Passive Survivability and Building Performance Modelling

Passive Survivability and Thermal Autonomy

We learn from hazards past. And when we do, we tend to develop enhanced codes, practices of design and even perspectives of living. Since Hurricane Sandy, we discovered the importance of Passive Survivability, which is the ability of a building to operate on its own should systems such as water and electricity ever fail. The goal of Passive Survivability is to design or retrofit buildings to serve as livable refuges in the event of crisis or breakdown of infrastructure. Scyma is currently conducting research on Passive Survivability, Thermal Autonomy (or indoor comfort conditions without electricity) as part of a shelter-in-place study in San Francisco. It is an exciting merger of how we think about building resilience, from a structural standpoint, to the implications of design from an energy and mechanical perspective. More to come from Scyma on this topic! In the meantime, read about Passive Survivability from the Resilient Design Institute and Alex Wilson, who coined the term years ago. 

Sacred Spaces Part 2

Sacred Spaces / Blog Post # 2

Next up in our review of sacred spaces is that of the Great Stupa as found in early Buddhism and later in Hindu Temple Architecture. Three types of buildings are associated with the religious architecture of the 3rd century BCE in India, including viharas (monasteries), stupas (places to venerate relics) and chaityas (shrines or prayer halls) which later were known as temples. 

The Stupa

The Great Stupa and Sanchi in central India is one of the earliest stupas and serves as a prototype for later generations of this form of religious architecture. Pilgrims would circumambulate the stupa which spanned 120 feet wide at ground level and on a raised platform, moving from east to west. Every part of the stupa has a symbolic meaning, described briefly below: 

Anda (hemispherical mound) is reminiscent of a mound of dirt that covered the Buddha's remains, with the earliest stupas containing relics of the Buddha in the mound.

Harmika is a square railing which surrounds the mound of dirt and thus marks it as a sacred burial site. Above it sits the chattra which is a central pillar that supports an umbrella form. It is used symbolically to protect the mound of dirt from the elements. The three circular disks represent the three Jewels or Triantha of Buddhism, including the Buddha, Dharma (Buddhist teachings or religious law) and Sanga (monastic community). 

Peripheral elements include the enclosure wall with decorated gateways, or toranas, at the cardinal directions along with the circular terrace, or mehdi,  which supports the anda and serves as a platform for circumambulation. In plan (shown bottom of the image above), is a simple open gathering area primarily for holding relics. 

The Buddhist site of Sanchi serves as a precedence for ages of temples that proceed it, a well-preserved site depicting the evolution of symbolism embedded in these religious buildings.

Take a look at contemporary Buddhist architecture that invites reflection to the user and harmony by design . 

Lessons Learned from Rebuild x Design Competition, Hurricane Sandy

Following the disruption caused by Hurricane Sandy in 2012, The Rockefeller Foundation launched an innovative competition called Rebuild by Design to inspire afflicted communities to rebuild holistically with future disasters in mind while addressing current needs of the New Jersey and New York residents. A report released in 2016 summarizes the lessons learned from the competition, several of which we find useful for future recovery and mitigation projects:

1) "Berms with Benefits" are flood control structures that can reduce flood risk and can offer environmental and recreational benefits are a means to provide dual purpose to green-grey elements that can also be integrated with open space.

2) Long-term approaches for large-scale projects must be phased appropriately and progressively implemented with inbuilt guidance for maintenance over time. 

3) Coordination across agencies and levels of government can reduce redundant administrative requirements, streamline coordination for regional projects, as well as inform improved permitting processes that may delay project implementation.

Other important lessons can be gleaned from Rebuild by Design, and can be reviewed in the following publications which have been referenced in this post. 

"Ten Key Lessons from the Rebuild by Design Competition Projects After Hurricane Sandy" 

"Rebuilding with Resilience: Lessons from the Rebuild by Design Competition After Hurricane Sandy"

http://www.rebuildbydesign.org/ 

Sacred Spaces

Sacred Spaces / Blog Post # 1

Several projects for places of worship have prompted a deeper study of religious buildings; the characteristics and meanings behind which centuries of institutional design has deemed sacred. The next series of blog posts will include descriptions of design elements of this class of buildings as an overview of past and contemporary function. 

The Mosque

Elements of the mosque space were historically created for practical use, as the mosque was not only reserved for ascetic purposes, but as a complex at the heart of communities. As such, the large open space of the mosque, called the Sahn, included markets, hospice, and schools. The use of the Sahn today is mainly for congregation, but is multi-functional when auxiliary separation for other needs are unavailable.   

The Mihrab, or niche space, faces the direction of Mecca and is where the Imam offers the sermon and leads congregational prayer. It is usually uniquely ornamented and inset to the wall to delineate an area for the teachers, imams and speakers.

A Minaret is an exterior feature of the mosque as a tower from which the call to prayer is made, and as a locational icon of the mosque's presence within the area. Its function prior to new age technologies was mainly to inform the community of the 5 daily prayers. Today, however, the minaret is not often included in projects where costs for the tower can be prohibitive.

The Qubba, or dome, of the mosque traces roots to Byzantine (Eastern Roman) architecture. Basilicas of the time featured vaulted central domes with religious symbolism and inscription. These domes are considered decorative in nature and reflect a celestial or heavenly tradition within the space.  

The above illustrates the composition of the most basic mosque. One will notice overlaps with other spiritual spaces to be reserved for our next installments. The following link includes virtual 3D mosques around the globe for you to experience. Safe travels and exploration!

http://www.3dmekanlar.com/en/3d-historic-mosques.htm

"Walking, Poems, and Buildings"

Architecture can be poetic, but can the same be said about poetry inspired by design? A bit of a thought experiment on the cross-pollination of built environment design and literary design lead to a unique exhibit from several years ago on this very topic. Two faculty members at the Miami University in Ohio curated an exhibition showing student work with correlating student sonnets. 

"...The two art forms are similar because of their interest with form, their use of meter or structure, and their stance toward their environments..." says Architect and faculty member Ben Jacks. "Both poetry and architecture...involve our perception and how that perception is translated into a created, or built, environment."

Why this is important to designers and poets alike is the fact that both art forms convey subtleties and nuances that are often esoteric to those not in the respective fields or circles. Designers and writers both have command over their "artistic license," to build or write as they feel most powerful, and often, to the untrained eye (or ear), much of the logic or beauty can be missed. Where the overlap occurs is in the articulation - one prose and one physical. In order for others to appreciate the craft, one must be able to define it, and explain it well. This exhibit and exercise meant for Architecture students is an important one in the sense that they must express their design verbally in a new, challenging and interesting way. Although this exhibit is now a decade old, more collaboration of this type should be encouraged in schools and in the profession (we are creatives, after all!). To get started, perhaps our next blog post will be a Haiku on Hypostyles...

Source: https://www.poets.org/poetsorg/text/walking-poems-buildings-poetry-and-architecture-collaboration