du meng 372196 partc

ARCHITECTURAL DESIGN STUDIO

AIRTutor: Bradley Elias

Meng Du372196

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 DESIGNC.1. Design Concept

C.1. Design ConceptProposal Concept: The Holy LightEnbracing 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 inte-grated 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 communi-ty 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 Copenhagen Yearly Weather Summary, http://www.worldweatheronline.com/Copenhagen-weather-averages/Hovedstaden/DK.aspx2 Copenhagen Climate & Temperature, http://www.copenhagen.climatemps.com3 Wind power in Denmark, http://en.wikipedia.org/wiki/Wind_power_in_Denmark4 Copenhagen, Denmark – Case study5 Copenhagen Solutions for Sustainable Cities6 Copenhagen Solutions for Sustainable Cities7 What is LAGI?, http://landartgenerator.org/project.html8 Copenhagen, http://en.wikipedia.org/wiki/Copenhagen#Nightlife_and_festivals9 Festivals Copenhagen, http://www.citybreaks.net/festivals-copenhagen10 Midsummer, http://en.wikipedia.org/wiki/Midsummer#Denmark

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/

The Celebration of Mid-summer Festival in Copenhagen and Northern Europe

C.1. Design ConceptProposal Concept: The Holy Light

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 indis-pensable 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 com-parison, the traditional opaque or translucent PV panels has to do a trade-off between transparency and efficiency4 which cause aesthet-ical 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 A Field Guide to Renewable Energy Technologies, p162 Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells3 Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells4 Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells5 A Field Guide to Renewable Energy Technologies6 Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells7 Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells8 Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells9 Transparent solar cells, http://mitei.mit.edu/news/transparent-solar-cells10 A Field Guide to Renewable Energy Technologies11 A Field Guide to Renewable Energy Technologies

Choice on Energy Generating Materials

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 ab-sorb 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


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 myth-ical 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 instal-lation 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, Yoshio-ka 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 ma-terial. 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 de-sign 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-toku-jin-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/rain-

bow-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/


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/


Map of Copenhagen

Site Analysis

Map of Copenhagen

Site of Refshaleøen

Site

Refshaleøen

Water Taxi Station

Envision of Water Taxi StationStatues at the west end of the Water Taxi Station

View of the site towards the B&W building from the sea

People enjoying sun-bathat Halvandet


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 build-ings 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 ele-ments. 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 Copenhagen, http://en.wikipedia.org/wiki/Copenhagen2 Copenhagen, http://en.wikipedia.org/wiki/Copenhagen3 Land Art Initiative Copenhagen 2014 Design Guidelines

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, surfi ng, sun bathing and so on. And the surrounding area now is dominant-ly 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. Th us 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 fl at landscape confronted with the splendid view cap-tured over the harbour and the historical urban fabric, the proposed programme for this project is a space for light therapy. Such a programme off ers 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. Th is 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 admi-ration towards renewable energy.

1 Copenhagen, http://en.wikipedia.org/wiki/Copenhagen

Light Th erapy Space-- http://www.fpnotebook.com/legacy/

Psych/Depress/LghtTh rpy.htm

Uvb Light Th erapy At Home-- http://lysmdb.com/uvb-light-therapy-

at-home/uvb-light-therapy-at-home-2/#page

Colored Light Th erapyMood Lighting by Shiu Yuk Yuen

--http://www.trendhunter.com/trends/color-light-therapy-color-changing-

mood-light-by-shiu-yuk-yuen

Activities on Site and Proposed Programme


Surrounding area of the site

Centre

Lynetten Wind Farm

Refshaleøen

Statues of city iconthe Liitle Mermaid

CopenhagenHarbour

Site Analysis

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


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 the site analysis with views facing south, west and north-west.

C) To increase chance for visitors to access the sunlight with-out comprimising access to the view, each floor is offsetted backwards, forming the stairway-like structure.

Respective Rough sketches on the plan according to the site analysis with views facing south, west and north-west.

C.1. Design ConceptThe dynamic form-finding by wind load analysis

Degree of mesh deformed under wind load from certain wind direction

Type AFlat Facade

Type BHorizontallly Convex Facade

Type CVertically Tapered Facade

Type DHorizontallly Rotated Facade

Type A Type B

0

As is shown in following diagram, in comparison with a flat surface, a dynamic facade with fluid surface contours, generated by manipulating the parameters in the flat surface so as to deform the facade by twsting, tapering, rotating and so on according to certain wind direction, can result in a less deformed mesh. In other words, by analysizing the wind on site and extracting certain parametres from the windforce, there is a chance to gener-ate a dynamic fluid form that is less affected by the windload. And dynamic forms generally can provide the visitors with everchanging, vibrant spatial experience, thus promote an energetic atmoshpere on the site.

1

Type C Type D

As is shown in following diagram, in comparison with a flat surface, a dynamic facade with fluid surface contours, generated by manipulating the parameters in the flat surface so as to deform the facade by twsting, tapering, rotating and so on according to certain wind direction, can result in a less deformed mesh. In other words, by analysizing the wind on site and extracting certain parametres from the windforce, there is a chance to gener-ate a dynamic fluid form that is less affected by the windload. And dynamic forms generally can provide the visitors with everchanging, vibrant spatial experience, thus promote an energetic atmoshpere on the site.

C.1. Design Concept

As is showned in the site analysis, detailed statistics for the wind conditions such as wind direction, fre-quency, 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 1

Phase A: Forming Finding Inspiration from Wind-load Analysis

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.

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 perfor-mance affected by sun orientation.

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.

View from top

View from perspective

View from top

View from front

View from top


Step 2

Step 3

Step 4

Wind Speed at Different Heights

C.1. Design ConceptView from top

View from top

View from top

View from perspective: south-west corner

Phase A: Forming Finding Inspiration from Structural Perfomance

Review of forming finding process following structural performance in Case Study 2.0

Define the area for the structure to stand on with open-nings to the south and north pre-positioned.

Pop the area with 50 points randomly.

Step 1

Step 2

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 3

The Delaunay Trianglation pattern is defromed with force simulation introuduced by the Kangaroo plug-in in Grass-hopper 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 elaborat-ed into a structural framing system.

Step 4

View from top

View from top

View from top

View from perspective: north-east corner


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-fac-ing panels in subsequent elaboration.

Pop the area with 100 points randomly

Step 1

Step 2

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 pro-vides a potential of interesting visual and spatial experience for the visitors when they walks into the interior of the structure.

Step 3

Once again, force simulation is introuduced with the assis-tance 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.

Step 4

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 ex-plored. After the experimentation with several different combination of the algorithms and the drived forms, the following one is adopted.

C.1. Design Concept




Phase B: Irregular Panelling and Materialization The Installation of Solar Glass Panel

To produce an irregular pattern for the installation of the so-lar glass panel, every individual triangular cell on the form de-rived 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.

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.

Step 1

Step 2





A pyramid is generated based on each of the irregular cells.Step 3

Each of the irregular cells is offseted from the original surface developed from the deformed Delaunay Triangulation form.

Step 4

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 ele-ments. 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.

Trim the pyramids and offseted cells with each other, forming a tappered block in each irregular cells, which is for the instal-lation of the glass panels.

Step 5

Joining the framing system developed in step 2 and the irreg-ular glass blocks from step 5, the external facade is finalised.

Step 6

C.1. Design ConceptPhase C: Internal Spatial Arrangement The Sun-accessing and Viewing Platform




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 plat-forms. As is discussed in the analysis, this increases the access to both the sun and view at the same time.

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 be-tween 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-spec-trum 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.

Step 1

Step 2

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 ConceptPhase 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.

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

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.


Rainbow Church (Museum of Contemporary Art Tokyo), Tokujin Yoshioka, 2014, Tokyo.


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 some-how 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


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






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.

By lofting the offsetted curves provided in step 1 and the curves in regard created from the last step, a series of water-fall-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 po-lar-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.

Step 3

Step 5

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 4


Summer Sun

Winter Sun

Section revealing sun angle of summer and winter sun

Internalized Eaves: The celebration of Mid-Summer Festival

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 atri-um 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.

Summer Sun

Diagram illustrating the design for eaves bassed on summer and winter sun angles

-- http://www.yourhome.gov.au/passive-design/orientation




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.

Step 6

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.

Step 7

C.1. Design ConceptPhase D: Interaction with the Visitors and the Site Circulation and the Path Wall

View from top

View from top

View from top

View from top

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.

Step 1

Control points for the curves derived above are connected to pro-duce a curve and the curve is rebuilt with a 1000 degree of manipula-tion on every 8 control points. This produce a highly dynamic planar curvature on the plan as the base for the development of the wall.

Step 2


View from top


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 rel-ative original points popped on the curve, resulting in a series of free-standing lines all the way alone the curve.

Step 7

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.

Step 8

C.1. Design ConceptPhase D: Interaction with the Visitors and the Site Path Wall Pattern

Review of forming finding process following structural performance in Case Study 1.0

In Spanish Pavilion for the Expo 2005, a base frame of 6 regular hexagons are set. The internal connectiong point are ex-tracted and randomly moved away from the original positions. With the newly generated points taking places of the respective original points, new connec-tions are established. Joining these new connections forms the irregular hexago-nal framework.

The generation of irregular shaped framwork




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.

Step 1

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.

Step 2

C.1. Design Concept




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 pro-cess splits each triangular cell into irregular shapes and each of these new shapes is treated as a new individual cell in the following steps.

All the irregular-shaped cells are scaled down, with the rest area of each triangular panel forming the framing sys-tem 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.

Step 3

Step 4

Phase D: Interaction with the Visitors and the Site Path Wall Pattern




A pyramid is generated based on each of the irregular cells.Step 5

Each of the irregular triangles developed in step 2 is offseted from the original surface developed from the irregular triang-lular pattern produced in step 2.

Step 6

Trim the pyramids and offseted cells with each other, forming a tappered block in each irregular cells, which is for the instal-lation of the glass panels.

Step 7

Joining the framing system developed in step 4 and the irregular glass blocks from step 7, the pathway wall pattern is finalised.

Step 8


C.1. Design Concept

Perspective View from Major StructureEntrance

Construct the framework for the exterior facade of the major structure and the as well as the framework for the pathway wall with steel.

Lay down the ground floor.

Step 1

Step 3

On Site Construction Process




Add the glasswork to steel frame constructed before.Step 2

Construct the structural wall for the first floor.Step 4

Set up the structural supporting columns for the internal facades and the platforms.

Step 5

Construct the lower part of the internal facades and lay down the platforms.

Step 6

Construt the top part of the internal facade.Step 7

Construct the railings for each platforms.Step 8





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.

C.1. Design ConceptProposal Concept: Th e Holy LightEnbracing the Sun, the origin of all energy resourcesEnbracing the Sun, the origin of all energy resources


The intricate steel framing system for the external facade offers interesting pattern generating of an daz-zling effect of lighting and shading, evoking an evocative sense of aethetics.

View of the external facade


After walking along the long path from the site entrance, which concealed the atrium by its intricate pattern, visitors will be suddenly exposed to the colour-ful world of the Polar Light Atrium. This would offer the visitors with exciting visual and spatial experience.

View of the Polar Light Atrium Entrance


The 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.

View of the Sun Bathing Platforms

C.1. Design ConceptProposal Concept: Th e Holy LightEnbracing the Sun, the origin of all energy resources

with the installation of the prismatic glass panels, the Polar Light Atrim will be an open space for communi-ty events fi lled with diff using light from diff erent light spectrum, evoking an evocative experience of the light.

View of the Polar Light Atrium

C.1. Design ConceptProposal Concept: Th e Holy LightEnbracing the Sun, the origin of all energy resources

The structural supports at the fringe of the Polar Light Atrium separated some semi-open spaces for individual or family activities. But with careful arrage-ment of the structural members, these semi-open spaces can still enjoy the amazing lighting eff ects off ered by the prismatic glass panels.

View of the Semi-open Space

PART C. DETAILED DESIGNC.2. Tectonic Elements & Prototypes

C.2. Tectonic Elements & PrototypesCore Construction ElementThe 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 & PrototypesCore Construction ElementTh e Load Bearing Frame

Here is physical models of the selected part of the framing system at a scale of 1:50. Th e panels are prefab-ricated with 2D printing and the welding steel joint is produced with 3D printing. Th ey fi t into each other perfectly, demostrating the accuracy of the computational design and the convenience of prefabrication.

C.2. Tectonic Elements & PrototypesCore Construction ElementThe Load Bearing Frame

Here is physical models produced with the prefabricated materials. The resulting structure is easy to as-semble 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 & PrototypesCore Construction ElementTh e Load Bearing Frame

Th ese images demonstates the intricate pattern of the framing system and its resulting lighting and shading eff ect 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 DESIGNC.3. Final Detail Model

C.3. Final Detail ModelFinal Detailed Model

C.3. Final Detail Model

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 poten-tial lighting and shading effect of the interior and demonstrates the intricacy of the external facade.

Final Model of the major structure

Actual Model of the major structure

PART C. DETAILED DESIGNC.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 algo-rithmic 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, pre-fricational 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 perspec-tive 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 aestheti-cal 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 experi-ment 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 fu-ture, 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, paramet-ric 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 “par-ametricism 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 devel-oped and appliable to other projects.

C.4. Learning Objetives and Outcomes

ReferenceInstitute of Computational Design, (2012). ICD/ITKE Research Pavilion 2012 http://icd.uni-stuttgart.de/?p=8807.Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10 Review: Land Art Generator Initiative Competition Entries, 2012 <http://landartgenerator.org/LAGI-2012/>

Oxman, Rivka and Robert Oxman, eds (2014). Theories of theDigital in Architecture (London; New York: Rout-ledge), pp. 1–10

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and Associates, pp 1 - 42

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’’, Land Art Generator Initi-ative, Copenhagen, 2014. pp 1 - 71

Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cogni-tive Sciences (London: MIT Press), pp. 11, 12

Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170

Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61.

Kolarevic, Branko and Kevin R. Klinger, eds (2008). ManufacturingMaterial Effects: Rethinking Design and Making in Architecture(New York; London: Routledge), pp. 1–61

Kolarevic, Branko (2014). ‘Computing the Performative’, ed. byRivka Oxman and Robert Oxman, pp. 103–111

Burry, Mark (2011). Scripting Cultures: Architectural Design andProgramming (Chichester: Wiley) pp. 8-71

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