Oh clinton 561297 finaljournal by Clinton Oh

SEM 1 2014 | CLINTON OH STUDIO AIR | 561297

03 TABLE OF CONTENT Introduction 3 Part A: Conceptualisation A.1 Design Futuring 5 A.1.1 Precedent Project A.1.2 Projects Review A.1.3 Technology Exploration A.2 Design Computation A.2.1 Precedent Exploration

A.3 Composition/Generation 25 A.3.1 Precedent Exploration A.4 Conclusion 32 A.5 Learning Outcome 33 A.6 Appendix - Algorithmic Sketches 34 A.7 Part A Bibliography 35

Part B: Criteria Design B.1 Research Field 37 B.1.1 Biomimicry A.1.2 Design Precedent

B.5 Prototype 91 B.5.1 Structural System B.5.2 Cladding System B.6 Technique: Proposal 97 B.7 Learning Objectives & Outcomes

101

B.8 Appendix: Algorithmic Sketchbook

105

B.9 Part B Bibliography

108

Part C: Detailed Design C.1 Design Concept 111 C.1.1 Concept Design C.1.2 Defintion Development C.1.3 Iteration Exploration C.1.4 Site Analysis C.1.5 Solar Analysis C.1.6 Site Population C.1.7 Shadow Analysis C.1.8 Final Site Arrangement C.2 Tectonice Elements 133 C.2.1 Prototype 1 C.2.2 Prototype 2

B.2 Case Study 1.0 B.2.1 Precedent Study B.2.2 Definition Exploration B.2.3 Summary

C.3 Final Model 141 147

B.3 Case Study 2.0 B.3.1 Ornament B.3.2 Precedent Study B.3.3 Reverse Engineering B.3.4 Summary

C.4 LAGI Brief Requirement C.4.1 Land Art Generating Initiative C.4.2 KĂ¸benhaven C.4.3 Technology C.4.4 Tectonic & Materiality C.4.5 Experience C.4.6 Conclusion C.5 Learning Outcome & Objective

165

C.6 Part C Bibliography

169

B.4 Technical Development 73 B.4.1 Form Development B.4.2 Pattern Development B.4.3 Summary

INTROduction. I am Clinton Oh, a third year architecture major of University of Melbourne as of 2014. My interest in designing and solving problems is what lead to me to engage with architecture. I am interested to see how the urban environment fit into the natural environment and how it is able to extend the quality of the environment as well as lifestyle of the users. In my opinion, architecture is about creating experience and express emotion in term of construction.

I had some experience in handling Rhino 3D in my first year subject, Virtual Environments which introduced me to the exploration of 3D modelling. From the beginning of the subject, I was certain that I had limited knowledge and skill in Rhino 3D even though I had some experience in handling the software. Yet, it did not stop me from feeling excited and anticipated to learn Grasshopper. In conclusion, I look forward to explore what computational tool can provide.

PART A CONCEPTUALISATION

‘THE BEST WAY TO PREDICT THE FUTURE IS TO DESIGN IT’ BUCKMINSTER FULLER

/A.1 Design Futuring

A.1 Design Futuring As finite being in a finite world, we are currently confronting defuturing of the unsustainability. There is significant damage inflicted towards nature by inconsiderate human activity generally for the past few decades. Environmental issues thus start to gain awareness as the effects become obvious and catastrophic. In our current situation, it is known that the relation between creation and destruction coexist in every joules of energy we harvest and consume and different field tend to focus on different aspect of the problem and fail to set a primary objective in order to resolve it(Fry 2008). However, what can we do as designers to rectify or improve the current situation? â&#x20AC;&#x2DC;we all designâ&#x20AC;&#x2122; suggests that design is an act defined as a humanly ability that is able to prefigure our creation before realizing it(Fry 2008). But, this definition has been used literally to designers today and is considered very narrow. Fry suggest that we should put down our practices and understand the problems through communication not only within field but beyond to broaden our vision and further understand the complexity of the current situation.

In conjunction to the design industry, designers have failed to recognize and take responsibility for their quality of work(Fry 2008). In other words, the ethics of design is underdeveloped and is even overlooked within design education. By recognizing the context of our work, we can ensure the future of our design as well as the sustainability of our finite beings. The lack of urgency also contributes to high uncertainty issues in complexity which result in the negligence of designers in the impact of their work. However, the assurance of increasingly obvious symptoms of defuturing is definite and should be address seriously. Without information, it will be too late to rectify as massive loss will be definite. Take for example, the rise of sea level caused by global warming due to greenhouse gas emission will increasingly take away Bangladesh bit by bit. By 2100, there will be an estimated 500-750 million environmental refugees (Fry 2008). This is just a small scale of the problem we are encountering. Therefore, urgency to resolve this problem should be addressed at utmost importance.

PART A: CONCEPTUALISATION

HOW WILL FUTURE SUCCEED? Therefore, design practices should be redefined and rearranged to make a difference to a far more sustainable planetary habitation. Architecture is commercialised in recent years as computational software is able to produce hundreds or even thousands of selection in short amount of time so user can just simply pick and incorporate into their work (Fry 2008). This suggests that designers are too involved in styles and appearance which neglected the responsibility of the consequences of their design. This can only be rectify through the prioritization of sustainability into the market. It is important that we achieve a sustainable future as finite beings and should be constantly reminded and reinforced in design studies. Yet, the methodology behind it is still unclear and should be looked into and require more research.

THROUGH DESIGN

A.1.1 Precedent Project Project: Architect: Location: Year:

RMIT Design Hub Sean Godsell RMIT University, Melbourne 2012

The purpose of the design hub is to accommodate provide a comfortable working environment to researchers and facilitate high level exchange among users of different field. The main attraction of the building is its large number of ecological sustainable development (ESD), primarily the automated photovoltaic cells which are incorporated in the facade(Sean Godsell Architects n.d.). This future possibilities is also extended through the allowance of an upgrade of technology in the future. In other words, the photovoltaic cells can be changed to improve the energy production and achieve sustainability.

Exteriorly, I donâ&#x20AC;&#x2122;t find it as appealing. However, the very idea of photovoltaic panelling on the facade invoke curiosity of users as well as passersby. The interior open plan design contribute to the coincidental meeting of people from different field. Occasional exhibition is worth mentioning as well as it also invite the public to participate which result in the exchange of idea. The education and application of incorporation of future technology of this building becomes the necessity to secure a sustainable future for us as a limited being.

PART A: CONCEPTUALISATION “I have two responsibilities as an architect: one is to be true to myself and be an artist of the utmos integrity... The othert responsibility is to be a really vigilant analytical observer of society — by doing so we remain relevant to society.” Sean Godsell

A.1.2 Projects Review A.W.E, an abbretion for the Art Wind Energy is an competition entry for the Land Art Generative Initiative Competition in 2013. This project has proven that green technology can be applied into installations or buildings at any scale without compromising the lifestyles of the user but in fact, acts as an installation that improves and extend the beauty of the site itself. The participant first addresses the history as well as the surroundings to introduce his design concept by correlating information to form an initial thought process that further develop into the final form. More interestingly, the presentation of problem and solution is what interests me the most as it addresses the problem that might occur. The participant has done a really good job in finding solutions to problems he addressed and thus, producing an interesting installation which extends the beauty of the site.

However, I think the project lacks user engagement and fail to establish a link between the users and the installation. Given that the installation is a 360o look out which give the sense of weightlessness and fragility, the direct interaction between the users and the installation is not clear and I think this had slightly led the project down.

PART A: CONCEPTUALISATION

A.1.2 Projects Review The turbine bridge creates a dynamic facade which incorporates the generation of energy. With the presence of kinetic energy produced by wind and the flow of the water, this energy is converted to electrical energy which is conserved to supply the need of power of the design as well as its environment. The idea of generating energy through renewable sources is as mentioned, getting more and more prominent and is practiced widely to ensure sustainability in the near future. The dynamic facade which functions as a turbine allow the users to experience the constantly changing view from the inside as well as outside which will potentially invoke curiosity and interaction for users to be creative and well aware of the idea of sustainability. As such, I find the intimacy between the users and the design is exceedingly significant here as the direct interaction through the constant changing facade can be viewed both interiorly and exteriorly.

PART A: CONCEPTUALISATION

TURBINE BRIDGE ADAM WIERCINSKI ARCHITEKT

A.1.3 Technology Exploration The vertical axis wind turbine (VAWT) is a wind turbine that convert wind energy to power in the vertical axis, as the name suggests. Unlike the horizontal-axis wind turbines(HAWT), the implementation of VAWT does not require the consideration of orientation and wind sensing. This opens up the design opportunity as it is not as constraint and limited. Even though the efficiency of the turbine is highly dependent on the design, VAWTs are able to collect wind energy at wind level of relatively low speed as compared to HAWTs. The cost of installing VAWT is also comparably lower due to its easily installed mechanical system. Aside from its functionality, the flexibility of incorporating design elements on the turbine can provide a starting point to look into the limitless possibility to incorporate aesthetic values in green energy collection

DESIGN = EFFICIEN

NCY

PART A: CONCEPTUALISATION

PART A CONCEPTUALISATION

/A.2 DESIGN COMPUTATION

A.2 Design Computation Design computation refers to the effective usage of computational methods for 3D modeling and computer graphics through the application of mathematical concept in design professions (Rajaa n.d.). The rapid development and evolution of digital technology has heavily influenced architecture in the last decade and has produced innovation in the entire industry, from the initial design processes to final stages of fabrication. In terms of changing the industry, design computation has become a revolutionary tool to invent new methodology to design and communicate. Analysing problems,setting goals, devising solutions, evaluate the efficacy and communicating with experts as well as clients are considered basic consideration that need to be undertaken as designers (Oxman & Oxman 2014). With current computational technology, this process has been eased and easily recorded to provide promising results as computational tools, unlike humans, are less likely to make simple mistakes. However, the creativity of the human minds compensate the fact of the cold and heartless mind of the machine.

In a more significant note, the vast availability of computational aided designing software, the transition from representational approach to a holistic approach is worth mentioning. Monumentality is a key aspect in most historical precedent (Kalay 2004). However, this approach is unsuitable for the current era as representation is no longer the only consideration. Instead, many factors are needed to be considered to set up goals and produce starting pointers to guide the design process as well as formulate solutions. Unlike the human mind, computers are advanced and specialized in generating and monitoring complexity (Rajaa n.d.). This allows the freeing up of forms from a more geometrical to complex forms. In other words, the transition from bold architectural language to smooth architecture which has more direct reference to nature is the result of the cooperation between man and computer. Innovation of materials and construction method is also stimulated through the introduction of computation design(Oxman & Oxman 2014). The combination of computation efficiency and human creativity allow more development of new and effective solutions to counter existing or even newly discovered problems- E.g. new methodology of production, more efficient constructions and effective prototypes to test out ideas which all of these are more difficult before the introduction of this technology.

PART A: CONCEPTUALISATION

A.2.1 Precedent Exploration Name: Architect: Year:

Beijing National Stadium Herzog & de Meuron 2001-2008

The Beijing National Stadium is a prominent example of design computation where the complexity of materials and form is shaped together with the art of technology. The facade of the stadium forms the structure as well as space within, creating a public space for sporting events(Herzog & de Meuron 2007). The unstable context of the site of Beijing challenges the designers to form new methodology to incorporate the stadium. Though fragile looking, the stadium is ecofriendly and earthquake resistant. With the aid of technology, designers are allowed to monitor and scope present and future possibilities as well as hazards through the production and selection of iteration which has comperatively highest efficiency in term of construction, energy consumption etc.

Beijing Nati

ional Stadium

PART A: CONCEPTUALISATION

A.2.1 Precedent Exploration Homeostasis is a common phenomena that occur in the natural environment where it regulates the innternal conditions through actions that will lead to another(Minner 2011). The relationship as well as representation give inspiration to designers to produce design with better functionality and efficiency. Decker Yeadon applied homeostatic facade system onto the double skin technology by incorporation of its flexibility and low power usage of the dielectric elastomers. The homeostatic facade system reacts to environmental condition to give a constantly changing facade not only aesthetically pleasing but functionally effective in shading the interior from sunlight to reduce cost as well as energy of cooling significantly. Similarly to the natural homeostatic behaviour in biological systems, the facade regulates the internal building climate by responding to different environmental conditions automatically.

omeostatic Facade

PART A: CONCEPTUALISATION 23

PART A CONCEPTUALISATION

/A.3 COMPOSITION/GENeraTIon

A.3 Composition/Generation

PART A: CONCEPTUALISATION

n Algorithm is a recipe, a method or a technique to create something. Or to be more technical, algorithm is the precise list of simple operation applied mechanically and systematically to a set of creation(Wilson & Frank 1999). As computational design are getting more and more convenient, simple algorithm can produce complex designs in a matter of seconds. What is more promising to the industry is the innovation of 3D printing which has transform the design industry entirely and has linked the once disconnected virtual environment into the built environment to a whole new level (Brady 2013). Forms and complexities that once was thought impossible to create is now eased by the use of 3D printing where virtual forms and shapes can be realised without errors. With the rapid development of technology, architecture has to leap into a new era to cope with the need of improvement. Architects which used to be poets or translator of the construction language, have to turn to technology to create a new form of expression as well as incorporating the needs of the present and future. The shift to generation of design through algorithm has shaped the entire design ideas as well as development to monitor the present and the future.

A.3.1 Precedent Exploration Name: Temporary Art Pavilion Architect: Soma ZT GmbH Location: Salzburg Year: 2011 Predominantly for classical music festivals, Salzburg Biennale, the temporary pavilion creates a unique location for art production(SOMA n.d.) Soma ZT GmbH integrates art as a cultural tool to promote curiosity and invites visitors to experience the new and unknown. From a distance, the pavilion is not directly understandable, the pavilion can only fully reveal itself through intimate engagement with the building. The repetitive sectional patterning along the arcs which protrudes sequentially is interesting as it forms an experiential space within for performance art.

PART A: CONCEPTUALISATION

TEMPORARY ART PAVILION

A.3.1 Precedent Exploration BLOOM is a combination of elements into a single structure that changes its appearance throughout the day with respect to temperature and light conditions (dOSu Architecture Studio 2012). It is dynamic in both perspective and temporal as the audience is not able to have a constant image both in term of where and when they view it. The design defines the experiential qualities of the space around and within the structure. This incorporation of art with the aid of computational tool is what the industry is driven by and is practiced widely in todayâ&#x20AC;&#x2122;s context.

PART A: CONCEPTUALISATION

BLOOM

DO|SU Studio Architecture

A.4 Conclusion In present day, as urgency for sustainability increases with the increasingly serious problems human activities produce, the need for environmental awareness is highly demanded in every individual as well as industry. With the exploration of new technology both in the virtual and the built environment as well as the connectivity between both, designers have achieved a new level incorporating green technology in the design field.

PART A: CONCEPTUALISATION

A.5 Learning Outcome The exploration of definition has gave me a clear understanding on the current design industry as well as innovation in order to achieve sustainability. With this, I am more well prepared and inspired to work harder not only in this course but in the future industry. What I find the most influential in these few weeks was the ability of simple algorithm with the selection of correct materials to create dynamic and sustainable designs. Moreover, this has also increased my appreciation for design as a tool to solve problems and guide humanity to its sustainable future.

A.6 Appendix Algorithmic Sketches Itâ&#x20AC;&#x2122;s been exciting and yet sometimes frustrating to enjoy the process of adapting to a new toolGrasshopper. However, I believe the skill of handling new software is highly dependent on the motivation to practice more and further understandings of basic principles of the algorithm. Combination of various simple algorithm can produce different impressive and interesting results. With further understanding, more predictable results can be obtained at ease.

PART A: CONCEPTUALISATION

A.7 Part A Bibliography A.1 DESIGN FUTURING Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Land Art Generator Initiative Competition Entries (2012) <http://landartgenerator.org/LAGI-2012/> Sean Godsell Architects (n.d.). RMIT Design Hub <http://www.seangodsell.com/rmit-design-hub> Adam Wierciński Architekt(n.d.), Turbine Bridge < http://www.dwawu.com/>

A.2 DESIGN COMPUTATION Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT Press), pp. 5-25 Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 Herzog & de Meuron, 2007, 226 National Stadium, < http://www.herzogdemeuron.com/index/projects/ complete-works/226-250/226-national-stadium.html> Minner,K ,2011, Moving Homeostatic Facade Preventing Solar Heat Gain, Archdaily, <http://www. archdaily.com/101578/moving-homeostatic-facade-preventing-solar-heat-gain/>

A3 COMPOSITION/ GENERATION Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press) Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-1 dOSu Studio Architecture, 2012, BLOOM, <http://www.dosu-arch.com/bloom.html#> SOMA, n.d., Temporary Art Pavilion, Salzburg-AT2011, <http://www.soma-architecture.com/index. php?page=vague_formation&parent=2> 35

PART B CRITERIA DESIGN

/B.1 RESEARCH FIELD

PART B: CRITERIA DESIGN

B.1 RESEARCH FIELD Biomimicry derived from the combination

of two Latin word bios and mimesis which represents life and imitate respectively is a new field of study that derive ideas from nature and then learn and apply the designs and processes to produce solutions to human everyday problems. Innovation inspired by nature is driving todayâ&#x20AC;&#x2122;s industry into a better future. The reason we explore nature as a source of innovation is because nature function as the reason and solution to every single properties. Animals, plants and microbes applies their knowledge of what works, what is appropriate and most important into their set of survival skill which contributes to the existence of their species. Fossils are the living evidence of the failure and what surrounds us is the library of our inspiration. The survival strategy for the human race is highly dependent on the conscious of the source of nature as a resource to continue our existence. The functionality of our world should based heavily on the natural world to maintain a sustainable future.

Image Source: http://www.designboom.com/technology/metallicvelcro-steel-hook-and-loop-fastener/ source: Biomimicry Institue,(n.d.), What is Biomimicry?, accessed 3 April 2014, < http://www.biomimicryinstitute.org/ about-us/what-is-biomimicry.html>

“The more our world functions like the natural world, the more likely we are to endure on this home that is ours, but not ours alone.” Janine Benyus

Biomimicry Fundamentals of Biomimicry

Nature as model Biomimicry is a new science that studies nature’s models and then emulates these forms, process, systems, and strategies to solve human problems sustainably. Nature as measure Biomimicry uses an ecological standard to judge the sustainability of our innovations. After 3.8 billion years of evolution, nature has learned what works and what lasts. Nature as mentor Biomimicry is a new way of viewing and valuing nature. It introduces an era based not on what we can extract from the natural world, but what we can learn from it. (Extract taken from The Biomimicry Institute,USA)

東京

PART B: CRITERIA DESIGN

B.1.1DESIGN PRECEDENT

AIRSPACE_TOKYO

Located in Ota-ku district in Tokyo, the site was previously occupied by a residence which uniquely wrapped by a layer of dense vegetation. Since the existing building was removed entirely to accommodate construction for the new larger development, Faulders Studio revived the similar attributes of the previous demolished greenery and replaced it with a new atmospheric space of protection.

source: Faulders, T. (2007), Airspace Tokyo, accessed 3 April 2014, < 2. http://faulders-studio.com/AIRSPACE-TOKYO> source: Source: Faulders Studio (2013) ‘Airspace Tokyo | Faulders Studio’, Arch20, accessed 2 April 2014, <http://www.arch2o. com/airspace-tokyo-faulders-studio/>

The system of the facade acts as artificial vegetation which performs to provide shading and reflection of excess light away from the building, in the mean time, channel water away from the building and exterior walkways by way of capillary action. The process derives its inspiration from the functionality of the canopy of forest. The skin mimics the functionality of the canopy in a forest to provide an interstitial environment of several layers to create a barrier to the interior. The overlaying of different layers of meshwork with different densities at different area responds directly to the need of the internal environment.

The quality of green revivalism is astonishingly commendable as it preserve the previous attributes of the site which takes into consideration the neighboring residents to maintain the tradition while providing a new inspiration to the site. In term of the idea of deriving inspiration from the natural world, the process of the vegetation inspired facade system allows a more efficient use of energy of the building as well as producing a better environment to the interior as it compliments the interiors at different point of the building. As shown in photograph obtained from Faulders Studio, the interior is illuminated and shaded proportionally by the overlapping of the different layer of meshwork.

Image source: Thomas Faulders Architecture, Studio M <http://fauldersstudio.com/AIRSPACE-TOKYO>

PART B CRITERIA DESIGN

/B.2 CASE STUDY 1.0

PART B: CRITERIA DESIGN

B.2.1CASE STUDY PRECEDENT THE MORNING LINE Aranda Lasch The Morning Line which functions as a stage for contemporary music, is an instrument as a building itself. Using a unique interactive multi-spatial system which is configured by Mathew Ritchie and the Music Research Centre at York University, the building is saturated with many speakers in order to create a musical ambience to the visitor. The ability to reconfigure depending on the type of performance and ability to adapt to change in accordance to contemporary music ensures the dynamism of the installation. Movement of the users is registered via the interactive system allows the production of scalable forms of music depending on the presence of users. Hence, the installation, in a way, creates unique musical experience to every visitor. The flexibility of the installation allows the generation of different meanings and uses. In other words, the installation is not only relevant to the present but also designs the future of the site.

source: Thyssen- Bornemisza Art Conteporary, 2013, accessed 7 April 2014, < http://www.tba21.org/pavilions/49/ page_2?category=pavilions> source: Choi, L.J., 2009, accessed 7 April 2014, < http://www. designboom.com/art/the-morning-line-by-matthew-ritchie-witharanda-lasch-and-arup/> image source: designboom.com <http://www.designboom.com/art/ the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/>

Commissioned by Thyssen-Bornemisza Art Contemporary , The Morning Line, by the collaboration between architect Aranda Lasch and artist Mathew Ritchie and functions as a part of Youniverse exhibition, is a porous â&#x20AC;&#x153;anti-pavilionâ&#x20AC;? which is fabricated from laser-cut aluminium and painted in aggregated epoxy paint. The eight metres high, twenty metres long and consists of two hundred and six pieces. The pieces are derived from the truncated tetrahedrons. The pieces are categorised into four category which differs in term of size, the largest being 4.9m high. image source: designboom.com <http://www.designboom.com/art/ the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/>

PART B: CRITERIA DESIGN

B.2.2 Definition EXPLORATION The grasshopper definition of morning line is looked into as the primary precedent of our Case Study 1.0. The possibilities of interesting results are tested through the change in different parameter of the grasshopper definition. Understanding the grasshopper definition allow us to better control our expectations and outcome. Studying the interesting result, despite we are able to understand the definition in greater detail, we hope we are able to gain inspiration from the interesting results for our future design.

Species /01

Species /02

Species /03

Species /04

Spe

ecies /05

PART B: CRITERIA DESIGN

increasing the number of sides /04

/03

jittering bezier spans /05

increasing the number of sides /01

/02

scaling tetrahedrons

PART B: CRITERIA DESIGN

B.2.3 SUmmary

Influenced by the iteration we managed to produced, we were highly influenced by the idea of free movement and emulating the flow of the wind. Iteration 01 produces a curvilinear form which represents the idea of an unrestricted flow of lines which can be continued to redeveloped to create more interesting iteration that better suit our requirements. Architecturally speaking, we can apply this form into steel frame which resent the stylistic approach of the Art Nouveau.

Iteration 02 suggest a more crystalline approach which derived from the idea of allotropes of carbon which bonds carbon atoms together to form complex geometry and different compounds. However, the curve it produced still gives the idea of unrestricted movement and also reflect the idea of earth physics.

03 The highly symmetry iteration 03 is also favoured as it gives the idea of the pyramid. In a plan view, it also reminds us of the patterning technique produced through tiles which was interesting to look into.

04 Iteration 04 shows fragmented pieces floating around a boundary that forms a prism. The idea of light reflection and direction of light through the openings in between immediately came to mind. We wondered what outcome we can get if light was projected upon it or produced from it.

PART B CRITERIA DESIGN

/B.3 CASE STUDY 2.0

PART B: CRITERIA DESIGN

B.3.1 Introduction

As Loos suggest in his manifesto of “Ornament and crime’, ornamentation has become a useless tool and unnecessary thing as it has lost its function as a social representation. In the traditional society, ornament were used as means of differentiation of hierarchy order and a mean to signify cultural influence. However, the modern society disapprove the societal hierarchal order . Therefore, ornamentation has loss its meaning In the modern society, instead of using ornaments as a purely representational means, ornaments should include a modern purpose as well. These modern purpose includes ornaments should display the exploration of materiality qualities and instead of a static representation of culture. The material should incorporate new technology which respond not only to the site and the users. Using unique material qualities, we can derive a function for ornaments. 56

Ornament should also incorporate interacting elements. In other words, ornament should emphasise its interaction with the surrounding. Using the surrounding as an advantage to provide and enhance not only the aesthetic but also in term of energy, quality of environment and so on. As stated in ‘Realising the Architectural Intent: Computation at Herzog & De Meuron”, The development of computational tool evolves from the architectural idea and the performance is primary for the development of form Computational tools give ornament the ability to comprehend with its surrounding given the appropriate and sufficient data. Last but not least, ornament should also give an impact to the visitors holistically. Through the appropriate use of material and technological representation, ornament can act as an educational tool to convey important messages.

ornament.

Using Airspace Tokyo as an example to begin with, the exterior patterning acts as an interstitial membrane to regulate the internal environment using its ability to sunshade and ventilate due to it overlapping patterns.

source: Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 source: Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61 source: Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 image source:” ‘Airspace Tokyo | Faulders Studio’, Arch20, accessed 2 April 2014, <http://www.arch2o. com/airspace-tokyo-faulders-studio/> image source: Herzog & de Meuron,Studio (n.d.),De Young Museum image source: Herzog & de Meuron,Studio (n.d.),Messe Basel New Hall

PART B: CRITERIA DESIGN

B.3.2 Case study precedent CATASETUM PROJECT //Music Pavilion

This project showcases a design proposal by Wilck for a music pavilion which will set in Stadtpark in Vienna, Austria. By rethinking the functional role of a music pavilion, the composition of geometry and drafting of material creates an opportunity for a complex and intriguing musical experience. The system further features sound shell which mimic the biological function of the shell geometry, in this scenario, it mimics the function of the human ear which filter the sound waves to please our sensors, as well as a sound booth system of closed capsules for individual auditory enjoyment. The selection materials educates the importance of self sufficient energy and the need of reference to ecological thinking, host interaction and active material.

The pavilion which features an elaborated creativeness contributes to the sensation of monumentality and surrealism along with its expression of the fluid movement. The expressionism of romanticism provides a new insight to rethink the traditional architectural perception. source: Wilck, P.H., n.d., accessed 18 April 2014, < http:// www.suckerpunchdaily.com/2012/01/11/the-catasetum-projectmusicpavilion/>

‘A New Romanticism approaches new areas in design and architecture processes— emerging aestetic paradigms and systematic specifications.’ Philip H. Wilck

image source: sckerpunch daily,<http://www.suckerpunchdaily. com/2012/01/11/the-catasetum-project-musicpavilion/>

PART B: CRITERIA DESIGN

B.3.3 REVERSE ENGINEERING

Form Exploration We were interested in this project as it speaks highly of fluidity and movement as seen from its unique undulating pattern that surrounds the idea of the rhythm of melody. As this idea evolves further in terms of form, the resemblance of the biological structure of the ear begins to evoke curiosity. Hence, we aimed to study and recreate the unrestricted form by exploring the properties of rhythm and wave patterns to resemble the idea behind it. Furthermore, the complexity in geometry as seen in the design suggests a combination of different components come together as one to create an interesting final composition. In order to look into this complex geometry, we break it down to explore the form and patterning separately. We begin with the use of vector field and point charges to generate a rhythmic linear form.

PART B: CRITERIA DESIGN

Form Exploration

By mimicking the physical properties of rhythmic movement, we introduced the graph mapper with different graph types into our grasshopper definition to control the movement of the line work along the z-axis as well as to study the effect it does upon our initial form work as whole.

#01 parabolic graph #02 xy graph #03 sine summation #04 change to xy graph

Studio AIR 2014/SM1 Land Art Generator Initiative

#02

#03

#01

#04

PART B: CRITERIA DESIGN

Form Exploration

In the previous trial, too many unworkable curves were created. Hence, we selected a number of curves from the initial curves and proceed to create a mesh from them to hopefully reproduce something that replicates our precedent. However, the trial went terribly unsuccessful as any attempt to alter the parameter directly lead to the program to crash.

PART B: CRITERIA DESIGN

Pattern Exploration

An isolated progress is being monitored to reproduce the patterning was found in the precedent. We started off with a surface while populate it with points at random. By using the Voronoi component, a cell like patterning is produced. We then offset the curves inwards to reproduce the hole like elements. Using the cull function, we were able to only populate certain polygons with the offseted curves. The offsetted curves were sharp and not to our liking, and thus we fillet it to produce a smoother curve.

However, the precedent shows a range of tunnels of different sizes. Theoretically, we expected the size of the holes could be controlled by a graph mapper. However, as we input this function into the definition, it did not produce any effect. After some exploration, we noticed the offsetted curved were not closed and thus resulting in the failure of continuation. In the last few step, we extruded the surface and trimmed it accordingly to produce a better view of our result.

PART B: CRITERIA DESIGN

Definition Exploration

In order to explore our precedent, we were most satisfied with this definition as it successfully portray the idea of curvilinear composition of the precedent and display our interest in the free movement of wind flow. As displayed in the definition, we start off by creating curves that was derived from the precedent itself. Then, apply a division in the curve to produce different points in the curve while evaluating the curve to produce spin force and point charges. By merging these charges and force, we were able to create a set of curves. However, the curves were in fact in shown in planar form which does not represent our precedent. The curves were then translated to a 3D composition by moving them according to the graph mapper which allows us to control the movement of the individual curves in the z-axis. In the last section, we explored the possibility of creating a mesh by joining the curves together. However, it did not translate well which was rather disappointing.

PART B: CRITERIA DESIGN

B.3.4 Summary The selection of a heavily compositional precedent, i.e. the Catasetum Project resulted in the difficult comprehension of the reverse engineering experiment and the failure of completely reproduce the exact form of the mentioned project. However, the benefit we get from the selection outweigh the disappointment as we were able to analyse the project in depth and reproduce the generative process as well as managed to create our own grasshopper definition that study the principal behind the project. In the end, we returned to the original trial, being the most appealing and successful to us as it display the study of topology and flexible movement along the sites and it acts as a starting point for us to look into the qualities of the result to influence our future possible design idea.

PART B CRITERIA DESIGN

/B.4 Technnical development

PART B: CRITERIA DESIGN

B.4.1 GENERAL FORM DEVELOPMENT Using the result of the 2D linear formation from our precedent which we covered in Case Study 2.0, we start our technical development by further exploring other possiblities to achieve a 3D form that we could possibly work with. The figures to the right display our attempt in creating an image sampler through the general attributes of the formwork we produced earlier to produce a form which portray these elements. However, the form produced did not meet our satisfaction as they did not translate appropriately in 3D. Hence, we did not pursue further in this methodology.

PART B: CRITERIA DESIGN

B.4.1 GENERAL FORM DEVELOPMENT At the mean time, we also further explored other possibilities of the vector field line work and develop an array of 2D lineworks that we may like. Unfortunately, they did not translate well into 3D. /01 Changing spin force strength /02 Changing radius parameter of circles /03 Creating a mesh by moving curves along a graph mapper to create a 3D surface and altering smoothness of the mesh

/01

/02

/03

PART B: CRITERIA DESIGN

B.4.1 GENERAL FORM DEVELOPMENT

The end points and start points are evaluated and listed so the selection of points can take place to create an array of mesh.

A few points are selected at random from the list of end points to be interpolated. The points are interchangeable through the number slider. Hence, change in the number slider will result in the drastic change in the form work.

The interpolated points forms a mesh which enables us to develop further as we were struggling to create a valid mesh from the interesting line work we produced in the earlier part of the assignment.

The mesh is exploded to obtain the points which surrounds the edge of the mesh to be used in the iteration which we explore further.

PART B: CRITERIA DESIGN

B.4.1 GENERAL FORM DEVELOPMENT

Edge points are then used as anchor point to hold the form down as unary force is exerted upon it. Interesting formwork starts to develop through this step. We were interested in the idea of this particular Kangaroo physic definition as it best reflect our idea of the natural physic of the wind movement.

Including weaverbird smo definition, it allows the cre ease us in the production

oothening function into the eation of a smoother mesh and of more interesting formwork.

Weaverbird frame is explored to give us an inspiration for our later patterning stage. The idea that we were able to create patterning onto our form work was a huge step in pushing us further to explore the huge variety of patterning in the later stage.

PART B: CRITERIA DESIGN

species /01 d=12.87

d=25.87

species /02 d=12.87

d=25.87

species /03

We were particularly pleased with the successful generation of the matrix as it had been an issue for us from the beginning. The mesh created by each iteration display unique qualities and the parameter enabled us to experiment with the production of different form and to select the ones with best philosophy of our intention which lies in exploring wind power and its movement across the site. Hence, we were keen in generating result which match the goal we have set. However, most of our result appeared to jagged and sharp which was not very pleasing to use. The definition we have produced also allow use to produce wind passage throughout the structure but we were interested in searching for more alternative. Therefore, we began explored different panelling surfaces which might result in a much reflective design

PART B: CRITERIA DESIGN

B.4.2 pattern development

PART B: CRITERIA DESIGN

+ structural frame

cladding system

B.4.3 summary After thorough discussion with each of us in our team, we were equally happy with the many qualities of our iteration. Therefore, we proposed to formulate a solution to include a structural frame and cladding system which will compliment each other in term of functionality and qualities. The structural frame features hexagonal patterning which allows the structure to be held up and incorporate our energy producing elements while the cladding system reflects our idea of wind movement and allows the direction of wind flow into the structure to increase the efficiency while provide education through its intriguing form.

PART B CRITERIA DESIGN

/B.5 PROTOTYPE

PART B: CRITERIA DESIGN

B.5.1 STRUCTUTAL SYSTEM /01 shows our exploration of the selection of timber as the framing structure. Here, we used balsa wood to represent the possibilities of timber framing. Despite the less malleable quality of timber, connection between framing elements can be connected easily through joints as compared to steel framing. Nonetheless, its carbon neutral quality will well display Copenhagenâ&#x20AC;&#x2122;s reputation as a forward green thinking city.

/01 92

/02 The exploration of plastic as a viable construction material is looked into. Using plastic swabs as the framing element to represent plastic, the lightweight and malleable quality as well as its tensile and compressive strength reflects our interest in natural physics. The connection ensures robustness and allow the structure to stand by itself. The recyclable property of plastic is also a great point to consider to answer LAGI brief. /03 Here, we conducted the experiment of steel framing using florist steel by bending and forming into triangular frame system. Due to its tensile and compressive strength, the frame itself was robust and strong. However, the connection between the wire piece was comapratively hard to figure.

/02

/03

PART B: CRITERIA DESIGN

B.5.2 CLADDING SYSTEM /04 Here, we continue into exploring the cladding systems. In figure 04, we used reflective cardboard to represent a thermo bimetal material which is an alloy which mimic the biological physics. The material will deflect as it is contacted with a stimulus This would allow the cladding to function as a ventilation device and sun shading system to ensure a human environment and probably increase the efficiency of our energy producing agent.

/04 94

/05 We then explore polypropelene plastic sheet as another form of cladding which is connected with delicate joint to allows swaying and flapping responding to wind movement. We proposed to attach piezoelectric material that allow the panels to exploit the movement of wind and its swaying and flapping qualities to collect a considerable amount of energy from it.

/05

PART B CRITERIA DESIGN

/B.6 TECHNIQUE: PROPOSAL

PART B: CRITERIA DESIGN

B6 TECHNIQUE: PROPOSAL Our proposal is a sculptural structure which is heavily inspired by biomimic principal of becoming a living and breathing organism in itself. The skeleton features a system which is derived from the natural laws of physics acting upon an object while its external skin provides a protective layer that regulates the temperature within through its ability in sunshading and ventilation. Despite having the prominent siting of Refshaleøen which sits in opposition to the Little Mermaid landmark of Denmark, we believe that the irregularity of our design and the inclusion of innovative technology will attract visitors as well as invoke curiosity and inspire users to a more sustainable architecture design while promoting Copenhagen as a forward thinking “Green City”.

PART B CRITERIA DESIGN

/B.7 LEARNING OBJECTIVES & OUTCOME

102

PART B: CRITERIA DESIGN

B.7 LEARNING OBJECTIVE & OUTCOME

It has been a very long way to get to our proposal as we encountered many challenges along the way and countless exploration may sometime leads to no progress. However, we cannot say that we did not benefit from the process. With the aid of research and exploration, we manage to get hold of a lot of its principle and definitions and these explorations motivated us to move further into the next stage.

In Case Study 1.0, we develop an understanding to the limitation and endless potential of Grasshopper definition. The understanding of Grasshopper definition also further ease in the exploration for more method to our ideas. Choosing Morning Line as a precedent influenced our interest in the intention of creating something with similar property- the flexibility of movement. Most of our challenges started in Case Study 2.0 as we did not expect the precedent we were studying was mammoth-like. Here, we apply our knowledge of grasshopper definition into this stage to recreate our precedent which is the Catasetum Project. We struggled with the reverse engineering section as we only managed to create the line work mimicking its composition and we do not have a mesh to develop with. However, the linework provide us a starting point which leads us further into the next stage.

In the futher technique development stage, we used Kangaroo physics to explore its potential outcome. The reason behind it was this particular function well reflected our interest in wind flow movement and display the property of flexibility and movement in term of process. It also influenced our design to push even further The setback from previous trial did not stop us but inspire us to look back into our study to search for ways to implement principle into our design. Our proposal for the interim presentation includes a cladding and framing system which compliment each other through function and efficiency and promotes the city urbanscape as well green thinking. We have decided to look into wind energy into greater depth and make it our driving force to create an interestin design for the LAGI brief.

PART B CRITERIA DESIGN

/B.8 APPENDIX: ALGORITHMIC SKETCHES

PART B: CRITERIA DESIGN

B8.1 APPENDIX: ALGORITHMIC SKETCHES These are the highlights of the entire process of coming up to the current stage and the entire learning process of part B. The first figure features the product we got from the matrix production stage and was very satisfied with the result it produce and it also influence us in getting the idea of separating the process into the cladding and structural systems. The next image includes the iteration produced from the understanding of the Morning Lineâ&#x20AC;&#x2DC;s definition by rearranging and reconfigure the function from the definition and by adding some changes to the number slider.

106

The above image features the exploration of graph controller. By making changes to the graph, we can expect different outcomes and patternings. Through different iterative process, we were a step closer to recreating our precedent. The next figure shows the movement of points in regards of the distance from the hub. In other words, the further the points are from the hubs, the higher it gets. Using this, we were able to gain interesting information and inspiration from it.

PART B: CRITERIA DESIGN

B9 PART B BIBLIOGRAPHY B.1 Research Field source: Biomimicry Institue,(n.d.), What is Biomimicry?, accessed 3 April 2014, < http://www. biomimicryinstitute.org/about-us/what-is-biomimicry.html> Faulders, T. (2007), Airspace Tokyo, accessed 3 April 2014, < 2. http://faulders-studio.com/AIRSPACETOKYO> Image Source: Faulders Studio (2013) ‘Airspace Tokyo | Faulders Studio’, Arch20, accessed 2 April 2014, <http://www. arch2o. com/airspace-tokyo-faulders-studio/> Thomas Faulders Architecture, Studio M <http://faulders-studio.com/AIRSPACE-TOKYO> Velcro (n.d.) <http://www.designboom.com/technology/metallic-velcro-steel-hook-and-loop-fastener/>

108

B.2 Case Study 1.0 Choi, L.J., 2009, Morning Line, accessed 7 April 2014, < http://www.designboom.com/art/the-morning-line-bymatthew-ritchie-with-aranda-lasch-and-arup/> Thyssen- Bornemisza Art Conteporary, 2013, Morning Line| Aranda Lasch, accessed 7 April 2014, < http:// www.tba21.org/pavilions/49/page_2?category=pavilions> images source: designboom.com <http://www.designboom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-andarup/> B.3 Case Study 2.0 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61 Wilck, P.H.(n.d), Catasetum Project| Music Pavilion, accessed 18 April 2014, < http://www.suckerpunchdaily. com/2012/01/11/the-catasetum-project-musicpavilion/> images source: Faulders Studio, ‘‘Airspace Tokyo | Faulders Studio’, Arch20, accessed 2 April 2014, <http://www.arch2o. com/airspace-tokyo-faulders-studio/> Herzog & de Meuron,Studio (n.d.),De Young Museum Herzog & de Meuron,Studio (n.d.),Messe Basel New Hall

PART C DETAILED DESIGN

/C.1 DESIGN CONCEPT

C1.1 CONCEPT DESIGN With the feedback from our interim presentation addressing the lack of support for our design element, the team decided to reconsider and address a more definite scope for our final concept by exploring a more conclusive mean of technology. Through a thorough discussion, the team has came to a conclusion to look into solar energy collection as a direction for our design. Since our interest in biomimetics still remains, we decided to look into the qualities and potentials of thermo bimetal. It was an interesting start as we proposed an installation which is able to curl and fold in accordance to the temperature of the surroundings and collect solar energy in the mean time. In order to move further into a new direction, we have came to a conclusion to redeveloped our ideas and utilise new ideas for our final design concept. The diagram as shown gave us a new insight to develop an installation that clearly responds to the surrounding elements.

113

PART C: DETAILED DESIGN

LAGI CLEAN SOLAR ENERGY

PUBLIC ARTWORK HELIOTROPISM

CURLING/ PEELING

BIOMIMICRY DESIGN INTENT

PART C: DETAILED DESIGN

C1.1 CONCEPT DESIGN Heliotropism is defined as the natural action of plants which responds directly to the movement of sun. The diagram summarises the line of thought that have been put into to obtain our concept which is heliotropism as our intention for the installation is to bring the responsive attribute to educate users the aim of the LAGI competition. The aim of our design is achieve a display of solar energy production through direct interpretation.

â&#x20AC;&#x2DC;A Reflection of Solar Engery Generationâ&#x20AC;&#x2122;

115

PART C: DETAILED DESIGN

A circle is created on plane xy as a start.

A copy of the circle is moved at a controllable distance along the xy plane.

Another circle is created directly on the point chosen as the centre of the parametric ‘flower’ and is further divided into a controllable amount of points along the cirlce.

The area of difference within two circles is created using the intersection region.

C1.2 DEFINITION DEVELOPMENT With the idea of heliotropism in mind, we begin by creating parametric flower by creating a single petal using the following steps which best represents our idea of presenting the education of harvesting of solar energy. Following these initial idea for the Grasshopper definition, we then put the parametric flowers for further testing using Unary force under Kangaroo physics in order to present our curling/ peeling effect which we anticipated.

The intersecting region populates the xy plane along the centre of flower. The number of population is determined by the number of points divided along the circle mentioned in step 3.

Using the parametric ‘flower’ is therefore created and converted into a mesh for further exploration and is deconstructed for further use.

117

Unary force applied on the z-axis: a movement applied tangential to the plane xy.

List of control point to be chosen from where the points are remain stagnant while the rest of the mesh is applied an upward force.

Kangaroo Physic used to applied to get the expectation of folding and curling.

PART C: DETAILED DESIGN

C1.2 DEFINITION DEVELOPMENT Upon applying Kangaroo Physics, the intended effect of the curling bimetal technology is obtained. However, the intended effect only applies to the upwards force which is the reverse of what thermo bimetal is capable. With that in mind, we continue to explore alternatives to pursue a similar effect in generating renewable energy. By changing the anchor points, we were able to see the possibilities our definition can provide.

119

C1.3 ITERATION EXPLORATION Using the definition created, there were various elements other than the control points mentioned that we could control which includes the size of flower itself, size of petals, number of petals as well as the intensity of curling. An array of iterations is created in order to visualise the list of selection and possibilities.

Due to the limited results of Kangaroo physics on our concept and thermo bimetal technology, we decided to reconfigure our concept. Resulting, we shifted our focus to a stationary form due to the efficiency of technology on moving surfaces and fluctuating weather conditions of Copenhagen which becomes the limit of the technology we intended to apply.

121

PART C: DETAILED DESIGN

C1.4 SITE ANALYSIS The iteration allows us to choose the more a selection of more aesthetically pleasing ones and reject the least attractive. However, this was not enough to justify our selection. Hence, a more detailed analysis is required to select a form that would better enhance not only the experience but the efficiency of our project. We began to look back into our site and perform a site analysis which would eventually give us a deeper insight on the method of selection. Since, we were looking at solar energy collection. It would be logical if we start off with an analysis with the solar exposure and a stimulation of solar energy generation of our iterations to allow us to populate our site with efficient solar generating installation.

123

PART C: DETAILED DESIGN

kWh/m2 1105

555

Increased

Intensity of curling

PART C: DETAILED DESIGN

C1.5 SOLAR ANALYSIS With the aid of the Ladybug plug-in in Grasshopper, we were able to generate a series of analysis that would provide a solution to our problem. We began by experimenting flowers of different petal number and the intensity of curling of various flowers as well as the size of petal. We began to noticed a pattern behind the experiments. The increased number of petals will give a more efficient data but the efficiency drops as petals began to overlap in increased number of petal,i.e. 8 petals and above. In other words, 5-7 petals were the most efficient. Therefore,We narrowed down our selections to only look into flower with 5-7 petals not only they give the most pleasing experience but also the highest efficiency in term of petal numbers. We then test the curling intensity against efficiency. Flowers with 5 petals have higher intensity when they are slightly curled. However, flowers with higher number of petals will have higher efficiency when they are more flattened. The data analysis allows us to select the best three options to populate the site to provide the best efficiency.

125

TRUE

FaLSE

C1.6 Site population With the selections in mind, the population of the flowers on site will have a significant impact on the efficiency if placed in such a way that they would overlap onto each other. So we decided to program the definition to place the selections according to the above pattern (TRUE-TRUE-TRUE-FALSE). In other words, every fourth flower would be removed to reduced overlapping. Curves referenced from part B used to test against the sun path diagram to gain maximum exposures and its populated to test against efficiency once again. The definition is exploited and remodelled again and again to produce the best efficiency. In the end, we decided to control only the three factors- the size of flower, position of the flower and height of the flower. The size, position and the height of the flowers were arranged in an attractor point method so that the further the distance away from the curve,the smaller/ shorter it gets. In accordance to the solar exposure, species 04 gives the best result.

TRUE

PART C: DETAILED DESIGN

/species 01

/species 02

/species 03

/species 04

127

8:00AM

2:00PM

PART C: DETAILED DESIGN

5:00PM

/species 01

C1.7 SHADOW ANALYSIS The species were tested in Lumion with see the result of shadows on the project. The data of Copenhagen was keyed in to obtain the simulated sun path and we assumed that there were no cloud cover. The shadow of individual species were recorded and test against each other to obtain the best results in term of aesthetics, experience and efficiency.

/species 02

We were happy with the result of species 4 and decided to go with it.

/species 03

/species 04

129

C1.8 FINAL SITE ARRANGEMENT With the data we have obtained from the previous steps, the final site arrangement is determined to push the design phase to the next stage to realise our idea of conveying the reflection of solar energy generation to the public and to create an experience of learning through our installation.

131

PART C: DETAILED DESIGN

PART C DETAILED DESIGN

/C.2 TECTONIC ELEMENT

C2.1 prototype 1 1:10 physical model Unrolling became an issue as we run through our design into Grasshopper definition. Hence, we decided to manually unroll through Rhinoâ&#x20AC;&#x2122;s unroll command. This allows us to create a definition for tab making in relation to the unrolled surfaces. We began with a 1:20 scale and realised it was too small work with as the individual pieces would fall off or even burnt away during the laser cutting process. Therefore, a 1:10 scale product is to ensure the constructability of the physical prototype. However, it appears to us even with that scale, the pieces were quite small. During the fabrication process, we learnt to attach the petals on the axis through florist wires which would attach between the frames and extend onto the axis. The florist wires are then attached on to the axis using a fixture joinery which ensures a rigid connection between two components. This allows the further development of our design.

PART C: DETAILED DESIGN -UNROLLING & TABBING135

-ASSEMBLY OF COMPONENTS-

-END RESULT-

137

PART C: DETAILED DESIGN

C2.2 prototype 2 1:200 physical model

We then proceed onto making a 1:200 scale physical model in order to observe a tactile sensation of our design. We considered 3D printing as that was a direct solution to the complexity of our design. However, the precision of our design was too intense as the variation of size and height of the largest and the smallest was too huge, i.e. the smallest one was 1mm small at 1:500 scale which the 3D printer could not define. At a larger scale of 1:200 would not be able to produce a full scale model as it would take an indefinite amount of time to fabricate. Thus, we decided to fabricate our design through hand made method.

139

PART C: DETAILED DESIGN

PART C DETAILED DESIGN

/C.3 FINAL MODEL

The final model is first modelled within rhino with the consideration of fixture of different components

C3 FINAL MODEL Due to the complexity of our proposal, we were left to our only option to create a detailed model expressing the connections and the various elements that holds the structure and installation in place. We used perspex to create an expression of the final product to allow a see through into the entire design.

The components are then modelled to get pieces of components

The pieces are printed out and assembled in paper form to avoid unnecessary mistakes

The pieces are then sent to fablab for laser cutting of perspex

The pieces are then assembled and fixed using the pieces cut from laser cutting

The model is completed and is mounted onto a base both for support and photography.

143

PART C: DETAILED DESIGN

PART C: DETAILED DESIGN 1:20 scale physical detailed model

145

PART C DETAILED DESIGN

/C.4 LAGI BRIEF REQUIREMENt

C4.1 Land Art Generative Initiative In order for Copenhagen to achieve the first carbon neutral capital in the world by 2025, the Danish Government has bring upon various initiatives that focuses on reducing the overall emission of green house gases in Denmark. The LAGI competition, founded in 2008, which satisfy the goal of the Danish Government, set out a platform in Copenhagen this year for the construction and design of public art with the addition of clean energy production. To address ecological and environmental issues across disciplines and increase the sustainability by stimulating local economic development, the brief consist of a production of a site specific artwork that functions as a power plant.

COPENHAGEN //2014

149

PART C: DETAILED DESIGN

C4.2 KØBENHAVEN Refshaleøen currently serves as an empty and vacant island with little purpose besides providing a site for temporary creative entrepreneurship. However, the cultural and recreational aspect of it is experiencing a downfall as it is not given emphasis upon. Therefore, Køben-haven wishes to reintroduce life and function into the existing barren site by transforming this empty space into a garden of solar energy generating ‘flowers’. The ‘flowers’ will be a direct interpretation of photosynthesis which will provide an expression of energy generating beings. Aside from the generation of energy, it serves as a park which allows visitors to roam around these monumental structures and interact with the diversity of ‘flowers’.

151

PART C: DETAILED DESIGN

8:00am

5:00pm 2:00pm

PART C: DETAILED DESIGN

2:00pm

5:00pm

C4.2 KØBENHAVEN With carefully selection of the site arrangement and types of flowers from the list of iteration created in previous stages, the selection with highest efficiency and best experience is ensured to create a holistically pleasing installation for the site for the users to enjoy. Køben-haven offers a variety of experience which differs during the time and date of visit and provide a direct expression of the solar generating capability of the ‘flowers’

153

C4.3 Technology The structure generate electricity through the use of Dye Sensitised Solar Cells (DSSC) which is embedded in the panels s illustrated using a rigid connection to ensure the panels are in place.

/01 S + hv -> S*

The light absorbing dye is what drives the energy production of the panels. The photons on the transparent surface enters an excited state during the presence of sunlight (01). The photons then produces a current to be carried across to a metal-oxide surface (02). Positively charged electrons of the TiO2 diffused amongst the TiO2 molecules along an electron concentration gradient, where they reaches the clear anode on top (03). The oxidised photosensitiser (S+) accepts electrons from the electrolyte liquid substance (I-), regenerating the ground state to an oxidised state (I3-)(04)

/04 I3- +2e- -> 3I-

/02 S* -> S+ + e- (TiO2) /03 S* +e- -> S

Assuming maximum exposure during peak daylight hours which provides high photon influx, coupled with our optimisation of the thickness of out conductive glass substrate and the dye colour coefficient to ensure maximum absorption rate, the installation is estimated to be able to generate approximate 40000kWh of clean solar energy per annum.

40000kWh per annum of clean energy

PART C: DETAILED DESIGN SHORTER WAVELENGTH = HIGHER PHOTON ENERGY = BETTER EFFICIENCY 155

C4.4 Tectonic & Materiality Indium Tin Oxide (ITO) Structural Axis (Receptacle)

The structural centre extends towards the top and is covered up by a spherical membrane which prevents weathering. The framing of the petals starts off from the connection joints as illustrated below.

The zinc coated aluminium frame allows the slotting in of the dye sensitised solar cells within it and ensures the conductivity of electricity to generate power.

PART C: DETAILED DESIGN

Indium Tin Oxide (ITO) Structural Axis (Stem)

The structural axis contains an I beam which is bolted down to the surface level with an secondary for the primary cladding element( to prevent water from penetrating into the steel centre) which forms the tubular structure in the centre. This centre piece is bolted down onto a pad footing which extends towards the foundation. A secondary structure in included to further support the petals via a suspension system.

157

KĂ&#x2DC;BEN-HAVEN offers an extensive experience for the community of all ranges of the community. It promotes the coming together of communities in a garden of solar generating installation as reflected from the name itself. KĂ¸ben-haven also offers an opportunity to improve the lifestyle by connecting people of the community together through bonding and understanding of renewable energy.

PART C: DETAILED DESIGN

C4.5 experience

159

KĂ&#x2DC;BEN-HAVEN

The experience of learning as well as bonding becomes an essential to the users as they walk around the vast site. The experience does not stop when it turns dark. Users are encouraged to explore the installation to get a different experience during the night.

PART C: DETAILED DESIGN

C4.5 Experience

161

C4.6 conclusion The LAGI competition offers an opportunity to utilise the barren landscape to inspire and create a n energy generating art work which reflects Copenhagen as green leading city. KĂ¸benhaven focuses on the need to provide livelihood to the site and inspire the public the importance of sustainability with its green solar energy generation. Located at the directly across the bay from the famous landmark, The Little Mermaid, it also functions as a world-class attraction spot for tourists as well as a communal area for the locals.

Currently, DSSC operate at a rate of 9-10% efficiency. However, it is expected that future technology will allow its extension to 15%. KĂ¸benhaven aims to produce 40000kWh per annum assuming at maximum solar exposure during peak daylight hours. The easily replaceable solar panels on the flowers allows for future upgrade to increase efficiency as well as power production.

PART C: DETAILED DESIGN

Energy as a source of experience

Our proposal aims to illustrate these benefits in visual and tactile experience to inform the public that renewable energy can be beautiful.

163

PART C DETAILED DESIGN

/C.5 LEARNING Outcome & objective

C5 LEARNING Outcome & Objective DESIGN FUTURING Our design offers an opportunity for every level of society to experience the site differently. In other words, KĂ¸ben-haven function as a recreational ground for people to wonder around the site. The flowers embedded replaceable dye sensitised cells which enables the future upgrade to be integrated to improve energy generation. Aside from the technological impact, the flowers produce a canopy that serve to produce a park-like environment for users of all ages. The experience is intensified at the bay as the Little Mermaid is located across the bay after the journey through the park.

Composition/ Generation Rhino and Grasshopper were mainly used for the entire design. The idea of using the software was to stretch the limitless possibilities of computational design. After weeks of experimenting with the software, we finally able to produce a design with a definition that is created from scratch through logical thinking. In order to create a desired result, it is essential to first consider the formulation and process in order to create it. In my case, the flower would not come to this stage if I have not thought of using the region intersection of two circles.

PART C: DETAILED DESIGN

Design Computing Our project is heavily dependent on every single function added to the definition. The definition becomes the spine for our design which creates and remove desired and unwanted product through the move of the slider.

Parametric The entire design was based on the variables which we have set upon. Every decision and changes made to the sliders will have a controllable impact on the component. In our case, every elements, including the size of flower, height of flower, size of petal, numbers of petals, position of flowers can be controlled to give different as well as justifiable result which corresponds to the energy production efficiency.

Materiality/Patterning Our selection for the energy production method has a direct influence on the materiality of our design as limited selection of materials is available for the technology we have chosen to incorporate in our design. Therefore, the selection of material was not an issue as our research suggest. However, the arrangement of flowers on the site is an important factor to the efficiency of energy generation. Therefore, data analysis of every decision was required. Although the analysis would take up some time, they would serve as important justification for our selection.

167

Fabrication Fabrication of our design was tedious due to the complexity of our design and the vast difference in term of size and height of the flower. Initially, the fascination over 3D printing technology deceived us into concluding that our flowers can easily be fabricated through 3D print. However, after several attempts and rectification, it was clear that it was not an option for us anymore. The astronomical amount of pieces to be assembled for the whole site was also another problem faced. In our scenario, handmade model was proved more effective but the quality of it is lower than that of what computers can offer.

Analysis/ Synthesis

The analysis of data we have collected in order to justify our selection was an essential step as they not only serve as a reason behind why we select an option but to input these data into our algorithm proved effective to map the best selections and the worst. We would have blindly picked our design if there were not any information behind it.

Data Management The recording of every step of the digital workflow allow us to easily rectify when there is an error and also produced different option with the input of different functions which resulting in a change in the end product. It also allows the input of other ideas to be incorporated to visualise the ideas of others.

Data Visualisation

The occasional surprise which resulted from the input of various functions produces inspiration for new ideas or motivations to carry the project further into the next phase. The steps also allows others to understand our ideas more clearly.

PART C: DETAILED DESIGN

C6 Bibliography C1 Design Concept image source: Do|Su Studio Architecture (n.d.) ‘ Geodesic’, accessed 2May2014,< http://www.dosu-arch.com/ geodesic.html>

169