Design_Y3Sem1

3035449061 THE UNIVERSITY OF HONG KONG DEPARTMENT OF ARCHITECTURE XIAO YUYANG I PORTFOLIO_DESIGN4_THEUNIVERSITYOFHONGKONG

XIAO YUYANG ARCH3074 DESIGN 4 BEISI JIA SEMESTER 1, 2019-20 1

ARCHITECTURE UNDER THE WEATHER The studio focuses on the interaction betwee architecture and weather in a rather abstract way rather than researching the in the field of meteorology .

During the process, researches were conducted on the topics of sustainable design, passive approach relating to the relationship between human and weather, meteorological ways of controlling the interior environment and the porosity of the boundary between inside and outside,etc..

A case study was chose to study the passive design of a building that is intimate to weather, which is Tjibaou Culture Center designed by Renzo Piano in New Caledonia. The special climatical quality of the country is considered as well as the cultural elements which inspired the architect as well were studied before the design process.

The outcome is a chimney-shaped structure holding three polygonal boxes adjacent to each other with different degrees of openings, and a ramp at the entrance to begin with that would be flooded underwatr from time to time.

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_ C O N T E N T S

stage_i abstraction

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Conceptual drawings and a shallow sculpture intended to express the abstract emotions evoked by weather in a general sense or compositions that is generated by weather through patterns.

stage_ii case_study

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The case study is Tjibaou cultural center designed by Renzo Piano. His design plays with wind through different degrees of porosity of the double facade that forms a chimney like structure.

stage iv

stage_iii investigation

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Various researches were conducted regarding climatic conditions, local culture, material, machenism of wind direction, shape, circulation and environment. Several prototypes were conceived as experiments before determine the final scheme.

stage iii

stage ii

stage_iv final_scheme

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The final outcome is three poligonal boxes bordering on each other shelded under a truncated cone shell with high ceiling and cut-outs to the shy. The design plays with the air exchange of different zones and the symbolical act of worshipping the heaven.

stage i

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stage_i abstraction

The studio beginned with free-spirited readings related to the topic of the weather, in particular, human and weather. Drawings about the twenty-four solar terms in the Easter-Asian culture and the relationship between shopping and temperature illustrate that a connection exists between circulation and the environmental conditions. Three abstract drawings were made based on the original curves generated by an algorithm manipulating the checkpoints and the meteorological statistics.

The curves were then distorted and varified by different patterns assiciated with visual arts.

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CHINESE COSMOLOGY AND HUMAN MOVING PATTERN

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Highest/Lowest Temperature Humidity Cloud Cover Categories Wind Speed Sun Energy

THE MATRIX OF POROSITY OF BOUNDARY

Radioactive Affection

Linear Affection

Preliminary study about solar terms and porosity of boundary

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Abstract Drawing I

Abstract Drawing II

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An interesting method of composing the shallow sculpture: The previous abstract c ompositions of curves and patterns were reprinted and placed as a ‘base map’.

Then, a mesh was used to create different topographical shapes representing the circles of different sizes three-dimensionally.

The next step is to bend the meshes to form these spheres. In this way, an imaginary topograghy is composed the represent the density of the people passing and intersecting due to the environmental quality of the space.

The final step is to glue pieces of tracing paper onto the surfaces of the spheres to stablize the acrylic paint that was later applied to them. The blending of black and white acrylic paint simulates the effect of the previous drawing.

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stage_ii case_study

Our case study from the previous stage is Tjibaou cultural center designed by Renzo Piano. His design plays with wind through different degrees of porosity of the double facade that forms a chimney like structure. By adjusting the opening of a very limited area on the skin, the cultural center is able to make use of natural ventilation in almost all circumstances. The reason why the project functions well is largely due to the climate of the site itself with highest temperature of 25 and lowest of 18, tolerable humidity and strong, predictable wind all year round.

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Very Mild Wind

Light Wind

Moderate Wind

Strong Wind

Cyclone

Wind From Opposite Direction 9

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COMFORT ZONE

COMFORT ZONE

COMFORT ZONE

The three weather charts indicate that the climate in New Caledonia is mild with highest temperature of 25 and lowest of 18, tolerable humidity and strong, predictable wind all year round, which also explains why the Tjibaou Cultural Center makes a great building only tackling with wind.

The final scheme will be based on this outcome of the research on the climatic condition of New Caledonia.

COMFORT ZONE

COMFORT ZONE

COMFORT ZONE

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CONCEPT The drawing above is the elevation of a kind of building skin, namely the facade, that is composed of pieces of diagonal rectangular panels that can pivot along a central axis. A machenism controls the strength of the resistance from the rectangular panels from pivoting according to the diagrams of the case study to facilitate ventilation for the actual building behind. The panels were fixed to an iron frame.

The pictures and drawings on the left shows the matrial research of the ways of laying the bricks and the combination of concrete and bricks.

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Wind Diagram

OUTER SKIN

Lighting

WIND DIAGRAM

Openings

INNER SKIN

STEEL

STRUCTURE

Structure WIND SPEED

The four diagrams illustrates a type of building device that is attached as a second layer to the facade. The design abstracted the essence of the case study, but only generalized the tendency of the curve to guide the wind and the positions of the openings. The first diagram studys the lighting effect. The second diagram composes an imaginary building with lower floors and upper floors andHUMIDITY how the wind blowing from the opposite direction would act on the system. The fourth diagram shows the structure of the device is concrete reinforced by steel.

COMFORT ZONE

COMFORT ZONE

LIGHTING CONCEPT

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TEMPERATURE

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This page shows several studies regarding the cultural aspect of the site, New Caledinia, which is traditional of the south Pacific Kanak culture. The diagramWIND of theDIAGRAM traditional Kanak hut on the right shows the shape of the hut and its top feature, an high ceiling roof supported by a single structural column. The photograph on the left is a setting of the local people to perform certain ritual ceremonies.

However, during further research, the major population of the counrty is now Catholic due to its earlier colonialization by the French. Therefore, the latter design decides to make use of the most popular belief of worshipping the heaven in combination with the form of the Kanak hut and the concept from the first stage.

The concept from the first stage was to find a balanced degree of humidity, temperature and air movement between a totally artificially controlled weather and a natural one. The assumption was that different people have different preference on the degree of intervence of air-conditioning. As the technology of achieving an totally air-conditioned space is mature for the modern society, the case study and research was largely based on how to properly use natural weather conditions through passive designs.

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WIND

stage_iii investigation

The investigation of the design begins with the several collages of the attempted design on the virtual site of similar landscapes. Drived from the last stage, a chimney-like tall shell mimics the configuration of the traditional Kanak huts. The facade panel was a combination of the concrete frame work and filled by bricks.

The design took a central symmetrical shape. The totally air-conditioned circular space is placed at the center. With different height and different degree of porosity along the wall of the room at the side, different amount of air-conditioned air will flow through these walls. Another wall composed of bricks maintains the air exchange between the exterior and the interior. The entrance was placed as the fifth room at the side. The total energy consumption was maintained through the thick concrete wall as a thermal mass. The program of the building is for exhibition and cultural display.

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geometry

shift

multiply

EVOLUTION OF FORM 18

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stage_iv final scheme

The final scheme transformed the central tall structure into a concrete shell with the shape of a truncated cone. The idea of the different zones of various degrees of air-conditioning forms a virtual guide of the circulation through the three main exhibition spaces. While Renzo took advantage of the stable wind direction and conveyed the natural energy into the controllable ventilation, the emphasis here is to utilize different ventilated spaces of different qualities, namely air temperature, windiness, and humidity, to indicate zoning, and the ultimate goal of these zones is to stimulate circulation. Therefore, this pavilion is a weather-formed maze that landed on topography. The intrudion of the topogrphy took advantage of the coastal landscape. The pavilion has a one way circulatory system. During the flood tide period, the ramps would be underwater. By inviting the nature to the interior, the pavilion is an art piece itself.

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material investigation 20

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initial sketch of the concept The structure of the design calls for verticality, which stands out from a coastal landscape which usually contains a beach. From this initial sketch, the design is composed of three elements: the beach front, the pavilion together with the ramp and the three boxes, and the tunnel that leads to the upper side of the imaginary site. On the plan, the boundaries of the three boxes can allow for the flow of air as well as ventilatory air exchange with the exterior. The plan indicates the maximum amount of see water that can enter onto the ramps during high tide. During the high tide, the original exit through the tunnel becomes the only entrance. On the ordinary cases, visitors enter the pavilion and leave through the tunnel, which the only allowed circulation for the design. The inner face of the shell serves also as a screes or background for the display of the art pieces. The ramp and the upper platform act as standing points for the visitors. Only minimum lighting is allowed for the interior on the purpose of emphasizing the essence of the sky. The texture and quality of the materials is also amplified due to the dim light and the reflectivity of the fair-faced concrete.

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plan before tide

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plan after tide

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The plan shows the geometrical form of the design; how the slit at the entrance is not orthogonal to the the front; the openness of the three boxes; the arrangement of the tunnel that cuts into the landscape.

The two plans above indicate the different circumstances during high tide and low tide.

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This abstract drawing uses different geometrical shapes and patterns to symbolize the circulatory system of the design. Elements including roof, ceiling, ramps, concrete, tunnel and the bondaries are represented by the dots, lines, curves, circles, rectangles, triangle, hatches and different use of colors. The drawing also indicated the system’s one-directionality.

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