The Droplet Pavilion / Atelier Kristoffer Tejlgaard

Architects: Atelier Kristoffer Tejlgaard
Area: 25 m²
Year: 2018
Photographs: Niels Gammelgaard
Manufacturers: Arla plast, AutoDesSys, Markant A/S, Würth
Lead Architect: Kristoffer Tejlgaard
Collaborators: Markant A/S
City: Copenhagen
Country: Denmark

The Droplet Pavilion by Atelier Kristoffer Tejlgaard is a transparent, self-supporting dome resembling a water droplet, constructed from 6mm polycarbonate sheets with stainless steel fittings. Designed as a flexible alternative to traditional greenhouses, it serves various functions like garden pavilions or exhibition spaces. The curved structure, formed by overlapping rhombus-shaped sheets, offers strength without internal supports and allows for easy assembly. Inspired by Buckminster Fuller’s geodesic domes, the design emphasizes sustainability, minimizing waste through efficient use of materials, customizable options, and adaptability to different uses and environments.

The droplet pavilion / atelier kristoffer tejlgaard

To achieve the necessary precision, CNC milling is used for the polycarbonate sheets, which are cut to fully utilize standard sheet sizes from the manufacturer. The design, featuring an oval profile and circular footprint, optimizes floor space and allows for standing height along the interior rim of the facade. The polycarbonate sheets overlap in a fish-scale pattern, ensuring the structure remains wind and waterproof without needing additional seals or caulk. The Droplet Pavilion can be customized to suit various needs, including different foundation types, sizes, shading options, facade materials, transparency levels, and interior layouts. For instance, it can be fitted with aluminum or wooden doors, and a PEHD thermoplastic foundation ring can be extended 50cm into the ground to prevent rodent intrusion. The colors of the aluminum doors and foundation can also be customized.

The preferred facade material for the Droplet Pavilion is a 6mm UV-protective polycarbonate. However, options such as translucent U-channel sheets, solid polycarbonate in various colors, or even plywood sheets are available. An awning can be added to provide shade on sunny days; this off-white cotton awning comes in multiple sizes and can be easily attached to the pavilion using stainless steel hooks on the interior of the facade. The same attachment system can support a cotton tent, offering privacy and enabling the pavilion to be used as a guest house. For the base, a foundation made of CLT (Cross Laminated Timber) is an option, comprising three interlocking pieces that provide stability during stormy weather and serve as instant flooring. This type of foundation is particularly suitable if the pavilion is used as a mobile exhibition space for commercial purposes.

Kristoffer Tejlgaard’s interest in dome structures, particularly geodesic domes, was inspired by American architect Buckminster Fuller and his concepts of ecological design. Tejlgaard’s journey with geodesic domes began with the construction of his first dome at the Roskilde Festival in 2011, and since then, he has developed several more. One notable project, the Dome of Visions, is based on geodesic principles—a method that allows for strong yet delicate designs by carefully managing the compressive and tensile forces within the materials. The geodesic dome holds a significant place in architectural history today, largely thanks to Buckminster Fuller. In the 1950s and 1960s, Fuller incorporated geodesic dome structures into his work and explored geometrically optimal methods for constructing domes. It was only recently discovered that the geometric principles he applied in architecture were derived from nature.

Buckminster Fuller named the family of carbon molecules, including C60, “Buckyballs” or “Fullerenes.” He anticipated today’s resource scarcity and advocated for a “design revolution” focused on achieving more with fewer resources. Fuller believed intelligent construction was key to better resource efficiency, a view that resonated with emerging hippie communities who utilized his geometric insights to build affordable, resource-efficient homes. As a result, the geodesic dome has become an icon of alternative architecture. This legacy continues to influence the philosophy of Atelier Kristoffer Tejlgaard, the Copenhagen-based architecture studio, which embraces Fuller’s principles in its approach to sustainable design.

Building on Fuller’s legacy, Atelier Kristoffer Tejlgaard (AKT) continuously challenges conventional construction practices by experimenting with ways to optimize resource use in architecture. In designing the Droplet Pavilion, the firm departs from the geometric principles of the geodesic dome to align with modern industrial production methods and material specifications while maintaining a high aesthetic standard. Using 3D modeling, AKT developed a geometry based on rhombuses that is better suited for industrial production, reducing material waste by approximately 30% compared to a geodesic dome using pentagons and hexagons. Furthermore, the Droplet is designed for easy disassembly, allowing all materials to be recycled when the pavilion is no longer in use.

Transitioning from a hemispherical to an oval form for the Droplet Pavilion offers benefits like full standing height along the inner rim of the facade but also introduces new design challenges. The sheet sizes were adjusted to match standard polycarbonate dimensions to maximize material efficiency. Since the sheets are made from flat extruded polycarbonate, not curved cast polycarbonate, there is a limit to how much curvature can be achieved while maintaining structural strength and an elegant facade line. This challenge was addressed by subdividing the sheets to achieve the desired curvature with minimal material waste. A 1:20 scale model demonstrated the feasibility of the geometry and confirmed the extent to which the sheets could be bent without failure, leading to the successful construction of a full-scale prototype.