Draft
Rabeia Alhadi
Accepted in Partial Fulfilment of the Requirements For the Degree of Master of Architecture
At The Savannah College of Art and Design
____________________________________________________________________________________________________/__/__ Scott Dietz Date Committee Chair
____________________________________________________________________________________________________/__/__ Mohamed Elnahas Date Committee Member ____________________________________________________________________________________________________/__/__ Malcolm Kesson Date Committee Member
The Living Skyscraper
Mashrabbia; A Kinetic Envelope Represents Islamic Culture and Improves
Building Energy Performance
A Thesis Submitted to the Faculty of the Architecture In Partial Fulfilment for the Requirements of
Degree of Architecture
At The Savannah College of Art and Design
By
Rabeia M. Alhadi
June/2011
Dedication
To my father, Mahmoud A. Elfaitory, and my mother, Nabawia A. Eljerjawi,
t o whom I owe everything I have accomplished in my life,
and to my brothers and sisters, for all their love and support.
Acknowledgements
I would like to express my gratitude to the Libyan Ministry of Education for its financial support, without which this research would never
have been possible. I was fortunate in having Prof. Scott Dietz as my committee chairman at SCAD. I am most grateful to him for encouraging
and advising me throughout my work, as well as for his advice, comments and valuable discussions during the preparation of the final
submission of this thesis. I am also very grateful to Prof. Mohamed Elnahas, my faculty advisor, for his advice and comments on my thesis prior
to submission. My thanks are also due to Prof. Malcolm Kesson, my topic consultant, for his comments and guidance throughout my work on
this thesis. I would also like to extend my gratitude for editorial help rendered by Mrs. Zeba Siddiqui for her valuable and ongoing assistance.
Many thanks also go to the staff of the SCAD Library for their assistance.
Outside the academic arena, my deepest thanks go to my family and in particular my husband, Mohamed A. Elmughrbi. Its various
members never stopped encouraging me to finish this thesis and they continued to bear with me throughout the period of my work because of
my academic interests.
Finally, I thank my Creator for His grace, for having such helpful people around me, and for the privilege of being able to complete this
research.
Table of Content: List of Figures
Abstract
Part One: 1.1 Theoretical Context
1.2 Arguable Position
1.3 Design Objective
1.4 Design Strategy
1.5 Expected Outcome
1.6 Active Research& Relevant Resources
1.6.1 Environmental effect on Islamic culture and its
relation to architecture
1.6.2 Case Studies
Part Two: Context Analysis 2.1 Digital Context 2.1.1 Introduction 2.1.2 Kinetic Envelope Systems 2.1.3 Parametric Design of BIM 2.1.4 Design parameters for kinetic skins 2.2 Social and Cultural Context of Skyscrapers
2.2.1 History and Technology 2.2.2 Sustainable Skyscrapers 2.3 Context Analysis of Tripoli City, Libya 2.3.1 Background
2.3.2 Brief History 2.3.3 Economy 2.3.4 Demography 2.3.5 The Geology, Soil and Topography
2.4.6 Climate 2.4.7The residential land use change in Tripoli. 2.3.8 Architectural and Urban Fabric of Tripoli, New versus old Part Three: Site Analysis 3.1 General Information 3.2 Site Description 3.3 Land-Use Map 3.4 Circulation Map 3.5 Sun Path 3.6 Prevailing Wind 3.7 Views from the Site to Its Surroundings 3.8 Views to the Site 3.9 Environment Simulations 3.9.1 Solar Radiation Analysis 3.9.2 Shadow Study 3.9.3 Wind Study Part Four: Programming 4.1 General Overview of Needs and Desires 4.2 Tripoli’s Traditional Street Component 4.3 Program Summary 4.4 Program Distribution 4.5 Program precedents
4.6 Program Quantitative Summary and Proportions 4.7 Conclusion Part Five: 5.1 Introduction 5.2 Islamic Geometric Patterns 5.3 Types of Islamic Patterns 5.4 The Proposed Mashrabbia Patterns 5.5 Dynamic Mashrabbia Environment Simulations 5.6 Project Schematic Design Part Six: Design Development
6.1 Dynamic Mashrabbia Pattern Development 6.2 Building Orientation 6.4 Building Design Development 6.5 Dynamic Mashrabbia Evaluation
6.5.1 Solar Radiation Analysis 6.5.2 Building Energy Performance Analysis
6.5.3 Dynamic Mashrabbia Benefits Part Seven: Design Development
7.1 Dynamic Mashrabbia Details 7.1.1 Dynamic Mashrabbia Behaviour during Daytime 7.1.2 Detailed Mashrabbia Design 7.1.3 Dynamic Mashrabbia Effect on Interior Spaces
7.2 Building Skin Layers and Ventilation system 7.3 Design Development 7.4 Conclusion
Bibliography
1
List of Figures:
Part One: Fig. 1.1: The old city of Tripoli, Libya
Fig 1.2: Courtyard House
Fig 1.3: Mashrabbia
Fig 1.4: Geometric Patterns of Tessellate Panels
Fig 1.5: Interior rendering of the Court yeard by Foster+ Partners
Fig 1.6: ABI's Strata System
Fig 1.7: Detail of ABI's Strata System
Fig 1.8: Perme System at Aldar Central Market
Fig 1.9: Abu Dhabi Investment Council Headquarters Towers
Fig 1.10, Investment-Council-Headquarters-Towers-Concept-Design
Fig 1.11: Investment-Council-Headquarters-Towers-Ground-Design
Fig 1.13: Façade Layers
Part Two: Fig. 2.1: The kinetic façade of Arab World Institute, Paris
Fig. 2.2: Arizona State University's Bio-design Institute in Tempe
Fig. 2.3: (GSW) headquarters building
Fig. 2.4: Design parameters for kinetic skins
Fig. 2.6: The BIX electronic skin by Peter Cook
Fig. 2.5: A/B-sampling data from sensors and information portals
Fig. 2.7: Sullivan's Wainwright Building
Fig. 2.8: Sears Tower
Fig. 2.9: Lift: Taipei 101 tower, right: Burg Dubai
Fig. 2.10: Menara Mesiniaga, Kuala Lumpur, 1992, T. R. Hamzah &
Yeang
Figure 2.11: Swiss Reinsurance Headquarters, London, U.K., 2004,
Foster and Partners
Fig.2.12 : The Solaire, Battery Park, New York City, 2003
Figure 2.13: Pearl River Tower, Guangzhou, China, 2010
Fig. 2.14: Tripoli city’s skyline
Fig. 2.15: Tripoli links between European and African cities
Fig. 2.16: Oil exports from Libya
Fig. 2.17: Temperature and rainfall averages, Tripoli, Libya
Fig. 2.18: Tripoli residential land use between 1960-2005
Fig. 2.19: The main entrance to the Medina, known as Bab Al-Hurriyah
(the Freedom Gate) the earliest fortified wall around the town was built in
the 4th century
Fig. 2.20: Marcus Aurelius arch
Fig. 2.21: Karamanli Palace
Fig. 2.22: Right: The main hall of Gurji mosque, Lift: Islamic Inscriptions
in the mosque
Fig. 2, 23: The Red Castel, Tripoli, Libya
Fig. 2.24: The modern shore of Tripoli reflecting the contrast between the
old and new buildings of the city
Fig. 2.25: The style of high-rise buildings in modern Tripoli
Fig. 2.26: Residential high-rise buildings in modern Tripoli
Fig. 2.27: Commercial and Residential high-rise building in the modern
part of Tripoli
Fig. 2.28: Right, Alfateh tower. Lift: Abulaila tower
2
Fig. 2.29:10-story residential building is under construction. (Picture: Sep.
07, 2010)
Fig. 2.30: Hydra Tripoli Tower
Fig. 2.32: The new skyscrapers of Tripoli (some of them are under
construction): dwarfing Boulayla and Alfatah towers.
JW.Marriott Hotel (bottom right)
Fig. 2.31: Medina Tower, Tripoli, Libya
Part Three: Fig. 3.1: The proposed site, Tripoli, Libya, North Africa
Fig.3.2: Zooming further to the site
Fig. 3.3: Tripoli’s district heights map
Fig. 3.4: Land-use map
Fig. 3.5: Circulation map
Fig. 3.6: Sun path of Tripoli city
Fig. 3.7 Prevailing wind, Tripoli, Libya
Fig. 3.8: Views from the site
Fig. 3.9: Views toward the site
Fig. 3.10: Summer solar radiation study result
Fig. 3.11: Winter solar radiation study result
Fig. 3.12: Summer shadow study result
Fig. 3.13: Winter shadow study result
Fig. 3.14: Pressure study result
Fig. 3.15: velocity study result
Part Four:
Fig. 4.1: An example of Tripoli’s narrow traditional streets
Fig. 4.2: One of Tripoli’s medina streets
Fig. 4.3: Handicrafts in the old city of Tripoli
Fig. 4.4: Concept diagram
Fig. 4.5: A rendering of Medina Tower
Fig. 4.6: Some views of Medina Tower
Fig. 4.7: Program proportions
Part Five: Fig. 5.1: The Root Two proportion systemFig. 5.2: Root Three proportion
system
Fig. 5.3: The Golden Ratio proportion system
Fig. 5.4: Islamic mashrabbias pattern case studies
Fig. 5.5: The various opening stages of Pattern
Fig, 5.6: Pattern I Environment Simulation Result, 20-foot depth space
Fig. 5.7: Pattern I Environment Simulation Result, 30-foot depth space
Fig. 5.7: Pattern II Environment Simulation Result, 20-foot depth space
Fig. 5.8: Pattern III Environment Simulation Result, 30-foot depth space
Fig. 5.9: Pattern III Environment Simulation Result, 20-foot depth space
Fig. 5.10: Pattern I Environment Simulation Result, 30-foot depth space
Fig. 5.11: The site
Fig. 5.12: First floor zoning
Fig. 5.13: Second floor zoning
Fig. 5.14: Section A-A
Fig. 5.15: Building elevations
Fig. 5.16: Perspective
3
Fig. 5.17: Perspective
Part Six:
Fig. 6.1: Dynamic mashrabbia pattern ( Maya software)
Fig. 6.2: Best building orientation study result, Tripoli, Libya (Ecotect
software
Fig. 6.3: Distributing the dynamic mashrabbia on the towers( Revit
software)
Fig. 6.4: Site plan
Fig. 6.5: Basement floor plan
Fig. 6.6: First floor plan
Fig. 6.7: Second floor plan.
Fig. 6.8: Section A-A
Fig. 6.9: Top: South elevation. Down: West elevation
Fig. 6.10: Top: East elevation. Down: North elevation
Fig. 6.11: Project perspective
Fig. 6.12: Project perspectives
Fig. 6.13: Solar radiation study result (Vasari software)
Fig. 6.14: Building energy analysis result (Vasari software)
Part Seven: Fig. 7.1: Dynamic mashrabbia behaviour during daytime
Fig. 7.2: Dynamic mashrabbia detailed design
Fig. 7.3: Dynamic mashrabbia effact on interior spaces at different
opening stages
Fig. 7.4: Building’s skin layers, left: during moderate climate and at
nights, right: during hot climate.
Fig. 7.5: Building perspective
Fig. 7.6: Site plan
Fig. 7.7: Basement levels plan
Fig. 7.8: First floor plan
Fig. 7.9: Second floor plan
Fig. 7.10: Section A-A
Fig. 7.12: North elevation at about 4:00 pm
Fig. 7.13: West elevation at about 4:00 pm
Fig. 7.14: East elevation at about 10:00 am.
Fig. 7.15: South elevation at about 10:00 am
Fig. 7.16: Building perspective
Fig. 7.17: Building perspective
Fig. 7.19: Close perspective to the dynamic mashrabbia
Fig. 7.17: The sky gardens
Fig. 7.18: The café
Fig. 7.16: The main entrance of the project and the main courtyard
4
The Living Skyscraper Mashrabbia; A Kinetic Envelope Represents Islamic Culture and
Improves Building Energy Performance
Rabeia M. Alhadi
June, 2011
Abstract During the last couple of decades, Tripoli, like any other
major city has grown exponentially. Nowadays it requires
thousands of new homes per year; a situation that has created a lot
of controversy as urban planners propose skyscrapers and
Tripolians drastically refuse to change their beloved city.
With the growing populations in Tripoli, high-rise buildings are
becoming an important part of the city life. However, the new high-
rise buildings should accommodate the local style of life.
This thesis investigates how the use of new materials,
technologies, and the digital revolution can express the local
culture and make a building harmonizes with its surrounding
environment to take full advantage of the available natural
resources and provide an acceptable climate for its occupants.
The main aim of this design is to create an innovative and next
generation sustainable tower designed specifically for Tripoli city by
taking advantage of cutting-edge technologies while respecting the
traditional way of living that reflects the area’s cultural roots.
The approach of this design is to develop a bio-inspired kinetic
envelope system which has the interactive access to the
surrounding environment. This kinetic façade is inspired by the
traditional Islamic mashrabbia and has the ability to responce and
adjust according to the sun movement to minimize undesirable
environmental impacts. A new Parametric Design method in
Building Information Modeling (BIMPD) and computational
simulation is used in this design.
5
Part One Topic Research
6
1.1 Introduction (theoretical Context)
Recent years have seen an unprecedented growth in the
construction of tall buildings, with more, and taller, skyscrapers
being constructed than at any other time in history. Certainly on an
international scale, the past several years have been the most
active and dynamic in the history of tall buildings.1
In particular, cities in developing countries seem to ignore
the local climate, culture and context and instead simply ‘import’ the
However, too
many tall buildings continue to be designed in one of two
inadequate ways: either as vertical extrusions of an efficient floor
plan, or as iconic pieces of high-rise urban ‘sculpture’. In both
cases the only relationship with the urban setting is a visual one,
with the tall building usually dominating. This has led to the
syndrome of tall buildings as ‘isolationist’ architecture – stand-
alone, non-site specific models that are readily transportable
around the cities of the world.
1 Anya Kaplan-Seem, As Economy Sank, Skyscrapers Soared Ever Higher http://archrecord.construction.com/news/daily/archives/090407skyscrapers.asp
Western model of the air-conditioned, rectilinear glass box. This
pattern of gleaming glass skyscrapers springing up in the tropics,
deserts and other extreme climates has led many to denounce the
tall building as inherently anti-environmental. In short, these tall
buildings are contributing to the degradation of both global (climate
change) and local (cultural) environments.
It does not, however, have to be this way. Tall buildings
have the opportunity to reinvent themselves as a typology for a
sustainable urban future – featured centres of life, work and play
with innovative functions, technologies and environments to face
the challenges of the future climate-changed world. This new
typology needs to be inspired not only by environmental issues, but
also by the cultural and vernacular traditions of the location they
are placed in. This is especially important in maintaining the cultural
integrity and continuity of any urban domain, but especially in
developing countries where the embrace of Western models is both
enthusiastic and rapid. In short, tall buildings need to be inspired by
place – both culturally and environmentally. This thesis seeks to
7
explore an alternative design approach for tall building to create
high-rise building that embrace its location and is inspired by the
climatic, cultural and contextual aspects of place.
1.2 Arguable Position
During the last couple of decades, Tripoli, like any other
major city has grown exponentially. Nowadays it requires
thousands of new homes per year; a situation that has created a lot
of controversy as urban planners propose skyscrapers and
Tripolians drastically refuse to change their beloved city. Tripoli is a
city of low buildings that recognizes street life and human scale as
one of its most important aspects. The few high-rise buildings
located in the city’s downtown have been criticized and almost no
one believes that skyscrapers could be the solution to their housing
problem. The modern recently-built multiple story apartment blocks
that do not accommodate privacy or access to nature have
compelled many people to seek their unique style of life at the
outskirt of Tripoli, despite the fact that they still need to return to
the inner of the city for their daily work.
“Tripoli's population of 1.6 million is growing by
approximately 2.2% per annum but the city is a little struggling to
handle such growth. The rapid growth of the city requires a new
approach to its urban structure, the layout and organisation of
housing, employment location and eventually traffic management."
(said CBRE report)2
With the growing populations in Tripoli, high-rise buildings
are becoming an important part of the city life. However, the new
high-rise buildings should accommodate the local style of life. This
thesis investigates how the use of new materials, technologies, and
the digital revolution can express the local culture and make a
building harmonizes with its surrounding environment to take the
full advantage of the available natural resources and provide an
2 CB Richard Ellis’(CBRE) Report on the Libyan real estate market July, 2010, http://www.libyaonline.com/news/details.php?id=13972, accessed on November 20, 2010.
8
acceptable climate for its occupants. This thesis explores what role
traditional Islamic architecture can play in digital architectural
design of a tall building and discusses how solar control and natural
ventilation systems can be integrated into kinetic facade systems to
minimise the environmental impacts. Sun shading should be
considered as an integral part of fenestration system design that is
adapted into the facade design.The product of this thesis is a
mixed-use skyscraper in Tripoli city, Libya, representing the Islamic
culture and coping with the region hot climate.
1.3 Design Objective
The objective of this project is to design a self-reliant
building that appropriately respects and recognizes its surrounding
site while subtly reflecting Islamic culture. The main aim of this
design is to create an innovative and next generation sustainable
tower designed specifically for Tripoli city by taking advantage of
cutting-edge technologies while respecting the traditional way of
living that reflects the area’s cultural roots. In this design, the focus
will be on the skin of the tower, which will introduce a kinetic facade
that minimizes undesirable environmental impacts by integrating
solar control, daylight and natural ventilation systems, and
encompassing a wide range of strategies resulting in an energy
efficient building design. Such facade systems minimize
overheating and excessive solar gain during summer and hot
seasons.
1.4 Design Strategy:
This project proposes a possible solution by creating a
community-like skyscraper that takes Tripoli’s street life to the sky.
This community offers residents the opportunity to live according to
their traditional life style which incorporates an Islamically-
acceptable level of privacy and desired access to nature. The
design will be generated and moulded by the surrounding
environment, and some of the parameters that will be employed in
distinguishing the building are natural lighting, shade and stable
9
conditions in the harsh climate through the design of a dynamic
skin that has the ability to adapt, mutate and adjust according to the
local climate. The approach of this design is to develop a bio-
inspired kinetic envelope system which has the interactive access
to the surrounding environment like solar radiation, daylight, etc. A
new Parametric Design method in Building Information Modeling
(BIMPD) and computational simulation will be used in this design.
The design of this skin will be inspired by the traditional
Islamic architectural element Mashrabbia (a wooden screen with
different patterns used to provide privacy and allow air movement),
and will almost play the same role of Mashrabbia in providing
shade, privacy, and a more comfortable internal environment. It will
also incorporate a photovoltaic panel system in the Mashrabbia to
provide energy self-sufficiency.
The project will be a mixed-use development with housing,
suq (shopping center), public library, gym, parks, a madrassa
(education center) and even a primary health center. It will be
designed according to green building techniques, and aims for
urban sustainability.
1.5 The Expected Outcome
As the first green skyscraper in the city, the project will play
a crucial and irreplaceable role in improving the Libyan way of life
by redefining what we understand as a skyscraper and initiating
new architectural knowledge incorporating a sense of economic,
environmental and cultural responsibility.
The project also will enhance the local neighborhood by
adding additional living space with other commercial and cultural
facilities.
At the same time, the project will propose a possible
solution for coping with hot- climate architecture utilizing advanced
building technologies with vernacular architectural elements. The
resulting system will intelligently provide thermal comfort, natural
energy and reduce energy usage of HVAC system according to
outdoor climate condition, which creates an “Acclimated Building”.
10
The expected long term achievement of this project is an innovative
design approach integrating BIMPD and biomimicry for thermal
comfort and developing building energy efficiency.
1.6 Active Research and Relevant Resources
1.6.1 The Islamic cultural response to high-rise buildings
The brilliant Egyptian architect, Hassan Fathy had explained
very perfectly “Old Islamic houses have filigreed windows and
central courts, for example, to admit light without glare, coolness
without air conditioning. The same principles could easily be
incorporated even into high-rise buildings” (CNN, 1974).
For generations, Islamic culture has exhibited various
fundamental principles of sustainable ways of living. It is the
intention of this design to revive and utilize these fundamental
principles into the modern design of a contemporary multi-story,
mixed-use tower in Tripoli city. However, the idea of high-rise
buildings brings a new scale into Islamic architecture. Moreover,
high-rise buildings also require the application of new technologies
and expertise in every aspect of the design and construction, and
require a thorough understanding of the life style and culture of the
region in which they are to be located.
1.6.1 Environmental effect on Islamic culture and its
relation to architecture
The heritage of the traditional Arabic architecture has
influenced and developed in response to three main factors: the
region’s hot and humid climate, social and religious aspects, and
local availability of building materials. In general, its main features
are simplicity, functionality, durability and suitability for climatic
environments and social life.3
In response to the hot and humid climate, four architectural
elements are visible. First, buildings were constructed close to each
other. This type of high-density structure created narrow alleys,
which were shaded for most of the day. The narrowness of the
3 Robert Hillenbrand , Islamic Architecture: form, function, and meaning, 1994.
11
alleys caused the wind to increase in velocity as it breezed through,
creating a comfortable pedestrian zone (Fig 1.1).
Fig. 1.1: The old city of Tripoli, Libya
The second element is the courtyard house, in which most
of the rooms, which may have shaded verandas, face inward
toward the courtyard, which was in the center of the house (see Fig
1.2). The existence of the courtyard generates wind movement
inside the house by allowing hot air to ascend, while cooler air to
replaces it from the surrounding rooms. Such courtyards also
reduce cooling loads in the hot climates. At night, cool air comes in
lowering the temperature in the thermally massive courtyard walls
and floor. These elements hold the coolness throughout the hot
day, which represent natural and environmental sustainability (Fig.
1.3).4
Courtyards could be included in a single house or multiple
houses could share the same open space to take advantage of
protected outdoor space. Courtyards may be of different sizes and
accommodate multiple functions. In addition to providing privacy
and stable conditions in the harsh climate, they may function as a
central hall to connect the different rooms of a single house, a
space where extended family, neighbors or guests, gather,
providing a ‘main street for a neighborhood, gathering or common
space for families.
5
In these days, although the location of the courtyard is
more likely to be at the edges of the house, it is still one of the
major characteristics of the Arab house.
4 Ibid. 5 Ibid.
12
Fig 1.2: Courtyard House
Wooden screens (mashrabbia), were also widely used in
Arab houses. They allow cool breezes to enter through the wooden
lattices, thereby enabling the entry of air currents, which reduce the
temperature; reflected heat, solar radiation, and the intensity of
traffic noise (see Fig 1.3). 6
6 Ibid.
Fig 1.3: Mashrabbia
The effect of religion and social interaction on local
architecture can be observed in two ways. Firstly, the Islamic
religious teachings encourage privacy and modesty, and courtyard
houses fulfil this condition by providing an inward-looking house
whose privacy cannot be breached from the street. All the first floor
rooms opened onto the courtyard, while the exterior walls were
mostly solid , apart from some small ventilation openings at a
considerable height, thereby preventing pedestrians from looking
13
inside. Mashrabbias were also used in the second floor to provide
privacy by reducing visual glare. A zigzag entrance to the house,
where the main gate was faced with a solid wall to provide privacy
The term “muhalla,” meaning neighborhood or locality is
also very important in Islamic architecture. Each neighborhood has
its own character, often marked by a gate. Within the demarcated
area, various sorts of buildings such as a mosque, hamam, and
shops of various kinds to meet most of the residents’ needs would
be found.7
1.6.2 Case studies:
- Modern adaptation of the traditional Mashrabbia for
privacy and solar protection.
Here, some examples of modern building’s components
design that brings back the concept of Islamic and Middle Eastern
mashrabbia presented in the terms of modern technology. Although
the modern mashrabbias work in different manner, nevertheless
7 Ibid.
they still plays the same role of the traditional one, providing shade,
privacy, and stable conditions in the harsh climate.
1- Tessellate Panels at Simons Center for Geometry &
Physics
State University of New York at Stony Brook , Long Island, NY,
2010
Project team: Architect: Perkins Eastman
Fabricator: A. Zahner Co.
Adaptive Building Initiative created a dynamic installation for
the Stony Brook Foundation’s new Center for Geometry and
Physics.
The installation serves both as the building's artistic
centerpiece and as a functional piece of shading seamlessly
integrated within its south-facing glass façade. To achieve the
requirements of the building program, ABI installed a floor-to-ceiling
composition of Tessellate panels, each with a geometric pattern—
mirroring the research focus of the building’s resident scientists and
14
mathematicians. As these patterns align and diverge, the visual
effect is of sparse geometric patterns—hexagons, circles, squares,
and triangles—that blossom into an opaque mesh (see fig 1.4). The
result is a kinetic surface that spans 122 square meters and imbues
the building with the functional capacity to dynamically change its
opacity.8
Fig 1.4: Geometric Patterns of Tessellate Panels
8 Adaptive Building Initiative, http://www.adaptivebuildings.com/simons-center.html, accessed on Nov 12, 1010.
Fig 1.4: Geometric Patterns of Tessellate Panels
15
Tessellate is controlled using location-based sensory data
to respond to light and weather conditions and fully integrates into
the building management system. For instance, when high levels of
direct light are detected, the metal panels diverge, and their
patterns completely overlap, blocking the sun’s rays. The sensors
are programmed in a variety of ways to maximize energy efficiency
and savings.9
Façade:
Adaptive Shading Coverage: 124 sq. m.
Materials: Waterjet-cut steinless steel, glass
Dimensions: 5.6m Wide x 6.7m Tall
2- Strata System at City of Justice (AP + TSJ)
Architect: Foster + Partners
Ciudad de Justicia, Madrid, Spain, 2006-2011, Strata
The new Campus of Justice in Madrid is the largest single
site dedicated to law courts in Europe. Following the master plan, 9 Ibid.
Foster + Partners has designed two distinctly circular buildings,
Tribunal Superior de Justicia (High Court) see fig 1.5, and
Audiencia Provincial (Appeals Court).
Fig 1.5: Interior rendering of the Court yeard by Foster+ Partners
Both buildings were designed to minimize unwanted solar gain,
while allowing natural daylight inside. As a key part of this
environmental strategy, ABI systems were used to develop a
customized shading scheme. Each building will use ABI's Strata
system; when extended, the system will cover the triangulated roof
16
grid. When retracted, their profile will 'disappear' into the structural
profile of the roof (see figs 1.6, 1.7).
During the day, the primary function of the system will be
sun shading. A custom algorithm combining historic solar gain data
with real-time light-level sensing will control the shading units.10
Fig 1.6: ABI's Strata System
AP:
- 20,000 sq. feet of shading area
- System Geometry: Hexagonal
- Number of operable units: 257
TSJ: 10 Ibid.
- 7,000 sq. feet of shading area
- System Geometry: Parallelogram
- Number of operable units: 115
- Materials: Aluminum, Steel
- Control System: Each unit driven by a servo motor with custom
array control
Fig 1.7: Detail of ABI's Strata System
3- Perme System at Aldar Central Market, Central Market , Abu
Dhabi, UAE , 2006-2010.
Architect: Foster + Partners
Abu Dhabi's historic Central Market has been transformed
into a dynamic new quarter with markets, shops, offices,
apartments and hotels. One of the oldest sites in the city, Central
17
Market is a reinterpretation of the traditional marketplace and a new
civic heart for Abu Dhabi. The project comprises a combination of
lower-rise, ecologically sensitive levels of retail roof gardens
forming a new public park—and three towers.
Using the Adaptive Building Initiative's Perme system,
Hoberman Associates developed several exterior shading roofs in
three public squares within the retail complex. The kinetic design
works off an operable grid. In its covered configuration, the shading
roof resembles a traditional coffered Islamic roof. When retracted,
the roof becomes a slender lattice that complements the Foster
team's designs for fixed shading (see fig 1.8).11
- Adaptive Shading Coverage: 3,000 sq. ft.
- Number of operable units: 8
- Materials: Aluminum, Steel
- Control System: Each unit driven by a servo motor with
custom array control
Adaptively Benefits
11 Ibid.
- Ventilation and airflow control
- Dust and debris protection
- Reduced solar gain and glare
- Shading control
- Privacy control
18
Fig 1.8: Perme System at Aldar Central Market
The following case studies were selected as examples of
skyscrapers whose architects attempted to mediate between the
modern building typology and the local identity.
4- Abu Dhabi Investment Council Headquarters Towers
Architects: Aedas+Arup architects
Height: 476 ft (145m), Client: Abu Dhabi Investment Council
Location: Abu Dhabi, United Arab Emirates (UAE)
Site area: 11,500sq m
Number of floors: 29 floors
Total ground floor area: Over 32,000sq m
Area of Curtain Wall: 67,500m2
Curtain Wall System: Unitized and Stick Curtain Wall
Fig 1.9: Abu Dhabi Investment Council Headquarters Towers
CONCEPT: The design of the towers considers both traditional
Islamic architecture as well as sustainability. It includes and utilises
sustainable techniques, including a state-of-the-art computer
operated shading system. The designers have also striven to fuse
Islamic architecture with the modern design, basing the entire
19
structure of the building on a mixture of two-dimensional circles and
three dimensional spheres. The entire structure is designed to
reflect a single geometric theme. "Our concept for the Abu Dhabi
Investment Council headquarters was generated from a
mathematically pre-rationalised form which was in turn derived from
Islamic principles,” said Aedas deputy chairman Peter Oborn. “It’s a
thoroughly modern building rooted in tradition.”12(see Fig. 1.10)
Fig 1.10, Investment-Council-Headquarters-Towers-Concept-Design
12 Wordpress Theme, Architecture View , http://www.architecture-view.com/2010/10/24/gorgeous-investment-council-headquarters-towers-for-abu-dhabi/, accessed: Nov 20, 2010.
Use: Commercial office use, as well as facilities for a full-service
restaurant, café, a fully configured auditorium for up to 150 people,
a multi-use conference space, and prayer rooms for the building’s
estimated 2,000 office workers.13
Fig 1.11: Investment-Council-Headquarters-Towers-Ground-Design
13 Ibid.
20
DETAILS
Fig 1.13: Façade Layers
Both towers are covered from top to bottom with a dynamic
‘mashrabbia’ screen, which opens and closes in response to the
position of the sun (see Fig. 1.9). The mashrabbia comprises over
1,000 translucent moving elements on each tower and is controlled
by specially designed computer software. It will reduce solar gain
by an estimated 20%, and provide 80% to 90% of the shading on
the building.14
The mashrabiya is made of a translucent fabric mesh
(PFTE), providing occupants closed. The honeycomb design is not
only practical in terms of shading, but is also very resilient and
difficult to damage.
15
These sustainable initiatives will lead to an estimated 20%
reduction in electricity consumption, due to a reduced in the need
for air conditioning and lighting, a 20% reduction in CO2 emissions
and a 15% in cooling plant capital cost.
16
14 Ibid. 15 Ibid. 16 Bridgette Meinhold, Inhabitat, Solar-Powered Crystalline Towers Unveiled for Abu Dhabi, http://inhabitat.com/solar-powered-crystalline-towers-unveiled-for-abu-dhabi/abu-dhabi-investment-council-headquarters-towers-13/?extend=1, accessed: Nov 20,2010.
21
Part Two Context Analysis
22
2.1 Digital Context:
2.1.1 Introduction
How to make buildings acclimate to the climate has been
the challenge of architecture for Thermal comfort. Reducing the
outdoor high temperature differences is still the significance of
building energy efficiency. In particular, there are many locations
with great daily or seasonal variation in climatic temperature. The
temperature can swing around 40 C° degrees from winter to
summer and around 10 C° degrees from night to day17
17 Z. Xie, H.-X. Cao, “Asymmetric Changes in Maximum and Minimum Temperature in Beijing”, Theor. Appl. Climatol. 1996, vol. 55, pp. 151-156
. Currently,
the common strategies for addressing this wide temperature range
of climate are the HVAC (Heating, Ventilating and Air-conditioning)
systems. Much energy of HVAC system is needed in these
locations for indoor thermal comfort. There are lots of studies
focusing on the high-tech or high-efficient HVAC system to save
energy. However, we believe the fundamental point is the building
design rather than external treatment like the HAVC system. That is
why many design standards and handbooks are used for
recommending building orientation, materials and other design
strategies for reducing the energy usages of HVAC systems. Since
this thesis suggests design of a bio-inspired dynamic envelope
system responding to solar radiation and local climate conditions,
and in order to explore the envelope system, this research reviews
important literatures related to biomimetic design in architecture
and kinetic/interactive building envelope applications.
2.1.2 Kinetic Envelope Systems
The optical and thermophysical properties of building
envelopes are one of the most important design parameters
affecting indoor thermal comfort and energy conservation18
18 Gul Koc¸ Zerrin Yilmaz, “Building form for cold climatic zones related to building envelope from heating energy conservation point of view,” Energy and Buildings, 2003, vol. 35, pp. 383–388.
.
Regarding the interactive or kinetic envelope, it belongs to the
issue of kinetic architecture that initially was first demonstrated by
the literature “Kinetic Architecture” wrote by William Zuk and Roger
H. Clark in 1970. It shows a systematic knowledge about kinetic
23
architecture, also proposed a combination between natural
organisms and buildings19. Building envelopes tend to be smarter
with more moving parts, and the main trend driven by kinetic
envelopes is sustainability and indoor comfort20. Also, some
practices and research consistently justify that interactive
envelopes can offer promising energy savings and indoor comfort
21 22 23
There are many examples among which the following ones are
worth mentioning. Consider, for instance, eye adaptation that the
pupil controlling the amount of light entering the eyes
.
24
19 William Zuk, Roger H. Clark, Kinetic Architecture. New York: 1970
. This was
contributed to design camera shutters and then inspired an
interesting façade of Jean Nouvel’s design, Arab World Institute in
Paris (Fig.2.1). The kinetic envelopes will control the amount of
20 Sullivan, C. C., “Robot Buildings. Pursuing the Interactive Envelope,” Architectural Record, 0003858X, 194: Issue 4 21 Thanos Tzempelikos, “Integration of Dynamic Facades with other Building Systems,” Automated Buildings Magazine, 2007, May. 22 Sullivan, C. C. 23 Thanos Tzempelikos 24 Carlos Ernesto Ochoa, Isaac Guedi Capeluto, “Strategic decisionmaking for intelligent buildings: Comparative impact of passive design strategies and active features in a hot climate,” Building and Environment, 2008, pp.1829–1839.
incident sunlight according to the outside daylight illumination
conditions. In the result, the indoor lighting environment will be
balanced and save the electrical lighting energy.
Fig 2.1: The kinetic façade of Arab World Institute, Paris
Another example involves automated shades which have the
attributes of highly transparent and relatively unarticulated building
enclosures. At Arizona State University's Bio-design Institute in
Tempe (Fig 2.2), researchers used interior aluminum louvers
controlled continuously by photocells and sun-tracking embedded
computation instead of the large expanse of window walls at Gould
Evans and Lord Aeck Sargent Architecture. A manual override
24
accessible through occupants' computers allows personal
adjustments to be made25.
Fig 2.2: Arizona State University's Bio-design Institute in Tempe
In addition, the envelope systems of the Gemeinnützige
Siedlungsund Wohnungsbaugesellschaft (GSW) headquarters
building(Fig. 2.3), designed by Sauerbruch & Hutton Architects,
demonstrate the views that the envelopes of buildings may like the
skins of living organisms to breathe, change form, and adapt to
variations in climate26
25 Sullivan, C. C.
. Its kinetic envelop systems offer the
naturally ventilation for 70 percent of the year, and provide
26 Michael Wiggington, Jude Harris, “Breathing in Berlin,” Architecture Week 2003, 0903, pp. E1.1.
extremely good daylight to the office floors through shading
systems and much reduce the need for electrical lighting.
Fig 2.3: (GSW) headquarters building
Current intelligent kinetic systems arise from the
isomorphic convergence of three key elements: mechanical
engineering, embedded computation and responsive architecture.
Based on morphology and biology about tissue systems which
include three basic types- nervous tissue, connective tissue and
25
skin tissue, at the architectural counterpoints, the interactive/kinetic
envelope systems can be also arose from the isomorphic
convergence of three key elements: sensor / monitor systems,
embedded computation and kinetic components. Sensor/monitor
systems like the biological nervous tissue are to sense and record
indoor air condition parameters involving pollutants, air flow rate
and etc. Next embedded computation deemed as connective tissue
analyzes the data received from the sensor/monitor systems
through embedded programs given by designers or users, and in
turn the kinetic components related to the skin tissue can adjust
their configurations, shaping or composing according to the
commands from embedded computation. Multiple building tissues
of envelopes are grouped together and carry out a specific
acclimated function for outside and inside air condition signals, and
then form an integral kinetic system, which can be deemed as an
interactive/kinetic building organ27
27 Bettig B., J. Shah, “Derivation of a standard set of geometric constraints for parametric modeling and data exchange,” Computer-Aided Design, 2001, vol.33, pp.17–336.
.
2.1.3 Parametric Design of BIM (BIMPD)
Most issues related to parametric design is for exploring,
representing or optimizing geometric shapes rather than capturing
and describing real architectural needs related to environments or
occupants 28 29 30. However, the term “BIMPD” is a new and
different area and includes 3D knowledge-rich parametric modeling
information from geometry to shape, from materials to
constructions and from occupancy activities to environmental
conditions. Lee and Sacks 31
28 Ibid.
extended BIM to domain knowledge
and explored the ability of an object in BIM to respond to internal or
external stimuli (i.e., change its form in response to changes in its
context) through complex constrains defined by users or
environmental conditions. On the other hand, BIM can utilize
external software to access necessary parameters for building
29 B. Bruderlin, D. Roller (Eds.), Geometric Constraint Solving and Applications, Springer, Berlin, Germany:1998. 30 J.Y. Lee, K. Kim, “Geometric reasoning for knowledge-based parametric design using graph representation,” Computer-Aided Design, 1996, vol. 28, pp. 831– 841. 31 Ghang Lee a, et al, “Specifying parametric building object behaviour (BOB) for a building information modeling system,” Automation in Construction, 2006, vol.15, pp. 758 – 776.
26
energy performance analysis. Schlueter & Thesseling 32
The BIM-based design with parametric methods presents the
possibility of kinetic building configuration for indoor thermal
comfort according to constraints like the relation between solar
radiation and changes of multilayer envelopes. These
configurational changes will be driven by the biologic conceptual
manipulation of spatial/configurational, physical/behavioral and
material/constructional aspects of design. Also, this process allows
discussions of design ideas and analytical tests combined with
existing computational techniques like EnergyPlus at multiple
points during the design process. The BIMPD method ultimately
results in an iterative design process supporting kinetic
conceptualization, materialization, and construction information.
developed
a prototypical tool DPV integrated into a BIM authoring tool
(Autodesk Revit) enabling the instantaneous energy simulation and
the visual representation of outputs.
32 Arno Schlueter, Frank Thesseling, “Building information model based energy/exergy performance assessment in early design stages,” Automation in Construction, 2009, vol.18, pp.153–163.
2.1.4 Design parameters for kinetic skins
According to Rickey and Dorin in indicating where
design decisions of kinetic skins occur and the range of parameters
that may require consideration. This preliminary outline is intended
to identify the general range of factors to be considered, rather than
the prescription for any particular design approach. A flaw of all
generalist models is that the specificity of each project makes some
aspects redundant. However, as a means to articulate the
ontological shift that occurs when considering kinetic process as an
outcome rather than a design aid, the scope of decisions occur
around three interconnected groups of parameters. As the diagram
below suggests these are:
1- Choice of input or sampling;
2- The manner in which these samples are processed by
the control system;
27
3- The tectonic or constructional logic and appearance of
the skin33.
Fig 2.4: Design parameters for kinetic skins
On sampling:
What data will constitute the physical and what Anders
has termed ‘virtual space events’ of the interactive skin and how
will these be captured or sampled? A range of physical sensors are
available, tuned to environmental data, physical movement or
requiring direct interaction. These can be complimented by data
networks that allow access to remote data. Architecture has a long
33 JULES MOLONEY, BUIILDING SKINS AS KINETIC PROCESS, The University of Melbourne, VIC 3010, Australia.
tradition as a form of public art and there exists an opportunity to
sample a range of cultural inputs as well as environmental stimuli.
Environmental input would necessarily be related to the local, while
cultural input could sample both the global and the local. The
design of the input mechanism will obviously be dependent on
application, but considering this in terms of a full set of possibilities
makes explicit that this is a design parameter and specification
excludes or includes opportunities34
On control:
.
If there is some form of mediation between input and
resultant affect, how might this meet aesthetic as well as
performative criteria? There may be an opportunity for auto-poesies
in which the aesthetic is to a degree, emergent. Alternatively the
personal aesthetic of the designer may be embedded in a similar
manner to, for example, such proportional systems as used by
Palladio or Le Corbusier. Thus the control system would be located
within the spectrum of top-down, in which particular criteria are
34 Ibid.
28
‘directed’ and bottom-up approaches where parameters are set for
the evolution of behaviour35
On tectonics:
.
What technology is available to implement an interactive
skin? Typically, composition in architectural design is based on a
tectonic approach in which the aesthetic is largely based on
fabrication methods, articulation of joints, and materials. As
evidenced by the Arab Institute façade by Jean Nouvel, this attitude
to engendering aesthetics can be extended to environmental
control systems. Similarly the example of the BIX electronic skin by
Peter Cook et al indicates the tectonic design of electronic displays
can in itself be important (Fig 2.6).
35 Ibid.
Fig 2.6: The BIX electronic skin by Peter Cook
The interactive skin can be manifest in either physical or
electronic form and both require detailed design in terms of their
physical appearance as well as their performance. We can make a
broad distinction between passive systems with minimal
‘mechanics’ such as the wind walls of artist Ned Kahn (Fig 2.5-E)
and more complex mechanical systems such as the Agesis
Hyposurface (Fig 2.5-F).
29
Fig 2.5: A/B-sampling data from sensors and information portals; C/D-visual programming
interface controlling prototype facade (Janssen and Kramer); E-tectonic wind wall (Ned
Kahn); F- agesis hyposurface (Gaulthorpe et al)
In order to evaluate and develop this conceptual model for
the design of kinetic skins, the next stage will be to undertake a
taxonomy of available technology using the ‘sampling / control /
tectonic’ categories. It is anticipated this will produce a useful
design resource, but also act as a research methodology, flushing
out gaps for the development of new design approaches and
technology36
2.2 Social and Cultural Context of Skyscrapers
.
2.2.1 History and Technology
The term "skyscraper" was first used during the 1880s,
shortly after the first 10 to 20 story buildings were built in the United
States. Combining several innovations: steel structure, elevators,
central heating, electrical plumbing pumps and the telephone,
skyscrapers came to dominate American skylines at the turn of the
century37
36 Ibid.
.
37 Dirk Stichweh, New York Skyscrapers, Prestel: Munich, Berlin, London, New York, 2009
30
An early development was Oriel Chambers in Liverpool.
Designed by local architect Peter Ellis in 1864, the building was the
world's first iron-framed, glass curtain-walled office building. It was
only 5 floors high as the elevator had not been invented. Further
developments led to the world's first skyscraper, the ten-storey
Home Insurance Building in Chicago, built in 1884–1885. The
architect, Major William Le Baron Jenney, created a load-bearing
structural frame. In this building, a steel frame supported the entire
weight of the walls, instead of load-bearing walls carrying the
weight of the building. This development led to the "Chicago
skeleton" form of construction38.
Sullivan's Wainwright Building in St. Louis, 1891, was the
first steel-framed building with soaring vertical bands to emphasize
the height of the building , and is, therefore, considered by some to
be the first true skyscraper39
38 Ibid
(Fig 2.7).
39 Ibid
fig 2.7: Sullivan's Wainwright Building
Most early skyscrapers emerged in the land-strapped areas
of Chicago, London, and New York toward the end of the 19th
century. Height limits and fire restrictions were later introduced.
London builders soon found building heights limited due to a
complaint from Queen Victoria, rules that continued to exist with
few exceptions until the 1950s. Concerns about aesthetics and fire
safety had likewise hampered the development of skyscrapers
31
across continental Europe for the first half of the twentieth century
(with the notable exceptions of the 26-storey Boerentoren in
Antwerp, Belgium, built in 1932, and the 31-storey Torre Piacentini
in Genoa, Italy, built in 1940). New York City developers competed
among themselves, with successively taller buildings claiming the
title of "world's tallest" in the 1920s and early 1930s, culminating
with the completion of the Chrysler Building in 1930 and the Empire
State Building in 1931, the world's tallest building for forty years.
The first completed World Trade Center tower became the world's
tallest building in 1972 for two years. That changed with the
completion of the Sears Tower (later renamed the Willis Tower) in
Chicago in 1974(Fig. 2.8), which became the world's tallest building
for several decades40
40 Ibid
.
Fig 2.8: Sears Tower
From the 1930s onwards, skyscrapers also began to appear
in Latin America and in Asia. Immediately after World War II, the
Soviet Union planned eight massive skyscrapers dubbed "Stalin
Towers" for Moscow; seven of these were eventually built. The rest
of Europe also slowly began to permit skyscrapers, starting with
Madrid, in Spain, during the 1950s. Finally, skyscrapers also began
to be constructed in cities of Africa, the Middle East and Oceania
(mainly Australia) from the late 1950s.
32
In the early 1960s structural engineer Fazlur Khan realized
that the rigid steel frame structure that had "dominated tall building
design and construction so long was not the only system fitting for
tall buildings", marking "the beginning of a new era of skyscraper
revolution in terms of multiple structural systems." His central
innovation in skyscraper design and construction was the idea of
the "tube" structural system, including the "framed tube", "trussed
tube", and "bundled tube". These systems allowed far greater
economic efficiency, and also allowed efficient skyscrapers to take
on various shapes, no longer needing to be box-shaped. Over the
next fifteen years, many towers were built by Khan and the
"Second Chicago School", including the massive 442-meter (1,451-
foot) Willis Tower.41
A landmark skyscraper can inspire a boom of new high-rise
projects in its city, as Taipei 101 has done in Taipei since its
opening in 2004 (Fig. 2.9). Large cities currently experiencing
skyscraper building booms include Miami in the United States,
41 Ibid
London in the United Kingdom, Shanghai in China, Dubai in the
United Arab Emirates which now the location of the tallest building
in the world, Burj Dubai, about 2000 ft.42 (Fig. 2.9).
Fig 2.9: Lift: Taipei 101 tower, right: Burg Dubai
The 21st century is now bringing together, new elements:
smart skin, responsive materials, parametric design in curtain wall
technology, customization and digital fabrication. Tall buildings will
42 Ibid
33
use “smart skins” that will respond to changes, environmental and
emotional. Smarter programmable elevators will distribute traffic
more efficiently vertically and travellators will do the same
horizontally, between the lobbies of clustered skyscrapers43
2.2.2 Sustainable Skyscrapers
.
In 1983, the UN established the World Commission on
Environment and Development in an attempt to resolve the
conflicts arising out of the aspirations of the developed and
developing worlds. In 1989 they published “Our Common Future” or
the Brundtland Report44
43 Ibid
, which launched the concept of
“sustainable development” and was reinforced in 1992 at Earth
Summit in Rio. It called for “Development which meets the needs of
the present generation without compromising the ability of future
generations to meet their own needs.” Sustainable architecture is
environmentally conscious, energy-saving, and utilizes responsive
and renewable materials and systems. Ecological and
44 Wced, Our Common Future. World Commission on Environment and Development, Oxford University Press, Oxford, U.K. WILLIAMSON, T., RADFORD. A., and BENNETTS, H., (2003).
environmental concerns have expanded beyond the issue of the
consumption of non-renewable energy sources. Sustainability
essentially aims for ecological balance45
High Performance Tall Building:
.
Environmental awareness extends to both the urban
environment and the context in which a tall building is placed as
well as its interior environment. The issues of outdoor microclimate
and indoor air quality as well as the potential toxicity of materials
and chemicals used in building components, systems, and
furnishings are also of concern to the building users. In a broad
sense the term “green” is often used for a sustainable, which
essentially describes design, construction and maintenance
practices that minimize or eliminate the negative impact of a
building on the environment and on the users. Tall buildings are
massive consumers of energy. They are the dominant elements in
urban architecture due to their scale and purpose, and should be
45 NewmanMAN, P. Sustainability and Cities: The Role of Tall Buildings in the New Global Agenda. Proceedings of the CTBUH Sixth World Congress, Melbourne, Australia, 2001, pp. 76-109.
34
the focus of sustainable design. A high performance tall building is
one that achieves the peak efficiency of building functions while
meeting the requirements of optimum performance employing
green technologies. Some overall benefits of high performance
design are: energy efficiency, design flexibility, resource
conservation, indoor environmental quality, etc.46
Design Factors
.
The principal design factors that are crucial for achieving a
high performance tall building are site context, environment,
structure and use of materials, energy consumption, use of water,
ecological balance, community development, etc. and the design
factors assume different forms, such as conceptual, schematic,
physical, economic, environmental, and socio-cultural47
Strategies for Achieving Sustainability in High Rise Buildings
.
The following are a few strategies that can be adopted to
accomplish sustainable tall buildings. Passive Solar Gain: 46 DONALDSON, B. and LIPPE, P. Process and Integration, Lessons Learned: High Performance Buildings. The Durst Organization. New York, NY, 2000. 47 Mir M. Ali and Paul J. Armstrong, Overview of Sustainable Design Factors in High-Rise Buildings, University of Illinois at Urbana-Champaign, 2008.
Maximum advantage can be taken of daylight by shaping the plan
arrangement of a building to suit the activities within. The fabric of
the façade and the area assigned to windows is of ultimate concern
in gathering sunlight. The form and the orientation of the building in
relation to the seasonal paths of the sun across the sky has a
significant impact on the thermal value and performance48
Structure and Material Preferences: There is a relationship that
needs to be investigated in each building—particularly tall building
in which the structural framework is enormous. For example, the
core provides structural stability and its positioning is important for
sustainability
.
49
48 Deshmukh, N., Energy Conservation of Moderately Tall Office Buildings, Master’s Thesis, School of Architecture. University of Illinois at Urbana-Champaign, Champaign, IL, 1992.
. To capture cold night air in desert-like climate and
harvesting it as cooling energy during occupied hours, a massive
concrete structure can be employed. Also, a steel framed structure
can be made of recycled content. Steel and reinforced concrete
buildings are typically the materials of choice.
49 Beedle, L.S., ALI, M.M., and ARMSTRONG, P.J., The Skyscraper and the City: Design, Technology, and Innovation. Edwin Mellen Press. Ceredigion, U.K and Lewston, NY, 2007.
35
Façade Technology: Daylighting and shading are usually the key
aspects to façade design for typical green buildings. The façade
covers over 90 to 95 percent of the external building surface area in
a tall building, that is, the roof area is almost insignificant compared
to façade areas. Thus, the energy gain or loss for a tall building
depends very much upon the materiality and technology employed
in the façade treatment50
Combined Heat and Power: A highly efficient technology for
energy saving in densely built-up urban areas is the Combined
Heat and Power (CHP) system. CHP is the simultaneous
production of power, heat and, occasionally, chilled water for air-
conditioning, and is also known as co- or tri-generation. CHP
avoids transmission losses as electricity is generated close to the
point of use.The result of using CHP systems is a cost saving and
reduction of CO2 emissions of over 30 percent with respect to
generation from coal-fired power stations and over 10 percent with
respect to gas fired combined cycle gas turbines. CHP technology
.
50 Ibid
can be applied as well to the considerable loads of individual tall
buildings or groups of tall buildings where the electricity load and
annual cooling requirements are similar. A typical distribution of
total energy output from a CHP system is shown in Table 151.
Table 1: Energy Output Distribution of CHP System
Rainwater harvesting collects the rain onto roofs, then stores it in
a tank, intended for eventual use. The recycled water is used for
toilets, washing machine and outside tap use. Grey water recycling
is another process in which water from bath, shower, and hand
wash basin is reused. This “grey water” is more suited to residential
tall buildings in which sufficient amounts are generated regularly for
reuse in toilets, washing machines and outside tap52
.
51 Smith, P. P. (2007). Sustainability at the Cutting Edge: Emerging Techniques for Low Energy Buildings. Elsevier. London, New York et. al 52 Ibid
36
Building Management Systems
Innovative building technologies such as computer-based
smart or intelligent building systems can play a major role in
managing the energy usage. The increasing reliance on computer
technology and automated systems can be directed toward
achieving a sustainable functioning of skyscrapers. The Building
Management System (BMS) is a centralized control system to
manage the operations of the various building systems such as fire
protection, security, communication networks, elevators, HVAC
systems, etc. The environmental data collection and control system
is usually incorporated within the BMS which can also be used to
control more passive features like opening windows and shading
devices. The component of the BMS that deals with energy-related
services is controlled by the Building Energy Management System
(BEMS), also known as the Energy Management and Control
System (EMCS), which may in some circumstances function
autonomously. The control system need not to be located on-site
and the supervision of the system can be centrally for multiple
building complexes or for a number of similar buildings in outlying
areas53
Case Studies
.
A new generation of sustainable tall buildings is
challenging conventional high-rise building practices and setting
trends for future projects incorporating innovations in materials and
intelligent building systems. Menara Mesiniaga: Ken Yeang and T.
R. Hamzah were among the first architects to apply ecological
principles to their “bioclimatic skyscrapers.” The Menara Mesiniaga
in Subang, Malaysia (Fig. 2.10), designed in 1992, presents an
early model building for the physical translation of ecological
principles into high-rise architecture54
53 Ibid
.
54 Abel, C. Sky High: Vertical Architecture. Royal Academy ofArts. London, 2003.
37
Figure 2.10: Menara Mesiniaga, Kuala Lumpur, 1992, T. R. Hamzah & Yeang.
The fifteen-story tower expresses its technological innovations on
its exterior and uses as little energy as possible in the production
and running of the building. Instead of a continuous facade, the
building open and closes in sections arranged in stages around the
tower. It has an exterior load-bearing structure of steel with
aluminium and glass, and a crowning superstructure for the roof,
planned as a future support for solar cells. The interior and exterior
structure of the tower is planned around climatic considerations and
its orientation toward the daily path of the sun. Deep incisions and
suspended aluminum sunscreens on the south facade ward off the
direct rays of the noon and afternoon sun into the interior55
Swiss Reinsurance Headquarters: Foster and Partners
developed new technological, urban planning, and ecological
design concepts in the Swiss Reinsurance Headquarters building
(see Figure 3) constructed in 2004 in London. The steel spiral
“diagrid” structure creates an aerodynamic form that provides the
lowest resistance to wind and diminishes demands on the load-
bearing structure, as well as the danger of strong downward winds
in the area around the building. The net-like steel construction of
the load-bearing structure lies directly behind the glass façade and
allows support-free spaces right up to the core. The most
innovative element in the inner structure is the inclusion of
triangular light shafts behind the facade, which spiral upwards over
the whole height of the building. These light and air shafts are
interrupted every six stories by an intermediate floor, to minimize
the development of drafts and noise.
.
55 Ibid
38
Figure 2.11: Swiss Reinsurance Headquarters, London, U.K., 2004, Fosterand Partners.
The slimming of the building’s profile at its base reduces
reflections, improves transparency, and increase daylight
penetration at ground level. The aerodynamic form of the tower
encourages wind to flow around its face, minimizing wind loads on
the structure and cladding, and enables the use of a more efficient
structure. Natural air movement around the building generates
natural ventilation within the building56
The Solaire: Located at Battery Park in New York City, the Solaire
(see Figure 5) is the first residential high-rise building in the U.S. to
integrate green features in a comprehensive way (Carey, 2006). It
is a 27-story, 293-unit luxury apartment building located on the
Hudson River developed by the Albanese Organization and
designed by Cesar Pelli & Associates. Its sustainable features
include PV panels incorporated into the building’s facade, a planted
roof garden, and fully operational blackwater treatment system. It is
based on guidelines developed by the Battery Park City Authority,
which address five areas of concern: 1) Enhanced indoor air
.
56 Foster, N. Modeling the Swiss Re Tower, Architecture Week, www.architectureweek.com, 2005.
39
quality; 2) Water conservation and purification; 3) Energy efficiency;
4) Recycling construction waste and the use of recycled building
materials; and 5) Commissioning to ensure building performance57.
Figure 2.12 : The Solaire, Battery Park, New York City, 2003
57 Carey, H. L. The Solaire: Green By Design. Battery Park City Authority, New York, 2006.
The Pearl River Tower: The Pearl River Tower (Fig. 2.13) is a
990-foot (300-meter) tall “net-zero energy” mixed-use building,
Guangzhou, China. Designed by Adrian Smith and Skidmore,
Owings & Merrill, it has a curved glass façade that directs air flow
through narrow openings in the facade that drives large, stainless
steel wind turbines to generate electrical energy. The building’s
aerodynamic shape, was developed in collaboration with Rowan
Williams Davis & Irwin, Inc. of Ontario, Canada using the RWDI-
Skin suite of proprietary analysis tools, including its Virtual wind
simulation modeling (RWDI Group, 2007)58.
Figure 2.13: Pearl River Tower, Guangzhou, China, 2010 58 Rwdi Group, Promotion brochure, Spring, SLOCOMBE, D.S. , Environmental Planning: Ecosystem Science and Ecosystem Approaches for Integrating Environment and Development. Environmental Management. 17(3), 2007, pp. 283-303.
40
2.3 Context Analysis of Tripoli City, Libya
2.3.1 Background
Fig. 2.14: Tripoli city’s skyline
Tripoli is the largest and the capital city of Libya, North
Africa. It has a good strategic geographical position and a profound
history. Tripoli lies at a latitude of 32◦ 56 north, and a longitude of
13◦ 10 east and is on the south coast of the Mediterranean Sea in a
central position. It forms a vital link between the eastern and
western cities of the Arab world and between European and African
cities 59(see Fig 2.1).
Fig 2.15: Tripoli links between European and African cities
2.3.2 Brief History
Tripoli’s history reflects the history of the country. It has
known ups and downs but its historical architectural monuments
are a testimony to the great Libyan civilisation. Tripoli was founded
59 Temehu, Tripoli: The Bride of The Mediterranean, www.temehu.com/Cities_sites/Tripoli.htm
41
by the Phoenicians in the first half of the first millennium B.C. under
the name of Oea. Among the Greeks Oea, together with the
colonies of Sabratha and Leptis Magna, was called Tripolis (in
Greek, “three cities”), a name that was retained for Oea. In 105
B.C., it was conquered by the Romans. In the fifth century A.D., it
was conquered by the Vandals, and during the sixth and seventh
centuries it was part of the Byzantine Empire. In the seventh
century it became part of the Arab Caliphate. From 1551 to 1911,
Tripoli was part of the Ottoman Empire. In October 1911, the city
was captured by the Italian Army, which remained there until 1943,
when British troops took over. Until Libya’s declaration of
independence (1951), Tripoli was one of the centers of the national
liberation struggle. It was a capital of the Kingdom of Libya from
December 1951 until Sept. 1, 1969, when it became the capital of
the Libyan Arab Republic60
60 Ibid.
.
2.3.3Economy
Tripoli is the country’s principal commercial, industrial, and
financial center. It is a port, and it is a highway junction. The city
has an international airport. About 75 percent of Libya’s industrial
enterprises are concentrated in Tripoli. The Libyan economy
depends primarily upon revenues from the oil sector, which
contribute about 95% of export earnings, about one-quarter of
GDP, and 60% of public sector wages. Libyan oil and gas licensing
rounds continue to draw high international interest; the National Oil
Company set a goal of nearly doubling oil production to 3 million
bbl/day by 201561
GDP: $74.72 billion (2010est.)
.
GDP growth rate: 8.5%
Industries: petroleum, iron and steel, food processing, textiles, handicrafts, cement
Agriculture: wheat, barley, olives, dates, citrus, vegetables, peanuts, soybeans; cattle.
61 About Libya, http://www.lipoexpo.com/1st/libya.html, accessed on Des. 12, 2010
42
Exports: crude oil, refined petroleum products, natural gas62
Fig 2.16: Oil exports from Libya
2.3.4 Demography: The Tripoli metropolitan area (district area)
has a population of 1,682,000 (Feb, 2010 est.)63
62 Ibid
.
2.3.5 The Geology, Soil and Topography
Geology: Tripoli’s land consists different layers, the most important
one is the sand rock which is on the top. It’s allows rain water to
drain and gather under the ground and creates wells64
Soil: The soil of Tripoli is suitable for agriculture
.
65
Topography: The city of Tripoli rises 49 feet above sea level and
mostly flat
.
66
2.4.6 Climate: Tripoli gets under the influence of the subtropical zone.
The climate of Tripoli is Mediterranean with hot dry summers, cool
winters and some modest rainfall. Weather can be variable,
influenced by the Sahara Desert and the Mediterranean Sea which
moderates daily temperature ranges. The percentage of humidity is
between 53%-72% and it is higher in the summer. The temperature
in Tripoli is between 8 -18 Celsius in the winter, and sometimes
becomes 46 Celsius in the summer. Rainfall in Libya is pretty low.
.
63 True Knowledge, Tripoli’s population in 2010, http://www.trueknowledge.com/q/tripoli's_population_in_2010, accessed on December 14, 2010. 64 Ibid 65 Ibid 66 Hosam Bsimam, The Old City of Tripoli: (Tripoli, 2006).
43
Much of the rain occurs in winters. The average annual
precipitation is less than 100 mm67.
Table 2: Weather average conditions of Tripoli, Libya
The following bar chart shows the years average weather
condition readings covering rain, average maximum daily
temperature and average minimum temperature for Tripoli, Libya.68
67 Ibid
68 BBC Weather, http://www.bbc.co.uk/weather/world/city_guides/results.shtml?tt=TT00033
Fig 2.17: Temperature and rainfall averages, Tripoli, Libya
2.4.7 The residential land use change in Tripoli.
The residential area in the city of Tripoli had been on
increase between 1969 and 2005. In 1969 the residential land use
was at 1,126.8 hectares or 7.6% of the total city area. This figure
climbed in 1980 to 4,573.3 hectare or 30.8% of the total area, and
to 6,783.3 hectares or 45.7% in 200569
69 GEOGRAFIA Online, Malaysian Journal of Society and Space 4 (71 - 84) 2008, Changes in residential land-use of Tripoli city, Libya: 1969-2005
.
http://pkukmweb.ukm.my/geografia/images/upload/7.2008-osama%20kh%20ali-english-1.pdf
44
Fig 2.18: Tripoli residential land use between 1960-2005
2.3.8 Architectural and Urban Fabric of Tripoli, New versus old
Al-Madina (The Old City of Tripoli)
The northwestern part of Tripoli is the Old City, or Madina,
which was rebuilt during the second half of the 16th century. It is
located on a rocky cape and is walled on two sides. (See Fig. 2.6)
In the south and southeast is the New City, with public and
commercial buildings, as well as residences.
Fig. 2.19: The main entrance to the Medina, known as Bab Al-Hurriyah (the Freedom Gate) the earliest fortified wall around the town was built in the 4th century.
The Madina or the historic city of Tripoli, now occupies the
site of ancient Oea which was built by the Phoenicians in the
seventh century BC. In 46 BC Tripoli was captured by the Romans
who developed the city and built many temples, markets and public
baths surrounded by residential buildings. The Ottoman presence
that followed lasted until 1911, and most of the existing mosques
and public buildings were constructed during this period. Suburbs
began to spring up outside the walls at the end of the 19th century.
The ramparts were damaged during the Italian presence and when
it was bombed during the Second World War. The old city of Tripoli
45
was designed along the lines of other Arab cities. Its narrow streets
are often covered and vaulted to shore up the walls of adjoining
houses70
The Islamic walled city or Madina possesses important
environmental and aesthetic characteristics. In the Madina both
resident and visitor alike can experience and enjoy the city's most
significant architectural values, its design, style, building materials,
skilled workmanship, beauty and uniqueness. A variety of buildings
and other features of the Madina serve to remind people about the
past, providing insight into the culture and history of previous
generations. These features show the different activities of people
who lived and worked in the Madina many centuries ago. In
addition to its distinctive architectural values, the Madina has a high
spiritual and symbolic significance based upon its history. Sense of
place and continuity through time are well expressed. The Madina
still hosts many special, long-standing cultural events and
.
70 The World Heritage Center, UNESCO ,http://portal.unesco.org/culture/es/file_download.php/3e14cf4c9202cf4efa37a11a6e2135a0Newsletter+no9.htm, accessed on December 13, 2010
celebrations throughout the year which also link people with their
heritage.
The unique space design in the Islamic Madina cannot be
found in other medieval or historic cities. The space is well defined
and organized with attention to privacy and community, its ancient
designers recognizing its inhabitants' cultural and social needs.
These values make the city worthy of being conserved and
promoted for today's use71
Marcus Aurelius Arch
. Among Tripoli’s ancient architectural
landmarks are the Marcus Aurelius triumphal arch (A.D. 163–164),
the Karamanli Palace (1736), the Gurgi Mosque (1833), and the
Castle, or Citadel (first centuries A.D.; rebuilt in the 14th, 16th, and
20th centuries).
The arch is dating back to 163-164 AD, and it’s served as
entrance to the city. It was the only one of Oea. The arch contains
71 Temehu, Tripoli: The Bride of The Mediterranean, www.temehu.com/Cities_sites/Tripoli.htm, accessed on Dec. 13,2010.
46
fine decorations, showing Apollo and Minerva. Now-empty niches
contained statues of Marcus Aurelius and Lucius Verus72
.
Fig 2.20: Marcus Aurelius arch Karamanli Palace
Karamanli palace is dating back to the early 19th century,
built by Yusuf Karamanli. Some rooms on the 1st floor have been
turned into exhibits with dolls acting out everyday life. The
Karamanli family ruled Tripoli through most of 18th and half way
through the 19th century. With their fall, the house became 72 Liberty International, Libya, Tripoli, www.liberty-international.org/libya/excursions-tripolitania/, accessed on Dec. 13, 2010.
consulate for the Italian state of Tuscany. The house was restored
during the early 1990s and became known as Tripoli Historical
Exhibition73.
Fig 2.21: Karamanli Palace,
Gurji Mosque:
The mosque of Gurji is Located west of Marcus Aurelius' , it
was built by Mustapha Gorji in 1834 AD, who was the head of the
port. The building includes a school and a tomb (or a grave) of the
founder. The project completed the maintenance and restoration of
73 Ibid
47
this architectural group in the year 1994. The building is considered
one of the best examples of Islamic stone carvings and floral motifs
in the capital74 (Fig. 2.22).
Fig 2.22: Right: The main hall of Gurji mosque, Lift: Islamic Inscriptions in the mosque
The Red Castel:
The castle of Tripoli, known as Assai al-Hamra or the Red
Castle, has been the fortress of many lords of this region through
the centuries. It was briefly the stronghold of Christian knights in
the 16th century, only to be expelled by Muslim pirates. It is
74 Ibid
assumed that the first fortress was built in the 7th century, to
protect against the Muslim Arab invasion of Libya.
Fig 2, 23: The Red Castel, Tripoli, Libya
At least until the 17th century, it appears that all sides of the
fortress were surrounded by water. Much of the present structure
dates back to the 18th and 19th centuries, the plan is distinctly
Ottoman and includes a mosque, harem and numerous courtyards.
Additions by each ruling group in Tripoli give the building an
eclectic but beautiful style (Fig 2.23). The castel is today used by
the Jamahiriya Museum75
Modern Tripoli
.
In the face of rapid economic development, population
growth, people's increasing needs and changing lifestyles, large
75 Ibid
48
concrete buildings and busy streets dominate the new part of the
city. The old city is nearby (Fig. 2.24, 2.25), but these roads and
structures have a distinctly modern feel. Buildings are popping up
at a furious rate, in an effort to draw investors and demonstrate
Libya's success as an independent, self-sufficient nation.
Fig. 2.24: The modern shore of Tripoli reflecting the contrast between the old and new
buildings of the city
Fig. 2.25: The style of high-rise buildings in modern Tripoli
The modern city of Tripoli has been heavily influenced by
the global city type. Dominant urban features include commercial
city centers, multistory residential buildings, large shopping malls,
wide boulevards, an extensive network of highways, and sprawling
new suburbs. However, the residential concrete and glass boxes
that have been built in the modern part of the city don’t
accommodate the local life style, inconsequence, nobody likes to
live in these undesired boxes, and people who occupy these blocks
49
are either immigrants or needy people, who cannot afford their own
houses because of the high land cost. This kind of unintended
ignorance of the city context and the local culture leads the city to
lose its unique identity.
Fig. 2.26: Residential high-rise buildings in modern Tripoli
Fig2.27: Commercial and Residential high-rise building in the modern part of Tripoli
The most notable pieces of contemporary architecture in
modern Tripoli can be found on Tripoli's waterfront in the
northwestren part of the city, close to the port and the old
madina. Alfateh tower, a 26-floor office building was built in
1998, and it is one of the most famous towers in the city.
Alfateh tower was the tallest building in the city until 2010,
when the tower of Abulaila was built as a 34 - floor investment
tower.
Fig. 2.28: Right, Alfateh tower. Lift: Abulaila tower
50
Projects in progress:
The following are some pictures that show some of Tripoli’s
ongoing high-rise buildings style, most of these projects are still under
construction, and they are representing the new generation of Tripoli’s
architecture. Most of these buildings continue to be designed as vertical
extrusions of an efficient floor plan and some of the modern ones are
iconic pieces of high-rise urban ‘sculptures’, and no one of them is
inspired by place, culture, or environment.
Fig. 2.29:10-story residential building is under construction. (Picture: Sep. 07, 2010)
Hydra Tripoli Tower
Location: Tripoli
Use: mixed-use tower includes: retail, hospitality, and offices76
Number of floors: 45 floors
.
Status: Under construction
Fig. 2.30: Hydra Tripoli Tower
Medina Tower high rise development in Tripoli
Location: Tripoli/Libya
76 Walid El-Tigi / Yasser Fathy, Hydra Properties unveils Tripoli Towers in Libya, zawea.com, Zawya, http://www.zawya.com/story.cfm/sidZAWYA20081124090455/Hydra%20Properties%20unveils%20Tripoli%20Towers%20in%20Libya, accessed: Des 04, 2010
51
Use: Mixed-use includes apartments, a health club, offices, retail
space, conference and food and beverage facilities77
Site area: 12,500 square metres
Status: under construction
.
Number of floors: 40 floors
Fig. 2.31: Medina Tower, Tripoli, Libya
77 Sidell Gibson Architects, Medina Towers, Tripoli, http://www.sidellgibson.co.uk/projects/hotels-and-overseas/medina-towers-tripoli.php, accessed on Des. 10, 2010.
New proposed skyscrapers on the sea front of the city
Fig. 2.32: The new skyscrapers of Tripoli (some of them are under construction): dwarfing Boulayla and Alfatah towers.
JW.Marriott Hotel (bottom right)
52
Part Three
Site Analysis
53
3.1 General Information
Location: Tripoli, Libya, North Africa
Latitude: +32.83
Longitude: +13.08
Time zone: UTC+2 hours
Fig 3.1: The proposed site, Tripoli, Libya, North Africa
3.2 Site Description:
The chosen site of the living skyscraper is around
19400sq.ft. (18600sq.m.) of land on the northwest part of Tripoli’s
waterfront. The site was carefully selected to serve the main goal of
the project--that is, to provide residents with an opportunity to live
according to their unique, traditional lifestyle, The site is located in
the heart of Libya’s capital, facing Tripoli’s coastline and at the
junction of the old city of Tripoli (medina) and its modern area.
Being close to the old city is intended to provide its
residents with great cultural access. The site and the projected
skyscraper will be visible from both the modern city and from the
ancient site. From either of these two vantage points, the living
skyscraper utilizes the opposite area as a background and faces
the other. Consequently, besides bridging the past and present, the
living skyscraper will establish a dialogue between these different
eras. The choice of this site is an appropriate way of connecting the
new building with its source of inspiration. Moreover, the stunning
54
view of Tripoli's waterfront afforded by the site is an additional
incentive for the choice of the site.
The tower will be constructed in Tripoli’s central business
district a short walk’s distance from the city's main square, as well
as the Gold Market. It will be 10 minutes away from Matiga Airport,
20 minutes away from the international airport, and within walking
distance of public transportation to all the city’s localities.
Fig3.2: Zooming further to the site
The selected site is placed in the high-rise building district in
the current land-use map of the city of Tripoli (Fig. 3.3).78 At
present, the site is under excavation in preparation for the
construction of the new tower (Fig 3.7).
Fig 3.3: Tripoli’s district heights map
78 Tripoli City Centre’s Urban and Architectural Charter, Tripoli urban fabric map, http://www.iau-idf.fr/index.php?id=615&etude=717, accessed on Jan 10, 2011.
55
3.3 Land-Use map
Since the site is located in Tripoli’s central business
district, diverse land uses, such as commercial, residential,
manufacturing, religious, and public gardens, are found in its
vicinity. The elevations of these buildings are from two-story
existing buildings to forty-story towers currently under
construction.
The site is flanked by the 28-story Corinthia Hotel to
the northeast , the two-story gold market to the east, 10-floor
residential towers from the south, Dat el-Emad, a 20-floor
office building, to the west, and 40-floor mixed-use high-rise
buildings which are under constructing to the southeast.79
79 Ibid
Fig 3.4: Land-use map
3.4 Circulation Map
Fig 3.5: Circulation map
56
3.5 Sun Path - Winter: 34 degrees - Summer: 81 degrees80
Fig 3.6: Sun path of Tripoli city
3.6 Prevailing Wind Direction: East wind is the prevailing wind in Tripoli city.81
Wind speed: 5m/s
80
GAISMA, Surt, Libya. http://www.gaisma.com/en/location/surt.html, accessed Jan. 24, 2011. 81 Ecotect Software
Fig. 3.7 Prevailing wind, Tripoli, Libya
57
3.7 Views from the site
Fig 3.8: Views from the site
3.8 Views toward the site:
Fig3.9: Views toward the site
58
3.9 Environment Simulations
Building Form Studies:
3.9.1 Solar radiation analysis
Since Tripoli (located at 32◦ 56 N, and 13◦ 10 E) is in the
subtropical zone, it is undeniable that we are facing a problems in
the term of sun, it has high monthly temperatures and high diurnal
temperature ranges.82
For a high-rise built form, vertical surface is most critically
exposed to the full impact of external temperatures and global
direct solar radiation, thus this study investigates on the impacts of
solar radiation towards the building form and orientation. The
computer program “Vasari v5” was applied to simulate the intensity
and distribution pattern of cumulative incident solar radiation on
vertical surfaces.
Therefore it is more important to prevent
solar radiation from overheating the building surfaces.
82 Pidwirny, M. (2006). "Climate Classification and Climatic Regions of the World". Fundamentals of Physical Geography, 2nd Edition. http://www.physicalgeography.net/fundamentals/7v.html , accessed on March 10, 2011.
In order to compare the total solar radiation amount that the
building receives based on its form, four schematic forms are
placed on the site, square, cylinder, two squares, and two
cylinders. Second step was applying the solar radiation simulations
on each form in two different times, winter December 21 and
summer June 21
The simulation results reveal that west orientation in the
summer is the most critical part to be protected than other parts
(Fig 3.10), while the south elevation is the most one exposed to the
sun in winter (Fig 3.11). For the form, the results show that the
cylinder form collected lowest amount of solar radiation while
square form received the highest amounts of solar radiation, also
the results indicate that splitting the building to two towers and
orienting one tower behind the other, reduces solar radiation
amount and increases the shaded area.
59
- Summer, June 21 at 4:00 pm
Fig 3.10: Summer solar radiation study result
- Winter, December 21 at 1:00
Fig 3.11: Winter solar radiation study result
60
3.9.2 Shadow Study:
- Summer, June 21, at (10:00am, 12:00pm, 4:00pm)
Fig 3.12: Summer shadow study result
- Winter, December 21, at (10:00am, 12:00pm, 4:00pm)
Fig 3.13: Winter shadow study result
61
3.9.3 Wind Study: Prevailing wind direction: East Wind speed: 5 m/s
- Pressure :
Fig 3.14: Pressure study result
- Velocity :
Fig 3.15: velocity study result
62
Part Four
Programming
63
4.1 General Overview of Needs and Desires:
The cultural base of the community will have a great impact
on the programming of The Living Skyscraper because culture is
also a kind of groundwork that separates neighborhoods,
communities, and cities. Just as the design of the physical
elements of the building hopes to connect the building to the site,
the program of the building will also be established with a
connection to its context. The climate and surroundings will also
help create a unique mesh of the program with the exterior.
The project aims to establish a “community node,” a center that
gathers people to a common place. The program of this vertical
neighbourhood, The Living Skyscraper, is inspired by the
composition of the traditional streets component of the old city of
Tripoli.
4.2 Tripoli’s Traditional Street Component:
The fabric of Tripoli's old city is composed of narrow winding
streets with high walls of brick (Fig 4.1), usually roofed at various
intervals. This form of urban design is an optimal form of desert
architecture that minimizes hot climate effects. It also maximizes
daytime shade, and insulates the “fabric” from severe winter
temperatures83.
Fig 4.1: An example of Tripoli’s narrow traditional streets
Streets in the old city of Tripoli often radiate from public
squares. All public facilities such as mosques, suqs (markets),
hamams (public baths), teahouses and schools are found within
83 Temehu, Tripoli, http://www.temehu.com/Cities_sites/Tripoli.htm , accessed December 12, 2010.
64
these squares (Fig. 4.2). From the public squares, streets branch in
different directions to include the residential units which are
generally grouped around small squares where neighbours,
families members and children can meet and spend time
together84.
Fig 4.2: One of Tripoli’s medina streets 4.3 Program Summary:
1- Residential:
The primary aspect of The Living Skyscraper’s architectural
programming is residential. This includes apartment of different
84 Ibid
sizes. The design of these units will be inspired by the unique
Islamic style that accommodates suitable levels of privacy, desired
access to nature, and natural lighting and ventilation.
2- Commercial:
Suq: the building will include a retail (suq) that supplies the
occupants with their daily needs. It is intended that the suq will
enhance the local neighborhood by providing additional commercial
facilities.
Restaurants:
The Living Skyscraper will include three restaurants will be
distributed inside the tower
3- Cultural and educational:
A center of traditional education will be included in the tower. This
center will provide
• an Islamic studies program
• a traditional handicrafts training center. The manufacture
of various kinds of handicrafts has played a crucial role in the
economic development and tourism sector in the old city of Tripoli
65
(see Fig. 4.3), and have had other positive impacts on local
populations, as well. The Living Skyscraper will include a traditional
handicraft center that promotes and develops local handcraft skills
among inhabitants of the city. This center will be in the first floor to
facilitate access and will offer various traditional workshops in such
areas as pottery training workshop, copper training workshop, and
embroidered clothes workshop.
Fig 4.3: Handicrafts in the old city of Tripoli
- Handicrafts gallery
- Library
- Day care
4- Health:
Gym: the project will include two separate gym, one for women
and the other one for men.
5- Recreation:
Parks: the project will include different parks, 3-4 parks as
skygardens distributed within the tower while the main park will be
located in the ground level.
6- Car parking: Approximately 85 per cent of car parking will be
underground in the two-level basement, while about 15 per cent will
be in the site.
4.4 Program Distribution
Not only is the program typology of The Living Skyscraper
inspired by the composition of Tripoli’s traditional streets, but the
organization and actualization of this programming within the tower
will also reflect the Islamic organization and use of space which
regards maintaining privacy as the most essential aspect to be
achieved.
66
In Islamic architecture, the transition between public and
private spaces occurs through semi-public or semi-private zoning in
order to obtain a suitable level of privacy. This approach of spatial
separation can be seen in the fabric of traditional Islamic cities as
well as in the design of houses. A well-known example of this is
the use of indirect entryways in accessing houses.
The Living Skyscraper design translates the concept of
Tripoli’s horizontal streets and public courts into a vertical system
ranging from public to private facilities, beginning at ground level
and ascending to the top of the tower (Fig. 4.2), starting at
basement levels, which will include underground parking areas.
The ground levels will house various public facilities, including a
retail, an auditorium, restaurants, and a health club. The city’s first
rooftop garden will be installed on the roof of the ground levels.
The next two levels will represent the semi-public facilities—the
education center and the day-care area, which is mostly expected
to serve the occupants of the tower. The remaining floors of the
tower will be residential, separated by rooftop gardens after each
ten floors.
Fig 4.4: Concept diagram
67
4.5 Program precedents
Medina Tower high rise development in Tripoli
Location: Tripoli, Libya, Architect: Sidell Gibson Camilleri
Height: 525 feet (160 metres). Floors: 40F
Status: Under construction; completion date for the project has
been set for December 201285
Use: Mixed use development. commercial, and residential
Cost: €300 million
Fig. 4.5: A rendering of Medina Tower
85 Sidell Gibson Architects, Medina Towers, Tripoli http://www.sidellgibson.co.uk/projects/hotels-and-overseas/medina-towers-tripoli.php#, accessed on December 10,2010.
Medina Tower will be constructed on the Tripoli seafront on
120,500 square feet of land adjacent to other high-rise
developments. The concept of a mix of retail, commercial and
residential facilities is the first of its kind in Libya. The project will
comprise 2,000,000 square feet of floor space spread over 40
floors above ground level and four levels of underground parking.
Medina Tower will feature 200 apartments, a health club, 260,000
square feet of office space, 8,0000 square feet of retail space,
conference and food and beverage facilities, and 240,000 square
feet of underground parking that will accommodate up to 850 car
parking spaces.
Fig 4.6: Some views of Medina Tower
68
4.6 Program Quantitative Summary and Proportions
According to the program requirements, site area, and
some case studies the Quantitative summary of the architectural
program of the Living Skyscraper is illustrated in the following table:
Space Quantity Area Total area Residential Two-bedroom apartment
200 1800 sq.ft.
500.000 sq. ft
One-bedroom apartment
1500 sq.ft.
15000 sq ft/floor
Commercial 1-Retail 80000 sq.ft 2-Restaurant 3 30000 sq.ft 110.000
sq.ft. Cultural and educational
Islamic Studies Center 1 3000 sq.ft. Day-care 2000 sq.ft. Traditional handicrafts
center
Copper handicrafts workshop
1 1000sq.ft. 3000 sq.ft.
Clay handicrafts workshop
1 1000sq.ft.
Embroidered clothes workshop
1 1000sq.ft.
Public library 1 10000 sq.ft. Handicraft gallery 2000 sq.ft.
Auditorium 30000 sq.f . 48000
sq.ft.. Health
Health club (gym) 2
15000 sq.ft. Women’s Men’s
Roof gardens 4 15000sq.f. 60000 sq.ft. Car parking 850 cars 240.000
sq.ft.
Total building area: 973.000 sq.ft, Site area: 194000 sq. ft , Site
coverage: 40%, Number of floors: 40 floors
The following diagram shows the proportions of the various
areas of the The Living Skyscraper.
Fig 4.7: Program proportions
69
4.7 Conclusion
If we apply this unique program to The Living Skyscraper, this
vertical neighbourhood not only has to promote diversity, it must act
as an extension of the city in the sky, dependent on the diverse
activities and resources of the city to maintain a healthy, symbiotic
relationship. By maintaining the traditional urban fabric of the
medina, this project recreates the lost physical continuity of the
area, thus supporting social and cultural continuity. It promotes the
conservation and progression of tradition through new buildings
using, new techniques and technologies.
70
Part Five
Schematic Design
71
5.1 Introduction
Since the most important and fundamental aspects of
The Living Skyscraper are intended to representing Islamic
culture and copping with the hot climate of Tripoli in a
sustainable way that optimizes the building’s performance
and reduces energy consumption, the focus of this project will
be mainly on the envelope of the building, which will be a
double-skin facade. While the external interactive skin of the
façade will react to thermal conditions and provide shade, the
users of the building will be able to manually operate
secondary ventilation systems for the internal skin. The
external kinetic skin form will be inspired by the Islamic
traditional mashrabbia patterns, with gills that open and close
in response to the sun’s movement, creating a “living”
membrane that blends organic and mechanical processes to
create a complex system driven by actuators and thermal
sensors .
In order to generate the dynamic mashrabbia it is
important to define and explore the Islamic geometric patterns
that used in the traditional masharabbia.
5.2 Islamic Geometric Patterns
Geometric patterns occur in rich profusion throughout
Islamic cultures, displayed as they are on a diversity of
materials include tiles, bricks, wood, brass, paper, plaster,
glass and on many types of objects, such as, windows,
doors, screens, railings, carpets , furniture, ceramic and metal
decorative and bowls, furniture-specially pulpits in mosques,
and on other surfaces. Islamic art demonstrates great
achievements in geometry, calligraphy and arabesque For
more than thirteen centuries Islamic designs have acted as
unifying factors, linking architectural expression throughout
72
the Muslim world, extending across Europe, Africa and
Asia.86 The four fundamental concepts in Islamic patterns:
beauty, harmony, symmetry and unity are all intrinsic to the
contemplative side of Islamic Art.87
5.3 Types of Islamic Patterns
The vast variety of geometric formations and the strict
rules governing their production reveals an important inner
dimension of Islamic tradition, “unity in multiplicity and
multiplicity in unity”.88 This principle is represented by means
of various mathematical forms symbolizing the constant
celestial archetypes within the cosmos.89
86 Jones, D. “The Elements of Decoration: Surface, Pattern and Light.” In Architecture of the Islamic World. Its History and Social Meaning, 144-175. Edited by G. Michell.London: Thames & Hudson Ltd., 1978.
Most of these
87 Grube, E. “What is Islamic Architecture?.” In Architecture of the Islamic World, Its History and Social Meaning, 10-14. Edited by G. Michell. London: Thames & Hudson Ltd., 1978. 88 Jones, 1978 89 Mostafa, M. The Museum of Islamic Art. (1st ed.). Cairo: Ministry of Education Press, 1955.
geometric patterns can be grouped under the following
categories:
1. Geometric patterns based on the Square Repeat Unit and
the Root Two proportion system. These include all patterns
generated by the division of the circle to four, and all patterns
generated by the multiples of four (Fig. 5.1).90
Fig. 5.1: The Root Two proportion system
90 Kritchlow, K. Islamic Patterns: An Analytical and Cosmological Approach. New York: Thames & Hudson Inc, 1976.
73
2- Geometric patterns based on the Hexagonal Repeat Unit
and the Root Three proportion system. This includes all
patterns generated by the division of the circle into three or
six, and all patterns generated from the multiples of six (Fig
5.2),91 for example, hexagons and dodecagons.
Fig. 5.2: Root Three proportion system
3. Geometric patterns based on the pentagon Repeat Unit
and the Golden Ratio proportion system. These include all
patterns generated by the division of the circle into five, and
all patterns generated from the multiples of five (Fig. 5.3),92
91 Ibid.
for example, the ten folded base pattern.
92 Ibid.
Fig. 5.3: The Golden Ratio proportion system
The most striking characteristic among Islamic
geometrical patterns is the prominence of star and rosette
shapes. Such shapes having five, six, eight, ten, twelve or
sixteen rays are the ones that occur most frequently, but
patterns containing other numbers, particularly in multiples of
eight to ninety six, can be found.
Even though geometric patterns are generated from
simple forms; they have been combined, duplicated,
interlaced and arranged in the fascinating combinations that
became one of the most distinguishing features of Islamic art.
Although they are generated according to very strict rules of
74
geometry, the geometric ornamentation in Islamic art
suggests a remarkable amount of freedom, both in its
repetition and complexity. Such freedom offers the possibility
of infinite growth and can accommodate the incorporation of
other types of ornamentation as well.93
5.4 The Proposed Masharabbia Patterns
After identifying Islamic patterns, the next step for
this project will be to experiment and generate some dynamic
mashrabbias in order to understand how these systems
would operate, with response to the sun’s movement as the
main parameter. Fig. 5.4 shows some screen shots of
dynamic masharbbia case studies that were inspired by
Islamic patterns and generated using Maya software.
Each interface consists of repeated units whose
apertures have the ability to open and close throughout the
93 Jones, 1978
day in response to the sun’s position. The gills close when
facing the sun directly in order to provide shade and minimize
the amount of solar radiation in the interior spaces, then the
gills gradually open as the sun becomes far in the sky in order
to maximize daylight.
Fig 5.4: Islamic mashrabbias pattern case studies
5.5 Dynamic Mashrabbia Environment Simulations Three of these case studies were chosen for
expanded research through real time environment simulation
to gain more in-depth understanding of how these systems
75
could affect the interior space and building performance.
These simulations include shadow study, solar radiation
analysis and daylight study using Ecotect software as a
conceptual design tool that provides an accurate and easy
way to simulate the environment.
Based on the form study result in Part Three of this
thesis, which indicate that both the south and west facades
are the elevations most exposed to solar radiation, the
environment simulation study focused on these elevations.
This study aims to investigate the level of shade, solar
radiation and daylight at the time when the mashrabbia is
semi-closed, i.e., when the sun is facing its apertures directly.
The south façade was studied in winter at 1:00 pm and the
west façade in the summer at 6:00 pm. The same study was
done in two different depth spaces, 20-foot depth interior
space, and 30-foot depth exploration space for determining
the depth that would allow an acceptable level of daylight to
enter.
5.5.1 Pattern I
Fig 5.5: The various opening stages of Pattern I
76
Fig, 5.6: Pattern I Environment Simulation Result, 20-foot depth space
Fig 5.7: Pattern I Environment Simulation Result, 30-foot depth space
77
5.5.2 Pattern II
Fig. 5.7: Pattern II Environment Simulation Result, 20-foot
depth space
78
Fig. 5.8: Pattern III Environment Simulation Result, 30-foot depth space
5.5.3 Pattern III
79
Fig. 5.9: Pattern III Environment Simulation Result, 20-foot depth space
Fig. 5.10: Pattern I Environment Simulation Result, 30-foot depth space
80
Simulation Result:
Shadow Study: The result of the shadow study shows
that the three dynamic mashrabbias worked as perfect solar
shading devices, providing the interior space with a good
level of shade, thereby reducing the building’s inside
temperature.
Solar Radiation Study: The result shows that the three
mashrabbia patterns have the potential of reducing the solar
radiation gain, thereby reduce the interior temperature which
in turn reduces the energy used for the cooling system.
Daylight study: Based on the required interior light level,
which ranges from 200 ft/c to 500 ft/c 94
94 Bill Williams, Footcandles and Lux for Architectural Lighting, An introduction to Illuminance, Edition 2.1, (c) 1999.
, the daylight
simulation study indicates an adequate range of daylight,
especially with the first pattern, which shows the highest
range, both in winter and summer. The study also shows that
20 feet is a good range of space depth, allowing an
appropriate level of daylight relative to the 30-foot depth.
5.6 Project Schematic Design
Site Strategy
Based on the site analysis, which demonstrates that a
connection between the old city of Tripoli and the modern city
can be established through The Living Skyscraper design, it
is decided that the main entrance to the site will be oriented
on the east side toward the Gold Market and the old city of
Tripoli, while the second entrance will be located at the west
side in an attempt to connect the project with the main park in
the area which in the modern part of Tripoli.
81
Fig. 5.11: The site
The design concept of the building’s floor plans is
inspired by the Islamic architectural element, the courtyard,
where building components are erected around an open
green space that includes water aspects. The public services
will be located around a large public plaza, in the middle of
which the two towers, which house private residential units,
stand. Each tower has its own entrance and lobby, which will
enhance the residents’ privacy. Skygardens will be used as
connections made across the towers to improve accessibility
and support building structure.
The restaurants will be located on the north side of the site
to access the sea view, as well as a view into the interior plaza.
The auditorium will be at the back side of the building with its own
entrance.
Approximately 85 percent of car parking will be
underground in the two-level basement, while about 15 per cent will
be in the site at the south side of the site.
Project Zoning:
The retail, gym, public library, auditorium, and the towers’
lobbies will be located in the building’s huge base (Fig. 5.12). The
second floor will incorporate a large restaurant, cafe, traditional
handicraft center, handicraft gallery, and Islamic study center. All
82
the remaing floors of the towers—third to fortieth—will be
residential (Fig. 5.13).
Fig. 5.12: First floor zoning
5.13: Secound floor zoning
Building Elevations:
Based on the sun study of the building form, the west and
the east façades of the two towers will be covered by the kinetic
mashrabbia, and it is optional to cover the south elevation ( see
Fig: 5.14,5.15).
83
Fig 5.14: Section A-A
Fig5.15: Building elevations .
84
Fig. 5.16: Perspective
Fig. 5.17: Perspective
85
Part Six
Design Development
86
In this part of the thesis the focus will be on design
development which includes two parts: First, developing the pattern
of the dynamic mashrabbia, and the second part is developing the
design of the building. After the mashrabbia takes its final form and
the building is developed, the mashrabbia will be applied on the
building and evaluated to know its effects on both the exterior and
interior spaces of the building.
6.1 Dynamic Mashrabbia Pattern Development
Fig. 6.1: Dynamic mashrabbia pattern ( Maya software)
Each mashrabiya comprises an umbrella-like unit which opens and
closes throughout the day in response to the sun's movements (see
Fig, 6.1).
- Closed: mashrabbia units face the sun directly.
- Semi open: mashrabbia units partially face the sun.
- Open: the units face away from the sun.
6.2 Building Orientation
Before applying the mashrabbia on the building it is
important to now the best orientation for the building. According
to the best building orientation study that was done using Ecotect
software at the proposed site (Tripoli, Libya), the best orientation
for The Living Skyscraper based on the months of highest
temperature is west north, east south, as shown in Fig 6.2.
87
Fig. 6.2: Best building orientation study result, Tripoli, Libya (Ecotect software
6.3 Appling the Mashrabbia on the Tower
Based on the mass solar radiation and shadow studies that
are done and discussed in part III of this thesis, the dynamic
mashrabbia is carefully distributed on the towers in order to be
more focused on both the western and eastern elevations to protect
the building from solar radiation. Some of the mashrabbia units are
established around the first ten floors of the towers to provide the
occupants of these floors with an acceptable level of privacy (see
Fig. 6.3).
Fig. 6.3: Distributing the dynamic mashrabbia on the towers( Revit software)
88
6.4 Design Development - Site Plan:
Since the Living Skyscraper is close to the center of
Tripoli; the tower will have clear views of the old city of Tripoli and
the modern part of the city, as well as the Mediterranean Sea. The
skyscraper itself is composed of two towers spiraling around a
central courtyard. The main entrance of the project is facing the
old city of Tripoli as a kind of connection between the project and
the old city.
Fig. 6.4: Site plan
-Basement Floors:
The project includes a two-level basement car parking
space, with each floor designed to accommodate about 350 cars.
Fig. 6.5: Basement floor plan
The main courtyard
The old city of Tripoli
The main entrance
To the main park
Entrance
89
- First Floor Plan:
The first floor of the building includes the main lobby of the
project, a restaurant, day-care, gym, public library, Islamic studies
center, traditional handicraft center, and the lobbies of both towers.
Each part of the building is accessed directly from an entrance on
the ground level as well as from the basement level so that
visitors do not cross over with any of the other users of the
building.
Fig. 6.6: First floor plan
- Second Floor Plan:
The second floor of the building includes retail, a restaurant, café,
day-care, and the second floor of the auditorium. The residential
part of the project begins from the second floor of the main tower,
which is located in the center of the main courtyard of the project,
and it continues residential until the 47th floor of this tower. The
residential apartments in the second tower are arranged on floors
5- 37 of this tower, and each floor of the residential part of this
tower, as well as in the main tower, includes three apartments.
Fig. 6.7: Second floor plan.
Residential
Entrnce
90
Fig. 6.8: Section A-A
- Project Elevations:
The buildings’ hanging parks are placed between the towers
and after different numbers of levels which are tall enough to
accommodate full-grown trees (see Fig.6.7). Both towers also
feature sky gardens in the top three floors in order to further reduce
the potential for solar gain. The form of the towers has been
sculpted to provide sky gardens in what would otherwise have
become the most sensitive areas of the building. The sky gardens
also provide visual relief for users of the building and one of its
important amenity spaces during the cooler months of the year.
91
Fig. 6.9: Top: South elevation. Down: West elevation
Fig. 6.10: Top: East elevation. Down: North elevation
92
Project Perspectives:
Fig. 6.11: Project perspective
Fig. 6.12: Project perspectives
93
6.5. Dynamic Mashrabbia Evaluation:
After applying the responsive mashrabbia on the building,
and since the main goals of this dynamic mashrabbia, besides
representing Islamic culture, are first, to provide the buildings’
occupants with stable conditions in the hot climate of Tripoli and
second, to improve building energy performance, it is time to
evaluate the impact of the kinetic mashrabbia on the building
through applying solar radiation analysis and building energy
analysis on the building with and without the dynamic mashrabbia
using Vasari software.
6.5.1 Solar Radiation Analysis
Fig. 6.13: Solar radiation study result (Vasari software)
6.5.2 Building Energy performance Analysis:
Fig. 6.14: Building energy analysis result (Vasari software)
6.5.3 Dynamic Mashrabbia Benefits: 1- Lighting and views:
- Improved daylight
- Acceptable level of shading
94
- Acceptable level of privacy
- Improved views for building occupants
- Represents Islamic culture 2- Energy Consumption:
- Effective reduction in solar gain, about 50%
- Approx. 23% reduction in CO2 emission
- Approx. 23% reduction in energy use intensity
Part Seven
Final Design
95
7.1 Dynamic Mashrabbia Details
7.1.1 Dynamic Mashrabbia Behaviour during Daytime
The shading device, whose translucent
components open and close as the sun moves around
the building, gives the Living Skyscraper a sense of
breathing during its smooth movement. Fig. 7.1 shows the
behavior of the dynamic mashrabbia during daytime,
starting from 7:00 am when almost all the mashrabbia’s
units are open to 7:00 pm when the western units of the
mashrabbia are almost closed and ready to open after
sunset.
Fig. 7.1: Dynamic mashrabbia behaviour during daytime
7.1.2 Detailed Mashrabbia Design
Each mashrabbia comprises an umbrella-like unit which
opens and closes throughout the day in response to the sun's
movements. Each mashrabbia is made up of a series of PTFE
fabric mesh panels that are driven by a linear actuator.
Fig. 7.2: Dynamic mashrabbia detailed design
96
PTFE Fabric Mesh:
PTFE fiberglass fabric is made of high intensity fiberglass
yarn by plain weaving, satin weaving or cross grain, coated with
fine quality PTFE Teflon latex and then dried.95
1. Outstanding electrical insulation and di-electric properties
Features of PTFE high temperature fiberglass fabric:
2. High temperature resistance; continuous operating temperature is -70-260, can resist up to 320 in a short time
3. High release from sticky materials ("non-stick")
4. Chemical, corrosion, and moisture resistance
5. Easy cleaning
6. Mildew and fungus resistance
7.1.3 Dynamic Mashrabbia Effect on Interior Spaces:
Below, some still images show the effact of the
kinetic mashrabbia on the interior spaces of the
building.The dynamic mashrabbia reduces solar gain by
95 Taixing Ruichang Conveyor Belt Manufacturer Co.,Ltd.
http://www.aliexpress.com/store/701153/50337180-293341293/Solar-Panel-Teflon-Laminating-Fabric-Solar-Laminating-Teflon-Fabric.html, accessed May 26,2011
reflecting almost all sun rays. Moreover, it provides the
occupants with a desirable leve of shading while allowing
daylight to enter even when the mashrabbia is almost
closed.
Fig. 7.3: Dynamic mashrabbia effact on interior spaces at different opening stages
97
7.2 Building Skin Layers and Ventilation system
The Living Skyscraper skin consists of three layers.
Immediately next to the dynamic mashrabbia comes a double-
glass façade.
The Double-Skin Façade is essentially a pair of glass
“skins” separated by an air corridor. The main layer of glass is
usually insulating. The air space between the layers of glass acts
as insulation against temperature extremes, wind and sound.
During wintertime and at night, the Living Skyscraper can
rely on natural ventilation through the controlled windows in the
inner skin, while in summer and during the hot season, the
building’s skin layers work as an insulation system that keeps the
building cool (see Fig. 7.4).
Fig. 7.4: Building’s skin layers, left: during moderate climate and at nights, right: during hot climate.
98
7.3 Design Development:
Fig. 7.5: Building perspective
Fig. 7.6: Site plan
99
Floor Plans: - Basement Plan
Fig. 7.7: Basement levels plan
- First Floor Plan
Fig. 7.8: First floor plan
100
- Second Floor Plan
Fig. 7.9: Second floor plan
Building Section:
Fig. 7.10: Section A-A
101
Building Elevations:
Fig. 7.12: North elevation at about 4:00 pm
Fig. 7.13: West elevation at about 4:00 pm
102
Fig. 7.14: East elevation at about 10:00 am.
Fig. 7.15: South elevation at about 10:00 am
103
Perspectives:
Fig. 7.16: Building perspective
Fig. 7.17: Building perspective
104
Fig. 7.16: Left, the main entrance of the project. Right, the main courtyard
The two towers are linked physically by the main courtyard
at the ground level and at the high levels by hanging gardens
installed throughout the building, giving access between the two
towers and offering the occupants another connection with the
natural world. The building contains sky gardens in the highest
three floors of each tower in order to further reduce the potential of
solar gain and for more access to nature. Landscaped areas in the
ground level contain mature palm trees which unite the site with
the surrounding nature
Fig. 7.17: The sky gardens
105
Fig. 7.18: The café
The exterior of the towers is covered with the dynamic
mashrabbia, which works as a solar coating provides both
privacy and insulation for the interior, significantly reducing
the solar heat gain, and providing a more comfortable
internal environment.
The dynamic mashrabbia is established on a
honeycombed pattern structure which is a highly efficient
structural solution that is stable, flexible and economical
Fig. 7.19: Close perspective to the dynamic mashrabbia
106
7.4 Conclusion
Designing a high-rise building for a specific location
needs great understanding of the people, culture and the
available building technologies while engaging them in a
meaningful way. The Living Skyscraper project represents
the translation of Islamic architecture to contemporary
architecture for a high-rise building, it attempting to preserve
the Islamic character and culture with a strong climatic
response and energy efficient design. This is accomplished
by the use of BIM and parametric design through different
useful digital tools.
Creating buildings that meet the needs of society
today and in the future is not an easy task. However, the
use of a range of advanced computer-aided design
techniques can greatly help produce such buildings more
quickly, easily, and at less cost, while parametric design can
rationalize complex geometries and relationships, realizing
architectural aspirations that would not otherwise be
possible. Efficient and elegant structural forms can be
created by combining advanced engineering analysis tools
with 3D CAD and parametric design methods. This strong
combination leads to inspiring buildings with minimized
material and energy consumption.
At the same time and as outlined in this thesis, culture
and architectural vernacular has much to offer the modern
world. Sustainable design is not only a way of viewing and
valuing good design but a way of linking the past with the
present to protect our natural world and ecosystems, as well
as to preserve historical and cultural artifact. A successful
tall, “green” building is an integral part of a society’s
financial, technological and cultural advancement.
107
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