Student Journal Daniel Polbrat 636094 Design Studio Air Tutors - Has & Brad 2014
‘I don’t know why people hire architects and then tell them what to do.’
-Frank Gehry
About ME
My name is Daniel and I am currently in my third year studying a major in Architecture. In my first year I attended Deakin University where I also studied one year of architecture. I decided to make the move because I’ve always wanted to attend and graduate from Melbourne University. I guess I chose to study architecture because what better way to leave your mark on the world with a 65-storey structure in the heart Dubai. Architecture aside, I’m actually a pretty active person although I do enjoy those moments of solitude for “me” time. I can seem quiet at first, but once I get comfortable I’m far from quiet. I love interacting with people, learning new things and being pushed to my limits, it’s the only way to get better.
In terms for this subject, I’m really excited to learn and develop skills that look at the technological side of design. The fact that we are encouraged to be conceptual and open makes this subject that much more exciting in the way that we are allowing our imagination to guide our design intentions.
Part A. Conceptualisation 3 A.1. Design Futuring 5 - Energy Technology Research 7 A.2. Design Computation 11 A.3. Composition & Generation 15 A.4. Conclusion A.5. Learning Outcome
Part C. Final Design 51 57 59 61 66
Design Concept Tectonic Elements Final Model LAGI Brief Learning Objectives & Outcomes
C O N T E N T
Part B. Criteria Design 19 Research Field 21 Matrix Exploration 25 Precedent Study 27 Reverse Engineering 31 Technique Development 37 Prototypes 39 Proposal 45 Learning Obejectives & Outcomes 46 Appendix
PART A.
CONCEPTUALISATION
A.
PRECEDENT STUDY
A1. Design Futuring.
LAGI Competition Review. LAGI, “99 Red Balloons”, 2012
LAGI, “Mary-Go-Round, 2012
99 Red Balloons Artist Team: Scott Rosin, Meaghan Hunter, Danielle Loeb, Emeka Nnadi, Kara McDowell, Jocelyn Chorney, Indrajit Mitra, Narges Ayat, Denis Fleury Artist Location: Winnipeg, Canada For my design something I’d really like to focus on is interaction and I think this entry is a good example of evoking interaction and gaining attention. This particular entry encourages exploration and engagement within a landscape that was previously detrimental landfill. The use of the balloons as a source of renewable energy is remarkable, taking the concept of photovoltaic solar generators and combining it with balloons 100 feet in the air to fully engage with sunrays is an innovative way of producing energy. I also enjoy the fact that this entry is people-friendly and leaves an experience of innovation in the most childish way, in terms of the use of balloons. In conclusion, this entry has inspired me to think beyond just simple energy generators but to expand to less generic models. Personally I feel this entry should have won, as the design acts as beacon of new and innovative design of the future.
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Left. 99 Red Balloons
Top.
MARY-GO-ROUND IN 2.0
MARY-GO-ROUND IN 2.0 Artist Team: Quentin Duvillier, Adrien Piebourg Artist Location: Paris, France This particular entry is very interesting at the first glance, although after analyzing the concept I find it really hard to understand what the architects are trying to promote and achieve. Something that really stood out to me in this design was the use of a carousel of three rings, supposed to be powered by wings of wind energy at a high altitude. I think it was a really interesting way of using wind energy to create the effect that the rings are moving above the structure. However, unlike the other entrants this design produced little evidence of how the system is supposed to work. This was definitely one of the weaker responses although it had potential to be a really creative proposition to the competition but the lack of explanation failed to engage me any further. On the other hand, the entry inspires and encourages me to push the limitations of wind energy generation, wind exists everywhere and is a free source.
LAGI, “Dumpscape”, 2012
Dumpscape Artist Team: Yehre Suh, Yeung Shin Artist Location: New York City, USA What I found interesting about the Dumpscape entry was how the architects reimagined a topographic infrastructure by utilizing erosion control retaining berms of recycled materials to create a landscape. The various topographic conditions produced from the berms provides the opportunity for these surfaces to act as solar energy collectors, which I think is a very interesting feature of the entry. The Dumpscape system also enhances environmental conditions through the use of the topographical berm, creating windbreaks forming specific microclimates for vegetation and wildlife. Overall, what captured me about this entry, was how they used a space which was practically filled with rubbish, a landfill and morphed it into a landscape that is reusable, produces renewable energy and can be used by the public. LAGI, “Dumpscape”, 2012
A1. -Energy Technology Research. Piezoelectricity There are a number of ways of generating kinetic energy, it can either be man-made or naturally harvested and then converted to electrical energy. Piezoelectricity is a form of harvesting kinetic energy, by converting mechanical strain into electrical energy1. The most recent examples of piezoelectric generators are shown through the insertion into shoes or walkways to harvest the energy from walking and jumping. This particular type of energy generation would be a great way to help the interaction and experience of the site. Depending on how the site is developed, piezoelectric generators give the opportunity for the community to be involved in production of electrical energy by simply walking around the site and experiencing it first hand. Piezoelectricity can be generated in a number of ways though pushing, twisting or distortion which widens the scope of how energy can be produced in a communal manner that has a positive effect environmentally
Thermoelectric Power Thermoelectric power is an interesting concept in terms of energy production. This particular type of energy production method utilizes heat and cold known as the Seebeck Effect3. The Seebeck effect is produced by temperature differential across the module from heating one side and then cooling the other side by transferring the heat away as fasts as moves through the module. However with this source of energy, the temperature of the hot side of the generator is the most critical component therefore retaining that heat may consume more power than it actually produces initially4. The concept of thermoelectric power is quite interesting and its process reminds me of putting a hot pan under running cold water and the steam effect that it produces. This could be considered an interesting attraction if this was implemented on site as it can produce steam waves as it continuously produces power, which can cause more public interaction.
Photovoltaic (Organic Photovoltaic Cell) OPVC utilizes solar energy to collect and conduct energy. OPVC is also organic therefore it appeals to the environment and its plastic nature allows it to be fabricated into flexible shapes adding to its ability to be used in design. It is also a translucent generator of energy meaning it has the ability to be applied to surfaces such as windows enhancing its adaptability2. Another positive for this source of energy generation is that it is proven to work and is a sustainable efficient way of solar energy production. The cost of production is low and still works well without direct sunlight. OPVC is great initiative towards renewable energy and also provides a number of possible design innovations in terms of the site. However, it lacks the effort of communal activities as it potentially produces energy without human intervention. In addition, this particular energy source is generic and doesn’t push the boundaries.
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Fig. 1. Photovoltaic Cell
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Robert Ferry & Elizabeth Monoian, “A field guide to renewable energy technologies”, 2012 p60 Robert Ferry & Elizabeth Monoian, “A field guide to renewable energy technologies”, 2012, p14 3 TEC, “How thermoelectric power generation works”, 2010 2
A1. - Selected Energy Technology Piezoelectricity The technology that I am interested in
applying towards this design project is Piezoelectricity. My aim for this design project is to utilize the sites space and openness. The site is full of potential and I feel as though I can accomplish its full potential through the use of this technology. The greatest feature of this technology is the possibility of human interaction. With the possibility of humans being able to interact with the site whilst producing renewable energy enhances the experience but it also creates something that people could enjoy without fully understanding that their movement is actually producing energy that can be stored and used.
Possible Deisgn Solutions: Some of the initial ideas that come to mind with this piece of technology may be to produce a site that encourages physical activity. In saying that the site may not be necessarily flat and the topography can change throughout the length of the site, encouraging moments of walking, running and so forth.
The center of the site could be the storage facility that intertwines with topography of the site and its interior could be a multi purpose structure that stores and uses the produced Piezoelectricity to run itself or even transfers to the main city power grid.
A2. Design Computation Precedent - Design.
Museo Soumaya Fernando Romero and Armando Ramos of Fernando Romero EnterprisE The basic principles of the form were originated through curves5 but through computational design, are 3D form was produced. The shape is distinctively free-form, although it is interesting to look at especially with the hexagonal façade. In terms of LAGI brief, an option could be that the hexagonal faces of the façade could act energy produces collecting sunlight and storing it within the building.
Due to the complex form of the building it would have been impossible for the architects to produce 2D drawings and would produce confusion. Computation allowed for this design to take life, it was through computational design that the architects were able to create algorithmic methods and produce meshes that brought the form to life.
Furthermore, computation allows design to push the boundaries Another potential idea is that LAGI of where to stop, it allows us to site could adapt the hexagonal understand how things may work when it comes to the construction faces on to the ground to be walked and each time its stepped phase but it also changes our design thinking. For example in upon it collects the mechanical relation to the Museo Soumaya, energy generated from the pushing force from the step which the architect was able to follow a generic design for a museum could then light a up potential hexagonal face that is linked too. but through computational This sort of design introduces design, they created something of free form that could only be an interactive system that could understood through technology. attract potential on lookers.
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5 Fernando Romero and Armando Ramos, ”Bridging a Culture: The Design of Museo Soumaya”, 2013
Computational design methods create opportunity for data to take form through algorithmic and geometrical methods. Simple data sets that reflect design intent such as climate, can be illustrated into 3D forms through computational design. Technology enhances future designs by making the design process a more powerful process as it allows more people to interact with models almost instantly therefore increasing the speed of feedback.
�Bridging a Culture: The Design of Museo Soumaya�, 2013
A2. Design Computation Precedent - Design. ” A basic form, pattern, or object is automatically modified by an algorithm. The result: infinite random modifications of the starting solution.” - Frank Piller (Generativedesign, 2011)
Kuwait National Bank Foster + Partners
This particular design is interesting in
the way that it was developed. Overall the tower geometry was influenced by solar, wind and planarity analysis6. The design of the tower is a response to the local climate, thus vertical structural shading fans protect the eastern and western facades, whilst the north face is introduced to natural light and views. This concept can be applied to my design in the sense, that if my design were to use solar panels, it would be a clear advantage to place these panels on a face that is open to light. Another positive of the design is the sleek “shark-fin” profile, as it is far from generic it pushes the boundaries of design but is built as a reflection of the climate. I find this an interesting way of approaching a design, generating a structure purely off climate. However this approach acts an inspiration in terms of parametric modeling, the tower is far from generic but is designed with intent for sustainability.
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In terms of the design of the National
Bank of Kuwait, computational design allowed the architects to generate a parametric model that would integrate performance parameters and allowed them to explore complex geometrical solutions for the building. The parametric model was used early in the design stages to quickly produce various models that could be further developed. Parametric modeling provides the link between geometric relationships and its elements. The fins that make up the buildings façade were produced through curvature techniques in link with other computational methods that made it possible to extract information to further develop the use of space.
6 Dusanka Popovska, ”Integrated Computational Design: National Bank of Kuwait Headquarters.”
chrisglew.com, 2014
chrisglew.com, 2014
A3. Compostion & Generation - Precedent Study. “Generative design is not about designing the building – Its’ about designing the system that builds a building.” Lars Hesellgren
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The TED Talk by Michael Hansmayer also clearly identified the idea that generative design is the notion of developing a process which can be continuly implied and changed by the user to produce the final outcome7. Hansmayer used the example of the process of folding paper, this could be seen as one of the most basic algorithmic process, although re-using this algorithm produced a final form. From what I gathered from the video and readings is that we can generate design solutions on the spot however with technology we also have the opportunity to generate systems or process that can be altered and applied to produce an outcome that is far from generic.
Technology has now become an
integral tool in the digital design process because it enables unique processes for innovation.
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Scripting and parametric modeling enable architects and designers to customize design processes in their modes of working8. One of the most important types of generative design is parametric modeling. Defining parametric modeling is still open to question because it encompasses a number factors including, design change, parametric algorithm and mathematics.
(Generativedesign, 2011)
The whole process is about finding forms not producing forms. Generative methods can be simply algortihmic, nature-coded, agent based and many other possibilities to generate endless variations. Understanding generative design as a system that builds a building uncovers how an expression can produce endless amounts of modifications of the starting solution from a basic shape, pattern or form.
As previously mentioned, parametric modeling enables the process of innovation whilst also provides the opportunity to develop a number of schemes in no time, to compare design solutions with the architect’s own predictions.
I agree with the quote mentioned above as I think it outlines the essence of Generative design practice . 7 ,8
Michael Hansmeyer ”Building unimaginable shapes”,TEDGlobal, 2012,
Beton Hala Waterfront Center Sou Fujimoto Architects
This particular piece of work even though it is not built is prime example of conceptualization in conjunction with parametric modeling. This design is anything but rigid and the use of codes and algorithms increases the chance to generate these abstract ideas such as the Water front center also known as the “Floating Cloud”. As the name suggests this is a very complex design visually although it is also pleasant to the eye. Without technology I don’t think this design would seize to exist or even be developed without the use of system that could modify certain parameters without having to start from scratch every time a change is made.
Thus this process of generative design provides efficiency, therefore making the design process much more productive with fewer setbacks. My interpretation of this design is that I think the architect started with a single geometric square which is the center of the structure. From there he may have manipulated a circle through a number of inputs like offsetting and generated a particular pattern or algorithm which transformed the circle into a 3D form.
ArchDaily, “Guangzhou Opera House/ Zaha Hadid Architects”, 2011,
Design Boom, “Sou Fujimoto: Beton hala waterfront centre”, 2012,
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Guangzhou Opera House Zaha Hadid Architects
This opera house design incorporates features of generative design as it works to imitate nature. The design evolved from concepts of the natural landscape, engaging with principles of erosion, geology and topography9. In a design such as this, parametric modeling allowed the architects to have direct control of how a generated expression in conjunction with the surroundings and conditions of the site would facilitate the shape and form of the building. For this design, I feel the architect may have started out with curve that shaped the site and from there they exploded the curve with different inputs and parameters until they produced a form that defined harmony between site and structure. . However if this design was to be shared for reference with other architects, parametric modeling is inconvenient in the way that other architects will not be able to modify the design as they don’t have any reference to how the design was originally created and it may be hard to backtrack certain inputs and parameters.
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Design Boom, “Sou Fujimoto: Beton hala waterfront centre�, 2012
A4. & A5. Conclusion
Just like people, Architecture had evolved over time. The Design approach has developed with the introduction of technology with new and innovative ways to produce final design solutions. With new approaches such as Parametric modeling, architects are able to push the boundaries of design and are able to generate and modify an endless amount of variations through complex algorithms. For this project, I plan on utilizing concepts of computational design in conjunction with generative approaches. To be successful for this brief, it is important to use tools that stray away from generic design therefore using a parametric modeling approach you are ensured to produce something that is far from generic but rather unique in the applied variations produced during the design process and also in its final form. When looking back at previous design projects, now that I have this knowledge on different design approaches and thinking I feel as though my past projects reflect a basic understanding of design and were sort of limited. Utilizing this new idea of thinking and designing with the use of technology enables to branch out further and ultimately enables me to produce a system or a process, rather than just building a structure.
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PART A. Notes
ArchDaily, “Guangzhou Opera House/ Zaha Hadid Architects”, 2011, <http://www.archdaily. com/?p=115949>, accessed 24 March, 2014 Design Boom, “Sou Fujimoto: Beton hala waterfront centre”, 2012, <http://www.designboom.com/ architecture/sou-fujimoto-beton-hala-waterfront-centre/>, accessed March 24, 2014. Dusanka Popovska, ”Integrated Computational Design: National Bank of Kuwait Headquarters.” Archit Design, 83, (2013), <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/store/10.1002/ad.1550/asset/1550_ftp.pdf?v=1&t =htare3fj&s=3a66dd9e61251be15dde86251a0e4a76d14011b4> accessed March 14, 2014 p. 34-35 Fernando Romero and Armando Ramos, ”Bridging a Culture: The Design of Museo Soumaya”, Special Issue: Computation Works: The Building of Algorithmic Thought, 83, (2), (2013), <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/store/10.1002/ad.1556/asset/1556_ftp.pdf?v=1&t =htarcrvk&s=290eb42fad2d27d4a370ae95173ed0864eabc15a> accessed March 14, 2014 p. 66-69 Michael Hansmeyer ”Building unimaginable shapes”,TEDGlobal, 2012, < http://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes> , accessed March 23, 2014 LAGI, “Dumpscape”, 2012 <http://landartgenerator.org/LAGI-2012/ABRAXUSS/>, accessed 10 March, 2014. LAGI, “Mary-Go-Round 2.0”, 2012, <http://landartgenerator.org/LAGI-2012/DP848612/>, accessed 10 March, 2014. LAGI, “99 Red Balloons”, 2012 <http://landartgenerator.org/LAGI-2012/99009900/>, accessed 10 March, 2014. Robert Ferry & Elizabeth Monoian, “A field guide to renewable energy technologies”, 2012, <https://app.lms.unimelb.edu.au/bbcswebdav/pid-4269798-dt-content-rid-13528020_2/courses/ ABPL30048_2014_SM1/LAGI-FieldGuideRenewableEnergy-ed1.pdf> , , accessed 10 March 2014, p14, 21, 60 TEC, “How thermoelectric power generation works”, 2010, <http://espressomilkcooler.com/how-thermoelectric-power-generation-works/> ,accessed March10, 2014. All Quotes were taken from; <http://generativedesign.wordpress.com/2011/01/29/what-is-generative-desing/> accessed, March 24, 2014
PART B.
22 CRITERIA DESIGN
B.
EXPLORATION
B1. Research Field - Material Performance In Computational Design, Material Performance can be seen as an alternative approach to computation generation. In terms of material performance, the computational form is driven directly driven by the physical behaviour and materials characteristics1. Therefore material performance can be used as another design approach for the LAGI brief, generating something that is based directly on the physical properties of a particular material means structural integrity and production of a form that supports itself. Different materials have different properties and act in different ways in relation to their physical characteristics2 and material performance is about experimenting with these possibilities to produce a structure that can inevitably hold its own.
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The ICD/ITKE Research Pavillion 2010, utilizes this concept of material performance through the use of plywood strips and its elasticity to bend. In conjuction with parametric modeling, the materials properties were combined with parametric principles, the arrangement produced lightweight system through a combination of both the stored energy resulting form the elastic bending during the construction process and through the morphological differentiation of the joint locations enables a very lightweight system 3. Material performance can also produce structures that are visually a delight to the eye. The Voussoir Cloud is made of thin, lightweight wood laminate construed into vaults and threedimensional petal clusters which form the body of the structure.
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This design is innovative in the way that it uses the density of the material to create columns for the structure, by ganging together of more smaller connective modules that inevitably hold up it up, while the upper vault shells loosens which becomes a visual display. In terms of the LAGI brief, material performance would be an excellent way to showcase a materials properties. However it’s choosing the material or the combination of materials that it is the hard part. After conduction the precedent research a material often used is wood in bending, folding and stripping, all characteristics of it elasticity. I also think concrete could be a good material to use, as different forms can be generated through the use of formwork.
ICD, “Textile Hybrid M1: La Tour de l’Architecte”,2013, ICD (Institute for Computational Design), “ICD/ITKE ResearchPavillion 2010
2,3
Archivenue, “Voussior Cloud, by IwamotoScott with Buro Happold”, 2014,
Left.
ICD/ITKE Research Pavillion, 2010
Top.
Voussoir Cloud
ICD (Institute for Computational Design), “ICD/ITKE ResearchPavillion 2010
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B.2. Matrix Exploration - The Voussoir Cloud. We managed to generate a range of interesting possible design outcomes. The similarities we identified became our constraints and parameters for our definition the Voussior Cloud. We explored the parameters of the Voussior Cloud by moving sliders that determined the number of points, direction of these points and more importantly the movement of these points in conjunction with the physics system Kangaroo. We explored these parameters within a matrix and tried to combine the definition with other algorithmic methods
we have learnt from the course to produce as many design outcomes as possible. However instead of trying to focus on all the parameters explored in the matrix, we have decided to focus on just one, the notion of dynamism and movement. We have agreed that it was most relevant in relation to the LAGI brief because this project is about utilizing the site as renewable energy source, a dynamic change to the Copenhagen Harbor and a move in the right direction of the community.
This iteration was intended to show postive protusion of the petals rather than a negative depression. The iteration almost describes mountains and I think it has potential to be re-worked to fit the brief. The iteration highlights dynamism and movement as its form is dynamic in the sense that it explodes from a planar surface in an upwards direction.
The intention of this iteration was to experiment depth within the definition with a force acting on it. The interation almost describes the movement of sinking sand. Even though the iteration is still you can envision movement, each void is different in depth and size highlighting the notion of sinking.
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Matrix Exploration - The Voussoir Cloud. The emphasis of this iteration is sharpness. The original form of the petals are clearly lost. This iteration portrays a dynamic nature with sharp elongated forms that are very different from their orginal curved forms.
This iteration mixes curves with sharp points. I find this an interesting combinations of forms as the iteration shows lapses of protruding curves with sharp edges. We got to this iteration by increasing the dynanism Force within Kangaroo. As you can see the orginal petal form is almost completely transperent and a new form has been created.
B.3. Precedent StudyEXOtique. EXOtique installation was constructed as part of a design and fabrication workshop at Ball Stateâ&#x20AC;&#x2122;s college of architecture. The installation is a hexagonally based panelized component system, which serves as a lit drop-ceiling. The design was generated entirely through grasshopper. The surface was triangulated and then was applied to hexagonal tessellation groups. Being a student workshop project, there were considerable time and budget constraints imposed; successful completion emphasizes the relative simplicity of panel fabrication. As embodied energy is a concern for sustainable development3, we chose to integrate paneling into our design. Moreover, we will employ recycled steel from the surrounding industrial area for the frame in order to minimize cost and energy of transport and production. This project is an important precedent as it outlines how the use of digital software can drastically condense the fabrication process. As designers and creative thinkers, to create the complex and infinitely different component systems we can benefit from these digital processes4.
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4
PROJECTiONE, â&#x20AC;&#x153;EXOtiqueâ&#x20AC;?, 2009,
PROJECTiONE, “EXOtique”, 2009,
PROJECTiONE, “EXOtique”, 2009,
PROJECTiONE, “EXOtique”, 2009,
B.3. Reverse Engineering ProjectEXOtique.
- Process Diagram
1
2
3
Base Grid Geometry
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4
5 Application
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B.3. Reverse Engineering ProjectEXOtique. Process. 1. Hexagonal grid Using the hexgrid function and offsetting the hexagonal shape, we have created a hexagonal pattern which mimics the panel tessellation of the EXOtique installation. The integers used for the grid were odd numbers in order to satisfy the tessellation requirements of the hexagonal shape. We have used an x integer of 3 and y integer of 5. 2. Box After establishing the hexagonal grid pattern, we established a panel space using this grid as a base. The box is created by the joining of points, whose locations are informed by the grid geometry through use of the subtract command. The rectangular space serves as a panel, which allows the hexagonal pattern to be applied to our lofted surface. 3. Loft Applying the loft command to a collection of curves creates a planar surface to which the hexagonal panel geometry. The lofted plane is representative of the lofted shape of the EXOtique installation.
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4. Application The hexagonal grid was applied to our lofted surface by morphing the grid surface, the box panel and the loft surface box. The combination of shape and pattern creates the overall form which is identifiable as a variation of EXOtique. 5.Adjusting Experimentation with the surface loft shape, and of the values of various commands such as the surface divider, facilitated minor adjustments to our form that resulted in a greater level of resemblance to EXOtique. 6. Attempt at point charges The EXOtique panels have circular cut-outs. We recreated this circular pattern using point charges. We divided our hexagonal surfaces into points. We then created point charges, altered by equation which controls the circle radius. This new surface was then mapped onto the loft. We encountered an error in executing this, however the simulation was still completed. EXOtique is lit with LED bulbs attached to some panels, the circles are only present on the panels which are not lit. We could not replicate the inconsistency of the circular patterning, as we could not find a way to instruct point charges to only effect certain portions of the grid surface.
Similarities General curvature while keeping rigid structure because of the hexagons. The hexagonal panels follow the curvature of the loft, rather than being two-dimensional pieces placed together to create a lofted shape. Differences The configuration of the circular cut-outs is dissimilar to that of our definition in that our circular pattern expressed itself in singular lines, rather than a concentric configuration. The outside edges of EXOtique are limited to the borders of the hexagonal shapes, rather than adhering to the shape of the lofted surface. Our definition adheres to the boundaries of the loft. Where would we like to go next? Increase dimensionality by splitting the lofted plane to fold it into different directions.
Additionally, we would extrude some panels to create a more 3 dimensional effect. We would increase the ‘sharpness’ of the form by implementing panelised ribs which would protrude from the loft.
Further Exploration Increase dimensionality by splitting the lofted plane to fold it into different directions. Additionally, extrude some panels to create a more 3 dimensional effect. Increase the ‘sharpness’ of the form by implementing panelised ribs which would protrude from the loft enhancing the definition.
B.4. Technique: Development A.
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In search of a technique, which could satisfy our selection criteria, we developed a series of grasshopper definitions that explored paneling and hexagonal grid patterns. Firstly we tried to incorporate the parametric modeling methods used for the ExOtique definition and from there we pushed the boundaries of the definition we created through various input parameters that significantly changed the form to fit our needs.
In these variations we explored a single a surface and a applied the hexagonal panels. To further speculate these particular variations we trimmed the surface in accordance to the panels to create different forms at different scales by changing the numbers of the input parameters.
B.
Then we decided to utilize the lofting curves tool to produce surface forms that could be used with the site. With these surfaces we applied another Grasshopper plugin, LunchBox, to generate panels. We then integrated triangulation and hexagonal panels and tweaked the number of panels.
C.
Sticking with hexagonal paneling, we took a different approach to showing thickness and density. We applied the Piping parameter to explore the forms that were generated after trimming the interior surfaces of the plane.
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D.
These particular variations were a combination of all the input parameters used in each of the previous families. However we also incorporated the Point charge parameter to produce forms guided by direction which would be intentionally related to the wind direction in the later design stages.
B.4. Technique: Development
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This particular iteration is a personal choice in terms of moving forward to develop although we have considered the design to be too difficult to articulate and emulate. However I do like the potential this design offers in terms of being applied to site as a pavilion. The angles within the design complement the use of solar panels as they could be placed in terms of sun direction. It would also be interesting to explore how the light is refracted within the design, such as the particular shadows it creates could be a spectacle for pedestrians.
This technique is applicable and can be adapted to the context of the site and I think with development it provides a solid basis for potential design strategy.
These are the iterations we decided to use to represent the outcome of our matrix process as our proof of concept. It was chosen because we had an idea about how we could possibly construct it to produce a model and it articulated the point of our technique in a simple, understandable way. We chose two, as we would like to further explore how these iterations could be expanded and pushed and we would do this by applying our chosen energy technologies. We felt as though these iterations had the ability to adapt better to Solar and Kinetic energy.
B.5. Technique Prototypes We created a twisted, abstracted rectangle form that takes a full revolution. The tower has a ribbed façade that twists to create an abstracted shape. It is this twist that we want to utilize for our energy generation. By using lightweight material, or hollowed material, we will be able to create a moving structure and it will move around, like a pinwheel in 360-degree revolution when the wind blows. This movement will create kinetic energy through piezoelectric cells. These panels can also be covered, or created out of photovoltaic cells that will collect sun energy at again all angles of the site. As for site placement the tower could either standalone or have multiple to create a moving â&#x20AC;&#x2DC;farmâ&#x20AC;&#x2122;. Recent research shows that wind is subsequently more frequent in the south-eastern direction, thus this tower could be placed to the west of the site to ensure maximum consumption of wind. The panels closer to the ground will have tighter joints and therefore need more force to move. This is so that pedestrian interaction will be safe and ensuring people the ability to interact with the structure and physically move the bottom panels themselves.
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Production of the tower required us to think of materials that could possibly be used to produce the structure in real life. In order to produce a rotating tower, we needed to assess the average wind energy needed to rotate certain materials. Essentially we had to use a material that was light enough to move with the wind during periods of low wind speed.
By expanding and pushing the definition with different parameters we produced a flattened and enlarged piping system that is much more organic in comparison to our other iterations. We chose this iteration, as we believe it could be applied to the site floor as a more solid, building structure. The large openings could create wind tunnels through the site, which would in turn move panels within the structure that would generate kinetic energy. These panels will move on latches and therefore close off different areas during different wind paths, creating a constantly changing experience for viewers. This internal movement would create an interactive experience for people as they walked through the structure as they path would change depending on the direction of the wind. The walls of the structure could be lined with photovoltaic cells that would be able to harness the energy from the sun in the day. These would also be working at an efficient level, as the curved structure would be able to receive the sun as the sun
travels in the sky and as the sun path changes for the different seasons. By using both photovoltaic cells and kinetic energy more efficient energy levels can be reached then by using both on there own. To model this iteration we decided to use 3D printing. Utilizing 3D printing allowed us to explore how this iteration worked as a solid form, it helped us understand what constraints the design might have such as being a little too simple in terms of algorithmic design. The model also showed that it lacks form.
PART B. Proposal
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B.6. Proposal DESIGN INTENTION We have interpreted the brief as prompting a design which employs natural site conditions as a means of energy generation. Our intent is to create something that responds to the dynamism of on-site environmental factors in a way that is interactive with users. The challenge is to incorperate geometric complexity and expression of parametric design, while maintaining navigability in our structure. We have employed the algorithmic design process of geometric paneling in conjunction with solar and kinetic energy generators with a focud towards minimizing embodied energy through use of local recycled materials.
PRECEDENT & ALGORITHMIC DESIGN STRATGEY Our algorithmic design strategy, geometric panelling, has been influenced by our explorations of precedents Voussoir Cloud and EXOtique. Consideration of material function, as in Voussoir cloud, inspired integration between our generators and our structure, in turn informing our decision to employ photovoltaic and piezoelectric paneling. EXOtique emphasizes the relative simplicity of panel fabrication. As embodied energy is a concern for sustainable development, we chose to integrate paneling into our design. The Voussoir cloud cells are based on the Delaunay tessellation, and EXOtique on an offset hexgrid. Having worked with these geometric grid forms and achieving interesting results, we chose to continue down this pathway.
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SITE CONTEXT
ENERGY INTEGRATION
Our site is Refshaeleon in Copenhagen harbor, the site is situated in an industrial area but it is also adjacent to the water, which is situated to the west of the site. The site is primarily an open space as it was originally an island in its own right, but was annexed to the larger island of Amager.
We chose to employ both solar and kinetic energy to ensure year-round energy production. When there is less sun in winter months, there is greater wind flow which is harnessed as kinetic energy.
Our observations found that the site is exposed to stronger and more frequent south-eastern winds during both summer and winter seasons. As the site is an open plane it is directly affected by wind, therefore positioning our proposed design to the west of the site along the waterfront, maximizes wind energy potential as well as displacement from existing building shadows to maximize solar efficiency. The site can be accessed through the west side via an existing dock and ferry service, as well as the eastern side adjoining to the mainland Amager. Our structure is accessible from all four directions ensuring accessibility and minimizing pedestrian traffic. The western region will be densely populated due to the proximity and flux generated by the position of our designs. The density will drop towards the east due to existing infrastructure, as people make their way away from the structure.
Photovoltaic cells convert the energy of light directly into electricity. We have chosen to use monocrystalline solar cells: the most efficient, durable and space efficient and crystalline cells, which also suffer less adverse effects from temperature increase than polycrystalline. These cells are generally used in the form of panels, and so are applicable to our strategy of geometric panelling. Piezoelectric ceramics when affected by pressure or vibration have the capacity to generate electric voltages. We will be employing the use of piezo actuators, which convert electrical signals into physical displacement, to control the movement of elements within our dynamic, responsive structures.
Proposal 1/ TESSELLATION TOWER Tessellation tower is a rotating solar and wind energy harnessing sculpture. Steel offcuts will make up the frame of the structure, which will be clad in mono crystalline photovoltaic cells and piezo-actuators. The tower itself is divided up into rectanglular modules, which move independently as a result of wind velocities affecting the piezo actuators. Each module will be covered in mono crystalline photovoltaic cells on the top and the sides of the rectangular structure to harness solar energy. The tower visually demonstrates changes in wind patterns but is limited in user interaction.
1. Monocrystalline solar cells: 2. Clear Film Piezoelectric cells 3. Monocrystalline solar cells:
1 2 3
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Proposal 2/ PROJECTION PIPES Projection Pipes is an interactive constellation of piped walkways clad with photovoltaic cells and piezoelectric fitted doors. The pipe directions are based on summer and winter wind rose data for the site, maximizing kinetic energy potential. The central area will be a meeting point of all the pipes with sitting area for users. Wider projections denote higher wind velocities (refer to diagrams). The interior space is protected from large wind tunnels as door are automatically further closed in these areas. The exterior of the structure is cladded with mono crystalline photovoltaic panels, which are triangulated to allow for individual angling for optimal light capture.
ď&#x192;Ą
wind magnitude/velocity ď&#x192;˘
openness of door
B.7. Learning Objectives & Outcome
In regards to our interim submission, rather than just presenting a single proposal, we managed to present two different proposals based on experimental sculpture and the other on practicality. This adheres to Objective No. 2, as we showed the ability to come up with a number of possible design strategies. Throughout the development process, we engaged with our precedent projects, Voussior Cloud and EXOtique, which relates to Learning Objective No. 6. We were able to analyze these projects through the matrix exploration of the Voussior Cloud and the reverse engineering task allocated to the EXOtique project, thus helping us understand the technical aspect of the projects. Our proposal for Projection Pipes and Tessellation Tower both received negative feedback and as they described the forms as simply to constrained to simplicity and lacked aesthetic development. Therefore in order to progress, we need to show more emphasis on Objective No.3, we need to up our skill in parametric modeling and push the boundaries of our definition and try to explore further by incorporating additional parameters. Another aspect that was critiqued in a negatively manner, was the presentation of our layout and renders. These particular aspects are meant to make a case for the proposals whilst winning the tutors support. This outlines a careful reconsideration and improvement in the area of Objective 5, making a case for our intended design concepts. In terms of moving forward, we have decided to abandon solar energy generation and put a greater and strict focus on the production of kinetic energy through the use of piezoelectric actuator panels. I think for our design we need to reassess our algorithmic technique and look back at our matrix explorations to find forms that are less simplistic and constrained but are rather free and open to interpretation.
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Although, we have to keep in mind that our design must engage with its users with the site and additionally its surroundings.
B.8. Appendix
PART B. NOTES Archivenue, “Voussior Cloud, by IwamotoScott with Buro Happold”, 2014, < http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/>, accessed March 14, 2014 ICD (Institute for Computational Design), “ICD/ITKE ResearchPavillion 2010”, 2013, <http://icd.uni-stuttgart.de/?p=4458>, accessed March 14, 2014 ICD, “Textile Hybrid M1: La Tour de l’Architecte”,2013, <http://icd.uni-stuttgart.de/?p=7799>, accessed March 14, 2014 PROJECTiONE, “EXOtique”, 2009, < http://www.projectione.com/exotique/>, accessed 21 March, 2014
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PART C. FINAL 54 DESIGN
C.
DETAILED DESIGN
C.1. Design Concept After the interim presentation, we took into consideration the feedback we received thus we decided to change our proposed design strategy. We understood that we needed to focus on a single energy production method, thus we stuck to the use of the piezoelectric cells as they worked effectively and met the brief requirements. The primary function of the intended design was to encourage the discussion and awareness of renewable energy, displayed in the energy production through movement by the use of piezoelectric panels. In addition, the design also creates a functional community space, allowing people to interact with the site and just not a viewing spectacle. Therefore to redesign our structure, we focused on creating a triangulated frame with the piezoelectric panels inserted within these triangulated frames based on where the maximum wind movement occurs. The design also had the requirements for maximum human interaction, so we made the structure accessible by walking in and around it. We came to this final proposal by creating a definition of a Space Frame, as this was the most structurally sound method of making such a structure. With the final form defined, we moved onto to test site configuration and the potential to generate renewable energy.
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Before coming to our final form we experimented with different forms positioned on the site in conjunction with wind patterns and potential circulation paths. We also observed whether a single structure or multiple structures would be beneficial and most efficient in terms of energy production. Placement of panels is primarily based on interpretation of wind rose data, shown conceptually in blue, and augmented with consideration to aesthetics. This analysis was completed for two options; one structure vs. multiple smaller structures. These options were taken from a matrix of possibilities. After heavy analysis, we found that the single structure had greater potential in energy production due to the fact that the single structure is open and has the ability to receive wind movement from both the inside and outside.
Potential power output based on max wind velocity 3880 mW/h approx. Expected power output based on average velocity 256 mW/h approx.
Potential power output based on max. wind velocity 7315 mW/h approx. Expected power output based on average velocity 523 mW/h approx.
C.1. Design Concept
= curves with point charge
= lofted
= triangulted mesh
A lofted surface was created by a series of curves, manipulated using point charges with an aim to create a â&#x20AC;&#x153;peakâ&#x20AC;? that would harness the wind and also be a feature point. These curves were then lofted to create a surface, which we could then apply our structural frame. We began with a standard triangulated surface.
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= space frame created
= U and V adjusted
= divided into cables/steel and piped
We implemented a space frame structure in place of our standard triangular frame upon consideration of constructability and structural efficiency. To create the space frame, we subset our surface to cause a division within the surface. Following this was the division of both surfaces, one of which was offset by increasing U and V Values. The joining of these two surfaces constitutes the fame connections, connected by the End Point functions in Grasshopper.
C.1. Design Concept Manufacturing
Proposed method of construction:
Steel space frame members: Steel acquired in the form of off-cuts from surrounding industrial area e.g. ship yard Space frame members manufactured in abandoned factory spaces. Finished with a brush polish, however maintaining a low surface roughness to optimise corrosion resistance. Steel is one of the least corrosive metals, considered due to exposure to water and excessive wind.
1. Welding of steel members via welding of tennoned connection.
Tension cables: Fitted with suspension clamps as necessary Manufactured by NKT Cables, Stenlille, Denmark
2. Fitting of tension cables connected via suspension clamp. 3. Attachment of FPEDs (both sides) encased in pre-installed aluminium frame. Ensure that wires run through proscribed steel member as per the electrical plan. 4. Connect all parts, ensuring safe connections between wiring, and welding of all steel connections leaving no gaps for water penetration.
Piezoelectric panels: Fitted double-sided to encasing aluminium frame Manufactured by MicroFlex, Denmark. Assembly Assembly can be undertaken on site given approximately 500,000 m^2 surface area. This presents a practical solution as the steel members are produced in close proximity to the site, however would require such weather protection as tarping, and construction must not be undertaken during the wet season. The order of assembly must consider accessibility. There is greater difficulty in placing the tension cables and piezoelectric panels at a maximum height of 14m than in assembling the structure in parts at ground level and fitting them together.
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1. Connection between tenonned steel members
Available space for storage and manufacture Transport/ accessibility routes
Transport
2. Fitting of tension cables connected by suspension clamp
Component parts are to enter the site from the city side. The tension cables and piezoelectric panels manufactured off-site are to be delivered to the factory spaces for storage in order to avoid exposure to elements. Transport from the warehouse space to the design boundary will be as needed. Delivery by sea is also possible, but unnecessary as all components are to be produced within Denmark to minimise transport costs and energy.
3. Attachment of FPEDs (both sides) encased in preinstalled aluminium frame. Ensure that wires run through proscribed steel member as per the electrical plan.
C.2. Tectonic Elements The core construction element of Generation Canopy is the FPED fitted into the triangulated space frame, repeated with dimensional variation across the design. FPED (flexible piezoelectric device) composed of alternating layers of PVDF (polyvinylidene fluoride)1 and functional resin has been developed to generate electric power from wind energy. The PVDF succumbs to expansion and compression due to the wind movements. These stresses that act on the FPED, cause polarization of electrodes at the surface, generating electricity2. . The employed device was developed with a focus to “utilize fluid structure interaction, e.g., flattering, flapping and periodic bending, caused by wind energy.”3 The piezoelectric nanowires are free to flutter as the FPED is fixed via aluminium frame to the space frame structure. This movement effects the piezoelectric properties of zinc oxide and further electricity is produced3. Fluttering Canopy works both directly and indirectly to bring renewable energy to Copenhagen. Energy produced by the FPEDs are direct currents, although the grid tie inverter controls the distribution and destination of the energy,
Section A-A detail Transfer of electricity from PFED generators to grid
1
2 3
4
1. Wires from FPEDs run through frame piping 2. Grid- tie inverter 3.Distribution Panel 4. Galvanised cover on wires running through earth towards grid connection
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1,2 Matsuda, Hidemi, Junpei Miyagi, Yasuaki Doi and Yoshikazu Tanaka. “Wind Energy Harvesting Using Flexible Piezoelectric Device “. Journal of Energy and Power Engineering 7, no. 1 (2013): 1047-1051.
3 Lin Wang, Zhong and Jinhui Song, “Piezoelectric Nanogenerators Based on Zinc Oxide Nanowire Arrays”. Science 312, 10: (2006) 242- 246.
Employed device: FPED fitted with piezoelectric nanowires. Free movement (fluttering) as device is fixed via aluminium frame to structural space frame.
Piezoelectric fabric offset from and tethered to structural space frame at each corner. Movement restricted by connections.
Wiring from FPED runs through hollow steel piping of structural space frame.
FPED flapping on hinge. Rigid movement and lack of visibility.
FPED fitted with peisoelectric styrene spheres. No visible movement, unfit for desired aesthetic.
C.3. Final Model The Final model was constructed through 3D Printing. We assumed 3D Power printing would be the most efficient way of building the model as the piping may be to be difficult to construct by hand or through the laser cutter. However the model, did not come out as intended, as there were difficulties in fabricating the pipes. Originally the piping was too thin, therefore we had to thicken the pipes in order for it to be able to fabricated. Otherwise, the model still highlights how structure sits on the site and provides an idea of how the design interacts with surroundings as it ultimately stands out due to its form. Although we were not able to apply the panels into the final model, we were able to produce prototypes of the energy generation panels shown C.2.
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C.4. LAGI BRIEF Fluttering Canopy is a complex triangulated space frame fitted with piezo electric devices as it emerges form the ground. The design is integrated with a circulation path between the main access points of the site; the main developed industrial area of Refshaleoen and for this design we have decided to utilize the dock, thus it is also accessible by ferry. The peak of the structure is quite high and is visible from the little mermaid, thus generating a sense of visibility and enhancing the experience of the surrounding area.
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THE SPACE FRAME A space frame is a lightweight structural solution. Interlocking struts in a triangular formation create a strong, rigid truss like form. The implementation of a space frame ensured structural possibility of a space free of interior supports. The space frame members are to be welded together so not to consume extra space with jointing. Suspension clamps are proposed as connections to and between tension cables. The space frame is organized as a single layer grid, however placement of tension cables may create the illusion of an offset second frame. Substituting steel members for tension cables in areas classified as secondary structure reduces complexity of construction. This also works to reduce the self-weight of the structure, which must be considered due to the site properties. We also took into consideration the soil properties of the site, as a portion of Refshaleoen was once a basin, also a segment of the site had previous buildings removed meaning the soil of the site is likely to have a low bearing capacity. Fluttering Canopy spans a width of 36m over a distance of 85m. The structure reaches a maximum height of 14m with south and east facing entrances at 5m and 4m in height respectively.
PIEZOELECTRICITY
Piezoelectric transducers work to generate electric voltages when mechanically activated with pressure or vibration. Fluttering Canopy utilizes naturally existing wind movement to produce electricity from Flexible piezoelectric devices composed of layers of PVDF (polyvinylidene fluoride) and functional resin. These particular devices are fitted with strips of zinc oxide piezoelectric nanowires that produce electricity from their fluttering motion when effected kinetic forces, such as the wind. The main concentration of the piezoelectric transduces is through eastwest axis with consideration of average wind velocities. Where the panels are fitted, they are placed both outside and inside, however some are only partially covered and other areas are left uncovered to allow the access of natural sunlight. It total, the structure proposes to hold approximately 3058m2 worth of FPEDs. Based on maximum wind velocities for Refshaleoen holding the potential energy production is an approximate 7315mW/h. From our observations and research based on the average wind velocities for the site, the expected energy production is an approximate 523.1 mW/h.
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The electricity harvested from the movement of the piezoelectric nanowires is transferred through wiring from the devices themselves to the grid-tie inverter concealed in the piping of the main structural frame. The inverter is closely connected to the distribution panel, both at the lowest point of the east side entrance. From here, the wiring is galvanized as a protective coating for placement underground, directed towards the city grid connection.
ENVIRONMENTAL IMPACT
The aim of this project was to advocate for the implementation of a renewable energy source into a site that that inherently needs a new sustainable design. The material used to produce the Fluttering Canopyâ&#x20AC;&#x2122;s space frame are steel cut offs from the surrounding industrial area minimizing the embodied energy of transport and production. The total energy production generated from the structure is transferred into the city grid with no energy going into visual representation rather the energy flow is represented through the movement of the piezoelectric panel. The grid-tie inverter and distribution panel have been left exposed at the main entrance to reinforce the message the power being produced is of result of the natural wind whilst acknowledging the connection between the structure and the grid. Although we have acknowledged that our design does not generate a significant amount of energy for its size, but the structure itself is an advocator for the implementation of renewable energies. This relates back to social and environmental aspect of our design through the use of Kinetic =energy. The structure expresses how simple movement can be a natural source of generation of power, thus signifying the relationship between the environment and its users.
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C.5.Learning Objectives & Outcomes From the Final Presentation there were two main problem areas that needed to be addressed; 1. A resolved structural system was needed. To display our resolved structural system, we developed a structural diagram of the joints and connections that occurred within the Space Frame, outlined in C.1. 2. A clear integration of the energy source and the structure itself. To integrate panels and the energy source, we utilized the Rhino Meshtools which enabled us to produce different configurations based on wind rose data to maximize efficiency and production. Looking back, our groupâ&#x20AC;&#x2122;s interpretation of the brief was to generate a form that was structurally feasible using algorithmic techniques and too incorporate a renewable energy source into the design, both addressed in Learning Objective 1. Our main requirements we set for ourselves was to consider aesthetics, the user interaction, the energy potential based on the siteâ&#x20AC;&#x2122;s climate conditions and finally constructability. Our final presentation named Fluttering Canopy presented engagement and consideration of form, placement and configurations of the energy source. Demonstrating a variety of design possibilities and the ability and justify the most feasible option. In Conclusion, this subject offered a central focus and understanding of form. The course offered limitless possibility of how form is produced, and the most radically forms seemed possible through the use of algorithmic techniques used in Grasshopper. Considerations of the site and tectonics in conjunction with user interaction, we were able to create a form that combined all these requirements. Though this subject has taught me that form is a conceptualization of a space, it merits dimensions, interactions which then develop the structural aspects.
Considerations of the site and tectonics in conjunction with user interaction, we were able to create a form that combined all these requirements. Though this subject has taught me that form is a conceptualization of a space, it merits dimensions, interactions which then develop the structural aspects.
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APPENDIX
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PART C. NOTES 1. Matsuda, Hidemi, Junpei Miyagi, Yasuaki Doi and Yoshikazu Tanaka. “Wind Energy Harvesting Using Flexible Piezoelectric Device “. Journal of Energy and Power Engineering 7, no. 1 (2013): 1047-1051. 2. Lin Wang, Zhong and Jinhui Song, “Piezoelectric Nanogenerators Based on Zinc Oxide Nanowire Arrays”. Science 312, 10: (2006) 242- 246.