Architecture Studio: Air
Naijia (Cassandra) Li 582200
Part B.01 Research Field: Biothing Pavilion
Part B.01 Research Field-Strips/Folding Biothing Pavilion
The Boithing Pavilion is extending from “self-modifying patterns of vectors based on electro-magnetic fields (EMF).”[1] From the appearance, the pavilion is fluent. Divided in a few small parts yet centralized. The logics of attraction were computed in plan firstly and then lifted in 3D though a series of structural micro-arching sections “through different frequencies of the sine function.”[2] It is also responding to the local adaptation to the site. Since it is implanted to a steep hill, “EMF trajectories needed to “find the ground”.”[3] The plan is unique, different from the notion of ordinary architectural plan. This pavilion’s dynamic nature and parametric relationship between different parts shows us the possible geometric relationship that fabrication could have. It also shows the use of self-modifying in fabrication method with a basic pattern given. Moreover, from 2D plan to 3D pavilion, Boithing Pavilion shows more opportunities in spatial relationship.
Part B.02 Case Study 1.0: Biothing Pavilion
Part B.03 Case Study 2.0: FLUX
Part B.03 Case Study 2.0 FLUX Flux, work of California College of the Arts in San Francisco in the year 2009. It was generated to answer the demand of Architecture in a Parametric Landscape exhibition that “focuses on the emerging field of advanced digital design.”[4] The design intent of this project is “to explore the possibilities of parametric modelling and digital fabrication through the production of the exhibition armature. ” [4] By using parametric design tools the undulating structure expands and contracts as the volume extends down the center of the long nave space. Flux uses twisting geometry and perforated skins to achieve the demand of the exhibition and shown the capacity of its quickly updated skills to generate new design criteria.
Top: panelling on the surface[4] Bottom: View of FLUX[4]
Reverse-Engineering FLUX
Prototype of FLUX[4]
1. Determine section shape By sketch the section shape of the FLUX as the start point. Since the project is a twisting structure based on this shape, determine of this shape is foundemantal and critical.
2. Find central line for rotation A central point of the section shape is found by using script 'Area'. A line is generated from the central point to be used as centre of rotation. Perior to rotation, a basic form of the FLUX project is done by moving multiple section shape along x axis.
3. Extend curve and rotate Once the basic pattern of the FLUX is formed, 3D rotation is taken by using the central line generated in second step as the centre of rotation. To ensure the turing angle is similar to the original project, a Graph Mapper is connected to the 'angle' command in 'Rotate 3D' script. By this stage, the general twisting form can be seen. Faces are subtracted to form a hollow section as well.
4. Scale two sized rotate curve To this stage, for a more actual revesing of the FLUX project, the boundary surfaces are seperated into two parts. One is the rigid structure and the other one is the surface lofted between the structure.
5. Extrude and Cap For the surface lofted between structure, lists of faces are scaled. By using planar, it ensures all the faces are scaled in same direction. Extrude. Then the series of faces are cull indexed. For the structure part, again it is been scaled. Planar command is again used to ensure the scale is done in same direction. Extrude. Then holes are capped the brep.
6. Join two boundary Join two parts of the boundary to get the final revese engineering of FLUX project.
Top: Side view of Reverse Engineering F Bottom: Perspective view of Reverse En Left: Section view of Reverse Engineerin
FLUX ngineering FLUX ng FLUX
Part B.04 Technique: Development
Part B.04 Technique: Development
Rotation center- By changing the central grid line to create new central of rotation to form new iterations
Dimension- By changing the linear curve graph mapper to form different geometry such as smaller base w
with large open on the top
Rotate angle- By applying different graph mapper to change the rotation form of the geometry
Base surface- By changing the base surface to effect the change of central point and shape of the bounda
ary to form new iterations
Solid- By using different 3D shape such as cone, box and cylinder to form new iterations
The final iteration we did experienced the change in its rotation angle, center of rotation, scale and base surface shape to form a geometry which allows the performance of the wind to be seen. To fulfill our design intent of having 'things to be sound' from the structure, we chose piping as the final solid choice. Pipe ensures the stability of the structure, also allows the structure itself to generate sound by experiencing wind. Wind as renewable energy, can be used over and over again. This structure using wind energy to be self supported ensures the design is sustainable. Wide expanding allows larger surface area to receive wind. Different length of the pipes allows different sound to be made though the pipes.
Part B.05 Techniques: Prototype
Part B.05 Technique: Prototype
Proposed Materiality
Tubes:
Tower:
Composites: • Such as glass reinforced plastic, wood-epoxy or injection molded plastic with carbon fibers • lightweight and high stiffness, hence composites • Reducing the weight of the tubes = reduce the loads on the tower and foundations.
STEEL: • Cheap, stiff and strong enough to support the weight of the tubes. • must also withstand fluctuating wind loading and loading resulting from tube rotation
Joints Experiment
For a better rotation performance, we also researched for different types of joints to maximize the friction. Two joints, Rzeppa-Type CV Joint and Self-Rotate Internal Joint come to choices. Joint using beads are used to represent the idea of Rzeppa-Type CV Joint in our prototype.
First experiment is using the bead. The rolling of the beads are expected to reduce the friction and increase the speed of rotation of the pipe.
Second experiment is using the wheels to achieve better friction reduction.
Last experiment is using similar technique as the selfrotate internal joint and test the rotation frequncy of the pipes.
Part B.06 Technique: Proposal
Based on the wind diagram we found from a weather station near the LAGI design site, we can see the wind is majorly coming form the South Western side of the site. Since we uses wind as our renewable energy, layout of our design facing South West would be our start point of seleting location. Furthermore, from the diagram below, it is obvious to see that the average wind speed over the four seasons in Copenhagen. It further reinforced the strength of the wind as a good renewable resource to be used on site.
Left: Geographic position of the LAGI site and weather station[6] Bottom: Average Wind Speed chart in Copenhagen[5]
Wind chart of Copenhagen[6]
Vertical Axis Wind Turbine (VAWT)
Researches has also been done regard how wind energy is generated. The Vertical Axis Wind Turbine[7], short as VAWT, fulfilled our desired vertical high rise appearance. Its high efficiency with rotating fan echoing with our thinking of rotating pipes. Compare to Horizontal Axis Wind Turbines, VAWT: 1. have lower cut-in speeds than horizontal axis wind turbines 2. can be positioned lower to the ground than can HAWTs 3. can be located in closer proximity to each other
REVOLUTIONAIR WT1KW (GHT TYPE DESIGN) Image courtesy of PRAMAC. Design by Philippe Starck.
Our design intent is to produce a infrastructure sits in LAGI site in Copenhagen which could generate energy though the renewable resource: wind. Further to that, this infrastructure is identical, from its twisting form. It is verically high rised and identical from the site. Furthermore, the structure itself could create sound by using piping. When wind blow into the tube, sounds will be made. Different length of the pipes would result in different sound to be heard. By using a similar theory of the vertical axis wind turbine, we proposed the energy to be generated by rotating the pipes. The shape pattern of the pipes is also in our consideration. The curvy shape of the sound wave inspired us. By analyse the expand of the sound wave from central horizontal axis, the shape pattern for our structure can be determined.
A few of the projects will be put on site to the western side where wind is greater. (Shown in white label below) More structures means more energy generated.
Part B.07 Learning Objective and Outcome
Part B0.7 Learning Objectives and Outcomes
Though the mid term presentation, we get some valuable feedback from the guests. After looking at our prototype and our presentation, a few issues are raised: 1. Human interaction- How human can be attracted to the site to have a interaction with the structure? 2. Wind control- How can we control the direction of the wind to achieve the turning behavior we like? 3. Surface area- Existing area for receiving wind energy is very small. the efficiency could be increased. 4. Prototype- Prototype didn't shown the gradident and rotation we proposed after iteration. 5. Sound wave not shown-The idea of sound wave is not clearly expressed from the prototype.
From Virtural Environments, I had a brief understanding of how computerization could assist designing. This semester, I learnt not only how to use the Grasshopper and Rhino software, but also how computation could be used in digital designing. Architecture is now in an new era, the generation which digitalization would only grow stronger. It is the powerful and persuasive design tool. From simply link of the scripting different geometries can be formed. On the other hand, similar scripts can result in entirly different outcomes as we did for part B.04. Reverse engineering again provides me the oppotunity to re-consider other people's logic. What was their initial design intent? How did they achieve it by using paramatric designing? By redoing their work, I found that every single script is unique and critical. From the iteration process, I also found that digital design can get more values out from the precedent. It is asking us the ability to not only reproduce others' work, but also look into the project, find the oppotunity, the innovation, the cornerstone of our own idea and design. When design is done in 3D. we are also asked to focus more on the relationship between the architecture and the air. Spatical relationship has been put to an extremly important stage where design is asked to be echoing and interacting with the atomsphere.
Most importantly, digital design allows me to see more possiblities. More advantages and diesadvantages of the project before it is been produced. These could be materiality, strucutre, etc. Overall, computation allows me explored another brand new way of designing from tranditional hand drawing. Yet, even computation assisted architects a lot in designing, it still need human to put idea and live, into the design to make it alive.
Part B.08 Appendix: Algorithmic Sketches
Reference: [1]Biothing Organization. Seroussi Pavilion Paris 2007. http://www.biothing.org/?p=24 [2]Dailytonic. ‘biothing’ – a transdisciplinary lobratory founded by Alisa Andrasek. May 2011. http://www.dailytonic.com/biothing-a-transdisciplinary-lobratoryfounded-by-alisa-andrasek/ [3]Arch20. Seroussi Pavilion Biothing. 24 Jan. 2014 http://www.arch2o.com/seroussi-pavilion-biothing/ [4]http://matsysdesign.com/2009/06/25/flux-architecture-in-a-parametric-landscape/ [5]http://www.weatherbase.com/weather/weather.php3?s=8160 [6]http://mesonet.agron.iastate.edu/sites/windrose. phtml?network=DK_ASOS&station=EKCH. [7]Robert Ferry & Elizabeth Monoian, 2012, A Field Guide to Renewable Energy Technologies