Final Design Journal - Ben Ryding by Ben Ryding

about me â&#x20AC;&#x2DC;A single dream is more powerful than a thousand realitiesâ&#x20AC;&#x2122; - J.R.R. Tolkien Each morning I wake and see that quote hung by my bedroom door on painted canvas. It is motivation that despite the sleepless nights, and the compensational litres of coffee, design is where I want to be. Design has always been a passion of mine. I realised my love for it in year 9, when a teacher first introduced me to Photoshop and illustrator, and all the possibilities the software contains. To this date, I am a primarily self-taught, freelance, graphic designer. I have completed design work for many companies, large and small, bands and DJs. The moment I knew I wanted to study architecture came in year 10, when I was lucky enough to complete my work experience at Six Degrees Architects, working closely with Director, Mark Healy.

This opportunity allowed me to get a great insight into the daily workings of an architecture firm and a fantastic introduction to all that an architect does. Since being introduced to Rhino in first year, Virtual Environments, I have used it for design studios and where 3D modelling has been practical. In terms of Grasshopper, however, I am a complete novice. I believe it will be an interesting learning experience, particularly as it adds a rational, ordered element to the chaos which design can be. To me, architecture is art. Seeing the progression from a solitary idea to a final, constructed form is the most rewarding moment of any true art form; be that even painting, sculpture, literature or theatre. Architecture, as art, is about originality. By definition, it is producing something that has never been done before. I think that is incredible.

CONTENTS PART A A.01

Design Futuring

A.02

Design Computation

A.03

Composition/ Generation

A.04

Conclusion

A.05

Learning Outcomes

A.06

Appendix

PART B B.01

Research Field

B.02

Case Study 1.0

B.03

Case Study 2.0

B.04

Technique: Development

B.05

Technique: Prototypes

B.06

Technique: Proposal

B.07

Learning Objectives and Outcomes

B.08

Appendix

PART C C.01

Design Concept

C.02

Tectonic Elements

C.03

Final Model

C.04

Additional LAGI Brief Requirements

100

C.05

Learning Objectives and Outcomes

110 3

PART A

atelier brückner gs

caltex pavilion

The GS Caltex Pavilion is a project com-

missioned by Korean oil company GS Caltex for the 2012 Korea Expo in Yeosu, South Korea. German architecture and exhibition design studio, Atelier Brückner, designed the Pavilion as an illustration of “the companies mission and its vision for the future”.1 The Pavilion is an interactive installation which encourages the user to approach, walk around, and even participate in the “dynamic ensemble”.2 The display is constructed of 18 metre high light poles which illuminate in a multitude of varying colours to “mimic various weather/natural conditions, such as rain, waves, fire, lightning and wind”.3 It has become most popularly known as resembling an “oversized rice field”, with its “blades” swaying like grass in the wind.4.

The display responds to the touch of the user. Upon being touched, a surge of light sparks from the source-pole and out through the other poles, before resuming the original light show. The entire Pavilion is designed as to draw the user in, and, whilst occupying a 1960 m2 area, an 18 metre high light show can be said to do this. The design intends, through the use of natural imagery, to highlight the oil companies “sustainable energy concepts”.5 At the centre of the Pavilion is a seven metre high, star-shaped, mirrored room with a panoramic view. The black and white projections the user experiences within the pavilion present a poetic illustration of the “company’s willingness to take responsibility” with regard to the sustainable innovations that GS Caltex is taking.6

Atalier Brückner’s philosophy is, primarily, that “form follows content”.7 They aim, through their exhibitions, to lead people into a story. In this particular design, the studio creates initial intrigue through the large, playful displays, drawing the user to the centre of the Pavilion, where the content is made clear, and the story is told. Once inside the design, standing between the large poles of flashing lights, the user is made to feel insignificant as a part of the whole. This is a purposeful aspect of the Pavilion. The effect is that whilst a single person is miniscule when

compared to the greater part of the site, a single person can create a powerful surge which extends, branching from pole to pole, until they have solely affected the entire Pavilion. Showing that the action of one, can affect the experience of the whole. This GS Caltex Pavilion invokes a sense of curiosity. It is near impossible to walk by the Pavilion, as it draws you in. The bright lights, colours, and shear volume of the display all play on the user. In general, people love interaction and inclusion, and that is exactly what this design promotes. The only thing that

this design requires is a single touch and the ‘interaction’ is immediately apparent by anyone in the vicinity of the Pavilion. It would be useful to take note of this project in the design of the installation for this subject. Whilst it is important for the installation to generate energy, it also must promote interaction. This Pavilion has provoked the thought that the installation will require some form of attraction, making users approach and interact with it through sheer curiosity or desire. For without an attraction, there will be no interaction.

PAVILION8 (bottom) GS Caltex Pavilion, Atalier Brückner PAVILION STREET VIEW9 (top, left) GS Caltex Pavilion, Atalier Brückner POLE ‘BLADES’10 (top, right) GS Caltex Pavilion, Atalier Brückner

3xn architects

‘learning from nature’ pavilion

he ‘Learning from Nature’ Pavilion by Danish architecture firm, 3XN Architects, was constructed in 2009 for the ‘Green Architecture for the Future’ exhibition at the Louisiana Museum of Modern Art in Copenhagen, Denmark.

is driven from a Moebius strip - a surface with only one continuous side and one boundary. This concept developed into this ‘rubber band’ style design which, in its context by the Museum, encourages play and interaction.

The Pavilion is built using 100% naturally sourced, sustainable materials; often substituting synthetic materials for re-usable materials which had never been used in a project such as this. The focus of this design is on sustainability, and so the architects focused their attention on these natural materials in order to minimise the impact of the design.

The Pavilion has been designed with a dual energy generation system. On the top-most surface of the strip, a series of 1 mm flexible solar panels have been attached - only where the user is unable to climb. The second source of energy generation used is with the incorporation of piezoelectric materials in the floor of the structure. These materials generate a current from the weight of the user. The electricity generated in the Pavilion is used to power the LED lighting integrated in its design.

3XN Architects often work with complex shapes and forms within their buildings, and this Pavilion is no different. The form

The sustainable focus of this building is not, in any way, hidden. Everything from the self-reliance of the structure, to the natural and renewable materials are celebrated in the design. The circular nature of the Moebius strip and the choice of green for the aesthetic are very obvious highlights of the ‘natural’ and ‘sustainable’. Tony Fry states that Design Futuring is about sustainable design, and ensuring that there is a future in which design may continue to take place.11 Sustainability is about maintenance of the world we live in, ensuring its longevity. That is not to say that the Pavilions design is tacky or selfindulgent. In fact, quite the opposite. Within its surrounds

of lush green foliage, and the deep blue of the sky and the ocean, the natural, free form and choice of colour make it seem at one with nature, and not merely intruding on it.

heat it as it cools. The use of these materials has the potential to save 10 to 15 percent on the heating and cooling of buildings. The technology contained in this design is quite phenomenal. It proves that innovation can be found in the most unlikely of places. Although this design may not appear complex, the technology it holds is completely surreal.

The innovation of this design is not limited to the material choices and unique way in which it generates electricity. This structure contains a hydrophilic nanostructure which, not only keeps its surface clean, but with a process known as photoca- Piezoelectricity has big potential talysis, removes 70% of pollutants for research. It generates energy from the interaction which it is from smog. designed to receive - allowing It’s surface also has the abil- a certain degree of cross-over. ity to retain heat with phase With the sheer flexibility of changing materials which have piezoelectricity, this piece of techthe ability to cool the structure nology has a lot of opportunity for as the temperature rises, and design.

PAVILION12 (bottom) ‘Learning from Nature’ Pavilion, 3XN Architects INNOVATION13 (top, left) ‘Learning from Nature’ Pavilion, 3XN Architects SOLAR PANELS14 (top, right) ‘Learning from Nature’ Pavilion, 3XN Architects

tom wilcombe chinese

university of hong kong arena

The Chinese University of Hong Kong

Arena by Tom Wiscombe Architecture is a proposal for a 2012 architectural design competition for the Chinese University of Hong Kong in Shenzhen. This design means to encapsulate “an idea about social space and multi-functionality for 21st century university culture”.1 This week posed the discussion on what constitutes computation and computerisation. Ultimately, this distinction comes down to design realisation; whether it falls before or after its modelling in design software. Computerisation is the modelling of a realised design, utilising the software available. It limits freedom of modelling as it utilises a set of parameters, with an idea in mind of the conclusion. Whether or not the design is finalised, it has a, relatively, set destination.

Computation, on the other hand, is design which is completely reliant on the software at hand. The design is not realised, nor is a conclusion remotely considered. This type of modelling involves complete freedom of design. It generally involves setting algorithms to ‘see what happens’. In this way, it is more of an investigation into the limits and features of the modelling software, dependant, solely, on the designer’s field of view. In this way, the Chinese University of Hong Kong Arena can be classified as a computerisation design. Although the arena is clearly modelled in three-dimensional modelling software, the defined form and simplistic architectural makeup gives the impression that the design was preconceived in the architect’s mind, with an existing conclusion that the software helped him to achieve.

This is, by no means, an inferior method of design to computation. This method uses the software as an aid, rather than a tool. Computerisation assists the design, whereas computation is reliant on the software. Likewise, this is not to suggest that computation is inferior. Computation relies on the computer to envision a design concept that the human brain is not naturally equipped to control. It is highly mathematical and is, therefore, a much more complex conclusion when compared in contrast to computerisation.

Kalay, in Architectures New Media, stated that “[computers] lack any creative inabilities or intuition” and therefore are “totally incapable of making up new instructions”.2 This shows that regardless of technological advances, there will always be a need for the designer; that a computer will never be able to produce an original, creative thought. Referring this back to the Arena, the conclusive proof of computerisation, rather than computation, is that this outcome is perceivable in

the human brain; it is believable that a person could produce this concept. That is to say, that Tom Wiscombe could have, potentially (and with the desire to do so), designed this project by hand, without the aid of a computer at all. However, the rise of technology, in particular three-dimensional modelling software, has made this method unnecessary and, frankly, outdated. This is a design truly expresses the prospects of computerisation as a modernist approach to the architectural profession.

ARENA3 (title) Chinese University of Hong Kong Arena, Tom Wiscombe Architecture MODELLING DEVELOPMENT4 (left, top) Chinese University of Hong Kong Arena, Tom Wiscombe Architecture ARENA AT NIGHT5 (left, bottom) Chinese University of Hong Kong Arena, Tom Wiscombe Architecture

robert stuart-smith national

The National Art Museum of China is a

2012 proposal by Robert Stuart-Smith and Roland Snooks (kokkugia) in collaboration with Studio Pei Zhu. Utilising a cloud metaphor, the project required a “formless form” to contrast the Beijing Olympic site’s “monumental nature”.6 An algorithmic methodology was used to create a seamless connection between the interior and exterior. The cloud metaphor was carried through a variety of aspects throughout the building. The use of glazing gives the building a sense of lightness; reflecting colours and allowing a spatial connection between the built form and it’s landscape. The algorithm used generated a flowing form, with each aspect seemingly

art museum of china

connected to another. This means that there is no start to the building, nor an end. And likewise, it means that the building is void of any obvious joints. This creates interest in the design. The natural curves and forms seem to draw the user in through the pure openness of the proposal. In contrast to Tom Wilcombe’s Chinese University of Hong Kong Arena, the National Art Museum of China project explores the limits - or lack thereof - of computational design. The complexity of form in this design illustrates the need for the computational approach. This building could not be designed as a series of architectural drawings, as the form changes dependent on where the user stands in relation to the building. It requires a three-dimensional approach.

The algorithm used generated a flowing form, with each aspect seemingly connected to another. This means that there is no start to the building, nor an end. And likewise, it means that the building is void of any obvious joints. This creates interest in the design. The natural curves and forms seem to draw the user in through the pure openness of the proposal.

puter than “the designer’s mind”.8 His view is that it is computerisation that is “the dominant mode of utilising computers in architecture”.9 This view is a limited one. Although in terms of architecture as an inhabitable building, computerisation is more widely used for generating form, this outlook doesn’t account for the possibilities of this type of programming.

In Algorithmic Architecture, Kostas Terzidas wrote that in comparison to computerisation, “computation or computing, as a computer-based design tool, is generally limited”.7 He expresses this view as computation relies more heavily on the com-

In contrast to Tom Wilcombe’s Chinese University of Hong Kong Arena, this project explores the limits or lack thereof - of computational design. The complexity of form in this design illustrates the need for the computational approach. This

building could not be designed as a series of architectural drawings, as the form changes dependent on where the user stands in relation to the building. It requires a threedimensional approach. The outcome for this subject makes an attempt to prove that “Renewable Energy Can Be Beautiful”. This project demonstrates that beauty can be found in the unlikely. It’s natural, fluid form gives a sense of dynamism; as if the structure may alter if the user looks away. This truly demonstrates that computation is a methodology for achieving beauty through mathematics and algorithms.

MUSEUM10 (bottom) National Art Museum of China, Robert Stuart-Smith Design ‘CLOUD’ FORMATION11 (top, left) National Art Museum of China, Robert Stuart-Smith Design GENERATED FORM12 (top, right) National Art Museum of China, Robert Stuart-Smith Design

matsys chrysalis

III

Chrysalis III is a project by Matsys ex-

ploring cellular morphologies, particularly the “self-organisation of barnacle-like cells across an underlying substrate surface”.1 This design is an exploration of these cells finding their most balanced packed state through natural shifting across the surface until relaxing into an overall form. This project is a design for a 1.9 metre tall light source, with light expanding from the 1000 cells dispersing around a room to create a soft, natural glow. This is a design which focuses on materialisation. As this is designed to be an aesthetic focal point for a room, the materiality and structure needed to fit this pur-

pose. Matsys opted for composite paperbacked wood veneers; poplar veneer for the interior of the structure, and cherry veneer for the exterior. This use of a wood finish adds to the sense of a natural form which the design is attempting to create, as well as generating a natural orange glow from the light source on veneer. Although each individual cell is made up of straight - to some degree, jagged - edges, taken from a voronoi base geometry, the way in which these cells are connected give the visitor a sense of an overarching, natural form. Utilising Rhino, Grasshopper, and various Grasshopper plugins, simulations were run to determine this ‘balanced state’.

In this way, Matsys has utilised three-dimensional modeling software, in an attempt to accurately recreate natural processes. It is, to some degree, using one of the most advanced design technologies, in an attempt to resemble that which man has had no influence over. Kostas Terzidas sees computational architecture as the use of modelling software as a tool, unaided by the “designer’s mind”.2 Although, technically, this project fits beneath Terzidas description, without the designer, this project would not come into the physical space. Computation can, therefore, be described as design realisation after the inclusion of the computer, as a tool, for reach-

ing a final design outcome.

solely on the mind of the designer. A computer may generate form, Although Matsys was, to some de- function, movement, structure, but it gree, aware of the individual cell cannot generate finish - not without structure and the overall form, it is the designer’s input. the way in which the cells are distributed over the design that de- This aspect of materiality comes fines this project as computational. under Terzidas’ ideal of the use of It is, in this way, an exploration of “the designer’s mind”.3 Computaartificial self-organisation. tion is a very technologically reliant method of design, but the input of a Materiality is not a result of com- designer is what allows the design putation; a computer can not gen- method to progress. The designer erate a material which gives ‘bal- writes and adjusts the algorithm, ance’ to a design. Materiality is a decides the fabrication process, decision based purely on the ar- and the materiality in which it will chitect. Whether this is a decision be constructed of, and without a based on structural stability and single of one of these inputs, the fifunctionality, or purely an aesthet- nal design would not come into the ic decision, the final product rests reality spectrum.

INTERIOR4 (title) Chrysalis III, Matsys PLAN/ ELEVATIONS/ AXONOMETRIC5 (left, top) Chrysalis III, Matsys EXTERIOR6 (left, bottom) Chrysalis III, Matsys

michael hansmeyer subdivided Subdivided Columns, by Michael Hans-

meyer, is a fantastic example of the capabilities of modern technology. Utilising the column as a starting point, due to its place as an â&#x20AC;&#x153;architectural archetypeâ&#x20AC;?, Michael Hansmeyer developed it into an example of infinite complexity, through computational algorithms.7 Michael Hansmeyer has experimented with computation throughout his entire career. However, as in majority of his projects, the computer is where the design would stay. Hansmeyer used this project to bring computation out of the computer, to the physical realm. Using 1mm thick sheet and a laser cutter, Hansmeyer and his team constructed the columns at 1:1, a total of 2.7 meters tall. Despite not being able to achieve 100% of the computational detail, the team were able, through reliance on the technological, to attain an incredible level of accuracy. These columns demonstrate the

columns

possibilities of computation. It proves that computation does not have to be limited to the virtual; that, with the advancements of technology, complex geometry, and the detail involved, is possible. This project is an explicit exploration into fabrication. For a professional, such as Michael Hansmeyer, the computation design for Subdivided Columns was a very achievable feat. The fabrication of this design, however, whilst desiring to achieve the same level of complexity, was much more difficult. Using a laser cutter is the most modern, convenient and applicable technology that is also plausible. Although 3D printing is quickly on the rise, issues with scale and expense make it unsuitable for this particular circumstance; especially this early in its production. Despite this, 3D printing is an excellent example of how future technology is impacting the possibilities of future design.

Fabrication and manufacturing are the only distinct limitations on the computational approach. Computational architects are merely waiting on the fabrication technology to catch up to the modeling software. When this occurs, more and more computational projects will arise in the physical space, outside of the computer.

complishment. Effectively, with this project, the experimentation came in terms of the fabrication, not the computational approach. Contemporary architecture involves the presence of modern materials, techniques and technologies in the design process. The incredible detail and ornamentation evident in these Subdivided Columns provoke the thought that computation is the design means of the future, and as fabrication technologies catch up, architectural design will as well.

In comparison to the Matsys project, Subdivided Columns is much further outside the possibilities of current manufacturing technologies and, therefore, fabrication of the columns was a much larger ac- The level of complexity that Michael

Hansmeyer was able to achieve in Subdivided Columns is way outside the mindset of any designer. This is a great statement on computation as a practice. Whilst the human mind is nowhere near capable of this design, a computer is. However, the human mind is the exact input which allows a computer to output these complex geometries and creative designs. In this way, one is not, and cannot be without the other. The future of architecture and design as a whole resides in computers and modern technology and to disregard this, is to fall behind the contemporary movement.

HALL OF COLUMNS8 (bottom) Subdivided Columns, Michael Hansmeyer EXHIBITED COLUMN9 (top, left) Subdivided Columns, Michael Hansmeyer CONSTRUCTION DETAIL10 (top, right) Subdivided Columns, Michael Hansmeyer

conclusion Computation is a design method

which provokes vastly different opinions on its place within architecture. Whilst many computational designers are excited by how far technology has progressed, there are many who believe that the rise of computation will lead to the end of creative thought. Bryan Lawson suggests that computation is an encouragement of “fake creativity”.1 This view is based solely off of the reliance of the computational designer on the computer, as a tool. There is a common view amongst many that computation requires nothing more than knowledge of design software. To take this view is to suggest that one could paint a masterpiece after learning the basics of how to hold a brush. Computation requires a precise integration of programming knowledge with a vast design skill set in order to cre-

ate a successful computational de- is the most beneficial progression As a designer, it allows a complexsign. ity of form that cannot be achieved It is important to draw elements through traditional design methods. from precedents in the approach of This allows experimentation of ina design. Part A of this journal pres- tricate design outcomes, materialents a variety of innovative compu- ity, and innovation. It is important tational projects in which to draw to note, however, that with the progression towards a fabricated inspiration. scheme, fabrication technologies Further exploration into energy must be constantly referred to in generating materiality is crucial order to judge the possibility of certo the progression of this design, tain outcomes. as a whole. Whilst standard energy generating concepts - solar, Ultimately, this project is designed wind, hydraulic - are simple and to benefit Copenhagen and the quite effective, it is important to people within. It must be an attracalso experiment with other innovative concept which fits, aesthetically tions, such as piezoelectric mate- with its landscape, whilst promoting rials, which can generate energy interaction and renewable energy. through the interaction that the Through computational and techproject is designed to encourage. nological innovation, it will prove that “Renewable Energy Can Be A computational design approach Beautiful”.2

learning outcomes Having had no prior experience

in Grasshopper, I consider myself to have progressed vastly in such a short period of time. From merely copying definitions from tutorial videos, without much understanding of what each component does, to having created an unguided concept, with lengthy definitions and

a comprehension of why it works, I feel that I am truly getting an initial grasp of the computational method as a way of designing. Algorithmic computational design was initially new and scary to me. However, in the mere three to four weeks of learning, I can cer-

tainly see the benefits. Computation seems to open many doors - excuse the cliche - in terms of dynamic, intricate design. In retrospect, my past design experience could have benefitted greatly from current knowledge, casting away the limitations of geometric form and evolving into a new scope of architecture.

appendix

rasshopper has sparked a deeper level of thinking into form generation. The learning of this program was an introduction to an algorithmic method of design. This logical way of thinking has the ability to produce more complex, dynamic designs, in contrast to a lot of static architecture as a result of traditional design techniques. Moving into Part B will begin a deeper exploration into geometry and complex formmaking. The models displayed here highlight just a minute selection of ways that form can be achieved. These forms experiment with the introduction of patterning and materiality on a singular base surface. It shows that, although, the primary research field for Part B will be on the overall geometry, a finish must be considered throughout; be it to add an element of complexity to the design, or to allow more practical fabrication. I believe that personal experimentation and problem-solving, particularly in the third week, has allowed for a much more concrete understanding of Grasshopper than if I had merely mimicked tutorials. It has demonstrated the possibilities of this modelling software, as well as the potential for computational design in architecture. 21

REFERENCES design futuring (4 - 7)

1. Atalier Brückner, GS Caltex Pavilion (Germany: Atalier Brückner, 2014) <http://www.atelier-brueckner.com/projekte/architekturen/gscaltex-pavillon.html> [accessed 11 March 2014] 2. Ibid. 3. Design Boom, Atalier Brückner: GS Caltex Pavilion for the 2012 Korea Expo <http://www.designboom.com/readers/atelier-bruckner-gscaltex-pavilion-for-the-2012-expo-korea/> [accessed 11 March 2014] 4. Atalier Brückner, GS Caltex Pavilion (Germany: Atalier Brückner, 2014) <http://www.atelier-brueckner.com/projekte/architekturen/gscaltex-pavillon.html> [accessed 11 March 2014] 5. Ibid. 6. eVolo, GS Caltex Pavilion for the 2012 Korea Expo / Atelier Brückner < http://www.evolo.us/architecture/gs-caltex-pavilion-for-the2012-korea-expo-atelier-bruckner/> [accessed 11 March 2014] 7. Atalier Brückner, Philosophy (Germany: Atalier Brückner, 2014) <http://www.atelier-brueckner.com/atelier/philosophie.html> [accessed 11 March 2014] 8. Atalier Brückner, GS Caltex Pavilion (Germany: Atalier Brückner, 2014) <http://www.atelier-brueckner.com/projekte/architekturen/gscaltex-pavillon.html> [accessed 11 March 2014] 9. Ibid. 10. Ibid. 11. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008) pp. 1-16 12. Design Boom, 3XN: ‘Learning From Nature’ Showcase Pavilion, Louisiana (Milan: Design Boom, 2014) <http://www.designboom.com/ architecture/3xn-learning-from-nature-showcase-pavillion-louisiana/> [accessed 10 March 2014] 13. Noliac, Learning From Nature (Denmark: Noliac, 2014) <http://www.noliac.com/Learning_ from _ Nature-8152.aspx> [accessed 10 March 2014] 14. Design Boom, 3XN: ‘Learning From Nature’ Showcase Pavilion, Louisiana (Milan: Design Boom, 2014) <http://www.designboom.com/ architecture/3xn-learning-from-nature-showcase-pavillion-louisiana/> [accessed 10 March 2014]

design computation (8 - 11) 1. Tom Wiscombe Architecture, Chinese University of Hong Kong Arena (California: Tom Wiscombe Architecture, 2014) <http://www.tomwiscombe.com/project _ 005.html> [accessed 17 March 2014] 2. Yehuda E. Kalay, Architecture’s New Media: Principles, Theories and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25 3. Tom Wiscombe Architecture, Chinese University of Hong Kong Arena (California: Tom Wiscombe Architecture, 2014) <http://www.tomwiscombe.com/project _ 005.html> [accessed 17 March 2014] 4. Ibid. 22

5. Ibid. 6. Robert Stuart-Smith Design, National Art Museum of China (London: Robert Stuart-Smith Design, 2014) <http://www.robertstuart-smith. com/filter/projects> [accessed 18 March 2014] 7. Kostas Terzidas, Algorithmic Architecture (Boston, MA: Elsevier, 2006) 8. Ibid. 9. Ibid. 10. Robert Stuart-Smith Design, National Art Museum of China (London: Robert Stuart-Smith Design, 2014) <http://www.robertstuart-smith. com/filter/projects> [accessed 18 March 2014] 11. Ibid. 12. Ibid.

composition/ generation (12 - 15) 1. Matsys, Chrysalis III (Oakland, CA: Matsys, 2014) <http://matsysdesign.com/2012/04/13/chrysalis-iii/> [accessed 23 March 2014] 2. Kostas Terzidas, Algorithmic Architecture (Boston, MA: Elsevier, 2006) 3. Ibid. 4. Matsys, Chrysalis III (Oakland, CA: Matsys, 2014) <http://matsysdesign.com/2012/04/13/chrysalis-iii/> [accessed 23 March 2014] 5. Ibid. 6. Ibid. 7. Michael Hansmeyer Computational Architecture, Subdivided Columns (Zurich, Switzerland: Michael Hansmeyer Computational Architecture, 2014) <http://www.michael-hansmeyer.com/projects/columns.html> [accessed 23 March 2014] 8. Ibid. 9. Ibid. 10. Ibid.

conclusion (16) 1. Bryan Lawson, ‘“Fake” and “Real” Creativity Using Computer-Aided Design: Some Lessons From Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press, 1999), pp. 174-179 2. Land Art Generator Initiative (Pittsburgh, PA: Land Art Generator Initiative, 2014) <http://landartgenerator.org/> [accessed 28 March 2014] 23

PART B

research field

The chosen research field for this week,

and potentially the continuation of Part B, is geometry. This field was chosen due to its broad scope, particularly in relation to the possibilities of future design. Whilst geometry is a integral part of many of the other research fields - patterning, tessellation, structure, etc. - the design focus varies between the underlying form and the way in which it will be fabricated. In this way, although with tessellation, the final outcome must have a tessellated exterior, with geometry, the fabricated form could be tessellated, patterned, or be made up of a purely structural aesthetic.

Algorithmic design, as was explored in Part A, is quite limitless in its design possibilities, particularly in contrast to traditional methods. It is due to this, that geometry was chosen, in the hopes of maintaining the limitless design potential. Three designs were proposed as the starting point for geometry research, being: SG2012 Gridshell by Matsys, Green Void by LAVA, and VoltaDom by Skylar Tibbits. These designs present a fantastic example of the various ways of achieving form. Each of these designs contain an evident base geometry, however, each was achieved in a different way.

Matsys’ SG2012 Gridshell is, to some degree, as it appears. The base geometry was somewhat preconceived, with a ‘line work’ pattern applied over, giving it a kind of structural aesthetic. LAVA’s Green Void was, although not seemingly, designed in the complete reverse of Gridshell. The geometry is very apparent, and it contains no abstraction of patterning or tessellation. However, this form was achieved with a set of lines which were piped, meshed, and altered through the Kangaroo plugin for Grasshopper to achieve a minimal surface. Skylar Tibbits’ VoltaDom contrasts these designs, yet again.

Whilst, once again, an underlying geometry can be seen, the form was achieved purely through the joining of the paneled elements. This design, in particular, could be said to come under tessellation as the primary design focus, as the overall geometry was more of a secondary concern. Fabrication is an aspect which must be perpetually considered throughout the design process. Although LAVA’s design is, arguably, the most focused on the geometry of the design, it is much more complicated to fabricate due to its very complex, curved form. However, a simple

variable triangulation would simplify the fabrication process entirely, as it would allow the construction to be reduced to smaller, paneled elements or nets, which would come together to form the, more complex, whole. In this way, geometry is the most effective way of achieving true computation. Although the sectioning, strips/folding, patterning, and several other fields contain clear design intents, geometry allows experimentation within the software, not realising the outcome until it is produced through the algorithmic method.

GREEN VOID1 (bottom) Green Void, LAVA VOLTADOM2 (top, left) VoltaDom, Skylar Tibbits SG2012 GRIDSHELL3 (top, right) SG2012 Gridshell, Matsys

case study 1.0

For Case Study 1.0, an exploration

of LAVAâ&#x20AC;&#x2122;s Green Void will provide the base for experimental research.

The Grasshopper definition for this project provided three different methods of achieving the form of the design. These methods were through the lofting of the extreme base geometries, drawn in Rhino and lofted in Grasshopper, a complete Rhino loft using a series of closed curves, and finally an abstraction of line work using the Kangaroo plugin for interaction and minimalism. This final method provided the foundation for experimentation due to its increased flexibility and creative control. 28

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SPECIES FIVE HAMISH COLLINS

[

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SPECIES SIX A L E K S

S W I L O

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SPECIES SEVEN A L E K S

S W I L O

In order to judge the ‘most successful’ iterations, it is crucial to outline a selection criteria which allows an unbiased judgment of the design. The design team outlined the criteria in four primary points. These being: fabrication opportunities, potential for development, application to the brief and visual effect. Fabrication opportunities refers to the efficiency of fabricating the design. Whilst a level of complexity is desirable, it must not be overwhelming to the point that constructing the design is no longer practical. 36

Potential for development means, as it suggests, the possibility for the advancement and evolution of the design. This criteria can be simply calculated by the number of parameters and the level of effect that these parameters have on the design.

The final criteria, visual effect, is much more subjective, yet a crucial element in any design. Although it cannot be easily calculated, the design must have a sense of unity and visual appeal which will allow it to fulfil its role as a ‘beautiful’ piece.

Application to the brief refers to the relatedness between the iteration and two of the primary design requirements of the LAGI 2014 brief; its functionality as an interactive piece, and the possibility for the application of renewable energy systems.

After much deliberation, the team narrowed the list down to the three ‘most successful design iterations based purely on the selection criteria outlined. The final three designs were narrowed down as the best iterations from each designers species.

ods. In terms of fabrication, this species is definitely more difficult than the others due to the combination of large cells, supported by very thin wire-like elements. In this way, fabrication must play a vital role in decision making in Species Seven, Iteration 6 (right) order to achieve a well-rounded, efshows the design of a more repetitive, fective design. recursive project. Itâ&#x20AC;&#x2122;s varied, curved elements give a more natural aesthetic, This shows design as a multidisciplinary, acting as a focal point for its context. multifaceted field. That is to say, that it The fractal-like nature of this species is essential not to focus design purely Species Five, Iteration 6 (centre) shows show that geometry can be achieved on the aesthetic aspect, but consider a more geometric alteration on Spe- in a multitude of ways, and exploration all relevant aspects. It is in doing this cies Two. Although it is not as visually must be taken into other design meth- that successful design emerges. Species Two, Iteration 1 (left) demonstrates an experimentation with the Kangaroo plugin to achieve a minimal surface on a variable form. This species is highly developable, with a range of parameters influencing base points, pipe radius, level of relaxation, among others. As a design, it sparks interest through its complex geometric form, and, given the right scale, would encourage the users interaction.

complex, it is manipulated with the brief in mind. This is particularly evident in the large triangular panels, suitable for the application of renewable energy systems.

NONLIN/LIN PAVILION4 (right) NonLin/Lin Pavilion, Marc Fornes & TheVeryMany SPONGE CUBE - SOLAR LEAVES5 (right, bottom) Sponge Cube - Solar Leaves, Ming Tang

case study 2.0

During Case Study 2.0, an investi-

gation of Marc Fornes’ FRAC Centre (‘nonLin/Lin Pavilion’) will provide the base for analytical, developmental research.

This is an interesting design which uses very organic forms which are fabricated through perforated strip panelling to achieve the natural geometries. Mimicking nature, the project uses a “y” model to achieve multidirectionality, allowing a fractal system to be evident in the internal design makeup.

The design uses minimal surfaces to create a natural coral-like structure, forming the basis of the pavilion. The perforations of the pavilion are divided into a grid across the surface with the radius of the perforations varying via multiple control points. These perforations play with light, creating a visual experience inside the pavilion for the user to enjoy. This design acts as a standalone structure without the requirement for additional structural members. ‘Sponge Cube - Solar Leaves’ is a project entered in the 2010 LAGI competition which had a similar inspiration to that of the Marc Fornes design, and produced quite similar characteristics. The design contains complex folding which produces a ‘three dimensional maze’ which the user is ab experience as a continuous variable space. This project incorporates a dual system of photovoltaic cells and a piezoelectric generator in a single ‘leaf’ allowing the design to capture energy from both the sun and wind.

This pavilion could be looked at from many different perspectives. From an initial analysis, a metaballtype structure can be seen on the very surface. Simultaneously, the fractal â&#x20AC;&#x153;yâ&#x20AC;? system can be seen beneath. There is also the overall form to consider and the varying size of the perforations. Due to the random complexity of the design, any attempt to recreate it perfectly is futile. Therefore, in order to reverse engineer the project, one must include all of the elements which are essential in the pavilion design.

The base geometry was formed from the edges of a 3D Voronoi component which was used to generate the piped branches, this voronoi component was down to the overall form using Mesh Split. Due to the size and quantity of faces in the mesh, the computer was unable to generate all perforations without crashing, so a significantly culled list of surface points was used to express the element used.

for a series of mesh spheres generated on the surface. The radius of these spheres was determined by their distance from manually set attractor points. This process, on a more complex scale, can produce visually interesting results.

Attractor points, in general, can be used in a multitude of ways. Not only can they determine sphere radius, but perhaps the height of tessellated panels, or the width of a lofted form. They can be used to These points were the centre points adjust many objects in many ways,

and are just one way in which a de- ing limiting the range of possibilities. Although this has gone slightly sign can be impacted manually. more abstract than the voronoi Although the voronoi component is component allows, there is many overused and unoriginal, it presents components and techniques within an idea; particularly in the 3D form. the computational approach that When plugging a series of points produce these kind of unlimited, uninto this component, one does not known designs. know exactly what the result will be. This is true computation. The un- It is for this reason that in the deknown is where some of the most velopment stage of design that interesting and creative ideas come the computational approach will into play because there is noth- be further explored. A more math-

ematical approach will be taken, in an attempt to produce a species of designs which are completely beyond the realms of what can be imagined; whether than be through the human mind or a predictable result from typical Grasshopper components, such as patterning with hexagon or voronoi grids. A purposeful dissociation will be made from these components in the hopes of creating a unique design which may further be refined.

technique: development

Following on from Case Study 2.0,

it became clear that an ideal geometry would be one which is unpredictable, yet beautiful; flowing on from the unknowns of the computational approach to an outcome which may have never arisen had another approach been taken A range of species were produced, using an array of different techniques to produce form. In the development stage, it is important not to place a limit on possibilities; to remain free.

Revisiting Case Study 1.0, it seemed that the team neglected one of the outcomes which contained hidden potential. Species Three (Ben Ryding), investigated a shrink wrap effect of a ‘fabric’ on an underlying mesh. Although this species was not as successful as it may have been, Rosie pointed out just how exciting this type of design could be. This led the team to begin thinking about inflatable structures. That is to say, not a rigid design made from timber or steel, but a flexible plastic-type polymer which, when inflated, creates a dynamic form which is constantly moving.

Species Three was created in Kangaroo using a negative pressure component. Although a positive component would create an inflated form, the team wanted to avoid using Kangaroo as a means of design as it risks an overly simple ‘pillow’ design from the expansion of a basic mesh form. Rather, it was important to investigate form-generation as a separate practice, saving the use of Kangaroo’s inflation as a means to test the form, seeing how it reacts under different pressures. In this way, although the focus of our development will be on inflatable architecture, it is not so much an exploration of how inflation can create form, but how form can be

achieved through inflation. That is to say, that rather than inflating a mesh for a design outcome, the mesh will instead be folded, pleated, pulled, tucked, until the inflated form resembles that of the separately generated form to be achieved. Doing so will result in a much more appealing design, as well as placing a lot more emphasis on the designer, rather than an emphasis on external forces. Therefore, the team will continue to attempt different means of form generation, and although perpetually considered throughout the design process, achieving the final inflated form comes as a secondary step in the design.

precedents: inflatables

These two projects, Peace Pavilion and Exquiste Corpse, demonstrate how inflatable architecture can be implemented. Both of these projects utilise inflation in the same way that the team had discussed for the final outcome, with a pre-determined form influencing the inflatable, and not the other way around. This shows that inflation is not limited to a basic ‘pillow’ form, but can take on any form that the designer wishes it to. These designs, however, highlight the importance of acknowledging fabrication techniques throughout the entire design process, to produce an entirely

rounded, considered design. Each of these designs employs a different means of fabrication, particularly in terms of materiality. Whilst the Exquiste Corpse project appears to use a fairly low quality, yet high flexibility plastic sheeting - such as garbage bags or table cloths the Peace Pavilion uses Précontraint 902 S2, which is a lightweight, high strength engineered fabric typically used for much larger-scale designs. It comes in 267cm widths allowing for easy fabrication of large scale fabric designs.

bles allows for a degree of flexibility that no other design field could capture. Inflatable architecture can adapt to space, be easily erected and deconstructed, and adjust itself to the local conditions.

Although these designs - Exquiste Corpse, in particular - are not incredibly complex or innovative, they demonstrate how inflatable structures do not have to be limited to the basic. Simultaneously, it highlights fabrication techniques which can be employed in the final outcome, as well as a brief investigation into real-scale materials for use Utilising a technique such as inflata- in the design.

PEACE PAVILION6 (top) Peace Pavilion, Z端ndel & Cristea INFLATABLE STRUCTURE7 (bottom) Exquiste Corpse, AA School of Architecture

Distance: 23 Division Points: 11 Scale: 21 Max Value: 29 Rotation: 20

Distance: 60 Division Points: 19 Scale: 21 Max Value: 54 Rotation: 45

Distance: 40 Division Points: 10 Scale: 21 Max Value: 60 Rotation: 11

Distance: 20 Division Points: 8 Scale: 10 Max Value: 35 Rotation: 70

Distance: 22 Division Points: 8 Scale: 66 Max Value: 44 Rotation: 2

Distance: 69 Division Points: 36 Scale: 20 Max Value: 12 Rotation: 100

Distance: 50 Division Points: 10 Scale: 10 Max Value: 93 Rotation: 40

[

Distance: 20 Division Points: 12 Scale: 50 Max Value: 17 Rotation: 10

Distance: 25 Division Points: 25 Scale: 25 Max Value: 25 Rotation: 25

Distance: 35 Division Points: 18 Scale: 45 Max Value: 34 Rotation: 20

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SPECIES ONE B E N

R Y D I N G

Degree One: 2 Degree Two: 2 Max Value: 30 Addition: 2

Degree One: 2 Degree Two: 1 Max Value: 39 Addition: 1

Degree One: 1 Degree Two: 1 Max Value: 19 Addition: 2

Degree One: 2 Degree Two: 1 Max Value: 42 Addition: 2

Degree One: 1 Degree Two: 1 Max Value: 17 Addition: 0

[

Degree One: 1 Degree Two: 1 Max Value: 17 Addition: 1

Degree One: 1 Degree Two: 2 Max Value: 15 Addition: 2

Degree One: 0 Degree Two: 3 Max Value: 53 Addition: 1

Degree One: 1 Degree Two: 2 Max Value: 10 Addition: 2

Degree One: 2 Degree Two: 2 Max Value: 12 Addition: 1

]

SPECIES TWO B E N

R Y D I N G

Base Geometry: Box Scale Factor 1: 0.350 Scale Factor 2: 0.680 Scale Factor 3: 0.600

Base Geometry: Box Scale Factor 1: 0.350 Scale Factor 2: 0.680 Scale Factor 3: 1.000

Base Geometry: Box Scale Factor 1: 0.350 Scale Factor 2: 0.680 Scale Factor 3: 0.600

Base Geometry: Cone Scale Factor 1: 0.500 Scale Factor 2: 0.950 Scale Factor 3: 0.950

Base Geometry: Cone Scale Factor 1: 0.950 Scale Factor 2: 0.950 Scale Factor 3: 0.950

Base Geometry: Cone Scale Factor 1: 0.900 Scale Factor 2: 0.750 Scale Factor 3: 0.600

Base Geometry: Lofted Shape Scale Factor 1: 0.350 Scale Factor 2: 0.760 Scale Factor 3: 1.000

Base Geometry: Lofted Shape Scale Factor 1: 0.800 Scale Factor 2: 0.760 Scale Factor 3: 1.000

Base Geometry: Lofted Shape Scale Factor 1: 0.950 Scale Factor 2: 0.500 Scale Factor 3: 0.800

Base Geometry: Lofted Shape Scale Factor 1: 0.050 Scale Factor 2: 0.500 Scale Factor 3: 0.500

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SPECIES THREE HAMISH

COLLINS

Rotation Factor: 0.719 Scale Factor: 0.494 Pipe Thickness: 0.2 Repetition Factor: 3

Rotation Factor: 0.519 Scale Factor: 0.804 Pipe Thickness: 0.1 Repetition Factor: 4

Rotation Factor: 0.789 Scale Factor: 0.600 Pipe Thickness: 0.4 Repetition Factor: 2

Rotation Factor: 0.700 Scale Factor: 1.000 Pipe Thickness: 0.5 Repetition Factor: 4

Rotation Factor: 0.789 Scale Factor: 1.000 Pipe Thickness: 0.7 Repetition Factor: 5

Rotation Factor: 0.700 Scale Factor: 0.800 Pipe Thickness: 1.5 Repetition Factor: 3

Rotation Factor: 0.118 Scale Factor: 0.800 Pipe Thickness: 0.2 Repetition Factor: 3

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SPECIES FOUR HAMISH COLLINS

Y-Number: 43 Y-Seed: 324 Z-Number: 43 Z-Seed:396

Y-Number: 43 Y-Seed: 497 Z-Number: 43 Z-Seed:396

Y-Number: 43 Y-Seed: 497 Z-Number: 43 Z-Seed:424

Y-Number: 43 Y-Seed: 329 Z-Number: 43 Z-Seed:424

Y-Number: 80 Y-Seed: 300 Z-Number: 80 Z-Seed:424

Y-Number: 29 Y-Seed: 250 Z-Number: 29 Z-Seed:500

Y-Number: 29 Y-Seed: 500 Z-Number: 29 Z-Seed:500

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Y-Number: 29 Y-Seed: 490 Z-Number: 29 Z-Seed:490

Y-Number: 29 Y-Seed: 379 Z-Number: 29 Z-Seed:379

Y-Number: 94 Y-Seed: 200 Z-Number: 94 Z-Seed:200

]

SPECIES FIVE A L E K S

S W I L O

No. of Points: 150 Sphere Radius: 2.0 Seed: 626

No. of Points: 150 Sphere Radius: 1.0 Seed: 600

No. of Points: 150 Sphere Radius: 3.0 Seed: 702

No. of Points: 134 Sphere Radius: 1.5 Seed: 200

No. of Points: 400 Sphere Radius: 0.2 Seed: 440

No. of Points: 489 Sphere Radius: 0.2 Seed: 481

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No. of Points: 700 Sphere Radius: 0.2 Seed: 650

No. of Points: 700 Sphere Radius: 0.1 Seed: 650

No. of Points: 700 Sphere Radius: 0.3 Seed: 650

]

SPECIES SIX A L E K S

S W I L O

Each of these six species explore different means of form-generation in an attempt to cover multiple bases, allowing for a much wider design scope than if the designs were limited. Species One and Two (Ben Ryding) explore the use of a recursive cluster definition. Species One uses an input curve, analyses its curvature at set points, and offsets these points from the original curve based on this degree of curvature, a rotation element and secondary offset allow a lateral adjustment in each offset curve. These curves are then lofted to produce the final form. Species Two incorporates a similar cluster definition, with final lofted curves, however 52

of exploring form. Species Three looks into a randomised form generation using a base geometry in which branches and perforations are applied. Some of these outcomes may be compared to the Sponge Cube Project explored earlier. Scaling different aspects of this definition produce quite different outcomes, allowing a true exploration of the computational approach. Species Four is a look at fractal patterns and branching. It takes a set of curves, scales, rotates and reapplies to the base curve a repeating number of times to create a tree-like form. Although possibly not as applicable as Species Three, it is a Species Three and Four (Hamish Col- very interesting outcome and aspects lins) demonstrate two different methods of it could be explored further. the cluster is completely rewritten. This species takes a set of points as the input, analyses for distance from the closest point, and curvature of an arbitrary curve drawn between them. This produces a secondary curve which, in turn, produces a set of points for the next cluster, with an additional number of points added with each additional cluster. This technique for form generation expresses true computation, as it is a highly mathematical approach to design which produces an outcome which could not have been predicted from the input curve or points.

Species Five and Six (Aleks Swilo) explore form generation and patterning which could be applied. Species Five explores a quite random form generation with randomly generated points and an adjustable seed. This Species is quite interesting as it could be applied to a base form as well as acting as its own self-restrained structure. Species Six is not so much an exploration of form, but one of perforations. Although not coherently relevant as a form generation exercise, perforations and patterning can be used on any base surface or mesh which we decide to continue with, adding an extra level of complexity and interest to the design.

Using the selection criteria outlined for Case Study 1.0 - being, fabrication opportunities, potential for development, application to the brief and visual effect. - the most successful outcome was deemed to be Species One, Iteration Seven. The entirety of Species One demonstrated the potential for development of the design, highlighting that minor parameter changes can have large effects on the overall form. Similarly, as a closed mesh, it is able to be inflated, fulfilling our own requirements within our research field. Although visual effect is subjective, it was generally agreed by the team that this design had the most impact due to its apparent complexity

within an overall simplistic form. The one difficulty with this design will be fabrication. Whilst at a larger scale it may be possible to create and weld the tens of thousands of panels in the base mesh, at the scale weâ&#x20AC;&#x2122;re working at, this just isnâ&#x20AC;&#x2122;t practical. As we intend to apply a form of energy generation on the mesh faces, they will need to be at a larger scale to make the generation of energy practical. It is due to this that the team decided to reduce the mesh to 500 triangulated panels which could be fabricated individually and welded together to create the overall form of the design. 53

technique: prototypes

Utilising the idea of triangulated panels, a prototype was created from cut and welded panels of white plastic tablecloth. Experimentation was taken into other materials for the prototype, however, the tablecloth proved to be the most effective material as it was lightweight, strong/durable,whilst being the most effective material to weld.

would impact the design in different ways dependant on the positioning of the fan in relation to the overall design.

We were able to adjust the level of airflow into the prototype between 3V and 12V with multiple voltages in between. We liked the effect of varied airflow during changeover, but still noted how dynamic the deThis prototype was not so much sign appeared during steady an exploration of how to cre- airflow. ate our precise form through fabric, but rather an explo- The team wanted to create an ration of how form can be interactive design, encouragachieved through the cutting ing users to come to the design, and welding of different pan- experience it, and influence it. els in a multitude of ways. Us- Through this interaction, the ing a soldering iron proved to design could be used as an be the best way to weld the educational tool, showing usplastic as it simultaneously cut ers the effects of renewable the tabs off the panels, whilst energy and how everyone has melting the edges of the plas- the potential to generate it. tic together to create a strong, seamless joint. One issue that was pointed out in the Interim Presentation Using a smaller-scale fan, we was that this prototype, when were able to inflate the fabric inflated, expands to its limits, to test the transition between contradicting our design which 2D panels to 3D form. The folds in, curves and flows in a fabric was clamped to the fan more complex manner. Thereby MDF and rubber clamps fore, if we are to continue with allowing a consistent, closed a design such as this, alteramesh, whilst allowing the air- tions must be made so that the flow to impact the inflation of model - and ultimately the realthe fabric. At a real-scale, a scale design - flows in the same similar approach would be tak- way. This could be achieved en, except it would most likely through pinning aspects to reuse multiple fans oriented at strict expansion, stiffening/thickdifferent intervals around the ening parts of the membrane, base of the design, allowing or creating a tighter brace, pullmultiple inputs for airflow which ing the design in. 55

KØBENHAVN INFLATABLE PAVILION 56

Given such a large site, the design proposal must be large enough - in one direction, at least - to compensate. With minor adjustments to the desired form from the development stage, our design has molded into an inflatable pavilion spanning almost 30m (L) x 10m (W) x 10m (H). Although this is not large when

compared to the site, due to the flat to experience the wonders that reterrain, it will be noticeable by any- newable energy can offer. body who comes in contact with it. This design works in all regards and This design is vastly different when merely brings the conflict of fabriviewed from different angles giv- cation to be resolved. The design ing it visual interest and intrigue. It may still be refined, but it provides naturally draws the user in through an effective base point for the final pure curiosity and it allows the user outcome.

Fig. 1

NORTHERN WIND DIRECTION

332.

154 .63

SITE ACCESS/PATH

technique: proposal Fig. 2

Fig. 3

WATER TAXI TERMINAL

N COPENHAGEN HARBOUR

Upon discussion, the team decided on a dual energy generation system, incorporating piezoelectric panels and OPVC (organic photovoltaic cell) panels. The piezoelectric panels will be placed strategically at the base of the pavilion, generating energy from the users who walk on them. These will be coupled with triggers which, upon touch from the user, will send a short burst of air from the fan closest to where the trigger initiated. This burst will send a rippling effect across the surface of the membrane (Fig. 2), gradually weakening in strength as it moves away from the source. Although this will use a portion of the energy that the pavilion generates, the benefits of educating the public of the power of renewable energy far outweighs the cost of the energy used. Although piezoelectric panels only generate a small amount of energy, this is offset by the OPVC panels. These solar panels are flexible plastic panels which are able to generate energy, even in low-light conditions. Through this dual energy generating system, more energy will be generated than the pavilion will require and, therefore, it will feed the excess energy back into the Copenhagen grid. In this way, visitors will learn the impacts of renewable energy, whilst also generating the energy to be utilised throughout Copenhagen.

As can be seen in Fig. 1, we are dealing with a vast site. Therefore, location must be well considered in order to achieve the most effective outcome. Taking into account wind direction, modes of transport, site access and surrounding areas, the south-west corner seemed to be the best placement. This is due to the location of the water terminal, keeping the design away from the industrial setting and bringing the Fig. 3 demonstrates how airflow design close to the water and wind through the pavilion would function, paths. following the channels and adhering to the contours of the design. Fig 4. is a diagram which highlights Admittedly this is a diagrammatic the primary proposal for how the model merely meant for demon- pavilion will function. It is ultimately strational purposes, but it shows a user-controlled generation systhe directionality of the rippling that tem, with the touch of the user power the fans, rippling across the the design intends to achieve. From a technical perspective, in an attempt to minimise energy wasted, the input fans will be installed with shutoff valves. Whilst the fans are letting a short burst of air into the pavilion, these valves will open, letting the air enter. However, when the fans are not in use, these closed valves will create an airtight seal, thus requiring no energy to remain inflated.

surface, with excess energy generated connecting back into the Copenhagen grid. The means of energy generation are, ultimately, chosen with the design in mind. Using flexible curved OPVC panels will allow the functionality of the inflatable to remain, whilst generating energy. This is an educational pavilion. Not in the sense that the user will learn the specifics of the system, but as the user can see and feel for themselves how big an impact the renewable energy can have. They will form their own ideas; their own opinions, but the pavilion starts a conversation. One which will encourage the renewable.

C Fig. 4 59

learning outcomes proved insightful as it demonstrated just how many different ways there are about achieving the same form, let alone an attempt to produce a multitude of different forms. Although this can be considered a simple form-finding exercise, it allowed design realisation. Whilst geometry is such a broad scope, gradual form-making allows an insight into the types of forms which can be discovered, and utilising grasshopper to adjust parameters and produce iterations allows the designer to smoothly narrow in on the desired outcome, rather than make an attempt to manually alter task forms.

Using functions and processes over physical form-making does have its benefits in that outcomes may be produced that could have never been considered prior. However, that being said, before an outcome can be deemed as â&#x20AC;&#x2DC;successfulâ&#x20AC;&#x2122; it must undergo a much harsher selection criteria to ensure that problems do not arise further down the track. The modelling must be tested, both physically through prototyping, and virtually through plugins such as Kangaroo to accurately deem whether they will serve their purpose effectively. The

reverse

engineering

The Interim Presentation made it clear that we still have a lot to consider in terms of better integration of design and energy generation as well as the requirement for additional prototyping to ensure the effectiveness of a folded, contoured design. However, it allowed a better understanding of our design and how it will be achieved. Ultimately, the team believes that despite the complications and additional work that this kind of design will require, utilising algorithmic techniques, it is more than possible. Inflation has not had that much external attention, and we believe that opens up so many more possibilities.

digital skill set, has allowed a degree understanding of the restrictions and It is only by interrogating the brief in of crossover and understanding of the capabilities of that aspect of design. detail that the designer may realise computational modelling in the physithe potential for a design. Through the cal space. Objective Seven brief, a set of criteria may be set which Though developing a thorough underdrive the processes of the design. The Objective Four standing of all aspects of computation use of algorithmic programming can Similar to above, the building of pro- would take years, if not more, to gain, assist in this processing by utilising these totypes helps to bridge the gap be- through personal research and selfcriteria as parameters for the design. tween the computational model to the learning, you may gain a thorough unphysical, allowing design realisation. derstanding in your area of research quite quickly. This specialisation is quite Objective Two important in a task such as this. For Parametric modelling is an extremely Objective Five effective tool for achieving multiple Developing a design proposal requires without it, a design may never be fully outcomes with ease. The use of adjust- much greater critical thinking of the de- realised.

Objective One

able parameters means that a single design species may create a multitude of different designs that would not be possible without computation.

Objective Three Through the design tasks of reverse engineering and iteration production, three-dimensional media skills have greatly increased. Physical fabrication and fabrication technologies, although not specifically relevant to the

sign, particularly as you are required to make a case as to why the design will work. The interim presentation made it clear that unless every minor aspect is considered, a convincing case cannot be made.

Objective Six The analysis of built and conceptual projects is a crucial means of developing a design. By exploring these projects, one is able to form a better

Objective Eight A specialised skill set provides a certain repertoire of computational techniques. This repertoire allows such tasks as the reverse engineering to be made possible, as it is possible to gain understanding of each individual component, and the abilities and constraints that each one possesses and, therefore, how they may be combined in design.

appendix

lot of the form making from this outcome came from recursive and fractal definitions. These definitions are very effective as they can lead to outcomes that the designer can not imagine; creating an original design through mathematical processes rather than explicit design decisions. Design decisions must perpetually come into play to ensure that the outcome relates effectively to the brief and the designerâ&#x20AC;&#x2122;s own selection criteria, but for initial form-finding, these mathematical processes form an extremely effective starting point which the designer can refine and spark ideas from. These types of definitions will still come into play through the refinement of the design, however, in order to reach a refined design, greater restrictions must be placed on the design process, leading to a successful outcome. 63

PRECEDENTS P

1. LAVA, Green Void (Australia: LAVA, 2008) <http://www.l-a-v-a.net/projects/green-void/> [accessed 8 April 2014] 2. Skylar Tibbits, VoltaDom [US: Skylar Tibbits, 2011] < http://www.sjet.us/MIT _ VOLTADOM.html [accessed 8 April 2014] 3. Matsys, Gridshell [Louisiana: Matsys, 2013] <http://matsysdesign.com/tag/gridshell/> [accessed 8 April 2014] 4. Marc Fornes & TheVeryMany, NonLin/Lin Pavilion (France: Marc Fornes & TheVeryMany, 2011) <http://theverymany.com/constructs/10-frac-centre/> [accessed 17 April 2014] 5. Ming Tang, Sponge Cube - Solar Leaves [USA: Ming Tang, 2010] < http://landartgenerator.org/ LAGI2010/920017/> [accessed 17 April 2014] 6. Z端ndel & Cristea, Peace Pavilion [London: Z端ndel & Cristea, 2013] < http://en.sergeferrari.com/ lightweight-architecture/peace-pavilion-an-inflatable-structure-clad-in-precontraint-902-s2/> [accessed 128 April 2014] 7. Exquiste Corpse, AA School of Architecture (UK: AA School of Architecture, 2011) <http://projectsreview2011.aaschool.ac.uk/students/Exquiste _ Corpse> [accessed 28 April 2014]

PART C

design concept

Reflecting upon the interim design proposal, some issues became apparent. This was primarily in regards to incorporation of the energy generating system used. It can be argued that solar panels on the surface, and piezoelectric panels underfoot can be considered â&#x20AC;&#x2DC;tacked onâ&#x20AC;&#x2122; and separate to the design as a whole and, therefore, a new, more integrated system must be considered.

Similarly, the interim submission made it clear that as a design dedicated to generating renewable energy, the energy ‘spent’ through the operation of the pavilion should be minimised. This involves a complete reconsideration of the necessity for fans in the design. Different approaches must be considered which may redefine what the team considered to be ‘inflatable’. A comparison between the proposal and prototype showed a major inconsistency, as the prototype did not account for the folded nature of the prototype. When inflated, this form will not adhere to the contours that the proposal suggests, but instead expand to its largest possible volume; most closely resembling a

sphere as the panelling would allow. form. Therefore, this issue of form generation, in practice, must also be re- It was, therefore, decided to harness the natural wind, rather than solved. using bursts of artificial air. StrategiThe team found a solution which re- cally capturing this wind will allow a solves both issues. means of inflation, as well as providing an incorporating energy generAn underlying structure which ad- ating system; wind turbines. heres to these curves of folding would provide a support, allow- Wind turbines are a fantastic mething for a structure to which a sin- od of capturing energy as they gular membrane could be pinned, have the potential to harness large supporting it without the need for amounts of energy, in a site where inflation whilst, simultaneously, pro- wind is a regular, powerful occurducing the desired form. This pinning rence. This gives the design the could allow the membrane to ‘in- opportunity to demonstrate to the flate’ between structural members, user just how powerful nature can switching between inverse forms of be, highlighting the opportunities to inflated and deflated panels; creat- capture these occurrences as coning a constantly altering, dynamic stant, renewable energy.

PART B PROPOSAL Render, Ben Ryding

copenhagen site

analysis

COPENHAGEN Site Plan, Aleks Swilo

from the west to south-west, is the city. As the social hub of Copenhagen, the design must attempt to attract this group of people. To do this, the design must be visible from The site, a large field of uninter- the other side of the water, requirrupted grass, lies at the edge of an ing a tall design, and must spark industrial district. That being said, interest, requiring dynamism. a lot of foot traffic near the site is not to be expected by the general With the decision to harness wind public. Therefore, the greater con- energy, the direction of the wind text of the site must be taken into must also be considered. In Copenconsideration. Across the water, hagen, the strongest winds come The primary aspects of the site to be acknowledged are the sites context within Copenhagen, and the direction of wind.

from the west and as such, the orientation, placement, and scale must be designed around this directionality. Wind turbines, to maximise efficiency, must be condsiderably tall. This works in with the requirement for high visibility from across the water, creating a well-rounded, integrated design and reassuring the decision for the use of wind turbines in the design.

sheerwind: invelox

The INVELOX Wind Delivery System by SheerWind was chosen by the team as the most effective means of generating wind energy on the Copenhagen site. The use of the venturi effect within the system acts to constrict the passage of wind, producing a build-up, and reactive pressure. The intake of the system captures wind speeds as low as 3.2 km/h, and converts a 16km/h wind to 64km/h 1. These concentrated winds can then be run through a wind turbine, making a system which was tested over an 8 day period to be 314% more ef-

ficient than traditional wind turbine be positioned to compound, further heightening the wind pressure. generators2. These intakes may be used as a Although designed to maximise ef- sculptural element, providing visual ficiency, these systems contain a focus. This will allow the energy certain degree of creative freedom. generation to be an incorporated, The primary intake merely needs to considered element of the design, adopt a funnel-like form, beyond rather than something â&#x20AC;&#x2DC;tacked onâ&#x20AC;&#x2122;. that, it may be manipulated and designed parametrically to adhere This system is a lot more visually apto the overall design. Likewise, the pealing than traditional wind turtype of turbine and its exact posi- bines. Firstly, this design will hide the tioning can be altered (to a degree) blades of the turbines, leaving only in order to maximise wind passage the sculptural element. Whilst also to the inflatable membrane. reducing the height of the design by more than 50%; only requiring As shown, these intakes may also 12-15m3.

COMPOUND INTAKES4 (top, left) INVELOX System, SheerWind ALTERNATE INTAKE5 (top, right) INVELOX System, SheerWind INVELOX SYSTEM6 (bottom) INVELOX System, SheerWind

vertical wind turbines

DARRIEUS TURBINE8 (left) Darrieus VAWT, ArchiExpo WIND ROSE9 (right, top) Copenhagen Wind Rose, Iowa Environmental Mesonet SAVONIUS TURBINE10 (right, bottom) Savonius VAWT, Solar Constructions

To compliment the INVELOX System, the wind turbines must be considered. The issue with horizontal turbines is that they must block the wind passage in order to work effectively. Therefore, the use of vertical wind turbines must be considered. Vertical Axis Wind Turbines (VAWT), could be oriented along the edge of the pipe, allowing maximum rotation of the turbine - as only one side of the axis is acted upon whilst leaving half of the pipe free for the passage of wind to the membrane. The two primary types of VAWTs are the Savonius and Darrieus turbines. One of the disadvantages of VAWTs like these is that the axis is oriented closer to the ground and, hence, the wind speeds are not as high. However, using the funnel-like INVELOX System, combined with the Venturi effect, efficiency of the system as a whole is maximised. In Copenhagen, the wind speeds vary between 3.2km/h to over 32km/h, with the average around 17km/h 7 . Based on this, the concen-

trated wind speed within the system will be roughly 68km/h. Considered as a fluid design, each of the sculptural intakes may vary independent of each other; oriented to maximise the wind intake. To the same degree, the variable winds and positioning of the intakes could vary which parts of the inflatable membrane are affected. As an entire system, this new approach to inflatable design is able to educate, whilst minimising energy spent. Although no longer â&#x20AC;&#x2DC;interactiveâ&#x20AC;&#x2122; in such an obvious sense, it creates a spatial experience which encourages the user to move, investigate; learn. Ultimately, the design still provides an educational element, but in a different way. This project will aim to demonstrate the shear power of natural forces, like wind. It will encourage independent thought; that if these powerful forces exist and will continue to act, society should harness them as renewable energy , rather than spending precious resources that will never be regained. 75

concept processes

Using these vertical wind turbines, in combination with the INVELOX system will provide an efficient energy generating system, whilst allowing for utilisation of the, otherwise, wasted airflow. As an entire system, the INVELOX will take a 360 degree airflow, which funnels through a reduced pipe, initiating the Venturi effect. The Venturi effect (right, top), acts by forcing the air through a restricted section of pipe, causing a jet effect to occur. This process does not act to produce additional air, but simply pressurises it. This, therefore, forces

the air to travel at a much higher will act on both sides of the turbine, velocity than the existing speed of thereby providing self-resistance. Offsetting the turbine minimises the environmental airflow. resistance by only allowing airflow This process would lead directly to on a single side of the turbine. the vertical wind turbine, as discussed above. The concept of the Whilst the existing INVELOX system teams proposal would offset the filters the excess airflow directly turbine to the edge of the pipe back into the environment, the (right, middle). This would work to a teams system will utilise this air in dual effect. This offset would work the design. by maximising the speed of airflow in the pipe after the turbine whilst, The Part B proposal utilised artificial simultaneously, maximising the ef- wind generators - fans - to inflate a ficiency of the turbine. Whilst a double plastic membrane, creating turbine can only spin in a singular an enclosed inflatable. Whilst this direction, a unidirectional airflow adheres to the self-set criteria of an

VENTURI EFFECT (right, top) Diagram, Ben Ryding PIPE/ TURBINE SECTION (right, middle) Diagram, Ben Ryding PERFORATIONS (right, bottom) Diagram, Ben Ryding

inflatable design, it does not many pipes - some structural, fully take into account the pa- some designed for airflow, rameters of the design brief. and some as framing members. All of these members will The new proposal suggests a affect the membrane in some ‘skin and bone’ design, with way, whether to inflate it, or the excess airflow used to cre- provide ‘ribs’ for the memate movement in the membranes rest position. brane. Using the INVELOX system as the basis for the Upon deep consideration, proposal, the airflow would the best material for these be transferred through the pipes is galvanised steel. This existing pipes - the metaphori- material can be bended and cal ‘bones’ of the design. The moulded, resist rust and deairflow will escape the pipes cay from close proximity to through varying perforations the water, as well as remain (left, bottom). These perfora- structural in both compression tions will occur at the points and tension - even when holof maximum curvature along lowed for wind passage. the pipes, to allow maximum air escaped. This will occur as These steel pipes could be it minimises the angle of the welded together to provide perforations in relation to the a strong, seamless connection. pipes airflow. As this orienta- The structure could, therefore tion will allow for maximum be constructed by welders airflow, it will, therefore, pro- alone, without the requirevide maximum movement in ment for additional tradesthe membrane; maximum ef- men. This will reduce construcfect. tion costs as a much smaller team of builders may be emWhilst the airflow can’t be ployed for construction. expected to pass through all pipes, it would make most Overall, this will be an effecsense to pass the airflow tive system, one which emthrough the most extreme ploys a small set of repeating highs and lows - the lines of elements, to produce a much greatest curvature of the form more complex whole. It proas a whole. This process will vides a natural, efficient, and cause an overall system of relatively cheap construction. 77

steve tobin: steelroots

Steelroots, an artwork by Steve Tobin, demonstrates the potentials of steel in constructed art. These pieces show how steel may be bent and moulded to produce an overarching form. Tobin was able to use an artificial material - steel - to create a very natural aesthetic. These pieces display a use of steel much in the same way as the teamâ&#x20AC;&#x2122;s proposal suggests: natural, curved, steel, defining form through specific curvature. Through welded joints, the overall structure could be divided into much smaller members. Each of these smaller members may be

lowing not only flexibility of form, but aesthetic flexibility also. Due to seasonal snow in Copenhagen, a dark colour would be the best option as it would allow contrast against its This artwork shows that steel will environment in all seasons. be the most effective material for this proposal, and will allow form to As the most important element of be achieved. Some of the members this design is the passage of air, which reach the ground could be particularly as an educational asangled to INVELOXâ&#x20AC;&#x2122;s to allow the pect, it is important to ensure its most direct passage of air to the visibility, regardless of weather. Sistructure and, therefore, the mem- multaneously, as it will be the most complex element, and the focus of brane. the design process, it will allow the Another benefit of steel is that it greatest highlight of the structure as may be painted to any colour, al- an artwork. constructed in a factory, maximising accuracy and minimising work to be undertaken on site, thereby reducing the cost of labour.

STEELROOTS11 (top) Steelroots, Steve Tobin STEELROOTS IN SNOW12 (bottom, left) Steelroots, Steve Tobin WHITE SCULPTURE13 (bottom, right) Steelroots, Steve Tobin

design realisation

CURVATURE 1 (top) Analysis, Ben Ryding CURVATURE 2 (bottom) Analysis, Ben Ryding

As has been discussed, the way that the membranes form must be achieved is to generate pipes along the primary lines of curvature. To this degree, a definition was written to analyse a form for these curvature lines. Utilising the same definition and parameters of form from the Part B proposal, several new, open surfaces were generated. These forms were analysed for the maximum lines of curvature in such a way as the designer could be selective as

to how many lines were generated. In this way, the designer may chose a smaller number - only the primary lines of curvature - as the larger, structural or air passage members, and then select a larger number to utilise for the smaller, framing members. This process would produce a series of pipes which would conform to the initial surface which was generated. A singular membrane will be draped over these pipes, pinned to the larger members, and would, in

turn, generate a form which quite closely resembles the initial surface. Using this method is, essentially, a more interesting way to generate geometry. It is a natural form generation, utilising a base structure that the membrane will adhere to. The aim of this is, as mentioned, to create a â&#x20AC;&#x2DC;skin and boneâ&#x20AC;&#x2122; structure, a dynamic design which is constantly breathing in motion with the wind. High winds will generate high breathing and, likewise, small winds will generate a breathless design.

design actualisation

invelox’s Flowing on from these lines of maximum curvature, pipes were generated, conforming to the initial surface. Using the INVELOX’s as the starting point for the design, three types of pipes were generated.

INVELOX’s as well as to each other. Holes will be cut, in factory, to allow continuous passage of air through all airflow members, without interruption. The diameter of these members is determined by the size of he wind turbine be placed inside. The airflow members are the first This, being 1.4 metres wide. Simultamembers to be constructed. These neously, in factory, the perforations members are to be welded to the will be made. All perforations are to 82

airflow members be made at the points of maximum curvature, fluctuating as the curve decreases. The structural members are the next to be constructed. These members will also be 1.4 metres in diameter to combine seamlessly with the airflow members. These members will connect to the ground to provide

STRUCTURE CONSTRUCTION (below) Design, Ben Ryding

structural members stability in the centre of the structure, as well as its extremes. These members, as well as the airflow members, will provide the points for pinning of the membrane and, hence, defining the form. These structural members, when connected to the airflow members will be connected with a butt joint to ensure that the airflow remains uninterrupted.

The final members to be added are the framing members. These members are to be half the size of the structural and airflow members 0.7 metres. Whilst these members provide no immediate purpose to the airflow, they would provide a degree of lateral support. However, the main purpose of these members is an aesthetic one. These

framing members members ad a degree of further complexity to the form, adding definition. The sole purpose of these is on the internal space. The sagging of the membrane in its resting state will result in a kind of grid, with a seeming inflation towards the internal space. In this design, the internal is just as important as the external; it is where the user will learn. 83

repeated detail

PERFORATIONS Detail, Ben Ryding

In this design, the pipes are the primary constructed element. The design is made up of 22 disrupted pipes with 131 intersections, leading to 262 welded joints in construction. Four of these pipes, the airflow pipes, remain uninterrupted and have 32 perforations amongst them.

In terms of the functionality of the design, this detail must be analysed. A smaller scale model must be constructed to test the capabilities of airflow through these pipes. In particular, the focus should be on the transition of the airflow through smaller perforations and its effect on a plastic membrane.

These pipes, these connections, and these perforations, are therefore repeated across the entirety of the design.

From a theoretical perspective, depending on the strength of airflow, the plastic should not inflate to its full potential, but merely a

partial inflation which â&#x20AC;&#x2DC;fluttersâ&#x20AC;&#x2122; to a degree. It should appear to breath, fluctuating it its degree of inflation. If this occurs, it will reflect the intended purpose of the design. This core construction element is effective as it provides a structural purpose, as well as aesthetic and functional. This minimises irrelevant members, additional labour and, therefore, minimises the overall cost of the design.

detail: prototype

Prototyping this detail proved to be more of an experimentation, than demonstration. It’s success was not ensured and it was, therefore, constructed with the intention of testing the structures feasibility. However, this is what a prototype is; a testing element. It differs from a final model as it is built to reflect effectiveness at a larger scale. Without an educational intent, a prototype is meaningless. This prototype used PVC pipe as, at a prototype scale, contains similar properties to the steel pipes to be used in the design.

test various ways of joining members and, secondly, to test the effectiveness of airflow, through perforations, on a plastic membrane. With the shift in focus in Part C, neither of these factors had been analysed and, therefore, to produce a convincing proposal, they must be.

The two joints analysed included a ‘welded’ butt joint, using PVC cement with curved end to a the base pipes, as well as the incorporation of a separate ‘joint member’ which members can slot into. Of these two joints, although the joining member As outlined earlier, this prototype is better able to aid to the ease of had two primary intents. Firstly, to fabrication, it takes away much of

the aesthetic of a seamless joint. As such, for purely aesthetic reasons, a welded joint will be used as it most closely adheres to the overall design intent. As for the affect of the airflow on the membrane, perforations proved to be a very effect means of inflation, with membrane movement instantly evident. However, to maximise efficiency, perforations should be eliminated from straight sections and sections with minimal curvature as it does not allow airflow to be transferred at its full potential but, rather, bypassing the hole to follow along the primary pipe.

PROTOTYPE Model, Ben Ryding Photographed by: Hamish Collins & Aleks Swilo

sefar: tenara

TENARA Fabric, by SEFAR Architec- tenance is near eliminated. ture, is the chosen membrane material for the team’s proposal. As opposed to some of SEFAR’s other fabrics, TENARA Fabric is able to TENARA Fabric is made up of a be folded and flexed without combase fabric of woven high strength promising its aesthetic or structural expanded PTFE fibers and coated integrity with additional coatings to render it completely airtight and water- Despite their head office in the Unitproof14. The primary advantage of ed States, SEFAR Architecture has this fabric is its durability. It’s highly manufacturing centres in 25 counresistant to ‘damaging UV rays, acid tries, including Germany15. Due to rain, salt water and other environ- its relatively close proximity to Denmental challenges’ and it holds a mark, fabrication of the membrane 15 year warranty - and a 25+ year in Germany will allow reduced costs expected lifespan - meaning that on transportation, as opposed to the cost of replacement and main- American fabrication.

The two projects shown here Scherenburg and Tea Hose - both of which are from Germany, demonstrate the capabilities of TENARA Fabric in an architectural setting. They demonstrate the two architectural requirements that are needed from the membrane: the ability to be pinned and draped over an area, and the ability to be inflated. On top of its aesthetic qualities, these factors make this material the best choice for the proposal at a real scale, both from a functional perspective, and due to its reduced cost for the client.

SCHERENBURG 16 (top) TENARA Fabric, SEFAR Architecture TEA HOUSE 17 (bottom) TENARA Fabric, SEFAR Architecture

section: inflation

SECTION ONE:

RESTING

These sections assist to show purpose for the various members of the structure in regards to their effect on the membrane. Whilst the structure, itself, is unmoving, the

membrane is a dynamic aspect ing, enclosed, internal space. When which is forever changing. inflated, however, the focus shifts to the external, drawing the user in In resting position, the membrane with each â&#x20AC;&#x2DC;breathâ&#x20AC;&#x2122; that the creature will sag, producing a more interest- takes.

SECTION TWO:

INFLATED INFLATION(above) Sections, Ben Ryding

These sections simultaneously display how the membrane will inflate between the pinned members. The membrane would almost never inflate to its full potential, but it does

not intend to; that is not its purpose. The membrane is designed to move in the wind; fluctuate, as the chest of a breathing beast would. Provided it remains a dynamic design, it is

fulfilling its intended purpose. Whilst inside, the user should feel as if they are simultaneously inside and outside, finding the line between the natural and artificial.

west & north elevations

ELEVATION ONE:

WEST

The west elevation is, arguably, the most important elevation of the design. As this elevation is oriented towards the city, it is designed to spark interest; compel city-goers to

come to the site, and experience the design in person. This is also the primary wind direction and, as such, all INVELOX systems are oriented to receive uninterrupted wind, by

each other, or otherwise. This maximises the airflow, hence maximising both the energy output and overall inflation of the design, leading to a more dynamic whole.

ELEVATION TWO:

NORTH WEST & NORTH ELEVATIONS(above) Elevations, Ben Ryding

As a design decision, the colour matte black was chosen for the pipes, to contrast a translucent white membrane. This decision was made to create ensure that the design is

visible and eye-catching, regardless of weather. On a snowy day, attention is drawn to the pipes; the bones and the airflow, whereas on a sunny day, the membrane is

prominent; a dynamic, moveable skin which simultaneously sparks the attention of the user, and educates them as the power that this energy can possess.

site circulation

PATHS Diagram, Aleks Swilo

Although already a large design, it is situated on a much larger site. As such, the remainder of this area must be organised and dealt with. Trees and other plant life were considered for the site, but decided to be ineffective, both in conveying purpose, and delivering it. As the design intends to draw attention and spark interest, any other vertical elements, be them natural or otherwise, would take away from this intent. Likewise, the issue with additional vertical aspects of the site is that they have

tors around the site, with the thinner pipes leading to and from the site, and the thicker pipes directing the user to experience the design. These paths create order Given a large field, a blank can- from potential chaos, intending to vas, there is no sense of order or lead the visitor where they need intended circulation. To this end, to go. paths were deemed the most efficient means of direction and cir- The chosen material for these paths is gravel. This material was culation. chosen as it is much more benefiThe paths generated are a ma- cial to the environment, particunipulated mimicry of the pipes in larly in terms of embodied energy the design. These reflections were in relation to other path materials, strategically altered to direct visi- such as concrete. the potential to block airflow, subtracting from the potential energy generated as well as the potential for inflation.

final model

Given such a complex form of intricate, interlocking pipes, model-making by hand is quite a difficult and, somewhat, arbitrary task to undertake. Due to this, alternate methods of fabrication had to be considered. Ultimately, this decision was not a difficult one to make. With a computer-generated - computational - design and, therefore, an existing three-dimensional model, 3D printing was the most convenient option. In a technological age, it makes sense to make use of updated technology. 3D printing, however, does have its limitations. As with traditional printers, scale is limited by the size of printer. The printing company which the team printed with, 3DPE, had a size limitation of a 140mm cube. As the design, at real scale, is 70m (L) x 60m (W) x 12.5m (H), this print scale

3D PRINT Design: Ben Ryding Print: 3D Print Express

Photographed by: Hamish Collins & Aleks Swilo

comes at 1:500.

building practices, limitation of cost is a subjective parameter, limited A similar size limitation is a imitation by the client and, in this case, the of print material. 3DPE advises a designer. bare minimum member size of 1mm, any less and the print may fail. The Parameters, such as these, must be smaller members of this design, at perpetually considered throughout 1:500, are just on this limitation and, all aspects of the design process, as such, the success of the print was whether it is a reflection of the designs intent, site conditions, or not a guarantee. fabrication limitations such as these. Although not necessarily a limita- Through the consideration of pation, but a contributing factor, is rameters, a design may arise which cost. Currently 3D printing is an is, simultaneously an architectural extremely expensive practice, with representation of intent, and an ina print this size costing anywhere tegrated design, fit specifically to between $100 and $250. Like all context.

With the advancement of, both, architectural practices and technology, architects must adapt, or be forced to fall behind. Computational design is a method of adaptation, accepting the design capabilities that computers can offer and manipulating them to the benefit of the designer. This model works as a representation; a demonstration of scale and context. 3D printing allows the user to take the modelled design into the physical realm. It is a physical realisation of the designs appearance and function.

SITE MODEL Model, Hamish Collins

Photographed by: Hamish Collins & Aleks Swilo

visual effects

dusk

An aspect which must be acknowledged is that the site conditions are just as dynamic as the design. This has been considered through seasonal weather fluctuations, but

sunrise

daily visual and lighting effects are sign, the changing light conditions just as important to the designs ef- throughout the day draw attention fectiveness. to different aspects of the proposal. Particularly in times of low light, only With a contoured, layered de- partial elements are evident, mini-

noon

sunset LIGHTING CONDITIONS

Photographed by: Hamish Collins & Aleks Swilo

mising the visible structure.

noon, the sunlight which hits the structure results in reflected shadTo the same degree, during times ows along the ground, resulting of high light, when visibility is maxi- in the user feeling complete enmised, the structure increases. Near closure, with bar-like members in

every direction. As the sun moves, so does this reflected structure, creating movement in all directions, therefore adhering to the intent of an overall dynamic design.

100

CRITTER(above) Render, Ben Ryding

Critter is a constantly breathing â&#x20AC;&#x2DC;skin and boneâ&#x20AC;&#x2122; structure; a resting beast. It is a constant reflection of the site and its conditions.

in through its mouth, it traps them; encases them in its intricate belly. Its skeleton fascinates, ensures the user remains long enough to learn; teaching them the raw power that wind Designed to draw the user power is able to harness. Cre-

ating order from chaos. Itâ&#x20AC;&#x2122;s a design of feed and supply; feeding on the user whilst supplying them with the information that they had never intended to receive.

101

102

CRITTER INTERIOR (above) Render, Ben Ryding

103

generated energy

Given these considerations, each INVELOX/turbine combined system may be expected to generate

157,680 kWh 157,680 kWh

per year.

Therefore, with of these systems, the proposal may be expected to generate:

630,720 kWh/year 104

Taking

Denmarkâ&#x20AC;&#x2122;s

per

6,121.99 kWh

and,

given

2.1 , 20

Overall,

43Â˘

Denmarkâ&#x20AC;&#x2122;s the

with

capita

energy

consumption

per year19, this figure accounts for

average

design

persons

produces

electricity

per

household

enough

energy

Denmark

costing

for

AUD per kWh21, this design will save

energy

every

year.

105

lagi

statement

‘Critter’ is a dynamic, breathing structure. Taking an airflow input, the design alters, fluctuates, reflecting the oncoming winds. As the user approaches the design, they are overcome with a sense of disjunction; separation of site and design. Sitting on a flat, static site, a large protruding structure demands the attention of anybody in its vicinity. Its design intends to amplify this disjunction. With large weather fluctuations in Copenhagen, the design intent required a design which would stand out in both sun and snow. As such, it was decided that a white membrane would rest upon a black internal structure, drawing attention to the structure during snow, and the inflation of the membrane whilst the sun is shining.

106

‘Critter’ is a sleeping beast. The bone-like underlying structure provides a frame for the membrane ‘skin’ to rest upon. In times of low wind, the beast exhales; its skin sagging on its skeleton. Likewise, the beast inhales as the winds increase, pulling away from the structure; inflating. Whilst inside, the user feels simultaneous emotions of entrapment and intrigue. Though encased in steel, they are captivated by the intricate nature of the interlocking pipes, desiring to know their purpose; resulting in a stay long enough for an education. Although an educational pavilion, the design does not intend to force information but, rather, encourage self-learning. Due to its constant

movement and inflation, it encourages the user to conclude that the wind is a constant energy source which has the potential to be harnessed and utilised. In this way, it does not blatantly give out information, merely the tools that one needs to acquire it. The technology used in this design serves a dual purpose, both aesthetic and functional. The INVELOX Wind Delivery System by SheerWind was chosen as the most effective means of generating wind energy on the Copenhagen site. This system is innovative through its use of the venture effect, which acts by pressurising the airflow through a constricted pipe passage. Although this doesn’t create additional air,

it captures wind speeds as low as 3.2 km/h and converts it to a 12.8 km/h airflow22. After pressurisation, the air is passed through vertical axis wind turbines. This process was tested over an 8 day period to be 314% more efficient than traditional wind turbine generators23. Adhering to the aesthetic requirement for a beautiful design, the INVELOX system is more visually appealing than the ‘eyesore’ that is traditional wind turbines, as it conceals the blades whilst also reducing the height by more than 50%; only requiring 1215m24. The additional air, after passing through the turbines, is to be recycled throughout the design. With the existing INVELOX systems, an output is constructed to filter it back into the environment. With this proposal, however, the airflow is reused again before being refiltered. In this design, the INVELOX systems are connected directly to selected pipes of the primary structure. Along these pipes, selective, variable perforations are made to allow a direct, natural transfer of air from the systems to the membrane, generating inflation from additional air runoff.

Accounting for the specific site conditions of Copenhagen (air density and wind speed) as well as the details for the proposed energy generation system (rotor swept area and the enhanced wind speed through the INVELOX system) a fairly accurate figure was able to be calculated for the expected energy generated by the design25. Given these considerations, each INVELOX/turbine combined system may be expected to generate 157,680 kWh per year. Therefore, with four of these systems, the proposal may be expected to generate: 630,720 kWh/year. Taking Denmark’s per capita energy consumption of 6121.99 kWh per year26, this figure accounts for 103 persons and, given Denmark’s average persons per household is 2.127, the design produces enough energy for 49 homes. Overall, with electricity in Denmark costing 43¢ AUD per kWh28, this design will save $271,423 in energy every year. ‘Critter’ occupies a space of 70m (L) x 60m (W) x 12.5m (H), giving it a degree of prominence on the flat, lifeless site and sparking the inter-

est of a visitor. With this singular black and white vertical element on an expanse of grass allows its visibility to be maximised, whether from the site itself, or the city across the water in the west. This aspect results in a spark of interest, drawing potential users to a place that they had not previously considered travelling to. On top of the wind turbine system, two primary materials are to be used in construction. Galvanised steel, painted black, is to be used for all piped members. Steel is a material which is strong in both tension and compression, giving the entire design structural stability. Simultaneously, steel is flexible. All members may be cast, cut, bent and perforated in factory and shipped to site, resulting in reduced construction time and, hence, reduced cost. The membrane is to be fabricated from TENARA Fabric, by SEFAR Architecture. This material is highly durable, able to withstand ‘damaging UV rays, acid rain, salt water and other environmental challenges’. It also holds a 15 year warranty, although has an expected lifespan of 25+ years, near eliminating cost for replacement and maintenance29.

107

environmental impact

108

statement

This design, through conscious decision, aims to minimise negative impact upon the environment whilst allowing for a potential reduction in the use of limited fossil fuels. As the site in question is, currently, vacant and unused, no known wildlife will be impacted by construction or increased site traffic. To a similar degree, the site flora consists, primarily, of the wild grass which is left to grow on site. Although small segments of this grass will be excavated for the construction of paths, the grass dies and regrowâ&#x20AC;&#x2122;s seasonally, varying with the onset of snow. With this in mind, the removal of a

small percentage of grass does not tively mid-range embodied energy greatly impact the site as a whole. which is higher than most timbers, but much lower than plastics, paints, In terms of embodied energy and aluminium or copper. Galvanised negative environmental impacts of steel has an embodied energy of building materials, they have been 38.0 MJ/kg31, translating to 10.56 selected, specifically, to minimise kWh per kg. At this rate, given the these impacts as much as possible. calculated energy that the design TENARA Fabric does not contrib- will generate, each kg of steel used ute to ozone depletion or contain will take 8.8 minutes to be offset by any chemicals or properties which the energy generated. are damaging towards the environment. Although this fabric has the Therefore, all negative impacts if potential to last 25+ years, SEFAR the construction are offset by the will â&#x20AC;&#x2DC;accept returned uncontami- generation of energy, leading to a nated SEFAR Architecture TENARA design which may fulfil its purpose fabricâ&#x20AC;&#x2122;, to be reused or recycled30. whilst maintaining an overall posiGalvanised steel contains a relative environmental impact.

109

presentation reflection

PROPOSED ALTERATION Diagram, Ben Ryding

110

Following on from final presentations, it was accepted that despite the design being quite well rounded and refined, there is some room for improvement; alterations which could be made to ensure that the design is the best that it can be. The two primary criticisms of the proposal, that were accepted amongst the panel of judges, were in terms of scale and function. The first of these criticisms was related to the amount of potential airflow. There was doubt amongst the

judging panel as to the degree of airflow, and its potential to inflate the membrane. The clear response to this analysis is to increase the amount of INVELOX systems. Although this will increase cost and embodied energy, the increased amount of energy generated will be more than enough to offset the difference. Therefore, the addition of more INVELOX systems will allow for a greater inflation, as well as increased energy generated.

scale. Despite being a large design as it is, it was accepted that with such an expansive site, it is a waste to leave it unoccupied. To do so is to prevent the design from reaching its full potential.

These criticisms are related as, to design a larger proposal, requires the use of more INVELOX systems, a much larger airflow. Therefore, to expand on this design will require an increase of both of these elements, a slight refinement, allowing The second criticism was to do with this design to fully improve.

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presentation response

Responding to these criticisms, the design was altered to adhere to these updated requirements. As the increased size for the design is around 16 times the original proposal, the wind system must be updated to supply the same relative airflow. As such, two alterations were made. Firstly, the number of INVELOX systems was increased from 4 to 12. Secondly, the scale of the INVELOX intakes was increased by 75% to 100%, resulting in 20 - 25m

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tall towers. At this height, a much larger airflow can be harnessed, which raises both energy generated, and airflow to the membrane.

systems uninterrupted. This method also allows for the design to fill a larger airspace, capturing a majority of the wind which passes it. Similarly, the tower height was adjusted for the INVELOXâ&#x20AC;&#x2122;s further in the west to be 20m tall, variably increasing to 25m for the furthest tower. This ensures that as well as avoiding horizontal obstacles, vertical obstacles are minimised, ensuring the maximum possible wind can be harnessed.

A difficulty with the increased number of INVELOXâ&#x20AC;&#x2122;s is that there is a risk of these systems providing obstacles; blocking the airflow to the systems behind it. To this degree, conscious alterations were made, from the west side, to ensure that each INVELOX occupies its own western segment, allowing for the primary wind direction to reach the From these systems, the form of the

POTENTIAL PERSPECTIVE (right) Render, Ben Ryding POTENTIAL WEST ELEVATION (bottom) Elevation, Ben Ryding

design, with the allocation of pipes, could be generated, with the overall surface pinned to the INVELOX’s. With INVELOX’s in the centre of the membrane, a requirement to resolve this connection had to be considered. As such, it was decided to bring this connection to ground, adding to the internal space by providing blockages and interrupted pathways. This generates a maze-like interior with no intended passage; a user-generated experience.

ELEVATION:

WEST

The ultimate limitation on this design was timeframe. Given more time, this outcome could be further analysed and refined. A design could be reached which is able to maintain an achievement of the overall design intent, whilst occupying a larger space, allowing for a heightened user experience, as well as generating a lot more energy. Although quite reliant on their form, a cladding of the INVELOX system could be explored to further blur the distinction between art and

energy generation; aesthetics and functionality. Overall this proposal is designed to reflect the wind, as much as harness it. It is a visual spectacle that the visitor is invited, encouraged, to explore. A journey is taken from the moment you step through the first steel arch and, upon this exploration, the visitor discovers how essential the capturing of renewable energy sources can be. It’s a design which educates with evidence, whilst maintaining beauty.

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learning outcomes After the interim presentation, the design process, to a degree, started from scratch. Processes were reconsidered, precedents were reacknowledged, materials were reanalysed and the overall design was rediscovered. Although by the end of this process, a much more effective design was achieved, timeframe became an influential parameter in the outcome.

any previous conceptions of what architecture can be. Parametric design eliminates the requirement to adhere to typical building conventions, allowing the designer to explore alternate possibilities, conduct testing and, ultimately, produce something which is entirely original; not a mere borrowing of other projects.

Computation is a beneficial technique across all aspects of a proposal - from initial concept, to final fabrication. With modern fabrication technologies, it is possible to draw all tectonic elements from a three-dimensional model, with accurate measurements, curves and connections. It allows a complete realisation and understanding of a design, from the way it looks, to Design Studio: Air has redefined how it will function in physical space. Through the use of parametric modelling, the design process was able to be reinitiated, as aspects of the design could be manipulated with ease, allowing for the best iterations, and overall direction for the design, to be realised much faster than with traditional design methods..

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It is through parametric modelling, and the benefits discussed, that this proposal was able to be achieved. Itâ&#x20AC;&#x2122;s complex, intricate nature is too complex to realise without computational aid and, therefore, becomes increasingly reliant upon it. As a whole, this proposal satisfies the requirements and parameters of the brief, whilst maintaining selfexpression. Demonstrating that, despite parameters, originality may arise. In fact, it is only due to these parameters that a design may succeed. With their consideration, a site specific, analytical, considered design may be realised, over a universal design which is not as appropriate. Through careful consideration, that is what this proposal has done. It is on this basis, that it to be deemed a success.

Objective One It is the interrogation of the brief which sparked a redesign. Whilst an initial critical analysis is a requirement for a successful understanding, it is crucial to revisit the brief throughout the entire design process to ensure that the design is fulfilling all requirements. One of the primary aspects of the previous proposal requiring a reanalysis was the concept processes (76-77). By revisiting this aspect of the design, the designâ&#x20AC;&#x2122;s direction could be adjusted; modified to ensure that the most wellrounded outcome was produced.

Objective Two Through the use of parametric design, modifications can be made to alter the design and make it better fit to purpose. Through traditional practices, it is much more difficult to make alterations. However, the software provides the tools for ease of change. Ultimately though, it allows ease of testing and creation of a multitude of iterations (46-51) in order to judge which is most effective in its response to parameters.

Objective Three As the course has developed, so has knowledge of the three-dimensional modelling software. In later weeks, however, after the basic learning and understanding has been established,

a level of self-education was undertaken. By researching relevant techniques, and referring to others with a greater established knowledge, a more case-specific understanding could be formed; allowing for a deep knowledge of a detailed aspect of the software.

Objective Four Through physical model-making, specifically the detailed prototype, an insight into functionality may be taken. The representational model, however, works to test the relationship between a piece of architecture and its environment. This relationship is a very important analysis. Whether the design intends to fit into its environment or stand out amongst it, this relationship must be tested to understand whether it fulfills this purpose.

Objective Five Flowing on from the interim presentation, it was clear that a deeper analysis was to be made into all aspects of the design. As such, in Part C, an analysis was made into materiality (88-89), energy systems (72-75), specific data (104-105) lighting conditions (98-99), amongst many other specific observations. This allows definite proofs, which ultimately lead to a much more persuasive, complete proposal.

Objective Six As was shown during Part C, an analysis of architectural precedents can be evident throughout the process, not merely in the beginning (78-79). Though a useful method of sparking initial ideas, they may also be analysed to redirect the design and ensure that the design is adhering to the ideals of the designer.

Objective Seven It has been shown throughout the studio that, contained within a single software, thousands of types of programming exist. Through near impossible to understand all of these in a limited timeframe, a basic understanding is able to be achieved, with a more specialised understanding in key areas of the design.

Objective Eight Overall, the studio has not given the answers, but merely the tools. If one was to simply follow tutorial videos and example definitions, they would be unable to build a repertoire; a critical understanding. It is, therefore, more important to learn the processes and how they can be applied. With a detailed understanding of these, the possibilities for the designer are opened. They are able to create something never seen before; truly unique.

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REFERENCES design concept (68 - 77)

1. Ryan Whitwam, ‘Bladeless, funnel-based wind turbine claims huge efficiency gains’, Geek (2013) <http://www.geek.com/science/superefficient-wind-turbine-600-more-1554866/> [accessed 10 May 2014] 2. SheerWind, INVELOX Field Data (Minnesota: SheerWind, 2012) <http://sheerwind.com/technology/field-data> [accessed 10 May 2014] 3. Ryan Whitwam, ‘Bladeless, funnel-based wind turbine claims huge efficiency gains’, Geek (2013) <http://www.geek.com/science/superefficient-wind-turbine-600-more-1554866/> [accessed 10 May 2014] 4. Twin Cities Business, Best Potential New Energy Source (Minnesota: Twin Cities Business, 2012) < http://tcbmag.com/News/Trends-andIssues/Best-of-Business-2012-April-2012/Best-Potential-New-Energy-Source> [accessed 10 May 2014] 5. iStart, SheerWind (Missouri: iStart, 2012) <http://istart.org/startup-idea/green-energy/sheerwind/5001> [accessed 10 May 2014] 6. SheerWind, INVELOX How It Works (Minnesota: SheerWind, 2012) <http://sheerwind.com/technology/how-does-it-work> [accessed 10 May 2014] 7. Iowa Environmental Mesonet, Wind Roses (Iowa: Iowa Environmental Mesonet, 2014) <http://mesonet.agron.iastate.edu/sites/windrose. phtml?station=EKRK&network=DKA _ SOS> [accessed 11 May 2014] 8. ArchiExpo, Small vertical axis wind turbine (Darrieus rotor) (France: ArchiExpo, 2014) <http://www.archiexpo.com/prod/7challenge/smallvertical-axis-wind-turbines-darrieus-rotor-65756-519447.html> [accessed 11 May 2014] 9. Iowa Environmental Mesonet, Wind Roses (Iowa: Iowa Environmental Mesonet, 2014) <http://mesonet.agron.iastate.edu/sites/windrose. phtml?station=EKRK&network=DKA _ SOS> [accessed 11 May 2014] 10. Solar Constructions, Vertical wind turbine – VAWT (Brussels Solar Constructions, 2013) <http://www.solar-constructions.com/wordpress/ vertical-windturbine-vawt/> [accessed 11 May 2014]

tectonic elements (78 - 95) 11. Morrison Gallery, Steelroots Sculptor Steve Tobin (Connecticut: Morrison Gallery, 2011) <http://www.themorrisongallery.com/stevetobin.html> [accessed 27 May 2014] 12. WordPress: I took the other., ‘Steve Tobin, “Tango”, Steelroots, Morton Arboretum’ (Chicago, WordPress, 2012) <http://itooktheother. wordpress.com/2012/11/21/steve-tobin-tango-steelroots-morton-arboretum/> [accessed 27 May 2014] 13. Michener Art Museum, ‘Out of this World: Works by Steve Tobin’ (Pennsylvania, Michener Art Museum, 2014) <http://www.michenermuseum.org/exhibition/out-of-this-world-works-by-steve-tobin> [accessed 27 May 2014] 14. SEFAR Architecture, TENARA Fabric (United States, SEFAR Architecture, 2014) <http://www.tenarafabric.com/> [accessed 1 June 2014] 15. SEFAR Architecture, ‘Welcome to SEFAR’ (United States, SEFAR Architecture, 2014) <http://www.sefar.com.au/en/593/About-us.htm> [accessed 1 June 2014] 16. ArchiExpo, ‘Tenara® fabric membrane (for tensile structures)’ (France: ArchiExpo, 2014) <http://www.archiexpo.com/prod/sefar-architecture-tenara-fabrics/tenara-fabric-membranes-tensile-structure-61070-1447003.html> [accessed 1 June 2014] 17. e-architect, Kengo Kuma, Japan : Architecture (United Kingdom, e-architect, 2014) <http://www.e-architect.co.uk/architects/kengo-kumaassociates> [accessed 1 June 2014] 116

additional lagi brief requirements (100 - 109) 18. SmallWindTips, How to calculate wind power output (United States, SmallWindTips, 2010) <http://www.smallwindtips.com/2010/01/howto-calculate-wind-power-output/> [accessed 4 June 2014] 19. Trading Economics, Electric power consumption (kWh per capita) in Denmark (New York, Trading Economics, 2014) <http://www.tradingeconomics.com/denmark/electric-power-consumption-kwh-per-capita-wb-data.html> [accessed 4 June 2014] 20. The Organisation for Economic Co-operation and Development (OECD), Five Family Facts (Paris, The Organisation for Economic Cooperation and Development (OECD), 2011) <http://www.oecd.org/els/family/47710686.pdf> [accessed 4 June 2014] 21. Shrink That Footprint, Average electricity prices around the world: $/kWh (London, Shrink That Footprint, 2014) <http://shrinkthatfootprint.com/average-electricity-prices-kwh> [accessed 4 June 2014] 22. Ryan Whitwam, ‘Bladeless, funnel-based wind turbine claims huge efficiency gains’, Geek (2013) <http://www.geek.com/science/superefficient-wind-turbine-600-more-1554866/> [accessed 6 June 2014] 23. SheerWind, INVELOX Field Data (Minnesota: SheerWind, 2012) <http://sheerwind.com/technology/field-data> [accessed 10 May 2014]

24. Ryan Whitwam, ‘Bladeless, funnel-based wind turbine claims huge efficiency gains’, Geek (2013) <http://www.geek.com/science/superefficient-wind-turbine-600-more-1554866/> [accessed 6 June 2014] 25. SmallWindTips, How to calculate wind power output (United States, SmallWindTips, 2010) <http://www.smallwindtips.com/2010/01/howto-calculate-wind-power-output/> [accessed 6 June 2014] 26. Trading Economics, Electric power consumption (kWh per capita) in Denmark (New York, Trading Economics, 2014) <http://www. tradingeconomics.com/denmark/electric-power-consumption-kwh-per-capita-wb-data.html> [accessed 6 June 2014] 27. The Organisation for Economic Co-operation and Development (OECD), Five Family Facts (Paris, The Organisation for Economic Cooperation and Development (OECD), 2011) <http://www.oecd.org/els/family/47710686.pdf> [accessed 6 June 2014] 28. Shrink That Footprint, Average electricity prices around the world: $/kWh (London, Shrink That Footprint, 2014) <http://shrinkthatfootprint.com/average-electricity-prices-kwh> [accessed 6 June 2014] 29. SEFAR Architecture, TENARA Fabric (United States, SEFAR Architecture, 2014) <http://www.tenarafabric.com/> [accessed 6 June 2014] 30. SEFAR Architecture, Environmental Impact Statement (United States, SEFAR Architecture, 2014) <http://www.tenarafabric.com/pdf/SefarT_ENARAe_ nvironmental-impact.pdf> [accessed 6 June 2014] 31. YourHome, Embodied Energy (Australia, YourHome, 2014) <http://www.yourhome.gov.au/materials/embodied-energy> [accessed 6 June 2014]

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