Air Final Journal by Aaron Koh

Table of Contents

Part A Conceptualisation A.1 Design Futuring.....................................................................4 A.2 Design Computation..............................................................8 A.3 Composition/Generation......................................................12 A.4 Conclusion/A.5 Learning Outcomes....................................15 Part B Criteria Design B.1 Research Field.....................................................................18 B.2 Case Study 1.0.....................................................................20 B.3 Case Study 2.0.....................................................................28 B.4 Technique: Development......................................................32 B.5 Technique: Prototypes..........................................................42 B.6 Technique: Proposal.............................................................44 B.7 Learning Objectives and Outcomes.....................................45 Part C Detailed Design C.1 Design Concept....................................................................48 C.2 Tectonic Elements................................................................62 C.3 Final Model...........................................................................70 C.4 Additional LAGI Brief Requirements.....................................76 C.5 Learning Objectives and Outcomes.....................................78 References..................................................................................79

Part A Conceptualisation

A.1. Design Futuring Architecture as a design practice contributes ideas to the on going disciplinary discourse and culture at large. In the first lecture, the idea of “design futuring” was introduced. This term, coined by Tony Fry in the reading, was a response to the detrimental effects the business of design has had and is continuing to have on the environment.1 Therefore, in order to design for the preservation of the future, Fry implores us to change the way we approach design as to alter its outcomes in order to be more aligned to the cause. In the realm of architecture, computation serves as an alternative to the more conventional and unsustainable methods of designing buildings/structures. According to Stanislav Roudavski, computational tools allow for the collection of data from the real world thus enabling the constructing of digital models to predict future posibilities.2 Using computation is therefore more accountable in responding to the environmental issues facing the world today. Hygroscope Meteorosensitive Skin by Achim Menges3 Architecture is surely at the forefront of innovation with the emergence of reactive architecture. One good example of this is the Hygroscope Meteorosensitive Skin by Achim Menges. As part on an exhibition in Centre Pompidou, Paris, this model made out of wooden “cells” reacts to the surrounding climate by opening and closing its flaps contained in each cell. No energy is required to induce these movements. Computational morphogenesis and inherent material behaviour are the key components in realising the idea which forms the basis of this project. The designer configured the arrangement of the material into a form which could automate itself without the use of energy based on the understanding of the material behaviour of wood under certain climate conditions. The main processes driving the acute movements are the material’s hygroscopic behaviours and anisotropic characteristics. With the material being wood, its strength is larger in the direction of its grains than across it. Wood also has the ability to keep a balance in its moisture content by absorbing and releasing moisture according to the humidity of the surroundings. The humidity of controlled inside a glass case where the structure is housed. This architecture which reacts with its surrounding conditions gives another dimension to the architecture itself. Architecture can now move and react and no longer be static or be moved by mechanical systems. In relation to this, the fact that no electrical energy is used to power the movements can lead to further research into materials and understanding more their inherent properties in order to save energy. This reactive skin has the potential to be useful in performance aspects of the detailing of the envelope of a building due to its responsiveness to humidity. The opening and closing of the cells allow for natural ventilation without the need for sensors or electrical equipment. One issue to be considered is how efficient is the responsiveness of the wooden flaps is to humidity. Response times to rapid changes in humidity could be slow, therefore not allowing the full opening or closing of the flaps. 4

myThread Pavilion by Jenny Sabin Studio4 This project explores the use of braiding and stitching techniques to construct a building. The resulting pavilion is lightweight and airy which provides an ethereal quality to it. Jenny Sabin uses the concept of the body in motion as the starting point for this project. Motion data was collected from a group of runners and then biological patterns obtained from the data were translated into the geometry and material of the structure. This was achieved by organising the data in excel files and associating them with geometric functions in 3d modelling software. The result is multiple knitting patterns and geometrical structures with form different shapes. Jenny starts with a single unit of construction, the zip-tie, to create a complex structure which integrates the use of bio-architecture, generative systems and digital computation. The knitted fabric is attached to rings which act as constraints and then stretched according to the from generated by the motion data. To create this structure, understanding the way the knitted fabric behaves when stretched is crucial. To integrate the knowledge based on experimentation into a digital and parametric framework requires simulation tools which mimic the properties of stretched material. In this regard, grasshopper can be a facilitator as it contains tools for surface analysis and relaxation. In addition, finding form from a set of data is achievable through the utilisation of parametric modelling as its essence is to use numerical inputs to inform a resulting digital geometry. In relation to this project, the form resembles an explosion of threads, radiating out from a core, which is analogous to the bodily performance under motion, an explosion of energy within the body to undertake physical actions. Using threads and knitted fabrics to create a spatial experience prove to be successful in this project. The structure is built under tension and therefore requires minimal support under gravity. The issue is with the strength of the fabrics themselves. To create taught and strong surfaces, the fabrics need to have high stretch levels whilst being dense enough to withstand any type of loads. Indeed, being an art installation does not require such criteria, but in order to expand the capabilities of the idea, they have to be taken into account.

A.2. Design Computation

Computing has engaged with the evolution of design processes. The use of computers in design can be separated into two approaches: computerisation and computation. Computerisation involves the use of digital tools which do not contribute to the creative process of designing. Instead, they are just aids to realise and model a design, which starts from an idea, preconceived by a designer. They are useful in realising complex forms and shapes which can be challenging if were to be drafted by hand. In contrast, computation is a more dynamic, integrated and complex method of generating form. In the reading by Kalay, designing is viewed thorough the paradigm of problem solving which involves setting goals and constraints from the outset, and then searching for solutions and then choosing the ones which meet those criteria.5 In light of this, computation provides a sensible alternative to how we design as it is aligned to algorithmic thinking which allows for more experimentation and exploration of ideas. This results in a more rigorous method in designing our buildings.

Guggenheim Museum, Bilbao, Frank Gehry Architects.6 This is a project presumed to use computerisation in generating the form of the structure. Frank Gehry is renowned for his concept sketches which he does to inspire the form of his buildings. In relation to the Guggenheim, we can observe that its built form is embedded with the essence of the drawing; a kind of chaotic, muddled curvilinear mess. The curvilinear lines of Frank Gehry’s sketches are translated to their built form thorough the use of computer software. Frank Gehry’s Guggenheim has a structure made of steel wrapped in metal cladding. The steel structural members are able to be moulded and formed into the complex shape of the building. This shows how flexible and permitting steel construction can be in dealing with complex shapes and form. The abstract form of the initial sketch is still maintained in the final building form using Gehry’s own research into computerisation which led to Gehry’s Technologies, his technological research division of his architectural practise. Computerisation is therefore a tool in which abstract and complex forms can be realised by the abilities of the software to model using curves and double curved surfaces. In addition, the ability to appreciate the 3D digitised model which is typical in programs such as Rhino supplements the modelling process. Therefore, this enables the designer o have a more rigorous and less constricted way of designing. Because of computerisation, buildings can now take on forms which are not just rectilinear and modular, which are by virtue of the limitations of the traditional methods of designing and construction. However, complexity of the form are limited by the current construction technologies which can go so far as to ensure structural stability. In regards to this, a certain amount of restraint is needed when designing using 3d modelling tools.

Since its completion, this museum has attracted more than 4 million tourists in its first there years and generated more than 500 million euros in economic activity (wikipedia.org). The ability of the building to transform the city of Bilbao has gained much attention, so much so that a term called the â&#x20AC;&#x153;Bilbao Effectâ&#x20AC;? has been coined by critics to describe precisely that.

Museo Soumaya, Mexico City, Fernando Romero.7 The Museo Soumaya is located in Mexico City, Mexico and houses a private art collection which includes nearly 70,000 artworks from the 15th to mid 20th centuries. The museumâ&#x20AC;&#x2122;s form is a rotated rhomboid and is supported by 28 curved steel columns. The structure is clad in 16000 hexagonal mirrored steel tiles, referencing the traditional colonial ceramic tiled building facades. (architizer.com) The hexagonal panels which placement on the internal structure is determined by computation. The high cost of fabricating the individual panels to form the surface of the building called for the optimisation of the shape of the design to accommodate just three types of panels of different shapes. Computation provided integration and feedback between material used, size and configuration of the tiles and shape of geometry of the structure, resulting in the simplification and optimisation of the construction process.8 In this project, the use of computation has given rise of a specific form which is determined by a set of constraints. Integrating different sets of criteria and constraints into the design process allows for the generation of a form which is not predetermined. This makes an architecture which is more robust, inclusive and substantial. The essence of a building will be consolidated by sound and logical systems (algorithms) which is not random and superfluous as they may seem purely through outward observations.

Not only does computation provide the means for a specific aesthetic quality to the Museo, but also addresses practical concerns within the project, namely the optimisation of the shape of the tiles to minimise cost of construction. This leads to the argument that computation is a useful pathway to solving complex problems and at the same time giving rise to out of the ordinary shapes and forms for building to take. In light of this, it is easy to deem a building â&#x20AC;&#x153;optimisedâ&#x20AC;? to certain constraints and design criteria after implementing some computational processes. But what of the long run, when there will be changes in the context and scope where the design was set against and the building will no longer perform to its optimal capabilities?

A.3 Composition/Generation Columns, Michael Hansmeyer11 Computational Architect is what Michael Hansmeyer describes himself as. Using computational methods and processes, he reinvents the notion of architecture and pushes its limits. As a result, new forms of architecture emerge from his works on computation. (thewhitereview.org/interviews/interview-with-michael-hansmeyer) A Doric column is subjected to multiple iterations of subdivisions, creating highly intricate and synthetic forms. The many different outcomes produced by this project demonstrates how a structure can change and adapt to different conditions simulated via parametric manipulation. The columns created by Michael Hansmeyer follows a generative process inspired by the division of cells in nature (morphogenesis). He takes an initial surface and divides it into two and then applies the same process to the resulting surface. This is done at multiple iterations to form the complex and intricate skin of the columns. This process is called recursion where an algorithm is called onto itself until a certain point where it halts under certain criteria. The multiple versions of a column could be due to the different method of folding but still using the recursive function. This project exemplifies the shift from composition to generation in a convincing way. The Doric column, its manner of composition and form is precisely imprinted in The Ten Books on Architecture by Vitruvius. As a result, the Doric column has little variation to its form no matter where or when they were built. http://www.thewhitereview.org/interviews/interview-with-michael-hansmeyer/

City Hall, London, Foster and Partners12 This project demonstrates how parametric modelling can increase performance of a building under certain climatic conditions. By analysis of sunlight patterns, an overall shape of the building was generated, minimising the surface area exposed to direct sunlight. Furthermore, the cladding system was generated according to the thermal map of the structureâ&#x20AC;&#x2122;s surface. This shows how powerful computation is for it simulate climatic conditions by predicting future occurrences and then coming out with an optimum solution. This concept of generating a shape for an architectural structure based on sun radiance is useful for our design project. This shows how a design can be integrated with environmental parameters which makes for a more robust architecture. In terms of performance, energy heat gain and loss is optimised because of the power of computerisation.

A.4 Conclusion In conclusion, computation provides an alternative on how we generate forms in architecture. It creates interesting forms and plants intrigue into observers and therefore has the ability to educate. Through education can the behaviour of the general populace alter for the betterment of the environment. Computation allows for a more dynamic and responsive approach in designing by virtue of the inherent qualities of algorithmic methods and problem solving. As a result, the outcome is optimised to suit a set of conditions which can be simulated computationally. Lastly, computation as a mode of from generation can borrow from natureâ&#x20AC;&#x2122;s processes, producing outcomes which can be tested against certain criteria to finalise on a single optimal solution.

A.5 Learning Outcomes Learning about the theory and practise of architectural computing, my initial perceptions have somewhat altered. Seeing parametric architecture for the first time, I couldnâ&#x20AC;&#x2122;t understand it. My initial thoughts were that they were just random, organic, experimental forms which had no meaning behind them. But now, I understand that those forms are based on highly sophisticated, intelligent and logical processes which architects formulate in order to respond to conditions that are ever-changing, dynamic and complex.

Part B Criteria Design

B.1. Research Field

For part b, my team has chosen geometry as a research field to develop techniques and tectonic systems using computational methods. In relation to computational design, the pursuit of from finding has led to the adoption of mathematical concepts as the basis for generating a type of geometry. Ruled surfaces, paraboloids and geodesics are some of the terms which are commonly used to describe geometric qualities of parametric models. Whilst the knowledge of geometry during an earlier time in human history (think Leonardo da Vinci or Vitruvius) produced architecture which is pure in form, computation at the present time utilises geometry to generate forms which are curvy and organic. In this regard, structures can now take on forms which extend beyond the simple geometry of the cube or sphere. Architecture is now more free to find interesting forms but at the same time constrained by the limitations of how geometry defines the form. nonlin/lin Pavillion, Marc Fornes This project utilises surface relaxation1 of the spaning members to create a sinuous form. This shows how parametric modelling can create non conventional and interesting shapes thus expanding the opportunities of conceptual design being more experimental and bold. 1. http://theverymany.com/constructs/10-frac-centre/

B.2. Case Study 1.0 The definition we chose for Case Study 1.0 is VoltaDom by Skylar Tibbits.

2. http://www.sjet.us/MIT_VOLTADOM.html

Species 1

Number of points Height ratio Cone radius

Seed Height ratio Cone radius Section extracted (holes at the top

Number of points Height ratio Cone radius Section extracted (holes at the top)

Species 2

Number of points Height ratio Cone radius

Height ratio Cone radius Section extracted (holes at the top)

Number of points Height ratio Cone radius Mesh Settings

Number of points Height ratio Cone radius Location of point attractor

Height ratio Cone radius Location of point attractor Section extracted (holes at the top)

Input function for point population Section extracted (holes at the top)

Species 3

X coordinate of point attractor Section extracted (holes at the top)

X coordinate of point attractor Section extracted (holes at the top

Amplitude of sin and cos curve (spiral)

X coordinate of point attractor Amplitude of sin and cos curve (spiral)

X coordinate of point attractor Y coordinate of point attractor Density of points

Section extracted (holes at the top)

Species 4

Section extracted (holes at the top) V count of sphere divide

Section extracted (holes at the top)

Height ratio Cone radius Section extracted (holes at the top)

V value of surface domain Cone radius Section extracted (holes at the top)

V value for subsrf of sphere Cone radius Section extracted (holes at the top

Attractor point x coordinate

Species 5

Step size of sine curves UV count of points

Step size of sine curves

Step size of sine curves UV count of points

Step size of sine curves Sine curve amplitude

Section extracted from cones (holes at the top)

Selection Criteria Our selction criteria is based on form, circulation and energy generation integration. These aspects we considered to be suitable to the requirements of the brief which was to design a stucture which is sculptural and has the ability to generate energy. Based on the selection criteria, we chose the following iterations as the best outcomes of our experimentation of the grasshopper definition.

This form is chosen for its sculptural quality with the different heights and sizes of the spaces.

The elements which make up the dome like structure could possilby provide rigidity and hence contribute to the stability of the structure.

The elongated shape of this outcome could be used as a directional queue for circulation. The shape also resembles an enclosed space which could be beneficial in terms of articulating a specific program.

The openings in this form could provide opportunities for views and light penetration. Also, the structure could be a free standing wall with a curvilinear profile adding to the sculptural quality of the design.

Speculation From the experimentation of the definition to create geometries which differs substantially from the initial project, the new definiton enables the manipulation of points to create forms which stem from a single geometry (in our case a cone). The different arrangements of points can lead to multiple effects which are illustrated above. This technique of point creation and arrangement coluld be utilised in the coming tasks.

B.3. Case Study 2.0 Blohm + Voss Superyacht by Zaha Hadid Architects This is one of a series of yachts designed by Zaha Hadid Architects for ship builders Blohm+Voss. The natural and organic aesthetic of the design is inspired by natural underwater formations and fluid dynamics of underwater ecosystems.3 Refering to the LAGI site, we thought that this aesthetic was well suited, as the proximity to the sea should have an effect on form of the land art.

3. http://www.zaha-hadid.com/design/unique-circle-yachts/

Reverse Engineering The following steps show how the case study project was re-created using Grasshopper. Step 1: Create a set of curves which roughly follows the overall form of the case study project.

Step 2: Loft the curves to create a surface.

Step 3: Approximate the dimentions of the surface and populate the surface with points to create Delaunay triangulation curves.

Step 4: Map Curves onto the lofted surface.

Step 5: Divide the curves into segments.

Step 6: Create mesh from the curves.

Step 7: Create frame from the mesh using quad faces.

Step 8: Smoothen the frame.

Final Outcome A digital model which was close to appearance with the original was achieved. A fluid and organic form was achieved by the smoothing process of the created frame. However, the original project had more control over the placement of the voids in relation to the location of the windows of the yacht. In addition, the smooth framing in the original has a extra dimention to it which this one lacks. For the next stage, the definition could include the ability to parametrically change the curves as well as creating a framing system which has not just one dimention.

B.4. Technique: Development Number of points

wbFrame Distance 0.131 wbThicken 0.073 Number of points 8

wbFrame Distance 0.131 wbThicken 0.073 Number of points 45

Thickness

wbFrame Distance 0.131 wbThicken 0.171 Number of points 45

wbFrame Distance 0.131 wbThicken 0.399 Number of points 45

Adding an offset layer of points & Number of points

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.073 Number of points 6

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.073 Number of points 23

wbFrame Distance 0.131 wbThicken 0.073 Number of points 110

wbFrame Distance 0.131 wbThicken 0.073 Number of points 150

wbFrame Distance 0.131 wbThicken 0.073 Number of points 200

wbFrame Distance 0.131 wbThicken 0.759 Number of points 45

wbFrame Distance 0.131 wbThicken 1.013 Number of points 45

wbFrame Distance 0.131 wbThicken 1.583 Number of points 45

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.073 Number of points 42

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.073 Number of points 62

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.073 Number of points 79

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.073 Number of points 120

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.073 Number of points 138

Varying Input Curves

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.358 Change of control curve Y

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.358 Change of control curve YZ

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.073 Number of points 152

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.073 Number of points 172

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.073 Number of points 199

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.358 Change of control curve YZ

Using Closed Curves

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.358 Change of control curve 10

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.358 Number of Points 19

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.358 Number of Points 56

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.358 Number of Points 105

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.358 Number of Points 27

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.358 Number of Points 36

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.358 Number of Points 56

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.358 Number of Points 122

Layer offset 0.322 wbFrame Distance 0.131 wbThicken 0.358 Number of Points 156

Further Explorations

Analysis of Iterations/Best Outcomes

As we increse the thickness of the frame the change only occurs in one direction resulting in members with long webs (similar to I beams). This could add to the stability of the stucture.

Increasing the number of points results in a very complex and intricate structure. This can lead to interesting patterns which could lend to the aesthetics of the structure. However, the members grow thinner and might undermine their strength.

Manipulating the input curves is useful to ensure that the structure is level at its base so that it is stable when it is constructed on the ground. This output shows a level base for construction.

By making the curves enclosed, this output shows very pronounced openings at the ends. This provides opportunities to establish entrances/exits to allow for circulation.

B.5. Technique: Prototypes Based on our technique we developed structures which had sinuous, dynamic and organic shapes. It is true that for our proposed design, these will be the qualities which will be anticipated as we apply our technique. Because of the nature of the outcomes, we tested different materials to test how the materials can be formed into the organic and dynamic shapes and understand their structural qualities. For the metal sheets, we found that it is easily pliable and can form surfaces which are curved. However, the sheets do not have the thickness the structure needs to hold its shape. For the metal mesh, it has similar qualities as the metal sheets but is easier to bend. This is useful as it can be rolled and moulded to look like the members our structure we came up with. We thought that the mesh could hold some kind of liquid cast to smoothen the surface. The down side of the metal mesh is its instability when forces are applied. Another material we tested is foam core. The foam was easy to carve but look time to produce the final shape. A small section was made to explore the opportunities to fabricate the structure in panels so that the panels can be joined together to create the overall structure. However, we concluded that the foam needed a more ductile material to coat it in order to increase the strength of the panel. We also tested clay whcih we thought could mimic the propeties of concrete. As concrete can be make into any form, we thought that this could be a viable option. We found that the clay cracked where there is a cantilever. Due to this, the test failed as our structure has unsupported members which are cantilevered. Investigating further, we made a wire frame to act as reinforcement for the clay prototype. This prototype proved to be the best at it was resistant to outer forces after testing. The overall form of the prototype also resembles the smooth and organic form of our technique.

B.6. Technique: Proposal For the design proposal, we set the following design criteria: circulation, cultural aspects, integration of energy production mechanisms, and connection with the water. With our outputs from our grasshopper investigations, the forms are dynamic and fluid which resembles the appearance of the water waves. Furthermore, the tunnel like structure would dictate the circulation pattern of the visitors from the entry point to the sea. The voids created in the outputs provides opportunities for nano-antenna skin energy generation to be placed. The structure would be placed towards the north of the site, providing space for sun bathing which is a cultural endeavour of the inhabittants of Copenhagen.

B.7. Learning Objectives and Outcomes After having our mid semester presentation, we were given feedback to help us reconsider our strategies put forth in our initial design proposal. In regards to the form of our proposed design, a more critical approach is needed to think about the spaces of the design that we want to create. The proposed design was said to be too simmilar to the outputs of our definition for case study 2.0. and was arbitrarily place on the site. In response to this, the design will be altered to respond more to a design intent as well as the competition brief. In addition, not much testing of a prototype was conducted and investigation of the different materials were misunderstood.

Part C Detailed Design

C.1 Design Concept After the interim presentations, the feedback we got was that our design concept was not strong enough. The design took an arbitrary form and simply placed on the site. Responding to this, we came up with a form which was generated in grasshopper using sun analysis in Copenhagen. Having chosen nanoantenna as our energy generation system, sun radiation analysis was an appropriate choice for our design. The wind direction at the site was a topic of concern in our design. We chose to design our form according to the wind direction because the form will follow the direction of the wind to lessen the wind load subjected to the structure. Using Vasari, wind analysis was done on the site by which a digital model of the site was made.

Circulation was also a factor in the design concept. We wanted to direct the movement of people within the site by wanting to connect the entrances on the eastern side of the site to the water front at the west while giving the visitors a unique spatial experience. In additiion, a â&#x20AC;&#x153;floatingâ&#x20AC;? platform would enable the structure to extend to the sea creating a deeper connection with the natural environment.

Relating to the two criteria as a starting point, a set of curves was established. The curves formed a boundary in which points were placed within to be referenced in Galapagos. From the points we made a mesh which is required for Ecotect to run its sun radiation analysis.

Using the Galapagos tool in grasshopper and Ecotect, the final form correspond to the maximum average amount of sunlight falling onto the structure. We let the points move within a range so that the form will not be restricted when the analysis is being done. Also, we used the wind direction and circulation as the initial conditions for our design.

After the final presentation, the feedback was that the iterations the sun radiation analysis produced were not much different from each other as they were not given much freedom to find the optimum form. As a result, we made the points to move in a wider range than previously set. Indeed, when the analysis was performed after the change, more variation of the iterations was achieved.

The following 2 outcomes were determined by the end of the analysis. It can be seen that the new outcomes have similar shapes as the ones obtained from the initial analysis. This could be due to the site being flat and open therefore the radiation of the sun is even thoughout the site.

After performing the sun radiation analysis, which generates the optimal forms for maximum sun radiation capture, we applied our technique developed in Part B to the resulting forms. The diagram below illustrates the process.

Again, we made a few iterations of the technique applied to the outcome of the sun radiation analysis and order for circulation to occur. The mesh faces should not share a common edge, this will cause the mesh

d picked a suitable one based on criteria. The structure has to have adequate openings at the ends in to be a bad mesh and cannot be 3d printed.

For the landscaping of the site, we propose a series of platforms which is inspired by the different heights bank and the site. We thought that the landscape should incorporate a simliar aesthetic with the main stru are cut through the landscaping structure to enable the ease of access to the northern part of the site.

of the nearby buildings. The addition of trees at the northern edge brings continuity between the opposite ucture and designed a plane like structure which has the opportunilty to generate electricity as well. Paths

C.2 Tectonic Elements The structure has a very organic and sinuous form. To be fabricated, we intend to break the structure up into prefabricated parts to be assembled on site. It would be difficult to construct the complex structure on site using conventional materials such as bricks or concrete. With bricks, the modularity restricts the formation of sinuous and relaxed surfaces. One other technique called â&#x20AC;&#x153;cast thicketâ&#x20AC;?, which was investigated in part b, uses form work and concrete to construct a structure similar to ours. This construction technique is suitable for structures which are vertical in nature which works well with compressive forces but not for structures like ours which need to span some distances. As suggested by our tutor, we tested the use of fiberglass to make our precast units. With the use of fiberglass, we were able to keep the smooth and organic nature of the structure. Fabrication of the initial prototype involve the panelisation of a section taken from the structure to make the formwork. The faces were unrolled into strips and cut with card being the initial material. In terms of the feasibility of the fabrication process, time it took in the making of the formwork was found to be an issue. To address this, we unrolled the surfaces into larger sections and also simplified the mesh further into less faces.

After applying the fiberglass we found that the prototype was strong and rigid. At the same time it was lightweight was well. We further tested the use of multiple sections using different materials for the formwork and adding matting together with fiberglass. The result was the thicker mountboard held its shape more than card during the application of the resin. To ensure that the formwork does not deform under the application of the resin, we made a formwork made out of polypropylene which is a waterproof material. Adding matting as an additional layer to the fiberglass resulted in a smoother surface. As the structure is constructed by mesh with triangular faces, this configuration adds to the strength and stability of the structure.

Connections between the prefabricated parts are made using dowels. Connectors are inserted into the ends of the prefabricated parts. Connectors will consist of male and female parts with some of the male parts having springed dowels which can move in and out, in the case where the part is locked by surrounding connected parts, to enable a limb to be connected to the corresponding limb of the adjacent part by sliding.

C.3 Final Model

Using grasshopper and sun analysis, a unique spatial experience for people to enjoy at the site was created. The platforms created enable activites such as sun-bathing, sight seeing and relaxing. Inside the main structures, people will experience a dynamic and organic setting. As we have scaled down the structures (as suggested in the final persenations), people are able to interact with the structure; sitting on the edge of the voids, walking through the voids internally and externally, and observing the workings of the nanoantenna up close.

C.4 Additional LAGI Brief Requirements In our design we propose to use nanoantenna skin, which is still in research stage of development, as the energy generation system. Nanoantenna is a sheet like material which is coated in microscopic antennas which converts light into electricity13. The antennas on the skin capture the microscopic wavelengths from light and have to be proportional to the size of the wavelengths. This is why the antennas are made in microscopic scale. We chose to use this energy generation system because of its flexible nature which can be installed in the voids of our structure. The diagram illustrates how the nanoantenna sheets can be placed within the structure. We propose to use attaching system so that the nanoantenna can be easily installed and removed without having to integrate the nanoantenna directly into the voids. In addition, this allows the nanoantenna to have its own support structure isolating it from movements occurring in the main structure.

According to the Idaho National Laboratory nanoantennas could harvest up to 92% of energy at infrared wavelengths (http://www.inl.gov/pdfs/nantenna.pdf). Based on this figure we speculate that the nanoantenna produces 0.92kWh of energy per square meters. The amount of nanoantenna skin required for our structure is estimated to be around 991square meters. This amounts to a total of 911.72 kWh. Multiplying this with the avarage daily sun radiation and days per year, we get 911.72 kWh x 4.5 (daily average sunlight in Copenhagen) x 365 days = 1497500 kWh/year As of 2010, the average energy consumption per household in Copenhagen is 1340 kWh per inhabitant14. Therefore, using this technology, it can power up to 1110 households a year.

C.5 Learning Objectives and Outcomes This subject has taught me about using grasshopper to generate to generate forms which are parametric in nature. The use of parametric modelling can lead to multiple design possibilities by changing the parameters of the definition in grasshopper. From the multiple design possibilities, we were able to explore the different spatial capabilities they possessed. To select a suitable design from the range of possibilities, a number of criteria were evaluated against. These criteria can be related to the context of the site and the design brief. Undertaking the tasks to design using computation has developed my skills in digital modelling, fabrication by making prototypes as well as setting up files for digital fabrication such as lazer cutter and 3d printing, diagraming and parametric modelling. We found that digital fabrication tools provide convenience and less time needed in making models and prototypes. I have also learnt that to propose a case for our design, we must be able to provide arguments which are persuasive and in line with the design brief. As from the feedback, the placement of the nanoantennas could be more incorporated into computation where it can find a solution to where the optimum place among the voids should be determined. Parametric modelling is a very powerful tool to be used in architecture to change the way we design. I will definitely engage more with the subject in future projects.

References 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2. Roudavski, Stanislav (2014). Design Futuring Lecture (Design Studio Air, University of Melbourne) 3. Menges, Achim (2014). Hygroscope Meteorosensitive Skin, http://www.achimmenges. net/?p=5083 4. Sabin, Jenny (2014). myThread Pavilion, http://jennysabin.com/?p=684 5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 6. Images of Guggenheim Museum Bilbao by Frank Gehry taken from http://en.wikipedia.org and http://www.2flashgames.com/movie-pictures/sketches-of-frank-gehry.htm 7. Images of Museo Soumaya by Fernando Romero taken from http://fr-ee.org/projects/soumaya-museum-mexico-city-mexico/ 8. Roudavski, Stanislav (2014). Design Computation Lecture (Design Studio Air, University of Melbourne) 9. Roudavski, Stanislav (2014). Composition/Generation Lecture (Design Studio Air, University of Melbourne) 10. Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 11. Hansmeyer, Michael (2014). Columns, http://www.michaelhansmeyer.com/projects/columns. html?screenSize=1&color=0 12. City Hall Project Document downloaded from http://www.fosterandpartners.com/projects/ city-hall/ 13. en.wikipedia.org/wiki/Nanoantenna 14. subsite.kk.dk