• Advances in Computational Design
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• v.7 no.4
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• pp.321-343
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• 2022

Museum buildings display artefacts for public education and enjoyment, ensuring their long-term safety and the comfort of visitors by following strict indoor environment control protocols using mechanical Heating, Ventilation and Air Conditioning (HVAC) systems to keep the (environmental) variables at a fixed comfort level. Maintaining this requires constant supply of energy currently mostly sourced from the combustion of fossil fuels which exacerbates climate change. However, a review on the effects of the indoor environmental variables on museum artefacts as well as museum visitors revealed that there is no specific point at which artefact deterioration occurs, and that there are wide ranges of conditions that guarantee the long-term safety of artefacts and human comfort. Visits to museum buildings in hot-humid tropical climate of Nigeria revealed that strict indoor environmental practices were adopted. Even when appropriate micro-climatic conditions are provided for artefacts, mechanical HVAC systems remain necessary for visitor comfort because almost no consideration is given to natural ventilation. With the current global push towards energy management, this paper reviewed passive environmental control practices, architectural design strategies, and discusses the adaptation of double skin façade with jali screens, and the notion of smart materials, which can satisfy the range of requirements for the long-term safety of artefacts and levels of human comfort in buildings in hot-humid tropical climate, without mechanical HVAC systems. This review would inspire more discussions on passive, energy efficient, smart and climate responsible popular architecture, challenging current thinking on the impact of the more accepted representative architecture.

• Korean Institute of Interior Design Journal
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• no.36
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• pp.14-21
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• 2003

The Propose of this research was to consider how the New Media Architecture was applied to contemporary architecture according to the analysis of the design method process of Toyo Ito. Sendai Mediatheque by Toyo Ito stands as one of the most symbolic statement In New Media architecture. The four principal architectural elements of the Mediatheque are the digital image, the continuous space, the tube, and the skin facade. The digital image express forms of communication, person-to-person and person-to-thing, and they vary according to the media utilized on each level. The three skin elements of the Mediatheque are a double skin of MPG, skin of louvers, skin of fine-floor decking. The tubes act as columns while enveloping light, air, water, electricity the passage of people, as well as the means of transferring material. The thirteen tubes of different sizes prevent the erection of wall and suggest places instead of rooms. Instead of being limited to certain specified actions in clearly defined rooms, people are free to choose places for their actions in the continuous space.

• Advances in Energy Research
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• v.5 no.4
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• pp.289-304
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• 2017

Large glazed surfaces and windows become common features in modern buildings. The spread of these features was influenced by the dependence of designers on mechanical and artificial systems to provide occupants with thermal and visual comfort. Countries with hot summer and cold winter conditions, like Jordan, require maximum shading from solar radiation in summer, and maximum exposure in winter to reduce cooling and heating loads respectively. The current research aims at designing optimized double-positioned external shading device systems that help to reduce energy consumption in buildings and provide thermal and visual comfort during both hot and cold seasons. Using energy plus, a whole building energy simulation program, and radiance, Lighting Simulation Tool, with DesignBuilder interface, a series of computer simulations for energy consumption and daylighting performance were conducted for offices with south, east, or west windows. The research was based on comparison to determine the best fit characteristics for two positions of adjustable horizontal louvers on south facade or vertical fins on east and west facades for summer and winter conditions. The adjustable shading systems can be applied for new or retrofitted office or housing buildings. The optimized shading devices for summer and winter positions helped to reduce the net annual energy consumption compared to a base case space with no shading device or with curtains and compared to fix shading devices.

• 한국태양에너지학회:학술대회논문집
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• 2009.04a
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• pp.83-90
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• 2009

As a series of 'Performance Assessment of Building Envelopes I: Double Skin Facade', three types (interior, exterior, mixed (int.&ext.)) of lightshelves and RetroLux were examined in terms of $CO_2$ emissions. It is shown that the exterior lightshelf could achieve the most energy savings (9.6-38.7%) in general office buildings due to blocking solar radiation before entering the indoor space. However, the interior lightshelf is the worst (1.4-5.2%) among three of them. The RetroLux has two components: (1) sun-reflector (first louver component), (2) light shelf for improving daylight induction (second louver component). Due to these two components, solar radiation from windows is filtered depending on seasonal variation (solar altitude). Therefore, the RetroLux can reduce 18.0-27.9% of annual energy consumption (both cooling and heating), and $552-3,290Won/m^2{\cdot}yr$ of operation cost is saved.

• Wind and Structures
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• v.29 no.6
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• pp.471-488
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• 2019

Wind pressure is a critical argument for the wind-resistant design of structures. The attempt, however, to explore the wind pressure field on buildings still encounters challenges though a large body of researches utilizing wind tunnel tests and wind field simulations were carried out, due to the difficulty in logical treatments on the scale effect and the modeling error. The full-scale measurement has not yet received sufficient attention. By performing a field measurement, the present paper systematically addresses wind pressures on the rectangular attic of a double-tower building. The spatial and temporal correlations among wind speed and wind pressures at measured points are discussed. In order to better understand the wind pressure distribution on the attic facades and its relationship against the approaching flow, a full-scale CFD simulation on the similar rectangular attic is conducted as well. Comparative studies between wind pressure coefficients and those provided in wind-load codes are carried out. It is revealed that in the case of wind attack angle being zero, the wind pressure coefficient of the cross-wind facades exposes remarkable variations along both horizontal and vertical directions; while the wind pressure coefficient of the windward facade remains stable along horizontal direction but exposes remarkable variations along vertical direction. The pattern of wind pressure coefficients, however, is not properly described in the existing wind-load codes.

• International Journal of High-Rise Buildings
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• v.12 no.2
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• pp.121-128
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• 2023

Cities cover only 3% of the planet's surface, yet they are responsible for more than 75% of the global emissions. Given the projected urban built area will double by 2060, the carbon emitted from cities will further increase. SOM proposes the Urban Sequoia concept, for buildings that go beyond 'net zero' and absorb carbon from the atmosphere. This concept combines multiple strategies, including the use of an optimised building form with a highly efficient structural system, modularized prefabrication techniques, holistic integration of facade, MEP and interiors' components, bio-based materials, and Direct Air Capture (DAC) technology, to reduce a 40-storey building's whole life cycle carbon emissions by more than 300% over a 100-year lifespan. Calculations of embodied carbon emissions are performed with SOM's in-house Environmental Analysis (EA) Tool to demonstrate the effectiveness of employing Urban Sequoia's design strategies in the design of new buildings using current technologies.

• Cartoon and Animation Studies
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• s.37
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• pp.463-489
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• 2014

Virtually unanimous praise poured over him notwithstanding, critical discussions of Yeon Sang-ho's animation works largely remain amorphous. Except for scattered reviews, no serious work of engagement with his works has yet to exist. In seeking to fill this yawning void, this paper insists his works be treated as oeuvre. By analyzing the two animated features along with his shorts, I will show how radical Yeon's works remain vis-a-vis contemporary Korean society. At their narrative core, his works, I argue, revolve around the problem of solidarity, or lack thereof among the abjected people. In contradistinction to the critical common sense whereby the supposed continuity between the two works is casually bypassed, I insist on the peculiar ways in which both resonate with difference. Further, and perhaps more importantly, I will demonstrate how these otherwise merely thematic concerns are rendered formally in his animated works in terms of what I call "abyssal surface". Despite his allegedly "realistic" style, Yeon's works rather embody the utter lack/excess of trust among the abjected people as animation, i.e., ominously superficial surface beyond whose facade lurks abyssal lack/excess of mutual trust. Precisely in this double sense of the term, i.e., that thematically they touch on the roots of society, and, formally, those of animation as such, Yeon's animation works are radical.