Li_Yu_581827_Part B by Ellen Li

STUDENT JOURNAL YU LI ABPL30048: STUDIO AIR SEMESTER 1, 2014 THE UNIVERSITY OF MELBOURNE

TABLE OF CONTENTS

INTRODUCTION

PART A: CONCEPTUALISATION 5 6 8 11 12 14 17 18 20 22 23 24

A.1.0 A.1.1 A 1.2 A.2.0 A.2.1 A.2.2 A.3.0 A.3.1 A.3.2 A.4.0 A.5.0 A.6.0

DESIGN FUTURING GUANGZHOU OPERA HOUSE SOLAR FOREST DESIGN COMPUTATION BRICKTOPIA BEIJING NATIONAL AQUATICS CENTRE COMPOSITION/GENERATION BAOAN INTERNATIONAL AIRPORT BEIJING NATIONAL STADIUM CONCLUSION LEARNING OUTCOMES APPENDIX - ALGORITHMIC SKETCHES

PART B: CRITERIA DESIGN 27 35 46 54 57 61 66 67

B.1.0 B.2.0 B.3.0 B.4.0 B.5.0 B.6.0 B.7.0 B.8.0

RESEARCH FIELD CASE STUDY 1.0 CASE STUDY 2.0 TECHNIQUE DEVELOPMENT TECHNIQUE PROTOTYPE TECHNIQUE PROPOSAL LEARNING OBJECTIVES & OUTCOME ALGORITHMIC SKETCHES

INTRODUCTION PROFILE & PREVIOUS WORK: YU LI

’m Yu Li, a third-year architecture major at the University of Melbourne. I’m from China, and have been in Australia for four years.

When I was young, I was quite interested in paper folding and playing toy bricks, as I can create and build anything I want and they always bring me lots of new and fresh ideas. Just like LEGO, which I still have interest in it now. I think my architecture life is from then on. My interests outside of architecture are travelling, watching movies, and photography, but they all somewhat relevant to architecture, and they will give me inspiration in my designing. My interest in architecture is further increased by studying visual communication and design in high school, and that was my first time of using software in my design, but it was just like the edit tool like Photoshop.

I start using designing software last year in my design studio water, which is Sketch Up and AutoCAD, but don’t have any experience in Rhino and parametric design. In this design studio air, I found that my knowledge of digital software is deficient. I only know the general idea about the parametric architectural design from the magazine I have read before that Digital architecture is used for design complex and irregular shapes by computer modeling and programming, which is also free from the choice of the material. One of the most memorable digital architectural design is the SPACE in London. Studio air could be a good opportunity to experience the digital design by studying and using Rhino and plug-in-grasshopper, which can not only increasing my general knowledge, but also broadening my insight and choice in my future architectural designing life.

PART A. 1: DESIGN FUTURING

GUANGZHOU OPERA HOUSE Zaha Hadid Architects 2003-2010

aha Hadid’s Guangzhou Opera House is a brilliant piece of cultural architecture that offers a new identity to the city and refigures the city scenery. The design of the building is in many ways game-changing, acting as a show case architecture, pushing new boundaries in design, construction and urban design. The Opera House adopts a unique twin-boulder design, often referred to as ‘pebbles in a stream’[1] - interpreting the site as being beside the Pearl River. The irregular and folding forms of the Opera House is made possible with parametric design. Through the use of digital design softwares the architect is able to design and communicate complex and seemingly free-forming geometries. The adoption of parametric design in this case therefore pushes the possibilities of architectural design. Such new acrobatic forms also serves as inspiration for other designers and architects .[2]

The design of Guangzhou Opera House also establishes new boundaries in the use of traditional structural systems and materials, in particular steel and concrete. The external form of the building consists of a beautiful and gravity-defying steel mesh, enclosing the asymmetrical auditorium. The innovative use of structural steel mesh offers new possibilities to architectural form-making, offering new ideas to future design and construction.[3] From these fascinating structures, the Guangzhou Opera House also offers new ways for people to interact with public buildings. On the one hand, the Opera House is designed with a dynamic external form (Fig 4), attracting people to visit and examine the building. On the other hand, the building also connects to the outside from the interior, with its sunken lobbies and large expanse of glass - brining the city into the building and further connecting and referencing the building to the larger Guangzhou city. [4]

Guangzhou Opera House with its audacious form and function has acted as a catalyst for the city’s cultural development, encouraging the development of a cultural city with more museums and galleries. The Opera House therefore has a positive effect in generating further cultural spaces in Guangzhou. The Opera House’s fascinating form and its positive influence on the new town are some of the reasons why the building is continually being appreciated. Therefore, the Opera House not only signals a new start to Guangzhou’s urban and cultural evolution, it also signposts new possibilities for architectural design and construction.

1 Archdaily (March 01, 2011). Guangzhou Opera House/ Zaha Hadid Architests. http://www.archdaily.com/115949/guangzhou-opera-house-zaha-hadid-architects/ 2 Seth Friedermann (March 10, 2011). Vivienne Tam - Fall 2011. http://modacycle.com/english/2011/03/10/vivienne-tam-fall-2011/ 3 Kevin Gerrity (September 7 2011), China as architectural testing fround. < http://www.archdaily.com/157129/china-as-architectural-testing-ground/ > 4 Dezeen Magzine (February 25 2011), Guangzhou opera house by Zaha Hadid. < http://www.dezeen.com/2011/02/25/guangzhou-opera-house-by-zaha-hadidarchitects/ >

Fig 1. Guangzhou Opera House

Fig 2. Inside of Opera House

Fig 3. Unfolded layout of scendary steel structure

Fig 4. Unfolded layout of primary steel structure

SOLAR FOREST Neville Mars Solar Forest is a design project aimed to create energy through solar photovoltaic panels. Conceived by Neville Mars, the project proposes new possibilities in the nexus between architecture, public sculpture and sustainable design. A forest of ‘evergreen solar trees’ functions as EV charging stations in a conventional car park. Mars’ proposal has many merits including providing shade for cars as well as a source of clean renewable energy. A set of photovoltaic panels are installed on the leaf of the solar trees, drawing energy directly from the sun. One of the most fascinating features this solar tree proposal is the rotating function of each leaf panel, following the path of the sun throughout the day to ensure maximum efficiency.[5] This project challenges traditional boundaries of architectural thinking by blurring the boundaries between architectural design, public sculpture, sustainable design and mechanical engineering. Through this project Mars proposes a type of architecture that is reactive and sensitive to the natural environment, while performing other

Fig 6. Perspective view of Solar Forest

5 Mike Chino (2009), Solar forest charging system for parking lots.

functions of shade provision and energy generation. Solar forest is therefore multifunctional, similar to trees in real life that provide shade as well as a number of other crucial functions such as generating oxygen and ensuring soil stability. The ‘tree’ as a form, is also symbolic of nature, sustainability and green design. As a paper project, Mars’ solar forest proposes the possibility of integrating public sculpture and architecture with the function of energy generation. As a project that embraces environmentally sustainable design, the solar forest also serves as inspiration and catalyst for the transition of society to the use of renewable energy and the wide adoption of electric cars.

Fig 7. Solar tree

Fig 5. Solar Forest

Fig 8. Structure of Water Cube

PART A. 2: DESIGN COMPUTATION

“C

omputation” is a term that differs from “computerization”, even if the terms seem interchangeable. While ‘design computation’ describes the progress of design through the use of computers, ‘design computerization’, is using the computer to create the designs in the computers’ logic. While computation is more of an aid to the designer, computerization is more about automation, mechanization and digital generation through a set of predetermined parameters in the form of algorithms.

Compared to ‘computerization’, ‘computation’ is a computer aided process in exploring the unclear, vague or ill-defined process of design thinking. The use of computers in this case is valuable as a smart tool to emulate and extend the human intellect such as the human ability to apply logic and reason for estimation and calculation.[5]

In the last two decades, computation design and manufacturing techniques have slowly entered into the practice of architecture. Computation design is now used to explore both formal and structural systems. There are many aspects of the traditional design process that has been affected by computing. First, computing allows the designer to visualize designs in 3D as well as simulate aspects of its performance. Second, computing can enhance the designer’s creativity during the design process, as computers offers quick and reliable design data such as areas and massing, allowing designers to make better design decisions.[6] The introduction of computersaided design (CAD) softwares has revolutionized the creative possibilities of architectural design. At an industry level, CAD has become a necessary tool for design, as an extension of not only the designer’s thinking about

also communication. Computation is also used to solve complex geometric problems, previously difficult to resolve accurately through hand drawing and physical modelling. Thus in many ways computation has allowed architects to explore complex geometries not only in the design process but also in the production phase, by being able to send the ‘digital design file’ to ‘3D print’ or fabricate. Vaulted brick pavilion in Barcelona and the Water Cube in Beijing are two examples of design computation. By using computation to link the design and production processes, new possibilities can be created in terms of achievable forms and construction systems.

6. Designcoding (Febauary 22, 2012), computerization and computation, http://www.designcoding.net/computerization-and-computation/ 7. Kostas Terzidis (2009), Algorithmic Architecture. http://wiki.arch.ethz.ch/asterix/pub/MAS0607/MasColloquia/Lecture01.pdf

BRICKTOPIA Map13 Architects

he vaulted brick pavilion is a project that demonstrates the process of design “computation” as it is produced through the process of digital calculation and modelling. This vaulted brick pavilion (Bricktopia) was designed by Map13 Architects in a Barcelona courtyard. The project combines traditional Spanish construction techniques with computation design. The structure was conceived by using the 3D modelling software program Rhino and a plugin called ‘Rhino vault’. Based on the traditional construction technique of tile-vault, Rhino is able to test the geometries of the structure, so that only compression stresses will act on the vault. “Unlike the construction that can be seen these

days, this project aims to restore the expertise and imagination of the building hands,” explained by the architects.[7] Also we can see the obvious difference between a traditional vault structure and the structure produced by Map 13 Architects. This shows that computation thinking process can offer more room for design exploration, which can lead to more creative and unimaginable outcomes.

Fig 12. Virtual model of Bricktopia

8. Dezeen magzine (November 26, 2013), Vaulted brick pavilion in Barcelona by Map13. http://www.dezeen.com/2013/11/26/bricktopia-vaulted-brick-pavilionbarcelona-map13/

Fig 10. Virtual model of Bricktopia

Fig 9. Perspective of Bricktopia Fig 11. Virtual model of Bricktopia

Fig 13. Virtual model of Bricktopia

BEIJING NATIONAL AQUATIC CENTRE PTW Architects 2008

he Beijing national aquatics centre, also called “Water Cube”, is made by utilizing both computation and fabrication technology. Using powerful parametric design softwares, the automated drawings and analysis processes could negotiate complex geometric systems with the building’s functional and symbolic programs. Through computation, the design algorithm repeatedly checked the forces of the entire structure, which allowed the design team to test an array of design configurations in a

short amount of time.[9] The complex soap-bubble facade structure of the Water Cube shows that computation can make intricate structural-formal systems possible and allow for the efficient process in fabrication. With the wide adoption of computation in the construction industry these days, built environment professionals like architects and engineers can better calculate and conceive of new forms, allowing an evolving geometric

Fig 14. Perspective view of Water Cube 1

9. Enrique Walker (August 21, 2009),The Imperativeness of Symbolism in an Age of Computed Efficiency. http://www.escdesign.net/index.php?/writing/walker/ 10. Kevin R.Conway (2010), Observation on the Nature of computational geometry.

Fig 16. Facade of Water cube

Fig 17. Physical model of the structure of Water Cube

Fig 15. Srructure of Water Cube

Fig 18. Structure of Beijing National Stadium

PART A. 3: COMPOSITION / GENERATION

arametric design is about the use of variables and algorithms to establish a system of manipulating geometries through mathematical equations. Through parametric design softwares, designers can explore geometric form making in a systematic manner, altering variables to create a variety of formal solutions. Parametric modelling is a huge leap in the development of design tools, as it can help the designers accurately manipulate geometric forms through altering various design parameters. This was previous unachievable through conventional physical modelling. Parametric modelling also affords the architect with new modes of efficiency and new ways of coordinating the construction process. Through parametric design, the architect can automate the form-generating process, getting rid of the need for tedious repetitive modelling, the need for complicated calculations, and the possibility of human error.[11] In addition, the use of algorithms and advanced computational techniques to create geometric forms, allows infinite possible outcomes to be generated. Such a new approach to design represents a shift from using CAD softwares as merely representation tools, to design tools that generate rather than communicate the design. ‘Algorithmic’ is a term that describes the use of procedural computer techniques in solving problems in the design process. Such an approach is good for creating and testing complex geometries, quickly, and with small amounts of data to begin with. Designing with algorithms offers precise prototyping during the design process, as it works with a set of tokens and objects to produce an array of generated outcomes for examination and selection.[12]

Within the field of digital design, algorithmic refers specifically to the use of scripting languages. Through scripting, the designer is no longer limited by the user interface and prescribed functions of the software. Instead the designer can control the final form output by directly manipulating the scripted code of the software. Typically algorithmic design would be performed through computer programming languages, such as RhinoScript, Visual Basic and 3dMaxScript.[13] However, one of the shortcomings of the use of parametric design and algorithms is that it can be time-consuming, especially upfront. The designer needs to spend a lot of time familiarising with the script and coding system and the impacts they have on the final design output. If the designer does not understand how to script or code, or the logic of the software, the parametric design process can be very confusing and inefficient. In addition, the endless options that parametric design can produce can be confronting for the designer. Additional processes of isolating and selecting the best solution can also be time consuming.[14] Baoan International Airport and Beijing National Stadium are good examples of parametric form generation and modelling - with different aspects of performative design and fabrication. These examples also demonstrate how buildings no longer have to be ‘boxes’ through the use of parametric methodologies and algorithms.

11 Parametric Modelling: Designing Buildings Intelligently. (2013) http://www.bricks2home.com/Articles/Construction/132/2013/10/09/Parametric-Modelling-Designing-Buildings-Intelligently# 12 Robert A. and Frank C. Keil, eds (1999), Definition of ‘Algorithm’ in Wilson, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 1 13 Neli Leach(February 02 2010), Definitions: Parametric and Algorithmic design, http://parasite.usc.edu/?p=443 14 Digital Design over traditional design: Is it an advantage or disadvantage. http://www.slideshare.net/saramiles755/digital-design-over-traditional-design-is-itan-advantage-or-disadvantage

BAOAN INTERNATIONAL AIRPORT Studio Fuksas 2013

aoan International Airport in Shenzhen is a good example of parametric designed architecture, designed by Studio Fuksas Architects.

In this point in time, the Baoan International Airport boasts the largest parametrically generated free-form facade and structure in the world, over 300,000m2 of covered surface.[15] The featured element of this building is the double skin - internal surface and external facade. Over a double-curved surface, there are 60,000 aluminum-glass facade elements laid in the honey comb configuration, which is automatically generated by using complex algorithms. The geometry of the entire structure with more than 350,000 unique steel members is also fabricated through algorithmic calculations.[16] The free-formed surfaces of both the inner and outer walls are created by the software of excel tables to define the position of different types of elements, such as the different angles and

Fig 20. Internal Skin

openings, and then generated over 300,000m2 by keeping the glass planar and generating geometry with the precision of 0.000001m.[17] The fabrication process demonstrates the important feature of parametric modelling, which is its precision and ability to scale up to large architectural forms. In addition, through computation, the design of the Airport uses a parametric data model to control the size and slope of the openings, allowing the designer to control the intended solar gain, views towards the outside and the general aesthetic of the building. Lastly, Baoan International Airport evokes the image of a manta ray, “a fish that breathes and change its own shape, undergoes variations, turns into a bird to celebrate the emotion and fantasy of a flight” [18]. Such a figurative interpretation shows that computation is not only a method to create complex 3D models, but also a means to create an art form.[19]

Fig 21. Internal Skin

15 Phyllis Richardson(December 9, 2013), New airport terminal puts Shenzhen on the global architecture map. http://www.gizmag.com/fuksas-shenzhenairport/30060/ 16 Programming architecture. http://www.programmingarchitecture.com/PA/projects-shenzhen.html 17 Programming architecture. http://www.programmingarchitecture.com/PA/projects-shenzhen.html 18 Shenzhen Bao’an International Airport(Janauary 31, 2014). http://www.archdaily.com/472197/shenzhen-bao-an-international-airport-studio-fuksas/ 19 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

Fig 19. Top view of Baoan International Airport

BEIJING NATIONAL MUSEUM Herzog & de Meuron 2008

“I

n architectural practice, computation not only works, but has become necessary, to build the largest projects in the world.”[20]

Beijing National Stadium is a significant structure of parametric design, which is also also called “Bird’s Nest” designed by Herzog & de Meuron in 2008.

The stadium is the largest steel structure in the world with 26km of unwrapped steel used in the construction. Hence it is necessary to apply parametric modelling and calculation to work out this complex and intricate structure. Given that the web of steel sections twist and turn to form a mesh, the seemingly organic patterning needs to be accurately calculated not only to make sure they work in transferring the structural loads but also are organised in an aesthetic manner to encourage artistic appreciation.[21] By using parametric modelling software, architects working on the National Stadium could quickly generate a num-

Fig 23. Structure of Beijing National Stadium

ber of options for the initial envelope form, within a set of defined parameters - such as geometric constraints and the limitations of construction materials. Followed by the initial creation of the initial conceptual form, designers can further explore and test possibilities by adjusting variable, such as the height of a row of seats to suit the external structural envelope. [22] In addition, the roof of this stadium is designed from a wireframe roof geometry through parametric modelling, and subsequently adding user-feature components to build the box girder and connector element assemblies. The design of the Beijing National Stadium shows that parametric design allows for changes to percolare through the different elements of design and can be updated dynamically when modified. All in all, parametric modelling can offer more opportunities for architects to explore different ways of design, fabrication and construction, and also allows an extension of

Fig 24. Structure of Beijing National Stadium

20 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 21 Beijing National Stadium, ‘The Bird’s Nest’, China, http://www.designbuild-network.com/projects/national_stadium/ 22 Beijing national stadium. (August 03, 2013), http://www.designingbuildings.co.uk/wiki/Beijing_National_Stadium 23 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

Fig 22. Perspective view of Beijing National Stadium

PART A. 4: CONCLUSION

arametric design through computation has created a new field in the world of architecture, and presents an alternative and innovative approach to designing and construction. From the examination of previous precedents, it is evident that digital design practices is leading a revolution in architectural thinking. Parametric design allows a streamlining of the design investigation process, allowing designers to quickly test their design options and combine different design components to generate various simulated results. This new-found ability allows designers to be more creative as they are offered more information to make informed design decisions. Hence, with the continued use of digital techniques, more and more complicated and unimaginable architectural forms will be created in the future. Therefore, by combining with the design brief and the inspiration from all these parametric design precedents, I want to explore the use of parametric algorithms as a method to design a series of sculptures with different and dynamic forms. Following from Mars’ example, I wish to also investigate the integration of solar technology on buildings.In addition, this design will be innovatived by its operational function, just like “open” and “close”, which will working dependent with the path of sun. As it will open with the sun rise to produce energy, and close with the sunset to create a pavilion for people to take shelter form rain. The “double form” with its “open” and “close” mode can also creates two different art images in that area, hence may give a new identity and become a scenery line in the city. The idea is to not only attract people through interesting and incredible forms, but also to educate and remind people to be more sustainable.

PART A. 5: LEARNING OUTCOMES

hroughout these three weeks of researching and learning, I have found that my knowledge of parametric design has deepened significantly. In the beginning I thought parametric design is just about irregular and complex forms but now I have a much clearer picture of the process of design computing and how parametric design changes the way we design and build. Also in adopting architectural computing, I can now understand some of the theory and thinking behind the generation of form and value of creating options. In terms of my past design, I think I can use parametric design methods to introduce more dynamic and fluid forms into my designs which will make my designs more interesting especially from the public and usersâ&#x20AC;&#x2122; perspectives. With the knowledge learnt from the analysis of successful precedents, I hope I can use digital design softwares to design more creative and fascinating structures in the future.

PART A. 6: APPENDIX - ALGORITHMIC SKETCHES First using loft in Grasshopper to create a space then use “bake” to change the different forms by using control point in Rhino. Thus a taxonomy of lofted surface has enerated.

have selected these algorithmic sketches made from Rhino and Grasshopper plug-in because they exemplify parametric design to me and are interesting forms that can potentially lead onto new ideas.

Although these forms are quite simple, they embody some basic algorithmic theories and pick up a few of the arguments I’ve analysed from precedent projects. As a series of different shapes based on the transformation of one major form, this series reflects the infinite possibilities of design iteration. These forms are pretty new and looks very strange, and would be difficult to be imagined by the human mind otherwise. Furthermore, these sketches also present the idea that generative design can also be easy to modify and can quickly show more results from the same 3D model. However, I am also experiencing the shortcomings of the generative design, as there are too many options to choose from, which is hard to make a final decision. Through more practice, I believe I can have a deeper understanding of parametric design and how it can add to my skills as a designer.

The results by using the command Populate Geometry and Octree.

This strip with the contour is made by the command series, offset, extrude and brep.

These two shapes which contain a series of squares and pymarids were created by the command of Construct Doain2, objects, Divide Surface, Deconstruct Vector and Surface Box.

REFERENCE LIST 1 Archdaily (March 01, 2011). Guangzhou Opera House/ Zaha Hadid Architests. http://www.archdaily. com/115949/guangzhou-opera-house-zaha-hadid-architects/ 2 Seth Friedermann (March 10, 2011). Vivienne Tam - Fall 2011. http://modacycle.com/english/2011/03/10/vivienne-tam-fall-2011/ 3 Kevin Gerrity (September 7 2011), China as architectural testing fround. < http://www.archdaily. com/157129/china-as-architectural-testing-ground/ > 4 Dezeen Magzine (February 25 2011), Guangzhou opera house by Zaha Hadid. < http://www. dezeen.com/2011/02/25/guangzhou-opera-house-by-zaha-hadid-architects/ > 5 Mike Chino (2009), Solar forest charging system for parking lots. 6 Designcoding (Febauary 22, 2012), computerization and computation, http://www.designcoding.net/ computerization-and-computation/ 7. Kostas Terzidis (2009), Algorithmic Architecture. http://wiki.arch.ethz.ch/asterix/pub/MAS0607/MasColloquia/Lecture01.pdf 8. Dezeen magzine (November 26, 2013), Vaulted brick pavilion in Barcelona by Map13. http://www. dezeen.com/2013/11/26/bricktopia-vaulted-brick-pavilion-barcelona-map13/ 9. Enrique Walker (August 21, 2009),The Imperativeness of Symbolism in an Age of Computed Efficiency. http://www.escdesign.net/index.php?/writing/walker/ 10. Kevin R.Conway (2010), Observation on the Nature of computational geometry. 11 Parametric Modelling: Designing Buildings Intelligently. (2013) http://www.bricks2home.com/Articles/Construction/132/2013/10/09/Parametric-Modelling--Designing-Buildings-Intelligently# 12 Robert A. and Frank C. Keil, eds (1999), Definition of ‘Algorithm’ in Wilson, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 1 13 Neli Leach(February 02 2010), Definitions: Parametric and Algorithmic design, http://parasite.usc. edu/?p=443 14 Digital Design over traditional design: Is it an advantage or disadvantage. http://www.slideshare. net/saramiles755/digital-design-over-traditional-design-is-it-an-advantage-or-disadvantage

15 Phyllis Richardson(December 9, 2013), New airport terminal puts Shenzhen on the global architecture map. http://www.gizmag.com/fuksas-shenzhen-airport/30060/ 16 Programming architecture. http://www.programmingarchitecture.com/PA/projects-shenzhen.html 17 Programming architecture. http://www.programmingarchitecture.com/PA/projects-shenzhen.html 18 Shenzhen Bao’an International Airport(Janauary 31, 2014). http://www.archdaily.com/472197/ shenzhen-bao-an-international-airport-studio-fuksas/ 19 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 20 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 21 Beijing National Stadium, ‘The Bird’s Nest’, China, http://www.designbuild-network.com/projects/ national_stadium/ 22 Beijing national stadium. (August 03, 2013), http://www.designingbuildings.co.uk/wiki/Beijing_National_Stadium 23 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

Fig 1 Aqua Tower

PART B: CRITERIA DESIGN B.1 RESEARCH FIELD PATTERNING DISCOURSE & INTELLECTUAL CONTEXT

atterning as an ornamental device has had several periods of evolution within the architectural discourse. Moussavi argues in the article ‘The Function of Ornament’ that the meaning of architectural ornamentation is to connect people to culture as well as to allow people to express and communicate their culture [1]. While the link between ornament and culture seems vital to architecture, during the period of Modernism, pursuits for transparency and an international style, rendered ornamentalism obsolete. Adolf Loos called for ornaments to be stripped from buildings deeming ornaments as a thing of “traditional societies”[2] and unnecessary for modern societies. While the aspirations of the Modernists were heroic, what Modernism lacked was an appreciation of the human need to express their individualities and identities. During the post-modern period of architecture, ornamentalism became abstracted to the design of buildings as signage and message. The postmodern approach was effective when the audience of the architecture could ‘read’ the ornament and resonant with the message. However, with globalisation, ornaments that carried meaning in one cultural context was soon found to carry little meaning in another context. With the advent of digital architecture and parametric design, architectural ornamentalism has found new meaning in both global and local contexts. What the computerisation of architectural design has been able to achieve is to abstract architectural ornaments into patterns of intrigue and

excitement that echo across many different cultural contexts. Many of these patterns derive not from a singular cultural context but from nature, with heavy abstraction. The adoption of nature as a common visual language allows many different cultures of people to freely interpret the ornament/ pattern, deriving meaning within their own set of experiences and values. Examples of this approach to ornament can be seen in Herzog & De Meuron’s de Young Museum in San Francisco and Hitoshi Abe’s Aoba Tei restaurant in Sendai Tokyo, both taking the image of tree canopy in their designs of perforated surface/ screen patterning.

Fig 2 De Young Museum Facade

Fig 3 Aoba Tei

1 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 2 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 7

B.1 RESEARCH FIELD DESIGN IMPLICATIONS & OPPORTUNITIES

oussavi outlines useful classifications in which contemporary architectural ornaments can be understood. Classification 1: “Depth” - from form, structure, screen to surface treatments. Classification 2: “Material” - from most intrinsic like program, to the most extrinsic, like branding. Classification 3: Affect – the resultant emotional impact on a user from the interplay between depth and material or the ornament. Adopting Moussavi’s ornament classifications, we can examine the use of architectural ornament in a number of contemporary buildings to locate opportunities for design.[Table 1] From the table on the right, it is interesting to see how ornamental patterning can vary in its uses. While some architects have used patterning merely as a screened decoration, others have adopted patterning in ‘deeper’ ways – becoming surface, structure, form and even the overall branding of the building. All these aspects of design application can be considered in our groups’ approach to patterning as a material system. Another key aspect of contemporary architectural ornamentation is its functional performance. Through computerisation, architects can now have a high degree of control over complex geometries. Such geometries are able to carry both ornamental and functional effects. In the case of the de Young Museum, the external copper screening is an abstraction of the trees within its setting. However, beyond the aesthetics, the screen also act as a rain screen to hide an integrated ventilation system on the façade as well as perform as a sun screen

to moderate sunlight into the gallery spaces [3]. In the case of the Spanish Pavilion designed by Foreign Office Architects, the envelope patterning also integrate the fenestration design for light and ventilation. Patterns have also been used as structural systems. Herzog & de Meuron’s Beijing National Stadium and Ito & Balmond’s Serpentine Pavilion both used the ornamental patterning as the structural system, form and envelope of the building, thus serving many aesthetic and functional purposes.

Fig 4 Beijing National Stadium facade

Fig 5 Balmond’s Sepentine Pavilion

3 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24

Table 1

B.1 RESEARCH FIELD DESIGN & FABRICATION

he advent of digital softwares for parametric and computation design are arguably the most important evolution, in terms of design tools, to allow the fabrication of complex geometry ornaments [4]. In Herzog & de Meuron’s office, a specialist team of digital technology experts contribute to both the design and fabrication of building concepts and components. The importance of such an expert group is to the extent that each project has its own generative script, software tool or design data management system. The connection between design, digital modelling and fabrication is explored in the table below.[Table 2]

From the examples above, several design/fabrication techniques can be observed. 1. Pixelation – where an image is abstracted into circles to be drilled to form screens. 2. Lattice – where a geometric pattern is abstracted into a 3D lattice structure. 3. Unit assembly – where a generic assembly unit such as a brick or tile is assembled over a large surface, with variations in assembly to create openings and screening. Some of these key techniques will be explored later in our group’s design explorations to carry our design language into fabrication.

Table 2

4 Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61

Fig 7 AU Office and Exihibition Centre

Fig 6 Aqua Tower Model

Fig 8 Dior Ginza Facade

Fig 9 Facade of De Young Museum

PART B.2: CASE STUDY 1.0 In this week’s case study 1.0, we decided to analyze De Young Museum as our particular project. The following matrices have shown some attempts to move away from the original definition, and create our group’s own design. By understanding and learning the workings of the grasshopper definition in its components, we tried to demonstrate maximum innovative variation and potential possibilities for patterning. The patterning material system of Herzog & De Meuron’s De Young Museum in San Francisco can be a good for our project. As it uses the techniques of pixilation and unit assembly to create multiple aesthetic and functional purposes - the copper screen, which is not only a decorative architectural element, but also a rain screen, sun shade and a facade screen that hides the external mechanical ventilation system.

Fig 10 De Young Museum Facade pattern

The first step of experimenting with the provided Grasshopper definition involved simply changing and modifying each parameter to understand what each component was responsible for. Based on our design criteria of pixelation and aesthetics, our second step involved adopting different images and inputing various geometries to test the possibilities of new and exciting patterning systems. Lastly, we tried to use the patterns generated to create related 3D forms. We achieved this by adopting a unit of the pattern and applying it over a 3D free form surface to create patterned surfaces that represent a combination of the two techniques. Below are the four species of experimentation from the provided Grasshopper definition, from each specie we have selected a successful iteration based on our selection criteria.

Fig 11 Facade of De Young Museum

PART B.2: CASE STUDY 1.0 SPECIE 1: Specie 1 has developed 9 different patterns based on the provided De Young Museum Grasshopper definition. These interesting 3D patterns are mainly lofted by 2 layers of 2D planes, the differences are achieved by inputting different images and geometries, and changing the radiuses.

PART B.2: CASE STUDY 1.0 SPECIE 2: Specie 2 starts to move away from the original definition, and tries to create some dynamic effect by changing the arrangements of the series of individual patterns into new forms. These 9 patterns also involve the use of freeform surfaces and various radiuses for some parameters.

PART B.2: CASE STUDY 1.0 SPECIE 3: Specie 3 has almost evolved beyound the provided Grasshopper definition. These 3D patterns are created by using a freeform surface, then attached to 2D patterns to create a combined effect. Also by using the technique of pixelation, we selected different areas of each iteration for surface enlargement. The purpose of enlarging specific areas of iterations was to allow the poteneial for the surfaces to function as solar energy collectors.

PART B.2: CASE STUDY 1.0 SPECIE 4: Specie 4 was generated by using a completely different Grasshopper definition. We wrote the definition to produce a series of patterned and dynamic surface forms.

PART B.2: CASE STUDY 1.0 SELECTION CRITERIA

iven that the pattens that generated are abstract forms, the selection criteria we have come up with is based on the potential of the selected iterations to perform a series of aesthetics and functional roles. Below are a list of eight selection criteria:

1. Attractive form - the iteration has a fascinating and engaging shape and pattern, demonstrate the potential to be developed into an interesting object that would attract public attention 2. Multifunctional - the geometry of the iterations has the potential to be developed to perform several functional roles, eg. Energy generation, responding to the elements such as wind, able to incite movement, and engage visitors through the senses such as sight, sound and touch. 3. Modulation and Fabrication - the geometry of the iteration demonstrates the potential to be modulated for unit assembly. The units also having the potential for easy fabrication. Both the geometry of the overall form and unit would have an inherent logic for construction. 4. Responding to site - the selected iteration has to demonstrate potential to respond well to the competition site in Copenhagen, the shape of the iteration should have features that can resonate with the qualities of the site.

4 MOST SUCCESSFUL ITERATIONS

ased on our selection criteria, we considered these four highlighted outcomes to be the most successful, as they all have interesting and attractive patterns. These selected iterations are also formed by s aeries of individual parts, which could be easy for fabrication. They also celebrate the technique of pixelation, which is the main technique chosen for our formal experimentations.

DESIGN POTENTIAL 1. The different surface areas of the selected iterations can have the potential to generate or create green energy. 2. The clustering of repeated forms have the potential to create artificial landscapes such as a earth mound. These landscapes can be use by visitors for recreation and exploration like walking through the Grand Canyon. 3. The tubular and conical shapes in Outcomes A and B can be used as a surface structure to capture wind energy. 4. The hemisphere and pattern screen shapes in Outcome C and D can be used as surfaces to capture solar energy.

PART B.3: CASE STUDY 2.0 MOMA/PS1 REEF IwamotoScott 2007

he project we selected was the REEF designed by IwamotoScott Architects in the United States for the MoMA/PS1 Urban Beach Installation. The most significant feature of this design is the patterned mesh roof, hung from cable trusses like a tent, creating almost internal spatial qualities beneath. Concept The design intent was to create an underwater landscape. The floating mesh fabric roof was interpreted as “anemone clouds”, a gravelled floor represented a ‘seabed’ with reef mounds that dotted the sea floor. The anemone clouds created a series of sheltered, semisheltered and unsheltered spaces, producing a variety of light and shadow qualities in a relatively small installation space.[5] The design reacted against the movement of visitors within the installation site, capturing the sense of fluidity, intrigue, pause and openness. Fabrication The roof surface is made up of 1,200 uniquely shaped fabric mesh modules. The individual fabric modules are designed to move with the wind, and were hung at different heights to create a variety of shadow patterns. Moving with the wind, the ‘anemone clouds’ swing and sway, moving to mimic the natural flows of water. Parametric modelling was employed in this project to design and organise the mesh elements for fabrication. For the roof, 2D template patterns were produced, folded and connected through overlapping flaps and sewn to create a 3D strung fabric mesh. The reef mounds were also fabricated through parametric modelling methods, created

through combining uniquely shaped pieces in a continuous curved surface to produce patterned textures, much like the coral reef.[6] Evaluation All in all, the REEF project is an successful example of the patterning material system in parametric modelling. In this project, patterning is utilised in the fabrication of both the fabric roof and reef mounds by creating small module pieces that can be repeated and connected systematically to make a larger whole. This construction system has the advantage of producing organic shapes, as individual modules can be attached to follow a larger and more organic geometry. The fabric mesh roof is particularly successful, being light weight, moderating sun and shade, as well as being able to create different levels of sheltered spaces for the visitors to enjoy.

Fig 12 MoMA/PS1 Reef

5. IwamotoScott Architecture. MoMO/PS1 REEF. http://www.iwamotoscott.com/MOMA-PS1-REEF 6. IwamotoScott Architecture. MoMO/PS1 REEF. http://www.iwamotoscott.com/MOMA-PS1-REEF

Fig 13 MoMA/PS1 Reef

Fig 14 MoMA/PS1 Reef

Fig 15 MoMA/PS1 Reef

PART B.3: CASE STUDY 2.0 REVERSE ENGINEERING USING GRASSHOPPER Step 01 First step we have developed a base surface and generated a grid system on the surface, and then lofted two curves to form a free form suface.

Step 02 Second step we defined the center of each grid cell.

Step 03 Third step is to scale each of the grid cell relative to the centre of each cell.

Step 04 Fourth step is to project the scaled grid cells to the free form surface, and then loft the square grid grid cells and the projected cells.

Wrong way of defining the center of each grid cell that result in overlapping cells while they are scaled in the following stages.

PART B.3: CASE STUDY 2.0 Step 1 Base surface

Step 3 Flip the corners of the

Step 2 Define grid cells

Step 4 Define the center of each grid cells

3 1

Step 5 Scale the flipped cells

Step 6 Project the scaled cells

Step 7 Loft the square grid cells and projected cells

PART B.3: CASE STUDY 2.0 FINAL DRAWING

Perspective

Right View

Top

Through the reverse-engineering process, we have created an outcome that has both similities and differences tothe original fabricate mesh roof of the MoMO/PS1 project. For example, MoMO/PS1’s roof is hung from concrete walls, therefore its natural sagging geometry creates an asymmetrical double curvature form. Our result is curved only in one dimension, and therefore looks less organic and fluid. Also our “tubes” are longer in the middle, creating more of a object-looking form than a surface. However, we have recreated the same perforated effect and ocular sense of view through the tubed surface. Going forward, we would like to explore more the idea of tubed surfaces and landscapes, altering the characteristics of each tube to create both a sense of object and surface.

PART B.4: TECHNIQUE DEVELOPMENT

PART B.4: TECHNIQUE DEVELOPMENT Based on our selection criteria (attractive form, multifunctional, modulation and frabrication, responding to site), we have selected the last iteration as the most successful and have further developed them here. Based on different levesl of ciruclar patterns, we have created an interesting outcome that is attractive and easy to fabricate because of the repeated tube units.

DESIGN POTENTIAL The potential of this final selected outcomes is that the horizontal tubes can act as wind channels, pushing air through to create wind energy with a fitted turbine inside. These tubes also ‘represent’ the wind which, like a wind sculpture, will be very attractive on the site. The radial organisation of the tubest also creates an interesting 3D pattern effect, exenting the 2D circular patterns that we first started out with on a plane into a 3D sculture form. ‘Searching’ for the technique of generation, we have ended up with a combination of cicular tube extrusions based on a radial pattern. The script can be flexible to accommodate changes in height and and hemisphere parameters.

PART B.5: TECHNIQUES: PROTOTYPE PROTOTYPES Below are a series of photographs that demonstrate our experimentation with form, materialization, visual composition and structure.

PHOTO 1 We first tried to reproduce a section of the model in Case study 2.0. We really liked the tubular structure because it allowed the wind to pass through. In order to experiment with the tubes through prototype, we took a section from the Grasshopper model of case study 2.0, and imported to Rhino for unfolding,

we made a four tubes and hanged them up to see how the ideas of case study 2 could be replicated. We like the sense of movement in this first prototype, but notice that such a scheme would require a larger hanging structure which may be costly to build and fabricate.

PHOTO 2 In this prototype, we have placed tubes on the ground. The tubes can be fixed through a concrete slab and perform like a street furniture with visitors being able to walk up to the tube, touch it, interact with it and look into it. These tubes could potentially be 1-1.5 metres tall, allowing children to play with it, the tubes could be built out of

PHOTO 3 In this prototype, we tried to introduce a more organic layout to the tubes. Taking inspiration from tube-sponge[Fig 16] on the sea floor. The tubes are clustered together at different heights, showing more dynamism and to create a sense of movement - mimicking the natural of movement of the tube-sponges on the sea floor. The tubes can be made from the same material to show that the

different kinds of materials, such as glass with PV cells, steel, wood or fibreglass. The different materials could add interests to the object, and serve different functional roles. The only thing we donâ&#x20AC;&#x2122;t like this prototype is that the layout is too rigid.

object is a single organism. The nine tubes are composed by three kinds of different-height tubes, each type being an independent unit, eg. There are three of the same tube at a metre tall, another three at 1.2 metres tall, and another three at 1.5 metres tall.

Fig 16 Tube-sponge

PART B.5: TECHNIQUES: PROTOTYPE PHOTO 4 This prototype tried to experiment with the idea of wind passing through the tubes. In this prototype, the tubes are fitted horizontally to allowed the wind to move through. Following the idea of the organ instrument, each of the tubes could produce a sound, similar to the

music instrument [Fig 17]. The difficulty of this prototype however is how to fix the tubes at different heights. This may require a larger structure like a podium or a shelf in order to be fixed onto.

Fig 17 Organ

PHOTO 5 In this prototype, we explore the idea of fixing a number of tubes on a tree trunk-like structure. The tubes are made of steel and is round on one end, and pegged on the other. Each of the tubes are fixed onto the central steel pillar with bolts. Inside each of the tubes, there

are small wind catchers(image-small wind turbine) that spin with the wind to generate energy. Borrowing the idea of the windrose that is the diagram representing the direction of the forces of the wind, our prototype captures the same idea in 3D.

Fig 18 Wind Turbine

SELETION CRITERIA The main selection criteria for the final prototype are: 1 the scheme celebrates wind as a characteristic of Copenhagen’s environment 2 the scheme allows the generation of clean renewable energy through wind 3 the scheme is dynamic and moves to attract visitor’s attention 4 the scheme provides an enjoyable environment for visitors From these selection criteria, we have selected prototype number 5 as it satisfies all the criteria and in addition looks like a tree, so we can “plant” these wind trees across the site to create a interesting and pleasant TESTS WITH DIFFERNT WIND DIRECTIONS

PART B.6: TECHNIQUES PROPOSAL RESPONDING TO THE BRIEF Further developing our prototype number 5, we are exploring the idea of patterning through a clustering of tubes that respond to the wind. Based on our original exploration of the metal plate punched with holes through the provided Grasshopper definition, we are further developing the idea through using the punch metal plate as the surface and structure of our scheme’s central pillar. Responding to the brief, this metal central pillar will be a device of our art work with multiple functions - a wind catcher and turbine, a public art work and a symbol of the “windy characteristic” of Copenhagen. Each of the holes punched on the surface of the cen-

tral pillar will be fitted with the extendable turbine telescope. The detail drawings which is below (diagram 1) show how each of the turbine telescopes can extend and contract based on the direction and force of the wind. When the wind is coming from one direction, the tubes that catches most of the wind will extend in relation to the force of the wind. When there is no wind, the whole structure folds up into a central pillar. The wind catchers in each of the tubes also extend and contract with the tube, the catchers being to small blades of metal that perform like a spring. Therefore, this prototype is a diagram-structure of the wind on the site, similar to the idea of traditional wind mills [Fig 19], but in a modern form. Diagram 1

Telescope

Spring-like wind catches can go inside the tube

Diagram 1 Springlike wind catches

no wind

Fig 19 Traditional wind mill

Turbine Telescope

wind coming from many directions

PART B.6: TECHNIQUES PROPOSAL CONCEPTUAL AND TECHNIQUE ACHIEVEMENT The main conceptual and technique achievement of this scheme is the translation of a 2D patternâ&#x20AC;&#x2122;s surface into a 3D dynamic extruded structure. Based on the ideas of 2D patterning, our scheme has developed the technique further into a 3D form. The patterns of the circular holes now become the base for a pattern of extruded turbine telescopes. The or-

ganic nature of the 2D pattern is therefore translated now into the 3D (Diagram 2) Through the transformation of the patterning technique, we have also considered the many functions of the final outcome.

Diagram 2

2D Pattern - De Young Museum

Single Plane - Specie

3D Pattern - Scheme

Min 3m

EVALUATION & TECHNIQUE There are some major benefits and shortcomings of this patterning technique. The main benefit is that patterns on the smallest scale, such as punched holes on a single metal panel, can be joined with variations of the same panel to form a larger surface. In the case of our scheme, the surface is folded into a central column. The circular holes on the central column can be extruded to create a more organic effect. The main shortcoming of this technique is,

in 3D with the extruded tubes, the pattern is not so obvious, because the pattern is much more difficult to read as a dynamic and extendable 3D object. The only time the pattern is more visible, is when there is no wind, and the visitor can read the surface of the column, like reading the bark of the tree.

PART B.7: LEARNING OBJECTIVES & OUTCOMES

he critique from our interm presentation was valuable, in that it provided us with a direction forward in terms of developing our design. One of the critiques was that our straight tubes cannot respond well to the site. Taking on board this comment, we thought about the funnel-like form instead of the straight tube form, as it can increase the flow of the wind through the tube, hence achieving the purpose of energy generation. Over this short period of time, I have learned so much about parametric modelling and gained a deep understanding of computation design. My skills of Rhino and Grasshopper has also increased through constant practice. I’m now much more confident in designing with parametric modelling softwares.

I have also learnt to use computation design as a tool for design development. Using softwares like Rhino and Grasshopper, I’m now able to start with a design idea and explore the idea’s design potential through generative processes. The softwares has therefore become my “design partner”, offering me options on forms and shapes to select and develop further. Using these softwares, I can explore the unclear, the ill-defined, the impossible, the imaginative boundaries of my design thinking. The final selected outcomes are also through computation design embedded with the logic of analysis and fabrication. Therefore, parametric modeling technique is a smart tool that extends our intellect and increases our ability to apply logic and reason for calculation and estimation.

PART B.8: ALGORITHMIC SKETCHES

selected these two algorithmic sketches made from Rhino and Grasshopper plug-in because they both have interesting and complex forms which are difficuly to create by human mind. By using the technique of parametric modeling, we can gain inspiration from the digital modelling, enhancing our own creativity. Digital modelling can also allow rapid prototyping and fabrication, which offers the designer an additional to design in both computer and 3D physical modelling.

REFERENCE LIST

NOTES 1 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 2 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 7 3 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 4 Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61 5. IwamotoScott Architecture. MoMO/PS1 REEF. http://www.iwamotoscott.com/MOMA-PS1REEF 6. IwamotoScott Architecture. MoMO/PS1 REEF. http://www.iwamotoscott.com/MOMA-PS1REEF

IMAGES Fig.1 Aqua Tower Hotel and Residential in Chicago by Studio Gang. http://www.shearyadi.com/myworld/aquatower-hotel-and-residential-in-chicago-by-studio-gang/ 29 April 2014 Fig.2 De Young Museum facade pattern. http://studiomaven.org/index.php?title=Workflow:545199 29 April 2014 Fig.3 Restaurant ‘Aoba Tei’. http://zliao.wordpress.com/2009/07/03/abe/ 29 April 2014 Fig.4 Facade of Beijing National Stadium. http://www.globeimages.net/img-national-stadium,-beijing-photo-12260.htm 29 April 2014 Fig.5 Balmond’s Serpentine Pavilion. http://www.theguardian.com/artanddesign/2010/may/23/serpentine-pavilions-ten-years-on 29 April 2014 Fig.6 Aqua Tower Model. http://www.samsung.com/Features/BrandMagazine/magazinedigitall/2006_summer/ feat_02a.htm 29 April 2014 Fig.7 Facade of AU Office and Exhibition Centre. http://sigalonenvironment.soup.io/tag/Archi%20Union%20 Architects%20Inc 29 April 2014

IMAGES Fig.8 Facade of Dior Ginza. https://www.flickr.com/photos/kh1979/sets/72157601475404989/detail/ 29 April 2014 Fig.9 Facade of De Young Museum. https://www.pinterest.com/gakcreative/materialize-me-steel/ 1 May 2014 Fig.10 De Young Museum facade pattern. http://studiomaven.org/index.php?title=Workflow:545199 29 April 2014 Fig.11 Facade of De Yound Museum. http://www.visitoffice.com/news/06-13-2011/eye-spy 1 May 2014 Fig.12 MoMA/PS1 Reef. https://www.flickr.com/photos/isar/431629969/ 30 April 2014 Fig.13 Top view of MoMA/PS1 Reef. http://www.iwamotoscott.com/MOMA-PS1-REEF 30 April 2014 Fig.14 MoMA/PS1 Reef. http://jennifer.ly/?/professional/Reef-1/ 30 April 2014 Fig.15 Inside of MoMA/PS1 Reef. http://jennifer.ly/?/professional/Reef-1/ 30 April 2014 Fig.16 Tube-sponge. http://www.realmonstrosities.com/2011/11/sponge.html 1 May 2014 Fig.17 Organ. http://www.firstchurchnashua.org/music/pipe-organ/ 1 May 2014 Fig.18 Wind Turbine. http://inhabitat.com/eddy-gt-wind-turbine-is-sleek-silent-and-designed-for-the-city/ 1 May 2014 Fig.19 Traditional wind mill. http://en.wikipedia.org/wiki/Windpump 1 May 2014 Fig.20 Telescope. http://www.math.uiuc.edu/~franklan/Telescope.html 1 May 2014