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TRANSFORMING ENVIRONMENTAL PHENOMENA INTO EMBODIED SPATIAL EXPERIENCE THROUGH APPARATUS ARCHITECTURE: A CASE STUDY OF A SITE-SPECIFIC INSTALLATION
perceptual apparatus that mediates between human experience and ephemeral environmental forces. It investigates the following research question: How can natural phenomena such as sunlight, wind, and atmospheric variability be transduced into embodied spatial experiences through architectural and material articulation? To explore this question, the study presents a site-specific environmental installation (project name withheld for blind review) inspired by the optical ripple patterns generated by raindrops striking water surfaces. The installation employs a non-programmatic, tent-like structural system composed of 127 vertical timber members joined via traditional Japanese sogi-tsugi techniques. A modular lattice ceiling of lightweight wooden frames (24×48mm) allows for solo assembly, while plywood louver walls modulate the penetration of ambient light. The plaster floor, finished with a matte texture, enhances the perceptibility of subtle optical effects produced within the space. A central apparatus feature includes suspended translucent acrylic pipes embedded with equilateral triangular glass prisms. These elements respond kinetically to wind via polycarbonate vanes (0.5mm thick, 60×180mm), rotating at average wind speeds of 1.5 m/s to generate fluctuating patterns of refraction and internal diffusion of natural light. The methodological framework integrates full-scale prototyping, material testing, structural feasibility studies, and performance evaluation. Comparative experiments were conducted on tubes of different materials (acrylic, aluminum, stainless steel) and dimensions (diameter 50–100mm; length 500–2000mm), with sandblasted cast acrylic (75–100mm diameter, 2mm thickness, 1000mm+) demonstrating optimal optical clarity and wind responsiveness. Structural integrity was confirmed through strength testing and outdoor exposure trials. Environmental performance was documented and assessed via light intensity measurements, time-lapse photography, and sensory observation under varying meteorological conditions. Rather than solving a predefined architectural problem, the research proposes a reframing of design practice as a sensory interface—foregrounding perception, temporality, and environmental responsiveness over fixed program or enclosure. It demonstrates how interdisciplinary approaches spanning architecture, environmental science, and material engineering can produce spatial experiences that amplify awareness of natural rhythms. Ultimately, this work presents a model for responsive spatial design in which architecture becomes a medium of environmental expression.
Introduction
In contemporary architectural design, there is a growing movement away from spatial configurations defined solely by enclosure, and toward renewed interest in the relationship between human perception and environmental forces. This shift includes an exploration of architectural frameworks that allow natural phenomena—such as light, wind, and atmospheric conditions—to be directly perceived as embodied spatial experiences. Such inquiries expand architecture into a sensory and poetic domain.
This research redefines architecture not merely as a physical boundary, but as an apparatus that renders environmental phenomena perceptible. It centers on the following research question: "How can natural forces such as sunlight, wind, and atmospheric variation be transformed into embodied spatial experiences through the behavior of structure and material?"
To explore this question, the study focuses on a specific environmental installation inspired by the ripple-like optical fluctuations generated by raindrops falling onto a water surface. This apparatusal space combines traditional timber construction with modern optical materials, structuring a system in which natural phenomena become perceptible within space.
Rather than solving a functional problem, this experimental project aims to reconstruct the perception of environment. Through an interdisciplinary methodology that integrates structure, material, light, and motion, the study proposes the possibility of transforming architecture into a medium for environmental perception.
Literature Review
This study is situated within a lineage of architectural practices that reconceptualize buildings as apparatuses for perceiving environmental variation. Such a design philosophy diverges from traditional functionalist frameworks and aligns with approaches emphasizing sensory experience and ecological responsiveness.
1. The Concept of Apparatus in Architecture
The notion of an “apparatus” originates from the philosophical lineages of thinkers such as Foucault and Agamben, but in architecture, figures like Greg Lynn and Keller Easterling have used it to describe spatial behaviors and infrastructural conditions. In this study, the concept is extended to describe architectural compositions in which structure and material function as mediators of natural phenomena and bodily perception.
2. Perception and Architecture: Designing with Light, Wind, and Atmosphere
Precedents include works by James Turrell and Tadao Ando, who treat light as a primary spatial material, as well as Philippe Rahm, who designs with microclimates. These practices reconfigure architecture as a space for experiencing environmental flux. Turrell’s focus on the act of seeing, Ando’s manipulation of the temporality and texture of light, and projects by Junya Ishigami and Olafur Eliasson that embed natural phenomena within spatial structures all resonate strongly with this research.
3. Experimental and Environmentally Responsive Architecture
Examples include Ken Yeang’s bioclimatic architecture and Michael Fox’s kinetic systems that dynamically respond to environmental conditions. While these are often technologically driven, this study takes a more poetic and perception-oriented approach that emphasizes eliciting the behavior of materials and structure with minimal intervention.
Methodology
The research aimed to develop and implement an environmental apparatus that makes natural phenomena perceptible through architectural structure. An integrated methodology was adopted, combining design practice, full-scale prototyping, structural verification, and environmental response testing.
1. Design Concept Development
The initial phase focused on translating the visual effect of ripple-like fluctuations caused by raindrops into spatial form. Sketches and visual studies modeled the relationship between environmental rhythms and physical structure, leading to rough prototypes combining apparatusal and structural elements.
2. Full-Scale Mockups and Structural Verification
A tent-like timber structure composed of 127 vertical members was assembled using traditional Japanese “sogi-tsugi” joinery. A modular lattice roof constructed from 24×48mm lightweight wood enabled one-person assembly while maintaining structural stability. Additional elements included plywood louver walls for light control and a matte-finished plaster floor to enhance optical effects.
3. Development of Environmental Response Mechanism
At the core of the apparatus were transparent acrylic tubes containing equilateral triangular prisms, which rotated in response to natural wind. To optimize responsiveness, the following tests were conducted:
• Comparison of materials (acrylic, aluminum, stainless steel)
• Prototyping with various diameters (50–100mm) and lengths (500–2000mm)
• Evaluation of rotation stability and visibility under 1.5 m/s wind
• Analysis of sandblasted surface treatment for light diffusion
• Testing of polycarbonate wind vanes (0.5mm thick, 60×180mm)
The results showed that cast acrylic tubes (75–100mm diameter, 2mm thick, 1000mm+ length) were most effective.
4. Performance Evaluation and Observational Methods
After installation, the following evaluation methods were employed:
• Measurement of light intensity and direction
• Photographic and video documentation over time and weather variations
• Sensory observation by users
• Comparative analysis under sunny, cloudy, rainy, and windy conditions
Through these methods, the structure's stability, environmental responsiveness, and experiential quality were comprehensively assessed.
Results / Findings
The implementation and experimentation of the environmental apparatus yielded the following design, structural, and environmental outcomes:
1. Perceptual Outcomes of Light Diffusion and Refraction
• Natural light dynamically changed inside the space due to wind-responsive prisms, producing varying reflection and refraction patterns across different times and weather.
• Strong light bands formed within the rotating tubes under angled morning and afternoon light, creating delicate, fluctuating light throughout the space. Some rainbow-like dispersion effects were observed.
• Sandblasted cast acrylic provided the most uniform and soft diffusion among materials tested, enhancing visual clarity.
2. Physical Evaluation and Stability of Rotation Mechanism
• The polycarbonate vanes successfully induced continuous rotation under light wind (~1.5 m/s).
• Smoothness of rotation directly affected the rhythm and texture of light, confirming the link between structural behavior and perceptual effect.
• Compared to aluminum or stainless steel, acrylic tubes produced more vibrant visual effects.
3. Constructability and Structural Validation
• The modular design enabled one-person assembly while maintaining structural integrity.
• The “sogi-tsugi” joints provided both rigidity and aesthetic refinement.
• Despite being temporary, the structure exhibited strong wind and load resistance in outdoor conditions.
4. Experiential Variation Across Weather Conditions
• Subtle changes in light were still perceivable under cloudy skies and weak wind, demonstrating high environmental sensitivity.
• Participants reported sensations such as "seeing wind" and "feeling light," validating the apparatus as a perceptual interface.
• Comparative observation across weather types confirmed that the apparatus generated temporally and environmentally dynamic spatial experiences.
Discussion
This study attempts to expand architectural experience by framing architecture as a sensory apparatus that responds to natural phenomena. Key implications are discussed below:
1. Reframing Architecture's Apparatusal Function
Rather than shielding or controlling the environment, architecture can act as a medium that draws in and amplifies natural phenomena. This challenges conventional notions of enclosure and aligns with phenomenological approaches (e.g., Zumthor, Pallasmaa).
2. Interactivity Between Structure and Natural Forces
The structure was designed to visualize invisible forces such as wind and light through motion and refraction. Thus, the structural system itself served as a phenomenon amplifier, suggesting a new integrative strategy beyond traditional engineering or formal aesthetics.
3. Sensory Awareness in Environmentally Responsive Design
Participants’ experiences indicated heightened environmental awareness, triggered by subtle phenomena. While not always quantifiable, these responses reflect meaningful design outcomes in terms of attention, affect, and poetic resonance.
4. Effectiveness of Interdisciplinary Methodologies
By integrating architectural design, structural engineering, material experimentation, and meteorological observation, the study demonstrated that artistic expression and technical validation can coexist. Future practice should further explore such cross-disciplinary fusion.
5. Limitations and Future Directions
Limitations include reliance on qualitative observations; future work could incorporate detailed sensing technologies and user studies. Additionally, as the installation was temporary, applying the findings to permanent structures and diverse climates remains a task for further research.
Conclusion
This research reimagines architecture as an apparatus that mediates environmental perception rather than simply enclosing space. Through a responsive structure utilizing rotating prisms and modular timber elements, the project demonstrates how architecture can manifest wind and light as dynamic spatial phenomena.
The fusion of poetic and structural logic—via single-person assembly, traditional joinery, and perceptual design—offers a new framework for integrating environmental responsiveness into design. The central insight is that architecture can serve as a device for rediscovering nature, fostering more nuanced relationships between humans and their surroundings.
Future work should include quantitative metrics, cross-climatic adaptations, and broader applications to urban and cultural contexts. Ultimately, this study contributes a methodology and mindset for architecture as a sensory interface for environmental engagement.
References
Agamben, G. (2009). *What is an apparatus?* (D. Kishik & S. Pedatella, Trans.). Stanford University Press. (Original work published 2006)
Ando, T. (1991). *Tadao Ando: Light and Water*. Toto Publishing.
Eliasson, O. (2008). *Take your time: Olafur Eliasson*. Thames & Hudson.
Foucault, M. (1977). *Discipline and punish: The birth of the prison* (A. Sheridan, Trans.). Vintage Books. (Original work published 1975)
Ishigami, J. (2018). *Junya Ishigami: Freeing architecture*. Fondation Cartier pour l'art contemporain.
Lynn, G. (1998). *Animate form*. Princeton Architectural Press.
Plummer, H. (2010). *The architecture of natural light* (Y. Kotake, Trans.). Sanchō Shuppan. (Original work published 2009)
Rahm, P. (2009). *Philippe Rahm architectes: Meteorological architecture*. AA Publications.
Yeang, K. (1995). *Designing with nature: The ecological basis for architectural design*. McGraw-Hill.
Zumthor, P. (2007). *Atmospheres: Architectural environments, surrounding objects*. Birkhäuser.
perceptual apparatus that mediates between human experience and ephemeral environmental forces. It investigates the following research question: How can natural phenomena such as sunlight, wind, and atmospheric variability be transduced into embodied spatial experiences through architectural and material articulation? To explore this question, the study presents a site-specific environmental installation (project name withheld for blind review) inspired by the optical ripple patterns generated by raindrops striking water surfaces. The installation employs a non-programmatic, tent-like structural system composed of 127 vertical timber members joined via traditional Japanese sogi-tsugi techniques. A modular lattice ceiling of lightweight wooden frames (24×48mm) allows for solo assembly, while plywood louver walls modulate the penetration of ambient light. The plaster floor, finished with a matte texture, enhances the perceptibility of subtle optical effects produced within the space. A central apparatus feature includes suspended translucent acrylic pipes embedded with equilateral triangular glass prisms. These elements respond kinetically to wind via polycarbonate vanes (0.5mm thick, 60×180mm), rotating at average wind speeds of 1.5 m/s to generate fluctuating patterns of refraction and internal diffusion of natural light. The methodological framework integrates full-scale prototyping, material testing, structural feasibility studies, and performance evaluation. Comparative experiments were conducted on tubes of different materials (acrylic, aluminum, stainless steel) and dimensions (diameter 50–100mm; length 500–2000mm), with sandblasted cast acrylic (75–100mm diameter, 2mm thickness, 1000mm+) demonstrating optimal optical clarity and wind responsiveness. Structural integrity was confirmed through strength testing and outdoor exposure trials. Environmental performance was documented and assessed via light intensity measurements, time-lapse photography, and sensory observation under varying meteorological conditions. Rather than solving a predefined architectural problem, the research proposes a reframing of design practice as a sensory interface—foregrounding perception, temporality, and environmental responsiveness over fixed program or enclosure. It demonstrates how interdisciplinary approaches spanning architecture, environmental science, and material engineering can produce spatial experiences that amplify awareness of natural rhythms. Ultimately, this work presents a model for responsive spatial design in which architecture becomes a medium of environmental expression.
Introduction
In contemporary architectural design, there is a growing movement away from spatial configurations defined solely by enclosure, and toward renewed interest in the relationship between human perception and environmental forces. This shift includes an exploration of architectural frameworks that allow natural phenomena—such as light, wind, and atmospheric conditions—to be directly perceived as embodied spatial experiences. Such inquiries expand architecture into a sensory and poetic domain.
This research redefines architecture not merely as a physical boundary, but as an apparatus that renders environmental phenomena perceptible. It centers on the following research question: "How can natural forces such as sunlight, wind, and atmospheric variation be transformed into embodied spatial experiences through the behavior of structure and material?"
To explore this question, the study focuses on a specific environmental installation inspired by the ripple-like optical fluctuations generated by raindrops falling onto a water surface. This apparatusal space combines traditional timber construction with modern optical materials, structuring a system in which natural phenomena become perceptible within space.
Rather than solving a functional problem, this experimental project aims to reconstruct the perception of environment. Through an interdisciplinary methodology that integrates structure, material, light, and motion, the study proposes the possibility of transforming architecture into a medium for environmental perception.
Literature Review
This study is situated within a lineage of architectural practices that reconceptualize buildings as apparatuses for perceiving environmental variation. Such a design philosophy diverges from traditional functionalist frameworks and aligns with approaches emphasizing sensory experience and ecological responsiveness.
1. The Concept of Apparatus in Architecture
The notion of an “apparatus” originates from the philosophical lineages of thinkers such as Foucault and Agamben, but in architecture, figures like Greg Lynn and Keller Easterling have used it to describe spatial behaviors and infrastructural conditions. In this study, the concept is extended to describe architectural compositions in which structure and material function as mediators of natural phenomena and bodily perception.
2. Perception and Architecture: Designing with Light, Wind, and Atmosphere
Precedents include works by James Turrell and Tadao Ando, who treat light as a primary spatial material, as well as Philippe Rahm, who designs with microclimates. These practices reconfigure architecture as a space for experiencing environmental flux. Turrell’s focus on the act of seeing, Ando’s manipulation of the temporality and texture of light, and projects by Junya Ishigami and Olafur Eliasson that embed natural phenomena within spatial structures all resonate strongly with this research.
3. Experimental and Environmentally Responsive Architecture
Examples include Ken Yeang’s bioclimatic architecture and Michael Fox’s kinetic systems that dynamically respond to environmental conditions. While these are often technologically driven, this study takes a more poetic and perception-oriented approach that emphasizes eliciting the behavior of materials and structure with minimal intervention.
Methodology
The research aimed to develop and implement an environmental apparatus that makes natural phenomena perceptible through architectural structure. An integrated methodology was adopted, combining design practice, full-scale prototyping, structural verification, and environmental response testing.
1. Design Concept Development
The initial phase focused on translating the visual effect of ripple-like fluctuations caused by raindrops into spatial form. Sketches and visual studies modeled the relationship between environmental rhythms and physical structure, leading to rough prototypes combining apparatusal and structural elements.
2. Full-Scale Mockups and Structural Verification
A tent-like timber structure composed of 127 vertical members was assembled using traditional Japanese “sogi-tsugi” joinery. A modular lattice roof constructed from 24×48mm lightweight wood enabled one-person assembly while maintaining structural stability. Additional elements included plywood louver walls for light control and a matte-finished plaster floor to enhance optical effects.
3. Development of Environmental Response Mechanism
At the core of the apparatus were transparent acrylic tubes containing equilateral triangular prisms, which rotated in response to natural wind. To optimize responsiveness, the following tests were conducted:
• Comparison of materials (acrylic, aluminum, stainless steel)
• Prototyping with various diameters (50–100mm) and lengths (500–2000mm)
• Evaluation of rotation stability and visibility under 1.5 m/s wind
• Analysis of sandblasted surface treatment for light diffusion
• Testing of polycarbonate wind vanes (0.5mm thick, 60×180mm)
The results showed that cast acrylic tubes (75–100mm diameter, 2mm thick, 1000mm+ length) were most effective.
4. Performance Evaluation and Observational Methods
After installation, the following evaluation methods were employed:
• Measurement of light intensity and direction
• Photographic and video documentation over time and weather variations
• Sensory observation by users
• Comparative analysis under sunny, cloudy, rainy, and windy conditions
Through these methods, the structure's stability, environmental responsiveness, and experiential quality were comprehensively assessed.
Results / Findings
The implementation and experimentation of the environmental apparatus yielded the following design, structural, and environmental outcomes:
1. Perceptual Outcomes of Light Diffusion and Refraction
• Natural light dynamically changed inside the space due to wind-responsive prisms, producing varying reflection and refraction patterns across different times and weather.
• Strong light bands formed within the rotating tubes under angled morning and afternoon light, creating delicate, fluctuating light throughout the space. Some rainbow-like dispersion effects were observed.
• Sandblasted cast acrylic provided the most uniform and soft diffusion among materials tested, enhancing visual clarity.
2. Physical Evaluation and Stability of Rotation Mechanism
• The polycarbonate vanes successfully induced continuous rotation under light wind (~1.5 m/s).
• Smoothness of rotation directly affected the rhythm and texture of light, confirming the link between structural behavior and perceptual effect.
• Compared to aluminum or stainless steel, acrylic tubes produced more vibrant visual effects.
3. Constructability and Structural Validation
• The modular design enabled one-person assembly while maintaining structural integrity.
• The “sogi-tsugi” joints provided both rigidity and aesthetic refinement.
• Despite being temporary, the structure exhibited strong wind and load resistance in outdoor conditions.
4. Experiential Variation Across Weather Conditions
• Subtle changes in light were still perceivable under cloudy skies and weak wind, demonstrating high environmental sensitivity.
• Participants reported sensations such as "seeing wind" and "feeling light," validating the apparatus as a perceptual interface.
• Comparative observation across weather types confirmed that the apparatus generated temporally and environmentally dynamic spatial experiences.
Discussion
This study attempts to expand architectural experience by framing architecture as a sensory apparatus that responds to natural phenomena. Key implications are discussed below:
1. Reframing Architecture's Apparatusal Function
Rather than shielding or controlling the environment, architecture can act as a medium that draws in and amplifies natural phenomena. This challenges conventional notions of enclosure and aligns with phenomenological approaches (e.g., Zumthor, Pallasmaa).
2. Interactivity Between Structure and Natural Forces
The structure was designed to visualize invisible forces such as wind and light through motion and refraction. Thus, the structural system itself served as a phenomenon amplifier, suggesting a new integrative strategy beyond traditional engineering or formal aesthetics.
3. Sensory Awareness in Environmentally Responsive Design
Participants’ experiences indicated heightened environmental awareness, triggered by subtle phenomena. While not always quantifiable, these responses reflect meaningful design outcomes in terms of attention, affect, and poetic resonance.
4. Effectiveness of Interdisciplinary Methodologies
By integrating architectural design, structural engineering, material experimentation, and meteorological observation, the study demonstrated that artistic expression and technical validation can coexist. Future practice should further explore such cross-disciplinary fusion.
5. Limitations and Future Directions
Limitations include reliance on qualitative observations; future work could incorporate detailed sensing technologies and user studies. Additionally, as the installation was temporary, applying the findings to permanent structures and diverse climates remains a task for further research.
Conclusion
This research reimagines architecture as an apparatus that mediates environmental perception rather than simply enclosing space. Through a responsive structure utilizing rotating prisms and modular timber elements, the project demonstrates how architecture can manifest wind and light as dynamic spatial phenomena.
The fusion of poetic and structural logic—via single-person assembly, traditional joinery, and perceptual design—offers a new framework for integrating environmental responsiveness into design. The central insight is that architecture can serve as a device for rediscovering nature, fostering more nuanced relationships between humans and their surroundings.
Future work should include quantitative metrics, cross-climatic adaptations, and broader applications to urban and cultural contexts. Ultimately, this study contributes a methodology and mindset for architecture as a sensory interface for environmental engagement.
References
Agamben, G. (2009). *What is an apparatus?* (D. Kishik & S. Pedatella, Trans.). Stanford University Press. (Original work published 2006)
Ando, T. (1991). *Tadao Ando: Light and Water*. Toto Publishing.
Eliasson, O. (2008). *Take your time: Olafur Eliasson*. Thames & Hudson.
Foucault, M. (1977). *Discipline and punish: The birth of the prison* (A. Sheridan, Trans.). Vintage Books. (Original work published 1975)
Ishigami, J. (2018). *Junya Ishigami: Freeing architecture*. Fondation Cartier pour l'art contemporain.
Lynn, G. (1998). *Animate form*. Princeton Architectural Press.
Plummer, H. (2010). *The architecture of natural light* (Y. Kotake, Trans.). Sanchō Shuppan. (Original work published 2009)
Rahm, P. (2009). *Philippe Rahm architectes: Meteorological architecture*. AA Publications.
Yeang, K. (1995). *Designing with nature: The ecological basis for architectural design*. McGraw-Hill.
Zumthor, P. (2007). *Atmospheres: Architectural environments, surrounding objects*. Birkhäuser.