complicated things.

The Generated Space

 
Circulation
The circulation plan was made from the volume model, and was inspired by the earlier sketches on an organic organisation of space. The circulation is linear in some places, looped in others. The main volume acts as a hub, with ramps that go from floor to floor.

 
Facades

 
Sections

 
Perspectives

Generating Shapes

The goal with the generated space is to show the potencial of the spacegenerator, by using it as a system to create a spacial structure, but also to show the possibilities of variation within this system.

 
Scale

The first step towards the generated space was to give the generator a sense of scale. The basic configuration of the light intake model was given physical dimensions, to see how the actual light transmission properties of the openings would be. Since the light has to travel through a tunnel-like shape that is quite narrow compared to the regular light openings in the structure, it was of priority to make the tunnels as large as possible. Since the height and depth of the intakes also affects their adjacent volumes, they could not be infinitely large, but a balance between light effect and structural efficiency had to be made.

My conclusion was that the light intakes should not be smaller than 0,8m in height, and that the depth shouldn’t exceed 5m. Otherwise they would become too insignificant in the structure.

 
Possibilities in the Section

A building structure that has its section divided in two, gives each room daylight from one side of the building. By displacing the rooms in elevation, the light intakes gives them light from two sides.

A building structure that has its section divided into three, will always have the middle room shielded from daylight. By displacing the other rooms in elevation, it becomes possible to send daylight into the middle room.

These variations of using light intakes that send daylight deep into the structure make it possible to design natural light-dependent buildings that have an increased horisontal dimension.

 
The Grid as Starting Point
Taking the previous findings into account, a grid of 3×6 volumes in 3 stories was the starting point for the generated space. Each volume was 6m x 4m x 3,2m.


 
The Hub
Some of the volumes were defined in an irregular pattern to act as the primary volume of the structure, where the vertical communication will be, and where all other volumes will be attached to.


 
Displacing Volumes
Volumes were moved/made smaller to accommodate the light openings, in a manner that assured that every volume had access to light from two sides. Some volumes were then removed to make outdoor areas.


 
Varying the Grid
The grid was pulled and pushed to vary the size of the volumes.


 
Joining Volumes
Volumes were added together to make larger volumes, and later scaled to further differentiate them.


 

Generating Shapes

The two concepts were transformed from theorethical thoughts to physical shapes through a series of model experiments.

 
Light intake (2D)

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The first model was an attempt to look at the possibilities of sending light into a structure. The model shows the section of two adjacent building volumes. By varying the vertical position of the floor, this height difference between the volumes can be used to place openings that send light deep into the structure. This gives the two volumes access to light from two sides, creating depth in rooms that normally would be lit naturally from only one side.

 
Light intake (3D)

The next step was to investigate the consequences and possibilites this juxtaposition of volumes would bring when taking the concept from two dimensions to three. By making a grid of rooms, displacing their height position and rotating them 180 degrees relative to each other makes it possible to send light sideways as well.

 
Network of Volumes

Further investigations were made to work out a set of rules that would regulate the organisation of volumes and light intakes, in a way that would allow for flexibility and variation when used, unlike the monotonous grid of the previous model.

The spiral movement of the original room in Qingdao and the diagrams of the organic hubs were the main inspiration, to create a network of volumes that were connected horisontally and vertically.

By connecting a number of volumes in each floor to form a spiral, one can vary the height and size of the every single volume as long as the one round of the spiral equals an elevation increase of (height of volume+height of light intake).

 
A Freer Interpretation

The previous models were very systematic, almost diagram-like in the way that it dealt with form. They were reduced down to the most basic configuration to look into the structural possibilities and consequences that appear by creating these light openings, without commenting on the esthetics of the physical spaces that were created.

With the final generated space in mind, a set of models were made to look into the esthetic variations that could be generated from these light intakes. Walls were folded in angles to take in and redirect light; define and enclose space.

The Generator

The effort of translating the features and qualities of this space in Qingdao into a generator of new spaces went in two parallel directions:
Investigating the physical/formal possibilites of a spacegenerator and looking into how space and functions are organised.

 
1. Experiencing Light

Seeing all the diagrams of prisms, where light is bounced around in a complex network of inner reflections, made me think about how this could be incorporated into architecture. One often thinks about the instantaneous nature of light, the speed of light being instant, but seeing those pictures made me realize that light doesn’t necessarily have to travel the shortest way. It made me think about how daylight could be transported and redirected. The way buildings are shaped is very dependent on light, or the lack of light, but if one could deflect and send light as one pleased, it could impact the creations of new spaces.

 
2. The Organisation of Spaces

Aside from the mere physical experience of space, there is also the organisation of spaces/function. It was inspired by a physical model that was originally meant to be only a visual experiment on light.

The model consisted of a translucent box with only two openings, and glass strips that travelled between these openings in different angles and turns, so that they would shift from being transparent to reflective. Making the model, and realising how many glass strips I could put into this limited space without them ever intersecting each other, made me think of the model in a more diagrammatic way.
Different spaces/functions could be made to go from A to B without interfering with each other.

They could be connected at crucial points, hubs, and be made completely free and chaotic between the hubs.

The hubs wouldn’t have to be connected in a linear and two-dimensional way. This could allow a freeform, organic circulation.