Figure 20 design museum holon by ron kinetics while

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Figure 20: Design Museum Holon by Ron Arad [31] 3.2.8 KINETICS While superyachts may move gently in the water when in port their overall form generally remains static (with the exception of opening/closing windows, sunshades etc.). There is an emerging interest in the world of architecture in surfaces that react to their changing environment. These surfaces may be functional or merely decorative. Decorative kinetic façades sequester energy from a source that has been fundamental to sailing since its invention – the wind. Thousands of pivoting elements move in the wind creating dynamic visual effects. Ned Kahn is an environmental artist and sculptor whose work visualises natural elements such as wind and water. Working at an architectural scale (The Wind Veil is 80 m long and is comprised of 80,000 aluminium panels) (see Figure 21), he is one of a number of practitioners pioneering this simple, but visually arresting façade. Figure 21: Wind Veil Kinetic Façade (2000) by Ned Kahn [32] 3.3 LIGHT Light is the first Modifying Element of architecture [33]. It plays a vital role in any project, and can be used as a design element with accuracy, as most buildings do not move once they have been built. A superyacht on the other hand is mobile, but there is no reason why it should not manipulate light in a considered manner. On board the superyacht, passive lighting technologies can be used to gather sunlight during the day and there are infinite options for artificial lighting at night. The control of light influences our perception of scale, form and weight. Superyacht designers should note that surfaces could be more than simply transparent or opaque. Architects play with translucency, with perforation, they build frameworks to cast shadows, they reflect, they make light dance. We must also consider darkness as a design element. ‘Such is our way of thinking—we find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates.’ Junichiro Tanizaki [34] A façade of 6000 pure-glass blocks form the walls of the Optical Glass House in Hiroshima, Japan (Figure 22). Possibly one of the most beautiful contemporary houses of recent years, it uses light in numerous ways throughout the day/year. This is how the architects describe it: ‘The garden is visible from all rooms, and the serene soundless scenery of the passing cars and trams imparts richness to life in the house. Sunlight from the east, refracting through the glass, creates beautiful light patterns. Rain striking the water-basin skylight manifests water patterns on the entrance floor. Filtered light through the garden trees flickers on the living room floor… the house enables residents to enjoy the changing light and city moods, as the day passes, and live in awareness of the changing seasons.’ [35]
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Figure 22: Optical Glass House (2013) by Hiroshi Nakamura & NAP [35] 4. WHEN ARCHITECTS DESIGN SUPERYACHTS The previous section has provided a summary of contemporary design techniques in architecture. It is
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