.” Science and Engineering Ethics 24.2: 60728. Web. p. 608 28 ⸺⸺ Holl, Pallasmaa, Pérez Gómez, and Pallasmaa, Juhani (1994). Questions of Perception : Phenomenology of Architecture / Steven Holl, Juhani Pallasmaa, Alberto Pérez-Gómez = Chikaku No Mondai : Kenchiku No Genshōgaku. Tokyo: U, . web. 29 ⸺⸺ Roy Sorensen (2004). “We See in the Dark.” Noûs (Bloomington, Indiana) 38.3: 456-80. Web. p. 457 30 ⸺⸺ Tanizaki, Harper, Seidensticker, Harper, Thomas J., and Seidensticker, Edward (2001). In Praise of Shadows / Print. Vintage Classics (London, England).
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02.00 Introduction This section will take a deeper look at what it means to inhabit low levels of light and ask why we culturally do not like to inhabit the darkness. It will take a deeper glance at how our vision works and look into what it would mean to embrace low levels of light instead of avoiding it in our architecture.
02.01 Loss of a sense The project is based on an area will low light intensity; hence it is essential to understand the impact of darkness on our psychology and socialization. Darkness can be considered as the absence of light25. We are naturally inclined to argue that we have lost our ability to see when the lights are gone26. However, modern society has developed an ocular-centric culture, where darkness is less valued compared to light. In cities, the night is normally altered to remove the darkness through artificial lighting such as streetlights. The overuse of light has become such a problem that recent studies have determined more than 83% of the world’s population live in places with a light-polluted sky27. Humans often believe that our vision is the only way to experience space; however, architecture can create a full-body experience activating all our senses and our sight28. Working with the environment instead of against it in the high arctic, where light is already so sparse, could generate an alternative to the current discourse currently found in the architectural lighting practice. The location allows us to ask questions such as should darkness be as feared as earlier thought? If we are given enough time, we could potentially see in the dark. Sorensen argues, “in terms of basic information, we see about as much as we do when the lights are on… but (what we see is) not what we generally wish to see or in the manner we generally wish to see”29. Furthermore, Jun’ichirō Tanizaki discusses in his book that darkness expresses space’s forgotten qualities (our other senses)30. Both authors consider how architecture can stimulate all of our senses and, without light, still manage to
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1 ⸺⸺ Espen Lunde Larsen, Architectural Probes of the Infraordinary: Social Coexistence through Everyday Spaces (Aarhus school of architecture, 2016), p. 111
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31 ⸺⸺ Steidle, Anna, and Werth, Lioba (2013). “Freedom from Constraints: Darkness and Dim Illumination Promote Creativity.” Journal of Environmental Psychology 35: 6780. Web. p. 76
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32 ⸺⸺ Stone, T.W. (2017) “The Value of Darkness: A Moral Framework for Urban Nighttime Lighting.” Science and Engineering Ethics 24.2: 60728. Web. p. 616
33 ⸺⸺ Richard L. Gregory (2015). Eye and Brain. REV - Revised, 5 ed. Princeton UP. Princeton Science Library. Web. 34 ⸺⸺ Margaret, Livingstone (2008). Vision and art : the biology of seeing. Hubel, David H. New York: Abrams.
heighten our phenomenal experience of a given place. Our ability to ‘see darkness’ is also an ability to see, and the darkness can stop us from seeing what we ‘want’ to see and instead show us the actual conditions31. By engulfing us in darkness, we might activate other senses and learn new ways of perceiving the spaces, fostering a new connection to nature and environmental conditions that the architecture is situated32.
02.02 Sight and awareness The sense of sight plays a significant role in the fluid nature of humans’ contact with their surroundings. Light has an unavoidable impact on our performance, contact with other beings, and overall well-being. This topic looks into how our eyes work to produce the images we see. The human sight is a complex system comprising of our eyes and brains as the principal organs. The eye translates reflected light into images that enable humans to interpret the surrounding environment33. Figure 02.02 describes the anatomy of our eye. Seeing begins with light entering through the ‘corona,’ the very forefront of our eyes. As the light enters the eye, it is focused by a lens onto the retina. The retina is a light-sensitive nerve system sensitive to visible light in the range between 370 and 730 nanometers of light34. An optic nerve connected to the retina converts the light into neuronal signals transported to the brain’s visual cortex. Here the images are generated and create the signals that we experience as sight.
02.03 Ocular psychology - Adaptation It takes 45 minutes for the human eyes to attain total night vision. Exposure to any light that is not dim will require a re-adaptation. We rarely reach this state of sensitivity; thus, the darkness is often associated with the complete absence of light.
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Our eyes have two visual systems, one suited for the day, the other for the night. Ocular phycology suggests that adaptation describes our eye’s ability to adjust to various intensities of light and darkness. The retina consists of photosensitive receptors that help navigate the different intensities of light in the eye, the cone, and rod receptors. These two types of receptors help our eyes create a dual mechanism called the mesopic range, which adjusts between high and low illuminance intensities (fig. 02.03)35. The cone receptors only function at higher illumination levels and create our vision, known as photopic vision (daylight vision). When our eyes are exposed to a lower luminance level, our rod cells activate, providing scotopic vision, also known as night vision36. For our eyes to adapt from photopic (day) to a scotopic (night) vision, they must undergo a darkness adaptation period, which can last up to 45 mins to adapt completely (fig. 02.06). However, in contrast, lightness adaptation works very quickly and can be achieved within seconds. The reason for this being that the rod receptors are far more light-sensitive than the cone receptors. Darkness adaptation makes our eyes 10000 to 1000000 times more sensitive than at full daylight.
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35 ⸺⸺ Kalloniatis, Michael and Luu, Charles [2007] [online] Available at: https://webvision. med.utah.edu/ book/part-viiipsychophysicsofvision/ light-and-darkadaptation/ (accessed 11th of April) 36 ⸺⸺ Kalloniatis, Michael and Luu, Charles [2007] [online] Available at: https://www. ncbi.nlm.nih.gov/ books/NBK11525/ (accessed 11th of April)
Simple light exposure of a user before entering a space of darkness can affect the darkness adaptation. This relationship between preexposure and darkness adaptation is described in figure 02.06. The Fig. 02.02⸺⸺ Eye anatomy
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figure shows that the lighter the eye has been exposed to before entering darkness, the longer it takes to adjust to the absolute threshold and can take up to 45 minutes to reach the absolute threshold. 37 ⸺⸺ Kalloniatis, Michael and Luu, Charles [2007] [online] Available at: https://webvision. med.utah.edu/ book/part-viiipsychophysicsofvision/ light-and-darkadaptation/ (accessed 11th of April)
Factors Affecting Dark Adaptation37. Intensity and duration of the pre-adapting light Size and position of the retinal are used in measuring dark adaptation Wavelength distribution of the light used Rhodopsin regeneration There is a strong relationship between the eye and its mechanical ability to adjust to various brightness levels. Working with darkness adaptation before a user enters a subdued space can have an essential effect on how the users experience the room and even affect how the user will engage with space. Introducing time and darkness adaptation into the development suggests that it heightens the architecture’s phenomenological experience, including our visual system.
A melting light — Advanced Architectural Thesis
02.04 Section conclusion This section has proven the importance of light in everyday human activities. Although it might seem counterintuitive, the research shows that embracing low light conditions and the slow adaptation of the eyes can benefit our phenomenological experience of the architecture. Furthermore, it suggests that carefully curating an architecture of common light conditions might amplify our ability to reflect while also create a stronger connection to the nature that the architecture is situated itself within. The section also presented the significant elements of the eye-brain interconnection responsible for image formation and how they adapt to low light conditions. The project proposes to work with ice to create an architecture that embraces the lowlight level environment. Furthermore, architecture that embeds darkness adaptation into it can amplify all our senses when entering the space.
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Log threshold number of quanta relative to dark-adapted threshold
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A melting light — Advanced Architectural Thesis
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Fig. 02.03⸺⸺ Scotopic (rods) and photopic (cones) spectral sensitivity functions.
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Fig. 02.05⸺⸺ The retinal location affects the dark adaptation curve due to the distribution of the rod and cones in the retinal. As the test spot becomes larger in size, incorporating more rods, the sensitivity of the eye in the dark is greater, reflecting the larger spatial summation characteristics of the rod pathway.
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Adapting L.S 1. 40000 trolands 2. 38900 3. 19500 4. 3800 5. 263 8
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Section 03 Sculpting light with ice
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1 ⸺⸺ Espen Lunde Larsen, Architectural Probes of the Infraordinary: Social Coexistence through Everyday Spaces (Aarhus school of architecture, 2016), p. 111
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03.00 Introduction From the Arctic environment’s contextual and theoretical background in Svalbard, this section takes a deeper look at the relationship between light and ice. Furthermore, this section’s overarching ambition is to create a deeper understanding of the relationship between ice and light through a series of physical tests. It will initiate an open-ended iterative design process that will look into various scenarios inspired by the material and the target environment. The tests will be progressively become more specific and detailed. Borrowing from the two previous sections, the end of the section will create a model that can use ice to sculpt light into a subdued atmosphere of low levels of light that can accommodate natural and artificial light. This section is divided into two parts. The first part is an open-ended series of tests that expands the relationship between ice and light. The second part will take elements from the first part and reiterate these selected elements in more detailed resolutions to achieve a specific atmosphere.
Fig. 03.00 ⸺⸺ (previous page) Close up of refracted light Fig. 03.01 ⸺⸺ (opposite) Closeup of structure and light
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03.01 A room of darkness, premises of the tests
A melting light — Advanced Architectural Thesis
Before initiating the open-ended interactive physical testing process, a set of activities were carried out to create a consistent basis for evaluating the tests’ atmospheric results. The first activity was to ensure that the setup for testing was compatible. The project used an SLR camera with a 100mm macro lens, set at a distance of approximately 1.2 meters from the test subject and a light source about 10 cm behind that. A vertical plane was placed between the camera and the test subject to capture the transmitted light’s effect on the interior floor. Figure 03.04 shows a diagram of the setup. Due to the circumstances, the space used to conduct the tests was almost blocked from exterior light; however, small slits of natural daylight entered the room. The small slits had an insignificant impact on the test results’ consistency. The second condition was to ensure that each test subject was made using the same XY dimensions with varying thickness flexibility. Figure 03.05 indicates the standard dimensions used. The variable thickness of the molds gave the flexibility to manipulate the thickness and textures of ice. All the test subjects were frozen in the same temperature-controlled freezer, using a temperature regulator to keep the freezer at a consistent temperature between -6 and -10 degrees. Fig. 03.02 ⸺⸺ Closeup of light setup
Fig. 03.03 ⸺⸺ Structure and selfgrowth ice
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The last condition was to ensure that each test was conducted through a real-time simulation of the melting process. Each test captured the morphological changes that the ice undergoes in its melting process. The entire sequence of each test subject can be found in the appendix.
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Fig. 03.04 ⸺⸺ Testing setup.
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Fig. 03.06 ⸺⸺ Diagram of normal freezing process
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Fig. 03.07 ⸺⸺ (right) Diagram of directional freezing process Fig. 03.08 ⸺⸺ (left) Example of ice’s different transparencies
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No transmitted light
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03.02 The freezing process of ice As established earlier, the freezing process can significantly influence the final visual result of the ice. This first test compares two methods of freezing water and its impact on glaze’s visual aesthetics. Figure 03.06 is the result of a non-insulated mold freezing process. As the freezing process happens from all sides - air bubbles and impurities are pushed to the middle. The freezing process results in more transparent edges and a translucent center. The same test was conducted on an insulated mold seen in figure 03.07. Here the freezing process began from one side and pushed the impurities and air bubbles down into the mold. The freezing process results in entirely transparent ice at the top, translucent ice in the middle, and opaque ice at the bottom. These tests establish the possibility of manipulating the ice into various forms. Figure 03.08 shows an initial study on how light is affected by these various stages of ice. The result indicates that a transparent glaze will act as a light transmitter, using total internal reflection to transport the light to its edges. In the ice’s translucent stage, the light bounces around the inside of the ice and is transmitted as more subtle and diffuse light. At ice’s opaque state, the light is completely blocked and thereby does not transmit any light. The freezing process has a considerable impact on the transparency and clarity of the ice. Furthermore, it shows how ice can transmit, diffuse and block light and its ability to create fluid transitions between each state. Controlling these factors in the freezing process can have a significant impact on the conditions generated.
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03.03 - Thickness of ice and transparency The thickness tests evaluate the relationship between the thickness of the ice and transmitted light. The purpose is to understand better the threshold from where ice acts as a solid wall and when it starts to transmit low levels of ambient light. The tests were made using an isolated mold.
A melting light — Advanced Architectural Thesis
The results show a strong correlation between the thickness of the ice and the amount of light transmitted. In test subject c, with a thickness of 100 mm, we see that the ice’s impurities completely block the light in the lower area. For the test done with 50 mm thick ice with impurities, the light is almost blocked, creating a subdued atmosphere.
Opposite page, from the top Fig. 03.09 ⸺⸺ Test subject a, test 01 Fig. 03.10 ⸺⸺ Test subject b, test 02 Fig. 03.11 ⸺⸺ Test subject c, test 03
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03.04 Understanding ice and light This series of tests was conducted to get a quick overview of how ice can be manipulated and how the final product affects the transmitted light.
A melting light — Advanced Architectural Thesis
Test a and b looks at the relationship between translucent and transparent ice. The test results show how translucent ice creates a diffuse atmosphere, and the clear ice transmits more direct light. Test subjects c and d explore how surface manipulation affects the light through curved and triangulated surface textures. The test results show how a textured surface has an impact on where the light is transmitted. The textured surface intensifies the light transmitted at its creases. A textured surface there gives the possibility to amplify the light where it is needed within the space. Test subject e and f explores how ice and a secondary structure affects the transmitted light. The test results show how the structure blocks the light from passing. Adding additional structures inside the ice could add another layer of texturing into the manipulation of light and further block undesired light if the ice needs a certain level of transparency. The tests also demonstrate various ice treatment processes and how they can manipulate the light transmission and experience.
Opposite page, from the top Fig. 03.12 ⸺⸺ Test subject a, test 01 Fig. 03.13 ⸺⸺ Test subject b, test 08 Fig. 03.14 ⸺⸺ Test subject c, test 09 Fig. 03.15 ⸺⸺ Test subject d, test 10 Fig. 03.16 ⸺⸺ Test subject e, test 11 Fig. 03.17 ⸺⸺ Test subject f, test 12
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03.05 Fresh- and saltwater ice The location of the site inspired this series of tests. Placed on a Glacier facing the sea, access to freshwater and saltwater could add an exciting relationship between different ice types. This series of tests aims to see the potential of using different types of ice.
38 ⸺⸺ National Oceanic and Atmospheric Administration [2017] [online] Available at: https:// oceanservice. noaa.gov/facts/ oceanfreeze.html (Accessed on the 18th of Marts, 2021)
A melting light — Advanced Architectural Thesis
39 ⸺⸺ ibid.
Opposite page, from the top Fig. 03.18 ⸺⸺ Test subject a, test 13 Fig. 03.19 ⸺⸺ Test subject b, test 14 Fig. 03.20 ⸺⸺ Test subject c, test 15 Fig. 03.21 ⸺⸺ Test subject d, test 16 Fig. 03.22 ⸺⸺ Test subject e, test 17
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The test investigates the relationship between salt-ice and light. The result demonstrates the effect of freezing on the texture of the ice. Only the water molecules go through the freezing process, and the salt particles remain trapped in the resulting ice. Salt crystals reflect the light better than the impurities inside freshwater, resulting in the light highlighting the salt’s structured pattern38. Test subjects b, c, d investigates the relationship between freshwater and saltwater ice through various methods. The results indicate the contrast in light transmission between the two kinds of ice. Another thing worth noticing is the melting process of the two kinds of ice. With a lower freezing point(-2 degrees)39, saltwater melts much faster than freshwater ice, allowing direct light to enter long before freshwater ice has done melting. The test also demonstrates the impact of different types of ice on light accessibility. The most exciting element of the test is the relationship between the types of ice and time. Further investigations can explore how space can “open” itself up to the elements at different points, manipulating the indoor atmosphere over time. However, with the lower freezing point, space will be exposed to the environment faster than intended, which is not the desired behavior.
A melting light — Advanced Architectural Thesis
Salt to pure water relationship
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03.06 Structure, ice and light Light, ice, and structures are an extension of the initial test of 03.04, test 12. Borrowing from concrete reinforcement in structures, the test series explores the impact of ice reinforcement on light reflection properties and structural integrity. By reinforcing an ice structure with foreign material, the material can support and alter the light properties of the ice to generate the desired atmosphere.
A melting light — Advanced Architectural Thesis
Fig. 03.23 ⸺⸺ Structure and shadows
Opposite page, from the top Fig. 03.24 ⸺⸺ Test subject a, test 18 Fig. 03.25 ⸺⸺ Test subject b, test 19 Fig. 03.26 ⸺⸺ Test subject c, test 20 Fig. 03.27 ⸺⸺ Test subject d, test 21 Fig. 03.28 ⸺⸺ Test subject e, test 22 Fig. 03.29 ⸺⸺ Test subject f, test 23 Fig. 03.30 ⸺⸺ Test subject g, test 24
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The results show a range of different possibilities for embedding structures into the ice. While all of them offer slightly different spatial experiences, most notably is the relationship between the ice’s thickness and the structure. Due to ice’s natural transitions, the structure disappears into impurities, making the structure seem lighter than it is. This relationship between the thickness of the ice and structure is also emphasized as the ice melts. The structure slowly reveals itself, giving the observation a more substantial relationship to time. Creating a differentiation of the structure could create timeliness to the interior space experience and amplify time.
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1 ⸺⸺ Espen Lunde Larsen, Architectural Probes of the Infraordinary: Social Coexistence through Everyday Spaces (Aarhus school of architecture, 2016), p. 111
1 ⸺⸺ Espen Lunde Larsen, Architectural Probes of the Infraordinary: Social Coexistence through Everyday Spaces (Aarhus school of architecture, 2016), p. 111
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03.07 Areas of interest
Fig. 03.31 ⸺⸺ (previous page) TIR light creases
From the first series of tests, two particular areas of interest have emerged. Both areas share an overarching theme: the relationship between ice’s fluid transitions between transparent and translucent properties. The next series of studies will zoom into each area and study its depth.
A melting light — Advanced Architectural Thesis
The first area of interest will look into the surface manipulation of ice. The tests aim to create a seamless varying spatial experience of different light intensities. The aim is to generate a surface that has greater control over where light enters the space. Test subjects a and b show the initial response of creating varying light intensities through varying the ice thickness. Subject a was created through a controlled environment, using a specific mold to space the ice. In contrast, subject b was to investigate the possibility of a structure that naturally captures ice on it and thereby creates a surface of varying thicknesses. From the initial tests, test subject a showed the most potential and will be tested further.
Fig. 03.32 ⸺⸺ (this page left) Image of test 25
The second area of interest will look further into material manipulation within the ice itself and its effect on the transmitted light. The test series will evaluate the possibility of freezing transparent lenses into an opaque ice wall. Subject c and d show the results of an initial response to integrate transparent ice into a translucent counterpart. Both tests show the varying light intensity produced by the lenses.
Fig. 03.33 ⸺⸺ (this page right) Image of test 27 Opposite page, from the top Fig. 03.34 ⸺⸺ Test subject a, test 25 Fig. 03.35 ⸺⸺ Test subject b, test 26 Fig. 03.36 ⸺⸺ Test subject c, test 27 Fig. 03.37 ⸺⸺ Test subject d, test 28
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Direction 01 - Creases
Direction 02 - Many small amounts of light
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03.08 Controlled deconstruction The first series of surface manipulation tests looks into how water naturally could manipulate the ice’s surface. However, these series evaluate the durability of the building. The test will create creases in the ice using water to “remove” ice from a surface. The use of water could maintain the ice walls and give the desired spatial experience of varying light intensities.
A melting light — Advanced Architectural Thesis
Fig. 03.38 ⸺⸺ Image of the testing layout
Fig. 03.39 ⸺⸺ Closeup of the transmitted bounced light
Opposite page, from the top Fig. 03.40 ⸺⸺ Test subject a, test 29 Fig. 03.41 ⸺⸺ Test subject b, test 30 Fig. 03.42 ⸺⸺ Test subject c, test 31 Fig. 03.43 ⸺⸺ Test subject d, test 32 Fig. 03.44 ⸺⸺ Test subject e, test 33
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Subject a and b were initial tests to evaluate how water behaves when interacting with ice through gravity. The results show that water is highly reactive to existing impurities within the ice. During the tests, the water always tried to find the easiest path, creating organic, unpredictable ice creases. Subject c and d show the results of how water manipulates the ice walls. On subject c, the water drips on the outside facing wall, and the results show that it does not have an apparent visible effect. In subject d, the water drips on the inside facing wall. The results show an apparent effect on the spatial experience. The newly formed creases bounce the light and scatter it into space. Figure 03.39 shows a closeup of the scattering. Test subject e was a control test for d. The test replicated the spatial experiment under a controlled condition. Instead of using water to create the creases, the creases were made through the mold. The U-shaped carvings almost had the same effect as the C-shaped carvings, but they would not scatter the light as much into space. The tests prove that water can create creases in the ice and create a desirable spatial effect. However, water also proved hard to control, as it is incredibly reactive to existing impurities in the ice, which could lead to undesirable effects. Subject e showed how the same effect could be achieved under more controlled circumstances. The next series of tests, B.09, will look further into more controlled manipulations of the surface to achieve the desired atmosphere.
A melting light — Advanced Architectural Thesis
Dripping machine layout
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40 ⸺⸺ Henderson, Tom [2021] [online] Available at: https:// www. physicsclassroom.com/ class/refrn/Lesson-3/TotalInternalReflection (accessed on the 22nd of Marts) 41 ⸺⸺ Carpenter lowings [2021] [online] Available at: https:// carpenterlowings.com/ portfolio_page/prismaticfabric-facadeshanghai/ (accessed on the 24th of Marts)
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42 ⸺⸺ Ibid.
Fig. 03.45 ⸺⸺ (above) Prismatic fabric facade shanghai by Carpenter Lowings, 2014 Fig. 03.46 ⸺⸺ (below) Close up of prismatic fabric facade shanghai by Carpenter Lowings, 2014 Opposite page, from the top Fig. 03.47 ⸺⸺ Test subject a, test 25 Fig. 03.48 ⸺⸺ Test subject b, test 34 Fig. 03.49 ⸺⸺ Test subject c, test 35 Fig. 03.50 ⸺⸺ Test subject d, test 36 Fig. 03.51 ⸺⸺ Test subject e, test 37
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03.09 Augmented surfaces Inspired by subchapter 03.08, these tests look into controlled surface manipulation to achieve varying light intensity. All the tests use triangulated patterns of various sizes; there are two reasons for this. Firstly is the construction method; the triangulated surfaces make it easier to separate ice from its molds. Secondly, the triangulated surfaces facilitate the fluid transition between different levels of intensities. The test results create the desired effect of varying intensities that we were looking for. The results also show that the effect is more prominent when triangulation’s depth is more significant. Test subject d is the most successful combination of varying intensities and depth of triangles. This option also integrates transparent creases in the ice to further intensify the light at the creases—the crease’s intensified light results from an internal total internal reflection (TIR) within the ice. TIR is the reflection of the total amount of incident light at the boundary between two media40. Having these creases inside the ice opens up the possibility of integrating multiple light sources into the ice (both natural and artificial) and, through TIR, be transported into desired locations within the building. Carpenter Lowings worked with a similar principle in their “Prismatic Fabric Facade” in Shanghai41. See Figures 03.45 and 03.46. They created a facade panel in glass that transported light from artificial sources using linear prismatic grooves machined out of the glass. Daylight and artificial light were refracted and bounced between prisms and two glass sheets, creating various vibrant displays of light42. Using a similar approach with grooves within the ice would make it possible to integrate artificial lighting systems into the ice and illuminate the space in the dark seasons. The tests show a close relationship between the thickness of the ice and the amount of light transmitted. Allowing for a varying thickness can thereby create an altering experience of light. Furthermore, implementing transparent ice creases can further intensify the light experienced inside the space and give the possibility to integrate more types of lights in periods when there is no natural light.
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03.10 Lenses of ice
Fig. 03.52 ⸺⸺ (previous page) The series on a ‘disappearing’ lens
The second area of interest looks further into the material manipulation of the ice itself. The initial interest stemmed from integrating the contrasting experiences of various intensities of light within the same wall. However, due to the construction complexity of integrating two different ice types within the same wall, the tests pivoted to generating a similar effect by looking into transparent lenses that could be integrated as separate elements into an ice wall.
A melting light — Advanced Architectural Thesis
Inspired by James Carpenter Design Associates’ Periscope Window from 1997, see figure 03.53, this project will try to integrate small ice lenses to generate small images of the surrounding environment. This first series of tests aims to figure out the possibility of constructing ice lenses and test their ability to refract and create images. As the project aims to create an overall atmosphere of subdued light, this alternative way of bringing in the light instead of large windows can prove vital in keeping the low levels of light desired while still connecting to the outside environment. Fig. 03.53 ⸺⸺ Lenses bringing the outside, inside by James Carpenter Design Associates
Fig. 03.54 ⸺⸺ Closeup of test 27, inspiration for this series Fig. 03.55 ⸺⸺ (opposite) Image of testing layout for the lens studies
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The following pages show an iterative process of making, testing, and evaluating. The aim is to find a lens that will refract the most precise image. Figure 03.58 shows the testing setup, and figure 03.59 is an image of the image that the lenses are trying to reproduce. Each lens had to reproduce the image on a thin translucent piece of paper positioned at three different distances from the lens. Due to the complexity of photographing in these extreme lowlight conditions, the images are not entirely accurate to the lived experience.
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Fig. 03.56 ⸺⸺ Principle of construction layout Impurities are pushed down, making a clear lens
Fig. 03.57 ⸺⸺ Ice lens mould Lens on 50% of the frozen ice
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Fig. 03.58 ⸺⸺ Image of test setup
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Fig. 03.59 ⸺⸺ Image that the lenses are trying to reproduce
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Making There were two elements to be aware of when making a mold for an ice lens - the freezing process and the lens dimensions. The project developed a specific container for the mold using the directional freezing process discussed earlier to avoid making translucent ice inside the lens. Figure 03.56 shows an image of the container. The second challenge was the dimensions of the lens itself. In theory, the optical properties and dimensions of a lens can be calculated43. However, due to the complexity of calculating these properties and the slight imperfect construction methods available, an alternative method of testing and evaluation was used to find the best lens for the purpose. This method resulted in a series of different dimensions being tested and evaluated up against each other.
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43 ⸺⸺ Nakajima, Hiroshi. Optical Design Using Excel : Practical Calculations for Laser Optical Systems / Hiroshi Nakajima. 2015. Web. P. 15
Results (see figure 03.60 to 03.64) All the lenses tested managed to reproduce an image of the outside surroundings. Test subject c proved to be the most successful lens at reproducing the image. However, the images in all tests were vague and required a complete darkroom to be experienced. This vagueness of the images suggests that the intent of recreating a picture with ice lenses could be hard in the context of Svalbard. As we know from the context studies, the natural light intensities are relatively low and could prove challenging to regenerate images. With this in consideration, the project will pivot and look into alternative ways of using the lenses. Further testing Two things could explain the ice lenses results - the manufacturing method and the environmental conditions tested within. Unfortunately, due to the circumstances, the manufacturing process was hard to execute. The freezing process itself showed the difficulty of making completely transparent ice - a more comprehensive freezer with better temperature controls could make up for this. Furthermore, the ice lenses were tested in a hot indoor environment - this meant that the lenses’ surface almost immediately began to melt, contributing to the images’ blurriness. As the lenses on Svalbard would main be in a freezing environment, the images’ results could prove to be better.
Next page, from the top Fig. 03.60 ⸺⸺ Lens test a Fig. 03.61 ⸺⸺ Lens test b Fig. 03.62 ⸺⸺ Lens test c Fig. 03.63 ⸺⸺ Lens test d Fig. 03.64 ⸺⸺ Lens test e
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03.11 Focusing light through lenses
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Fig. 03.65 ⸺⸺ A study conducted on a lenses ability to reproduce the image on ice. As seen in the image, the lens was unsuccessful in replicating the image but instead brought in its atmosphere.
Fig. 03.66 ⸺⸺ Early studies of ice’s ability to amplify light
Opposite page, from the top Fig. 03.67 ⸺⸺ Test subject a Fig. 03.68 ⸺⸺ Test subject b Fig. 03.69 ⸺⸺ Test subject c Fig. 03.70 ⸺⸺ Test subject d
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The second round of tests looked into figure 03.62 ability to transmit and focus light onto various mediums. The results show that the lens can focus light. Furthermore, the results show how the focused light’s intensity and radius vary greatly depending on the focus and medium. However, in all the tests, the ice lens managed to transmit the light, and maybe more importantly, its ambiance onto the medium. Instead of replicating an image, bringing in the atmospheric light could also establish a connection to the outside. The tests furthermore shows how the light is affected by the lens itself. The small unpredictable impurities create a “lens distortion”, manipulating the light into various forms and shapes. By allow ice to transmit the light onto another medium, it allows for the architecture to be constructed of a multiple layered facade that could host different types of ice and material treatments. The ice lenses proved how ice could refract and replicate its surroundings into small images. However, due to the ice lenses’ soft and vague representation of the surroundings, combined with the soft environmental context, it was determined that the ice lenses would be better at focusing and bringing in the atmospheric light. This way, the lenses could still function as a “window” to the surrounding elements through low light-controlled conditions.
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The experimental and open-ended process executed in this section allowed a quick way to investigate the potential of ices’ possibility to sculpt light into different atmospheres. With ice’s material properties, the material proved itself a viable material with the ability to sculpt light into endless atmospheres. The study conducted in this series only touches lightly upon the topic in a very controlled environment. It furthermore also showed how ice thrives in controlled and uncontrolled environments, leading to unexpected results. It furthermore proved that it could be tested at a more detailed resolution and accommodate specific desired atmospheres.
Fig. 03.71 ⸺⸺ (opporsite) Closeup of naturally built light intensities
03.12 Section conclusion
The methodology also brought a few unexpected results that opened up new avenues of tests initially not thought off. The methodology provoked thoughts for alternative ways of engaging with ice. A recurring theme in the process was the natural transitions between ice’s different optical properties. These transitions showed the potential to sculpt and control the light into various intensities and atmospheres. The two areas of interest showed ices potential to integrate multiple light sources and transport and focus light. The rigorous testing has furthermore created a library of various experiences upon which the studio project can draw references. Further studies of larger-scale models and digital simulations could be an exciting avenue to continue studying to get an even deeper understanding of how ice would behave under more realistic scales.
Fig. 03.72 ⸺⸺ Closeup of how light is reflected from a curved ice surface
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Section 04 A space on Svalbard
Fig. 04.00 ⸺⸺ Lenses and framework
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04.00 Synthesis: studio design project This final section of the thesis is dedicated to synthesizing the previous three sections’ knowledge into a proposal situated within the design project. The model developed findings will be applied in an auditorium (figure 04.02), a type of program generally known for its controlled environments. Our newly gained knowledge of the environmental conditions, low light impact on human phycology, and the ice’s ability to sculpt light will be combined to form a design methodology that will guide the design process. Inspired by our findings in sections 01 and 02, the aim is to work with the context and generate a subdued lowlight atmosphere and use our findings from section 03 using ice to sculpt the light to generate the desired atmosphere.
A melting light — Advanced Architectural Thesis
Fig. 04.01 ⸺⸺ Example of a seed that the embassy governs. Inspired by the seed, the Auditorium disguises itself as a giant seed and develops a spatial relationship between the two.
The following section will use an iterative process that jumps between scales (figure 04.05), which will with each test refine into a final design. The section will be a chronological process, demonstrating various design development stages and documenting how context, analysis, and fabrication have informed the process.
04.01 The Auditorium
Fig. 04.02 ⸺⸺ (above) Close up of studio design
Fig. 04.03 ⸺⸺ (right) Context site model of the glacier
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The Auditorium situates itself within the studio project called “the embassy of seeds”—a proposal for an alternative future for The Svalbard Global Seed Vault. The project suggests that the vault will not be a storage facility but instead become a community to communicate, safeguard and enhance the relationship with the seeds. The ambition is to create a platform that renders the environment and its changes more accessible to the public. A place that opens up discussions. The auditorium takes a central role in the embassy. It roams and flows with the natural transitions of the glacier that it inhabits (figure 04.10). The Auditorium’s spatial organization takes inspiration
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Isolated section test
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Start of journey
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25 meter bridge, at 1,3 meter per second it will take 20 seconds to each the auditorium
from the context and its movements. The aim is to create a nondirectional space where the midnight sun will have the same effect from any direction (figure 04.08 and 04.09). This way, the Auditorium will focus on the atmosphere of the light instead of directional sun conditions. The project also integrates darkness adaption to amplify the subdued atmosphere’s sensual experience inside the Auditorium (see figure 04.06). Enabling all of our senses could significantly highlight the slow transformations that the Auditorium and the environment undergo.
04.02 Methodology of testing The auditorium Fig. 04.06 ⸺⸺ Diagram of darkness adaptation. Using the outside environment to force lightness adaptation of the eyes before entering the auditorium.
A melting light — Advanced Architectural Thesis
Hot water Cold water
Fig. 04.07 ⸺⸺ Diagram of water flow inside the structure. Using similar strategies as found in refrigerators - Hot and cold water are integrated into the space frame to prolong ice’s livity in summer and keep the right thickness of ice in winter.
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In section three, we reviewed two particular methods of engaging with ice. This section will combine the two to create a lighting strategy that can integrate shifting seasonal changes while simultaneously creating the desired atmosphere. A large reinforcement frame will surround the Auditorium space, which helps construct and maintain the surrounding ice over time (see figure 04.07). A small initial study shows (figure 04.11) how the structure itself will become part of the spatial experience when the ice melts. Figure 04.12 describes the various elements that affect how the natural light enters the Auditorium. These various steps informed a collection of responses (figure 04.13), giving a quick overview of how each step could influence the atmosphere. The design process will use the responses to facilitate the process of focusing on different characteristics, isolating and connecting elements to quickly generate an understanding of how each element, isolated and together, can affect how the natural and artificial light can be sculpted the desired atmosphere.
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Low light space
Potential additional wall Ice, 3d printed inside Reinforcement framework Potential lens Potential additional structure
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Fig. 04.08 ⸺⸺ Section drawing N NNW
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fig. 04.10 ⸺⸺ Context plan drawing of the auditorium
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The auditorium
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Fig. 04.11 ⸺⸺ Close up of test 41
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04.03 The framework
A melting light — Advanced Architectural Thesis
Fig. 04.14 ⸺⸺ Test of how ice naturally grows on structure
Fig. 04.15 ⸺⸺ Close up of the shadow
Opposite page, from the top Fig. 04.16 ⸺⸺ Test subject a Fig. 04.17 ⸺⸺ Test subject b Fig. 04.18 ⸺⸺ Test subject c Fig. 04.19 ⸺⸺ Test subject d
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This initial test looks at the reinforcement framework around the Auditorium. The aim is to find a structure that works with the interior’s non-directional ambitions earlier described. The structure itself will not be visible inside the Auditorium initially. However, if climate change continues as predicted, the structure will slowly reveal itself over time, becoming an essential element in the experience of the atmospheric change inside of the Auditorium. The aim is to get a quick understanding of the relationship between the structure’s pattern and the shadows it creates to amplify the space’s non-directional orientation. The results show that the structure has an apparent effect on the shadows produced. The shadow that illustrated the non-directional nature best was subject d (figure 04.16). As the only structure without a horizontal or vertical pattern, the structure does not indicate a strong direction in the spherical space.
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04.04 The interior surface This first series of tests will take a deeper look at the interior surface of the Auditorium. We know from our studies in 03.09 that the way we sculpt our interior wall can significantly affect the atmosphere. Furthermore, we know that we are interested in implementing creases to alter the intensity of light transmitted through the ice while integrating artificial lights in periods of no natural light. When it comes to maintenance, we know from Igloos that if the interior is not carefully maintained, the lifespan could be limited to just a couple of weeks. The study aims to generate a surface that can achieve the desired atmospheric conditions and is easily maintained to prolong the building’s lifespan.
A melting light — Advanced Architectural Thesis
Fig. 04.20 ⸺⸺ Interior image of the Mars Ice House, ice 3d printer 44 ⸺⸺ Cloudsao [2021] [online] Available at: https:// cloudsao.com/ MARSICEHOUSE%20 (accessed on the 4th of april)
Opposite page, from the top Fig. 04.21 ⸺⸺ Test subject a, test 41 Fig. 04.22 ⸺⸺ Test subject b, test 42 Fig. 04.23 ⸺⸺ Test subject c, test 43 Fig. 04.24 ⸺⸺ Test subject d, test 44
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Research shows that recent developments in 3d printers have rendered it possible to 3d print ice. The architecture firms search+ and CloudsAO have recently proposed using such printers to develop a new inhabitation typology made of ice for Mars (figure 04.20). Their proposal describes how robots equipped with ice printers could build and maintain ice dwellings, similar to the Auditorium proposed in this study. The project proposes the use of ice 3d printers to build and rebuild the internal wall44. As figure 04.20 demonstrates, for an ice 3d printer robot to functions, it needs “ice rails” to move along the surface. This study will examine the possibility of combining the functionality of rails for the 3d printer with creases to achieve the desired atmosphere. The test results show the relationship between a flat surface (04.21), a surface with rails (04.22), creases (04.23), and a combination (04.24). Test subject d (04.24) combines the desired function of letting various amounts of light into the Auditorium while producing the possibility to attach an ice 3d printer to maintain the space.
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04.05 Lenses and wall thickness
Fig. 04.25 ⸺⸺ UK pavilion for the 2010 World Expo in Shanghai by Heatherwick Studio
A melting light — Advanced Architectural Thesis
Fig. 04.26 ⸺⸺ Closeup of the exterior lenses
Fig. 04.27 ⸺⸺ Closeup of the relationship between inside and outside Opposite page, from the top Fig. 04.28 ⸺⸺ Test subject a, test 46 Fig. 04.29 ⸺⸺ Test subject b, test 47 Fig. 04.30 ⸺⸺ Test subject c, test 48 Fig. 04.31 ⸺⸺ Test subject d, test 49
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This test series looks at the possibility of introducing our second area of interest into the Auditorium - the ice lenses. A project that uses a similar strategy to bring in the natural light is the 2010 UK expo pavilion by Heatherwick Studio. The pavilion used an array of fiber optics to bring small amounts of natural light into the interior. With fiber optics, Heatherwick studio managed to create a subdued relationship between the outside environment and the inside. Partly inspired by the pavilion and the conclusion in section 03.10 (lenses of ice), the project proposes ice lenses to bring the outdoor ambiance inside the Auditorium. The following series will look at the relationship between the ambiance from the ice wall and the intensity of light the lenses bring into the interior. The test results show how the wall thickness has a considerable impact on the ambiance of light transmitted through the lenses. Figure 04.30 shows the most successful relationship between the thickness of the ice and the atmosphere from the lenses. It suggests that having a thicker wall thickness is essential to achieve the desired impact from the lenses. The last test in this series, 04.31, looks at the potential of introducing a different pattern and sizes into the lenses. A complete series of pattern studies can be found in figure 04.35. However, as the tests show, the introduction of a different light pattern and sizes of lenses diminishes the non-direction atmosphere that the Auditorium is trying to achieve.
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Fig. 04.32 ⸺⸺ The result of merging the studies from 04.04 and 04.05. An interior wall that accomodates both lenses and perforations in the inside envelope. The full series can be seen under test 50 in the appendix.
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Experience 04
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Fig. 04.33 ⸺⸺ Inspired by the colors of the surrounding environment, the Chancery will bring in the natural light constantly changing the experience of the space
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04.06 The envelope
Fig. 04.34 ⸺⸺ Environment exposure
The envelope of the building defines the threshold between the outside environment and the inside experience. Using the plugin Ladybug in Grasshopper, an envelope exposure simulation was conducted (fig. 04.37). The results show how the radiation of the environment is affecting the envelope differently. A new envelope, which response to the relative amount of exposure that the envelope receives, is proposed (fig. 04.38). The new envelope accommodates a varying thickness of ice in the outer shell to accommodate the changing intensities of illumination from the sun. The new envelope ensures that the internal space is not illuminated by unnecessary radiation. To further accommodate the varying intensities of light, ice lenses of varying sizes responding to the varying intensities are introduced (fig. 04.36). Figure 04.39 illustrates the new relationship between the lenses and light exposure.
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Fig. 04.35 ⸺⸺ Examples of various lens patterns tested out
Fig. 04.36 ⸺⸺ Show case of the relationship between the lenses and their respected environment
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A melting light — Advanced Architectural Thesis
Using the principles learned from the small isolated section studies, the full-scale exposure study further illustrates how the development of the envelope can be affected by the environment that it is situated within. The new envelope constructs a stronger relationship to the environment and ensures that the desired experience of a constant atmosphere is kept.
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Fig. 04.37 ⸺⸺ Axo exposure diagram
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Fig. 04.38 ⸺⸺ Elevation exposure diagram
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Fig. 04.40 ⸺⸺ (above) Sample frame from the animation
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A simple amination (see figure 04.41) shows the relationship between the varying intensity of direct sunlight and the Auditorium experience. Even though the Auditorium has a non-directional feature, the animation shows that the experience of direct light is highly reactive to the sun’s position.
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Fig. 04.41 ⸺⸺ (left) Sample frames and link to the animation
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04.07 Interior envelope
Focus area for this section
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Fig. 04.42 ⸺⸺ Built in pieces and assembled on site
As a final study of the auditorium, this section will weave all the recent findings into a comprehensive envelope and look at the threshold between the interior envelope and the auditorium itself. As we know from our study in section 03.11, the type of light that the ice lenses produce can vary depending on the projection surface. With that study in mind, this project proposes the use of thin translucent glass for the light within the lenses is projected on to. As figure 04.32 shows, the interior wall consists of a weaving system between creases and lenses. Figure 04.43 investigates the possibility of introducing an additional interior wall into the auditorium using various translucent and transparent glass, allowing both creases and lenses to affect the atmosphere. However, the project proposes using a filter applied to the end of the lens. The filters simplify the construction process, as well as minimizes the disturbance of the wall behind. Figure 04.48 describes how the filter and lens would be applied to the structure and allow for a flexible system to change the lenses over time. A final close-up image/section (fig. 04.45) describes the new relationship between the ice wall, lenses and atmosphere, applied to the whole auditorium. Figure 04.44 to 04.46 describes the final section model of the auditorium.
Fig. 04.43 ⸺⸺ Interior envelope pattern studies. A white surface indicate translucent glass, while a transparent surface indicate transparent glass.
Fig. 04.44 ⸺⸺ Projected light from lenses Fig. 04.45 ⸺⸺ (opporsite) Final sample of section area
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Fig. 04.46 ⸺⸺ A seed autonomy, the envelope follows a similar strategy to seeds, covering itself in a skin that is highly reactive to the environment. 3d printer
Access point to the Auditorium
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Auditourium
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The entrance to the Auditorium is a 25-meter pathway from the exposed outside environment. The long entrance ensures that the users are exposed to the outside environment before entering the building, evoking darkness adaptation.
Fig. 04.47 ⸺⸺ (right) Plan AA drawing
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Light is projected along the creases to illuminate the auditorium in dark periods
Fig. 04.48 ⸺⸺ (above) Lens construction princible
Plan AA
Lenses Structure Ice wall Auditourium
Non-directional structure to accomodate the varying envelope
3d printer storage
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Fig. 04.49 ⸺⸺ Section AA drawing
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04.09 Section conclusion
The final section synthesizes the previous three sections’ knowledge and applies it to a specific space within the embassy. With the tools available, the Auditorium successfully managed to apply and adapt the knowledge gained to a specific architectural situation. The Auditorium rendered a lowlight atmosphere that would generate a substantial sensory experience for the users. The method of jumping between scales, isolating, and assembling various situations proved to be a successful and quick method of gaining information and implementing it in the process. Furthermore, the information gained from section 03 proved vital when applying it to the architecture. The section proves ice’s viability to sculpt light into specific desired atmospheres, and the methodology has proved the possibility of using the ice in developing custom structures. The methodology may also inspire endless possibilities between light and ice when engaging with the high arctic.
Fig. 04.50 ⸺⸺ (opposite) Frame from the simulation of the Auditorium
Fig. 04.51 ⸺⸺ Atmosheric simulation of the final Auditorium
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Fig. 05.00 ⸺⸺ Final fragments of the auditourium
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Conclusion
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Conclusion
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The thesis intent was to understand better the relationship between light and the material transparency of ice. The research method of exploring a cultural context and later an open-ended discovery process tremendously aided in the initial stages of understanding and engaging with ice’s unknown field. The open-ended process grazed over the endless possibilities of how ice could sculpt light, a relationship that could further be investigated and be used in countless ways. However, in this thesis, the research from the contextual analysis, theory, and open-ended testing culminated in a specific interest area developed into greater detail. The thesis proved that ice could sculpt light into the desired atmosphere by applying the knowledge gained to a situation within the studio project. In this case, it created an auditorium that used ice’s possibility to curate and cultivate an atmosphere of subdued light. The paper has provided a comprehensive background on the properties of ice, its construction possibilities, and limits. As the Arctic most likely will render itself more accessible in the future, the research also steps into a very little researched field within architecture - the appliance of ice in the modern built environment. Through analysis, ice has proved to be an excellent material to generate moods and sculpt light. Furthermore, ice has shown its potential to become a construction material, which could add the possibility to cultivate a new dynamic character in the construction industry in these remote locations. Fig. 05.01 ⸺⸺ Assembled in pieces Fig. 05.02 ⸺⸺ (opposite) Final fragments of the auditourium
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The research has proven that ice is a viable material to (re)consider in the Arctic remote locations. Ice would provide the inhabitants with spaces more suitable for the local conditions. Ice can also facilitate (re) the introduction of indigenous practices to allow for a new, more fluid inhabitation. The (re)introduction of indigenous practices into the domestic realm suggests a critical research realm that could be investigated in depth. These remote territories most likely will render themselves more accessible soon.
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1 ⸺⸺ Espen Lunde Larsen, Architectural Probes of the Infraordinary: Social Coexistence through Everyday Spaces (Aarhus school of architecture, 2016), p. 111
1 ⸺⸺ Espen Lunde Larsen, Architectural Probes of the Infraordinary: Social Coexistence through Everyday Spaces (Aarhus school of architecture, 2016), p. 111
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Further testing Although the initial research successfully created a meaningful relationship between light and ice, the physical tests were limited. They narrowed to only specific dimensions and one type of light. Suppose time and space had allowed it, further testing into different mold sizes. In that case, the relationship to other materialities, full-scale models, and correct light conditions could give a more comprehensive understanding of the ambiance and experience that ice and light generate. It is worth acknowledging that in this paper, the atmospheric tests were mainly conducted and analyzed through analogue testing methods. A potential next step could include more comprehensive digital simulations that would render it possible to test the relationship between light and ice at greater depth and precision. Applying it to a digital world, the models would also make it possible to simulate the timeliness of changing environmental factors (the loss of ice in warm periods) and also structural behavior. Furthermore, the (re)introduction of ice in the building industry suggests new ways of engaging with the building industry and regulations. A reintroduction of such materials would require that the standard architectural practices of monotone building regulations had to be rethought to suit these territories’ fluid nature and is in itself a study worth pursuing.
Fig. 05.03 ⸺⸺ (opposite) Series of test models
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1 ⸺⸺ Espen Lunde Larsen, Architectural Probes of the Infraordinary: Social Coexistence through Everyday Spaces (Aarhus school of architecture, 2016), p. 111
1 ⸺⸺ Espen Lunde Larsen, Architectural Probes of the Infraordinary: Social Coexistence through Everyday Spaces (Aarhus school of architecture, 2016), p. 111
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Fig. 05.04 ⸺⸺ Frame from animation Exterior view of the final auditorium
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Bibliography and list of figures
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Bibliography Robert McGhee (2005). the last Imaginary Place: A human history of the Arctic world (Chicago: University of Chicago Press, Cho, L., & Jull, M. (2019). Mediating environments (First edition.). Published by Applied Research and Design Publishing, an imprint of ORO Editions. Sheppard, Lola, and Mason White (2016). “Excerpt from Many Norths: Spatial practice in a Polar Territory.” Landscape Architecture Frontiers, vol. 4, no. 1, . Rolf Stange (2018), Spitsbergen Svalbard - A complete guide around the Arctic Archipelago. Polar books. Neufert, Ernst., and Rudolf. Herz (1970). Architects’ Data 1st English Language Ed / Edited and Revised by Rudolf Herz from Translations from the German by G. H. Berger [and Others] ed. London: Lockwood. Bartels-Rausch T and Montagnat M (2019) The physics and chemistry of ice, Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences, 377:2146,
A melting light — Advanced Architectural Thesis
Grenfell TC, Perovich DK (1981). Radiation absorption coefficients of polycrystalline ice from 400 to 1400 nm. J. Geophys. Res. 86, 7447–7450. Nuth, C., Moholdt, G., Kohler, J., Hagen, J. O., and Kääb, A. (2010) Svalbard glacier elevation changes and contribution to sea level rise. J. Geophys. Quinn Duffy 1988. The Road to Nunavut. Kingston and Montreal: McGillQueen’s university Press. Kaj Birket-Smith and William Ernest Calvert (1936). The Eskimos. London: Methuen Morton, Erin, and Sirove, Taryn (2010). “Structuring Knowledges: Caching Inuit Architecture through Igloolik Isuma Productions.” Post Script 29.3: 58136. Web. Richard S. Westfall (1966). “Newton’s Optics: The Present State of Research.”
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Isis 57.1: 102-07. Web.
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Roy Sorensen (2004). “We See in the Dark.” Noûs. Bloomington, Indiana. 38.3: 456-80. Web. Stone, T.W. (2017). “The Value of Darkness: A Moral Framework for Urban Nighttime Lighting.” Science and Engineering Ethics 24.2: 607-28. Web. p. 608 Holl, Pallasmaa, Pérez Gómez, and Pallasmaa, Juhani (1994). Questions of Perception : Phenomenology of Architecture. Kenchiku No Genshōgaku. Tokyo: U. web. Tanizaki, Harper, Seidensticker, Harper, Thomas J., and Seidensticker, Edward (2001). In Praise of Shadows / Junichirō Tanizaki ; Translated by Thomas J. Harper and Edward G. Seidensticker. Steidle, Anna, and Werth, Lioba (2013). “Freedom from Constraints: Darkness and Dim Illumination Promote Creativity.” Journal of Environmental Psychology 35: 67-80. Web. Richard L. Gregory (2015). Eye and Brain. REV - Revised, 5 ed. Princeton UP, Princeton Science Library. Web. Margaret, Livingstone (2008). Vision and art : the biology of seeing. New York: Abrams. Haggarty J, Cernovsky Z, Kermeen P, Merskey H (2000). Psychiatric disorders in an Arctic community. Can J Psychiatry. National Snow and Ice Data Center [2021] All About Arctic Climatology and Meteorology.[online] Available at: https://nsidc.org/cryosphere/arcticmeteorology/arctic.html (accessed 13th of Marts) Karras, Aittala, Hellsten, Laine, Lehtinen and Aila [2020] Machine learning [online] Available at: https://github.com/NVlabs/stylegan2-ada (accessed on the 14th of Marts, 2021) Ladybug Tools LLC [2021] Ladybug [online] Available at: https://www. ladybug.tools/about.html (accessed on the 14th of Marts, 2021)
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Pogodaiklimat [2021] Weather movements [online] Available at: http://www. pogodaiklimat.ru/climate/20107.htm- Weather and Climate (accessed on 15th of Marts, 2021) OpenStax College [2020] Phase Change and Latent Heat [Online] Available at: https://courses.lumenlearning.com/physics/chapter/14-3-phasechange-and-latent-heat/ (accessed on the 15th of Marts, 2021) Climatestotravel [2020] [online] Available at: https://www.climatestotravel. com/climate/norway/svalbard (accessed on 15th of Marts, 2021) NC State University [2021] [online] Available at: https://climate.ncsu.edu/ edu/Albedo (Accessed on the 16th of Marts, 2021) Wang, Shinan and Roto, Johanna [2019] [online] Available at: https://nordregio.org/maps/indigenous-population-in-thearctic/#:~:text=There%20are%20no%20indigenous%20people,the%20 Faroe%20Islands%20and%20Svalbard (accessed on the 5th of April, 2021) Kalloniatis, Michael and Luu, Charles [2007] [online] Available at: https:// webvision.med.utah.edu/book/part-viii-psychophysics-of-vision/light-anddark-adaptation/ (accessed 11th of April)
A melting light — Advanced Architectural Thesis
Kalloniatis, Michael and Luu, Charles [2007] [online] Available at: https:// www.ncbi.nlm.nih.gov/books/NBK11525/ (accessed 11th of April) National Oceanic and Atmospheric Administration [2017] [online] Available at: https://oceanservice.noaa.gov/facts/oceanfreeze.html (Accessed on the 18th of Marts, 2021) Henderson, Tom [2021] [online] Available at: https://www.physicsclassroom. com/class/refrn/Lesson-3/Total-Internal-Reflection (accessed on the 22nd of Marts) Carpenter lowings [2021] [online] Available at: https://carpenterlowings. com/portfolio_page/prismatic-fabric-facade-shanghai/ (accessed on the 24th of Marts) Cloudsao [2021] [online] Available at: https://cloudsao.com/MARS-ICEHOUSE%20(accessed on the 4th of april)
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List of figures Section 00 Fig. 00.00 Fig. 00.01
Fig. 00.02
Photograph by Author (2021) Ice vault Photograph by Ciril Jazbec (2014) On thin ice [Image] Available at http://www.ciriljazbec.com/nationalgeographic/on-thin-ice/ (accessed on the 13th of April) Photograph by Author (2021) Ice inhabitation
Section 01 Fig. 01.00
Photo by Norsk Polarinstitutt (2021) Raidfjord Glacier [Image] Available at https://www.npolar.no/bildearkiv/ (accessed on the 11th of Marts, 2021)
Fig. 01.01 Fig. 01.02 Fig. 01.03 Fig. 01.04 Fig. 01.05 Fig. 01.06 Fig. 01.07 Fig. 01.08 Fig. 01.09 Fig. 01.10
Drawing by Author (2021) World map Drawing by Author (2021) Map of Svalbard Drawing by Author (2021) Direct daylight simulation Drawing by Author (2021) Direct daylight simulation Drawing by Author (2021) Direct daylight simulation Drawing by Author (2021) Direct daylight simulation Drawing by Author (2021) Direct daylight simulation Drawing by Author (2021) Svalbard Machine Learning Diagram by Author (2021) Svalbard Yearly sun diagram Diagram by Author (2021) Svalbard Number of polar nights and days per year Diagram by Author (2021) Svalbard Total global illumination Diagram by Author (2021) Svalbard Total cloud cover Diagram by Author (2021) London Yearly sun diagram Diagram by Author (2021) London Number of nights and days per year Diagram by Author (2021) London Total global illumination Diagram by Author (2021) London Total cloud cover Diagram by Author (2021) Svalbard Sun paths Diagram by Author (2021) Svalbard Radiation Map Diagram by Author (2021) Svalbard sun height Diagram by Author (2021) London Sun paths Diagram by Author (2021) London Radiation Map Diagram by Author (2021) London Sun paths
Fig. 01.11 Fig. 01.12 Fig. 01.13 Fig. 01.14 Fig. 01.15 Fig. 01.16 Fig. 01.17 Fig. 01.18 Fig. 01.19 Fig. 01.20 Fig. 01.21 Fig. 01.22
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Fig. 01.23
Fig. 01.24 Fig. 01.25 Fig. 01.26
Fig. 01.27
Fig. 01.28
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Fig. 01.29
Fig. 01.30
Fig. 01.31
Fig. 01.32 Fig. 01.33 Fig. 01.34 Fig. 01.35
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Diagram by Author (2021) after Engineering ToolBox, (2004). Illuminance Light Level [Image] Available at: https://www.engineeringtoolbox.com/light-levelrooms-d_708.html (accessed on the 1st of April, 2021) Photograph by Author (2021) Site study Diagram by Author (2021) after Cho, L. 2019, p. 50. Average numberof days below 0 degrees Diagram by Author (2021) after Maika e Ju, 2020. H2O state diagram [Image] Available at http:// howdoesanicecubemelt.blogspot.com/2012/03/ diagram-of-melting-ice.html (accessed on the 2nd of February, 2021) Diagram by Author (2021) after InTeGrate, 2020. Ice reflectivity diagram [Image] Available at: https://serc. carleton.edu/integrate/teaching_materials/climate_ change/student_materials/unit4_article.html (accessed on the 15th of February, 2021) Diagram by Author (2021) after OpenStax College, 2020. Ice melting point [Image] Available at: https://courses. lumenlearning.com/physics/chapter/14-3-phasechange-and-latent-heat/ (accessed on the 15th of April, 2021) Photo by Norsk Polarinstitutt (2021) Raidfjord Glacier [Image] Available at https://www.npolar.no/bildearkiv/ (accessed on the 11th of Marts, 2021) Photo by Camille Seaman (2008) Iceberg [Image] Available at https://soulcatcherstudio.com/camilleseaman-the-last-iceberg/ (accessed on the 29th of January, 2021) Diagram by Author (2021) after Steven Earle, 2019. Glacier typology [Image] Available at https://opentextbc. ca/geology/chapter/16-2-how-glaciers-work/ Ibid. Glacier daily movement Ibid. Glacier seasonal and Decades of movement Diagram by Author (2021) after Cho, L. 2019, p. 87. Albedo Coefficient Photo by Igloolik Isuma Productions’ (1989) Construction of an Igloo [Image] Available at http://povmagazine.com/ articles/view/thinking-about-isuma (accessed on the
A melting light — Advanced Architectural Thesis
Fig. 01.36 Fig. 01.37 Fig. 01.38
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5th of April, 2021) Ibid. Asembly in an Igloo Ibid. Traditional assembly in an igloo Photo by Norsk Polarinstitutt (2021) Raidfjord Glacier [Image] Available at https://www.npolar.no/bildearkiv/ (accessed on the 11th of Marts, 2021)
Section 02
Fig. 02.03
Photo by Author (2021) Machine learning study of darkness on Svalbard Photograph by Ciril Jazbec (2014) Cinema on ice [Image] Available at http://www.ciriljazbec.com/nationalgeographic/cinema-on-ice/ (accessed on the 13th of April) Image by healthfavo (2015) Eye anatomy [image] Available at https://www.healthfavo.com (accessed on the 10th of January, 2021) Diagram by Author (2021) after Michael Kalloniatis and
Fig. 02.04 Fig. 02.05 Fig. 02.06
Charles Luu, 2007. Darkness adaptation curves [image] Available at https://webvision.med.utah.edu/book/partviii-psychophysics-of-vision/light-and-dark-adaptation/ (accessed on the 16th of Marts, 2021) Ibid. Darkness adaptation curves Ibid. Darkness adaptation curves Ibid. Darkness adaptation curves
Fig. 02.00 Fig. 02.01
Fig. 02.02
Section 03 Fig. 03.00 Fig. 03.01 Fig. 03.02 Fig. 03.03 Fig. 03.04 Fig. 03.05 Fig. 03.06 Fig. 03.07 Fig. 03.08
Photo by Author (2021) Close up of refracted light Photo by Author (2021) Structure and light Photo by Author (2021) Closeup of light setup Photo by Author (2021) Structure and selfgrowth ice Photo and diagram by Author (2021) Testing setup Drawing by Author (2021) Diagrams of moulds Photo and diagram by Author (2021) Freezing process Photo and diagram by Author (2021) Freezing process Photo and diagram by Author (2021) Freezing process
Fig. 03.09 Fig. 03.10 Fig. 03.11
Photo and diagram by Author (2021) Test 01 Photo and diagram by Author (2021) Test 02 Photo and diagram by Author (2021) Test 03
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Fig. 03.12 Fig. 03.13 Fig. 03.14 Fig. 03.15 Fig. 03.16 Fig. 03.17 Fig. 03.18 Fig. 03.19 Fig. 03.20 Fig. 03.21 Fig. 03.22 Fig. 03.23 Fig. 03.24 Fig. 03.25 Fig. 03.26 Fig. 03.27 Fig. 03.28 Fig. 03.29 Fig. 03.30 Fig. 03.31 Fig. 03.32 Fig. 03.33 Fig. 03.34 Fig. 03.35 Fig. 03.36 Fig. 03.37 Fig. 03.38 Fig. 03.39 Fig. 03.40 Fig. 03.41 Fig. 03.42 Fig. 03.43 Fig. 03.44 Fig. 03.45
Fig. 03.46
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Photo and diagram by Author (2021) Test 01 Photo and diagram by Author (2021) Test 08 Photo and diagram by Author (2021) Test 09 Photo and diagram by Author (2021) Test 10 Photo and diagram by Author (2021) Test 11 Photo and diagram by Author (2021) Test 12 Photo and diagram by Author (2021) Test 13 Photo and diagram by Author (2021) Test 14 Photo and diagram by Author (2021) Test 15 Photo and diagram by Author (2021) Test 16 Photo and diagram by Author (2021) Test 17 Photo by Author (2021) Structure and shadows Photo and diagram by Author (2021) Tevst 18 Photo and diagram by Author (2021) Test 19 Photo and diagram by Author (2021) Test 20 Photo and diagram by Author (2021) Test 21 Photo and diagram by Author (2021) Test 22 Photo and diagram by Author (2021) Test 23 Photo and diagram by Author (2021) Test 24 Photo by Author (2021) TIR light creases Photo by Author (2021) Test 25 closeup Photo by Author (2021) Test 27 closeup Photo and diagram by Author (2021) Test 25 Photo and diagram by Author (2021) Test 26 Photo and diagram by Author (2021) Test 27 Photo and diagram by Author (2021) Test 28 Photo by Author (2021) Testing layout Photo by Author (2021) Closeup of the transmitted bounced light Photo and diagram by Author (2021) Test 29 Photo and diagram by Author (2021) Test 30 Photo and diagram by Author (2021) Test 31 Photo and diagram by Author (2021) Test 32 Photo and diagram by Author (2021) Test 33 Photo by Carpenter | Lowings (2014) Prismatic fabric facade [Image] Available at https://carpenterlowings. com/portfolio_page/prismatic-fabric-facade-shanghai/ (accessed on the 24th of Marts) Ibid. Prismaticfabric facade
A melting light — Advanced Architectural Thesis
Fig. 03.47 Fig. 03.48 Fig. 03.49 Fig. 03.50 Fig. 03.51 Fig. 03.52 Fig. 03.53
Fig. 03.54 Fig. 03.55 Fig. 03.56 Fig. 03.57 Fig. 03.58 Fig. 03.59 Fig. 03.60 Fig. 03.61 Fig. 03.62 Fig. 03.63 Fig. 03.64 Fig. 03.65 Fig. 03.66 Fig. 03.67 Fig. 03.68 Fig. 03.69 Fig. 03.70 Fig. 03.71 Fig. 03.72
2020/2021
Photo and diagram by Author (2021) Test 25 Photo and diagram by Author (2021) Test 34 Photo and diagram by Author (2021) Test 35 Photo and diagram by Author (2021) Test 36 Photo and diagram by Author (2021) Test 37 Photo by Author (2021) A ‘disappearing’ lens Photo by Carpenter (2014) Periscope Window [Image] Available at http://www.jcdainc.com/projects/periscopewindow (accessed on the 24th of Marts) Photo by Author (2021) Closeup of test 27 Photo by Author (2021) Testing layout Photo and diagram by Author (2021) Principle of construction layout Photo and diagram by Author (2021) Ice lens mould Photo and diagram by Author (2021) Image of test setup Photo by Author (2021) Image that the lenses are trying to reproduce Photo and diagram by Author (2021) Lens test a Photo and diagram by Author (2021) Lens test b Photo and diagram by Author (2021) Lens test c Photo and diagram by Author (2021) Lens test d Photo and diagram by Author (2021) Lens test e Photo by Author (2021) Normal ice wall Photo by Author (2021) Early studies of ice’s ability to amplify light Photo by Author (2021) Focused light, test a Photo by Author (2021) Focused light, test b Photo by Author (2021) Focused light, test c Photo by Author (2021) Focused light, test d Photo by Author (2021) Closeup of naturally built light intensities Photo by Author (2021) Closeup of how light is reflected from a curved ice surface
Section 04 Fig. 04.00 Fig. 04.01
Photo by Author (2021) Lenses and framework Photo by Rob Kesseler and Wolfgang Stuppy (2012) Closeup of a seed [image] Available at https://www. smithsonianmag.com/science-nature/amazing-close-
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Fig. 04.02 Fig. 04.03 Fig. 04.04 Fig. 04.05 Fig. 04.06 Fig. 04.07 Fig. 04.08 Fig. 04.09 Fig. 04.10 Fig. 04.11 Fig. 04.12 Fig. 04.13
A melting light — Advanced Architectural Thesis
Fig. 04.14 Fig. 04.15 Fig. 04.16 Fig. 04.17 Fig. 04.18 Fig. 04.19 Fig. 04.20
Fig. 04.21 Fig. 04.22 Fig. 04.23 Fig. 04.24 Fig. 04.25
Fig. 04.26 Fig. 04.27
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ups-of-seeds-116214861/ (accessed on the 22nd of Marts) Photo by Author (2021) Close up of studio design Photo by Author (2021) Context site model of the glacier Photo by Author (2021) atmospheric experience of ice and structure Drawing by Author (2021) Axo design strategy Diagram by Author (2021) Darkness adaptation Drawing by Author (2021) water flow diagram Drawing by Author (2021) Section drawing Drawing by Author (2021) Plan drawing Drawing by Author (2021) Context plan Photo by Author (2021) Close up of test 41 Photo and diagram by Author (2021) Principle testing model Photo and diagram by Author (2021) Principle testing diagram Photo by Author (2021) Naturally ice growth Photo by Author (2021) Structure and shadow Drawing and diagram by Author (2021) Structure test a Drawing and diagram by Author (2021) Structure test b Drawing and diagram by Author (2021) Structure test c Drawing and diagram by Author (2021) Structure test d Photo by Clouds Architecture (2015) Closeup of a ice 3d printer [image] Available at https://cloudsao.com/MARSICE-HOUSE (accessed on the 4th of April) Photo and diagram by Author (2021) Test 41 Photo and diagram by Author (2021) Test 42 Photo and diagram by Author (2021) Test 43 Photo and diagram by Author (2021) Test 44 Photo by HUFTON + CROW (2010) UK expo pavillion 2010 [image] Available at https://www.agefotostock.com/ age/en/details-photo/shanghai-expo-2010-ukpavilionshanghai-china-thomas-heatherwick-studio-seedcathedral-uk-pavilion-thomas-heatherwick-studioshanghai-expo-2010-china/VIW-EXPO-UKHC-0047 (accessed on the 11th of April) Photo by Author (2021) Closeup of the exterior lenses Photo by Author (2021) The threshold between outside
A melting light — Advanced Architectural Thesis
Fig. 04.28 Fig. 04.29 Fig. 04.30 Fig. 04.31 Fig. 04.32 Fig. 04.33 Fig. 04.34 Fig. 04.35 Fig. 04.36 Fig. 04.37 Fig. 04.38 Fig. 04.39 Fig. 04.40 Fig. 04.41 Fig. 04.42 Fig. 04.43 Fig. 04.44 Fig. 04.45 Fig. 04.46
Fig. 04.47 Fig. 04.48 Fig. 04.49 Fig. 04.50 Fig. 04.51
2020/2021
and inside Photo and diagram by Author (2021) Test 46 Photo and diagram by Author (2021) Test 47 Photo and diagram by Author (2021) Test 48 Photo and diagram by Author (2021) Test 49 Photo by Author (2021) Interior wall study Drawing by Author (2021) Auditorium light strategy Diagram by Author (2021) Svalbard Environment exposure Drawing by Author (2021) Lens pattern tested Drawing by Author (2021) Lenses Drawing by Author (2021) Axo exposure diagram Drawing by Author (2021) Elevation exposure diagram Drawing by Author (2021) Plan exposure diagram Drawing by Author (2021) Sample of animation Drawing by Author (2021) Sample of animation Drawing by Author (2021) Assembled in pieces Drawing by Author (2021) Interior envelope study Photo by Author (2021) Projected light study Photo and drawing by Author (2021) Final wall sample detail Drawing by http://chestofbooks.com/ (2007) Section drawing of a black mustard seed [image] https:// chestofbooks.com/health/materia-medica-drugs/ Textbook-Materia-Medica/Black-Mustard-SeedsSemina-Sinapis-Nigrae.html (accessed on the 22nd of Marts) Drawing by Author (2021) Plan drawing Drawing by Author (2021) Lens construction princible Drawing by Author (2021) Section drawing Drawing by Author (2021) Sample frame from animation Drawing by Author (2021) Link to animation
Section 05 Fig. 05.00 Fig. 05.01 Fig. 05.02 Fig. 05.03 Fig. 05.04
Photo by Author (2021) Final elements Diagram by Author (2021) Assembled in pieces Photo by Author (2021) Final elements Photo by Author (2021) Further testing Photo by Author (2021) Final exterior
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Appendix
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Test 1 - Thickness tests
Fact sheet Amount of time: 5 Hour 30 min Start time: 3/1 2021, 21:05 Light source: Light bulb Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
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Mould:
35 mm
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
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Test 2 - Thickness tests
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05
Time: 00:00
Time: 00
Time: 01:15
Time: 01
Time: 02:30
Time: 02
Time: 03:45
Time: 04
Time: 05:00
Time: 05
Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
50 mm
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0:15
Time: 00:30
Time: 00:45
Time: 01:00
1:30
Time: 01:45
Time: 02:00
Time: 02:15
2:45
Time: 03:00
Time: 03:15
Time: 03:30
4:00
Time: 04:15
Time: 04:30
Time: 04:45
5:15
Time: 05:30
Time: 05:45
Time: 06:00
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Test 3 - Thickness tests
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05
Time: 00:00
Time: 00
Time: 01:15
Time: 01
Time: 02:30
Time: 02
Time: 03:45
Time: 04
Time: 05:00
Time: 05
Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
100 mm
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0:15
Time: 00:30
Time: 00:45
Time: 01:00
1:30
Time: 01:45
Time: 02:00
Time: 02:15
2:45
Time: 03:00
Time: 03:15
Time: 03:30
4:00
Time: 04:15
Time: 04:30
Time: 04:45
5:15
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Time: 05:45
Time: 06:00
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Test 4 - Thickness tests
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
200 mm
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
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Test 5 - Thickness tests
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
200 mm
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
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PG13, JSA
Test 6 - Thickness tests
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings:
Time: 00:00
Time: 00:
Time: 01:15
Time: 01:
Time: 02:30
Time: 02:
Time: 03:45
Time: 04:
Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
200 mm
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:15
Time: 00:30
Time: 00:45
Time: 01:00
:30
Time: 01:45
Time: 02:00
Time: 02:15
:45
Time: 03:00
Time: 03:15
Time: 03:30
:00
Time: 04:15
Time: 04:30
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PG13, JSA
Test 7 - Thickness tests
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings:
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
200 mm
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
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PG13, JSA
Test 8 - Clear ice
Fact sheet Amount of time: 5 Hour 00 min Start time: 3/1 2021, 15:25 Light source: Light bulb Camera settings:
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
A melting light — Advanced Architectural Thesis
Mould:
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
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PG13, JSA
Test 9 - Modulated ice
Fact sheet Amount of time: 4 Hour 30 min Start time: 30/12 2020, 21:50 Light source: Light bulb Camera settings:
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Camera: Canon EOS 5D Mark IV Lens: Canon EF 50mm f/1.8 STM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 4/5 sec
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Page 149
PG13, JSA
Test 10 - Triangle light
Fact sheet Amount of time: 4 Hour 30 min Start time: 31/12 2020, 13:40 Light source: Light bulb Camera settings:
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Camera: Canon EOS 5D Mark IV Lens: Canon EF 50mm f/1.8 STM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 4/5 sec
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
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PG13, JSA
Test 11 - Elements in ice
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings:
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Page 153
PG13, JSA
Test 12 - Reinforcement
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Time: 06:00
Time: 06:15
Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
Time: 06:30
Time: 06:45
Time: 07:00
Time: 05:45
Page 155
PG13, JSA
Test 13 - Salt water
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings:
Time: 00:00
Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
A melting light — Advanced Architectural Thesis
Time: 01:00
Time: 02:00
Time: 03:00
Page 156
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2020/2021
Time: 00:15
Time: 00:30
Time: 00:45
Time: 01:15
Time: 01:30
Time: 01:45
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:15
Time: 03:30
Time: 05:15
Page 157
PG13, JSA
Test 14 - Deconstructed construction
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
Time: 00:00
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
Time: 01:00
Time: 02:00
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Time: 00:15
Time: 00:30
Time: 00:45
Time: 01:15
Time: 01:30
Time: 01:45
Time: 02:15
Time: 03:30
Time: 03:45
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PG13, JSA
Test 15 - Salt- and freshwater
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
Time: 00:00
Time: 00
Time: 01:15
Time: 01
Time: 02:30
Time: 02
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
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0:15
Time: 00:30
Time: 00:45
Time: 01:00
1:30
Time: 01:45
Time: 02:00
Time: 02:15
2:45
Time: 03:00
Time: 03:45
Time: 04:00
Page 161
PG13, JSA
Test 16 - Salt- and freshwater
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings:
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Page 163
PG13, JSA
Test 17 - Salt- and freshwater
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings:
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
Page 164
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
Page 165
PG13, JSA
Test 18 - Reinforcement 03
Fact sheet
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Amount of time: 4 Hour 30 min Start time: 31/12 2020, 13:40 Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 50mm f/1.8 STM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 4/5 sec
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Page 167
PG13, JSA
Test 19 - Reinforcement 02
Fact sheet
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
Page 168
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2020/2021
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Page 169
PG13, JSA
Test 20 - Reinforcement 04
Fact sheet Amount of time: 4 Hour 45 min
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Page 171
PG13, JSA
Test 21 - Reinforcement 05
Fact sheet Amount of time: 4 Hour 45 min
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
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Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Page 173
PG13, JSA
Test 22 - Reinforcement 06
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings:
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
Page 174
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2020/2021
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
Page 175
PG13, JSA
Test 23 - Reinforcement 07
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Time: 00:00
Time: 00:15
Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
Page 176
A melting light — Advanced Architectural Thesis
2020/2021
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Page 177
PG13, JSA
Test 24 - Reinforcement 08
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Time: 00:00
Time: 00:15
Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
Page 178
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2020/2021
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Page 179
PG13, JSA
Test 25 - Low light induction
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM
Time: 00:00
Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Time: 01:00
Time: 02:00
Page 180
A melting light — Advanced Architectural Thesis
2020/2021
Time: 00:15
Time: 00:30
Time: 00:45
Time: 01:15
Time: 01:30
Time: 01:45
Time: 02:15
Time: 02:30
Time: 02:45
Page 181
PG13, JSA
Test 26 - Rebuilding structure
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
Time: 00:00
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
Time: 01:00
Time: 02:00
Page 182
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2020/2021
Time: 00:15
Time: 00:30
Time: 00:45
Time: 01:15
Time: 01:30
Time: 01:45
Time: 02:15
Time: 02:30
Page 183
PG13, JSA
Test 27 - Star night
Fact sheet Amount of time: 4 Hour 45 min
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Page 184
A melting light — Advanced Architectural Thesis
2020/2021
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Page 185
PG13, JSA
Test 28 - Array of lenses
Fact sheet Amount of time: 4 Hour 45 min
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Page 186
A melting light — Advanced Architectural Thesis
2020/2021
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Page 187
PG13, JSA
Test 29 - Controlled deconstruction
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
Time: 00:00
Time: 00
Time: 01:15
Time: 01
Time: 02:30
Time: 02
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
Page 188
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2020/2021
0:15
Time: 00:30
Time: 00:45
Time: 01:00
1:30
Time: 01:45
Time: 02:00
Time: 02:15
2:45
Time: 03:00
Time: 03:15
Time: 03:30
Page 189
PG13, JSA
Test 30 - Controlled deconstruction
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
Time: 00:00
Shutter Speed: 1 sec
A melting light — Advanced Architectural Thesis
Mold:
Time: 01:00
Time: 02:00
Page 190
A melting light — Advanced Architectural Thesis
2020/2021
Time: 00:15
Time: 00:30
Time: 00:45
Time: 01:15
Time: 01:30
Time: 01:45
Time: 02:15
Time: 02:30
Time: 02:45
Page 191
PG13, JSA
Test 31- Controlled deconstruction
Fact sheet Amount of time: 4 Hour 45 min
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
A melting light — Advanced Architectural Thesis
Mold:
Page 192
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2020/2021
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
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Test 32 - Controlled deconstruction
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Time: 00:00
Time: 00:15
Time: 01:30
Time: 01:45
Time: 03:00
Time: 03:15
Time: 04:30
Time: 04:45
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
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2020/2021
Time: 00:30
Time: 00:45
Time: 01:00
Time: 01:15
Time: 02:00
Time: 02:15
Time: 02:30
Time: 02:45
Time: 03:30
Time: 03:45
Time: 04:00
Time: 04:15
Time: 05:00
Time: 05:15
Time: 05:30
Time: 05:45
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PG13, JSA
Test 33 - Controlled deconstruction
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
A melting light — Advanced Architectural Thesis
Time: 00:00
Time: 01:00
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2020/2021
Time: 00:15
Time: 00:30
Time: 00:45
Time: 01:15
Time: 01:30
Time: 01:45
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PG13, JSA
Test 34 - Low light induction
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM
Time: 00:00
Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Time: 01:00
Time: 02:00
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A melting light — Advanced Architectural Thesis
2020/2021
Time: 00:15
Time: 00:30
Time: 00:45
Time: 01:15
Time: 01:30
Time: 01:45
Time: 02:15
Time: 02:30
Time: 02:45
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PG13, JSA
Test 35 - Low light induction
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Time: 00:00
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Time: 01:00
Time: 02:00
Time: 02:00
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A melting light — Advanced Architectural Thesis
2020/2021
Time: 00:15
Time: 00:30
Time: 00:45
Time: 01:15
Time: 01:30
Time: 01:45
Time: 02:15
Time: 02:30
Time: 02:45
Time: 02:15
Time: 02:30
Time: 02:45
Page 201
PG13, JSA
Test 36 - Low light induction
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM
Time: 00:00
Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Time: 00:45
Time: 01:30
Page 202
A melting light — Advanced Architectural Thesis
2020/2021
Time: 00:15
Time: 00:30
Time: 01:00
Time: 01:15
Time: 01:45
Time: 02:00
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PG13, JSA
Test 37 - 3d printing walls
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
Time: 00:00
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
Time: 01:00
Time: 02:00
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A melting light — Advanced Architectural Thesis
2020/2021
Time: 00:15
Time: 00:30
Time: 00:45
Time: 01:15
Time: 01:30
Time: 01:45
Time: 02:15
Time: 02:30
Time: 02:25
Page 205
PG13, JSA
Test 38 - Engraving into the ice
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings:
Time: 00:00
Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
A melting light — Advanced Architectural Thesis
Time: 01:00
Time: 02:00
Time: 03:00
Page 206
A melting light — Advanced Architectural Thesis
2020/2021
Time: 00:15
Time: 00:30
Time: 00:45
Time: 01:15
Time: 01:30
Time: 01:45
Time: 02:15
Time: 02:30
Time: 02:25
Time: 03:15
Time: 03:30
Page 207
PG13, JSA
Test 39 - Engraving into the ice, thin
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
Time: 00:00
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
Time: 01:00
Time: 02:00
Page 208
A melting light — Advanced Architectural Thesis
2020/2021
Time: 00:15
Time: 00:30
Time: 00:45
Time: 01:15
Time: 01:30
Time: 01:45
Time: 02:15
Time: 02:30
Time: 02:25
Page 209
PG13, JSA
Test 40 - Lens and pictures
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5
Time: 00:00
A melting light — Advanced Architectural Thesis
Shutter Speed: 1 sec
Time: 00:12
Time: 00:24
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A melting light — Advanced Architectural Thesis
2020/2021
Time: 00:03
Time: 00:06
Time: 00:09
Time: 00:15
Time: 00:18
Time: 00:21
Time: 00:27
Time: 00:30
Time: 00:33
Page 211
PG13, JSA
Test 41 - Ice and structure
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Page 212
Time: 00:00
A melting light — Advanced Architectural Thesis
Time: 00:15
2020/2021
Time: 00:30
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PG13, JSA
Test 42 - Ice and structure
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM
Time: 00:00
Time: 00
Time: 01:15
Time: 01
Time: 02:30
Time: 02
Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Page 214
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2020/2021
0:15
Time: 00:30
Time: 00:45
Time: 01:00
1:30
Time: 01:45
Time: 02:00
Time: 02:15
2:45
Time: 03:00
Time: 03:15
Time: 03:30
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PG13, JSA
Test 43 - Triangulated ice
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM
Time: 00:00
Time: 00
Time: 01:15
Time: 01
Time: 02:30
Time: 02
Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Page 216
A melting light — Advanced Architectural Thesis
2020/2021
0:15
Time: 00:30
Time: 00:45
Time: 01:00
1:30
Time: 01:45
Time: 02:00
Time: 02:15
2:45
Time: 03:00
Time: 03:15
Time: 03:30
Page 217
PG13, JSA
Test 44 - Ice for 3d printing
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Time: 00:00
Time: 00:00
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2020/2021
Time: 00:15
Time: 00:30
Time: 00:45
Time: 00:15
Time: 00:30
Time: 00:45
Page 219
PG13, JSA
Test 45 - Thicker structure
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Time: 00:00
Time: 00
Time: 01:15
Time: 01
Time: 02:30
Time: 02
Time: 03:45
Time: 04
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Page 220
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2020/2021
0:15
Time: 00:30
Time: 00:45
Time: 01:00
1:30
Time: 01:45
Time: 02:00
Time: 02:15
2:45
Time: 03:00
Time: 03:15
Time: 03:30
4:00
Page 221
PG13, JSA
Test 46 - Ice lens’
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM
Time: 00:00
Time: 00
Time: 01:15
Time: 01
Time: 02:30
Time: 02
Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Page 222
A melting light — Advanced Architectural Thesis
2020/2021
0:15
Time: 00:30
Time: 00:45
Time: 01:00
1:30
Time: 01:45
Time: 02:00
Time: 02:15
2:45
Time: 03:00
Time: 03:15
Time: 03:30
Page 223
PG13, JSA
Test 47 - Ice lens’
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM
Time: 00:00
Time: 00
Time: 01:15
Time: 01
Time: 02:30
Time: 02
Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Page 224
A melting light — Advanced Architectural Thesis
2020/2021
0:15
Time: 00:30
Time: 00:45
Time: 01:00
1:30
Time: 01:45
Time: 02:00
Time: 02:15
2:45
Time: 03:00
Time: 03:15
Time: 03:30
Page 225
PG13, JSA
Test 48 - Ice lens’ and thickness controll
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM
Time: 00:00
Time: 00
Time: 01:15
Time: 01
Time: 02:30
Time: 02
Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Page 226
A melting light — Advanced Architectural Thesis
2020/2021
0:15
Time: 00:30
Time: 00:45
Time: 01:00
1:30
Time: 01:45
Time: 02:00
Time: 02:15
2:45
Time: 03:00
Time: 03:15
Time: 03:30
Page 227
PG13, JSA
Test 49 - Lens’ pattern
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM
Time: 00:00
Time: 00
Time: 01:15
Time: 01
Time: 02:30
Time: 02
Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Page 228
A melting light — Advanced Architectural Thesis
2020/2021
0:15
Time: 00:30
Time: 00:45
Time: 01:00
1:30
Time: 01:45
Time: 02:00
Time: 02:15
2:45
Time: 03:00
Time: 03:15
Time: 03:30
Page 229
PG13, JSA
Test 50 - Thickness controll
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Time: 00:00
Time: 00
Time: 01:15
Time: 01
Time: 02:30
Time: 02
Time: 03:45
Time: 04
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Page 230
A melting light — Advanced Architectural Thesis
2020/2021
0:15
Time: 00:30
Time: 00:45
Time: 01:00
1:30
Time: 01:45
Time: 02:00
Time: 02:15
2:45
Time: 03:00
Time: 03:15
Time: 03:30
4:00
Time: 04:15
Time: 04:30
Time: 04:45
Page 231
PG13, JSA
Test 51 - Final prototype
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb Time: 00:00
Time: 00
Time: 01:15
Time: 01
Time: 02:30
Time: 02
Time: 03:45
Time: 04
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Page 232
A melting light — Advanced Architectural Thesis
2020/2021
0:15
Time: 00:30
Time: 00:45
Time: 01:00
1:30
Time: 01:45
Time: 02:00
Time: 02:15
2:45
Time: 03:00
Time: 03:15
Time: 03:30
4:00
Time: 04:15
Time: 04:30
Time: 04:45
Page 233
PG13, JSA
Test 50 - Final sample
Fact sheet Amount of time: 4 Hour 45 min Start time: 3/1 2021, 21:05 Light source: Light bulb
Camera settings: Camera: Canon EOS 5D Mark IV Lens: Canon EF 100mm f/2.8 MACRO IS USM
Time: 00:00
Iso: 100 Aperture: f/2,5 Shutter Speed: 1 sec
Mould:
Time: 01:00
Time: 02:00
Page 234
A melting light — Advanced Architectural Thesis
2020/2021
Time: 00:15
Time: 00:30
Time: 00:45
Time: 01:15
Time: 01:30
Time: 01:45
Time: 02:15
Time: 02:30
Time: 02:45
Page 235