ARCTIC DESIGN GROUPM a t t h e w J u l l

University of Virginia | Department of Architecture

A

Publisher

Editors

Research Director

Credits

Paper Matters Press | Department of Architecture, University of Virginia

Iaki Alday, Ryan Carbone

Matthew Jull

Copyright Texts | By authorCopyright Drawings | By authorCopyright Model Photos | Scott Smith / By authorCopyright Edition | Department of Architecture, University of Virginia

Graphic Design | Matthew Jull, Ryan CarboneLayout | Matthew Jull, Ryan CarboneProduction | Matthew Jull, Ryan Carbone

Printing | Department of Architecture, University of VirginiaISBN: 978-0-9892273-2-2First Edition | March 2016

Architecture, as part of a research institution is a pedagogical program based in social responsibility, critical thinking and innovation. And as a design discipline, architectural innovation is achieved through design research in different ways. We search for information, and we research creating knowledge, most often on new scenarios through design speculation seriously informed. Rigorous collection of data, spatialized through mapping and diagraming, create the basis for design research. The critical step forward, assuming the risks of proposing future scenarios, is the unavoidable outcome of the creative work of the research teams.

The Research Studio system is the pedagogical innovation that merges instruction with faculty and students research. Two studios in the undergraduate program (3010 and 4010) and another two in the graduate program (7010 and 8010) are focused on profound architectural research aligned with research interests and expertise of the faculty members. The instructors commit for three to five years to sustain a research line, offering a series of Research Studios that take on a variety of relevant contemporary topics in a consistent multi-year research agenda. Students define their personal path through the program, selecting the research studios offered by Architecture faculty (and Landscape Architecture for the graduates), in their own preferred sequence for the fall of the last two years (3010 and 4010 or 7010 and 8010).

The diversity of topics reflects the intellectual diversity of the Department of Architecture of the University of Virginia. Research projects take on urgent international crises such as the changing condition of the Arctic, neglected cultural landscapes in depressed regions, or one of the most pressing urban ecologies challenge in the world (Delhi and its sacred and poisonous Yamuna River). Others work within local conditions, disciplinary inquiries or philosophical and spatial investigations.

Started in 2012-13, these first four years have been especially instrumental for the development of the youngest faculty, raising $529,000 in grants, five awards and two international symposiums. One of the research projects has become the first all-university grand challenge project. The Research Studio system of UVa has proven itself to be invaluable in defining what design research means, its potential to reach broader audiences and impact critical contemporary situations, and to redefine the research culture in the design schools.

Charlottesville, Virginia | March 2016

IAkI AlDAyQUESADA PROfESSOR AND ChAIR, DEPARTmENT Of ARChITECTURE

ARCTIC DESIGN GROUP

P R E FAC E

1

Matthew Jull is a founding partner of the design practices KUTONOTUK and TempAgency, and is an Assistant Professor of Architecture at UVA. His research focuses on systems and processes of architecture and urbanization in extreme environments, specifically in arctic Russia and North America. He is co-founder of the Arctic Design Group at UVA with Leena Cho, and his design work has won numerous awards such as those from the Helsinki Guggenheim Museum Competition (Honorable Mention - 2015), Helsinki Central Library Competition (Honorable Mention - 2013) and MoMA PS1s Young Architects Program (Runner-Up - 2013), and has been featured in publications internationally, as well as being exhibited at Storefront for Art and Architecture (2015), MoMA New York, Bunkkeri Helsinki, Kunsthalle Helsinki, and the Danish Pavilion at the 2012 Venice Biennale. Jull received his MArch from Harvard Universitys Graduate School of Design and his PhD in theoretical geophysics from Cambridge University. Prior to joining UVA, he was an architect and project leader at OMA/Rem Koolhaas in Rotterdam, The Netherlands, where he is currently a registered architect.

mATThEW JUll, PhDASSISTANT PROfESSORDEPARTmENT Of ARChITECTUREDIRECTOR, ARCTIC DESIGN GROUP

2

JENNIFER AdAIRIsAbEl ARgotI Josh ARoNsoNJAcksoN bEwlEylEmARA blANcohENRy bRAzERPEggy bRENNANlAURA bURdENmIchEllE chENARIsA chENtAPhUNEmIlIo cRAddockmARk cURRyARtEm dEmchENckoAlEksANdER dE mottbEN dINAPolIbRANdoN EckJENNIFER FANgcAmERoN FUllmERkAtIE gAllAghERmAtthEw goRdoNchRIstINA gRIggsbIyUAN gUFAtIN hAmEEdJAREd hUggINsJENNIFER hsIAwkIm IsAAc

kARIlyN JohANEssENmAtt JohNsoNAIgUl kENzhEgAlIyEvAkAthERINE lAIbENJAmIN lAwsoNkAItlyNN loNgANNA mcmIllENEmmItt mooREolIvIA moRgANsydNA mUNdychRIstINE NgUyENsANgyooN PARkmIchAEl PEtERsoNEmmA PIERcEbEllA PURdyPhIllIP REdPAthkARI ANN RoyNEsdAlREbEccA sANchEzsUzANNE shARPmIchAEl stANlEyFUNg sIANg tAN tAIdIRk wIlkINsAshtoN wIllIAmsdIlloN wIlsoNdIXI wUyUshAN dU

ARCTIC DESIGN GROUP 3

ST U D I O T E A M

4With ever-increasing global population, expansion of urban centers, shifting economic demands, and increase of climate-triggered events, we have entered an era of unprecedented friction between the forces shaping our planet and our built environment. One of the places where such friction is most visible and is quickly escalating is the Arctic - where the research of the Arctic Design Group is focused.

Two key questions motivate this work: 1) What role can architecture play in mediating the transformation of this vast northern frontier: from the scale of the continent to that of the component? 2) Through the lens of extreme environmental conditions, what alternative architectural and urban typologies and systems can we develop?

There are three key strategies for carrying out this research: 1) discovery and examination of design precedents, historical, and conceptual trajectories, with particular emphasis on experiments in the development of arctic cities and the cultural, economic, and physiological necessities, 2) application of thermodynamic principles, e.g. urban climatology, and environmental systems in towns/cities of extreme climates, and 3) the development of urban and architectural systems and typologies in design studios and research seminars.

2013 Fall2014 Spring

2014 Fall2015 Spring2015 Spring

ADG Studio: Forces and TrajectoriesTransformerADG Studio: Rethinking FundamentalsTransformerARCTIC STATES International Symposium

ARCHITECTURE IN EXTREME ENVIRONMENTS

GLOBAL FORCES + HISTORICAL TRAJECTORIES

ARCTIC DESIGN GROUP

RETHINKING FUNDAMENTALS

ARCTIC DESIGN GROUP 5

R E S E A R C H D R I V E RS

HISTORICAL TRAJECTORIESGLOBAL FORCES +

In an effort to explore future modes of urbanization and architecture of the future Arctic, Global Forces and Historical Trajectories establishes a framework for understanding key issues at stake and exploring possible outcomes. Through design research bombardment, a wide range of issues that influence the Arctic urbanization are explored, creating an array of frameworks... for example, what is arctic-ness in terms of architecture? How is it different than in southerly latitudes? How does the extreme climate influence cities and buildings? What are the different cultural and political attitudes about buildings and cities in Northern countries? What different building techniques and materials are used? What do people in northern latitudes do for entertainment? What sort of housing will evolve for transient worker communities? From the scale of a door to the scale of an entire region, the goal is to explore, document, curate, and write about a wide range of topics to form a Guidebook to Arctic Urbanization and Architecture to chart a course for potentials of this new northern frontier.

6

Matthew Jull + Roynesdal, K | ARCTIC DESIGN GROUP 7

DRIVER 1 | GLOBAL FORCES + HISTORICAL TRAJECTORIES

8

Matthew Jull + Leena Cho + Johanesen, K + Brazer, H | ARCTIC DESIGN GROUP

D R I V E R 1 | G LO B A L FO R C E S + H I STO R I C A L T RA J E CTO R I E S

9

Homes north of the arctic circle can generally be divided between two primary typologies. In Europe and North America one finds detached single family dwellings while in Russia one finds the soviet block, a multi-unit apartment building. The cities of Barrow, Alaska, and Norlisk, Russia, exemplify this dichotomy where similar climates and chronological development serve as a control for comparison. Barrow developed on the north shore of Alaska deep in oil country as a military and scientific outposts. Norilsk, meanwhile, was a Soviet creation, built with prison-labor, as the homebase from which to mine the areas vast mineral wealth. Interestingly enough, climate seems to play a lesser role than one would think; the primary driver is social. Barrow housing is informed by a western tradition of the single-family home where private space and property is clearly demarcated. The socialist tradition of the USSR, in contrast, collectivizes dwelling in discrete blocks where walls and stairwells are shared. Yet how Arctic are these typologies? A Barrow home is hardly distinguishable from a western counterpart from more southernly climes. The Norilsk Soviet block is likewise similar to a Soviet block you might find in Kiev. The Arctic came into these designs as an afterthought. These include special foundations, entrances, insulation, etc. Only in the radical proposals of Erskine, V. Nepokoychitsky, and other architects of the 60s and 70s do we see an arctic architecture that responds to climate in broad strokes. Very little of these projects were realized, leaving a void in the North for further design experimentation.

Popu

latio

n

North America Europe Russia0

50000

100000

150000

200000

250000

300000

350000

400000

Trom

soe

Nuu

kKi

runa

Long

year

byen

10

Matthew Jull + Bewley, J | ARCTIC DESIGN GROUP

D R I V E R 1 | G LO B A L FO R C E S + H I STO R I C A L T RA J E CTO R I E S

11

Shared ARCTIC design typologies called to attention with synced time sequence and highlighted image in context

GLIMPSES OF THE ARCTIC film timeline

Powers of Ten zooming in on 3 arctic regions

1688 mi - 690 m

i -314 mi - 50 m

i - 10 mi - 10,000 ft - 2,300 ft - 100 ft PA

RALL

EL T

YPOL

OGIE

S

R A Y + C H A R L E S E A M E S

TRANSLATION

G L I M P S E S O F T H E A R C T I C

Glimpses of the Arctic began as a research project cate-gorizing objects found within the region of the Arctic Circle. Through the collection and analysis of these objects we are able to identify design specific typologies specific to the se-vere conditions and limited resources of remote locations. The objects we collected defied our preconceptions of an arctic aesthetic. The pristine and untouched landscapes commonly depicted in our culture, filled with igloos and ravenous polar bears, are just one small fraction of a diverse and complex design system. The things that we collected were raw, dark, colorful and industrial, as well as familiar, playful, domestic, and intensely human.

We had three goals:

1. Determine what aspects of design are specifically adapted to the conditions of the arctic. Understand how climate specific design can affect the future of design thinking, particularly in regions vastly changing, such as the arctic.

The task at hand was a difficult one, how does one go about choosing objects out of thousands? Which components of the physical language of a place accurately portray the lives of its people? We choose objects in three regions : Alaska/Canada, Scandinavia, and Russia. We choose objects that one might use or see in a typical day [homes, vehicles, ice roads, snow fences, schools, grocery stores, signs, etc] in addition to look-ing at the cultural events typical of each place. In doing so, we began to construct a cultural reflection of the built (and unbuilt) landscapes of a place largely underrepresented. The process of curation was iterative. We organized and re-organized collected and collected again.

2. Expose the true physical and cultural character of the arctic to our non-arctic peers. Abolish stereotypes that portray void.

3. Consider mechanisms of preservation. What elements of the physical landscape are necessary in understanding history, when the place becomes unrecognizable?

Bella Purdy + Jared Huggins // ARCTIC STUDIO 4010/3010 // Matthew Jull / FALL 2013

representing objects

translating objects

curation precedent

Charles + Ray Eames / Glimpes of the U.S.A

preservation / ARKtic

Through the collection and analysis of cities, buildings, and objects within the Arctic Circle. we are able to identify typologies specific to the severe conditions and limited resources of remote loca-tions. The objects we collected defied our preconceptions of an arctic aesthetic. The pristine and untouched landscapes commonly depicted in our culture, filled with igloos and ravenous polar bears, are just one small fraction of a diverse and complex design system. The things that we collect-ed were raw, dark, colorful and industrial, as well as familiar, playful, domestic, and intensely human. We had three goals: 1. Determine what aspects of design are specifically adapted to the conditions of the arctic. Understand how climate specific design can affect the future of design thinking, particu-larly in regions vastly changing, such as the arctic. The task at hand was a difficult one, how does one go about choosing objects out of thousands? Which components of the physical language of a place accurately portray the lives of its people? We choose objects in three regions : Alaska/Canada, Scan-dinavia, and Russia. We choose objects that one might use or see in a typical day [homes, vehicles, ice roads, snow fences, schools, grocery stores, signs, etc] in addition to looking at the cultural events typical of each place. In doing so, we began to construct a cultural reflection of the built (and unbuilt) landscapes of a place largely underrepresented. The process of curation was iterative. We organized and re-organized collected and collected again. 2. Expose the true physical and cultural character of the arctic to our non-arctic peers. Abolish stereotypes that portray void. 3. Consider mechanisms of preservation. What elements of the physical landscape are necessary in understanding history, when the place becomes unrecognizable?

12

Shared ARCTIC design typologies called to attention with synced time sequence and highlighted image in context

GLIMPSES OF THE ARCTIC film timeline

Powers of Ten zooming in on 3 arctic regions

1688 mi - 690 m

i -314 mi - 50 m

i - 10 mi - 10,000 ft - 2,300 ft - 100 ft PA

RALL

EL T

YPOL

OGIE

S

R A Y + C H A R L E S E A M E S

TRANSLATION

G L I M P S E S O F T H E A R C T I C

Glimpses of the Arctic began as a research project cate-gorizing objects found within the region of the Arctic Circle. Through the collection and analysis of these objects we are able to identify design specific typologies specific to the se-vere conditions and limited resources of remote locations. The objects we collected defied our preconceptions of an arctic aesthetic. The pristine and untouched landscapes commonly depicted in our culture, filled with igloos and ravenous polar bears, are just one small fraction of a diverse and complex design system. The things that we collected were raw, dark, colorful and industrial, as well as familiar, playful, domestic, and intensely human.

We had three goals:

1. Determine what aspects of design are specifically adapted to the conditions of the arctic. Understand how climate specific design can affect the future of design thinking, particularly in regions vastly changing, such as the arctic.

The task at hand was a difficult one, how does one go about choosing objects out of thousands? Which components of the physical language of a place accurately portray the lives of its people? We choose objects in three regions : Alaska/Canada, Scandinavia, and Russia. We choose objects that one might use or see in a typical day [homes, vehicles, ice roads, snow fences, schools, grocery stores, signs, etc] in addition to look-ing at the cultural events typical of each place. In doing so, we began to construct a cultural reflection of the built (and unbuilt) landscapes of a place largely underrepresented. The process of curation was iterative. We organized and re-organized collected and collected again.

2. Expose the true physical and cultural character of the arctic to our non-arctic peers. Abolish stereotypes that portray void.

3. Consider mechanisms of preservation. What elements of the physical landscape are necessary in understanding history, when the place becomes unrecognizable?

Bella Purdy + Jared Huggins // ARCTIC STUDIO 4010/3010 // Matthew Jull / FALL 2013

representing objects

translating objects

curation precedent

Charles + Ray Eames / Glimpes of the U.S.A

preservation / ARKtic

Shared ARCTIC design typologies called to attention with synced time sequence and highlighted image in context

GLIMPSES OF THE ARCTIC film timeline

Powers of Ten zooming in on 3 arctic regions

1688 mi - 690 m

i -314 mi - 50 m

i - 10 mi - 10,000 ft - 2,300 ft - 100 ft PA

RALL

EL T

YPOL

OGIE

S

R A Y + C H A R L E S E A M E S

TRANSLATION

G L I M P S E S O F T H E A R C T I C

Glimpses of the Arctic began as a research project cate-gorizing objects found within the region of the Arctic Circle. Through the collection and analysis of these objects we are able to identify design specific typologies specific to the se-vere conditions and limited resources of remote locations. The objects we collected defied our preconceptions of an arctic aesthetic. The pristine and untouched landscapes commonly depicted in our culture, filled with igloos and ravenous polar bears, are just one small fraction of a diverse and complex design system. The things that we collected were raw, dark, colorful and industrial, as well as familiar, playful, domestic, and intensely human.

We had three goals:

1. Determine what aspects of design are specifically adapted to the conditions of the arctic. Understand how climate specific design can affect the future of design thinking, particularly in regions vastly changing, such as the arctic.

The task at hand was a difficult one, how does one go about choosing objects out of thousands? Which components of the physical language of a place accurately portray the lives of its people? We choose objects in three regions : Alaska/Canada, Scandinavia, and Russia. We choose objects that one might use or see in a typical day [homes, vehicles, ice roads, snow fences, schools, grocery stores, signs, etc] in addition to look-ing at the cultural events typical of each place. In doing so, we began to construct a cultural reflection of the built (and unbuilt) landscapes of a place largely underrepresented. The process of curation was iterative. We organized and re-organized collected and collected again.

2. Expose the true physical and cultural character of the arctic to our non-arctic peers. Abolish stereotypes that portray void.

3. Consider mechanisms of preservation. What elements of the physical landscape are necessary in understanding history, when the place becomes unrecognizable?

Bella Purdy + Jared Huggins // ARCTIC STUDIO 4010/3010 // Matthew Jull / FALL 2013

representing objects

translating objects

curation precedent

Charles + Ray Eames / Glimpes of the U.S.A

preservation / ARKtic

Huggins, J + Purdy, B | ARCTIC DESIGN GROUP

D R I V E R 1 | G LO B A L FO R C E S + H I STO R I C A L T RA J E CTO R I E S

13

Public space creates the formwork for urban life. What forms does the public space of the arctic take? What brings people to these outdoor spaces? How does public space in the arctic differ from public space elsewhere? Most public spaces are outdoors, creating a dialogue among the city, community and nature. What is natures relationship with the arctic city? Does nature play a larger role in the arctic in programming space? Are the harsh climatic conditions of the arctic embraced, or rejected and substituted with a transplanted ecology? In the project, I have begun to analyze two arctic cities Barrow, Alaska, and Murmansk, Russia. Barrow is a small town of around 4,000 residents, and is the northernmost city owned by the United States. There is a strong cultural tie to the native Inupiat people and most rely on the resources of the land to survive the harsh conditions. Murmansk is a much larger city located in Russia. Despite a decline in population over the past decade, Murmansk still remains the largest city above the Arctic Circle with a population of 300,000 roughly the size of Pittsburgh, PA. There is a strong presence of military and government monuments throughout the city, including the landmark Alyosha monument dedicated to the veterans of World War II. Shipping is another big source of income for the city, as well as a staple of receiving supplies from the rest of Russia. #BenLawson

14

Lawson, B | ARCTIC DESIGN GROUP

D R I V E R 1 | G LO B A L FO R C E S + H I STO R I C A L T RA J E CTO R I E S

15

RETHINKING FUNDAMENTALS

Rethinking Fundamentals seeks to investigate innovative spatial outcomes and design systems catalyzed by the extreme environmental conditions in the arctic. Simultaneously, existing architectural typologies that exist throughout the arctic region are challenged: how can the arctic wall as a defining feature of northern architecture be renegotiated? Can the architecture escape the confines of technical and engineering necessity in such a hostile environment? The work in this section involves background research on environmental conditions and existing architectural typologies, followed by bombardment of conceptual strategies. How can we rethink and transform relationships between, for example, indoor and outdoor, building and ground, heat, light, wind, precipitation, and permafrost, vis a vis thermodynamic, programmatic, and structural systems?

16

ARCTIC DESIGN GROUP

DRIVER 2 | RETHINKING FUNDAMENTALS

17

square

deep

triangle

leeward slope

circle

windward slope

windward step

leeward step

straight

3-sided

2-sided

semi-circle

offset porous

porous

offset overlap

corner nodes

edge nodes

edge openings

offset

offset extend

overlap extend

variable width

triangle flat

triangle top

windward pocket

leeward pocket

square lift

square

gap up-slash

gap down-slash

semi-circle

wide semi-circle

tall

varied

multiple

double

single

none

step triangle

square

deep

triangle

leeward slope

circle

windward slope

windward step

leeward step

straight

3-sided

2-sided

semi-circle

offset porous

porous

offset overlap

corner nodes

edge nodes

edge openings

offset

offset extend

overlap extend

variable width

triangle flat

triangle top

windward pocket

leeward pocket

square lift

square

gap up-slash

gap down-slash

semi-circle

wide semi-circle

tall

varied

multiple

double

single

none

step triangle

square

deep

triangle

leeward slope

circle

windward slope

windward step

leeward step

straight

3-sided

2-sided

semi-circle

offset porous

porous

offset overlap

corner nodes

edge nodes

edge openings

offset

offset extend

overlap extend

variable width

triangle flat

triangle top

windward pocket

leeward pocket

square lift

square

gap up-slash

gap down-slash

semi-circle

wide semi-circle

tall

varied

multiple

double

single

none

step triangle

square

deep

triangle

leeward slope

circle

windward slope

windward step

leeward step

straight

3-sided

2-sided

semi-circle

offset porous

porous

offset overlap

corner nodes

edge nodes

edge openings

offset

offset extend

overlap extend

variable width

triangle flat

triangle top

windward pocket

leeward pocket

square lift

square

gap up-slash

gap down-slash

semi-circle

wide semi-circle

tall

varied

multiple

double

single

none

step triangle

square

deep

triangle

leeward slope

circle

windward slope

windward step

leeward step

straight

3-sided

2-sided

semi-circle

offset porous

porous

offset overlap

corner nodes

edge nodes

edge openings

offset

offset extend

overlap extend

variable width

triangle flat

triangle top

windward pocket

leeward pocket

square lift

square

gap up-slash

gap down-slash

semi-circle

wide semi-circle

tall

varied

multiple

double

single

none

step triangle

square

deep

triangle

leeward slope

circle

windward slope

windward step

leeward step

straight

3-sided

2-sided

semi-circle

offset porous

porous

offset overlap

corner nodes

edge nodes

edge openings

offset

offset extend

overlap extend

variable width

triangle flat

triangle top

windward pocket

leeward pocket

square lift

square

gap up-slash

gap down-slash

semi-circle

wide semi-circle

tall

varied

multiple

double

single

none

step triangle

square

deep

triangle

leeward slope

circle

windward slope

windward step

leeward step

straight

3-sided

2-sided

semi-circle

offset porous

porous

offset overlap

corner nodes

edge nodes

edge openings

offset

offset extend

overlap extend

variable width

triangle flat

triangle top

windward pocket

leeward pocket

square lift

square

gap up-slash

gap down-slash

semi-circle

wide semi-circle

tall

varied

multiple

double

single

none

step triangle

square

deep

triangle

leeward slope

circle

windward slope

windward step

leeward step

straight

3-sided

2-sided

semi-circle

offset porous

porous

offset overlap

corner nodes

edge nodes

edge openings

offset

offset extend

overlap extend

variable width

triangle flat

triangle top

windward pocket

leeward pocket

square lift

square

gap up-slash

gap down-slash

semi-circle

wide semi-circle

tall

varied

multiple

double

single

none

step triangle

Drainage TypologiesBen DiNapoli

Channel Valley Ridged Rounded

Strips Pyramid Inverted Pyramid Terraced

Woven Well Piping Street Drain

18

Aronson, J + DiNapoli, B + Griggs, C + Du, Y | ARCTIC DESIGN GROUP

D R I V E R 2 | R E T H I N K I N G F U N DA M E N TA LS

square

deep

triangle

leeward slope

circle

windward slope

windward step

leeward step

straight

3-sided

2-sided

semi-circle

offset porous

porous

offset overlap

corner nodes

edge nodes

edge openings

offset

offset extend

overlap extend

variable width

triangle flat

triangle top

windward pocket

leeward pocket

square lift

square

gap up-slash

gap down-slash

semi-circle

wide semi-circle

tall

varied

multiple

double

single

none

step triangle

square

deep

triangle

leeward slope

circle

windward slope

windward step

leeward step

straight

3-sided

2-sided

semi-circle

offset porous

porous

offset overlap

corner nodes

edge nodes

edge openings

offset

offset extend

overlap extend

variable width

triangle flat

triangle top

windward pocket

leeward pocket

square lift

square

gap up-slash

gap down-slash

semi-circle

wide semi-circle

tall

varied

multiple

double

single

none

step triangle

square

deep

triangle

leeward slope

circle

windward slope

windward step

leeward step

straight

3-sided

2-sided

semi-circle

offset porous

porous

offset overlap

corner nodes

edge nodes

edge openings

offset

offset extend

overlap extend

variable width

triangle flat

triangle top

windward pocket

leeward pocket

square lift

square

gap up-slash

gap down-slash

semi-circle

wide semi-circle

tall

varied

multiple

double

single

none

step triangle

square

deep

triangle

leeward slope

circle

windward slope

windward step

leeward step

straight

3-sided

2-sided

semi-circle

offset porous

porous

offset overlap

corner nodes

edge nodes

edge openings

offset

offset extend

overlap extend

variable width

triangle flat

triangle top

windward pocket

leeward pocket

square lift

square

gap up-slash

gap down-slash

semi-circle

wide semi-circle

tall

varied

multiple

double

single

none

step triangle

19

20

Griggs, C | ARCTIC DESIGN GROUP

D R I V E R 2 | R E T H I N K I N G F U N DA M E N TA LS

21

22

Long, K + Johnson, M | ARCTIC DESIGN GROUP

D R I V E R 2 | R E T H I N K I N G F U N DA M E N TA LS

23

ARCH 3010 ARCTIC STUDIO

Concept Studies

Albedo

1. Systems & Rules Development

1. Systems & Rules

1. Systems & Rules

Albedo is the reflectivity or reflecting power of a surface. It is the ratio of reflected radiation from the surface t incident radiation upon it. My idea is how an environment or space can be influenced from these properties of reflected like. Creating varied geometries along building surfaces demonstrate different strategies to either allow a high or low reflectivity. Furthermore, material and color have a important role of the amount of reflective power of a surface whereas a black surface would absorb more energy compared to a white surface that would reflect more radiation.

Expanding and contracting are properties in almost every material due to thermal expansion. When a material is heated, it ultimately expands. When it is cooled, the material will return to its original state. My idea regarding expandson and contraction in the Arctic environment is about letting in the most light possible to ultimately retain and control heat. As the suns rays hit surface materials, they ultimately expand, creating this buckling notion that allows aperatures to naturally occur, allowing sunlight to directly enter the interior.

In the Arctic snow fences allow roads and occupiable areas to not build up with mounds and drifts of snow. They slow the prevailing winds down that allows the snow within the winds to loose velocity and fall to the ground. Utilizing this system of placing snow in a choreographed way allows specific architectural forms to direct where snow drifts occur. Placing reflecting elements that allow sunlight to be focused in specific areas to allow the snow drifts to melt for occupiable use.

1. Light

2. Heat

3. Water/Precipitation

4. Airflow

5. Ground

2. Form & Scale

2. Form & Scale

2. Form & Scale

3. Program Potentials

3. Program Potentials

3. Program Potentials

Expansion + Retraction

Occupiable Snow Fence

Brandon Eck

sunlight

planer

curvalin

ear

orthagonal

sunlight

sunlight

heat gained: medium

light reflected: medium

heat gained: high

light reflected: low

heat gained: low

light reflected: high

section

rain flow

state change progression

water

ice

dry airhummid air

freezing

boiling

wind direction

low pressurehigh pressure

medium pressure

air shaft form

internal compositions

continual rotation

air flow

Hheli pad

house

iceberg

main land

main land

shaped light on summer solstice6:00pm

shaped light on summer solstice12:00pm

solid porous frame liquid

mteal

wood

water

plastic

foam

overhangs vary in size

LIG

HT V

AR

YIN

G O

VER

TH

E Y

EAR

A B C

AB

C

section

sectionsnow

compression from snow load

rection from snow load

original state original state

day-50 degrees

night- -50 degrees

expansio

ncontractio

n

general concept

prog

ress

ion

sunlight

frozen ground

slip

per

y surfa

ces

lipper

y surfa

ce

snow snow

existing house

section perspective section

wind flow wind flow

light rays

concave lenses

magnet dynamodynamo

electric ionselectric ions

magnetic field

section

air

flow

warm water

hot material

threshold l

ine

day

nig

htmanual force

crater landscape

house choreographed movement

last progressionafternoon

initial progressionmorning

sun 45 degrees

sun 45 degrees

sun 45 degrees

planar surface planar surface

light wind

60 degree pyramidal surface 60 degree pyramidal surface

30

15

90

section

section

30 degree pyramidal surface 30 degree pyramidal surface

section

total area: 1 m

total area: 2 m

total area: 3 m

total area: 1 m

total area: 2 m

undesturbed heat

undesturbed heat

total area: 3 m

surfa

ce a

rea +

energy a

bsorbed increased

win

dw

ind

win

d

reflected lightdirect light

nig

ht

mornin

gnoon

afternoon

wall systemlight

buckling mechanics

night morning noon afternoon

nightno light0%

15%

40%

75%

minimal light

moderate light

intense light

morning

noon

afternoon

plan

plan section

0%

15%

40%

75%

reflected lightdirect light

direct light

prevail

ing w

ind

prevail

ing w

ind

low speedhigh speed

wind

high snow velocity low snow velocity

snow fencesnow fence

structure

system

choreographed snow drift

snow

drif

t

snow

prevail

ing s

now

win

d

prevail

ing s

now

win

d

interior tube

interior tube

interior tube

maintained drift shapes

focusing light

melted snow zone

melted snow zonestructure

structure

plan

plan

section section

sun 45 degrees

sun 45 degrees

90

45

30

90

90

curvalinear surface

slat curved surface

perpendicular surface

curvalinear curved surface

fluxuating curved surface

fluxuating rigid surface

90 degree pyramidal curved surface

varied curvalinear surface90 degree pyramidal surface

90-60 degree hybrid surface

INTRUSIONS

EXTRUSIONS

reflected lightdirect light

reflected lightdirect light

sin

gle s

urfa

ces

mult

iple s

urfa

ces

varie

d s

urfa

ces

section axonplan

section axonplan

section axonplan

form and scale

narrow tubes

occupiable snow tubes snow funnels

multi-directional tubes venturi tubes

plan

section

section section

plan

section

plan

section

forms

scale

velocit

y in

creased

velocity increasedvelocity decreaed

velocit

y d

ecreaed

velocit

y c

onsis

tent

velocity consistent

snow

win

dsnow

win

d

snow

win

d

snow

win

d

snow windsnow wind snow wind

maintained drift shapes maintained drift shapes maintained drift shapes

ski + sledding slopes redirecting snow

snow

win

d

20 m500 m

redirected light redirected light

ALBEDO: Different hues and geometries influece how reflectivity functions.

PHASE CHANGE: Having a system of spaces in a struc-ture to collect snow/rain then transfering the state to ice for refridagtion purposes then finalizing with purification for clean drinking water and air.

VENTURI: Throughout the theory of the venturi effect, having progressing small circular openings allows the approaching wind to speed up and ultimately to control various levels of pressure zones.

FRICTION: Wall sections are comprised of cylindrical el-emtns that rotate upon one another creating friction while also providing a flow of air.

FLUIDITY: Having these floating islands that float freely with the option of connecting to a larger mass of islands. floating as if they were icebergs.

FOCUSING: Movable slats can puncture the roof or floor to heat up/cool down specific spaces.

EXTENSION: Extending a system from the house that redirects the snow pileup to another structure than rests above the house to ultimately be redistributed.

REDIRECTING: Through the presence of curvalinear extrusions within multiple spaces can allow for focussed wind flow above and below the ground plane.

MAGNIFYING: Redirecting the light into these large conical shapes that have multiple concave lenses that focus the light at one point but also intensifies the heat through magnification.

MIN/MAX ANGLE: Having various slope angles influ-ence design in the sense of how homes construct their roof pitch and foundation.

DIFFUSING: Having overhanging arch objects branch over structures/public spaces demonstrate a breaking of direct sunlight resulting in less glare.

PRESSURE: A collector sits at the top of the home so as snow collects then the structural cynlinders act like a teeter-totter allowing the adaject home to rise up.

EXPANSION + CONTRACTION: Having a material that expands/contracts due to temperature change or presence of light could become a skin for a building-relat-ing to the polygonal shapes of permafrost cracking.

RECREATION: Having a gondola/chairlift style of move-ment there will be a secured connection between your home and the lifts cable so homes could therefore move through the surrounding area for a theatrical, education experience.

AURORA: Placing dynamos (electromagnetic producers) outside city walls made of silver protects the city from any electro-radiation. an inernal magnet then attracts the ions above the walls to create the aurora.

REDISTRIBUTION: Having a permeable facade which allows fresh air to enter the interior, provides fresh water (purified through heating), and also acting as insulator for the building as a whole.

COMPRESSION: Through the cycle of day to night, the idea of compacting the structure to retain heat while un-packing it releases heat and allows for the heat release.

REGENERATION: The compacted crater -like landscape is maintained through a choreographed movement from the house itself that happens ritually on a daily basis to ensure a stable environment for living.

PROGRAM: Lighting in Resolute Bay demonstrates an extremely low sun anlge resulting in an interesting light-ing conditionin regards to various geometrical figures that influence program.

CONDUCTION: Various types of materials and typolo-gies have different conducting properties. this then can be a palette for design in regards to the transfer of heat.

24

HEAT/EXPANSIONPRE-INFLATION INFLATION

ARCH 3010 ARCTIC STUDIO

Concept Studies

Concept 1: Drunken Walls

Systems & Rules

Systems & Rules

Systems & Rules

The ground condition known as Drunken Trees is defined as a group of trees displaced from their normal vertical align-ment. In the Arctic, this is primarily caused by rapidly melting permafrost and can also damage structures . By embrac-ing this phenomenon, the building can adapt to the shifting ground rather than resisting these forces.

When our body is cold, small muscles at the base of our hairs contracts causing the hair on our body to stand up. The goosebump facade was inspired by the rising and falling of these tiny hairs. Mobile hair-like members react to air flow or temperature to shield the building from cold wind while create a visual flurry from within the space.

After studying Ralph Erskine and his Arctic principles, it became evident that snow is an incredibly good insulator. By creating a building with a deformable membrane, the form of the structure stretches under the weight of snow and thus contains the insulative material. This deformation is both structural while creating interesting divisions of space.

Light

Heat

Water/Precipitation

Airflow

Ground

Form & Scale

Form & Scale

Form & Scale

Program Potentials

Program Potentials

Program Potentials

Concept 2: Goosebumps

Concept 3: Flexibility

JENNY ADAIR

APERTURE CONDENSATION

AEOLIAN WIND VIBRATION GOOSEBUMPS FUNNEL CLOUDCLUSTER

DRUNK WALLS

HUMIDITY RISE

STRETCHING WALLS

MECHANICAL ENERGY

PERMAFROST BASE

CORE

LICHEN WALL

FLEECE

THERMAL BRIDGE STRUCTURAL SHIFTS PERMAFROST CRACKING MIDNIGHT SUN SNOW DRIFT

GLOWING POPPY SCREENS LAYERING DRAINING COEXISTANCE FLEXIBLE PIPES

RIGIDITY OF STRUCTURAL MEMBERS

ROTATION AFTER PERMAFROST SHIFT

CURVED STEPPED CURVE STAIRS STAIR & PLATFORM PLATFORMS

STR

ETC

HIN

GB

RE

AK

ING

BE

ND

ING

TWIS

TIN

GS

TEP

PIN

G

PE

RM

AFR

OS

TP

ER

MA

FRO

ST

AC

TIV

E L

AYE

RA

CTI

VE

LAY

ER

TUBE SYSTEM PLATE SYSTEM TUNNEL SYSTEM

CONNECTION SYSTEM INTERSECTION SYSTEM WRAPPING SYSTEM

VAR

IATI

ON

EN

D S

TAB

ILIZ

ER

SA

LL M

OB

ILE

VAR

IATI

ON

EN

D S

TAB

ILIZ

ER

SA

LL M

OB

ILE

DIAMOND PATTERN GRID PATTERN INCREASED DENSITY BARE PATCHES VARYING PATTERN

WIND SYSTEM THERMODYNAMIC SYSTEMINFLATION SYSTEM

WATER SYSTEM RUBBER SYSTEM

CRADLE SYSTEM MATERIAL BRACING SYSTEM

LIQ

UID

FO

RM

SO

LID

FO

RM

SE

LF W

EIG

HT

AD

DE

D W

EIG

HT

BE

FOR

E L

OA

DW

ITH

LO

AD

STA

ND

AR

D F

OR

MFO

RM

WIT

H S

NO

W

AEOLIAN

THE TAPERED SHAPE OF THE BUILDINGS FUNNELS WIND THROUGH THE CHANNEL AT AN INCREASED SPEED CAUSING THE STRINGS OF THE HARP TO VIBRATE AND PRO-

DUCE NOISE

APERTURE

SO MOVABLE APERTURE ON A FACADE ALLOWS THE INHABITANTS TO CHANGE THE ATMOSPHERE BY ADAPTING THE SIZE OF THE APERTURE TO THE CURRENT SOLAR

CONDITIONS

MEDIUM APERTUREf/8

LARGE APERTUREf/2

SMALL APERTUREf/22

INDOOR CLOUD

BY SURROUNDING A TALL VERTICAL SPACE BY A HUMIDITY PRODUCING AREA THE WARM AIR RISES AND BEGINS TO CONDENSE AS IT REACHES THE COOLER HIGH

ALTITUDES

WARM HUMID AIR COOLING AIR CONDENSATIONCLOUD

INHABITABLE SPACE

SPACES OF OVERLAP AND HEAT TRAP

HEAT TRAPPING CLUSTER

ARCTIC PLANTS SUCH AS THE PURPLE SAXIFRAGE USE LOW LYING DENSE FORMS RESEMBLING CUSHIONS TO CREATE HEAT POCKETS AND WARD OFF WINDS

HARNESSING MELTWATER

THE ADDITION OF A WATER DRAINAGE RAMP ON THE SIDE OF SNOW ACCUMULATION CREATES A PATHWAY FOR MELTWATER

DRUNKEN WALLS

TO EMBRACE THE DRUNKEN TREE SYNDROME, A WEBBING IS PLACED IN BETWEEN WALLS TO ALLOW FOR FLEXIBILITY WHILE ALLOWING LIGHT TO PIERCE THROUGH

THE SPACE

AMBIENT LIGHT

USING A SIMILAR LAYERING TECHNIQUE AND SEMI-TRANSLUSCENT MATERIALS, THE ATMOSPHERIC LIGHT IS SIMILAR TO THE GLOWING EFFECT OF LIGHT SHINING

THROUGH YOUR FINGERS

AMBIENT LIGHT(WARM LIGHT STRONGEST

TOWARDS EDGES)LIGHT RAYS SHINING

THROUGH OUTER SKIN

HUMIDITY

BY PLACING A GREENHOUSE LIKE SPACE ON THE LOWER HALF OF THE STRUCTURE, IT IS POSSIBLE TO KEEP THE ENTIRE BUILDING COMFORTABLE BY ALLOWING WARM

AIR TO RISE WHILE COMFORTABLE HUMIDITY REMAINS ON THE GROUND FLOOR

LICHENS ARE A COMBINATION OF ALGAE, WHICH ARE RESPONSIBLE FOR PHOTOSYN-THESIS, AND FUNGI THAT GIVE THE ALGAE A STRUCTURE AND ABSORB WATER

FROM THE SURROUNDINGS

SOLAR HARNESSING SPACEWATER FLOW SUN RAYS

COHESIVE SPECIES

MECHANICAL ENERGY

WHEN WIND BLOWS PAST THE OUTER STRUCTURE THE JOINTS HIT EACH OTHER CREATING HEAT VIA MECHANICAL ENERGY

CONDENSATION SCREENS

THE AMOUNT OF CONDENSATION FORMING ON SURFACES CAN BE ALTERED BY CHANGING THE AMOUNT OF SURFACE CONTACT A SPACE HAS WITH THE EXTERIOR OR BY RAISING CERTAIN SPACES OFF THE GROUND TO ACHIEVE DESIRE HUMIDITY

PERMAFROST BASE

PERMAFROST MELTS AND RE-FREEZES SO BY CREATING A BASE IN THE SHAPE OF THE NEGATIVE OFTHE PERMAFROST, THE BUILDING RETAINS A SENSE OF THE

GROUND DURING THE CHANGING TERRAIN

WARM INNER CORE

HEATING ELEMENT HUMIDITY ELEMENT GENERAL LIVING

A HEATING INNER CORE WARMS THE HUMID AIR IN THE SECOND LAYER ALLOWING BOTH HEAT AND HUMIDITY TO TRAVEL INTO THE EXTERIOR LIVING LAYER

VISIBLE WATER DRAINAGE

STRUCTURAL ELEMENTS SUCH AS PIPES ARE COMBINED WITH WATER DRAINAGE IN A SYSTEM THAT IS BOTH VISUAL AND FUNCTIONAL

WIND VIBRATIONS

WHEN WIND PASSES THROUGH TWO LOOSELY TETHERED SKINS THEY BEGIN TO VIBRATE AND FLAP CREATING HEAT THROUGH THE MOVEMENT OF AIR MOLECULES

SCREEN POSITION 1 SCREEN POSITION 2 HEAT FROM VIBRATION

STRETCHING WALLS

WHEN THE GROUND SHIFTS DUE TO THAWING PERMAFROST, THE STRUCTURE MOVES ALONG WITH IT CAUSING THE SKIN OF THE BUILDING TO STRETCH AND

BECOME MORE POROUS

REGULAROPACITY

SLIGHTVISIBILITY

MODERATEVISIBILITY

SIGNIFICANTVISIBILITY

FLEXIBLITY

THE RUBBER-LIKE NATURE OF THE WALL MATERIAL ALLOWS THE STRUCTURE TO BEND AND ADJUST TO DIFFERENT SNOW LOADS THEN EVENTUALLY RETURN TO ITS

INITIAL SHAPE

FRAME SITS IN ITS NATURAL POSITION DUE TO THE LACK OF SNOW

WITH THE ADDITION OF SNOW THE FRAME BEGINS TO BOW OUTWARD UNDER THE WEIGHT

A GREATER SNOW LOAD INCREASES THE DEFOR-MATION OF THE FRAME AND INCREASES THE DEPRESSION IN THE ROOF

LICHEN GROUND

A LICHEN WALL OR ROOF TRANSITIONS FROM THE GROUND TO THE STRUCTURE TO PROVIDE ADDITIONAL INSULATION

LICHEN WALL

NO OVERLAPPING

MINIMAL OVERLAPPING

MAXIMUM OVERLAPPING

OPACITY

MOBILE SCREEN OF MODERATE TRANSPARENCY ALLOW THE INHABITANT TO REAR-RANGE THE WALLS TO ACHIEVE THE MAXIMUM AMOUNT OF LIGHT OR PREFERABLE

ATMOSPHERIC CONDITIONSDIFFERENT LAYERING OF A SLIGHTLY OPAQUE MATERIAL LETS VARYING AMOUTNS

OF SOLAR RADIATION PIERCE THE BUILDIND SKIN

LIGHT THROUGH LAYERINGSOLAR DIRECTING

THE ARCTIC POPPY USES THE CUP-LIKE SHAPE OF ITS LEAVES TO DIRECT SOLAR RAYS INTO ITS CENTER TO MAXIMIZE THE SUNLIGHT

SLOW AIR SPEED FAST AIR SPEED

BY FUNNELING WIND THROUGH TWO STRUCTURES, THE MECHANICAL ENERGY GEN-ERATIED BY THE FRAMES WOULD INCREASE

VENTURI EFFECT

A LAYER OF HAIR-LIKE FIBERS PROTECTS THE STRUCTURE FROM WIND WHILE CREATING AN INSULATIVE POCKET OF AIR

FLEECE INSULATION

NODE

HAIRWIND

SKIN

GOOSEBUMPS

THIS FACADE IS A LATTICE WITH NODES CONTAINING A HAIR FOR INSULATION FROM HARSH WINDS (MIMICS THE FORMS OF GOOSEBUMPS)

ONE WAY FRAME

TWO WAY FRAME

VARIED FRAME

SNOW CATCHING FORMS

COMPLEX SCALE

HOUSE SCALE

ROOM SCALE

INCORPORATING ELEMENTS THAT SPAN BETWEEN THE INTERIOR AND EXTERIOR CREATES A THERMAL BRIDGE THEREFORE MAKING THE SPACE A TEMPERATURE

MEDIATOR BETWEEN EXTREME COLD AND WARMTH

THERMAL BRIDGE Existing Conditions

Adair, J + Eck, B | ARCTIC DESIGN GROUP

D R I V E R 2 | R E T H I N K I N G F U N DA M E N TA LS

25

A key question: what typologies of cities and buildings can emerge in this new frontier, catalyzed by the effects of climate change, globalization, and natural resource extraction?

Toward the development of alternative visions of architecture and urban design in extreme northern cities, this research seeks to explore the implications of redefining relationships between building and environment, biasing cultural or programmatic optimization over engineered performance. Is there a set of architectural or urban typologies that emerges from the very specific and extreme set of environmental conditions? Ranging, for example, from large diurnal changes in thermal expansion of materials, renegotiating building-ground in thawing permafrost, 24 hour sunlight, and the horizontal transport of precipitation (potentially highly insulating) across vast distances in the winter months? These projects mark an effort to redefine the nature of architecture in a future north.

ARCHITECTURE IN EXTREME ENVIRONMENTS

26

ARCH 3010 Arctic Design Group Studio: Rethinking Fundamentals

ReGroundingChristina Griggs

Concept

The United States has just taken over the chairmanship of the Arctic Council for the next two years. This prototype will function as the home for the Council: a place to have the biennial meetings of the entire council, office space for the many task forces, and a place to discuss new tactics to improve climatic and economic conditions in the arctic.

This prototype is fundamentally about gathering. The pilotis create two kinds of ground level space. Where the pilotis are close together there is a series of smaller spaces where snow could gather. This would insulate the more public space which could be used for exhibitions, festivals, or park space. Levels 2 and 3 are composed of the pilotis and the connective space between them. Some of the pilotis are simply structural, some are circulation, and others are occupiable rooms. The different pilotis create varied types of spaces from the large council chamber, to the auditori-um, to the cafeteria, to smaller individual offices and conference rooms.

This prototype re-establishes and reclaims the ground for the denizens of the arctic.

DOWN INSULATION SURFACE AREA VIA LAYERING VORONOI MASSING CHANGEABLE LAYERS POLAR BEAR EFFECT

PRECIPITATION TOPOGRAPHY EXPANSION/CONTRACTION EXPANSION/CONTRACTION POROSITY TROMBE WALL SNOW FENCE COLLAPSIBLE LAYERS WIND POCKETS WIND SAIL SELECTIVE AERODYNAMICS

Concept Studies

1. Systems + Rules 5. Program Axonometric

2. Form Studies

3. Structure

4. Circulation

Level 3

reshaped members lose less heat

unheated spaces

existing

snow gathers between pilotis for additional insulation

purely structural formation of spaces

structural members respaced to allow additional light

structural components

large load transferred to a point greater contact with ground increases stability

larger surface area further stabilizes

studies in gathering snow in roof and walls

Level 2 Level 1

council chamber

resource center

main entrance / gallery

gallery / exhibition

main hall

cafe

offices / conference rooms

public space

storage

INFORMATIVE SPACES- Gallery and exhibition rooms at entrance to inform visitors about the expo, the arc-tic, as well as the council itself

SOCIAL SPACES- Library/resource center, cafe, and the council senate chamber serve as places of gathering and meeting between civil servants and the peoples of the arctic

WORK SPACES- Offices and conference rooms for those working on the arctic council and its task forces

PUBLIC SPACES- At ground level, the building creates large open spaces, as well as some smaller, private spaces for the public to gather in while being sheltered from the climate.

UNEVEN PILOTIS DRUNKEN PILOTIS NONRIGID FOUNDATION ADOPT GROUND CONDITION COLLECTIVE MASSING

Griggs, C | ARCTIC DESIGN GROUP

DRIVER 3 | ARCHITECTURE IN EXTREME ENVIRONMENTS

27

MULTI-PURPOSE ROOM

CAFE

KITCHEN

THEATER BLACK BOX

SUNKEN LOUNGE

GALLERY

WORKSPACE

RESTROOM

RESTROOM

LECTURE B

LECTURE A

RECONFIGURABLE CLASSROOMS

LIBRARY

READING AREACOMMUNAL STUDY ROOM

EXPANSION SPACE

REHEARSAL ROOMS

INTERIOR EXHIBITION

EXTERIOR EXHIBITION

TESTING GROUNDKAITLYNN LONGThe proposed design re-imagines the space between the building and the ground in order to provide a range of exterior and semi-exterior spaces. The typical arctic foundation system produces left over crawl spaces that serve as storage. The project re-de-signs the existing multipoint space frame foundation system in order to produce a system that integrates building structure and foundation. The result is an inhabitable space frame functioning as the building foundation, internal structure, and cladding system. The structural system is based on series of nesting cubes at modules of 8m, 4m, 2m, and 1m. The layering of these modules allows for different types of programatic use. Combining the foundation system and structural system addresses the technical difficulties of building on the arctic ground, as well as the programatic challenges of providing inhabitable exterior space.

FOUNDATION CATAGORY B

FOUNDATION CATAGORY A

A

B C D E

F

ROAD

PIPES

GALLERY

LIBRARYREADING AREA

STUDY ROOM

LECTURE

CLASSROOMS

ENTRANCE RAMP

CIRCULATION SPINE

CAFE

MULTI-PURPOSEROOM

CAFE

+ LO

BBY

THEA

TER

+ PE

RFOR

MAN

CEAC

ADEM

IC

THEATERBLACKBOX(ABOVE)

GALL

ERY

+ EX

HIBI

TION

WORKSPACE

FOUNDATION CATAGORY A

FOUNDATION CATAGORY B

MULTI-PURPOSE ROOM

CAFE

KITCHEN

THEATER BLACK BOX

SUNKEN LOUNGE

GALLERY

WORKSPACE

RESTROOM

RESTROOM

LECTURE B

LECTURE A

RECONFIGURABLE CLASSROOMS

LIBRARY

READING AREACOMMUNAL STUDY ROOM

EXPANSION SPACE

REHEARSAL ROOMS

INTERIOR EXHIBITION

EXTERIOR EXHIBITION

Snow accumulation + relationship to program

Base ground condition

Active Layer

Fluctuation in ground

8M MODULESKIN + VOLUME

4M moduleSKIN + VOLUME

2M moduleSKIN + CIRCULATION

1M moduleFINE GRAIN SKIN

SPATIAL COMPONENTS

FOUNDATION TYPOLOGIES

FOUNDATION CATEGORY BFOUNDATION CATEGORY A

PLANS 1:200

SECTION 1:100

CONTEXT MAPSITE PLAN 1:400

28

Long, K | ARCTIC DESIGN GROUP

D R I V E R 3 | A R C H I T E CT U R E I N E XT R E M E E N V I R O N M E N TS

MULTI-PURPOSE ROOM

CAFE

KITCHEN

THEATER BLACK BOX

SUNKEN LOUNGE

GALLERY

WORKSPACE

RESTROOM

RESTROOM

LECTURE B

LECTURE A

RECONFIGURABLE CLASSROOMS

LIBRARY

READING AREACOMMUNAL STUDY ROOM

EXPANSION SPACE

REHEARSAL ROOMS

INTERIOR EXHIBITION

EXTERIOR EXHIBITION

TESTING GROUNDKAITLYNN LONGThe proposed design re-imagines the space between the building and the ground in order to provide a range of exterior and semi-exterior spaces. The typical arctic foundation system produces left over crawl spaces that serve as storage. The project re-de-signs the existing multipoint space frame foundation system in order to produce a system that integrates building structure and foundation. The result is an inhabitable space frame functioning as the building foundation, internal structure, and cladding system. The structural system is based on series of nesting cubes at modules of 8m, 4m, 2m, and 1m. The layering of these modules allows for different types of programatic use. Combining the foundation system and structural system addresses the technical difficulties of building on the arctic ground, as well as the programatic challenges of providing inhabitable exterior space.

FOUNDATION CATAGORY B

FOUNDATION CATAGORY A

A

B C D E

F

ROAD

PIPES

GALLERY

LIBRARYREADING AREA

STUDY ROOM

LECTURE

CLASSROOMS

ENTRANCE RAMP

CIRCULATION SPINE

CAFE

MULTI-PURPOSEROOM

CAFE

+ LO

BBY

THEA

TER

+ PE

RFOR

MAN

CEAC

ADEM

IC

THEATERBLACKBOX(ABOVE)

GALL

ERY

+ EX

HIBI

TION

WORKSPACE

FOUNDATION CATAGORY A

FOUNDATION CATAGORY B

MULTI-PURPOSE ROOM

CAFE

KITCHEN

THEATER BLACK BOX

SUNKEN LOUNGE

GALLERY

WORKSPACE

RESTROOM

RESTROOM

LECTURE B

LECTURE A

RECONFIGURABLE CLASSROOMS

LIBRARY

READING AREACOMMUNAL STUDY ROOM

EXPANSION SPACE

REHEARSAL ROOMS

INTERIOR EXHIBITION

EXTERIOR EXHIBITION

Snow accumulation + relationship to program

Base ground condition

Active Layer

Fluctuation in ground

8M MODULESKIN + VOLUME

4M moduleSKIN + VOLUME

2M moduleSKIN + CIRCULATION

1M moduleFINE GRAIN SKIN

SPATIAL COMPONENTS

FOUNDATION TYPOLOGIES

FOUNDATION CATEGORY BFOUNDATION CATEGORY A

PLANS 1:200

SECTION 1:100

CONTEXT MAPSITE PLAN 1:400

29

First Floor (+0m-12m) 1:500

elderly recreation

youth recreation

mixed use

golf

croquet

seating

entrance

shuffleboardentrance

men

women

padded area

gymnastics

ballpen

slide

slide

slide

ballpen

ballpen

Top Floor (+12m-16m) 1:500

SEATING

cafe

slide entrances

play zone

yoga

padded area

gymnastics

entrance

entrance

Site Plan (+/- 0m) 1:200

prevailing wind

snow drift

snow drift

rest area

rest area

rest area

rest area

EXHIBIT AREA

N

S

E

W

snow drift

snow drift

rest area

EXHIBIT AREAEXHIBIT AREA

EXHIBIT AREA

EXHIBIT AREA

EXHIBIT AREA

S1

S2S2

S1

S3 S4S3 S4First Floor (+0m-12m) 1:500

elderly recreation

youth recreation

mixed use

golf

croquet

seating

entrance

shuffleboardentrance

men

women

padded area

gymnastics

ballpen

slide

slide

slide

ballpen

ballpen

Top Floor (+12m-16m) 1:500

SEATING

cafe

slide entrances

play zone

yoga

padded area

gymnastics

entrance

entrance

Site Plan (+/- 0m) 1:200

prevailing wind

snow drift

snow drift

rest area

rest area

rest area

rest area

EXHIBIT AREA

N

S

E

W

snow drift

snow drift

rest area

EXHIBIT AREAEXHIBIT AREA

EXHIBIT AREA

EXHIBIT AREA

EXHIBIT AREA

S1

S2S2

S1

S3 S4S3 S4

30

ARCH 3010 Arctic Design Group Studio: Rethinking Fundamentals

Shif

ting

Int

o Mo

tion

CONCEPT STUDIES

CONCEPT

SECTIONS

MOVEMENT

PLAN

RENDERINGS

SYSTEMS & RULES DIAGRAMS

Due to climate change, permafrost is thawing throughout the Arctic causing the ground to crack, shift, and break. Traditional Arctic architecture is not designed to withstand these changes which results in structural failure. By creating a building that adapts to the trans-forming ground, the resulting internal space is both dynamic and flexible.

FORM & SCALE STUDIES

PROGRAM STRUCTURE

CIRCULATION

To embrace the Drunken Tree syn-drome, the walls of the structure adapt while a webbing keeps cold air from entering the space.

A heating inner core warms the hu-mid air in the second layer allow-ing humidity and heat to travel to the exterior.

By configuring the base of the building to match the ground, the structure retains a sense of the landscape during changes.

Funneling wind increases the air speed therefore increasing the amount of energy generated by the mechanical energy screens.

The rubber-like nature of the wall material allows the structure to bend and adjust to different loads.

The structure moves with the shifting ground causing the skin of the building to stretch and be-come more porous.

Mobile screens allow the inhabi-tant to alter the walls to achieve different light conditions based on the season.

This facade is a lattice with nodes containing a hair for insu-lation from harsh winds, mimicing the function of goosebumps.

Arctic plants such as the purple saxifrage use low lying, dense forms to create heat pockets and ward off winds.

The combination of a solar har-nessing space with a water col-lecting structural element creates a cohesive structure inspired by Lichen.

Wind passes through two loosely tethered skins which vibrate and create heat through the movement of air.

An aperture on a facade allows the inhabitants to change the amount of light entering the space by adapting the size of the opening.

Air from a warm humid chamber air rises and begins to condense as it reaches the cooler high alti-tudes.

Different amounts of layering let various amounts of solar radia-tion to pierce the building of the skin depending on how thick the skin is.

When wind blows past the outer structure, the joints hit each other creating heat via mechani-cal energy.

The cup-like shape of the struc-ture mimics the Arctic Poppy which uses its petals to direct solar rays to the center.

The tapered shape of the building funnels wind through the channel at an increased speed causing the strings of the harp to vibrate and produce noise.

A layer of hair-like fibers pro-tects the structure from wind while creating an insulative pock-et of air.

A lichen wall or roof transitions from the ground to the structure to provide additional insulation.

Structural elements such as pipes are combined with water drainage in a system that is both visual and functional.

INHABITABLE SPACE

SPACES OF OVERLAP AND HEAT TRAP

HEAT TRAPPING CLUSTER

ARCTIC PLANTS SUCH AS THE PURPLE SAXIFRAGE USE LOW LYING DENSE FORMS RESEMBLING CUSHIONS TO CREATE HEAT POCKETS

AND WARD OFF WINDS

STRETCHING WALLS

WHEN THE GROUND SHIFTS DUE TO THAWING PERMAFROST, THE STRUCTURE MOVES ALONG WITH IT CAUSING THE SKIN OF THE BUILD-

ING TO STRETCH AND BECOME MORE POROUS

REGULAROPACITY

SLIGHTVISIBILITY

MODERATEVISIBILITY

SIGNIFICANTVISIBILITY

DRUNKEN WALLS

TO EMBRACE THE DRUNKEN TREE SYNDROME, A WEBBING IS PLACED IN BETWEEN WALLS TO ALLOW FOR FLEXIBILITY WHILE ALLOWING

LIGHT TO PIERCE THROUGH THE SPACE

FLEXIBLITY

THE RUBBER-LIKE NATURE OF THE WALL MATERIAL ALLOWS THE STRUC-TURE TO BEND AND ADJUST TO DIFFERENT SNOW LOADS THEN EVEN-

TUALLY RETURN TO ITS INITIAL SHAPE

FRAME SITS IN ITS NATURAL POSITION DUE TO THE LACK OF SNOW

WITH THE ADDITION OF SNOW THE FRAME BEGINS TO BOW OUTWARD UNDER THE WEIGHT

A GREATER SNOW LOAD INCREASES THE DEFOR-MATION OF THE FRAME AND INCREASES THE DEPRESSION IN THE ROOF

NODE

HAIRWIND

SKIN

GOOSEBUMPS

THIS FACADE IS A LATTICE WITH NODES CONTAINING A HAIR FOR INSU-LATION FROM HARSH WINDS (MIMICS THE FORMS OF GOOSEBUMPS)

LICHENS ARE A COMBINATION OF ALGAE, WHICH ARE RESPONSIBLE FOR PHOTOSYNTHESIS, AND FUNGI THAT GIVE THE ALGAE A STRUCTURE

AND ABSORB WATER FROM THE SURROUNDINGS

SOLAR HARNESSING SPACEWATER FLOW SUN RAYS

COHESIVE SPECIES

LICHEN GROUND

A LICHEN WALL OR ROOF TRANSITIONS FROM THE GROUND TO THE STRUCTURE TO PROVIDE ADDITIONAL INSULATION

LICHEN WALLMECHANICAL ENERGY

WHEN WIND BLOWS PAST THE OUTER STRUCTURE THE JOINTS HIT EACH OTHER CREATING HEAT VIA MECHANICAL ENERGY

NO OVERLAPPING

MINIMAL OVERLAPPING

MAXIMUM OVERLAPPING

OPACITY

MOBILE SCREEN OF MODERATE TRANSPARENCY ALLOW THE INHABI-TANT TO REARRANGE THE WALLS TO ACHIEVE THE MAXIMUM AMOUNT

OF LIGHT OR PREFERABLE ATMOSPHERIC CONDITIONS

DIFFERENT LAYERING OF A SLIGHTLY OPAQUE MATERIAL LETS VARYING AMOUTNS OF SOLAR RADIATION PIERCE THE BUILDIND SKIN

LIGHT THROUGH LAYERING

PERMAFROST BASE

PERMAFROST MELTS AND RE-FREEZES SO BY CREATING A BASE IN THE SHAPE OF THE NEGATIVE OFTHE PERMAFROST, THE BUILDING RETAINS

A SENSE OF THE GROUND DURING THE CHANGING TERRAIN

SOLAR DIRECTING

THE ARCTIC POPPY USES THE CUP-LIKE SHAPE OF ITS LEAVES TO DIRECT SOLAR RAYS INTO ITS CENTER TO MAXIMIZE THE SUNLIGHT

SLOW AIR SPEED FAST AIR SPEED

BY FUNNELING WIND THROUGH TWO STRUCTURES, THE MECHANICAL ENERGY GENERATIED BY THE FRAMES WOULD INCREASE

VENTURI EFFECT WIND VIBRATIONS

WHEN WIND PASSES THROUGH TWO LOOSELY TETHERED SKINS THEY BEGIN TO VIBRATE AND FLAP CREATING HEAT THROUGH THE MOVE-

MENT OF AIR MOLECULES

SCREEN POSITION 1 SCREEN POSITION 2 HEAT FROM VIBRATION

VISIBLE WATER DRAINAGE

STRUCTURAL ELEMENTS SUCH AS PIPES ARE COMBINED WITH WATER DRAINAGE IN A SYSTEM THAT IS BOTH VISUAL AND FUNCTIONAL

WARM INNER CORE

HEATING ELEMENT HUMIDITY ELEMENT GENERAL LIVING

A HEATING INNER CORE WARMS THE HUMID AIR IN THE SECOND LAYER ALLOWING BOTH HEAT AND HUMIDITY TO TRAVEL INTO THE EXTERIOR

LIVING LAYER

INDOOR CLOUD

BY SURROUNDING A TALL VERTICAL SPACE BY A HUMIDITY PRODUCING AREA THE WARM AIR RISES AND BEGINS TO CONDENSE AS IT REACHES

THE COOLER HIGH ALTITUDES

WARM HUMID AIR COOLING AIR CONDENSATIONCLOUD

A LAYER OF HAIR-LIKE FIBERS PROTECTS THE STRUCTURE FROM WIND WHILE CREATING AN INSULATIVE POCKET OF AIR

FLEECE INSULATION

BREAKSHIFTCRACK

FRONT DESK

LOCKER ROOMS

FACILITIES RESTORATIVECARDIO STRENGTH

ROCK CLIMBING RUNNING WEIGHTS INDOOR FIELDYOGA

LOUNGE GYMNASTICS SAUNACONFERENCE ROOM PHYSICAL THERAPYSPIN

CRACKING SHIFTING BREAKING

STRETCHING SEPARATING BREAKING BENDING STEPPING

In the Arctic Studio, we have challenged our-selves to design in one of the most inhospitable climates in the world. Specific characteris-tics of the Arctic, such as extreme light and dark and frigid tempera-tures, cause there to be a lack of architecture or design in the North. This environment also breeds large scale so-cial issues, resulting in a difficult site both physically and socially. Our project was to adapt these difficulties into a building or proto-type that can change the way we view the Arctic.

We began by researching the culture and condi-tions found in the re-gion and also comparing our discoveries to oth-er parts of the world. Architects known for their construction in the Arctic were studied and emulated. We gath-ered our knowledge and began to alter and test the conditions of the arctic in five catego-ries: light, precipita-tion, air flow, site, and heat. All of this information and develop-ment was combined to form our final prototypes.

BEFORE SHIFT

AFTER SHIFT

A B C

D

A B

D

C

JENNY ADAIR

APERTURE

SO MOVABLE APERTURE ON A FACADE ALLOWS THE INHABITANTS TO CHANGE THE ATMOSPHERE BY ADAPTING THE SIZE OF THE APERTURE

TO THE CURRENT SOLAR CONDITIONS

MEDIUM APERTUREf/8

LARGE APERTUREf/2

SMALL APERTUREf/22

AEOLIAN

THE TAPERED SHAPE OF THE BUILDINGS FUNNELS WIND THROUGH THE CHANNEL AT AN INCREASED SPEED CAUSING THE STRINGS OF THE

HARP TO VIBRATE AND PRODUCE NOISE

ARCH 3010 Arctic Design Group Studio: Rethinking Fundamentals

Shif

ting

Int

o Mo

tion

CONCEPT STUDIES

CONCEPT

SECTIONS

MOVEMENT

PLAN

RENDERINGS

SYSTEMS & RULES DIAGRAMS

Due to climate change, permafrost is thawing throughout the Arctic causing the ground to crack, shift, and break. Traditional Arctic architecture is not designed to withstand these changes which results in structural failure. By creating a building that adapts to the trans-forming ground, the resulting internal space is both dynamic and flexible.

FORM & SCALE STUDIES

PROGRAM STRUCTURE

CIRCULATION

To embrace the Drunken Tree syn-drome, the walls of the structure adapt while a webbing keeps cold air from entering the space.

A heating inner core warms the hu-mid air in the second layer allow-ing humidity and heat to travel to the exterior.

By configuring the base of the building to match the ground, the structure retains a sense of the landscape during changes.

Funneling wind increases the air speed therefore increasing the amount of energy generated by the mechanical energy screens.

The rubber-like nature of the wall material allows the structure to bend and adjust to different loads.

The structure moves with the shifting ground causing the skin of the building to stretch and be-come more porous.

Mobile screens allow the inhabi-tant to alter the walls to achieve different light conditions based on the season.

This facade is a lattice with nodes containing a hair for insu-lation from harsh winds, mimicing the function of goosebumps.

Arctic plants such as the purple saxifrage use low lying, dense forms to create heat pockets and ward off winds.

The combination of a solar har-nessing space with a water col-lecting structural element creates a cohesive structure inspired by Lichen.

Wind passes through two loosely tethered skins which vibrate and create heat through the movement of air.

An aperture on a facade allows the inhabitants to change the amount of light entering the space by adapting the size of the opening.

Air from a warm humid chamber air rises and begins to condense as it reaches the cooler high alti-tudes.

Different amounts of layering let various amounts of solar radia-tion to pierce the building of the skin depending on how thick the skin is.

When wind blows past the outer structure, the joints hit each other creating heat via mechani-cal energy.

The cup-like shape of the struc-ture mimics the Arctic Poppy which uses its petals to direct solar rays to the center.

The tapered shape of the building funnels wind through the channel at an increased speed causing the strings of the harp to vibrate and produce noise.

A layer of hair-like fibers pro-tects the structure from wind while creating an insulative pock-et of air.

A lichen wall or roof transitions from the ground to the structure to provide additional insulation.

Structural elements such as pipes are combined with water drainage in a system that is both visual and functional.

INHABITABLE SPACE

SPACES OF OVERLAP AND HEAT TRAP

HEAT TRAPPING CLUSTER

ARCTIC PLANTS SUCH AS THE PURPLE SAXIFRAGE USE LOW LYING DENSE FORMS RESEMBLING CUSHIONS TO CREATE HEAT POCKETS

AND WARD OFF WINDS

STRETCHING WALLS

WHEN THE GROUND SHIFTS DUE TO THAWING PERMAFROST, THE STRUCTURE MOVES ALONG WITH IT CAUSING THE SKIN OF THE BUILD-

ING TO STRETCH AND BECOME MORE POROUS

REGULAROPACITY

SLIGHTVISIBILITY

MODERATEVISIBILITY

SIGNIFICANTVISIBILITY

DRUNKEN WALLS

TO EMBRACE THE DRUNKEN TREE SYNDROME, A WEBBING IS PLACED IN BETWEEN WALLS TO ALLOW FOR FLEXIBILITY WHILE ALLOWING

LIGHT TO PIERCE THROUGH THE SPACE

FLEXIBLITY

THE RUBBER-LIKE NATURE OF THE WALL MATERIAL ALLOWS THE STRUC-TURE TO BEND AND ADJUST TO DIFFERENT SNOW LOADS THEN EVEN-

TUALLY RETURN TO ITS INITIAL SHAPE

FRAME SITS IN ITS NATURAL POSITION DUE TO THE LACK OF SNOW

WITH THE ADDITION OF SNOW THE FRAME BEGINS TO BOW OUTWARD UNDER THE WEIGHT

A GREATER SNOW LOAD INCREASES THE DEFOR-MATION OF THE FRAME AND INCREASES THE DEPRESSION IN THE ROOF

NODE

HAIRWIND

SKIN

GOOSEBUMPS

THIS FACADE IS A LATTICE WITH NODES CONTAINING A HAIR FOR INSU-LATION FROM HARSH WINDS (MIMICS THE FORMS OF GOOSEBUMPS)

LICHENS ARE A COMBINATION OF ALGAE, WHICH ARE RESPONSIBLE FOR PHOTOSYNTHESIS, AND FUNGI THAT GIVE THE ALGAE A STRUCTURE

AND ABSORB WATER FROM THE SURROUNDINGS

SOLAR HARNESSING SPACEWATER FLOW SUN RAYS

COHESIVE SPECIES

LICHEN GROUND

A LICHEN WALL OR ROOF TRANSITIONS FROM THE GROUND TO THE STRUCTURE TO PROVIDE ADDITIONAL INSULATION

LICHEN WALLMECHANICAL ENERGY

WHEN WIND BLOWS PAST THE OUTER STRUCTURE THE JOINTS HIT EACH OTHER CREATING HEAT VIA MECHANICAL ENERGY

NO OVERLAPPING

MINIMAL OVERLAPPING

MAXIMUM OVERLAPPING

OPACITY

MOBILE SCREEN OF MODERATE TRANSPARENCY ALLOW THE INHABI-TANT TO REARRANGE THE WALLS TO ACHIEVE THE MAXIMUM AMOUNT

OF LIGHT OR PREFERABLE ATMOSPHERIC CONDITIONS

DIFFERENT LAYERING OF A SLIGHTLY OPAQUE MATERIAL LETS VARYING AMOUTNS OF SOLAR RADIATION PIERCE THE BUILDIND SKIN

LIGHT THROUGH LAYERING

PERMAFROST BASE

PERMAFROST MELTS AND RE-FREEZES SO BY CREATING A BASE IN THE SHAPE OF THE NEGATIVE OFTHE PERMAFROST, THE BUILDING RETAINS

A SENSE OF THE GROUND DURING THE CHANGING TERRAIN

SOLAR DIRECTING

THE ARCTIC POPPY USES THE CUP-LIKE SHAPE OF ITS LEAVES TO DIRECT SOLAR RAYS INTO ITS CENTER TO MAXIMIZE THE SUNLIGHT

SLOW AIR SPEED FAST AIR SPEED

BY FUNNELING WIND THROUGH TWO STRUCTURES, THE MECHANICAL ENERGY GENERATIED BY THE FRAMES WOULD INCREASE

VENTURI EFFECT WIND VIBRATIONS

WHEN WIND PASSES THROUGH TWO LOOSELY TETHERED SKINS THEY BEGIN TO VIBRATE AND FLAP CREATING HEAT THROUGH THE MOVE-

MENT OF AIR MOLECULES

SCREEN POSITION 1 SCREEN POSITION 2 HEAT FROM VIBRATION

VISIBLE WATER DRAINAGE

STRUCTURAL ELEMENTS SUCH AS PIPES ARE COMBINED WITH WATER DRAINAGE IN A SYSTEM THAT IS BOTH VISUAL AND FUNCTIONAL

WARM INNER CORE

HEATING ELEMENT HUMIDITY ELEMENT GENERAL LIVING

A HEATING INNER CORE WARMS THE HUMID AIR IN THE SECOND LAYER ALLOWING BOTH HEAT AND HUMIDITY TO TRAVEL INTO THE EXTERIOR

LIVING LAYER

INDOOR CLOUD

BY SURROUNDING A TALL VERTICAL SPACE BY A HUMIDITY PRODUCING AREA THE WARM AIR RISES AND BEGINS TO CONDENSE AS IT REACHES

THE COOLER HIGH ALTITUDES

WARM HUMID AIR COOLING AIR CONDENSATIONCLOUD

A LAYER OF HAIR-LIKE FIBERS PROTECTS THE STRUCTURE FROM WIND WHILE CREATING AN INSULATIVE POCKET OF AIR

FLEECE INSULATION

BREAKSHIFTCRACK

FRONT DESK

LOCKER ROOMS

FACILITIES RESTORATIVECARDIO STRENGTH

ROCK CLIMBING RUNNING WEIGHTS INDOOR FIELDYOGA

LOUNGE GYMNASTICS SAUNACONFERENCE ROOM PHYSICAL THERAPYSPIN

CRACKING SHIFTING BREAKING

STRETCHING SEPARATING BREAKING BENDING STEPPING

In the Arctic Studio, we have challenged our-selves to design in one of the most inhospitable climates in the world. Specific characteris-tics of the Arctic, such as extreme light and dark and frigid tempera-tures, cause there to be a lack of architecture or design in the North. This environment also breeds large scale so-cial issues, resulting in a difficult site both physically and socially. Our project was to adapt these difficulties into a building or proto-type that can change the way we view the Arctic.

We began by researching the culture and condi-tions found in the re-gion and also comparing our discoveries to oth-er parts of the world. Architects known for their construction in the Arctic were studied and emulated. We gath-ered our knowledge and began to alter and test the conditions of the arctic in five catego-ries: light, precipita-tion, air flow, site, and heat. All of this information and develop-ment was combined to form our final prototypes.

BEFORE SHIFT

AFTER SHIFT

A B C

D

A B

D

C

JENNY ADAIR

APERTURE

SO MOVABLE APERTURE ON A FACADE ALLOWS THE INHABITANTS TO CHANGE THE ATMOSPHERE BY ADAPTING THE SIZE OF THE APERTURE

TO THE CURRENT SOLAR CONDITIONS

MEDIUM APERTUREf/8

LARGE APERTUREf/2

SMALL APERTUREf/22

AEOLIAN

THE TAPERED SHAPE OF THE BUILDINGS FUNNELS WIND THROUGH THE CHANNEL AT AN INCREASED SPEED CAUSING THE STRINGS OF THE

HARP TO VIBRATE AND PRODUCE NOISE

HEAT/EXPANSIONPRE-INFLATION INFLATION

ARCH 3010 ARCTIC STUDIO

Concept Studies

Concept 1: Drunken Walls

Systems & Rules

Systems & Rules

Systems & Rules

The ground condition known as Drunken Trees is defined as a group of trees displaced from their normal vertical align-ment. In the Arctic, this is primarily caused by rapidly melting permafrost and can also damage structures . By embrac-ing this phenomenon, the building can adapt to the shifting ground rather than resisting these forces.

When our body is cold, small muscles at the base of our hairs contracts causing the hair on our body to stand up. The goosebump facade was inspired by the rising and falling of these tiny hairs. Mobile hair-like members react to air flow or temperature to shield the building from cold wind while create a visual flurry from within the space.

After studying Ralph Erskine and his Arctic principles, it became evident that snow is an incredibly good insulator. By creating a building with a deformable membrane, the form of the structure stretches under the weight of snow and thus contains the insulative material. This deformation is both structural while creating interesting divisions of space.

Light

Heat

Water/Precipitation

Airflow

Ground

Form & Scale

Form & Scale

Form & Scale

Program Potentials

Program Potentials

Program Potentials

Concept 2: Goosebumps

Concept 3: Flexibility

JENNY ADAIR

APERTURE CONDENSATION

AEOLIAN WIND VIBRATION GOOSEBUMPS FUNNEL CLOUDCLUSTER

DRUNK WALLS

HUMIDITY RISE

STRETCHING WALLS

MECHANICAL ENERGY

PERMAFROST BASE

CORE

LICHEN WALL

FLEECE

THERMAL BRIDGE STRUCTURAL SHIFTS PERMAFROST CRACKING MIDNIGHT SUN SNOW DRIFT

GLOWING POPPY SCREENS LAYERING DRAINING COEXISTANCE FLEXIBLE PIPES

RIGIDITY OF STRUCTURAL MEMBERS

ROTATION AFTER PERMAFROST SHIFT

CURVED STEPPED CURVE STAIRS STAIR & PLATFORM PLATFORMS

STR

ETC

HIN

GBR

EAKI

NG

BEN

DIN

GTW

ISTI

NG

STEP

PIN

G

PER

MAF

RO

STPE

RM

AFR

OST

ACTI

VE L

AYER

ACTI

VE L

AYER

TUBE SYSTEM PLATE SYSTEM TUNNEL SYSTEM

CONNECTION SYSTEM INTERSECTION SYSTEM WRAPPING SYSTEM

VAR

IATI

ON

END

STA

BILI

ZER

SAL

L M

OBI

LEVA

RIA

TIO

NEN

D S

TABI

LIZE

RS

ALL

MO

BILE

DIAMOND PATTERN GRID PATTERN INCREASED DENSITY BARE PATCHES VARYING PATTERN

WIND SYSTEM THERMODYNAMIC SYSTEMINFLATION SYSTEM

WATER SYSTEM RUBBER SYSTEM

CRADLE SYSTEM MATERIAL BRACING SYSTEM

LIQ

UID

FO

RM

SOLI

D F

OR

M

SELF

WEI

GH

TAD

DED

WEI

GH

T

BEFO

RE

LOAD

WIT

H L

OAD

STAN

DAR

D F

OR

MFO

RM

WIT

H S

NO

W

AEOLIAN

THE TAPERED SHAPE OF THE BUILDINGS FUNNELS WIND THROUGH THE CHANNEL AT AN INCREASED SPEED CAUSING THE STRINGS OF THE HARP TO VIBRATE AND PRO-

DUCE NOISE

APERTURE

SO MOVABLE APERTURE ON A FACADE ALLOWS THE INHABITANTS TO CHANGE THE ATMOSPHERE BY ADAPTING THE SIZE OF THE APERTURE TO THE CURRENT SOLAR

CONDITIONS

MEDIUM APERTUREf/8

LARGE APERTUREf/2

SMALL APERTUREf/22

INDOOR CLOUD

BY SURROUNDING A TALL VERTICAL SPACE BY A HUMIDITY PRODUCING AREA THE WARM AIR RISES AND BEGINS TO CONDENSE AS IT REACHES THE COOLER HIGH

ALTITUDES

WARM HUMID AIR COOLING AIR CONDENSATIONCLOUD

INHABITABLE SPACE

SPACES OF OVERLAP AND HEAT TRAP

HEAT TRAPPING CLUSTER

ARCTIC PLANTS SUCH AS THE PURPLE SAXIFRAGE USE LOW LYING DENSE FORMS RESEMBLING CUSHIONS TO CREATE HEAT POCKETS AND WARD OFF WINDS

HARNESSING MELTWATER

THE ADDITION OF A WATER DRAINAGE RAMP ON THE SIDE OF SNOW ACCUMULATION CREATES A PATHWAY FOR MELTWATER

DRUNKEN WALLS

TO EMBRACE THE DRUNKEN TREE SYNDROME, A WEBBING IS PLACED IN BETWEEN WALLS TO ALLOW FOR FLEXIBILITY WHILE ALLOWING LIGHT TO PIERCE THROUGH

THE SPACE

AMBIENT LIGHT

USING A SIMILAR LAYERING TECHNIQUE AND SEMI-TRANSLUSCENT MATERIALS, THE ATMOSPHERIC LIGHT IS SIMILAR TO THE GLOWING EFFECT OF LIGHT SHINING

THROUGH YOUR FINGERS

AMBIENT LIGHT(WARM LIGHT STRONGEST

TOWARDS EDGES)LIGHT RAYS SHINING

THROUGH OUTER SKIN

HUMIDITY

BY PLACING A GREENHOUSE LIKE SPACE ON THE LOWER HALF OF THE STRUCTURE, IT IS POSSIBLE TO KEEP THE ENTIRE BUILDING COMFORTABLE BY ALLOWING WARM

AIR TO RISE WHILE COMFORTABLE HUMIDITY REMAINS ON THE GROUND FLOOR

LICHENS ARE A COMBINATION OF ALGAE, WHICH ARE RESPONSIBLE FOR PHOTOSYN-THESIS, AND FUNGI THAT GIVE THE ALGAE A STRUCTURE AND ABSORB WATER

FROM THE SURROUNDINGS

SOLAR HARNESSING SPACEWATER FLOW SUN RAYS

COHESIVE SPECIES

MECHANICAL ENERGY

WHEN WIND BLOWS PAST THE OUTER STRUCTURE THE JOINTS HIT EACH OTHER CREATING HEAT VIA MECHANICAL ENERGY

CONDENSATION SCREENS

THE AMOUNT OF CONDENSATION FORMING ON SURFACES CAN BE ALTERED BY CHANGING THE AMOUNT OF SURFACE CONTACT A SPACE HAS WITH THE EXTERIOR OR BY RAISING CERTAIN SPACES OFF THE GROUND TO ACHIEVE DESIRE HUMIDITY

PERMAFROST BASE

PERMAFROST MELTS AND RE-FREEZES SO BY CREATING A BASE IN THE SHAPE OF THE NEGATIVE OFTHE PERMAFROST, THE BUILDING RETAINS A SENSE OF THE

GROUND DURING THE CHANGING TERRAIN

WARM INNER CORE

HEATING ELEMENT HUMIDITY ELEMENT GENERAL LIVING

A HEATING INNER CORE WARMS THE HUMID AIR IN THE SECOND LAYER ALLOWING BOTH HEAT AND HUMIDITY TO TRAVEL INTO THE EXTERIOR LIVING LAYER

VISIBLE WATER DRAINAGE

STRUCTURAL ELEMENTS SUCH AS PIPES ARE COMBINED WITH WATER DRAINAGE IN A SYSTEM THAT IS BOTH VISUAL AND FUNCTIONAL

WIND VIBRATIONS

WHEN WIND PASSES THROUGH TWO LOOSELY TETHERED SKINS THEY BEGIN TO VIBRATE AND FLAP CREATING HEAT THROUGH THE MOVEMENT OF AIR MOLECULES

SCREEN POSITION 1 SCREEN POSITION 2 HEAT FROM VIBRATION

STRETCHING WALLS

WHEN THE GROUND SHIFTS DUE TO THAWING PERMAFROST, THE STRUCTURE MOVES ALONG WITH IT CAUSING THE SKIN OF THE BUILDING TO STRETCH AND

BECOME MORE POROUS

REGULAROPACITY

SLIGHTVISIBILITY

MODERATEVISIBILITY

SIGNIFICANTVISIBILITY

FLEXIBLITY

THE RUBBER-LIKE NATURE OF THE WALL MATERIAL ALLOWS THE STRUCTURE TO BEND AND ADJUST TO DIFFERENT SNOW LOADS THEN EVENTUALLY RETURN TO ITS

INITIAL SHAPE

FRAME SITS IN ITS NATURAL POSITION DUE TO THE LACK OF SNOW

WITH THE ADDITION OF SNOW THE FRAME BEGINS TO BOW OUTWARD UNDER THE WEIGHT

A GREATER SNOW LOAD INCREASES THE DEFOR-MATION OF THE FRAME AND INCREASES THE DEPRESSION IN THE ROOF

LICHEN GROUND

A LICHEN WALL OR ROOF TRANSITIONS FROM THE GROUND TO THE STRUCTURE TO PROVIDE ADDITIONAL INSULATION

LICHEN WALL

NO OVERLAPPING

MINIMAL OVERLAPPING

MAXIMUM OVERLAPPING

OPACITY

MOBILE SCREEN OF MODERATE TRANSPARENCY ALLOW THE INHABITANT TO REAR-RANGE THE WALLS TO ACHIEVE THE MAXIMUM AMOUNT OF LIGHT OR PREFERABLE

ATMOSPHERIC CONDITIONSDIFFERENT LAYERING OF A SLIGHTLY OPAQUE MATERIAL LETS VARYING AMOUTNS

OF SOLAR RADIATION PIERCE THE BUILDIND SKIN

LIGHT THROUGH LAYERINGSOLAR DIRECTING

THE ARCTIC POPPY USES THE CUP-LIKE SHAPE OF ITS LEAVES TO DIRECT SOLAR RAYS INTO ITS CENTER TO MAXIMIZE THE SUNLIGHT

SLOW AIR SPEED FAST AIR SPEED

BY FUNNELING WIND THROUGH TWO STRUCTURES, THE MECHANICAL ENERGY GEN-ERATIED BY THE FRAMES WOULD INCREASE

VENTURI EFFECT

A LAYER OF HAIR-LIKE FIBERS PROTECTS THE STRUCTURE FROM WIND WHILE CREATING AN INSULATIVE POCKET OF AIR

FLEECE INSULATION

NODE

HAIRWIND

SKIN

GOOSEBUMPS

THIS FACADE IS A LATTICE WITH NODES CONTAINING A HAIR FOR INSULATION FROM HARSH WINDS (MIMICS THE FORMS OF GOOSEBUMPS)

ONE WAY FRAME

TWO WAY FRAME

VARIED FRAME

SNOW CATCHING FORMS

COMPLEX SCALE

HOUSE SCALE

ROOM SCALE

INCORPORATING ELEMENTS THAT SPAN BETWEEN THE INTERIOR AND EXTERIOR CREATES A THERMAL BRIDGE THEREFORE MAKING THE SPACE A TEMPERATURE

MEDIATOR BETWEEN EXTREME COLD AND WARMTH

THERMAL BRIDGE Existing Conditions

Adair, J + Eck, B | ARCTIC DESIGN GROUP

D R I V E R 3 | A R C H I T E CT U R E I N E XT R E M E E N V I R O N M E N TS

31

32

Wu, D | ARCTIC DESIGN GROUP

D R I V E R 3 | A R C H I T E CT U R E I N E XT R E M E E N V I R O N M E N TS

33

34

Blanco, L | ARCTIC DESIGN GROUP

D R I V E R 3 | A R C H I T E CT U R E I N E XT R E M E E N V I R O N M E N TS

35

14

56

7

8

10

12

13

14

1617

20

21

23

Boiler

Coal Intake

Seawater Pump

Turbine Generato