AngelineLim_Part b by Lim Angeline

STUDIO AIR LIM BINXIU ANGELINE, 596462 2014, SEMESTER 2, TUTORIAL GROUP 3 BRADLEY ELIAS

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Table of Contents PART A: CONCEPTUALISATION INTRODUCTION A.1 DESIGN FUTURING A.2 DESIGN COMPUTATION A.3 COMPOSITION/GENERATION A.4 CONCLUSION A.5 LEARNING OUTCOMES A.6 APPENDIX - ALGORITHMIC SKETCHES REFERENCES

PART B: CRIYERIA DESIGN B.1 RESEARCH FIELD B.2 CASE STUDY 1.0 B.3 CASE STUDY 2.0 B.4 TECHNIQUE: DEVELOPMENT B.6 TECHNIQUE: PROTOTYPE B.7 LEARNING OBJECTIVES AND OUTCOMES B.8 APPENDIX - ALGORITHMIC SKETCHES

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part a: conceptualisation

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introduction

biography I am Lim Binxiu Angeline, a third year architecture student from the University of Melbourne. I spent most of my life in Singapore and I came to Melbourne two years ago to study architecture. It is truly a blessing to be studying architecture in this city rich in history and culture. During my leisure time, I love wandering around the city to admire the streetscape and the historical buildings. At the same time, I think that Melbourne is also doing well in utilising modern technology and construction methods such as prefabrication, renewable energy and passive design strategies.

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architecture and my digital experience Having spent two years in this architecture programme has really widened my perspective and understanding of architecture. Architecture isn’t only about buildings - their aesthetic, function and performance. It encompasses broader aspects such as understanding human needs, societal conditions, user experience, context, building technology as well as environmental concerns. I love architecture because of this complexity and the infinite possibilities that can be achieved from one brief itself. Furthermore, the design process is never a straightforward one and it is really rewarding to keep challenging myself by exploring new compositions, techniques and methods. Apart from the theory, I managed to pick up some technical skills through my previous design studios and work experience. In Virtual Environments, I was introduced to Rhinoceros where I had my first experience with digital modelling. I used the basic modelling tools and the plug in panelling tools to create my design. I also used Grasshopper to create tabs for fabricating our lantern. In visualising environments, I managed to learn some Photoshop and Indesign skills which would help me greatly in my presentations. Lastly, I was luckily enough to work in an interior design firm in Singapore where I played around with SketchUp, picked up some basic rendering skills and did working drawings on AutoCad.

Fig. 1 Studio Earth project model, Author’s own, 2014 (top) Fig. 2 Studio Earth project plans and sections, Author’s own, 2014 (above)

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digital architecture I feel that digital architecture is breaking through the realms of paper architecture and has great potential in the designing field. Digital architecture enables complex geometries to be created while factoring in material constraints as can be seen in the Beijing National Stadium by Herzog and de Meuron, 2008. We can also input parameters and algorithms to generate a design. I really admire Bernard Tschumiâ&#x20AC;&#x2122;s, Parc de la Villette which relies heavily on computation to organise the points, lines and surfaces of structures that are scattered across the park. This cannot be achieved by traditional methods, hence, digital softwares really open up possibilities in architecture. Last but not the least, I feel that digital softwares like Building Information Modelling (BIM) technology is convenient in the construction processes as it provides 3D visualisation while containing layers of information that can understood and reviewed by builders, engineers and architects.

Fig. 3 Beijing Olympic Stadium, Herzog and de Meuron, Beijing, 2008 (top) Fig. 4 Parc de la Vilette, Bernard Tschumi, Paris, 1987 (above)

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a.1 design futuring ginger and fred, frank gehry, prague, 1996. This building was designed by Frank Gehry in 1996 to recreate the streetscape in Prague after the US bombing in 1945. Based on the analogy of a dancing couple, Gehry designed Ginger and Fred, a twisted glass tower joining an apartment block with wavy effect and unaligned windows.1 His intention was to recreate the effects of destruction through the irregularly shaped building with skewed angles, which falls under the category of Deconstructivism.1 Here, Gehry challenges the notions of previous architectural styles be it classical or modern that is made up of well-defined elements and can be easily read and understood as a whole building. This gesture challenges us to reconsider what we take for granted in buildings - stability, rigidity, fixed geometries and the uniform repetition of elements. In most buildings that we see and inhabit in our daily lives, we do not stop to question them because they fit into the our constructed ideals of a building. For instance, we would expect buildings to have straight walls joined at distinct corners, regular arrangement of windows and be in a stable form. Anything that falls largely within this description would be seen as just another building. It can be said that stereotypes of what an ordinary building should look like is largely informed by our experiences with buildings, reading books and through the internet.

This is supported by Schumacher who argues that new theories are a reconstruction of existing architectural autopoiesis. 2 We need an empirical base of knowledge to test our ideas against and propose changes that challenges existing norms and expectations. This would lead to the expansion of architectural discourse resulting in progress in architecture. Hence, we need a great knowledge of architecture in the past and an understanding of social conditions of the present to design for the future. Perhaps, the typical building (a solid cuboid with regular arrangement of rooms) was constructed due to it being the most efficient in terms of materials and space. And now, due to the improvements in technology, we are able to handle complex geometries and fabricate irregular components which lead to greater capacities and possibilities in the field of architecture.

â&#x20AC;&#x153;Theory is no reflection of the given order of the world. Rather, it is a designed apparatus to give order to the phenomena we experience.â&#x20AC;? 2

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Fig. 5 Ginger and Fred, Frank Gehry, 1996

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The mindmap above shows the relationships between theory, society and technology on architecture. It can be argued that architecture is not an autopoietic system as it is influenced by external factors such as social conditions and technological advancements. Architects are constantly trying to reconcile their ideas according to the current context and theories are changing to ensure that architecture remains relevant. This is a continunal process and experiments, built projects, publications all feeds back and expands the existing architectural discourse.

* Note: Pink labels represents architecture in general and the black labels relate to the specific example of the Ginger and Fred building by Frank Gehry.

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nanyang technological university art, design and media building, cpg consultants, singapore, 2006. The Art, Design and Media Building was designed as a learning space for university students. It is made up of two sloping curves with green roofs wrapping around each other, giving it an elegant form. The rationale for the green roof may be influenced by the ideals of Le Corbusier. CPG Consultants wanted to create a green roof to return the green space that was originally there back to the environment, which was what Le Corbusier advocated in his book the Five Points of Architecture, 1926. 3 Hence, we should acknowledge that theories of the past are still relevant today and they can help to shape our design while taking the current context into consideration. Apart from restoring nature back to its place, the green roof also serves an environmental role. As Singapore is in the tropics, the cooling demands of a building is very high. With the green roof and an external water feature, it significantly helps to cool the building down and reduces the energy consumption of the building. 3

What is so special about this green roof is that it occupies the whole roof and is sinuous with the architecture of the building. Traditional roof gardens are usually located at the highest point of the building and are not directly accessible from the ground level. They are not visible to people walking on the street level and are usually composed of potted plants with little relationship to the architecture. Hence, I feel that this building is a significant breakthrough in terms of creating a large scale green roof that is inviting to the public and encourages people to use and interact with the roof. Another project that is inspired by this building is the Marina Barrage, which is a dam with a green roof. The dam is designed to keep the seawater out and it has a green roof for families to enjoy recreational activities such as kite-flying and picnicking. 4 The combination of architecture with landscape architecture and reaping the benefits of both is a great step towards design futuring. In Design Futuring, Fry argues that, “Nature alone cannot sustain us... We have become too dependent upon the artificial worlds that we have designed, fabricated and occupied.” 5 He makes a very valid view that it is inevitable for us to stop building but what we can do now is to encourage sustainable design and change our attitudes and the way we design to secure a greater future.

“Nature alone cannot sustain us... We have become too dependent upon the artificial worlds that we have designed, fabricated and occupied.” 5

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Fig. 6 Nanyang Technological University Art, Media and Design Building, CPG Consultants, Singapore, 2006 (top) Fig. 7 Marina Barrage, Singapore, 2008 (bottom)

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a.2 design computation Architectural design has evolved from representation using the pen and paper to 3D modelling in the digital realm over the years. In todayâ&#x20AC;&#x2122;s practice, it is undeniable that computers are necessary tools for architectural design and communication. The following paragraphs describe how computing and computers affect four aspects of architecture - problem analysis, form generation, performancebased design and communication.6 In addition, references will be made to two case studies in particular, the Al Bahr Towers, in Abu Dhabi by Aedas and the ICD / ITKE Research Pavilion, by ITKE University of Stuttgart in Germany.

1. problem analysis Computers play a great role in changing the way we conduct background research and analysis. It is not surprising for architects to be using computer programmes such as Building Information Modelling (BIM) with sun path diagrams to ascertain the ideal orientation of the building and its facade treatment. This is a more efficient way of analysing building forms, orientation and seasons as values can be easily manipulated to provide a detailed and comprehensive study of how external conditions will affect the building throughout the year. This graphic form of analysis is advantageous over traditional methods of calculations as computers are highly efficient in organising and processing data and transforming them into graphic representation that can be easily understood. In addition, we can obtain resources from the huge database available online for instance soil information, aerial photographs, historical background which would not be obtainable through a typical site visit. These information can be layered to provide a more comprehensive understanding of the site.

Fig.8 Studio 2 Relational Architecture, 2006-2007 (left) Fig.9 Building Information Modelling Sun path diagram, Autodesk (top)

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2. form generation

“Parametric design is the new form of the logic of digital design thinking.” 7 By changing algorithms and through scripting, we are able to control and influence the form generation, the performance as well as the materiality and fabrication of the design. For example, The ICD / ITKE Research Pavilion 2011, by ITKE University of Stuttgart, Germany analyses the principles behind a sea urchin’s plate skeleton to develop the structure of the pavilion. 8 Computation has enabled more complex forms and geometries to be conceived that cannot be easily expressed through traditional sections and plans. Modelling in the 3D world provides greater opportunities for the architect and it is a quick way of visualising and communicating a design. Furthermore, the geometry can be broken up into parts by using grids and panelling tools and depending on the choice of material and the aesthetics. These parts can then be sent for fabrication and be pieced together to create the overall form. This streamlines the whole construction process as parts are already fabricated according to dimensions and specifications and only assemblage is required on site. Furthermore, this helps to reduce material wastage and also leaves less room for calculation and production error.

Fig.10 and Fig 11. ICD/ITKE Research Pavilion, 2011, ITKE University of Stuttgart (above and below)

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3. performance-based design Computers can be programmed to control building operations to maximise efficiency. In Abu Dhabi, the facade of Al Bahr Towers are linked to the building management system which affects its response to external climatic conditions. The triangle panels of the facade are parametrically designed with the ability to increase or decrease in size throughout the year to minimise heat and glare. This decreases the energy demands on the building which makes it more sustainable. 9 Despite being so highly reliant on digital design technologies, the Al Bahr Towers is actually inspired by the humble ‘mashrabiya’, a traditional Islamic shading device made of carved woodwork. 9 Hence, making a point that digital architecture can harmonise with culture and traditional architecture to maintain its relevance within its social and environmental context.

4. communication Lastly, computer programmes can be used for communication to the client and to builders of a project. Renders of 3D models give clients a perspective view of the space and it is easy to change the angle, orientation, materials in our renders as compared to a traditional hand-drawn perspective. Furthermore, construction drawings on AutoCAD drawings facilitate communication between architects and engineers as they can be easily transferred and edited.

“Digital linkage of form generation and performative form finding that is the significance of digital deisgn informed by performance.” 6

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Fig.12 Al Bahar Towers, Abu Dhabi, Aedas, 2008-2014 (above) Fig. 13-14 Al Bahar Towers facade Abu Dhabi, Aedas, 2008-2014 (bottom left) Fig. 15 Mashrabiya (bottom right)

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a.3 composition/generation from composition

to generation

Architecture has once again managed to break through its formal capacities, moving away from orthogonal and linear surfaces to more complex curvilinear surfaces, non-Euclidean geometries and folding in architecture. This success is made possible through 3D modelling software programmes, such as Non-Uniform B-Spline (NURBS) which enables the calculation and representation of geometries that were unconceivable through traditional methods.10 Hence, opening the realm of possibilities of architecture in terms of formal composition.

In recent years, digital architecture has progressed from compositional to generative design. This shift is a result of algorithmic design thinking and parametric modelling.

Composition in digital architecture means creating a preconceived design by traditional means such as sketching and physical modelling and only using computation for a more precise representation and fabrication. An example of composition is the Walt Disney Concert Hall by Frank Gehry - its form was first designed through physical models and sketches before being transferred into the digital realm. These sketch models were accurately represented digitally and modified based on the material properties and calculations.10 After all structural issues and fabrication methods were resolved through testing and prototyping, construction can then proceed. Hence, in composition, digital tools are only used to aid in the representation and construction and form is still determined by the architect through traditional means.

â&#x20AC;&#x153;Algorithm describes how the function is computed, rather than merely what the function is.â&#x20AC;?11 Algorithms are fixed rules which can be applied to a set of objects.11 For instance, if we want to draw a circle in Rhino or Grasshopper, the specification of the radius, a centre point and the circumference is the algorithm. There are also other ways to achieve the circle, hence different algorithms may be applied. Parametric modelling involves a relationship between objects and parts.10 Instead of considering fixed values or functions, it studies the relationships between objects and changes in one component will have flow-on effects on other parts. Algorithms and parametric modelling are digital tools that can be used in generative design. Generative design is form finding process instead of a form making.10 In generative design, the algorithm is the focus and the form is a result of combining external forces with internal (structural/material) considerations.

Fig.16 Walt Disney Concert Hall sketch, Frank Gehry (left) Fig. 17 Walt Disney Concert Hall, Frank Gehry, Los Angeles, 2003 (right)

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generative design - the good performance-based design Generative design has enabled us to maximise efficiency in our buildings and to create more sustainable buildings.12 This is achieved by using computers to process climatic data, plot sun path diagrams and calculations before the design stage. After which, based on the data, the form will be generated in response to these external conditions to ensure that the building is performing optimally and is responding well to the environment. This method is better than compositional design whose form may not be directly responsive to the site conditions because it is based on speculation rather than a comprehensive calculation. Hence, any additional measures to make the building more sustainable may be less efficient than the former.

architecture representing dynamic stimulation Dynamic stimulation signifies a process such as gravitational forces, collision and obstacles.10 They cannot be quantified but their effects can be seen through the way the parts behave in relation to one another. Such conditions can be stimulated by point attractors and creation of fields. In this case, the site forces are translated into dynamic stimulation which affects the form of the building. An example would be the Port Authority Bus Terminal in New York, by Greg Lynn. Particle systems are utilised to visualise gradient of fields that represent circulation of people and transportation on site.10 Hence, generative design allows us to map out elements, understand their patterns in terms of particles and then create a form that best reflects this behaviour.

Fig.18 Port Authority Bus Terminal, Greg Lynn, New York

â&#x20AC;&#x153;Generative design is form finding process instead of a form making.â&#x20AC;? 10

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generative design - the bad 1. lack of originality

2. fabrication and materiality

As architects are using the similar programmes and digital tools around the world, it is highly likely that designers may be using the same few panellising tools, resulting in similar looking buildings all over the world. Panelling tools and standardised algorithms may be conveniently used in design projects for its ease in fabrication. This over reliance on technology stifles the architectâ&#x20AC;&#x2122;s creativity as he will be more inclined to reuse these trial and tested templates instead of searching for new inspiration and ideas from nature or architecture theory. For example, the Voronoi tool is a popular choice among designers and architects as can be seen in the Times Eureka Pavilion, by Nex Architecture and a couple of furniture design projects. It will be worrying when designers solely rely on these tools instead of their imagination and skills.

Digital architectural design and production bridges the gap between architect and the builder as the architect is more involved in the fabrication process. However this process may decrease the architectâ&#x20AC;&#x2122;s understanding of materials as everything is CNC milled or laser cut and the architect does not interact with the materials directly. For example, in the Times Eureka Pavilion, pieces are being cut out by the CNC miller with labels and all that is left is the assembly. Hence, the architect will miss out on design opportunities that can only be obtained through tactile act of handling the materials. In addition, digital fabrication is limited to certain materials and techniques. This results in the dying of craft trades such as wood and stone carving and a loss of place-specific materials and skills that reflects a countryâ&#x20AC;&#x2122;s culture and history.

Fig.19 Times Eureka Pavilion, Nex Architecture, London, 2011 (left) Fig. 20 Voronoi shelves, Hopf Nordin (right)

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a.4 conclusion the way forward In conclusion, Part A discusses how computation has become more prevalent and has changed the way the way we think and design in architecture. Computation enables the architect to stimulate forces and mimic nature to generate interesting forms. In addition, constraints can be factored into the design through algorithms which would influence the form. Thinking algorithmically shifts the focus of architecture from form to studying relationships between parts and objects. Parameters can be modified based on constraints (materials, site, construction) to create a resultant design specific to the conditions and situations. One of the advantages of parametric modelling is that one can view and edit one parameter and the entire design will be automatically updated because it works as an explicit history. This makes it convenient for changes to be made to the design. Once the form has been decided upon, these geometries can be broken down into components that can be fabricated, bringing the architect closer to a master mason once again.

In the LAGI project, I hope to create spaces where people can interact with the installation as opposed to it being a static structure. When approached by a visitor, the structure can have a response and this could vary with the addition of more people as seen in the Deep Walls project by Scott Snibbe. This positive response generated by the actions of people can contribute to the artwork. I hope this idea will promote interaction among people and drive the message of a collective effort towards sustainability. As Copenhagen experiences 17 hours of daylight in summer but only 7 hours in winter, it would be useful to analyse how the parameters of the design can be tweaked in summer and in winter to respond to these changes. For instance, in winter, the size and number of the solar panels can be increased to match up with the amount of solar output it can produce in summer. Based on my research, the solar technologies that I found interesting are solar pond, thin film photovoltaics and thermal concentrated panels. The solar pond allows electricity to be generated based on the difference in salinity and temperatures of water. It would be a stimulating project to explore how huge quantities of water can be stored and linked to the surrounding river. Moreover, it would be exciting to think about how people can move across and interact with the water. Secondly, the thin film photovoltaic cells are flexible to work with as they are translucent and can be rolled onto any surface. This gives me greater freedom to explore structure and digital tools without being restricted by the solar generation technology. Lastly, I can explore the use of regular grids and fixed patterns over a surface for the thermal concentrated panels as the dimensions of these plates are rather standardised. 13

Fig.21 Deep Walls, Scott Snibbe,2003

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a.5 learning outcomes I feel that my understanding of architectural computing has widened through the readings in theory as well as the practical experience of using Grasshopper. I am now more compelled to find out more on buildings that utilise digital tools, from their form generation to the considerations in the construction process. In the past, my knowledge of digital architecture was limited to using software programmes to create panels for fabricating a complex geometry. Little did I know that we could come up with a list of factors and input this data to generate a site specific form. This moves away from composition to computation in architecture and the form is no longer the main importance of the design. I really appreciate using algorithmic thinking in our design as it brings in more logic into design and allows to understand relationships between parameters and how to manipulate them. Furthermore, I also learnt to consider fabrication as part of our design process, for instance creating joints for manufacture.

introducing digital computation into studio earth project In my Studio Earth Project, the walls of my building are created by infilling stones into the spacing between stud frames. The positions and size of the openings are determined by the use of space. For example, larger openings are created for a communal space and smaller openings are used for dark and secret spaces. The design could be improved by placing point attractors at areas that I want to be the brightest and relating them to the size of the openings. This allows for a more systematic and logical conclusion for aperture sizes. The form of the panelling in this design could be further enhanced by using Grasshopper to model grids and cells as opposed to having perpendicular lines. Building the model would also be less laborious and time-consuming as the model can be unrolled and pieces be laser cut and assembled together.

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Fig.22- 23 Studio Earth project model, Authorâ&#x20AC;&#x2122;s own, 2014

a.6 appendix: algorithmic sketches week 1: triangulation algorithms I transferred an extruded curve from Rhino into Grasshopper and used populate geometry command to create random points on this surface. Then the 3D voronoi tool was then used to break up this geometry into smaller pieces. Instead of deleteing some fragments as shown in the tutorial, I decided to keep them and shift them out. They can be used as seats or landscaping elements that relates to the overall structure. What is left behind is a voronoi facade with openings and a curved wall which can be used as structural support.

week 2: curve menu This is an adaptation of the arc tutorial whereby points along two curves are joint to form an arc. Instead of using an arc, I experimented with Bezier Span tool which allows me to create an S-shaped spline. I think this can be a canopy for people to travel underneath and solar panels can be arranged on the top of the surface as the grid is facing one direction. It would be an interesting experience for people to be able to view the solar panels from below and I can explore with various paneling effects on the roof.

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week 2: curve divisions and cross reference The following two algorithmic sketches show my explorations with the cross refereence tool. Cross reference allows us to connect one point from parameter A to all the points in parameter B. I am intrigued by how this tool allows more complex patterns to be formed based on simple rules. I really like the resultant pattern formed by the overlapping lines. The points of intersections between the lines can also be determined using the curve intersect tool to create a unique grid of points. In virtual environments, I made my analytical drawing by using a protractor to create a grid and then joining up lines to form a pattern between the points. Looking back, I think this process is rather time-consuming, less accurate and difficult to modify. Grids had to be redrawn to achieve multiple iterations and development. Through the use of computation, parameters like number of division points, lengths of lines/arcs can be manipulated easily to change the pattern. Hence, moving designing towards relationships between parameters rather than a static creation. These line works can also be useful in creating tensile structures whereby forces can be calculated and loads be distributed evenly to various points of the support.

Fig. 24 Analytical drawing for virtual environments, Authorâ&#x20AC;&#x2122;s own, 2013

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week 3: gridshell This last algorithmic sketch is based on the gridshell tutorial whereby three circles are divided into points and arcs are being formed by joining a point in each circle together. I think this technique is suitable for weaving elements together. In doing so, one must understand the bending properties of materials well and consider the joinings between pieces.

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references sources 1. Josef Pesch, ‘Frank Gehry’s “Ginger and Fred” in Prague’, (Kunst & Kultur 4.5 (Juni/Juli/August 1997): pp. 1417.) <http://lava.ds.arch.tue.nl/gallery/praha/tgehryen.html> [accessed 4 August 2014]. 2. Schumacher, ‘Introduction: Architecture as Autopoietic System’, A New Framework for Architecture, 2011, 1-28, p. 5. 3. Aric Chen, ‘Case Study: Nanyang Technological University’, Green Souce - The Magazine of Sustainable Design, May 2009, <http:// greensource.construction.com/projects/2009/05_Nanyang-Technological-University.asp> [Accessed on 5 August 2014]. 4. PUB Singapore’s National Water Agency, <http://www.pub.gov.sg/Marina/Pages/3-in-1-benefits.aspx#la> [Accessed on 5 August 2014]. 5. Tony Fry, ‘Introduction’, Design Futuring, Sustainability, Ethics and New Practice (2009), 1-16, p.3. 6. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 7. Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 8. Shinpuru, ‘Parametric Wood Architecture, Germany’, Real WoWz, 2012 <http://www.realwowz. net/2013/03/parametric-wood-architecture-germany.html> [accessed on 12 August 2014] 9. Karen Cliento, ‘Al Bahar Towers Responsive Facade/Aedas’, (archdaily, 2008-2014) <http://www.archdaily. com/270592/al-bahar-towers-responsive-facade-aedas/> [accessed on 12 August 2014] 10. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) [accessed on 15 August 2014] 11. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 [accessed on 15 August 2014] 12. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 [accessed on 15 August 2014] 13. Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 71

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references images Figure 1, 22-23: Author’s own, ‘Studio Earth project model’, 2014 Figure 2: Author’s own, ‘Studio Earth project plans and sections’, 2014 Figure 3: Graemeeyre.Info, ‘Beijing Olympics’, 2009 <http://graemeeyre.info/?p=137> [accessed on 6 August 2014] Figure 4: csparkman, Design Research Seminar, ‘Tschumi’s Villette’, 2011 <http://drscsparkman. files.wordpress.com/2011/12/lavillette.jpg> [accessed on 6 August 2014] Figure 5: Michelle Potter, ‘Fred and Ginger – by day’, 2009 <http://michellepotter.org/news/fred-andginger-in-prague/attachment/fred-and-ginger-2> [accessed on 6 August 2014] Figure 6: Carla D’Errico, ‘Top Green Roof Designs’, 2010 <http://buildipedia.com/aec-pros/design-news/ top-green-roof-designs?print=1&tmpl=component> [accessed on 6 August 2014] Figure 7: M Clara Wresti, ‘Singapore Marina Barrage’, 2013 <http://travelerguidance.blogspot.com. au/2013/01/singapore-marina-barrage.html> [accessed on 6 August 2014] Figure 8: ‘Studio 2, Relational Architecture’, (Shelffield MArch Studio 2 - 2006/2007) <http://studiotwo. wordpress.com/category/process-work/> [accessed on 12 August 2014] Figure 9: Autodesk, ‘Ecotect: Shading Masks and Calculations’, (Autodesk, Autodesk Sustainability Workshop, 2011) <http:// sustainabilityworkshop.autodesk.com/buildings/ecotect-shading-masks-calculations> [accessed on 12 August 2014] Figure 10-11: Shinpuru, ‘Parametric Wood Architecture, Germany’, Real WoWz, 2012 <http://www.realwowz. net/2013/03/parametric-wood-architecture-germany.html> [accessed on 12 August 2014] Figure 12-14: Karen Cliento, ‘Al Bahar Towers Responsive Facade/Aedas’, (archdaily, 2008-2014) <http://www. archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/> [accessed on 12 August 2014] Figure 15: Maryam M., ‘Arabesque/Marshrabiya’, (Pinterest) <http://media-cache-ec0.pinimg.com/236x/55/7d/ c1/557dc151326d65252685aaa1a5a2ca45.jpg> [accessed on 12 August 2014] Figure 16: ‘Learning from Frank Gehry... Chapter 1, His design tools’ (Someone has built it before, 2011) http://archidialog.com/2011/10/24/learning-from-frank-gehry-chapter-1-his-design-tools/ Figure 17: Wikipedia, ‘Walt Disney Concert Hall’, (Wikipedia, 2014) http://en.wikipedia.org/wiki/Walt_Disney_Concert_Hall [accessed on 15 August 2014] Figure 18: ‘Triple Bridge Gateway to 9th Avenue’, (Basilisk) http://www.basilisk.com/P/portauthority_561.html [accessed on 15 August 2014] Figure 19: Michal Piasecki, ‘NEX Architecture: Times Eureka Pavilion’, (Michal Piasecki, 2011) http://michalpiasecki. com/2011/05/16/nex-architecture-times-eureka-pavilion/ [accessed on 15 August 2014] Figure 20: ‘We create Berlin Interview: Nopf, Nordin’, (minimum blog,2013) http://www. minimumblog.com/author/admin/page/4/ [accessed on 15 August 2014] Figure 21 Brandon Brauer, ‘Art/React - Interactivity in recent art installation’, (Art 245: Screenings, 2011) http:// lawrencenewmedia.blogspot.com.au/2011/05/act-react-interactivity-in-recent.html Figure 24: Author’s own, ‘Virtual environments analytical drawing’, 2013

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28 28

CONCEPTUALISATION CRITERIA DESIGN

part b: criteria design

CRITERIA DESIGN DESIGN CRITERIA

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b.1 research field

Fig.25 Fibonacci Sequence in a Sunflower

biomimicry Nature has existed in this planet way before human civilisation and it still continues to grow and evolve. But how do these organisms survive and live harmoniously with the system? What are the underlying principles and processes behind their behaviours? How do they react to external changes and adapt themselves for survival?14 A lot can be learnt by studying natural processes and incorporating these principles into design.15 This process is biomimicry. In recent years, research has been put into biomimicry to generate engineering solutions, stimulate performance-based buildings, optimise energy use, creating new materials to improve the way we design.14 “There is no universal theory of pattern formation in nature.”16 Despite being able to do the mathematics and computer stimulation, we are unable to accurately determine how a pattern is formed in nature because of the many overlapping factors and anomalies. Nonetheless, there are some basic principles that organisms use to achieve efficiency and to perform their functions which are - the universality of basic forms (hexagons, spirals, fractals), fixed thresholds which exceeding it results in a disturbance, and maintaining an equilibrium against two driving forces.16

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Biomimicry is not merely mimicking the form but to understand the underlying processes and systems behind it.16 In the example of flocking, birds follow three simple rules - separation (short range repulsion), alignment, cohesion (long range attraction).17 By adhering to the rules and through interaction with other birds, they get to self-organise and in the process, create an emergent behaviour (V-shaped formation). Hence, ‘this illustrates how spontaneous patterning is a general property of complex systems of many components, interacting via local rules which are often relatively simple’.16

20 bridges for central park, aranda lasch, new york, 2011. These rules can be brought into digital modelling through parameter tools such as point attractors, voronoi, golden ratio, vector directions... giving designers the freedom to manipulate parameters to generate their own set of algorithms. In Aranda Laschâ&#x20AC;&#x2122;s 20 Bridges for Central Park, he specifies a set of general rules and the resultant design is formed by the relationships between parts.18 Hence, the outcome is unpredictable and this generative design process is similar to emergent behaviour observed in nature.

â&#x20AC;&#x153;Biomimicry is not about merely mimicking the form but to understand the underlying processes and systems behind it.â&#x20AC;? 16

Fig.26 Flocking pattern observed in birds

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Fig.27 Rules for bridges in Central Park, Aranda Lasch, 2011 (above) Fig.28-30 Models for bridges in Central Park, Aranda Lasch, 2011 (right)

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airspace screen, faulders studio, tokyo, 2007. Apart from rules, processes can also be inspired from nature. In the Airspace Screen by Faulders Studio, the analogy of the tree is used consistently throughout the design project. One interesting feature of this project is the layered redundancy of the facade. Instead of having a single wall, layered surfaces are used. This mimics the tree canopy with multiple layers of leaves that is never enclosed but still shelters the understorey from rain. Furthermore, a cellular irregularity and a play in solid void density is used to customise views and to control sunlight entering the rooms. Wind loads can be absorbed by a pliable mechanism that oscillates and dampens the force similar to how a tree has flexible trunks that allows it to sway with the wind. Lastly, rainwater is channelled out to pavements via gravity and capillary action.19 Therefore, from this example, we can learn how the structure and characteristics of organisms are adapted to perform its function and respond to external conditions to achieve optimal efficiency.

Fig.31-32 Airspace Screen, Faulders Studio, Tokyo, 2007 (top and above)

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Fig.33 Airspace Screen, Faulders Studio, Tokyo, 2007 (above)

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icd/itke research pavilion 2011, icd,itke and university of stuttgart, stuttgart, 2011 The ITKE Research Pavilion is inspired by the skeleton of the sand dollar, a particular type of sea urchin. The sand dollarâ&#x20AC;&#x2122;s skeleton is made up of modules of polygons joined together by fingerlike calcite protrusions, producing an efficient and stable system. Hence, this project incorporates the elegance and performance of the sand dollar into the form and connection of the pavilion. 20 The pavilion consists of varying sizes of hexagonal modules in response to the applied stresses and loads at different points. Three plates touch only at a point, eliminating bending moments while allowing shear and normal forces to be transferred along the plates. The thin sheets of plywood plates are connected to one another by finger-joints which is highly similar to the finger-like calcite protrusions of the sand dollar. 20 Construction of plates and joints are fabricated by the universityâ&#x20AC;&#x2122;s robotic fabrication system, resulting in a double shell structure with a porous interior and arc shaped openings for circulation. 20

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Fig. 34 The sand dollar (sea urchin) (above top) Fig. 35 Finger joints in ICD/ITKE Research Pavilion 2011. ICD/ITKE and Univeristy of Stuttgart, Stuttgart, 2011 (above) Fig 36 ICD/ITKE Research Pavilion 2011. ICD/ITKE and Univeristy of Stuttgart, Stuttgart, 2011 (right)

The ITKE Research Pavilion demonstrates a creative way of looking into nature and drawing these biological principles into architecture. As quoted by Benyus, when we are searching for a solution to a problem, it is worth asking ourselves â&#x20AC;&#x2DC;How does nature solve this?â&#x20AC;&#x2122;.14 The finger-like calcite joints of the sand dollar are cleverly adapted to finger joints used in carpentry in response to the large scale and use of plywood material for the pavilion.

Kolaveric et al argue that the re-emergence of ornamentation is due to opportunities provided by digital design tools and fabrication. 21 In the ITKE Research Pavilion, a functional approach is used in ornamentation. The hard solid exterior frame shields users from harsh external conditions while providing structural support. Instead of proposing a solid interior frame, the students decided on perforations to reduce self weight as well as facilitate installations of lights. This slight variation in between interior and exterior shell creates an interesting visual affect and provides a new experience for users. This project can be argued to be highly successful in terms of biomimicry principles and exhibits a balance between monotony and complexity in patterning.

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b.2 case study 1.0

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Fig.37- 39 The Morning Line, Aranda Lasch, Spain/Turkey/Austria/Germany (left) Fig. 40-41 The Morning Line Modelling, Aranda Lasch, Spain/Turkey/Austria/Germany (above )

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the morning line, aranda lasch, spain/turkey/austria/germany. The Morning Line project is made up of lines forming a network,like a line drawing in space with fractals that make up the base geometry. Despite its complexity, the project can actually be broken down into a series alogirithms which can be manipulated to achieve a variety of effects. The diagram on the right shows the breakdown of the designing process and the following pages includes various iterations and explorations.

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2.4 unrolling + arrangement of fractals

2.1 manipulating geometry creating polygons with n sides

2.2 scaling, rotating and trimming

2.3 drawing frames on surfaces

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using my own geometry (a box) as an input

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2.1 manipulating geometry creating polygons with n sides

n=3

n=4

n=5

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scaling by a factor of 0.5 triangles divided to form smaller triangles instead

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scaling by a factor of 0.33 one third width of triangle forming a heaxgon

scaling by a fa outward grow

actor > 1 wth

negative scaling factor

2.2 scaling, rotating and trimming

rotation of scaled triangles around a pivot

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scaling by a factor of 0.5 on the vertices

scaling by a factor of -0.2 on the edges

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scaling by a factor of 0.5 on the edges

scaling by a factor of -0.2 on the vertices

scaling by a factor 0.4 on the edges

scaling by a f -1.2 on the fa

r of

factor of aces

scaling by a factor of 0.333 on the edges

scaling by a factor of 0.2 on the vertices and trimming

2.2 scaling, rotating and trimming The centre of scaling can be changed among (vertices, faces and edges) of the polygon to achieve scaled breps at different positions. The scale factor can also be varied. The polygons on the top are created using a positive scaling factor which results in scaling of the geometry inward. The polygons on the bottom of the page are created using a neagtive scale factor that results in the scaling of the geometry outwards.

scaling by a factor of -0.2 on the faces

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connecting midpoints on edges with polylines

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connecting midpoints on edges with bezier curves

connecting midpoints on edges using kinky curve

2.3 drawing frames on surfaces

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uniform scaling and moving in z-direction

non-uniform rotation around a point

exponential scaling in z-direction and moving in y-direction

non-uniform sca z-direction and m in y-direction

uniform rotation around a point

2.4 unrolling + arrangement of fract

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aling in moving

unrolled surfaces and offseting curves to form frames

tals

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kaleidoscope, segments=5, xy plane

kaleidoscope, segments=10, xy plane

kaleidoscope, segments=5, yz plane

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polar array, angle=2 radians

polar array, angle=4 radians

2.4 unrolling + arrangement of fractals

transform 2 rows of polygons in y direction, trimming the overlapping areas

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curve array using multiple curves

rectangular array

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2.4 unrolling + arrangement of fractals

curve array using a single curve

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the morning line + driftwood pavilion

driftwood pavilion, architectural association, 2009, london The Driftwood Pavilion consists of trimming a solid against a series of offset curves which are extruded. The split surfaces are then deleted selectively to create undulating surfaces. These surfaces are held together by hidden frames within the structure. I will exploring the possibilities of using the polygon created from the Aranda Laschâ&#x20AC;&#x2122;s project to trim against a series of curves. 22

Fig.42 Driftwood Pavilion, Architectural Associarion, 2009, London

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trimming a solid (from the aranda laschâ&#x20AC;&#x2122;s morning line) against a series of extruded curves)

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base set of extruded curves

varying the height of extrusions by 0.2 and deleting selected surfaces

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trimming surfaces with geometry using curves of varying heights

trimming surfaces with geometry using a constant curve height

varying the shape of the curve

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the brief The brief states that solar energy must be generated on site. I would like to use solar ponds to generate electricity for Copenhagen. As the temperatures at the bottom of the solar pond is around 100Â°C, this surrounding thermal heat can be used to create hot springs on site. I would like to create multiple hot springs of different temperatures scattered around the site so my explorations was mainly focused on transformations and variations in geometry to experiment how different pools can be situated on site.

visual interest: the interlocking geometries and the openings on the surface transformation: moving geometry by a specified distance in the y-direction. structure: each individual â&#x20AC;&#x2DC;hutâ&#x20AC;&#x2122; can represent a private cubicle pool. the entrance is quite interesting as it is formed by the trimming of the same module offset in the x-direction.

selection criteria Hence, the forms selected on this page are based on the criteria of creating visual interest, transformation, structure, further application and construction.

further application: layers can be stacked above one another to form a wall. construction: can be made up of thin timber posts with interlocking with one another to form a weaving effect.

visual interest: the layering effect of extruded curves. transformation: scaling and vertical displacement upwards. structure: the shape is similar to a pool, hence this structure can be inverted to form a pool that decreases in area as depth increases. further application: treating the whole structure as a building, the focus will be placed on the vertical curved walls. which forms a layering effect and emphasis can be placed on the central top opening (dome with a skylight above) construction: strips of foldable materials, can consider using steel. for the hot spring, the material selected should be able to withstand high temperatures.

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visual interest: free and random population of modules. transformation: scattering of the same module along a curve structure: the relationships among individual elements makes up the overall geometry. individual elements stand alone however when considered in a broader context, they come together to create a pattern.

visual interest: light-hearted, playfulness, whimiscal nature. transformation: negative scaling, breaking the boundaries of the fixed geometry. structure: symbolises growth from a centre core in a systematic way.

further application: scattering of modules along a curve can inform patterns across a landscape construction: using standardised components to fabricate modules and precise locations of the module should be accurately determined.

further application: non-habitable space such as installations. elements connected at a node and can freely rotate with the wind. construction: -

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b.3 case study 2.0

Fig 43 ICD/ITKE Research Pavilion 2011. ICD/ITKE and Univeristy of Stuttgart, Stuttgart, 2011 (right)

projecting hexagons on a lofted surface

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grid of hexagons for inner shell of pavilion

two rail sweep and offset to create inner and outer dome

My first attempt in reverse engineering was the ICD/ITKE Research Pavilion 2011. The structure of the pavilion was made through a tedious process of dividing points on a surface, selecting two points to draw a arc and subsequently creating a two rail sweep of the arcs against the curves. Hexagonal grids are then projected to form the pattern on the inner shell however, they tend to warp and distort near the base as the surface gets steeper. For the external shell, I extruded the hexagons to a point but failed in trimming them. I ultimately gave up reverse engineering this project due to its complexity as the use of Kangaroo plug in is required to inflate the hexagonal grid of points.

attempted patterning of inner and outer shells

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b.3 case study 2.0

maple leaf square canopy, united visual artists, 2010. Nature is never static, it is constantly growing and reacting to its surroundings. Likewise, designers shifting away from a static building to one that is responsive to external conditions to increase its performance. This can be achieved by computational modelling and programming. The Maple Leaf Square Canopy by United Visual Artists consists of identical panels abstracted from leaves, stimulating the cell activity inside a leaf. In the morning, daylight is filtered into the streets and at night, artificial lights illuminate the grid. The artificial lights light up and die across the grid, their survival determined by the amount of energy passing through the surface, which creates an organic effect. 23 This project is generated by tessellating pentagons on a 2D surface and I presume that there is a base grid of points and lines are connected to the points based on some algorithms.

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Fig.44-45 Maple Leaf Square Canopy, United Visual Artists, 2010 (above)

analaysis of pattern Fig.46 Maple Leaf Square Canopy, United Visual Artists, 2010 (above)

I tried to find patterns that would inform how these tessellations came about before attempting to recreate them in grasshopper. The list below shows some of these considerations. 1) repetition of a larger unit - I identified three possible units (highlighted by the white boxes above) which can be repeated to form the pattern. Within each unit itself, pentagons can be formed by trimming or evaluating points on a curve. 2) centre point of pentagon - the centre point of the pentagons are marked out in red and I used these points to understand how an underlying grid can be used to create the pentagons. 3) end points of pentagon - similar to the centre point of the pentagon, I tried to establish a relationship between the boundaries of the pentagons.

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trial 1: drawing polyline between 5 points and using vectors to control the direction and distance of the points The vectors can be manipulated to change the shape of the pentagons and to achieve interesting effects.

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trial 2: creating a circle, dividing the circle into five points and joining them up to form a polyline. pentagons are then moved and rotated. I realised that creating pentagons and trying to rotate them is highly inaccurate as the pentagons do not fit exactly to create a continuous pattern. Hence, grids should be used instead to ensure that the lines meet up coherently.

trial 3: creating a single pentagon and rotating it by 90degrees

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trial 4: establishing a grid for the pentagons I tried to use culling patterns to choose selected points for drawing pentagons but I failed to get the exact group of points that I require.

trial 5: using a triangle grid and drawing polylines to midpoints A pattern is starting to emerge however the geometries were restricted to three or four edges and pentagons could not be created.

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trial 6: using a hexagonal grid and the evaluate curve command to form lines between different segments of the curve An attempt is made to create polylines between different segments of the hexagon. Initially, I wanted to create lines that intersect the hexagon but I failed to create a proper list item to select the points. However, the final outcome is rather unexpected and nonetheless, maybe useful. The offsets around hexagons can be fabricated and by changing the curve evaluate parameter, thickness and angles of the offset can be varied.

evaluation Based on my trial and error processes, I deduced that this pattern should be made up from a grid to ensure that pentagons are connected to one another. Evaluate curve and list item is used to connect polylines along various positions of the curve. I realised that the pattern of the maple leaf canopy square maybe simple but creating a set of algorithms for it is not easy. The process requires a lot of mathematics, logical deduction and understanding of geometries. In addition, one needs to know how to manipulate data structures effectively to retrieve specific items from the list.

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b.4 technique: development

varying surface divide points

Based on some research, I realised that the patterns on the Maple Leaf Square Canopy actually follow the Cairo tesselleations, an arrangement of pentagons with unequal edges. The picture below is a Cairo tessellation. The grasshopper definition for the Cairo tessellations is shown on the right with labels (1-7) showing the iterations made.

Fig.47 Cairo tessellations (above)

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changing polylines to arcs

evaluation of curve instead of midpoints

6 3

varying transition value

Fig.48 Grasshopper code for Tatami-CairoDiagrid tessellation by Co-de-iT (above)

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vector diagram The following images show the step by step breakdown of how the project is conceived using grasshopper.

Step 1: Divide a surface into u and v points.

Step 2: Create two separate lists of alternating points - List 1 and List 2.

Step 1: Find the midpoint between points in List 1 and List 2.

Step 4: Draw a vertical line between List 1 and List 2.

Step 5: Create a curve evaluator between the points such that the position of the points can be altered along the line.

Step 6: Draw lines to link up the points in Step 5 to the end points of the grid.

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Step 7: Final outcome from the following steps.

Step 8: Repeat Steps 2-7 but this time in the horizontal direction.

Step 9: A double grid of hexagons are formed one over the other.

Final outcome of Cairo tessellation

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1. varying number of points of surface divide

2. varying transition value (0<t<0.5) When u = 11, v = 11

u = 7, v = 7

t=0

When u = 10, v = 10

t=0

u = 11, v = 7

t = 0.125

u = 10, v = 6

t = 0.250

u = 10, v = 9

t = 0.375

u = 11, v = 11

t = 0.500

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3. changing two polylines into two arcs When u = 11, v = 11

t=0

4. changing four polylines into four arcs When u = 10, v = 10

When u = 11, v = 11

t=0

When u = 10, v = 10

t=0

t = 0.125

t = 0.250

t = 0.500

t = 0.375

t = 0.500

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5. evaluation of curve on two polylines instead of midpoints (for t=0.25) When u = 11, v = 11

When u = 10, v = 10

6. evaluation of curve on four polylines instead of midpoints (for t=0.25) When u = 11, v = 11

When u = 10, v = 10

c1 and c 2 = 0

c1 and c 2 = 0 c 3 and c4 = 0

c1 and c 2 = 0.25

c1 and c 2 = 0.25 c 3 and c4 = 0.25

c1 and c 2 = 0.25 c 3 and c4 = 1

c1 and c 2 = 0.50

c1 and c 2 = 0.50 c 3 and c4 = 0

c1 and c 2 = 0.50 c 3 and c4 = 0.25

c1 and c 2 = 0 c 3 and c4 = 1

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7. evaluation of curve on four polylines instead of midpoints (for t=0.5) When u = 11, v = 11

c1 and c 2 = 0 c 3 and c4 = 0.5

selection criteria I would like to achieve an organic form of patterning such that the original square grid becomes indistinguishable. c1 and c 2 = 0 c 3 and c4 = 1

When u = 11, v = 11

organic in nature

can be fabricated as two different meshes - one diagonal and one made up of arcs

asymmetical patterning with pentagons of differing lengths and angles

interesting pattern formed that suggests movement and direction

c1 and c 2 = 0 c 3 and c4 = 1

c1 and c 2 = 0 c 3 and c4 = 0.5

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b.6 technique: proposal

water My initial design inspiration came from water because I really like how water interacts and behaves, for instance how an initial agent is able to produce flow on effects such as waves and ripples which are governed by the laws of wave theory. I feel the patterns and movements produced by water is interesting and can serve as a inspiration for design ideas.

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solar ponds After looking through the list of solar technologies, I decided to pick the solar ponds because it uses water to generate electricity. 24 The solar pond has two distinct layers of water, the top layer has a low salt content and the bottom layer has a high salt content. This makes the water at the bottom denser and heavier. When sunlight shines on the pond, the heated water at the base of the bottom remains trapped there due to its greater density and the heat will not rise up via convection currents and not be lost to the surroundings. Hence, the heated water at the base of the pond can be used to generate electricity and for industrial purposes as shown in Figure 50. 25

Fig.49 Solar pond technology from LAGI Field Guide for Renewable Energy (above)

advantages The advantages of solar ponds are as follows: 1. No burning of fuel, reduces pollution. 2. Renewable resource. 3. Able to purify contaminated water. 4. Low cost per unit area of collection and good storage capacity. 5. Works 24hours day. 6. Functional in snow-prone areas like Copenhagen.

It is suitable for the LAGI brief as the site area is a large piece of flat land with sufficient space for installation of a large pond. In addition, the LAGI site is situated next to the Alantic Sea which serves as an ideal water source for the solar pond.

Fig.50 Diagram showing the processes behind the solar pond technology (above)

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Fig.51 Buhj Solar Pond, TERI, India, 1995 (left)

solar ponds The following images show examples of solar pond technology used throughout the world. The heated water has a variety of applications ranging from aquaculture, to refrigeration, desalination, textile production and dairy industry. One example that caught my attention was the Buhj Solar Pond that uses the heated water from the solar pond for industrial processes of the dairy. 25 Therefore, this led me to consider how the heated water by the solar pond can lead to meaningful applications on site.

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Fig. 52 El Paso Solar Pond, University of Texas , 1983 (top right) Fig. 53 Pyramid Hill Solar Pond, RMIT University, Geo-Eng Australia Pty Ltd and Pyramid Salt Pty Ltd ,Victoria, 2000 (bottom right)

Fig.54 Mornington Peninsula Hot Springs

design proposal: spas

heat2 (hot spas and solar ponds)

This led to idea of building spas, jacuzzis and saunas on site that utilises the heated water generated from the solar pond.

heat 2 - a place to rejuvenate, enjoy views of the city and absorb the warmth of the naturally heated waters. Heat from the sun is transferred to the solar pond and then to the spas. The square in heat 2 represents how heat doubled up in two activities- spas and solar pond and together, they produce an exponential effect. Another meaning of the word square is a place for gatherings for example Federation Square.

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site analysis The LAGI Site is in Copenhagen, Refshaleoen and it is a land reclamation area. I will focusing on views towards the city (Figure 56) when choosing locations for the spas, so that users can admire a great view while relaxing in the spas. Furthermore, I will consider circulation pathways between two entries - the water taxi terminal and the main road.

Fig.55 Aerial Image of Refshaleoen, Google Maps, 2014 Fig.56 Views from Reshaleoen to the city, Google Maps, 2014

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initial design concept The diagram on the left shows the consideration of water flows across the various components on site. Water will flow in from the surrounding sea, get heated by the sun, then passes through filters to the spa. Another part of the heated water will be used to generate electricity. The sketches below show the explorations of functional zoning and levels of the site.

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finalised design plans and sections The following images show finalised plans taking into consideration the circulations, topography and views across the site. According to the brief, the existing area used to be a landfill site with cement stabalisers. Hence, I would like to propose infilling the land and creating stepped terraces for the spas instead of excavation which may risk water contamination. The location of the the saunas and spas relate to the position of the solar pond. As heat is lost by the pipes across the distance, I would like to propose placing the spas with a lower tempertaure at the top. Saunas are placed next to the solar pond as they are highest temperatures and can tap on the surrounding thermal heat of the solar pond.

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site model The created the contours using grasshopper by scaling a curve. and I manually drew in the pond and spas. I am still working towards achieving an algorithm that can allow me to generate the form and location of the spas in relation to the contours. I could try exploring with the metaball function or field lines to generate curves.

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sectioning The technique I explored for Part B is biomimicry. I did the Aranda Lasch project and I really like the subtle variation in a series of objects through transformation tools like move, rotate, scale. For reverse-engineering, I did the Maple Leaf Square Canopy project but I think that it is less relevant for the final project because its developments were more limited to a 2D pattern and I do not want to just place a facade over the building. Hence the technique I will be adopting in my design is sectioning as I feel that it relates to waves. I would like to create a similar effect to the Banq restaurant such that people can relax in the spas and admire the dynamic ceilings.

Fig.57 Waves Fig.58 Banq Restaurant, Office dA, 2009

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sectioning I used the LMS definition with an image mapping to explore possibilities for sectioning of the ceiling. In this definition, the height of the points extruded are based on an image. The input image I chose is the black and white functional zoning of my floor plan. In this case, functional areas such as the jacuzzi and the main lobby have been extruded upwards to create greater height so that users can have feel that greater space while engaging in activities and serves as a transition between the zones. I have yet to explore the use of columns to further divide the zones as in the Banq Restaurant.

jacuzzi main lobby

reception

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sectioning This is another definition of sectioning provided on LMS that uses a curve with perpendicular frames that cuts through a surface and the intersection between the curve and the surface to form the sectioning strips. Initially, I tried using curves for the input curve parameter but I realised that this results in strips that intersect one another because perpendicualr frames are created in all directions. Hence, I deduced that using lines would be a more practical option. The following images shows my explorations with cutting perpendicular frames through a sphere. These strips in sections could be used as the walls for the equipment storage area as ventiliation is necessary for the equipments to prevent overheating. Hence, these sections with gaps between them are suitable as a form but further testing with prototypes on the materiality and connections have to be carried out first to determine its feasibility.

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sectioning I also tested out sectioning on a curved surface to stimulate seating areas next to the spas. Using the existing definition, I realised that the strips are linear extrusions and would not provide an interesting variation across the site as shown on the left. Hence, I altered the definition to by moving the strips 1 unit away to and linked the end points of the curves to create surfaces ready for fabrication as shown below.

seating area

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1 3

1 2 applications on site As mentioned in the previous pages, sectioning will be applied throughout the various structures on my site.

1. I will be creating strips for the walls of my building for storage of solar equipment. 2. The ceiling of the main building and the saunas areas will be divided into sections to create a dynamic effect. The exterior of the building and the walls will be plain and flushed to place the focus on the ceilings. And from the exterior, the building will look like a box and an unexpected experience will be created when one enters the building. 3. The seats and decks will populate the right hand side of the area to reduce its scale

of the terracing (the base is 4m in height) and make it less daunting for the public. These would serve as resting areas for users of the spas and people waiting for the river taxi.

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b.7 learning objectives and outcomes In conclusion, I feel that my design lacks algorithmic thinking and processes are still highly dependent on Rhino and sketching. The placement and the form of the building should be driven by algorithms instead of being conceived in the mind and merely using basic algorithms to create surfaces. I realised that I should be working more algorithmically instead of already planning and zoning areas like a conventional studio and I should be striving towards taking a generative approach instead of a compositional one.

Fig.59: Materials for consideration - Decking/Turf

materiality I will be using fibreglass for the curved sheets of the ceiling as curves can be cut out of the material and it is less affected by moisture too. For the storage building, metal or timber sheets would be preferrable and for the seats, I am currently considering using grass or timber. I have yet to experiment with prototypes and the areas for consideration would be the spanning capacity of the member, column supports, connections.

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b.8 algorithmic sketches week 4: field fundamentals For this algorithmic sketch, I placed two fields within each other and tested out how the direction of the resultant vectors would be affected. I then related the magnitudes of the resultant forces at each point to the radius of circles to achieve the resultant pattern in below.

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week 5: graph controllers These sketches explore the use of equations and a culling pattern to generate a series of point locations. The delaunay edges and voronoi produce interesting effects and forms.

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week 5: evaluating fields The following sketch is about placing point charges on a circle and controlling how these lines will bend using graph mappers. This stimulates the effects of trees swaying in the wind. This is a useful tool in creating multiple iterations of the same unit over a curve/grid of points. The movement of the curves can be along the x, y or z axis to achieve more dynamic variations.

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week 7: fractal patterns This weekâ&#x20AC;&#x2122;s video explore the use of recursive functions to generate repeated branching, I merged the curves with kinked polylines to create dynamic and random movement.

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week 8: voussoir clouds Explorations of the voussoir clouds algorithms using a negative scaling in the z-axis to stimulating forces pulling upwards.

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references sources 14. Janine Benyus, ‘Biomimicry in Action’, TED Talk , 2012 <http://www.biomimetic-architecture. com/2012/ted-talk-janine-benyus/> [accessed on 26 August 2014]. 15. Biomimicry Institute, ‘What is Biomimicry?’, 2014, <http://biomimicryinstitute.org/about-us/what-is-biomimicry.html> [accessed on 26 August 2014]. 16. Ball Philip, ‘Pattern Formation in Nature’, AD: Architectural Design, Wiley, 82 (2), March, (2012), pp. 22-27. 17. Wikipedia, ‘Flocking(behaviour)’, 2014, <http://en.wikipedia.org/wiki/Flocking_%28behavior%29> [accessed on 26 August 2014]. 18. Aranda et al, ‘20 Bridges for Central Park’, Aranda\Lasch, 2014, <http://arandalasch.com/ works/20-bridges-for-central-park/> [accessed on 26 August 2014]. 19. Thom Faulders, ‘Airspace Surfaces: responsive mediation through layered redundancy’, Faulders Studio, 2008 <http://faulders-studio.com/LAYERED-REDUNDANCY> [accessed on 26 August 2014]. 20. Institute for Computational Design ICD/ITKE Research Pavilion 2011, <http://icd.uni-stuttgart.de/?p=6553> [accessed 6 September 2014]. 21. Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 22. Mihai, ‘Architectural Assoication Summer Pavilion 2009: Driftwood’, freshome, 2014, <http://freshome. com/2009/07/09/architectural-association-summer-pavilion-2009-driftwood/> [accessed 6 September 2014]. 23. Nico Saleh, ‘Maple Leaf Square Canopy/United Visual Artists’, archdaily, 2010 <http://www.archdaily. com/81576/maple-leaf-square-canopy-united-visual-artists/> [accessed on 26 August 2014]. 24. Ferry and Monoian, A Field Guide to Renewable Energy Technologies, LMS Resources. 25. Ceylan and Omer, ‘Solar Ponds’, 2004 <http://webcache.googleusercontent.com/search?hl=zhCN&q=cache:idiAOPfnCuoJ:http://www.physics.metu.edu.tr/~ecevit/projects/471projects/2004-5_1.semester/471-20041-SOLAR%2520PONDS,%2520%25D6MER%2520B%25DCY%25DCKKIDIK,%2520A.%2520CEYLAN%2520SERHADO%25D0 LU,%25202004-1.ppt%2Bsolar+pond+bhuj+university+of+texas&gbv=2&&ct=clnk> [accessed on 1 September 2014].

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references images Figure 25: Quran and Sunnah, ‘Fibonacci’, 2013, < http://www.salafiguiden.com/products/fibonac/> [accessed on 27 August 2014]. Figure 26: ‘Bird Flock’, Nova Science Now, 2014 < http://www.pbs.org/wgbh/nova/sciencenow/3410/03-ever-01.html> [accessed on 27 August 2014]. Figure 27-30: Aranda et al, ‘20 Bridges for Central Park’, Aranda\Lasch, 2014, <http://arandalasch. com/works/20-bridges-for-central-park/> [accessed on 26 August 2014]. Figure 31-33: Thom Faulders, ‘Airspace Surfaces: responsive mediation through layered redundancy’, Faulders Studio, 2008 <http://faulders-studio.com/LAYERED-REDUNDANCY> [accessed on 26 August 2014]. Figure 34: ChrisM, ‘Cloning As Sand Dollar DEFENSE! Why run & hide when you can divide?’, 2010, <http://echinoblog. blogspot.com.au/2010/08/cloning-as-sand-dollar-defense-why-run.html> [accessed 6 Septmeber 2014]. Figure 35-36, 43: Institute for Computational Design ICD/ITKE Research Pavilion 2011, <http://icd.uni-stuttgart.de/?p=6553> [accessed 6 September 2014]. Figure 37-41: Aranda et al, ‘The Morning Line’, Aranda\Lasch, 2014, <http://arandalasch.com/works/the-morning-line/> [accessed on 1 September 2014]. Figure 42: Mihai, ‘Architectural Assoication Summer Pavilion 2009: Driftwood’, freshome, 2014, <http://freshome. com/2009/07/09/architectural-association-summer-pavilion-2009-driftwood/> [accessed 6 September 2014]. Figure 44-45: Nico Saleh, ‘Maple Leaf Square Canopy/United Visual Artists’, archdaily, 2010 <http://www.archdaily. com/81576/maple-leaf-square-canopy-united-visual-artists/> [accessed on 26 August 2014]. Figure 46: ‘Canopy + Connection at Maple Leaf Square’, Lanterra Developments, 2012, <http://lanterradevelopments. com/2012/canopy-connection-maple-leaf-square/> [accessed on 26 August 2014]. Figure 47: David Bailey, ‘Aesthetic Cairos’, David Bailey’s World of Escher- Like Tessellations, 2012, <http:// www.tess-elation.co.uk/cairo-tiling/aesthetic-cairos> [accessed on 9 September 2014]. Figure 48: Davide et al, ‘Tatami-Cairo-Diagrid tessellation’, Co-de-iT, 2014, <http://www.co-de-it. com/wordpress/code/grasshopper-code> [accessed on 9 September 2014]. Figure 49: Ferry and Monoian, A Field Guide to Renewable Energy Technologies, LMS Resources. Figure 50: ‘6 Flat plate collectors’, Power from the Sun, <http://www.powerfromthesun.net/Book/chapter06/chapter06.html> [accessed on 20 September 2014]. Figure 51-53 Ceylan and Omer, ‘Solar Ponds’, 2004 <http://webcache.googleusercontent.com/search?hl=zh-CN&q=cache:idiAOPfnCuoJ:http://www.physics. metu.edu.tr/~ecevit/projects/471projects/2004-5_1.semester/471-2004-1-SOLAR%2520PONDS,%2520%25D6MER%2520B%25DCY%25DCKKIDIK,%2520A.%2 520CEYLAN%2520SERHADO%25D0LU,%25202004-1.ppt%2Bsolar+pond+bhuj+university+of+texas&gbv=2&&ct=clnk> [accessed on 1 September 2014]. Figure 54: Peninsula Hot Springs Dolphin Swim Package Moonraker Dolphin Swims, <https://moonrakercharters.rezdy. com/9450/peninsula-hot-springs-dolphin-swim-package?lang=de> [accessed on 1 September 2014]. Figure 55, 56: Google Maps of Copenhagen, 2014 < https://www.google.com.au/maps/@55.6712674,12.5608388,11z> [accessed on 1 September 2014]. Figure 57: The Science Behind Waves, 2014, <http://www.underwateraudio.com/blog/science-behind-waves/> [accessed on 20 September 2014]. Figure 58: Horner, ‘BanQ/Office dA’, archdaily, 2009, <http://www.archdaily.com/42581/banq-office-da/> [accessed on 20 September 2014]. Figure 59: Nick, ‘Decking or turf? What is your preference?’, Thinking Outside the Boxwood, 2011 <http://thinkingoutsidetheboxwood.blogspot.com.au/2011/11/decking-or-turf-what-is-your-preference.html> [accessed on 22 September 2014].

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