Prasetio belinda 567099 finaljournal by Belinda Prasetio

AIR JOURNAL Belinda Tiffany Prasetio 567099

Hello, my name is Belinda Prasetio I am currently in my first semester of my final year. Why I decided to pursue architecture major is because, I like daydreaming and creating ideas in my mind and am really looking forward to making them happen As my favourite quote says, "A design is not a design until you realise it" -Andrew Hutson, 2012-

PART A Research on Precedents

"How can actually a future be secured by design?" (Fry 2008)

A.1

Design Futuring Moving Towards Sustainability

Nature degradation has been an issue since human first existed. Human existence and their rapid development have become major causes for the rapid degradation. As powerful and brilliant creatures, they have ability to design things to support their daily life. However, it is important to acknowledge that human being also possess ‘dialectic sustainment’, which refers to the idea of creating something while destroying some other thing(s) at the same time (Fry 2008). This awareness then raises the urge of achieving sustainability among society to slow defuturing process. It is believed that the power of design can slow the defuturing. Design futuring is introduced as concept, which “places design in a political frame wherein it is remade in order to become the force for change that it needs to be”. It has two aims, the first one is to slow the rate of defuturing and the second one is to redirect current society

to more sustainable habits. Of course, to achieve these aims, designers are required to have design intelligence, which is a mind that is able to speak the power of design, as well as having design ethics. However, in practice, design ethics were often ignored and regarded as secondary or even marginal elements within design education (Fry 2008). Fortunately, the awareness and the impact of defuturing has increased and become more real that society is forced to think about the future. Government, architects, designers, artists and many more associations started to promote the importance of sustainability and eco-friendly design among society. In response to this, Land Art Generator holds a competition for creating an art installation which performs as a reusable energy (electricity) generator in a large scale (urban context). This first part of journal will analyze relevant precedents relating to this brief as a starting point of the project.

Energy Generation VIVACE - VORTEX

Sustainability is one of the current biggest issues that is now being highly debated. Finding appropriate reusable energy is often raised as an issue to move towards sustainability. As known, the site, Refshalon, is located in Copenhagen, third worldâ&#x20AC;&#x2122;s richest city. This site is located in coastal area, which surrounded by sea. The rainfall and sunlight is moderate, compared to tropical area. Hence, wind and tidal are considered to be potential reusable energy that can generate energy in this site. However, another implication that narrows the scope of research is that the maximum height of 125 m above the ground, given by the brief, makes it hardly impossible to imply wind generators in the site, as wind generators needs at least 2000 m above the ground to produce thousands kilowatt electricity. Accordingly, tidal seems to be more promising than wind. Tidal power has large potential energy. Basically, tidal power generators act quite similarly to hydropower electricity plant. Tidal power needs a dam erected across the opening to a tidal basin. The dam has an opened sluice to allow the

flow of tide into the basin. As the sluice is closed, the sea level drops, electricity will be generated from the elevated water in the basin. This research then branched out further to the use tidal flow streams as another reusable energy for generating electricity. It is believed that tidal basins have large potential energy. As an example to this, La Rance station in Franve, produces 240 Megawatts of power and France is claimed to be the only country that succeed to use this reusable power source. The failures of the use of this energy is because the required velocity for the flow stream is not fulfilled. However, the recent research done by University of Michigan can be a breakthrough to this problem. The research found that the slow ocean and river tides can be a reliable and affordable alternative energy source. They invent a device named VIVACE (Vortex Induced Vibrations for Aquatic Clean Energy) that functions like a fish and is able to convert potentially destructive vibrations in water into clean energy (Wordpress 2014).

Figure 1: Mechanism of VIVACE

Unlike water turbines and mills that requires approximately current velocity 5 or 6 knots per hour to operate properly, VIVACE is able to work in slow flowing water with less than 2 knots, or 2 miles per hour, whereas, the most current velocity is slower than 3 knots. Also, this device does not need waves, turbines or dams and relies on â&#x20AC;&#x153;vortex induced vibrationsâ&#x20AC;? that mimics giant whale producing vortices that acts as little whirlpools to push himself forward. The VIVACE cylinders use these same vortices to oscillate up and down in moving waters to generate energy. A vortex then is transformed by turbulence induced by water bangs into the

cylinder. It then rolls off the back, contributing a little push for the cylinder. Another vortex will form and it will roll off to the reverse direction and give the cylinder a push to the opposite direction. These opposite forces will oscillate the cylinder up and down. The high density of water makes the oscillation 800 times more powerful than if it is in air at the same speed. More importantly, this VIVACE can generate three to ten times more power from tidal turbines. Thus, even though this breakthrough has not yet been applied in any projects and still been under development, VIVACE can be the resolution to reusable energy generator (Wordpress 2014).

PRECEDENTS LAGI 2012 - Scene Sensor This project won the first place in LAGI competition 2012. Scene-sensor is situated at the intersection of flows and separating the opposing landforms. This project enhances multi ple roles as a channel screen, a vantage point, a pedestrian bridge, while harnessing the flow of winds through the tidal artery and reflecting the undulating landscape of Freshkills to the scene (LAGI 2012). This project explored the possibility to sense, channel, and reveal the complex environmental flows driven by interaction between human and ecological energies in beneficial ways. This project is unique, as it is not only sustainable, but also functional and promoting awareness of the existence of surrounding landscape to the visitors at the same time. The project applies wind mapping screen to trace the optimum wind flow. It consists of two grid planes acting as a framework for panels to bend and respond to the wind. Each panel reacts individually while articulating larger scale flows as a field. Whilst the pixel fields act as an index of the intermittent change of wind Figure 2: Siting of the Project based on the wind map

Figure 3: Panels

Figure 4: Perspective view of Scene-Sensor

flows. The motions displaying in the resolute screen not only reveal the change direction of wind flows, but also map the fluctuations in the energy collecting process. Each panel is made of reflective metallic mesh, which is interwoven with piezoelectric wires. These panels converts the mechanical forces of bending and motion of wind into electrical current, which on a spring day, the energy collected is enough for meeting electricity needs of twelve hundred households (LAGI 2012). The bridge acts as a sole connection between the two mounds and supports all the crossing activists, such as pedestrians, cyclists, and cars exerting mechanical forces to be absorbed electronically by pi-

ezoelectric transducers. While during night, the bridge will act as a vantage point. As the sun sets, the screenâ&#x20AC;&#x2122;s reflections of the daylight will be replaced to a memory of the generated energy. And the bridge will be a place to enjoy the scene of constantly illuminated wind flow. This idea of vantage point is interesting, as refshalon (Kopenhagen) is known as a city of tourists. If the upcoming project can integrate the inviting aspect to the performance of the project, it will be like hitting two birds at the same time. As more people will generate more energy flows in the site which can potentially contribute to the performance of the reusable energy generator (LAGI 2012).

"scripting as a driving force for 21st century architectural thinking" (Bury 2011, stated in Oxman and Oxman 2014)

A.2

Design Computation Impacts on Architectural Practice

The activity of building has evolved through time. In the past time (before Gothic period), building did not require a full awareness of the design intent, where building is more a result of spontaneous actions taken during the building process (responding to the crafter skills). However, Alberti initiated the use of representational drawings and physical models in communicating his ideas to builders and clients in the 12th century. According to this, in order to understand the ideas, the representational drawings have to be literal (not abstract) and use scale to get a sense of dimension. Starting from this period, representational drawings and models become primary requirements in communicating design ideas (Kalay 2004). As technology became more advanced, computers are introduced to architectural practice, followed by the introduction of computation into design practice. This

introduction led to the morphogenesis process, which provides conditions “multi ple singularities” in a “continuum in perpetual evolution.” In other words, it refers to the idea of “mass customization” and prediction of the theoretical fit developmental biology, parametric design, topology and technologies of current fabrication. The computational system also allows incorporation of tectonics into the design development which limits and expands the possibilities of design outcome at the same time. This shift to the significance of material design has redefined architecture as a material practice (Oxman and Oxman 2014). Accordingly, the introduction of design computation in design practice has provided higher chance for design optimization (both process and fabrication). However, it is important to keep in mind that number of possibilities given by design computation is not limitless.

PRECEDENTS ITKE Research Pavilion 2012

In summer 2011 the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE), together with students at the University of Stuttgart have realized a temporary, bionic research pavilion made of wood at the intersection of teaching and research. The project explores the architectural transfer of biological princi ples of the sea urchinâ&#x20AC;&#x2122;s plate skeleton morphology by means of novel computer-based design and simulation methods, along with computercontrolled manufacturing methods for its building implementation. A particular innovation consists in the possibility of effectively extending the recognized bionic princi ples and related performance to a range of different geometries through computational processes, which is demonstrated by the fact that the complex morphology of the pavilion could be built exclusively with extremely thin sheets of plywood (6.5 mm) (Archdaily 2012). Figure 5: Digital Model of Echinoidea

Figure 6: Joinery between polygonal plates

Figure 7: Research Pavilionâ&#x20AC;&#x2122;s Polygonal Surface

The project was aimed to realise the integration of the performative capacity of biological structures into architecture and test the result of this integration (spatial and structural material system) in a full scale model. The precedent search then led to the interest on the morphology of the sand dollar, which is a sub-species of the sea urchin (Echinoidea). The modular system of this skeletal shell consists of polygonal plates, which are interconnected at the edges of the plates by finger-like calcite protrusions and the geometric arrangement and joining system of those plates allows high load bearing capacity (archdaily 2012). Regarding to this, the sand dollar is decided to be the most suitable model for this project. This project is taken as one of the precedents, since the approach to design solution is quite similar to the brief given by LAGI. In this brief, the aim is to create a reusable energy generator that allows

people to enjoy the existence of it in the site. This is a clear brief, but designers are given free rights to choose the most suitable energy used and the model for the base of the project. Natural structures are the best to look at, since it provides the most efficient and functional joinery. As Frascari mentioned, details (joints) are one of design controllers, which contributed to the final design outcome. In response to this, the way of material jointed (tectonic) could be an interesting starting point in thinking of this project. It is best to design the process and put as many variables, such as constraints, generator mechanism, energy source properties, material availability and properties, site features, and regulations, as possible so into the process so that the project aim becomes clearer and more specific (Kalay 2004). Accordingly, the possible design solutions will be narrowed and the process will be an end-search process (Kalay 2004).

PRECEDENTS Son-O-House

This project is a collaboration of architecture and sound installation done by NOX (Lars Puybroek and partners) in the Netherlands (Arcspace 2002). Son-O-House is known as ‘a house where sounds live”, which is a structure referring to living and bodily movements in the site. The complex structure is generated from a careful choreography of bodies, limbs, and hands (on three scales) movements that are presented as paper stri ps. These paper stri ps are then stapled together and an arabesque of complex intertwining lines is derived from this process. These lines are then swept sideways resulting a three-dimensional porous structure. This analog computing model is then digitized and modified based on the combing and curling rules and turn into a complex model of interlocking vaults. In order to meet the aim, twenty three sensors (speakers) are located at strategic spots to indirectly influence the sound produced. The sound is generated through spatial interferences and dynamic standing wave patterns resulted from speaker combination. In other words, a visitor will not directly contact with the sound generation, instead, how he

interacts with the landscape (the site) determines the sound generated. Thus, this installation is an evolutionary memoryscape that represents the traced behaviour of the actual bodies in the landscape (Heide n. d.). This project is taken as a precedent because of its interactions with visitors. This installation functions not only to be a place where people gather, but also to contribute to the sound composition (arcspace). It allows visitors to be aware of themselves and surrounding landscape as their movements in the landscape determines the sound. It stimulates visitors to move and ‘dance’ within the space to experience difference types of sound composition. This idea of stimulating people to move is interesting as it can be applied in the LAGI project. Kinetic energy produced from visitors’ movement can be used to generate electricity. As visitors are attracted to the sound generated, the more excited they will be in the space. This is one of potential examples of how the reusable energy generator can interact with the visitors and the surrounding landscape.

Figure 8: Interior of Son-O-House

Figure 9: Paper Model

Figure 10: Final digital Model

"When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture" (Brady 2013)

A.3

Composition-Generation As a Design Method The use of computerization is not a current breakthrough in designing process. The use of drafting and rendering software has been commonly used in documenting and communicating the design intents and outcome. Generally, the use of computerization is limited to digitize the ‘finished’ model rather than to create and to develop the model itself. In response to this, designers will first sketch their designs and develop their designs through these sketching activities. After final design decision is made, they then draft and render the model to communicate their ideas to audiences, like contractors and clients. The use of hand-sketches and physical model as a medium to develop and refine ideas is known as composition method. Often, this method is short in dealing with real site condition or material limitation or even in achieving maximum design outcome, as being limited by ‘human’ errors, such as limited drawing skill, lack of holistic knowledge and precision. Of course, despite these limitation, composition also offers advantages in terms of the feeling of intimacy with design development, where hands and brain work together to produce a design outcome. As technology became more developed, algorithmic thinking starts to be involved in designing process that the role of computerization is not limited in digitizing the ‘finished’ model. Algorithm itself is commonly known as methods, reci pes, or even inscri ptions for computers to proceed the command

given. Relating algorithm to computers, the term has become (has to be) more precise and does not contain unambiguous content in order for the program to proceed. Even though the inputs and outputs of algorithm are finite, the transition states are probabilistic and as a designer, it is crucial to choose the most efficient procedure (Wilson & Keil 1999). If ones clearly define the goal, incorporate all required inputs, and acquire a holistic awareness during the process, algorithm will provide an opportunity in efficiency optimization. Regarding to this, algorithmic thinking allows generation in designing process. Increasingly, architects start to experiment with computation to simulate building performance by incorporating performance analysis and knowledge about material, tectonics and parameters of production machinery in their design process allowing for performance feedback and new design opportunities (Brady 2013). At one glance, this latter design method seems more preferable than the former one, on the other hand, it is a more sophisticated and integrated process where every possible information and knowledge have to be incorporated from the very early design stage. One may say, this parametric design not only rely on the quality and awareness of the designers, but also become possible because of the performance of virtual machine, the computers.

PRECEDENTS Smithsonianâ&#x20AC;&#x2122;s Roof 2007 This undulating curved glass roof was done by Foster and Partners in 2007, when Peter Brady still joined the company at that time. The design intent of this project was to design a complex roof structure that acts as a solar shade, a weather protective device, and acoustic absorber. The design was required to be material efficient, have a fluid form, be a fully-glazed canopy form bathing the courtyard with natural light (Peters 2007). As stated previously, algorithmic approach requires designers to have finite (clear-defined) design objectives to achieve a satisfying outcome. The roof geometry was generated through scri pting, which is a synthesis of all the design ideas and constantly modified and tested during the design process. This exploration required combination of programming and architectural design knowledge with advanced interpretative skills. The design constraints were incorporated into a system of associated geometries, which acts as a control mechanism for parameters of the generative scri pt, and the design kept evolving during this process. Of course, it

is important to make sure that all of the relevant parameters are well-defined and incorporated.The scri pting process generated a comprehensive variety of detailed roof components and their adaptation to site condition through a performance evaluation. This exploration generated 415 models over six months, whereas the final model was 5000 lines in length and had 57 parameters consisting of numeric values and other switches controlling options (Peters 2007). This project is an exapmle of the use parametric design as a new generation design method. This project proves how design process benefits from the application of parametric scri pting. The parametric approach allows the analyse of structural and acoustic performance, visualisation of the space, the built physical model using fabrication data(Peters 2007,as stated in Peters 2013). This allows designer to catch a glimpse of the difference in the site prior to and after the roof is being built. This feature is one of the exclusivities offered by parametric approach.

In his writing, Brady Peter focused on the benefits of parametric modelling to his project while neglecting the complicated issues potentially emerged during the process in the discussion. Based on the discussion, modifying the parametric seemed to be not pain-taking, as the long-chain dependencies of a fully associative system did not exist (Brady Peter). Surely, it is hard to measure the interdependencies in this term. Based on the algorithmic exercise, the parameters are interrelated that changing one variable can require adjustment to other parameters and change the final outcome. Of course, parametric modelling has different challenges from composition method. Major challenges of this (generation) method are intense in the early design process, as it requires a holistic understanding.

Figure 11: Smithsonian Museum COurtyard with glazing roof Figure 12: PArametric Design of the Roof (From top to bottom)

PRECEDENTS Voussoir Cloud 2008 Voussoir Cloud was done in Los Angeles, 2008, by Iwamoto Scott Architecture. This project was aimed to explore the combination between ultra-light material system and the structural paradigm of pure compression. The design consists of a system of vaults, which rely on each other and the three walls to support their structural integrity (their pure compressive form). This design was based on the hanging chain models, which are used by Frei Otto and Antonio Gaudi in their works to find efficient form (Iwamoto Scott Architecture n. d.). The design process integrated computational hanging chain models and form finding program (Leach 2009). In this project, the structural and material strategies

Figure 14: Arch viewed from below the structure

are intentionally confused. â&#x20AC;&#x153;Each vault is comprised of a Delaunay tessellation [a mathematical tool to reconstruct a volume-covering] that both capitalizes on and confounds the structural logicsâ&#x20AC;?. Strengthened ribs are formed through the dense gang of smaller more connective modules or petals at the column base, whilst the upper vault is more loosened and gain porosity. In response to this process, the petals will create voussoir form (arch form), where in this case, the petals are reconsidered made of paper thin material (Iwamoto Scott Architecture n. d.).

The success of this design relies on the use of parametric modelling tools. In this case, the design process is done in Rhino. The curvature of each petal varies depending upon its adjacent voids and is defined by its end points and a set of tangents with neighboring modules based on the centroid of the adjacent void. Moreover, the number of petal dishes in section varies in proportion to the plan curvature at each edge. Also, the size of the petal has to be calibrated to fit into the overall structure that makes it possessing a unique geometry. (Iwamoto Scott Architecture n. d.)

Figure 13: Rhino Model of Voussoir Cloud

Figure 15: Arch viewed from top of the structure

All of these rules make it hardly possible to design this project using composition method. However, it is arguable that this project still can be done using composition, but the process will take a long time and require the designers to have an accurate precision in drawing while embracing all the materials property and any other constraints. On the other hand, the generation method(using Rhinoscri pt) put designers in a more conducive designing environment, while at the same time providing chances to develop the design idea into its optimum outcome with less time and cost.

"it is arguable that this method [computational generation] can divert the real design objective, as design then becomes a medium of ambitious limit testing then scripting degenerates to be an isolated craft rather than developing into an integrated art form" (Dietrich 2000)

Shortcomings Generation as a Design Method

Like two-sided coin, what generation method does is not only realizing â&#x20AC;&#x2DC;impossibleâ&#x20AC;&#x2122; design, but also allowing design process as a medium for showing off. The use of computation and scri pting as new designing tools create euphoria in the world to search for new typologies of art and architecture. This excitement of parametric design can be a new potential driver for architecture in this 21st century, replacing the modernism (Bury 2011, in Oxman & Oxman 2014). However, at the same time, designers and clients have to be fully aware and critical during the design process and in criticizing the outcome. Otherwise, these eases provided by the method can lead to the diversion of the design objectives, from generating outcome satisfying the brief to generating outcome satisfying the scri pting program or driven by ambitious desire that the design outcome does not respond to the particular brief anymore. Every excitement should be treated with carefulness.

Figure 16: Beko Factory by Zaha Hadid, an ambitious project (unbuilt)

Conclusion General y, this Part A journal consiststs of research on relevant precedents for the upcoming project. In order to meet the brief, it is important to apply design futuring to evaluate the long run performance. In response to this task, design computation (parametric design) is a tool to allow optimization of design process and generate a satisfying outcome and that meets all criteria and constraints efficiently. However, designers must enhance parametric design to develop an integrated artwork rather than an isolated craft. It is more beneficial to apply generation design approach in this project as the final outcome of this project is numerous and many constraints have to be taken into account. Accordingly, designing the process by setting up all the rules and constraints during the design process wil assure the credibility of the outcome. Even though this process burdens a lot of work in the early design stage.

A.4

Learning Outcome This task helps me to understand the idea of design futuring. As a designer wannabe (hopeful y), it is important to have a strong bound to sustainability. Even though, clients are the powerful party (as they pay the service), it does not mean that what they desuire is the best for the the environment or even themselves and surrounding community. As an architect, moving towards sustainability is one of the major intention, as nature keeps degrading. Designers have to be responsible for introducing the importance of sustainability to society and clients, because what they create wil impact later on.

command we want can be proceeded, unless, we succeed to clearly defined the task. But stil , it gives privilege for designers to dare to dream beyond their imagination. Moreover, it is also noticed that the optimization of the use of parametric design is strongly related to the designerâ&#x20AC;&#x2122;s understanding of the algorithm. It would be better the development of computation design is fol owed by the development of designersâ&#x20AC;&#x2122; skil in using them.

Most importantly, this task taught me to be critical towards the precedents and any other texts required to finish this journal. Tutorsâ&#x20AC;&#x2122; role in evaluating readings and precedents is Moreover, this task helps me to understand the design computation activity. Previously, my very insightful, especial y in understanding and criticizing the real underlying design intent idea of parametric design is limited to the use of Rhinoceros and Grasshopper. I just of the buildings. Overal , this task has broadened my scope in the architectural practice. know that they have something to do with advanced designing tools. Everything seems possible, but as later on, I realised that design computation stil acquires limitation. Not every

A.5

Appendix

These figures above are my Rhino exercises for creating pattern and and AA Driftwood surfaces. These tasks are chosen because they took the longest time to generate. The pattern exercise is interesting, as it gives the idea that computers generate not only regular and ordered outcome, but also ir egular or random outcome, with of coursse, a clear underlying logic. The whole process of doing these exercises encourage me to learn further about the parametric tools. I realised that I have not acquired a clear understanding of each logic of the command. This tasks also taught

the importance of being aware during design processes. It is crucial to understand the impact of each action taken in order to move forward in a right direction. Otherwise, ones wil get to nowhere if they just randomly choose the actions without considering the intents and constraints. All of these intents and constraints have to be translated into a clear actions to be proceeded

A.6

Bibliography

Archdaily 2012, archdaily, viewed in 19th March 2014, http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stut gart/

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

Edwin van der Heide n. d., Studio Edwin van der Heide, viewed 19th March 2014, http://www.evdh.net/sonohouse/

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-–16

Iwamoto Scott n. d., Iwamoto Scott Architecture, viewed in 24th March 2014, http://www.iwamotoscott.com/VOUSSOIR-CLOUD

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

Leach, Neil. (2009). Morphogenesis, Architectural Design, 79, 1, pp. 32-7

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–-10

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

Peters, Brady n. d., Brady Peters, viewed 24th March 2014, http://www.bradypeters.com/smithsonian.html

Arcspace 2002, Arcspace, viewed in 19th March 2014, http://www.arcspace.com/features/nox/son-o-house/

PART B DESIGN

"Ornamentation is an inseparable element from a building, as it grows from material organization" (Louis Sullivan)

B.1

Material System Tessellation The idea of patterning and tessellation has been found in many ancient civilizations across the world. The word tessellation comes from Latin word, ‘tessella’, meaning a small, square stone (Khaira 2009). It was dated that tessellation have been used since Sumerian civilizations, which was in 4000BC. Surely, the characteristics of tessellation vary across culture. Greeks used small quadrilaterals for games and making mosaics, whereas, Muslim architecture has different type of tessellations, which can be seen in the Alhambra Palace at Granada in the South of Spain and the Fatehpur Sikri (Khaira 2009). One may conclude that tessellations have social functions in representing the happening culture in a particular society. However, there are various pros and contras to this idea of patterning and tessellation. One of the extreme pros comes from Semper, he believed that the semiotic and artistic ornamentation is the primary feature of a building, while the structural and functional requirements are the secondary features

(Moussavi 2009). On the other hand, Loos believed that ornamentation has failed its social function that it had become unnecessary (Moussavi 2009). Modern architecture is meant to be transparent, as transparency is believed to make architecture more “honest and sincere” in exposing the structure and function, in contrast to bourgeois practice of decoration. Louis Sullivan then came up with a more neutral perspective of the use of ornamentation. He proposed ornamentation is an inseparable element from a building, as it grows from material organization and the way ornament assembled (patterning) determines how the material works. Hence, ornament is thus necessary and inseparable from the object and has no intention to decorate. Most of times, ornament becomes a medium to generate unlimited resonances (Moussavi 2009). This kind of approach to tessellation seems to be the most sensible one, so that this journal will focus on the search for tessellation that is also structurally functional using parametric design.

Case Study 1 Voussoir Cloud 2008 Design computation has contributed to the practice of tessellation. In Voussoir Cloud, the role of computer is not merely limited to model the 3D representation, but it goes beyond that. The role of computer is to act like a calculator (pseudo-computational logic) for optimization of search-finding solution options (Leach 2009). Voussoir Cloud is inspired from Antonio Gaudi and Otto Freiâ&#x20AC;&#x2122;s theory of hanging chain to find the most efficient form (Leach 2009). In regard to this theory, the installation is not independently supporting itself, instead, it was attached to three walls to maintain the structural integrity. According to the theory of hanging chain, only the edges of the installation are supported by the wall. The tessellation modules in between have to

support its self weight, responding to the gravity. The application of parametric design modeling like Kangaroo enables the possible form finding structure by applying various forces like gravity and material properties into the design. The outcome was a structural form with five supporting columns. The parametric computation allows the designers to design a manner of tessellation that corresponds to the structure. The parameters generate series of varying configurations of triangular cells, which is an integral part of the structural form that will support itself against gravity and any other acting forces (Leach 2009). Along the column part, the cells distribution becomes denser and the size getting smaller as the cells reach the bottom part. This is responding to the compressive structure form, as the distribution of modules are most intense at

the largest compressive load bearing point. Also, as reaching the base, the cellâ&#x20AC;&#x2122;s geometry become pure triangular, whereas the curved cells are distributed on the higher part of the structure. As it goes further up, the triangular petals gets bigger in size and are distanced in bigger gaps in responding to the curvature of the structural form. The parameters offered by computational design enables designers to focus their time in refining their design idea, rather being wasted in making sure each detail is correct and responding to the structure. The parameters will automatically and explicitly translate the designersâ&#x20AC;&#x2122; definition into various outcomes. And the designers then will choose the best outcome and optimize it by fixing the detail. The role of parameters in this installation

is to calculate and determine the distribution and size of each cell responding to the acting forces. Hence, it can be said that parametric design saves designersâ&#x20AC;&#x2122; from wasting their time on not-working design and allows them to intensify their time on more promising outcome. Of course, this tessellation system of Voussoir Cloud installation may probably be generated without using computational design (parameters). However, it surely will cost more time, money, and energy and it will require the designers to be mastered in physics and mathematics to come out with this tessellation manner. Parameters, on the other hand, have allowed multi ple variables of material properties, acting forces, design rules to be incorporated that result in this kind of tessellation.

B.1

Case Study 2 Biothing Seroussi Pavilion For case study B.2, our group decided to do two case study, Voussoir Cloud and Seroussi Pavilion. However, since Voussoir Cloud has been chosen for the former case study, this B.2 case study will just explain Biothing Seroussi Pavilion. The material system for this project is stri pping and folding. Basically, the pavilion is a result of a â&#x20AC;&#x2DC;grownâ&#x20AC;&#x2122; out of self-modifying patterns of vectors, which is generated from electro-magnetic fields (EMF). The design is like an internal cocoon that house different degrees of cohabitation or humans and art collection_living with art. Firstly, trajectories were computed in plan using the logics of attraction/ repulsion then being lifted up through a series of structural microarching sections, which a generated by different frequencies of sine function. This project also incorporated additional scri pt feature for allowing local site

adaptation of the sections, since the pavilion is built on a steep hill that the EMF trajectories need to be anchored down to the ground. The designers also integrate algorithmic and parametric relationshi ps for finding the possible materialization procedures and adaptation to site conditions. Moreover, the integration of perfomative design also use to determine the distribution of the roof lighting/ shading through sine-wave functions. Those functions then rule parametric differentiation of angle, orientation and the size of aperture, together with the relationshi p of metal and glass components in each of cells (Biothing n.d.). According to this, our group attempted to alter the project by mostly exploring the EMF trajectoriesâ&#x20AC;&#x2122; potential alterations.

B.2

PERSPECTIVE VIEW Voronoi grid

Triangular grid

Hexagonal grid

Square grid

Radial grid

fFRONT VIEW

VORONOI ON 2D POINTS GRID

VORONOI ON PHYLOTAXIS GRID

Extrude to ti p point

Vary height with point attractor

Trimmed at 0.5 height

Null Variation

iterations

B.2

1. EXTRUDE THE CURVE

2. BEIZER GRAPH MANIPULATION

3. ARRAY SPHERES ALONG CURVES

iter

4. CREATE SPHERES ALONG INTERPOLATE CURVE POINTS

5. FIT SPHERE AND CURVE

EXPLANATION: This time, our group explored another type of material system, which is stri pping and folding. The biothing definitions were altered and explored in a random manner to see various possible outcome. The curves are the major base in producing these iterations. Different material system is chosen to braden our scope of thinking.

rations of biothing

B.2

As far, one may conclude that the thirty iterations done do not have any particular strong underlying logics. Most of them are the result of random and experimental action without a clear directions. Actions are done mainly to produce varying outcomes without putting much thinking on the constructability and its fabrication method. However, in responding to the brief, the selection criteria of these iterations would be: 1. Structural Efficiency 2. Dynamic Morphogenesis

Species 1 This species shows the efficient form of vaulting. It is generated through the application of Kangaroo Physics to apply the Gaudi and Freiâ&#x20AC;&#x2122;â&#x20AC;&#x2122;s princi ple of hanging chain. However, the iteration is just done by exploring the possible outcome for the efficient structure, rather than specifically exploring the possible tessellation outcome.

Species 2 This time, the species shows exploration of tessellation outcome. The grid is generated using voronoi cell with alteration of True True False True False (using Boolean patterning) that creates a dynamic pattern. In addition, the variation of the extrusion height is done using point attractor. However, the iteration does not incorporate any perfomative criteria.

Species 3 This species does not show any tessellation definitions. The original definition of Biothing was altered using graph mapper, then the generated curves were divided into points. The dividing points of these curves were then used to create spheres (as the center) along those curves. However, in terms of constructability, the iteration must have secondary layer that acts the the structure that holds the spheres in position.

Species 4: The Unexpected These species are unpredictable and surprising. This shock reaction was a proof that differ experimental design that has arbitrary design process from a generative design process. When doing this, our group did not have a clear vision of how it should look like, mainly, just focus on testing and applying different kinds of algorithm technique.

ELECTION CRITERIA

B.2

Reverse Engineer ICT/ITKE Stuttgart Research Pavilion ICT/ITKE Stuttgart Research Pavilion was aimed to realise the integration of the performative capacity of biological structures into architecture and test the result of this integration (spatial and structural material system) in a full scale model. The project is inspired by the morphology of the sand dollar, which is a sub-species of the sea urchin (Echinoidea). The modular system of this skeletal shell consists of polygonal plates, which are interconnected at the edges of the plates by finger-like calcite protrusions and the geometric arrangement and joining system of those plates allows high load bearing capacity (archdaily 2012).

ICT/ITKE Stuttgart Research Pavilion is a self-supporting structure with hexagonal tessellated surface that creates a compressive structure. Each panel of the tessellation varies corresponding to the overall structure. Unlike the Voussoir Cloud installation, which is not a totally independent structure, Research Pavilion is aimed to be an independent compressive structure through the manner of tessellation. This project applies both biomimicry and tessellation to its making. However, since tessellation is chosen as the material system, our group focused on reverese engineering the tessellation feature of this project.

B.2

Reverse Engineer Steps

1. CREATING BASE SURFACE DOME

CREATE CONTOUR (1)

LOFT THE CONTOURS

NEW SURFACE

2. CREATING PLANAR STRUCTURE EXPLODE CELLS

EXPLANATION We tried three times to reverse-engineer this pavillion. The first attempt was creating a hexagonal grid then extrude it and being mapped to the surface. The second attempt was directly mapping the grid on the base surface then extruded the grid. However, both of the attempts resulted in a stretched hexagonal pattern that our group decided to go for the third attempt, which is the most successful among all. We first create a half dome and then create contour on the surface then loft it. This is done because previously, we tried to apply the extrusion to the surface and the result is spread on a sphere surface. Our group did not really come up with a performative structure for this project, since the focus was on the tessellation. We did actually try to reverse-engineer the structure, but then it got stuck. During this process, time was allocated most in planarizing the surface.

CREATE HEXAGONAL GRID (2)

FINDING CLOSEST POINT

SPRINGS STIFFNESS: 0

PLANARIZE (3)

KANGAROO

PLANAR SURFACE

PLANARIZE: 500

CURVE PULL CURVE PULL: 0.5

3. EXTRUSION EXTRUDE THE HEXAGONS to its normal (4)

USING SPLIT TO CUT THE CONE (trimmed using average plane) (5)

BAKE

DELETE UNWANTED EXTRUSION (6)

Formulation of Concept Before moving to the generation of 50 iterations, our group first discuss the potential reusable source for the energy generation. We then first analysed the site context. Analyzing the site context, wind is the most potential natural resource. According to Danish Meteorological Institute (1999), wind impacts hugely on the weather in Denmark. Looking at the city scale, the wind comes from West, South and East. Wind coming from West brings coastal climate, which is mild and humid during winter and cold and inconsistent weather during summer. While wind coming from South and East brings continental climate to the city, which is cold during winter and hot and sunny during summer. Due to this multi ple directions of wind, Denmark is exposed to inconsistent weather throughout the year (Danish Meteorological Institure). Our group then tried to find data for more local context of the site. We tracked the rose wind data of the closest weather station to the site. According to this rose diagram, wind comes mostly from West and South West direction and the speed of wind ranges from 5m/s to 11m/s (Danish Meteorological Institute 1999). However, the implication of using wind as reusable energy is that (presumably, we choose wind turbines), wind turbines needs to be at the height of 2000m above the ground to generate huge electricity, whereas the LAGI brief restricts the height of the installation at 45m above the ground. At that height, the turbine will only generate 200-250W/m^2, which is relatively too small, as the brief asks to generate electricity for the whole city households. Nonetheless, keeping this in mind, our group tried to optimize the wind potential by altering the installation form and topography.

The two diagrams above show wind movement across a hill. The first on the left shows how wind flows uninterruptedly in a smooth ridge. While the second on the right show how wind flow is interrupted when flowing across a steep ridge. The interruption caused turbulence and eddy formation on the leeward side. According to this, our group aims to create a form that can interrupt the wind movement in order to generate eddy to rotate the turbine effectively. Unfortunately, the site is dully flat that it is necessary to have a form that is undulating to interrupt wind along the surface. Moreover, we also think about Bernouliâ&#x20AC;&#x2122;s princi ple, which states that pressure of wind flowing through a tube will increase as the tube is narrowed (tunneling), in the context of same magnitude of acting wind force (Princeton n.d.). These all are the considerations that our group took into account while doing the iterations.

TECHNIQ

Form Finding Diagram WIND ROSE DIAGRAM

NN It is observed that on the site, wind will come from mostly, South West and West direction. Also, it is noticed that the topography of the site is dully flat. Keeping these in mind, our E group try to come up with an artificial hill that exposed most parts of its surface to the South West and West direction to optimize contact with wind.

W S

INCORPORATE WIND ROSE MAPPING

QUE DEVELOPMENT

Artificial Hill

B.4

Artificial Hill Iterations

Tatami box

Tatami hexagonal pattern

Tatami+varied size of hexagons

Voxelization Pattern (u,v)

Six grid with sphere

Six grid with box

Circle packing

Circle packing jointed

Divide curve and sphere

Pi ping the waffle curve

Pi pe + sphere along contour

Divide curve and cylinder

Extrude&point attractor

TriangulationB extrusion split

downward extrusion split

Explode curve+spheres

Spheres along curve

Voxelization Pattern (u,v)

Average point of grid+pi pe

Average point of grid+line

lofting lines

Six grid with pi pe

Six grid with circle in rhe center

Box morphing: rectangular grid

Box morphing: triangular grid

Box morphing: torus

Extrude&point attractor

Lofted curve (curve number)

Platonic Dodecahedron

Ribbing waffle with PA

Tree item: Relative item

Box morphing: rectangular grid Box morphing: rectangular grid

Spiral Curves: Mathematics

Connect 2 points with line x-value= cosx*x y-value= sinx*x

Connect points with nurbs curve x-value= cosx y-value= sinx*x

Connect 2 points with line+list item x-value= cosx*x y-value= sinx*x

Connect points with nurbs curve x-value= cosx y-value= sinx*x *decrease count value to 27

Connect 2 points with line x-value= cosx*x y-value= sinx*x *mani pulating factor

Connect points with nurbs curve x-value= cosx*x y-value= sinx*x

Spiral Curves - Graph Mapper

Lofted Rectangular Frame

This time the iterations are done by keeping that in mind that wind is chosen as the renewable energy source for the electricity generation. Iterations are grouped into three parts, the first one is find suitable tessellation system using the form generated through wind rose diagram. Second and third are the iteration of the form, generated from alterations of spiral curves through mathematics and graph mapper. In regard to the chosen energy, the form is aimed to channel wind and decrease air pressure, thus increase the wind speed (Bernouliâ&#x20AC;&#x2122;s princi ple). Hence, the design criteria for this would be: 1. Undulating or terrain like, to incorporate artificial hill 2. Integrating tesselation that is cone/ tunnel like to accelarate wind speed 3. Buildable (at least at a prototype scale)

Species 1: Graph Mapper This form has an aerodynamic form, where the smooth undulating form will increase the wind speed along the surface. High speed is desirable since it will intensify the kinetic power of the wind to rotate the turbines.

Species 2: Mathematics This form is achieved through the use of sine and cosine functions. Different from other iterations, this form is segmented rather than solid. The spiralling segment has potential in both wind energy generator and public installation, but maybe rather than radial in plan, it can be spiralling up with strings or vibrowind fabric in between to catch the wind.

Species 3: Downward Truncated cone This iteration explores the suitable kind of tesselation to apply Bernouliâ&#x20AC;&#x2122;s princi ple to increase the wind pressure. So rather being extruded up, it is extroded down to channel the wind to the one focal point, where the turbine will be placed. It is desirable that the speed of wind turbine can also increase.

Species 4: Ribbing Waffle Structure This iteration is achieved through applying 6-pointed star pattern to the surface then extrude it upward based on the normail of each cell. The height of the ribs vary, from low to high, because the ribs are intended to interrup wind flow on the surface so that results to air turbulence (swirl). The ribs are running in three directions and at each node, there is an intersection between two ribs.

ELECTION CRITERIA

B.4

1. MAP HEXAGON TO SURFACE Hexagon Grid Ribs Point on Curve Map to Surface Base Surface

Cones

2. MAKING THE RIBS Hexagonal Cells Explode

Move Points (Z-vector)

Polyline

Edge Surfaces

PROTO

3. CREATE NOTCHES FOR FABRICAList

Curve | Curve Intersection

A B C C

Point on

+ B C + A C + A + B

Circle Extrude (Z-vector) Forming Cylinder

4. 6-STAR EXTRUSION Hexagonal Cells

Base Surface

Closest Point to

Add

Normal Vector 2 vectors

Extrude to

Z-unit

Discontinuities Points

Average Plane

Point

Solve Brep | Plane

Split Brep

OTYPE DEFINITIONS

List Item

B.5

Solid

Fabrication File (Boxboard 1mm)

MAKI

Assembly of Waffle Structure

1. Number and group the stri ps based on the directions

2. Assemblying the first two direction of ribs

3. Until all ribs in those directions are assembled

4. Start assemblying the final group of ribs

5. Assembly process starts from middle to corners

6. Finished waffle structure

ING OF PROTOTYPE

B.5

Waffle Structure Prototype The prototype was first fabricated at the size of area of 30x30 cm, with minimum height of ribs at 5mm using 1mm thick boxboard. However, the stri ps fabricated are very weak and volatile to tear apart, also, the notch width is not successful in creating an interlocking joint. Based on this, our group decided to enlarge the scale of the model and increase the minimum height of rib into three times higher, 15 mm. This time, our group successfully assembled the stri ps, but it takes us almost 4 hours to assemble it.

Prototype evaluation: In order to make a successful rigid interlocking joint, it is necessary to slightly to ensure the width of the notch is slightly less (0.9mm) than the thickness of the boxboard (1mm thick). However, we found that bending in each node along the ribs makes the rib volatile to tear, as 1mm thick boxboard is not very strong and rigid. Difficulties are also found when assembling the A stri ps to the B and C stri ps. Every time, we tried to assemble the A stri p, the intersection of the B

EVALUATIO

and C stri p needs to be re-fixed and hold in place. The hardest part was when assembling the ribs at the highest point, because the gap between notches gets narrower as it goes up, means the number of bending becomes more intense too.

the current form we have so far, the material has to be flexible enough to resist the bending effect, but strong enough to maintain the overall structural integrity. At this stage, we go for wood as the material for this structure, as it gives potential to the compressive structure.

Overall, our group found that this compressive waffle structure is too packed and rigid that will be quite limiting in responding to the wind flow when placed in site. It is concluded that structure needs to be developed more dynamic in future, maybe exploring tensile tessellation will do. In regard to

ON OF PROTOTYPE

B.5

EVALUATIO

Assembly of Turbines TRUNCATED EXTRUSION WITH TURBINE PROTOTYPE The second prototype we make is to test the efficiency of the truncated extrusion in channeling the wind and choice of turbines. We made a cone with hexagonal openings at side of 12 cm and 8 cm, where the latter acts as opening for the coming wind and the latter as the base of the cone, where the wind turbines located at the edges of it. As stated previously, the turbines are located at the edge because the interruption of wind at the top edge of the cone will create turbulence (swirl/ eddy formation) that hopefully will successfully rotate the turbines at the edges. Our group tested three types of turbine blades: 1. One bladed turbine 2. Two bladed turbine 3. Three bladed turbine We then used hair dryer to create an â&#x20AC;&#x153;artificialâ&#x20AC;? wind effect on our prototype. The result was that three bladed-turbine has the fastest rotation among other turbines. This is probably because the threebladed turbine is the most balance one. However, it was also observed, with this 12 cm height of cone, it requires very intense wind power to rotate the turbine that led us to a conclusion, that the extrusion needs to be far longer to be able to accelerate the wind more effectively and the base opening needs to be smaller when being applied in real scale.

ON OF PROTOTYPE

B.5

proposal Wind Tunnel In the end, our group would like to propose the idea of channeling wind through form and the use of tessellation. The proposal is aimed to maximize the possibility of the wind generator to generate electricity. At this stage, our group decides to go for wind turbines as the electricity generator. The proposed form is based on the idea of creating artificial hill to create depression so that there will be difference in wind pressure. The hill is mainly concentrated to ‘catch’ wind coming from West and South West. In regard to this, the part of surface facing these directions have more turbine module than the rest of the surface. Hexagonal pattern is chosen as the tessellation system then being extruded downward to apply Bernouli’s princi ple (decreasing pressure, thus increasing the wind speed). Actually, extruding circle is

more efficient in applying the princi ple as it is aerodynamic. However, circle is hard to planarize and fabricate that hexagon is chosen, as the geometry is close to circle and easier to treat. Turbines are located at the edge of the below aperture rather than in the middle of the aperture. This is because wind movement above a surface tends to bend at corner or edges. Taking this into account, placing turbines at the edge of the aperture will be more efficient. In spite of the benefits, the algorithmic used to generate this form has limitations. The waffle structure generated is very compressive and rigid. Having a more dynamic and tensile approach will be more beneficial in integrating wind power, as wind is a dynamic resource that it is necessary to have an adaptive form

or tessellation to catch up with its movement. Furthermore, the algorithmic so far has not yet included any perfomative parameters to test the success of the form in channeling and accelerating wind and to adapt with acting forces and site context. It can be said all factors that has been integrated to the form design process is a result of our group’s speculation, rather a result of empirical or mathematical base. Moreover, our group has not yet incorporated the interaction with visitors to the proposal thoroughly. Of course, all of these will be taken into account for future development of this project.

Our group decided to create a form that is looking like an artificial hill, where visitors can walk below it. We then iterate the form to find the most suitable tesselation to respond to wind movement, as well to act as a module where the wind turbine will be placed.

TESSELATION OF Wind Obstruct Modules

B.6

Real

l Scale Application

B.6

feedback Interim Presentation A generic proposal/ algorithm at the mo- Unclear how each of the energy modules How it interacts with the site in terms of ment- needs to vary and develop in a more operates. scale/ programme/ inhabitation/ needs more interesting fashion. consideration. Respond: So far we apply the six-pointed star pattern into the form and it is kinda true to say that the pattern is chosen quite absent-mindedly. We just aimed to use hexagonal geometry to incorporate Bernouliâ&#x20AC;&#x2122;s princi ple without elaborating another possible pattern and the efficiency of the pattern in responding to the overall structure and wind energy performance. It is agreeable that our proposal is still too generic and pedestrian at this stage.

Respond: We do agree with this feedback. We know the basic principle of wind behavior and try to apply it into our design. However, since we did not incorporate any perfomative parameters to test the application of the principle into our form and site context. As a result, we cannot produce a clear understanding of the success of our proposed module, even though we created prototype to test the turbine rotation. However, we used hairdryer at that time, which produced very powerful wind. While in the site, the wind could be as strong as, less or stronger than that.

Respond: As far, we focus most on the idea to capture wind as much as possible that the other brief of the project tends to be neglected. We have not incorporated any parameters to test the lighting and shading (aesthetics) either. Of course, in future we will carry out all of the brief criteria along the way through the application of perfomative design.

learning outcome I do realize that there are still many shortcomings in the proposal that have to be tackled in future development. The proposed design is not yet sophisticated, as it has not incorporated any perfomative parameters. Moreover, the design has to be further developed to be more site-sensitive. Also, our group seemed to unconsciously neglect the aesthetic of the proposed design. I also realized that group time management has to be improved. It is crucial to list all tasks that are required for the project and allocate time to tackle each task proportionally. My group and I spend too much time on attempts to planarize the reverse engineer case study, that we basically just had two weeks left to develop our proposed design. It is important to ensure that time is properly allocated so that all brief criteria can be tackled together, rather than being tackled separately that makes the design

proposal after-thought.

(case study iteration). However, the lack of cability to define relationshi ps among parameters As the project goes further, it becomes more can block the design process. important to improve algorithmic technique. As the design concept is developed, the skill To be honest, my group and I were so nervous needed to realize design intents gets more during the assembly process of the prototypes. advanced. During this part B project, my group This is because we did not incorporate any and I searched a lot of grasshopper and parameters to test the model that everykangaroo tutorial in order to fulfil our design thing is based on our speculation. We fully intent. However, I realize that my algorithmic depended on the prototype to evaluate our skill is still very basic and needs much im- design. However, since it is just a prototype, provement in order to generate a sophisticated not a real scale installation, we cannot evaluate the performance of the model when placed in design. the real site. We cannot be very confident of I found that the iteration task helps to im- how it will interact with wind, inhabitants and prove algorithmic technique. The requirement other features of the site. In future, perfomative to arrange and label the iterations in matrices design has to be integrated from the early made the iteration process consciously driven. stage of design process. In fact, it is the most fun task so far, exploring various possible outcomes in a given situation

B.7

This is my attempt in mani pulating a voronoi grid. I actually intended to apply the vornoi into a polygon shape by connecting the geometry to the vornoi, but it keeps on the rectangular plane. But then I realised the pattern was radially atrracted to a polygon. I then searched for the center of each cell then lift it up on the z direction then extrude to the base into those center points.

This is my first attempt to reverse engineer ICT/ ITKE Stuttgart Research Pavilion. I made a pattern using cull pattern and modify the true and false panels. Then extrude it upwards then apply it to a surface using suface morph.

The tutorial video of tetrahedron is interesting. The application of using mathematics formula to generete little triangular prism within a bigger triangular prism.

So rather than extrude the pattern to z-direction, I tried to find the normal of each of hexagonal cells then move the the center point in that direction. The height is varying, according to the location of the point charge. Then I used the lifted center point to create spheres.

This time, I made two type of contours, the first one is running in uv directions then explode the curves and use the dividing point to create spheres to see which part of the structure is compressed and loosened. The distribution of spheres shows that the corners of the form is the most intense.

This is based on Biothing definitions. I change the curve function and again, explode the curve. Using the points to create sphere. It gives a beautiful outcome.

My group and I spent so much time in trying to planarize our surface using kangaroo. We have to adjust the slider for stiffness, spring and curve pull to get the planarization done. We found that planarizing pattern on a regular surface is easier than planarizing pattern on surface that is generated through lofting curves. Circle is the hardest one to planarise.

Algorithmic sketch

B.8

"The success of parametric design depends on the defining relationships, which are determined by the willingness or ability of the designer during the design process" (Woodbury 2014)

Bibliography Archdaily 2012, archdaily, viewed in 19th March 2014, http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-ofstuttgart/ Cappelen, John and Jorgensen, Bent, “Technical Report: Observed Wind Speed and Direction in Denmark”, Danish Meteorological Institute (Copenhagen, 1999), 8-12. “Chapter 6: General Wind”, viewed in 28th April 2014, http://www.firemodels.org/downloads/behaveplus/publications/FireWeather/ pms_425_Fire_Wx_ch_06.pdf. Iwamoto Scott n. d., Iwamoto Scott Architecture, viewed in 24th March 2014, http://www.iwamotoscott.com/VOUSSOIR-CLOUD University of Princeton n. d., University of Princeton, viewed in 28th April 2014, http://www.princeton.edu/~asmits/Bicycle_web/Bernoulli.html Jaspreet Khaira, “What are tilings and tesselations and how they are used in architecture?”, Young Scientists Journal 2(November 2009), http://www.ysjournal.com/article.asp?issn=0974-6102;year=2009;volume=2;issue=7;spage=35;epage=46;aulast=Khaira. “Seroussi Pavilion, Paris, 2007”, viewd in 28th April 2014, http://www.biothing.org/?cat=5.

Leach, Neil. (2009). Morphogenesis, Architectural Design, 79, 1, pp. 32-7

Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14

“Seroussi Pavilion, Paris, 2007”, viewed in 28th April 2014, http://www.biothing.org/?cat=5

Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170. Image source 1. Leach, Neil. (2009). Morphogenesis, Architectural Design, 79, 1, pp. 32-7 2. Leach, Neil. (2009). Morphogenesis, Architectural Design, 79, 1, pp. 32-7 3. “Seroussi Pavilion, Paris, 2007”, viewed in 28th April 2014, http://www.biothing.org/?cat=5 4. “Seroussi Pavilion, Paris, 2007”, viewed in 28th April 2014, http://www.biothing.org/?cat=5 5. http://api.ning.com/files/YQiG48fMNEfx*7hrlCDrDlH8YkTzE1Lb-Vv6zjefw8Dtap8qYEf*mOikQ55uUqDNKGu2VNURkLFaSgwTmiYELKvhgFCAh NPK/researchpavillion2.jpeg 6 http://www.arcspace.com/CropUp/-/media/765558/22.jpg

PART C Fabrication

Figure 1,2,3 (clockwise direction): Historical Images of

RefshaleĂ¸en

C.1

Introduction Recap Copenhagen is a dynamic city that celebrates leisure, culture, and technology development such as Copenhagen Suborbital. RefshaleĂ¸en itself used to accommodate shi pyard from 1871 until 1966. Ever since the shi pyard company stopped operating, the island accommodates markets, cultural and recreational context (LAGI 2014). RefshaleĂ¸en is surely a potential land for future development of cultural activities and technological experiments. Our proposal program is to create an iconic landmark for RefshaleĂ¸en while benefiting from the strong wind to generate electricity. Interim Presentation feedback has become our benchmark in moving forward throughout this Part C project. We do realize that our former proposal was weak in terms of program and design rationalisation. Our algorithmic technique was also very basic and we did not explore much. Research on precedents is also lacking, as we just relied on ICD/ITKE Research Pavilion by Stuttgart University, which is not suitable enough for our proposed

wind energy generation. Moreover, it was a pity that our group failed to produce series of prototype to test various possible outcome that our explorations tended to be speculative and shallow. Also, our former proposal had not incorporated the site context that the proposal seemed to be arbitrary and not site-specific. Taking all of these into considerations, our group tried to do more research on wind behaviour and precedents that incorporated wind movement into the design. We look at various precedents, such as Hygroskin, Fertile Market for French Pavilion, and MoMA/PS1 Reef. Still using wind rose as a design driver, this time we tried to tackle all of LAGI brief at the same time. Program and constructability of the proposal now becomes our main focus. Learning from the former project, we have formulated our program clearly from the beginning stage of design process so that at the end, our proposal will be convincing and valid, rather than just being an

DESIGN Design Intents and Siting Based on the site analysis and LAGI brief, our group formulated three design intents, which are: 1. Design a proposal that engages with the context of the site and the surrounding. 2. Design a proposal that engages with wind energy generation while considering optimization of the generation process. 3. Design a proposal that becomes a focal point for social and cultural activities of RefshaleĂ¸en, while at the same time engaging with users and allowing for possibility of future develop ment. In response to the design approaches, our group decides to place the proposal at the edge of the site, near the river. This is done to maximise wind caught by exposing the proposal design as much as possible to wind. As observed from wind rose

data, wind comes mostly from West and South West directions that our form should maximise its surfaces facing those direction. Moreover, since the proposed location is adjacent to the river, proposal design will be able to catch more wind, as there are less high rise buildings around that side of the site. Also, the siting makes the proposal clearly visible from the river. This is intended because our proposal is aimed to catch visitorsâ&#x20AC;&#x2122; attention so that they will be curious and captivated to visit the site. Since the site is mainly accessible from water taxi (even there is also bus stop at the other side), the location of the proposal will be effective in gaining visitors while at the same time also effective in benefiting wind context of the site to generate electricity. This left a half size of the site area empty, which makes future expansion and development possible.

PROPOSED AREA

C.1

DESIGN Design Concept and Iterations In regard to maximise wind energy generation NN (second design intent), our group tried to generate forms that engages with wind rose diagram. We E W focus on maximizing surface facing West and South E West directions. Also, we are interested in Dragon W Skin Pavilionâ&#x20AC;&#x2122;s and Sydney Opera Houseâ&#x20AC;&#x2122;s roof shape, Wind Rose Diagram S S which consists of sharp extrusions that are based on triangular grid. As written in Part B journal, our group intended to create an opening that channels wind to the wind energy generator, this time we attempted to incorporate triangular grid to articulate the wind opening and makes it engages more with the wind. Triangular pattern is chosen as the base grid since it is easier to apply in a form having complex curvature (in terms of planarization for construction buildability). Hence, keeping this in mind, our group come up with design concept that consists of three stages. First is to receive wind through the opening. Second is to convert the wind received to electricity output. Third is to tell or inform people about the generation process so that they can become aware of it. Taking this into account, our form should consist of three layers Visual Concept Diagram, drawn by Filia Christy 2014 that engage with the design concept (which can be seen in the following visual diagram). Based on this, our group come up with 11 iterations and decided to explore the last form.

Form Iterations

C.1

Form Making Diagram

1. Trace the wind rose diagram

2. Scaled to 0.7 and moved along Z-axis based on the vector distance between the center and points.

3. Scaled down by 0.5

4. Draw lines connecting corresponding points

5. Creating the basic form by lofting the lines

6. Plug the model to Kangaroo Physics to generate efficient arch form

7. Get rid some part of the surface to create access for users

8. Panelize the surface based on triangular grid and creating extrusions

9. Incorporate stage

DESIGN Final Outcome In regard to the first design intent, our proposal tried to bring a sense of nature back to the currently dull-flat site. Denmark topography is hilly, which is very different to the site topography. We decided to put an emphasis in the contrast by keeping the site topography flat, while our design proposalâ&#x20AC;&#x2122;s height varies, mimicking form of hills. The peak point is at the West elevation while the formâ&#x20AC;&#x2122;s heights facing other directions are relatively lower. This is done to optimize the contact of West and South West surface with wind exposure so that energy generation can accordingly be optimised.

15.82m 8.87m 4m

South Elevation

13.5m

36m

22.5m

61m

42.58m

In response to the third design intent, our design proposal occupies almost half of the site. Another reason why we do not enlarge the proposal is because with this current size is because our size is already effective enough to encapsulate all the design approaches and generate enough electricity. Larger size will have more embodied energy (material consumption and during construction process) and of course, cost more money, which will not be sustainable. Hence, we justify that this proposalâ&#x20AC;&#x2122;s size is appropriate in regards to its brief requirement.

Aerial View

C.1

TECTONIC Prototype As we do realize that our proposal has quite complex design, we did some research and discussion to determine the materiality and appropriate structure to hold the roof skin and fabric and to transfer load to the foundation without failing. However, since we consider our third design intent (which is to be a focal point in the city), we decide our proposal should be space efficient to accommodate a large number of visitors. In regard to this, we tried to eliminate the possibility of using supporting column inside so that the design proposal can be a universal space where various types of cultural, social and even economic activities can happen. Analysing curvature Hence, our group proposed to use rib structure as opposed to column-system structure. 1. Ordering components (1mm thick boxboard)

4. Second row

2. Readjusting extrusion (score and 3. Readjusting the triangle base tabs)

5. Third row

6. Finished skin

7. Anchoring Fabric

Evaluation of Prototype 1 In aiming to resolve tectonic elements, our group tried to prototype a small part of the overall proposed design in 1:20 scale. The first prototype created is a rough model that helped us to figure out suitable jointing strategy so that our proposal can be built. We found so many errors during assembly process. First, we carelessly labelled each of fabrication components that made it really hard to assembly, as the components look alike each other. Second, some of the unroll components were not unrolled correctly that a lot of them were scored at the wrong side of boxboard. As a result, we spent too much time in checking and fixing each of the components. At this stage, we have not yet managed to resolve how the elements (skin, ribs, and fabric) were going to be jointed. As a result, we used Blutack to visualize how we were going to resolve the tectonic detailing. Even though, the prototype produced is very rough, it was our benchmark in attempting to resolve the whole construction process.

B.4 C.2

TECTONIC Detailed Model 1:20 Algorithmic Technique

Algorithmic Technique Diagram, drawn by Filia Christy 2014

Assembly Process 1. Preparing the jointing

4. Installing turbine inside the waffle

2. Preparing the ribs (3mm thick MDF)

5. 300gsm blackcard skin

3. Wiring for fabric,turbine

6. Build the skin on top of the ribs using pins

C.2

TECTONIC Final Detailed Model at 1:20 We managed to produce a more refined working prototype for our design proposal. Using 1:20 scale, we succeeded to figure out the suitable tectonic detailing for real scale constructability and visualise how the fabric (Polyester) will inflate when the turbine rotates. In addition, our turbines managed to rotate without crashing the ribs nor downward extrusion of the roof skin. To be honest, the hardest part of making the prototype was to figure out the tectonic detailing, how each layer (roof skin, ribs, and fabric) can be integrated to work as a whole. Materials for fabrication are also tricky to choose, since our model is quite volatile. It is concluded that lightweight and flexible yet strong materials are suitable for the real construction. Succeeding to produce a detailed prototype makes our group more confident with the constructability of the design proposal.

Rotating turbines

C.2

TECTONIC Resolving Rib Construction Inspired by Fertile Market for French Pavilion, our group refer to its rib structure in resolving our rib structure. The waffle system of this precedent is astonishing, as it acts not only as a supporting structure, but also as a storage, where the plants can grow upon. The waffle system allows for a vast area beneath the space while using a minimum number of supporting columns. Whereas, our intention is not purely like French Pavilion. Our proposal is intended to use no supporting column at all so that users can move freely inside the design proposal. Hence, our material research was intended to find a material that can make this intention happen. Glue-laminated timber is proposed as the material for rib structure because of the following reasons: It is lightweight that the erection of structure will be quite fast. This is important to consider this because as stated in Part B journal, Denmark has inconsistent weather due to various wind directions acting to the city that fast construction is desirable. More importantly, Glulam timber is strong and stiff since it is strength-graded lamination has uniform moisture distribution that it can span for more than 40m wide. Hence, our proposal to use no supporting column will be feasible (GLue Laminated TImber Association 2010).

Figure 4: Lattice structure of French Pavilion

Figure 5: Glue Laminated Timber

Glulam Timber Structure Continuous primary rib

Rib intersection

Fragmented secondary rib Resix Jointing system

Lattice Rib Structure

In regard to the design intent, waffle ribbing system (lattice structure) is proposed as the structural frame of the overall design. Considering the curvatures along the formâ&#x20AC;&#x2122;s surface, we decide to simplify our proposed waffle structure to make it feasible to construct. While in the previous interim presentation, we proposed to use waffle structure with continuous ribs that run in three directions, our current proposal structure is a waffle structure with ribs running in two directions only. The ribs consist of continuous primary ribs and fragmented secondary ribs.

Peak hinged Stainless steel plate Single pin

Hinged glulam primary rib Bottom hinged 130x400mm Glulam timber

Stainless steel welded with stiffeners Bolts on stainless steel plate to anchor down to the foundation All component diagrams are drawn by Filia Christy 2014 Annotations are cited from Arch Detail Drawing (Glue Laminated Timber Association, n. d.) Further Research: Toussaint 2007

grade 8.8 botls on4 steel shoe

C.2

TECTONIC Roof Skin and Fabric Responding to the complex model of the roof skin, it is necessary to use material that is mouldable, as the extrusion of each roof skin panel varies depending on the size of the waffle panel. Also, it is desirable that the roof material should be lightweight, yet strong, as it will be exposed to Danish strong wind throughout the years. Glass FiberReinforced Plastic is proposed to be roof material, as it possesses all of those criteria. It is durable towards wind exposure (coming from various direction), as it is strong in tension and compression, and allows for seamless construction that decreases water penetration. In addition, the ongoing maintenance cost for this material is low. The roof skin panels will be attached to the intersection of rib structure using spider jointing system (as shown in the diagram). Whereas the fabric material, our group proposed to use Polyester, as it is sleek enough to wave with the wind, when the energy generation takes place. The fabric will be hanged onto the rib structure (Stomberg n. d.).

GFRP Roof Skin

Spider Jointing

Polyester Fabric

Skin-Rib-Fabric Tectonic Diagram by Filia Christy 2014

Figure 6: Glass Fiber Reinforced Plastic

Wind Energy Generation Glulam Timber Rib Waffle structure

Our group proposed to use Darrieus Wind turbine. Darrieus refers to vertical axis turbine and to be specific, Giromill Three-bladed Cycloturbine is chosen as the turbine model. This is chosen because it is efficient since it uses vane to mechanically orient the pitch of the blades for maximum efficiency. Also, it is suitable to apply in an environmental context that has unsteady turbulence, like Denmark. Moreover, vertical turbine is suitable to use in an urban area, as it is less noisy than horizontal turbine (REUK 2006-2014).

Downward extrusion of the roof Power Generator which connects to DC to AC inverter connecting to the circuit breaker 0.4m diameter Rotor Radial arm to hold the three blades to the rotor Blade

Skin-Rib-Turbine Diagram by Filia Christy 2014

Energy Calculation Our group proposed to use 0.4m diameter rotor size turbine. One turbine will be installed in every two roof extrusions, that there will be 846 turbine modules installed in total. By plotting a graph based on Danish Wind Industry Association Data (Layton 1998-2014, in Howstuffworks), we managed to estimate energy generated by each of turbines. The x-axis of the graph represents the rotor diameter in meter and the y-axis of the graph represents electricity output generated by the rotor at wind speed of 15m/s. It is estimated that

turbine will be able to generate 761.4 Kilowatts. Using this number, our group managed to calculate the annual output by multi plying 761.4 with 24 and 365 (as it is assumed that there are 365 days in a year). It is estimated that ideally the proposal will be able to generate electricity output up to 6.7 Gigawatts hour.

C.2

FINAL MODEL 1:500 Physical Model Our group decided to 3D print our proposed design. This is done because our roof skin is too hard and too much to assemble. Also, producing the prototype was painstaking and took so much time that we went for 3D printing (powder) it instead. At first, we attempted to 3D print the skin as well, but Fabrication Lab staff said that the skin could not be 3D printed. Hence, we decided to 3D printed the triangular mesh instead to represent the triangular roof skin. We attempted to 3D printed in 1:500 scale, together with the site model using laser cutting method.

In order to 3D print the mesh, we have to make it have volume. We then offset the triangular mesh by 5mm and lofted the two meshes. It is important to ensure that the thickness is consistent throughout the mesh. After that, we sent the file to Fabrication Lab and it took them three days to print the file. It costs us $75.

Mesh for 3D printing

Picture of Physical Site Model

C.3

LAGI BRIEF Proposed Design Description RefshaleĂ¸en used to accommodate shi pyard from 1871 until 1966. Ever since the shi pyard company stopped operating, the island accommodates markets, cultural and recreational context. Our proposal program is to create an iconic landmark for RefshaleĂ¸en while benefiting from the strong wind to generate electricity. Also, the proposal will try to bring a sense of nature back to the current dully flat size by mimicking the natural topography of Denmark, which is hilly, and retreating the landscape of the site. The proposal will be a universal space, where economic and socio-cultural activities such as market trading activities, cultural exhibition and seasonal festivals can take place. While at the same time, it will contribute to caress sustainability awareness among society through the energy generation process. In regard to this, our design concepts are first to receive the wind, second to convert the reusable energy to electricity, and last to inform visitors the process. Primarily, the project consists of three layers. The first one is the roof skin that acts as openings to receive wind. The roof skin is triangular panelized that, where each triangle will accommodate one extrusion that opens up and down. As a whole, the roof will look like a dragon skin. The second one is the structural frame that holds the roof and acts as the entire structure. The third one is the fabric layer that is hung onto the structural frame. The fabric will inflate as the wind energy generation process takes place. Thus, the process will be able to be informed to the visitors.

The proposed installation will occupy half of the size, where the widest span of curvature will be 42m and the highest point will be 15m. In order to realize the proposal, the structure will apply lattice rib structure. The ribs consist of primary and secondary ribs, which the primary ribs are spanning continuously and the secondary ribs are fragmented. The ribs are connected using method of resix jointing-system, in which the jointing is concealed within the ribs. Whilst, the primary rib itself is pinned to bottom plate that will transfer the acting loads to the foundation. The peak of the primary rib will also pinned to allow the rib structure to reach the height intended. Glue-laminated timber is proposed as the material for the lattice structure. The glulam is considered appropriate since it is lightweight, strong and eco-friendly. The roof skin is installed on top of the rib structure. Glass Fiber-Reinforced Plastic is proposed as the skin material as it is strong in tension and compression, yet lightweight. It is necessary to choose a material that can endure the wind exposure and lightweight to make the construction process easier. Moreover, the fiber-reinforced plastic is economical and long-run performer that the ongoing maintenance cost is relatively low. More importantly, the material is moldable that it is possible to adjust the size of the extrusion panel individually in response to the each waffle panel of the lattice structure. The roof skin is attached to the rib-structure using spider jointing.

In every two extrusion-panels, a wind turbine will be allocated below the rib structure. The wind turbine adopts Giromill (vertical axis) three-bladed cycloturbine model with a little adjustment applied in the blade shape in order to catch more wind. Vertical axis turbine (Darrieus turbine) is proposed, as it is more efficient and less noisy than the horizontal axis turbine. Regarding the context of the proposal, it is necessary to have a quitter turbine system for convenience issue. Moreover, vertical axis turbine is proved to be more efficient than the horizontal one.

that there are 365 days in a year) to get the annual electricity output. Ideally, the proposed design will be able to generate 6.7 GigaWatts hour of electricity throughout the year. As a comparison, it is estimated that each household will require electricity consumption of 4200 Kilowatts hour annually. Thus, based on our calculation, our proposal fulfils the LAGI energy generation brief.

It is calculated that there are 846 turbine modules with rotor size of .4m in diameter installed in the proposed design. By plotting a graph based on Danish Wind Analysis data, it is possible to estimate that .4m diameter rotor will be able to generate 761.4 KiloWatt at wind speed of 15 m/s. We then multi ply the number with 24 (as there is 24 hours in a day) then with 365 (as it is assumed

C.4

LAGI BRIEF Elevations

North Elevation 1:1000

East Elevation 1:1000

South Elevation 1:1000

West Elevation 1:1000

C.4

LAGI BRIEF Program Our design proposal is aimed to: 1. To create a universal space that accomodates economic, social and cultural activities such as market. exhibitions and festivals, by making the design proposal column free. 2. To caress awareness of sustainability among society through the experience of inside the smaller pavilion so that people can interact more with the inflated fabric, thus become aware of wind energy generation process. 3. To create an iconic meeting space that is visible from both across the river and from the river itself, as a lot of tourists ride water taxi. 4. To give a sense of â&#x20AC;&#x153;natureâ&#x20AC;? back to the site through the artificial hill form of the design proposal and retreatment of the site landscape.

Aerial Render by Dian Mashita Eddy Suryono 2014

C.4

Internal Space Render by Dian Mashita Eddy Suryono

Concert by Dian Mashita Eddy Suryono and Filia Christy 2014

C.4

Outside Perspective Render by Dian Mashita Eddy Suryono and Filia

Mermaid View Montage by Dian Mashita Eddy Suryono and Filia Christy 2014

River View Render by Dian Mashita Eddy Suryono and Filia Christy 2014

Bird View Render by Dian Mashita Eddy Suryono and Filia Christy 2014

LEARNING OUTCOMES Feedback Our form and siting is the weakest investigation of all aspects in this proposal To be honest, our group struggled to generate a form that responds to wind context. We relied solely on interpreting the wind rose diagram, which was claimed to be arbitrary since wind rose can generate various types of forms, which is agreeable. However, we did try our best to alter the form from the interim proposal. We had difficulties in integrating wind context to the parametric modelling. The only thing we managed to do is incorporating Kangaroo to generate the most efficient arch form. However, as stated in C1, we have clear justification and diagram that explains the siting and form of our design proposal. Time issue was also our limitation in exploring the Grasshopper and other

plug-ins. Our group decided to focus more on the program and fabrication process of our proposal so that we can resolve the real construction and energy calculation.

Outcome The role of parametric and computational design in our design proposal Parametric design does play a big role in generating our design. From the very early stage of design for example. Kangaroo took part in generating the efficient form of the design by inputing springiness, stiffness and to make the form planar. Planarization is very important for both the skin and rib structure, as it determines the constructability of the design proposal. Moreover, the direction of roof skin extrusions is computation driven. Computation allows the extrusion open upwards and downwards in sequence to happen by listing the item. This will be impossible without the role of parametric design. Moreover, the use of parametric design is also done to visualise the hanging fabric. How the hanging fabric will respond to the location of anchoring points.

To be honest, I still think I have to explore grasshopper more. As I do realize that there are still many parametric commands that I do not really know what they are supposed to do. Skill in parametric design is the most significant block throughout this project. Our group often frustrated since we have got the design idea but we did not know how to realize it. What I learn most from this subject is that parametric design seemed to be very hard to understand and intimidating, but once you tackle it, it will make the design process much easier and more efficient. Parametric design is a worth-learning design tool, as it can expand our thinking process and design outcomes.

I also find parametric design useful in designing tectonic assemblies for fabrication. As an example, the jointing between ribs holding the fabric was designed using grasshopper. The parameters allow each jointing respond to various intersections of ribs automatically that it does need to be manually individually designed, which conventional design process will not give this opportunity.

C.5

Laser Cut Roof Skin in 300gsm Blackcard

1 A B C D

4 1B

1A 3A

2A 2D

4A 3E 4E 3C

Laser Cut Jointing and Ribs in 3mm MDF 2B

FABRICATION FILES

Bibliography Cappelen, John and Jorgensen, Bent, “Technical Report: Observed Wind Speed and Direction in Denmark”, Danish Meteorological Institute (Copenhagen, 1999), 8-12.

Glued Laminated TImber Association (n. d.). Specifiers Guide, pp. 14-15.

Glued Laminated TImber Association (2010). Structural Glued Laminated Timber- Design Essentials, pp. 1-2.

Julia Layton, 1998-2014. “How Wind Power Works”, in Howstuffworks Website, last accessed in 10th June 2014, http://science.howstuffworks.com/environmental/green-science/wind-power4.htm. Land Art Generator Initiatives, 2014, Supplementary Documents, last accessed in 10th June 2014, http://landartgenerator.org/designcomp/. Turbines.htm.

REUK, n. d. “Giromill Darrieus Wind Turbines”, last accessed in 10th June 2014, http://www.reuk.co.uk/Giromil -Darrieus-Wind-

Stomberg, “Glass Fiber Reinforced Polymer”, last accessed in 10th June 2014, http://www.strombergarchitectural.com/materials/gfrp.

BIBLIOGRAPHY

Image source Figure 1:

Historical.zip, http://landartgenerator.org/designcomp/

Figure 2:

Historical.zip, http://landartgenerator.org/designcomp/

Figure 3:

Historical.zip, http://landartgenerator.org/designcomp/

Figure 4:

http://morfae.com/content/wp-content/uploads/2014/05/06-MIL_03-INT%C2%A9XTU.jpg

Figure 5:

http://www.theurl-holz.at/wp-content/uploads/brettschichtholz_10_en.jpg

Figure 6:

http://www.dynasylan.com/product/dynasylan/SiteCollectionImages/products/norm_full_glasfaseranwendungen.jpg

Y & IMAGE SOURCES