Personal Project: Exhibition Pavilions a Case Study

MARYAM Q. INTERIOR DESIGN PORTFOLIO EXHIBITION PAVILIONS: A RESEARCH CASE STUDY

ABSTRACT The following research project seeks to understand exhibition pavilions. It traces the timline of exhibition pavilions through the study of “The Crystal Palace’ in order to understand its development over time. The evoltion of such can be observed in terms of design innovation, design strategy, interrelationship between light and shade and many other aspects such as user interaction.

The project does not as such draw a conclusion but in contrast it traces evolition of architectural form and how this has been used within a contemporary context.

I hereby achknowledge that the following project is a compliation of my design analysis, and all images are strictly used for research purposes, and all images are subjected to copyright with respect to its original owners.

As a designer, the learning outcome from the following is the exploration of design through its core, the application of concept and the study of the final form with relation to materiality, site location, light and shade study, and environmental psychology.

TABLE OF CONTENT

01. The Crystal Palace, London, UK 02. EXPO 2020, Dubai, UAE 03. The Triumph Pavilion, London, UK 04. The Serpentine Gallery, London UK

THE CRYSTAL PALACE LONDON In order to understand the innovation in the architectural forms of exhibhtion pavilions, it is crucial to understand its history and origin. The Crystal Palace was a huge glass and iron structure originally built in 1851 for the Great Exhibition held in London’s Hyde Park.. Prince Albert, head of the Society of Arts, had the idea of an exhibition to impress the world with Britain’s industrial achievements.

Countries including France, the United States, Russia, Turkey and Egypt all attended with exhibits falling into four main categories - Raw Materials, Machinery, Manufacturers and Fine Arts.

Glass structure Development of the facade after the war with its renovations into brick work.

Nature of design includes exposure to the vast landscapes The whole building was enormous - 1,848 feet long and 408 feet wide including two huge towers and many fountains with over 11,000 jets rising into the air.

The structure was created to provide a wide offer of performances, education and entertainment events to the people of London.

It accommodated a grand hall, a 3,000-seat theater, exhibition spaces, a library and a covered ice rink; outdoor facilities included a horse racecourse, a swimming pool and various playgrounds.

The current strucuture is undergoing a renovation intended to expose a vast arrray of the initial facilities offered. The renovation is set to be completed by the end of 2017.

A striking contrast can be observed between the old and the new.

Bay windows in abundance to provide visual connection to the outdoors

Stained glass painting to evoke a sense of a traditinal space but at the same time enhance the space by providing depth through its collorful reflections on the ground.

A glass box which with an open atrium which allows natural light into the space.

Ceiling panels allowing for a modern design strategy Traditional arches and brickwork which would retain the history of the space.

Arhitectural style and open laylout promotes interaction between its occupants.

A glimpse of the old and the new renovation

Timber louvers The stairway which can be used a mini auditorium which projects a movie on the opposite wall.

Theatre to have large skylight opening at sides in order to allow for natural light within the space.

A projection of the old on the newly renovated building would allow for a sense of nostalia

EXPO 2020, DUBAI UAE The Expo 2020 is a six month long universal exposition which is scheduled to be hosted in Dubai, United Arab Emirates. The principal purpose of the community is to establish common grounds for innovation and ideas. It also sets to promote collaboration and celebrate human ingenuity.

The master-plan for the proposed project was conceptualized by American architectural consultancy HOK, whose primary focus was to draw upon the traditional Emarati community planning. The pavilion will target net zero energy by harvesting its energy from solar panels.

The scheme comprises of various pavilions which are collaborating with the expo portraying a cluster of buildings clubbed together reflecting the concept of “community�

Photovoltaic fabric structure used as shading for the main walkways.

These fabric panels can help protect people from the harsh heat during summer

Nature of design helps in enhancing the design of the strucure during the day time when dynamic and abstract shadows are formed within the space, giving it an intense depth.

Choice of location brings in development to the free zone areas within the UAE. The Expo site covers 4.38km2 and is located in the Dubai South District, halfway between Abu Dhabi and Dubai. It will be served by three international airports (with the new Al Maktoum International Airport only 6km away), a world-class road network and a new extension to the Dubai metro system.

Al Wasl plaza which is set to be the heart of the Expo 2020 is a dome with trellis and steel framework. The dome would double up as a 360-degree screen at night, projecting images to thousands of visitors both inside and outside.

Built of light, translucent material, the dome is 65 metres tall with a diameter of 150m.

Hexognal form for the facade inspired from the classic honeycomb pattern The concept of open air projection dates back to the instance in SĂŁo Paulo with its building art projection

Basement level

Visual connection to the outside Additionally, the round dome provides a sense of boundary with the open air due to its translucent nature. This can be an effetive form of environmental psychology by the attempt to create a sense of space.

Sense of space achieved through the open air boundary

Open nature of the scheme helps induce interaction between people as it promotes large gatherings.

This can be understood as a design strategy keeping in mind the functional purpose of the space. The expo 2020 can be understood to have undertaken immense design strategies and solutions to cater to a vast diversity thus staying true to its purpose.

THE TRIUMPH PAVILLION, LONDON, UK CONCEPT The triumph pavilion is an abstract feature representing the term ‘temporary’. Located between a community public park and a childrens museum, the timber structure offers much more that a sight due to its geometric shape. The theme of the pavilion is ‘dream’ which invites visitors to dream about a unique space, creative place, achieving an ambition or simply being inspired by a series of thoughts, images and sensations. Thereby promoting encouragement and realization of visions of what can be”

MATERIALS OSB sheet, timber panelling Untreated steel framework

Self-supporting structure

LOCATION MAP

ANALYSIS

LIGHT & SHADE STUDY Circulation route is inconsistent in harmony with the purpose of the pavilion. People can can weave through the spaces towards the perimeter seats for further reflection.

Thresholds between the inside and outside space are blurred

The shadows give an additional form to the structure during midmorning time

Layout has been designed to promote interaction among its inhabitants.

Abstract form stimulates topics of conversation on form, creativity and arhcitecture which is the intent of the space

Assymetric circulation route which can be a deviation from the orthodox concept of openings and cirulations

Perception of space shifts from solidity to transparency. This is dependant on the vantage point of the observer

Train of thought changes depending on the occupancy of space. i.e. being under the boundary creates a sense of space.

Additionally, being outside the perimeter, at the seating area allows the realization of being outdoors.

Another very interesting aspect is the boundary which can be casted upon the spaces which comprise of seating arrangements. During mid-morning and noon hours, the shadows casted in the north west direction and the south east directions can formulate shadow boundaries thereby evoking a sense of being within a solid space.

Own rythm of light is formulated depending on the direction of the sun and the areas which have shadows and no shadows.

THE SERPENTINE GALLERY BY BIG – BJARKE INGELS GROUP, LONDON, UK CONCEPT The serpentine pavilion is located at the kensington gardens in London. The form consists of an organic shape with a walkway in the center, creating a space which allows for interaction and causal socialization.

The outcome is a welcoming, organic-shaped, space well capable to interact with the public and the fascinating landscape around it. The theme of the pavilion is a structure that is free-form yet rigorous, modular yet sculptural, both transparent and opaque, both box and blob.

MATERIALS Fibre glass boxes, 400mm x 500mm

Cruciform aluminum extrusions holding the structure together.

LOCATION MAP

ANALYSIS

A single wall is pulled apart from the center More usable space can be experienced at this point

Serpentine nature of form and layout

LIGHT & SHADE STUDY

Can be interpretted as a ‘unzipped walls’

Display of light and shadow can expand and retract due to the cave like canyon nature of the space.

Two asymmetrical elevations are created.

2400mm is the clearance between the FFL to the usable ceiling height.

Experience of the space is not limited tot the indoors alone, but can also be towards the outdoors dur to the visual connection formed with the biophilia.By looking through these openings towards the outside, one can perceieve the space as a massive green wall.

Space can also be used as a massive step seating feature.

In addition, the form when illuminated during the night time can casuse a dominant contrast to the green environment.

Shadows are inherent within the space.

They can alsi be interpreted as being a part of the form.

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