Designed by Margot Krasojevic, the project is for the design of 2 cable car stations along the edge of the Gobi desert, starting from Ordos city the trail leads into the deserts sand dunes, a major tourist attraction. The form optimises the use of dichroic and holographic film in glass cladding, which helps to adapt to the specific site conditions and their extreme temperatures and reflectivity, while articulating a coherent overall formal architectural language.
Two contrasting elements ‘Reflecting sky & Shadow’ generate each station’s design criteria, influencing a series of reflected and projected spatial experiences both physical and projected light displays. A lightweight organic roof structure floats on top of a concrete plinth. The artificial landscape functions as a relief in which various movements and circulations are inscribed. The Roof Shell’s fluid shapes and organic contours mimic the nature of the ever changing sand dunes, like it’s environment the structure is never seen in the same way twice. It shimmers and abstracts as well as camouflages itself within it’s context, it’s presence and characteristic always determined by the natural sunlight and it’s intensity.
New production methods like CNC milling and thermoforming guarantee a very precise and automatic translation of the computer generated design into the built structure. The resulting aesthetics might be reminiscent of streamlined Industrial Design pieces (Car Bodies, Aeroplane Wings, Yachts etc.). Each station has its context, its topography, its projected light spaces, its movements. The track’s inclination and ratios are dominant technical parameters. A high degree of flexibility enables the shell structures to adjust to these various parameters while still responding directly to the natural light levels which have determined its form. The concept of lightness is explored. Large cantilevers and small touch down areas underline a floating appearance of the dichroic illusion stations.
The form allows for air to circulate and cool the interior, the plinth prevents conduction of heat from the immediate environment. The structure is lifted from the ground permitting a breeze to move through the pre-cast concrete primary structure. The structure accommodates different types of cladding modules, which can be replaced according to season, during the winter months the Siberian winds form sheets of ice, the photovoltaic polychrystalline panels keep the stations from freezing allowing for the winds to carry through it not only sand but prevent ice from settling within the structure. The structure acts as an atrium, perforated temporary louvres shelter from the sand and direct sun whilst the Thermoplus energy high yield glass acts as an all season insulating glass, providing thermal insulation against both cold and excessive heat.
Whilst the overall form allows for the prevailing Siberian winter winds to glide over it it is important to test materials within a formal constraint in order to understand the materials affects on light reflection and refraction particularly when working with the environment and sustainability. The form has developed using a computer software which uses the dynamics and physics of a specific environment such as the Ordos desert in order to understand through simulation and caustics how light is scattered and can be controlled in turn predicting how exactly the form can influence and respond to it’s environment. An important mechanical test rather than purely a formal gesture.
Project credits / data
Project: Dichroic Illusion Stations
Design Type: 2 cable car stations
Designer: Margot Krasojevic
Type: Transportation | Cable Car stations
Location: Ordos Shi, Kubuqi desert, Inner Mongolia Peoples Republic of China
Client: Mr Feng Gao , Ordos Shi City Dongsheng district with China Film House, Beijing
Building status: ongoing building work
Site type: rural
The infinity pavilion beach house balances on the cliffs overlooking the town of Llandudno in cape town, the design directly engages with its context. the main open plan accommodation area consists of a series of dramatic angular forms that cascade down the cliffs to the sea edge, emphasising the precipitous nature of the site, the cliff-face uses sand blasted structural steel sections suspending the main living area, the form reflects the changing contours of the landscape preserved uninterrupted beneath.
The open plan living area has privacy and ocean views, the swimming pool connects the interior and exterior spaces of the pavilion, as part of the main living area allows the pool into it, the key feature of the scheme is the dichroic glass pod structure, which has a reinforced steel mesh embedded within it, covering the living area allowing for spectacular views over the Atlantic Ocean.
A cantilevered walkway is projected from the cliff face allowing for a horizon skywalk,and infinite views.
+ Project credits / data
Project: Infinity Pavilion
Design: Margot Krasojevic
Type: Residential – Single family residence
Location: Llandudno, Cape Town, South Africa
Client: Mr. Migo Manz | HOLDEN MANZ WINE ESTATE Franschhoek Winery, Green Valley Road, Cape Town
Building status: ongoing building work
Site type: Rural
Building area: 350 m²
+ All images courtesy Margot Krasojevic
“Dynamics & De-realisation” is the second monograph by Margot Krasojevic, which will be available in October 2011, you can pre-order this book at Amazon.com. It is the collection of design projects included provide an overview of philosophical theories that focus on what appears to be real, presenting a range of methodologies and a set of tools for addressing this discourse.
Book Description for ‘Spatial Pathologies Floating Realities‘
Analysing digital realms in order to manifest the virtual into the physical, using technology and spatial perception/ empirical psychology as tools to define design criteria’ s. Through using experimental designs, the projects analyse altering perceptions of space that influence a physical appropriation, drawing parallels to technology, in doing so questioning typologies, psychological contexts and virtual realities in an attempt to provoke the limits of technical possibility.
Exploring the way we perceive space, using simulations and animation to understand time sequence, memory, order and our instinctive response to space. Architecture is the lexicon used to manifest individual and social transformation. This volume is based on lectures and design studios held by Margot Krasojevic at the Bartlett School of Architecture, U.C.L. London, the University of Washington, St. Louis, Sheffield University, University of Western Australia, Perth, University of California, Berkeley, Tongji and Beijing. Currently working on private residential projects and hotel bar designs in Belgrade, Beijing and an urban theme park in Erdos, Mongolia.
Paperback: 96 pages
Publisher: Springer; 1st Edition. edition (October 29, 2011)
+ Other past projects by Margot Krasojevic
The Arctic research center
The Arctic research center is a mobile structure on hydraulic legs, which allows for the 3 main sections to dismantle and reorganize themselves accordingly. The work and living quarters are on skis pulled along by snow tractors and snowmobiles. The sides and part of the roof are covered in a carbon fibre and Silicium lattice frame, which traps light energy using photovoltaic glass panels. Electric current is forced through the electrical resistance wire embedded within the carbon fibre facade lattice frame, creating heat energy then cooling it for an icy surface to from within the frame allowing snow to build up that acts as insulation to the center similar to an igloo.
Fractal Geometry won 1st place in the research category organised by Architecture of Israel and Architect Richard Meier for research in digital design.
The Tower is positioned on the edge of a pier in Manhattan’s Battery Park New York. The building programme consists of an everincreasing
gallery space that sits within the suspended surface. The plans do not dictate the Tower’s perceived presence, reflecting geometries distort the surface pattern iterations (dislocating physical from the perceived), affecting the manner with which the individual engages and appropriates with this space. Both physical hyperbolic geometries and their fractal reflections simulate an illusion that describes the Tower project.
Dimensions describe the physical world, parameters within those dimensions alter our perceptions. This allows for an adaptation of Cartesian geometry and Gestalt psychology to address the non-Euclidean within our surroundings. With regard to the Tower, the perceived space is translated and continually morphed as a result of the surface renderings and reflections, whose boundaries and physical transitions are non-static, thus creating a dynamic series of dimensions. The reflecting surfaces have a Hausdorff dimension greater than its topological dimension, with the aim of presenting an infinite number of geometric iterations of an infinite length while the area remains finite. The surface reflections, however, are too irregular to be easily described using a traditional Euclidean geometric language. Both these criteria are characteristics of fractal as a complex geometric object.
Fractal dimensions reserve self-similarity across scales, only being restricted through context. The reason I use this as a tool for the Tower’s design criteria is to dislocate perception and appropriation of Euclidean geometry and space from the constraints of expectation and as an analogy to its vertical gallery and exhibition typology.
The Tower project therefore attempts to present a projected physicality, reiterating that the tangibility of architectural dimension is expanding along with our objective world. What can be imagined can be communicated using a lexicon of dimension.
The Ozone detection pod uses the notion of illusion to alter our relationship with the ever-evolving environment. Using architecture to dictate the perception of natural environments whilst employing this illusion to create a virtual environment, whereby physical space provokes multiple horizons, and both actual and virtual space are projected within and in the immediate context of the Ozone detection pod.
A series of pods and their projected spaces allow us to experience ever-changing horizons, initially questioning what is real and virtual.
A flock of Polychrastalline solar cells attached to steel tension cables suspend the Ozone detection pod over various areas in the city of London. The solar cells use Photovoltaics to convert light into electrical voltage which is stored in the pod’s carbon fibre Silicium composite Ozone detection frame, this triggers the pod’s motor which controls parabolic mirrored bands that reflect light in through the pod’s holographic glass sphere refracting it back out as a filtered source of sunlight with reduced harmful UVB radiation. The pod is made from strengthened high-density glass, the shape allows for a rainbow effect due to it’s ability to defract light.
This projected artificial light can be controlled to alter its luminance and exitance mimicking summer Sunlight, the pod acts as an inhabitable public gathering space whereby the individual experiences the transition from real to virtual. The pod’s design uses reflections and glimpses of the city in an attempt to define multiple horizon lines, this disorientation suggests a non-hierarchy and continuously altering relationship with the changing physical context dictated by the Ozone detection pod.
The pods alter physical space by creating illusions using light projections, they also create mirages using temperature changes and light to diffract and reflect the city redefining the environment into which we can re-appropriate offering new design contexts. Suspended from existing buildings these pods are dotted around the River Thames, they simulate a flock of birds in orientation which collectively gather enough light energy to choreograph the Ozone detection pods and their parabolic mirror movement. The pods movement is controlled by an increase of harmful UVB light rays which trigger a reed switch within the pod completing the electrical circuit that moves mirrors which reflect, refract and filter as much natural light as possible.
The artificial summer, sunbathers bask in a simulated UV filtered artificial summer.
+ About Margot Krasojevic
Margot Krasojevic, image courtesy Margot Krasojevic
Margot Krasojevic. Born 1975 in London. Received a BA(Hons), A.A.Dip(HONS); M.Arch(Distinction) and Ph.D, U.C.L. Worked at the office of Zaha Hadid, Nox, Michael Squire and partners, ran architecture design units and advanced digital design studios at The Bartlett school of architecture, Greenwich University, Washington University, St. Louis, Sheffield University and Tongji University, Shanghai, Numerous Lectures in USA, Australia and Europe. In 1998 founded the London, Beijing based “Decodeine” digital design and research laboratory. Currently working as an architect, digital designer, university lecturer whilst training as a psychoanalyst.
Published in A.A. files, JAE, 306090, FEIDAD 2001-2006, x1,000 European architects (Joachim Fischer Publications), Springer N.Y., B.D., SAATCHI Gallery 2005, Exhibited at SCI:arc, Washington university, OXO Tower, Beijing Biennale, Florence Biennale, Storefront Bookshop New York, A.D. Architects, Michael Squire & Partners.