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EXPO PAVILION SHANGHAI 2010
EXPO PAVILION SHANGHAI 2010
Shanghai, China
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Other Projects by Arkan Zeytinoglu Architects
EXPO PAVILION SHANGHAI 2010
Shanghai, China
Type
YEAR
2010
SIZE
10,000 sqft - 25,000 sqft
BUDGET
$1M - 5M
The Topology of Sound
The main driving force behind the design of the Austrian Pavilion for the EXPO in Shanghai 2010 can be described as acoustic forces, or more accurately as music. Music as a concept that reflects continuity in terms of architectural articulation that seamlessly connects the various spaces within the program. The space unfurls from within the topological body, from the main space to the exterior epidermis. This process creates pockets, pochés that include the rest of the program such as Shop, Restaurant, Office, VIP Area and so forth. Each one of those programmatic areas includes qualities conotated with the quality of living within Austrian conurbations: Music, Culture, Culinary expertise, urban scapes, lavish foliages etc. to achieve a seamless topological condition the software TopMod was used as primary driving force in the evolution of the architectural body.
Topology is a major area of mathematics concerned with spatial properties that are preserved under continuous deformations of objects, for example deformations that involve stretching, but no tearing or gluing. It emerged through the development of concepts from geometry and set theory, such as space, dimension, and transformation.
The main qualities for the project formed the mainframe of the
topological surface. The software output consisted of an extensive array of subtly varying surface conditions. According to their performative behavior the population of over one hundred individual entities where scrutinized for their fitness according to different criteria, such as the potential to fulfill the program, the performance as structural entity and the affect generated by its appearance. This process reduced potential candidates to a very small number. Finally this candidates ran trough a series of algorithms (various remeshings, subdivisions, optimizing the size of the spatial pockets etc.) which eliminated all candidates but one. This technique can be described as an evolutionary process driven by a series of intensive forces, such as the specific compartmentisation of the pouches, the loadbearing qualities of curvilinear conditions and the allover sensual experience of the space. One of the results of these investigations was a series of models only dedicated to seamless, continuous circulations within architectural bodies and apertures in complex curved geometries.
These two fundamental architectural conditions, opening and circulation, are discussed in the project of the Austrian Pavilion for the Shanghai Expo 2010 in an alternative way. The prevailing Methods of transition between compartments, and material exchange within openings, which is to violently perforate the skin of an enclosure, is abandoned for a technique based on the mathematics of topology.
This design approach allows for a continuous transition between interior and exterior as well as in between the areas of the building, seamlessly connecting the various programmatic elements such as the exhibition, the shop area, the restaurant and so forth.
The technique is rigorously applied in the various scales of the
project, meaning that also interior design elements follow the rules of topological bodies.
The bars and Information desks, the shop furniture as well as the connections between ceiling and floor, all follow the same
regulations of continuity. Within the design phase a specific
sensibility emerged that unveils the biological nature of the
process: The sinews and muscular forms unveil an underlying
performative quality of this mode of formation, additionally a series of stress analyses demonstrated the increased performance in terms of material strength and consumption.
The projections make full use of the topological quality of this
curvilinear space, creating a seamless projection, which helps to focus on the specific imagery. This continuous condition is
additionally reflected in the cladding of the outside skin that is
executed in porcelain tiling and that additionally bears subtle
gradient colorations between red and white.
The main aim of the exhibition is to create two specifically separated conditions. On the one side an immersive space is created that enables the visitor to experience Austria on an emotional, nonverbal level. The other main component of the exhibition encircles Austrian economy in a more informative and didactic way. The Didactic Wall consists of a layer of dark tinted glass bearing a series of clear spots, enabling the visitor to see objects and informative clips within the wall.
The atmospheric immersive space consists of a series of sceneries depicting Austrian scapes. In preparation for the scapes, visitors pass trough a Vestibule bearing a world map, to demonstrate the exact location of Austria on the globe as well as the position of Shanghai.
The walk trough the pavilion starts on top of the Austrian Alps.
Simultaneously this area also marks the highest point of the
exhibition area, beneath this point the entire exhibition circles
downwards. The characteristic of this Alpine Area is of a trefoil
nature; on the one side the projection of Alpine Panoramas creates a visual experience, enhanced by the exotic form of the architecture of the room, on the other side the temperature of the room is lowered dramatically to create a sensual experience of the fresh alpine climate. A third, tactile, experience is achieved by the use of ice and snow within the space, which also can be touched and grabbed by the visitors. Moving on downwards the path visitors enter the Forest Area. The visual nature of the imagery reflects the sensual experience of forests in Austria. The inclusion of atmospheric
effects, present in forest areas, such as fog, depth cues and
chromatic density allows for an opulent visual experience. The
inclusion of sensoric technology allows for a series of interactions with the visual manifestations.
The next area, which deals with the topic of water in Austria, is
seamlessly connected to the forest area. The rigorosity in the use of seamless continuous, topological bodies, is also reflected back in the appearance of the multimedia content of the pavilion, which also follow the rules of continuity.
The geometry of the topological body supports the architectural quality in a trefoil way: The elegant, continuously sweeping trajectories of the curvilinear body generates a smooth organic flow of the visitors within the exhibition area. The pumping animation creates a constant flow of visitors along the entrance area, trough the main space and to the exit along the shop area.
By reducing orthogonal forms, the quality of sound within the space is significantly increased. The use of an ornamented panelization within the main room can increase the quality further more, as they serve as diffusers for the sound.
The main driving force behind the design of the Austrian Pavilion for the EXPO in Shanghai 2010 can be described as acoustic forces, or more accurately as music. Music as a concept that reflects continuity in terms of architectural articulation that seamlessly connects the various spaces within the program. The space unfurls from within the topological body, from the main space to the exterior epidermis. This process creates pockets, pochés that include the rest of the program such as Shop, Restaurant, Office, VIP Area and so forth. Each one of those programmatic areas includes qualities conotated with the quality of living within Austrian conurbations: Music, Culture, Culinary expertise, urban scapes, lavish foliages etc. to achieve a seamless topological condition the software TopMod was used as primary driving force in the evolution of the architectural body.
Topology is a major area of mathematics concerned with spatial properties that are preserved under continuous deformations of objects, for example deformations that involve stretching, but no tearing or gluing. It emerged through the development of concepts from geometry and set theory, such as space, dimension, and transformation.
The main qualities for the project formed the mainframe of the
topological surface. The software output consisted of an extensive array of subtly varying surface conditions. According to their performative behavior the population of over one hundred individual entities where scrutinized for their fitness according to different criteria, such as the potential to fulfill the program, the performance as structural entity and the affect generated by its appearance. This process reduced potential candidates to a very small number. Finally this candidates ran trough a series of algorithms (various remeshings, subdivisions, optimizing the size of the spatial pockets etc.) which eliminated all candidates but one. This technique can be described as an evolutionary process driven by a series of intensive forces, such as the specific compartmentisation of the pouches, the loadbearing qualities of curvilinear conditions and the allover sensual experience of the space. One of the results of these investigations was a series of models only dedicated to seamless, continuous circulations within architectural bodies and apertures in complex curved geometries.
These two fundamental architectural conditions, opening and circulation, are discussed in the project of the Austrian Pavilion for the Shanghai Expo 2010 in an alternative way. The prevailing Methods of transition between compartments, and material exchange within openings, which is to violently perforate the skin of an enclosure, is abandoned for a technique based on the mathematics of topology.
This design approach allows for a continuous transition between interior and exterior as well as in between the areas of the building, seamlessly connecting the various programmatic elements such as the exhibition, the shop area, the restaurant and so forth.
The technique is rigorously applied in the various scales of the
project, meaning that also interior design elements follow the rules of topological bodies.
The bars and Information desks, the shop furniture as well as the connections between ceiling and floor, all follow the same
regulations of continuity. Within the design phase a specific
sensibility emerged that unveils the biological nature of the
process: The sinews and muscular forms unveil an underlying
performative quality of this mode of formation, additionally a series of stress analyses demonstrated the increased performance in terms of material strength and consumption.
The projections make full use of the topological quality of this
curvilinear space, creating a seamless projection, which helps to focus on the specific imagery. This continuous condition is
additionally reflected in the cladding of the outside skin that is
executed in porcelain tiling and that additionally bears subtle
gradient colorations between red and white.
The main aim of the exhibition is to create two specifically separated conditions. On the one side an immersive space is created that enables the visitor to experience Austria on an emotional, nonverbal level. The other main component of the exhibition encircles Austrian economy in a more informative and didactic way. The Didactic Wall consists of a layer of dark tinted glass bearing a series of clear spots, enabling the visitor to see objects and informative clips within the wall.
The atmospheric immersive space consists of a series of sceneries depicting Austrian scapes. In preparation for the scapes, visitors pass trough a Vestibule bearing a world map, to demonstrate the exact location of Austria on the globe as well as the position of Shanghai.
The walk trough the pavilion starts on top of the Austrian Alps.
Simultaneously this area also marks the highest point of the
exhibition area, beneath this point the entire exhibition circles
downwards. The characteristic of this Alpine Area is of a trefoil
nature; on the one side the projection of Alpine Panoramas creates a visual experience, enhanced by the exotic form of the architecture of the room, on the other side the temperature of the room is lowered dramatically to create a sensual experience of the fresh alpine climate. A third, tactile, experience is achieved by the use of ice and snow within the space, which also can be touched and grabbed by the visitors. Moving on downwards the path visitors enter the Forest Area. The visual nature of the imagery reflects the sensual experience of forests in Austria. The inclusion of atmospheric
effects, present in forest areas, such as fog, depth cues and
chromatic density allows for an opulent visual experience. The
inclusion of sensoric technology allows for a series of interactions with the visual manifestations.
The next area, which deals with the topic of water in Austria, is
seamlessly connected to the forest area. The rigorosity in the use of seamless continuous, topological bodies, is also reflected back in the appearance of the multimedia content of the pavilion, which also follow the rules of continuity.
The geometry of the topological body supports the architectural quality in a trefoil way: The elegant, continuously sweeping trajectories of the curvilinear body generates a smooth organic flow of the visitors within the exhibition area. The pumping animation creates a constant flow of visitors along the entrance area, trough the main space and to the exit along the shop area.
By reducing orthogonal forms, the quality of sound within the space is significantly increased. The use of an ornamented panelization within the main room can increase the quality further more, as they serve as diffusers for the sound.
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