ARCHITECTURAL DESIGN STUDIO
AIR
Tutor: Bradley Elias Meng Du 372196
PART C. DETAILED DESIGN
I do not know where I am going, but I will finish it, no matter how. Just finish it, I swear! And then I believe I will be there, out of the this endless vicious cycle. Have faith in myself!
PART C. DETAILED DESIGN C.1. Design Concept
C.1. Design Concept Proposal Concept: The Holy Light Enbracing the Sun, the origin of all energy resources Copenhagen is the capital of Denmark, which is one of the northern European countries. Due to its high northern latitude about 56 degrees, Copenhagen has a generally mild and temperate climate with an average annual temperature of 9 degrees and lacks of access to direct sunlight. The largest azimuth angle in Copenhagen is around 57 degrees happening on the summer solstice. At the same time, the number of daylight hours varies considerably between summer and winter. Especially in winter when the temperature is of an average high around 5 degrees and an average low of -2 degrees1, daylight-hours is very limited with only 7 hours and 1 minute on the day of winter solstice2. Generally, due to the limited access to direct sunrays and daylight hours especially in winter, solar power does not seem like to be a favourable choice for the energy generating infrastructures in northern Europe. Currently in Denmark, the wind power is the most influential resource for renewable energy. Up to 41% of Denmark’s electricity consumption in the first half of 2014 was provided by wind power3. In Copenhagen, which is a harbour city with rich wind-power resources, at least four wind farms have already been established. As is shown in the site analysis, the two largest ones are set to the north-east of the site4. However, there is limitation in utilizing wind power. For example, limited space in an intense urban fabric, which can not cope with the large spatial scale needed for the installation of wind turbines and high expenditure is required for the construction of wind turbines5. Moreover, “there is public resistance to the perceived visual and noise impact of wind turbines in the landscape”6. This is against the aesthetical pursuit of the project brief as to construct a renewable energy infrastructure as an art installation that is integrated into the urban landscape and can enthuse people or the local community with an admiration towards renewable energy7. In comparison, as is discussed in the material section, a energy infrastructure utilizing the new technologies in the range of solar power has a promising potential to provide the local community with substantial energy and aesthetical experience. Further more, in this project, by the using and playing with the innovative technology of transparent solar glass panels, it is aimed to achieve an evocative visual effect and an intense spatial experience that engage the visitors with different affects of sunlight, the source of the energy. It is going to be a monument that celebrates the source of all energies, the sun, and this is found to be parallel with a typical local cultural feature, the “sun-loving” culture. Such a cool climate without enough access to direct sun-rays and in the meantime, very limited daylight-hours typically in the freezing winter can always foster a cultural feature with a sun-loving passion. In Copenhagen, there are several recurring community festivals, mainly held in the summer8. One of them is the Mid-summer Festival, which is one of the most traditional and popular festivals in Danish culture9 as well as other the northern European area10. The Midsummer Festival is to celebrate the day of the year with the longest daylight hours, hence it is held on the summer solstice. Therefore, it would be exciting if a project that celebrates this cultural feature and encourages interaction with sunlight and the usage of solar power as energy resource would be exciting and innovative for the local community.
1 2 3 4 5 6 7 8 9 10
Copenhagen Yearly Weather Summary, http://www.worldweatheronline.com/Copenhagen-weather-averages/Hovedstaden/DK.aspx Copenhagen Climate & Temperature, http://www.copenhagen.climatemps.com Wind power in Denmark, http://en.wikipedia.org/wiki/Wind_power_in_Denmark Copenhagen, Denmark – Case study Copenhagen Solutions for Sustainable Cities Copenhagen Solutions for Sustainable Cities What is LAGI?, http://landartgenerator.org/project.html Copenhagen, http://en.wikipedia.org/wiki/Copenhagen#Nightlife_and_festivals Festivals Copenhagen, http://www.citybreaks.net/festivals-copenhagen Midsummer, http://en.wikipedia.org/wiki/Midsummer#Denmark
The Celebration of Mid-summer Festival in Copenhagen and Northern Europe
The celebration of Mid-summer’s Eve in Copenhagen
-- http://www.nileguide.com/destination/blog/copenhagen/2010/06/18/sankt-hans-night-a-danish-midsummers-eve/
Scandinavian Midsummer Festival Event
-- http://eastpdxnews.com/general-news-features/scandinavian-midsummer-festival-moves-to-oaks-park/
C.1. Design Concept Proposal Concept: The Holy Light Choice on Energy Generating Materials The energy generating material introduced into this project is one of the most advancing ones. Its typical property ensures an infinite potential in practical construction and aesthetical affect. This material is the transparent solar glass with photovoltaic device laminated inside to collect power from infrared an untra-violet light. Theoretically, UV light and IR light are beyond the visual spectrum the can be received by human eyes and thus a photovoltaic device capturing power from these ranges of sunrays can let the visible light through1 and result in a transparent appearance to human eyes2. Therefore, it can be sandwiched into the transparent glass panels and, in the near future, it may turn every window pane, which is indispensable for every building construction today, into an energy collector without causing any visual problems. Also it would not incur much of constructional difficulties as these photovoltaic cells can be just a layer of flexible coating to be applied to any surface3. In comparison, the traditional opaque or translucent PV panels has to do a trade-off between transparency and efficiency4 which cause aesthetical issue as though an awkward patch attached to the building surface. Moreover, hypothetically the transparent photovoltaic cells can reach an energy conversion rate up to 90% while the traditional ones can only transfer at most up to 50% of the input energy into the output energy5. Actual product of this kind of transparent photovoltaic glass has already been realized by research group of MIT Energy Initiative. And according to their experiment, if the vertical window facade of a highrise building is encapsulated with the transparent photovoltaic cells, even with only 5% of energy conversion rate, a quarter of the building electrical consumption can be covered by the energy generated in the window panes6. Beside the aesthetical, constructional and energy performative benefits, this innovative material can also reduce the heat gain in a building by blocking the IR rays which is the major source that heats up the interior7. Commercially, according to the research by MIT group, the new technology is proved to have a potential cost savings over traditional solar systems. For instance, “the processes used in fabricating the new transparent PVs are environmentally friendly and not energy intensive�8. At the same time, as a layer of coating that can be applied to any surface, in implementation of this photovoltaic cells would not cost much extra expense. For instance, during a new construction or a window-replacement project, the innovative PV coating could be added for very little extra cost9. However, as we all know, at this stage, the cost of the installation of traditional glass panels is so high that it limits its market and application. On the other hand, the site of the project is located in Copenhagen. It is in the northern European area where solar power is generally not favoured due to the lack of access to direct sunrays and limited daylight hours in winter resulted from high latitude. But these typical photovoltaic cells collect power from the UV and IR range of the light spectrum. And IR solar energy can be radiated back from the earth, thus, even without direct access to the sun, the system can still generate substantial power10. And there is a potential of providing 24 hours energy a day because even during the night hours without daylighting, the earth is still emitting infrared radiation11. Also, as is discussed above, the energy transferring rate can be extremely high. Hence, it has a promising potential to produce substantial energy in the area of northern Europe. Furthermore, considering the aesthetical potential and constructional convenience, this is an ideal material for this project. 1 2 3 4 5 6 7 8 9 10 11
A Field Guide to Renewable Energy Technologies, p16 Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells A Field Guide to Renewable Energy Technologies Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells A Field Guide to Renewable Energy Technologies A Field Guide to Renewable Energy Technologies
The transparent glass encapsulating the UV and IR photovoltaic cells
-- http://msutoday.msu.edu/news/2014/solar-energy-that-doesnt-block-the-view/
Diagram of the sample transparent photovoltaic device
-- http://mitei.mit.edu/news/transparent-solar-cells
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. --Transparent solar cells, from http://mitei.mit.edu/news/transparent-solar-cells
C.1. Design Concept Proposal Concept: The Holy Light The Application of the Transparent Solar Glass Panel The play of transparency and colour The typical feature of the adopted material is obviously its transparency. Considering the flexibility in the shape-moulding of glass, it would be interesting to explore contradictory effects of transparency and opacity by manipulating the shape and the arrangement of the glass. With this exploration, there is a chance to create a sensational affect evoked by the dramatic difference in lighting and shading. Such a dramatical contradiction in lighting and shading effect, on one hand, amplifies the feeling of transparency offered by the major energy generating material. On the other hand, it provides the visitors with dynamic and evocative visual and spatial experience so as to get them engaged with the fascinating mythical power of the sunlight, the source of energy. In the course of developing a dynamic form for the transparent glass so as to create an opaque visual effect, the light diffusing effect creatd by tansparent prisms pops up in my mind. The colorful lighting spectrum created by a prismatic glass tubes leads me to the idea of playing with the difference between transparency and colour instead of simply generating a robust glass facade varying in thickness to induce opacity. And as I research for the prismatic forms in glass design, I find the project of Rainbow Church designed by a Japanese designer, Tokujin Yoshioka1. It was a design for the Museum of Contemporary Art Tokyo in 2013. As is shown in the image, the 9-metre window installation consisting of 500 crystal glass prisms delights the room with a soft but evocative and colourful ambient ligh2. In another early project designed for the Lexus exhibition, Yoshioka also used the crystal glass prism element3. But it was used as robust columns that defined a space with its visual opacity and also produced an interesting light pattern. Other works designed by Yoshioka demonstrates an dedicated engagement with glass material. Works such as the glass chair in the project of The Invisibles4, the Glass Tea House5, and the glass work for Audi in 20016 all present the unusual qualities in glass in terms of its flexibility in shape moulding and potential strength in loadbearing. Further research on the precedent works produced by Tokujin Yoshioka inspires the design in this project for the polar-light atrium, which detailed explanation will be discussed later in the documentation of the project development process.
1 Rainbow Church, http://www.tokujin.com/en/design/architecture/# 2 Rainbow Church by Tokujin Yoshioka, http://www.dezeen.com/2010/05/07/rainbow-church-by-tokujin-yoshioka-2/ 3 Lexus 2013, http://www.tokujin.com/en/design/space/ 4 Kartell Then Invisible 2010, http://www.tokujin.com/en/art/art-piece/# 5 Glass Tea House, http://www.tokujin.com/en/design/architecture/# 6 Audi 2001, http://www.tokujin.com/en/design/space/
Light diffusing effect of glass prism
-- http://www.dezeen.com/2010/02/12/rainbow-church-by-tokujin-yoshioka/
Rainbow Church (Museum of Contemporary Art Tokyo), Tokujin Yoshioka, 2014, Tokyo. -- http://www.tokujin.com/design/architecture/
Lexus 2013
-- http://www.tokujin.com/en/design/space/
C.1. Design Concept Proposal Concept: The Holy Light The Application of the Transparent Solar Glass Panel Glasss products by Tokujin Yoshioka
Kartell, The Invisibles, 2010 -- http://www.tokujin.com/en/art/art-piece/
Glass Tea House, 2013
-- http://www.tokujin.com/en/design/space/
C.1. Design Concept Proposal Concept: The Holy Light Site Analysis
Map of Copenhagen
Refshaleøen Site
Site of Refshaleøen People enjoying sun-bath at Halvandet
View of the site towards the B&W building from the sea
Water Taxi Station
Statues at the west end of the Water Taxi Station
Envision of Water Taxi Station
C.1. Design Concept Proposal Concept: The Holy Light Site Analysis As is shown in the Map of Copenhagen, the site sits at the intersectional point between the intense urban fabric of the city centre and the natural waterfront landscape along the harbour coastline. Such a location is ideal for a project which is to erect an artificial structure but merges with the nature in harmony. The centre of the city, Indre By which means Inner City, has a long history and features many of Copenhagen’s most popular monuments and attractions1. As is shown in the blue-framing area in the map on the next page, the majority of the highrise buildings over 50 meteres around the site are dispersed to the west and south-east corner. But they are at a distance from the site. There is still splendid view overlooking the water surface of the canals and the historical urban landscape within the remaining part of the historical Fortication Ring which is shown as a greenish band2 on the map towards the south and the west of the site. Typically, right opposite to the site across the harbour towards the west, there is the famous statue of the Little Mermaid. As a well-known fairy-tale figure created by the world-renowned Danish writer, Hans Christian Andersen, it is an icon of Denmark. And towards the north-west end of the site, there is the scenic view over the ocean surface of the harbour. On the other hand, at a smaller scale, the site is part of an industrial site, the Refshaleøen. Refshaleøen is a manmade island in Copenhagen’s harbour that once housed the shipyard industry pioneer, Burmeister & Wain which employed 8,000 people at its height. Thus it was an icon of Danish industrial history3. Currently, there are still a lot of industrial structures remaining in this area and many of them are at the short distance from the site and therefore blocking the view towards the north and east of the site. Hence in the project, the major view that is going to be framed is towards the south and west to capture the splendid view of the historical urban fabric as well as towards the north-west for the scenic natural oceanic view of the harbour. The landscape of the site is open and flat. At the same time, there is not much of high-rise buildings at a close distance to the site, especially to the south. These conditions suggest a good chance of harnessing solar power. At the same time, as the site is located at the harbour along the coastline, therefore, it can be quite windy on the site. This can be proved by the installation of the two large windfarms to the north-east and east of the site. Hence, both solar and wind powers can be the sources of energy. However, as is discussed in the previous parts, glass panels with transparent photovoltaic cells is more favourable for this project and also applicable to the site with substantial potential in terms of energy generating performance. In this case, the windy condition can be either an issue or an opportunity for the development of the project because of the use of the flat glass panels as dominant elements. From the past experience of constructing skyscrapers, windload is always a significant factor to consider in the design for the flat vertical curtain facade.
1 2 3
Copenhagen, http://en.wikipedia.org/wiki/Copenhagen Copenhagen, http://en.wikipedia.org/wiki/Copenhagen Land Art Initiative Copenhagen 2014 Design Guidelines
Activities on Site and Proposed Programme
Light Therapy Space
-- http://www.fpnotebook.com/legacy/ Psych/Depress/LghtThrpy.htm
Uvb Light Therapy At Home
-- http://lysmdb.com/uvb-light-therapyat-home/uvb-light-therapy-at-home2/#page
As is mentioned before, since the area around the site, including the city centre, the harbour as well as the canals connecting to it, is populated with many places of interest. Hence there might be a lot of tourists visiting the site or see the site on the ships travelled by. Beyond that, as it is shown in the photos from the last page, there are a lot of entertaining activities going on around the site, such as rowing, surfing, sun bathing and so on. And the surrounding area now is dominantly a residential area1. Hence local people may always come to this area for entertainments. Especially, as is shown in the previous page, there is a water taxi station establishing right on the south edge of the site. Thus in the near future, there might be a lot of visitors coming to the site for sporty or other entertaining activities. Considering the possible activities on site and the open flat landscape confronted with the splendid view captured over the harbour and the historical urban fabric, the proposed programme for this project is a space for light therapy. Such a programme offers another attracting stop for the tourists and entertaining as well as resting destination for the local people who either come for enjoyments or sports. It is to house spaces for both public community events and individual or family activities. At the same time, such a programme can encourage the visitors to interact with the sun light. This merges with the pursuit of the project brief as to construct a renewable energy infrastructure as an art installation that is integrated into the urban landscape and can enthuse people or the local community with an admiration towards renewable energy.
Colored Light Therapy Mood Lighting by Shiu Yuk Yuen
--http://www.trendhunter.com/trends/ color-light-therapy-color-changingmood-light-by-shiu-yuk-yuen
1
Copenhagen, http://en.wikipedia.org/wiki/Copenhagen
C.1. Design Concept Proposal Concept: The Holy Light Site Analysis
Lynetten Wind Farm
Refshaleøen
Centre
Surrounding area of the site
Copenhagen Harbour
Statues of city icon the Liitle Mermaid
View of site from the north-west corner
Middelgrunden Wind Farm
C.1. Design Concept Site analysis: the sun on site
Sun paths on the site
Azumith of the sun on winter solstic and summer solstic
Site analysis: the wind on site
Wind conditions on the site
C.1. Design Concept Proposal Concept: The Holy Light Site Analysis Sketches on spatial arrangement based on site analysis and proposed grogramme
A) On the flat open landscape of the site, assuming a single flat platform is constructed, this would constrain the chance to access distant views.
B) To increase chance for visitors to access the view, multiple floors might be needed, but this would limit the access to the sunlight.
Respective Rough sketches on the plan according to th
C) To increase chance for visitors to access the sunlight without comprimising access to the view, each floor is offsetted backwards, forming the stairway-like structure.
he site analysis with views facing south, west and north-west.
As is shown in following diagram, in parameters in the flat surface so as to de less deformed mesh. In other words, by ate a dynamic fluid form that is less affe experience, thus promote an energetic a
C.1. Design Concept The dynamic form-finding by wind load analysis Type A
Type A Flat Facade
Type B Horizontallly Convex Facade
Type C Vertically Tapered Facade
Type D Horizontallly Rotated Facade
Degree of mesh deformed under wind load from certain wind direction
0
Type B
comparison with a flat surface, a dynamic facade with fluid surface contours, generated by manipulating the eform the facade by twsting, tapering, rotating and so on according to certain wind direction, can result in a analysizing the wind on site and extracting certain parametres from the windforce, there is a chance to generected by the windload. And dynamic forms generally can provide the visitors with everchanging, vibrant spatial atmoshpere on the site. Type C
Type D
1
C.1. Design Concept Phase A: Forming Finding Inspiration from Wind-load Analysis Step 1 As is showned in the site analysis, detailed statistics for the wind conditions such as wind direction, frequency, speed etc in Copenhagen througout the year can extracted in the Grasshopper working space with the plug-in of Ladybug. The average annual windrose encoding all these statistics of the wind conditions on site is choosen as the starting point of these project. After simplifying the wind statistics by synthesizing wind directions from 16 to 12, the outline of the new windrose is extracted for as the base for the development of a dynamic form in response to the wind forces on site.
Windrose with 16 wind directions
Windrose with 12 wind directions
Step 2
View from top
After extracting the outline of the windrose, a polyline with sharp corners is derived. To avoid a straight forward flat facade, a base with a fluid fringe would be easier for later development. Thus polyline is smoothed with 10 times of smoothing operation, producing a curved base for later form-finding process.
View from top
Step 3
View from perspective
The curved base is popped with 100 points randomly and these points are raised upwards according to their respective distance from the centre of the windrose. Connecting these new points forming a new highly dynamic curvature floating in the air. At these point, a dynamic form with a generally vertical facade can be envisioned. And it faces south-west dominantly, which is close to meet the requirments in the previous analysis as to increase access to the sun resources from the south and the view spreading from the south to the west to the site. But as a vertical facade in general, it stands perpendicular to the wind direction which is almost parallel to the ground at such a height that is near the ground. Thus further alternation is still in need to maximise its structure performance under the influence of windloads and energy performance affected by sun orientation.
Step 4
View from top
To generate a form for better performance in response to the wind effect and sun resources on site, the floating curvature is rotated according the Coriolis effect. And as is shown in the image below, wind speed at different heights can also be extracted from the wind data set and with the ratio derived from these wind speed at different heights, the flying curvature is scaled down in accordance (and to produce a more dramatic change, it is further scaled down by 0.5). A more dynamic facade can be foreseen at this stage. This time, the majority of the facade is facing south and south-west, and it is not as an upwards-standing facade perpendicular to the wind direction, which is more ideal than the previous one. But with a steep sloping side facing south and west, further change is necessary in generating a fluid form as a whole.
Wind Speed at Different Heights
View from perspective
View from front
C.1. Design Concept Phase A: Forming Finding Inspiration from Structural Perfomance
View from top
Review of forming finding process following structural performance in Case Study 2.0
Step 1 Define the area for the structure to stand on with opennings to the south and north pre-positioned.
View from top
Step 2
Pop the area with 50 points randomly.
View from top
Step 3
With the points generated in the previous step, create a planar pattern of Delaunay Triangulation as the base pattern for the development of the structural framing system in later stages.
Step 4
The Delaunay Trianglation pattern is defromed with force simulation introuduced by the Kangaroo plug-in in Grasshopper working space. With the points on the fringe at the east and west ends as anchor points, after transforming each of the line in the pattern into a spring, and exerting an force of 1000 units perpendicular to the ground upwards at each junction point, a fluid form with pre-decided entrances at south and north ends is derived and can be further elaborated into a structural framing system.
View from perspective: south-west corner
As is shown in the review of Case Study 2.0, there is a chance to foster a holistic fluid form which integrates the structural framing system. Considering the structural performance in reaction to both the structural loads and windloads, another form generation strategy combining the structural framing system derived in Case Study 2.0 and previous windload analysis is explored. After the experimentation with several different combination of the algorithms and the drived forms, the following one is adopted.
Step 1
View from top
The floating curve is further scaled down by a ratio of 0.9 and then it is projected to the ground. As is shown in the image on the right hand side, this defines the area for the structure to stand on. And the intersection of the two regions is eliminated. With the experience from the previous study on Case Study 2.0, this suggests the shift of the openning from the south-east to the north-east corner and thus increases the ratio south-facing panels in subsequent elaboration.
Step 2
View from perspective
View from top
Pop the area with 100 points randomly
Step 3
View from top
Step 4
View from perspective: north-east corner
Again, Delaunay Triangulation pattern is generated with the randomly popped points, creating the base pattern for the development of the structural framing system in later stages. This base pattern implies an openning towards north-east as an entrance. Moreover, it shows a free-standing facade composed of three panels at the north end of the entrance, which provides a potential of interesting visual and spatial experience for the visitors when they walks into the interior of the structure.
Once again, force simulation is introuduced with the assistance of the Kangaroo plug-in. Anchoring the points at the fringe of the Delaunay Triangulation pattern, transforming each of the line in the pattern into a spring, and exerting an force of 250 units perpendicular to the ground upwards at each junction point, a fluid form with a structural framing system is finally derived from the study of gravity loads and wind loads. This form is chosen due to its holistic fluidity that offers substantial potential in structure and energy performance as well as view access. Moreover, it possesses a high possibility of creating interesting visual and spatial experience.
C.1. Design Concept Phase B: Irregular Panelling and Materialization The Installation of Solar Glass Panel
View from perspective: north-east corner
Step 1 To produce an irregular pattern for the installation of the solar glass panel, every individual triangular cell on the form derived from the previous form-finding process is extracted and popped with 3 points randomly to generate a voronoi digram on each of these cells. This process splits each triangular cell into irregular shapes and each of these new shapes is treated as a new individual cell in the following steps.
View from perspective: north-east corner
View from perspective: north-east corner
Step 2
All the irregular-shaped cells are scaled down as is shown in the second image to right hand side. With the rest area of each triangular panel forming the framing system, as is shown in the third image, which is to hold up the whole structure and support the installation of the glass panels in each irregular cell.
From an aesthetic point of view, it is always interesting to see the dynamic dazzling effect of the unpredictable pattern created by light and shade as that is introduced by the composition of irregular transparent glass panels and the opaque structural elements. This vibrant effect can be further elaborated as the structure is interacting with the continuously changing day light. The introduction of such a evocative visual effect of lighting and shading enhances the one of major themes that is pivotal in each design decision, which is to encourage the interaction with the renewable source of energy for this project, the sun.
View from perspective: north-east corner
Step 3
A pyramid is generated based on each of the irregular cells.
View from perspective: north-east corner
Step 4
Each of the irregular cells is offseted from the original surface developed from the deformed Delaunay Triangulation form.
View from perspective: north-east corner
Step 5
Trim the pyramids and offseted cells with each other, forming a tappered block in each irregular cells, which is for the installation of the glass panels.
Step 6
Joining the framing system developed in step 2 and the irregular glass blocks from step 5, the external facade is finalised.
View from perspective: north-east corner
C.1. Design Concept Phase C: Internal Spatial Arrangement The Sun-accessing and Viewing Platform Step 1 A series of 5 planes are generated with the first one at a height of 8 metres above the ground and the following ones with an interval of 3 metres between each other. This defines the heights of different platforms to access both the sunshine and view. With these planes cutting through the form of the deformed Delaunay Angulation mesh derived in the previous phases, a series of curves are produced and they are offsetted with a minimum interval of 4 metres between each into the interior as the base for the positioning of stair-deck-like platforms. As is discussed in the analysis, this increases the access to both the sun and view at the same time.
View from perspective: north-east corner
View from perspective: north-east corner
Step 2
The offsetted curves are projected to the lower plane produced in step 1 respetively and the top one is projected upwards to the exterior facade which, in this case, is the deformed mesh. By lofting the respective curves horizontally and vetically, the spatial effect of the flatforms and the internal facade to between these platforms can be envisioned. And in combination with the colour-spectrum affect on the internal facade, such a spatial arrangment offers a chance to provide the visitors with a central atrium as a community space with fascinating spatial and visual experience. Such a spatial quality reminds me of the dynamic curevature and dazzling lighting effect in the Finnish Pavilion designed by Alvar Aalto for the World’s Fair 1939. At the same time, for the reason of safety, the offseted curves are extruded upwards by 1.4 metres as the railings in the upper floors. It would be interesting to see the combined effect of the internal facades and the railings in the play of the colour-spectrum affect as is shown in the Rainbow Church designed by Tokujin Yoshioka in 2014. But extra supporting structures would be need in the internal atrium to support such a long span platforms and suspendding glass facades.
View from perspective: north-east corner
Finnish Pavilion, Alvar Aalto, World’s Fair 1939, London. -- http://www.metalocus.es/content/en/blog/exhibition-alvar-aalto-–-second-nature
Rainbow Church (Museum of Contemporary Art Tokyo), Tokujin Yoshioka, 2014, Tokyo.
-- http://www.tokujin.com/design/architecture/
C.1. Design Concept Phase C: Internal Spatial Arrangement The Polar Light Atrium
Drawings on Finnish Pavilion by Alvar Aalto for World’s Fair 1939 in London. -- http://www.designboom.com/history/aalto/pavilion.html
Analytical Model by Shigeru Ban Laboratory on Aalto’s Finnish Pavilion in World’s Fair 1939.
-- http://www.designboom.com/history/aalto/pavilion.html
Aalto Vase, Alvar Aalto, 1936.
-- http://www.dezeen.com/2008/07/14/droog-aalto-by-jan-ctvrtnik/
The famous Aalto’s glass shows the flexibility of glass moulding and dynamic visual effect of the light as it passes through the a piece of glass work with various thickness. However, in my case, I do not want to simply play with the thickness of the internal glass facade because it can increases the weight of the glass facade significantly.
Alvar Aalto’s design is famous for its undulating organic form. In his design for the Finnish Pavilion, this is the most dominant feature, with each of the floor edge floating in the air forming an undulating curve. And this is similar to my developed form. His design in terms of the structural supports for these extruding floors is a series of columns on the ground floor as is shown in his sketch. This can be a hint for the design of the structural supporting members in my own design. However, I want to go beyond that because by simply putting up these robust columns, it may comprimise the feeling that I would like to create for the atrium which is to shed the atrium with indisrupted colourful light. However, Shigeru’s analytical models on Aalto’s design inspires me in terms combining the undulating lines with the structural support members. The vertical supporting columns can be merged into the prismatic glass facades if the the facade gradually droops down at the supporting spots. And this offers a potential in creating more interesting spatial experience at the fringe of the atrium as well.
Analytical Model by Shigeru Ban Laboratory on Aalto’s Finnish Pavilion in World’s Fair 1939.
-- http://www.cityofsound.com/blog/2007/04/alvar_aalto_thr.html
C.1. Design Concept Phase C: Internal Spatial Arrangement The Polar Light Atrium
Rainbow Church (Museum of Contemporary Art Tokyo), Tokujin Yoshioka, 2014, Tokyo. -- http://www.tokujin.com/design/architecture/
Audi, Tokujin Yoshioka, 2001 -- http://www.tokujin.com/en/design/space/
As I come up with the new sulution for installing the structural support members without comprising the visual effect of the colourful atrium, the image of polar light pops up in my mind. And the glass design by Tokujin Yoshioka, especially the colosal glass art piece for the Audi project in 2001 further impresses me in terms of the potential of the glass in producing a visual effect similar to the polar light. With the research on the constructional and visual details of the Rainbow Church glass facade, the image of the atrium can be predicted and it would be similar to the polar light effect. At the same time, this somehow merges with the intended programme of the project as to create a space for sun therapy treatment. Therefore I would like to call it the Polar Light Atrium. And this amazing visual effect revealing the transparent light in an unusual way would be so evocative that it can be a feature to attract visitors.
The polar light effect
C.1. Design Concept Phase C: Internal Spatial Arrangement The Polar Light Atrium
Drawings on Interior Perspective of the Forest Wall in Finnish Pavilion.
-- http://www.studiointernational.com/index.php/aalto-and-america
Audi, Tokujin Yoshioka, 2001, Tokyo.
-- http://www.tokujin.com/design/space/
The Tokujin Yoshioka - Spectrum Glass Facade in the Museum of Contemporary Art Tokyo
-- http://www.tokujin.com/design/architecture/
View from perspective: north-east corner
Step 3 On each of the projected curves, 100 random points are popped. They are rearranged in sequence according to their positions on the regarding curves in concern.
View from perspective: north-east corner
View from perspective: north-east corner
Step 4 By a random selection, certain of the points popped in last step are projected to the ground and the projected points replace their respective points in the relative sequences created according to the curves in the previous step. Then according to these sequences, the points are connected into open curves.
Step 5
By lofting the offsetted curves provided in step 1 and the curves in regard created from the last step, a series of waterfall-like facades with dynamic curevatures can be imagined. On one hand, they further extend the fluidity and dynamics of the internal facade, fulfilling the potential of creating a polar-light affect. On the other hand, they provide a more organic and vibrant space at the fringe of the central atrium for people to explore, offering some semi-open spaces for individuals without comprimising much of the public space. Moreover, structurally, supporting members can be installed where they touch the ground, as is shown in the case of Finnish Pavilion. If these members are slender enough, they can be merged into the glass facade without notice. Or they can also be revealed deliberately as spatial marker, creating a more dramatic pattern for the “polar light� facade.
View from perspective: north-east corner
C.1. Design Concept Phase C: Internal Spatial Arrangement The Polar Light Atrium Internalized Eaves: The celebration of Mid-Summer Festival
Section revealing sun angle of summer and winter sun
Diagram illustrating the design for eaves bassed on summer and winter sun angles
-- http://www.yourhome.gov.au/passive-design/orientation
Summer Sun
Winter Sun
Summer Sun
As is shown in the previous analysis, the sun angles for summer and winter can be extracted from the local climate data. Here is to provide an eave at the fringe of each platform to block the sun rays of mid-summer from penetrating into the atrium area in the lower floors, so that when the sun reach the highest point in mid-summer, the sun light can enter the central area via the facade above the top platform. This is to highlight the visual affect of the colosal polar-light glass facade on top as a celebration of the Mid-Summer Festival.
View from perspective: north-east corner
Step 6 According to the previous analysis, the highest point of the mid-summer sun is roughly at an angle of 57.8 degrees. With a height of 3 metres, the fringe of each platform is offsetted with the relative distance, which is about 1.9 metres.
View from perspective: north-east corner
Step 7 Respective curves are lofted, providing a set of new platforms.
Step 7 Each surface for the elevated platforms are thickened with a minimum distance of 3 metres, serving as a floor to step on. At this stage, the access to each floor is expected to be at the two ends of each ribbon-like with staircases.
View from perspective: north-east corner
C.1. Design Concept Phase D: Interaction with the Visitors and the Site Circulation and the Path Wall
View from top
Step 1 The orientation of the major structure is pre-defined, as it is derived from the analysis of local wind conditins. Its position on the site is close to the south west corner, so as to get close to the major framed view and expose its major entrance towards the north-east corner when the major entrance to the site is at the bottom south-east corner. A path way leading to the interior of the major structure from the site entrance is to be set with a free-standing wall that blocks the sight into the atrium before one enters the major structure. This is to provide the visitors with a impressive image when they are first exposed to the polar-light atrium so that they can have a more dramatic visual and spatial experience. Viewroses with a diametre of 8000 units and 10000 units are derived as is illustrated in the first image. Certain significant segments of the windrose profiles are extracted and connected all the way to the entrance fluidly.
View from top
View from top
View from top
Step 2 Control points for the curves derived above are connected to produce a curve and the curve is rebuilt with a 1000 degree of manipulation on every 8 control points. This produce a highly dynamic planar curvature on the plan as the base for the development of the wall.
View from top
View from perspective: north-east corner
Step 7 The curvature is popped with 20 points randomly and, except for the two at the ends, all of them are raised according to the respective distance from the segments extracted from the smaller viewrose. The raised points are connected with the relative original points popped on the curve, resulting in a series of free-standing lines all the way alone the curve.
Step 8 The free-standing lines generated from above step is lofted and this step produce a free-standing wall with an undulating skyline. This form is satisfactory as it blocks the sight into the interior all the way along the path in general.
View from perspective: north-east corner
C.1. Design Concept Phase D: Interaction with the Visitors and the Site Path Wall Pattern Review of forming finding process following structural performance in Case Study 1.0
The generation of irregular shaped framwork
In Spanish Pavilion for the Expo 2005, a base frame of 6 regular hexagons are set. The internal connectiong point are extracted and randomly moved away from the original positions. With the newly generated points taking places of the respective original points, new connections are established. Joining these new connections forms the irregular hexagonal framework.
View from perspective: north-east corner
Step 1 The pathway wall is going to be applied with the same pattern as exterior facade of the major structure. Hence a triangular framing system is developed throughout the whole wall.
View from perspective: north-east corner
View from perspective: north-east corner
Step 2 With the technique derived in Case Study 1.0, internal junction points are dispositioned, distorting the regular triangular frame into a set of irregular triangles.
C.1. Design Concept Phase D: Interaction with the Visitors and the Site Path Wall Pattern
View from perspective: north-east corner
Step 3 To produce an irregular pattern for the installation of the solar glass panel, every individual triangular cell derived from previous step is extracted and popped with 2 points randomly to generate a voronoi digram on each of these cells. This process splits each triangular cell into irregular shapes and each of these new shapes is treated as a new individual cell in the following steps.
View from perspective: north-east corner
View from perspective: north-east corner
Step 4
All the irregular-shaped cells are scaled down, with the rest area of each triangular panel forming the framing system which is to hold up the whole structure and support the installation of the glass panels in each irregular cell. This time, step further in producing the framing system is to thicken the framing structure to 0.3 metres for the further development in detailed junction design.
View from perspective: north-east corner
Step 5
A pyramid is generated based on each of the irregular cells.
View from perspective: north-east corner
Step 6
Each of the irregular triangles developed in step 2 is offseted from the original surface developed from the irregular trianglular pattern produced in step 2.
View from perspective: north-east corner
Step 7
Trim the pyramids and offseted cells with each other, forming a tappered block in each irregular cells, which is for the installation of the glass panels.
Step 8
Joining the framing system developed in step 4 and the irregular glass blocks from step 7, the pathway wall pattern is finalised.
View from perspective: north-east corner
C.1. Design Concept On Site Construction Process
Perspective View from Major StructureEntrance
Step 1 Construct the framework for the exterior facade of the major structure and the as well as the framework for the pathway wall with steel.
Perspective View from Major StructureEntrance
Step 2 Add the glasswork to steel frame constructed before.
Perspective View from Major StructureEntrance
Step 3
Lay down the ground floor.
Step 4
Construct the structural wall for the first floor.
Perspective View from Major StructureEntrance
All the constructional members are expected to be prefabricated offsite and transported to the site for on-site assembly. Details of the production of the constructional members will be shown in the discussion in C.2.
Perspective View from Major StructureEntrance
Step 5
Set up the structural supporting columns for the internal facades and the platforms.
Perspective View from Major StructureEntrance
Step 6
Construct the lower part of the internal facades and lay down the platforms.
Perspective View from Major StructureEntrance
Step 7
Construt the top part of the internal facade.
Step 8
Construct the railings for each platforms.
Perspective View from Major StructureEntrance
C.1. Design Concept Proposal Concept: The Holy Light Enbracing the Sun, the origin of all energy resources
C.1. Design Concept Proposal Concept: The Holy Light Enbracing the Sun, the origin of all energy resources
View of the external facade
T
he intricate steel framing system for the external facade offers interesting pattern generating of an dazzling effect of lighting and shading, evoking an evocative sense of aethetics.
C.1. Design Concept Proposal Concept: The Holy Light Enbracing the Sun, the origin of all energy resources
View of the Polar Light Atrium Entrance
A
fter walking along the long path from the site entrance, which concealed the atrium by its intricate pattern, visitors will be suddenly exposed to the colourful world of the Polar Light Atrium. This would offer the visitors with exciting visual and spatial experience.
C.1. Design Concept Proposal Concept: The Holy Light Enbracing the Sun, the origin of all energy resources
View of the Sun Bathing Platforms
T
he Sun Bathing Platforms are to offer visitors a space to access the splendid oceanic scene across the harbour and as well as the wonderful view over the historical urban fabric while they are enjoying the sun shine.
C.1. Design Concept Proposal Concept: The Holy Light Enbracing the Sun, the origin of all energy resources
View of the Polar Light Atrium
w
ith the installation of the prismatic glass panels, the Polar Light Atrim will be an open space for community events filled with diffusing light from different light spectrum, evoking an evocative experience of the light.
C.1. Design Concept Proposal Concept: The Holy Light Enbracing the Sun, the origin of all energy resources
View of the Semi-open Space
T
he structural supports at the fringe of the Polar Light Atrium separated some semi-open spaces for individual or family activities. But with careful arragement of the structural members, these semi-open spaces can still enjoy the amazing lighting effects offered by the prismatic glass panels.
PART C. DETAILED DESIGN C.2. Tectonic Elements & Prototypes
C.2. Tectonic Elements & Prototypes Core Construction Element The Load Bearing Frame
The selected core construction elements to test on is the framing system for the external facade. Though in previous studies on ICD/ITKE Research Pavilion 2011 shows the wooden structure with finger joints is very stiff. But it is still a bit risky by simply using wooden panels to support the whole strusture which reaches 50 metres in height. Thus steel is chosen as the major load bearing members. Here is the diagram illustrating how to fit the panels with the steel load bearing members.
C.2. Tectonic Elements & Prototypes Core Construction Element The Load Bearing Frame
Here is physical models of the selected part of the framing system at a scale of 1:50. The panels are prefabricated with 2D printing and the welding steel joint is produced with 3D printing. They fit into each other perfectly, demostrating the accuracy of the computational design and the convenience of prefabrication.
C.2. Tectonic Elements & Prototypes Core Construction Element The Load Bearing Frame
Here is physical models produced with the prefabricated materials. The resulting structure is easy to assemble and shows sufficient potential in terms of structural performance. The composite model is rigid and tough. And the angle of the panels are fits with the original virtual model. Moreover, with only two panels, it already demonstrate the potential of establishing a free standing structure for the external facade.
C.2. Tectonic Elements & Prototypes Core Construction Element The Load Bearing Frame
These images demonstates the intricate pattern of the framing system and its resulting lighting and shading effect which is dynamic and evocative. In actual construction, this would provide the visitors with interesting visual and spatial experience and provide the site with a vibrant energy.
PART C. DETAILED DESIGN C.3. Final Detail Model
C.3. Final Detail Model Final Detailed Model
C.3. Final Detail Model Final Model of the major structure
This is a 3D model of the major structure which is to demonstrate the spatial arrangement of the intricate internal space of the Polar Light Atrium. Constrained by the 3D printing limits in terms of sizes, thickeness of each member and available material, there are several features can not be shown in this model. It is produced at an awkward scale of 1:65. The external facade is simplified to triangular panels. The interior facade with prismatic glass panels was also simplied to flat pieces with a thickness of 3 mm. However, it still shows the spatial arrangment with the potential lighting and shading effect of the interior and demonstrates the intricacy of the external facade.
Actual Model of the major structure
PART C. DETAILED DESIGN C.4. Learning Objetives and Outcomes
C.4. Learning Objetives and Outcomes The course introduced me into a total world of design. With computation technology, expecially algorithmic thinking ana parametric design, it is possible to produce intricate design that integrates multiple layers of design decision based on rationalized information analysis. In my own response to the project brief, I try to find a solution based on multiple dimensions of parametres set by different perspectives such as energy performance, local climate conditions, structural performance, site view analysis, prefricational technology and so on. As I explore the Grasshopper system throughout the course, I was excited to see the unexpeceted power of parametric design. First of all, as I have discussed before, by algorithmic thinking, we are able to produce a rational and intricate design instead of the making vague or random decisions just for form-making that dominated in the traditional design. Secondly, I realized by the same algorithm, generally multiple forms can be developed, among which we can further explore its potential either by simply aesthetical considerations or by adding new constraints from the developed from new a perspective based on further studies on the project. This is excellent because there is a chance for architectural design to finally reach an integrated solution that works at intersectional point of multiple aspects, for instance, the energy performance, the structural performance, the interaction with the site, the aesthetical affect and so on. Thirdly, it was interesting to see the intricate yet holistic design solution with each of the member can be detailed in digital file and prefabricated. This offers a chance to architects to experiment with the design decisions by physcally testing on the prefabricated models. Also it implies an early interaction with the structural engineers, the fabrication manufacturers as well as other disciplinary experts in the formation of a final design solution. This suggests the increased power of the architects in the architectural design process as they can go further into every details such as the design for each structural members in the structure. Moreover, this facilitates the process of assembly and construcion on site, reducing the manual work and time consumption for a project. Finally, I was surprised by the capacity of computational technologies in terms simulating environmental situation, force conditions, etc. Though such a simulation is still in a starting stage and needs to be refined, it still demonstrates the unpreditable potential of algorithmic design in the future. And I really wish to see that in the near future, we can come up architectural design that responses to the proposed conditions rationally in every design decision. It is also interesting to see the debate around parametricism and parametric design. However, parametric design, to me at least, is just a tool for forming a integrated design decision rather than a “style” as is claimed by Patrik Schumacher. As I can see in Zaha Hadid’s design, in architectural design of the “parametricism style”, the parametric tools are misused as a form-making tool rather than a form-finding tool. The real potential of parametric design lies in the form-finding process based continuous study and analysis on the information from multiple disciplines and finally reaching an integrated design solution that is unique for each proposed project. Though in the process, a series of “tools” might also be developed and appliable to other projects.
C.4. Learning Objetives and Outcomes
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