Du meng 372196 partb

ARCHITECTURAL DESIGN STUDIO AIR

PART B. CRITERIA DESIGN

Dear Bradley: My writing on B1 in basically jist a draft listing all the references, because I have done quite a bit of research on this part and I still do not have time to reorganise all this information yet. So it is still not a mature peiece of writing and would be very hard to read. If you do think this part is important, I guess you can skip it. But if you can give me any advice for refining this part, I will appreciate it!

With new research into optical illusions and effects, materials advances, progress in computing and other visualisation technologies we can now further expand the ranges of pattern we design to include more critical intangible, immaterial, dynamic, invisible, virtual and conceptual and spaces.

This will then yield more valuable and significant multidimensional, multiscalar, multivariate, performative and meaningful kinds of spatial patterns.

Loos was wrong: a new kind of ornament, through pattern, is not impossible, for through this new kind of future spatial pattern design, a different future is being patterned in the present.

Garcia, M. (2009), Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design.

Archit Design, 79: 6–17. doi: 10.1002/ad.974

PART B. CRITERIA DESIGN B.1. RESERCH FIELD

PATTERNING

B.1. RESEARCH FIELD

PATTERNING Patterns are omnipresent in the world we lived in, though they go inconspicuous most of the time.

It’s through the emergent powers of the pattern that we transcend.

The power of patterns to endure goes beyond explicitly self-replicating systems, such as organisms and self-replicating technology.

Ray Kurzweil, The Singularity is Near, 2005, p478 It is the invisible, immaterial, dynamic, intangible, conceptual and virtual patterns of space that constitute its (spatial design’s) future.

Garcia, M. (2009), Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design.

Archit Design, 79: 6–17. doi: 10.1002/ad.974 The presence of patterns is not just an ontological phenomenon (ref Ray Kurzweil, The Singularity is Near, 2005, p478). The pattern is far more important than the material stuff that constitutes it (Ray Kurzweil, The Singularity is Near, 2005, p478).

Behind the appearance of a pattern, always lies a rigorous logic. And modern technology grants us with an unprecedented chance to gain such an insight of understanding the internal logics beyond the superficial recognition and production of patterns. With this insight, there is an opportunity of innovation.

Historically, pattern has always had a role to play in the symbolic realm to serve for the cultural affect. Traditionally, pattern has always been always been associated with style, detail, ornament, decoration, adornment, embellishment, etc (Garcia, M. (2009), Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design. Archit Design, 79: 6–17. doi: 10.1002/ad.974).

Contemporary practices show a focus on the aesthetic role of patterns as is developed from the traditional representational way of design thinking. (further research in modern architecture studying patterns for aesthetic affect).

However, current practices in architectural design presents us with new opportunity in the study of pattern and suggests it should go beyond mere representation in either the symbolic or aesthetical realm.

It is clear that in a multicultural and increasingly cosmopolitan society, symbolic communication is harder to enact as it is difficult to gain a consensus on symbols or icons. Representational tools are less coded and unable to produce convergence with culture.

Against the symbolic interpretation of culture by Postmodernism, the dynamic nature of culture requires that buildings each time define their own grourjd and develop an internal consistency. It is precisely through these internal orders that architecture gains an ability to perform relative to culture and to build its own system of evaluation.

Farshid Moussavi, The Function of Ornament The concept of patterns always is referred to such definitions as “a sequence, distribution, structure or progression, a series or frequency of a repeated/repeating unit, system or process of identical or similar elements”, (Garcia, M. (2009), Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design.

Archit Design, 79: 6–17. doi: 10.1002/ad.974).

This multiplicity of meanings points to the manifold roles of pattern in the creation, reproduction, evolution and processes of space.

Garcia, M. (2009), Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design.

Archit Design, 79: 6–17. doi: 10.1002/ad.974 This suggests power of pattern in producing performative architecture. Pattern in performance architecture (eg material, responsive architecture)

B.1. RESEARCH FIELD

PATTERNING

Why pattern? The power of pattern (if architecture is to make meaning, generate new discourse) Internal logic –

As process (method, technique) and as product (object, material form), patterns, like typologies and programmes, are theory, design and space has its own unique identity patterns that record and fingerprint index the different kinds of s partly why and how pattern can also become, or be made to be, logo, brand, icon and place.

Garcia, M. (2009), Prologue for a History, Theory and Future o

They may produce indirect analogies, but their primary purpose is to render the invisible forces in contemporary cult

Architecture needs mechanisms that allow it to become connected to culture� in contemporary world. It achieves this ture’s materiality is therefore a composite one, made up of visible as well as invisible forces. Progress in architecture oc fests itself in new aesthetic compositions and affects. It is these new affects that allow us to constantly engage with the

Against the symbolic interpretation of culture by Postmodernism, the dynamic nature of culture requires that buildin through these internal orders that architecture gains an ability to perform relative to culture and to build its own syste

If architecture is to remain convergent with culture, it needs to build mechanisms by which culture can constantly pro

Stan Allen suggests that meaning in architecture is constructed as an encounter between architecture and the public.9 building; however, the choice of tools does have an impact on the design. Throughout history, the work of an architec with computers and with computation still work through a medium of representation. However, with its increasing si ter between architecture and the public using more accurate and sophisticated methods. In this way, computation ma building, but also the experience and the creation of meaning.

Brady Peters, The Building of Algorithmic Thought

Architecture in generating new discourses (pattern as a media with symbolic affect, generating and communicating m Regarding the project, iconic landmark for new discourses on green transition.

e also repeated and human-imposed spatial design solutions, concepts and effects. Each spatial patterns that constitute its histories and forms of habitus and territorialisation. This is

of Patterns of Architecture and Spatial Design. Archit Design, 79: 6–17. doi: 10.1002/ad.974. .

ture visible.

s by continually capturing the forces that shape society as material to work with. Architecccurs through new concepts by which it becomes connected with this material, and it manie city in new ways.

Farshid Moussavi, The Function of Ornament

ngs each time define their own grourjd and develop an internal consistency. It is precisely em of evaluation.

Farshid Moussavi, The Function of Ornament

oduce new images and concepts rather than recycle existing ones.

Farshid Moussavi, The Function of Ornament

9 If so, then it does not matter what design tool or technique was used in the design of a ct has been linked to the use of drawing as a design tool.10 Like drawing, architects working imulation capabilities, the computer lets architects predict, model and simulate the encounakes possible not only the simulation and communication of the constructional aspects of a

meaning to general public)

B.1. RESEARCH FIELD

PATTERNING

How pattern Pattern and perception and illusion These affects may start with found imagery or iconography as raw cultural material. However they do not remain as pure acts of consumption, but rather are disassembled and reassembled to produce new sensations that remain open to new forms of experience. It is in this way that they are contemporary and committed to progress. Operating through direct sensations, they bypass the need for the modification of language and are able to shift across space and time. They may produce indirect analogies, but their primary purpose is to render the invisible forces in contemporary culture visible.

Farshid Moussavi, The Function of Ornament

PART B. CRITERIA DESIGN B.2. Case Study 1.0

B.2. Case Study 1.0

The project chosen for Case Study 1.0 here is the Spanish Pavilion, designed by Foreign Office Architects (FOA) in Expo 2005 held in Archi, Japan. Every Expo, which is also called World’s Fair, aims to provide its visitors with a chance to explore exotic cultures beyond their everyday experiences, and therefore each pavilion becomes a cultural icon for a country. The Spanish Pavilion for Expo 2005 was one of the most outstanding ones.

Because, instead of a mere housing space a Spanish cultural exhibition, this courageous design by itself demonstrated an intelligent dedication as an innovative synthesis combining elaborated cultural elements and advancing technologies resolved at both constructional and material levels. The innovation not only fulfilled the ambition in articulating a architectural production “relating to both western and oriental culture”, which is one of the most critical issues for the 2005 Japanese Expo, but also provided impressive and interesting spatial and visual experience to the visitors as well as distant viewers.

While looking for an appropriate cultural expression for the pavilion, the designer group found within their own culture a typical feature that resonated with the major theme as an integration “relating to both western and oriental culture”. This parallel feature is the dualism of Islamism and Christianity, an interesting and crucial attribute within the Spanish cultural landscape. Hence, a set of architectural languages was developed by elaborating the converging elements existing in both Islamic and Christian cultures prominent in Spanish environment for both the interior space and exterior façade.

B.2. Case Study 1.0

To create an internal space encouraging free flows of circulation rather than a linear path between different areas, spatial elements such as nave, chapels, courtyard, cloister et cetera and structural elements such as Gothic vaults, Islamic cupolas and so on were chosen and reinterpreted to form a series of interlocking free-formed spaces, each of which was to house different activities. Instead of literally replicating the traditional architectural languages, the design of the pavilion presented us with an innovative integration of the cultural traits to fulfill the functionality of the space while aesthetics was attained at the same time and in the process of executing a coherent design intention that was to express a harmonious relationship between eastern and western culture.

In the revision of the pavilion, Anna Sirica wrote: “ The building allows the country’s history, traditions and view of the future to dialogue in its interior through a revisitation of historic models, typical of Spanish architectural and figurative culture, which can then generate new models.�

B.2. Case Study 1.0 However, the culminating and most exciting point in the realization of the design intention might be the evocative perforated faรงade composed of colorful irregular ceramic blocks. This faรงade is going to be studied in details with the assistance of the Grasshopper plugin in Rhino here, as it shows how to envision and dive into the all the constructional details while it is still in the design stage in the realization of a design intent. And it shows the power of computational design in terms of generating unexpected forms and resolving the form making at both constructional and material levels once fabrication information in concern is provided.

The whole faรงade with ceramic blocks, seemingly massive and robust though, was supported by a sub-structural system constructed by aluminum frame. This introduced an interstitial space between the faรงade and the main structure. This space was deliberately designed so as to house a transitional space for circulation and shading between the inside and outside. In the meantime, it was a reminiscence of not only the arcade popular in the traditional western architectures, but also the engawa, a typical in-between space for filtering in the Japanese traditional architectures such as temples.

In the interstitial space, an interesting and dynamic pattern of lighting and shading was introduced as a result of the vibrant faรงade constituted of irregular elements. The design technique utilized here was modular units with dynamic pattern within each unit, which can be achieved by parametric designing tools. And with the modular units and digital information, it became easy for prefabrication and on-site assembly

B.2. Case Study 1.0

In terms of form finding, the faรงade was developed from two basic parameters. The first parameter is the irregular pat developed from a set of hexagons. The source of inspiration for this modular hexagonal unit also lay in the elements f a highly abstracted geometry evolved from Islamic celosias, Gothic traceries, the modular unit composed of six hexag team found the lattice constituted by such a module was common in Spain, thus reflecting the fusion of Christian and the six different blocks could be coated in different colours, mainly yellowish and reddish ones, in resonance with elem wine, rose, blood, sun, sand etc. Again, in stead of a simple synthesis and repetition of conventional elements, the des the regular hexagonal base to produce a fluid visual effect throughout the facade by manipulating the modules via com potential of irregular pattern. On top of that, they created even more complex pattern by generating irregular pattern Hence, it ended up with an innovative and intriguing faรงade with non-repetitive elements varied in both colours and

The second parameter was the materials. Ceramic was chosen for the hexagonal blocks as it was a popular and intima chain and fasten the blocks, steel wires and detailed junctions were also developed for the assembly of the irregular he

In conclusion, the Spanish Pavilion for Expo 2005 showed a dedication in realizing an integrated design intention tha structional techniques, material prefabrication and computational technologies. It is a successful attempt in producin expressed its cultural identity and captured the zeitgeist of the information age, generating new discourses.

ttern for each modular unit that was from the Christian-Islamic culture. As gons was adopted for as the designing d Islamic architecture. At the same time, ments distinctive in Spanish culture: signing team went further to elaborate mputational technologies to explore the for perforation over the whole faรงade. geometries.

ate material both in Spain and Japan. To exagonal blocks.

at encompassed architectural ideas, conng a mature architectural product that

B.2. Case Study 1.0 Trial 1 Exploration on two-dimensional planar modular panel

Modular panel comprised of regularly arranged triangular-patterned units

Culling random units from the modular panel extending the potential in producing irregular patterns

Manipulation of intern modular Panel to produ

Randomly culled modular panel with the centre of each unit carved

nal units within the uce irregular pattern

Potential of manipulating the density of units within a modular panel

Caving the centre parts of certain units within a randomly culled modular panel further extending the pool for pattern exploration

Carving the center of each internal unit to produce a frame-work, offering the potential for acutual installation such as a glassed facade

Variation in the size of carved area in each unit to produce more interesting patterns, also suggesting the potential in controlling light penetration if used in a facade

B.2. Case Study 1.0 Trial 2 Exploration on three-dimensional modular panel based on the developed pattern

Modular panel comprised of triangular-patterned units deformed in Z-axis

Culling random units from the modular panel extending the potential in producing irregular patterns

Manipulation of intern modular Panel to produ

Randomly culled modular panel with the centre of each unit carved

nal units within the uce irregular pattern

Potential of manipulating the density of units within a modular panel

Caving the centre parts of certain units within a randomly culled modular panel further extending the pool for pattern exploration

Carving the center of each internal unit to produce a frame-work, offering the potential for acutual installation such as a glassed facade

Variation in the size of carved area in each unit to produce more interesting patterns, also suggesting the potential in controlling light penetration if used in a facade

B.2. Case Study 1.0

PART B. CRITERIA DESIGN B.3. Case Study 2.0

B.3. Case Study 2.0

The Spanish Pavilion was for sure an intelligent innovation of reinterpreting traditional architectural elements to house the current needs in both such as functional, aesthetic aspects and achieved the ambition as an iconic artefact of cultural capital.

However, at the same time, the development of the pavilion, especially the façade, is obviously a form-oriented design and emphasizing on the ornamental affect. Though as a result, the design solution finally offers good shading and lighting effect and a circulation space with interesting spatial experience.

On the other hand, the early decision on materiality and form does inform and facilitate the later detailed design in terms of prefabrication of the modular units off site as well as construction and assembly techniques on site.

So far as it can be observed after the exploration on the algorithm for the Spanish Pavilion design, the particular design and construction techniques employed were modularly assembly for construction and manipulation on the irregular pattern within each module to produce dynamics as a whole.

Hence, in case study 2.0, the ICD/ITKE Research Pavilion 2005 is chosen for further study as it utilized similar constructional technique, the modular assembly as well and with these modules, it also ends up with a dynamic and interesting form. But the technique was executed at a different level. In Spanish Pavilion, the module was consisted of six cells, which as a whole formed a stable outline for each panel, though internally, dynamic affect was produced by the deformation of the six hexagons. Basically, this irregular pattern developed from the composition of six-hexagonal modules was designed for a flat façade and was not powerful enough in terms of informing an organic space. However, what I am more interested in is to utilize dynamic modules to inform an organic form which can never be expected and therefore achieve a dynamic and evocative space that would encourage impulsion visitors to explore. The ICD/ITKE Research Pavilion 2005, small though, is one of the typical precedents that present me with this insight. Instead of forming a module with multiple planar units, the ICD/ITKE Research Pavilion 2005 use every unit as a module by itself and the module is developed as a compartment-like cell instead of a planar pattern, therefore each module is stiff in itself and can perform as a structural element and at the same time by composing these dynamic “compartments” together seamlessly, an organic space would evolve automatically.

B.3. Case Study 2.0 BIOLOGICAL SYSTEM The project aims at integrating the performative capacity of biological structures into architectural design and at testing the resulting spatial and structural material-systems in full scale. The focus was set on the development of a modular system which allows a high degree of adaptability and performance due to the geometric differentiation of its plate components and robotically fabricated finger joints. During the analysis of different biological structures, the plate skeleton morphology of the sand dollar, a sub-species of the sea urchin (Echinoidea), became of particular interest and subsequently provided the basic principles of the bionic structure that was realized. The skeletal shell of the sand dollar is a modular system of polygonal plates, which are linked together at the edges by finger-like calcite protrusions. High load bearing capacity is achieved by the particular geometric arrangement of the plates and their joining system. Therefore, the sand dollar serves as a most fitting model for shells made of prefabricated elements. Similarly, the traditional finger-joints typically used in carpentry as connection elements, can be seen as the technical equivalent of the sand dollar’s calcite protrusions.

MORPHOLOGY TRANSFER Following the analysis of the sand dollar, the morphology of its plate structure was integrated in the design of a pavilion. Three plate edges always meet together at just one point, a principle which enables the transmission of normal and shear forces but no bending moments between the joints, thus resulting in a bending bearing but yet deformable structure. Unlike traditional lightweight construction, which can only be applied to load optimized shapes, this new design principle can be applied to a wide range of custom geometry. The high lightweight potential of this approach is evident as the pavilion that could be built out of 6.5 mm thin sheets of plywood only, despite its considerable size. Therefore it even needed anchoring to the ground to resist wind suction loads.

Besides these constructional and organizational principles, other fundamental properties of biological structures are applied in the computational design process of the project: Heterogeneity: The cell sizes are not constant, but adapt to local curvature and discontinuities. In the areas of small curvature the central cells are more than two meters tall, while at the edge they only reach half a meter.

Anisotropy: The pavilion is a directional structure. The cells stretch and orient themselves according to mechanical stresses.

Hierarchy: The pavilion is organized as a two-level hierarchical structure. On the first level, the finger joints of the plywood sheets are glued together to form a cell. On the second hierarchical level, a simple screw connection joins the cells together, allowing the assembling and disassembling of the pavilion. Within each hierarchical level only three plates – respectively three edges – meet exclusively at one point, therefore assuring bendable edges for both levels.

B.3. Case Study 2.0

COMPUTATIONAL DESIGN AND ROBOTIC PRODUCTION A requirement for the design, development and realization of the complex morphology of the pavilion is a closed, digital information loop between the project’s model, finite element simulations and computer numeric machine control. Form finding and structural design are closely interlinked. An optimized data exchange scheme made it possible to repeatedly read the complex geometry into a finite element program to analyze and modify the critical points of the model. In parallel, the glued and bolted joints were tested experimentally and the results included in the structural calculations.

The plates and finger joints of each cell were produced with the university’s robotic fabrication system. Employing custom programmed routines the computational model provided the basis for the automatic generation of the machine code (NC-Code) for the control of an industrial seven-axis robot. This enabled the economical production of more than 850 geometrically different components, as well as more than 100,000 finger joints freely arranged in space. Following the robotic production, the plywood panels were joined together to form the cells. The assembly of the prefabricated modules was carried out at the city campus of the University of Stuttgart. All design, research, fabrication and construction work were carried out jointly by students and faculty researchers.

The research pavilion offered the opportunity to investigate methods of modular bionic construction using freeform surfaces representing different geometric characteristics while developing two distinct spatial entities: one large interior space with a porous inner layer and a big opening, facing the public square between the University’s buildings, and a smaller interstitial space enveloped between the two layers that exhibits the constructive logic of the double layer shell.

B.3. Case Study 2.0

My Focusesn Terms of Reverse Engineeing ICD/ITKE Reseach Pavilion 2011 Though this is an attempt to reverse engineering the Case Study 2.0, I am not going to replicate exactly the same form.

Instead, my major focus will be on the structural details such as joining details and modular constructional technique that support and inform the whole organic shape.

A) Ensure at each joining point, only 3 surface meet with each other B) Dynamic shaped Cell (instead of hexagonal shaped cell in the studied case) C) Organic Form informed by the assembly of individual irrepetitive cells

B.3. Case Study 2.0 Trial 1

Though generally a spherical form, but this algorithm outcome shows the possibility of forming dynam achieved by popping the circle with random points and using Voronoi Mesh to generate the irregular pla upwards forces at joining points respectively which is introduced by Kangaroo plug-in. After that, with th form composed of small “rooms� as in the case of ICD/ITKE Research Pavilion 2005 is achieved. Howeve spherical space, the base of each cell was not a planar one, thus it is not achieving the goal of joining only On the other hand, further explorations also are also necessary for creating opening and generating more

mic fluid forms with irregular pattern resulted from random-shaped cells. The random shaped cells were anar pattern around the points. The fluid form as a whole is achieved by exerting tension force on each line and he component of Cumulation from Weavebird plug-in and trimed the “pyramid� with related plane, a similar er, further exploration on this algorithm suggests that after exerting the forces to deform the mesh forming a y three surfaces at each joinging point and can create difficulties for later manipulation on each modular cell. e organic forms by playing with the anchor points and the simulation of forces in Kangaroo plug-in.

B.3. Case Study 2.0 Trial 2

By changing the circular base into irregular form, a more organic form starts to evolve. And by careful However, as is discussed in the previous attempt, the base for each cell on the deformed mesh is not plan that takes huge amount of calculation, a heavy workload for the computer. Different algorithmic techniqu to derive a proper arrangement of the cells. On one hand, it is hard to define the surface by these mesh lin volumn, it is easy for them to intercept with each other, which was proved to be hard for human-eyes to d

lly filtering the anchor points, openings are created and thus a space can be open up for visitors to explore. nar, this creates difficulties for further development in each cell and adds extra complexities in the algorithm ues such as lofting, extruding, offsetting, thickening mesh etc. were explored, but it was proved to be difficult nes due to the complexity of the data tree for each line. On the other hand, once they are deformed to form a distinguish and creates difficulties for prefabrication, assembly and construction in reality.

B.3. Case Study 2.0 Trial 3

Considering the difficulty of creating planar cells in a deformed mesh in the previous two attempts, in rather than irregular. But as a whole, it is still an irregular pattern. As three points define a surface, after t thermore, reduce difficulties for later prefabrication, assembly and construction as well. But the anchor p es of the openings. This to some extent deforms the floor plan for the whole structure at the fringe. Howe triangles. Hence, based on the previous attempts, I tried to generate Vonoroi Mesh on each cell to formul several cells, which is the technique employed in the Spanish Pavilion, where each module consisted of si and construction. With Weavebird’s Mesh Window component, it is possible to generate volumn in each this technique is not ideal as the “window� somehow deformed and is not matching the base cell. The loft flat surface.

this trial, the base mesh was created by Delaunay Mesh instead of Vonoroi Mesh, thus each cell is triangular the mesh is deformed, each of the cell still remains planar, therefore it is easier to manipulate each cell and furpoints for the forces to act on needs to be carefully selected to ensure the triangular shape especially at the edgever, this fails my initial intention in terms of forming irrepetitive shaped modules as all of the cell are basically late the randomly shaped pattern in each cell. Hence each triangular cell indeed is a modular composition of ix cells. And the planarity of each irregular cell is ensured and easy for later manipulation as well as fabrication cell as in the case of ICD/ITKE Research Pavilion 2005 by offsetting the “window”. But the resulting form of fting surface derived from the offsetted “window” and the base cell would be twisted rather than smooth and

B.3. Case Study 2.0 Trial 4

Based on the last attempt, I further refine the algorithm to explore modular constructional possibility b Mesh technique in Weavebird plug-in, it seems the computer fails to recoginize the face direction of each inwards and others outwards. Though it increases the randomness, resulting in even more interesting pat modules in ICD/ITKE Research Pavilion 2005. Therefore, I tried to offset the “window� in both direction am pursuing. But for sure this is a dumb way to deal with it as the joining point between each of the two to be hard for construction in reality. And indeed, this attempt stills fails my initial intention in the explo

by irregular cells with volumes as in the ICD/ITKE Research Pavilion 2005. However, by using the Offset h cell, thus the offsetting direction of each cell is not of the same direction. Therefore, some of the cells warp ttern, it diverts from my intention in terms of reverse-engineering the assembly technique of “compartment” n and finally come up with a “compartment” in each cell which to a hign extent resembles the pavilion that I “compartment” cells will simply be a line which leaves no space for further join details. This would be proved oration of develop a form which only three surface joining each other at the a joining point.

PART B. CRITERIA DESIGN B.4. Technique: Development

B.4. Technique: Development Matrix 1

Exp

ploration on the definition developed from Trial 2 in terms of dynamic forms and manipulation of cells

B.4. Technique: Development

PART B. CRITERIA DESIGN B.6. Technique: Proposal

B.6. Technique: Proposal Materials to interact with: Transparent solar cells

Overview MIT researchers are making trans without altering how they look or cells unimpeded, so our eyes don’ cells on various materials and hav could provide more than a quarte consumer products, including mo

A novel design Inspired by Lunt’s idea, the team d thickest layer (toward the left) is t right. At the core of the coating ar an electric field that causes curren the device. Since both electrodes selected wavelengths, sending it b to reduce reflections because any molecular engineering, optical de

sparent solar cells that could turn everyday products such as windows and electronic devices into power generators— r function today. How? Their new solar cells absorb only infrared and ultraviolet light. Visible light passes through the n’t know they’re there. Using simple room-temperature methods, the researchers have deposited coatings of their solar ve used them to run electronic displays using ambient light. They estimate that using coated windows in a skyscraper er of the building’s energy needs without changing its look. They’re now beginning to integrate their solar cells into obile device displays.

developed a transparent PV cell. The schematic figure below shows its components and how they work together. The the glass, plastic, or other transparent substrate being coated; the multiple layers of the PV coating are toward the re the two active layers—the absorptive semiconductor materials that get excited by sunlight and interact, creating nt to flow. Sandwiching those layers are electrodes that connect to the external circuit that carries the current out of must be transparent—not the usual reflective metal—a layer on the back of the cell can be added to reflect sunlight of back for a second pass through the active layers. Finally, anti-reflective coatings can be used on both outside surfaces light that reflects—potentially as much as 10% of the total—doesn’t go through the device. “We use a combination of esign, and device optimization—a holistic approach to designing the transparent device,” says Barr. http://mitei.mit.edu/news/transparent-solar-cells

The installation of transparent solar panel glass based on my the prototype I have developed This schematic diagram shows the key components in the novel transparent photovoltaic (PV) device, which transmits visible light while capturing ultraviolet (UV) and near-infrared (NIR) light.

The PV coating—the series of thin layers at the right—is deposited on the piece of glass, plastic, or other transparent substrate. At the core of the coating are the active layers, which absorb the UV and NIR light and cause current to flow via the two transparent electrodes through an external circuit. The reflector sends UV and NIR light back into the active layers, while the anti-reflective (AR) coatings on the outside surfaces maximize incoming light by reducing reflections.

B.6. Technique: Proposal

Win

Considering the fact that, from our common experience, a flat high rise facade composed basically of glass panels usually take up a substantial load from wind acting on them. At the same time, instead of a simple flat facade, I prefer a dynamic form that offers interesting space for visitors to explore. And such a spatial exploration should encourage people to have a closer interaction with the sun, the solar-power-generating panel. Thus I come up with this idea as finding a organic form by the study of the wind under the conditions of local climate which not only creates dynamic spatial experience, but also reduces windload acting on the facade by shifting the surface according the direction of the wind.

Analysis and manipulation on information derived from local wind data for t

nd Analysis derived via Grasshopper plug-in Ladybug and Honeybee

the generation of form

B.6. Technique: Proposal

Proposal 01

B.6. Technique: Proposal

Proposal 02

B.6. Technique: Proposal

Proposal 01

Comparison between Proposal 01 and Proposal 02

Proposal 02

B.6. Technique: Proposal

Internal Space 01

Internal Space developed based on proposal 02

Internal Space with supporting framing 02

B.6. Technique: Proposal

PART B. CRITERIA DESIGN Programme

Programme: Sun Bathing Maze

The site sits beside the sea, previously industrialized with man-made fillings.

But what I am interested in is that in the long run, what the site would be changed into if minimum manual maintainance is needed. So think of an open widespreading landscape on the coastline, as is generated or influenced by natural forces, what it will be like after a few hundreds years? I come up with the image of a beach.

As a space for public use, what people usually do on a beach? Sunbathing.

I love this idea of sunbathing because it converges with the project brief as a power generator harnessing solar power and the a culture that is fond of sun.

Issue: A) Architecturally, the play of open and enclosed space: facade?

B) Circulation, how people travel around the site and use the space: maze?

B) Seasonal change

Site Conditions * Open landscape * By the sea * Access to sun and wide sea views (statue of little Mermaid) * Previously industrialized * Relatively high latitude with limited access to sun throughout the year Copenhagan: 55.7째 N, 12.6째 E (Melbourne: 37.8째 S, 145.0째 E) Project * Energy Generator: Solar * Public Space Culture * A love for the sun * A community strive for green transition