Studio AIR Journal

A I R ARCHITECTURE DESIGN STUDIO 2 0 1 4

Fady Ghabbour

585 023

Studio 7

Tutors: Cam Newnham & Victor Bunster Milnes

contents PART A

A.0. Introduction A.1. Design Futuring A.2. Design Computation A.3. Composition & Generation A.4. Conclusion A.5. Learning Outcomes A.6. Algorithmic Exploration Part A References

PART B

B.1. Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique: Development B.5. Technique: Prototypes B.6. Technique: Proposal B.7. Learning Objectives & Outcomes Part B References

PART C

C.1. Design Concept C.2. Tectonic Elements C.3. Final Model C.4. LAGI Requirements C.5. Learning Objectives & Outcomes

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y name is Fady, I am a third year student at the University of Melbourne undertaking the bachelor of Environments, majoring in architecture. I come from an Egyptian background. I was born in Lybia and moved to Egypt at the age of 4, I later moved to Australia when I was 14 with my family. I enjoy painting and art in general and I am highly interested in studying theology.

Studying architecture was always something that I have been interested in and found as an attractive field. During my studies at university I began to get curious about sustainability issues and building envelope design. The reason for my interest in these two issues is because they were true eye-openers for me about the impact of architecture on people and environment. Studying passive design and innovative technologies in efficient facade design is a field of many challenges as architectects are constantly trying to better, and further develop, existing solutions. I am personally invested in exploring how I can contribute to this field of research and design in a creative way. Pursuing a career in architecture is not only an engaging path, challenging the mind and even the body, but has been a most rewarding experience for me as well.

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A.0. Introduction

Past Work

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ver the past three years I have had to quickly aquire skills in various modelling, rendering and design presentation softwares at a high standard. This typically was not the smoothest learning curve for a heavily arts-and-craft-reliant guy like me, however with time I gained more experience and continued to improve myself.

The first time I encountered Rhinoceros was in first year, studying a course called Virtual Environments.

The subject outline required students to undertake a design process in which they transform an analog 3D physical model into a digital presentation of that form which will then be panelled and modelled using Rhino. Employing a technique I’m very fond of, chronophotography, I traced the path of a falling leaf that is subjected to wind pressures from various directions. I then transformed that path into an abstract physical representation. Through Rhinoceros, I was able to realise such an abstract form and successfully construct it.

That was my first experience using a 3-Dimensional modelling software. It opened my eyes to the various possibilities that are now available in the industry cause of softwares like this.

Along my studies so far I have developed skills in some computer-aided-design softwares, such as AutoCAD, ArchiCAD, Rhinoceros, Google Sketchup, as well as photoshop and InDesign.

I have no previous experience in grasshopper, however I do expect it to widen my range of abilities and allow me to expand further on the possibilities of architectural design.

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PART A c o n c e p t u a l i s a t i o n

“Answering the ‘design futuring’ question actually requires having a clear sense of what design needs to be mobilized for or against. Even more significantly, it means changing our thinking, then how and what we design.” (1) Tony Fry

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hat is architecture?

According to the Oxford dictionary (2014), architecture is the “art or practice of designing and constructing buildings.” (2) Most of the time, the notion of architecture is associated with these two aspects - design and construction. The two intertwine and correlate. However, as it will be discussed through this journal, architecture extends beyond structure and aesthetics.

The discourse of architecture is undergoing a major shift in our time from the analog to the digital. From the manual to the computational. With this shift, our understanding of architecture and design must shift as well. From the aesthetic, and the superficial, to the analytical and sustainable.

Tony Fry acknowledges our thinking as a stumbling block in this cultural shift in architectural discourse. In order for any transition to take place in an established profession, a clear agenda must be set out. People involved must then understand and be persuaded by the agenda. Architecture must acknowledge the issues that face our environment today due to mass construction and mistreatment of context and landscape.

‘Sustainable design’ can be quite a vague and general term, for the sake of this argument, let us define sustainable design as the ability of buildings to be constructed with resource efficient materials, to utilize passive energy through passive design principles and to rely on renewable resources for functioning - less mechanical resources.

This means that integrated design must take place in the design process, and different professionals such as architects and engineers are to combine forces to generate the best possible outcomes.

With the advancement in technology and computational modelling softwares, we now have the resources to do this. We have the resources to virtually design and simulate architecture before it is realised, and the resources to effectively respond to environmental needs and conditions.

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ArboSkin Pavillion

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he free-form pavillion, in Stuttgart, Germany, is a step in the direction of green sustainable construction and structural design.

Designed by students and professors from Stuttgart University’s ITKE (Institute of Building Structures and Structural Design), the pavillion demonstrates a new form of construction using a bioplastic containing over 90% renewable materials as it’s sole structural element.

Currently, materials made from oil-based plastics, glass, or metal are mainly used to encase structures and in building facade elements. What bioplastic construction proposes is a resource-efficient alternative in the future.

Bioplatics are materials made from renewable biomass sources such as starches, cellulose or other polymers.(3) Thus an alternative to plastics procured from fossil fuels. The bioplastic used in the ArboSkin Pavillion is called Arboblend and is derived by German firm Tecanro.

Arboblend combines the high malleability and recycability of plastics with the environments benefits associated with materials consisting of renewable resources. This means that in the future, architects, manufactures, engineers, product technicians,

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A.1. Design Futuring

can construct materials for facade cladding of at least 90% renewable resources.

The material can be produced in thermoformable sheets. This means that this special type of bioplastic can be extruded into different shape and further processed as required. The sheets can be drilled, laminated, laser cut, CNC-milled, or thermoformed to produce various shapes and moulded structures. The pavillion demonstrates one of many assembly methods of the individual pyramid-shaped modules. The pyramids are linked together with bracing rings and joists which makes the structure quite load-bearing.

The innovative approach of this research project by ITKE marks a milestone in building industry. It provides a highly sustainable material that can be recycled, which meets the high durability and flammability standards for building materials and is structurally sound.

It also provides a material that can fulfill and help realise complex architectural designs featuring complex geometries and 3D facade components.

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Watercube Waterpark Beijing National Aquatic Center

PTW

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uilt alongside the Beijing National Stadium is the Watercube National Swimming Centre for the swimming competitions of the 2008 Summer Olympics.

PTW Architects coming together with CSCEC + CCDI + ARUP won the international design competition to design the aquatic centre for the 2008 games.(4) The cuboid structure is comprised of a steel fram which holds the largest clad structure worldwide with over 100,000 m2 of ETFE pillows (Ethylene tetrafluoroethylene).

ETFE is a fluorine based plastic which is designed to have a high corrosion resistance and high structural strength in order to make it suitable for external cladding of buildings.

The ETFE cladding allows more natural light and heat to access the building than normal glazing. This is important as the facade of the stadium resulted in 30% reduction in energy cost increasing it’s efficiency.

The Watercube’s ETFE facade maximised the capture of solar energy to heat internal spaces as well as all pools. This, of course, eliminated the reliance on standard HVAC and plant equipment,

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A.1. Design Futuring

which was not only economic and sustainable in terms of energy usage, but allowed to have a larger interior space.

The way in which the facade responds to energy concerns shows the technological sophistication of the building and a state-of-the-art materiality.

The building envelope therefore does not only serve an aesthetic function, but also expands on future possibilities for energy savings and energy generation using solar energy.

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ver the past decade, the architectural profession has undergone a major cultural change in its course and nature. The emergence of digital computing into design prompted this shift from the formal analog and manual methods of presentation - mainly scaled drawings - which were the primary means of representation. The role of architects, generally, responding to a brief is to begin analysing problems and setting specific goals to be achieved. Identifying elements of the problem through information processing and proposing solutions that would meet the goals is a vital step in the design process. (5) Different research methods and design paradigms have been employed over the years to counter these problems that arise during the process. In the present day, “The very richness and complexity” (6) of computerised-driven design has flourished and widened the possibilities in architectural problem solving and design. Specifically relevant to this course, softwares scripting algorithms (such as Rhino and Grasshopper) open the door towards endless unique possibilities and solutions. The impact of computation on the design process is therefore apparent in the approach towards research, problem analysis and solution synthesis.

“This is the age of the emergence of research by design”(7) The above quote highlights the main influence computing has had on design. What parametric design has enabled the architecture and engineering industries to do is experimenting different design concepts using parametric modelling. Meaning that the outcome will most likely be the unexpected result of computation due to the expanding capability of algorithmic scripting softwares to model and study different behaviours such as energy, materials and structural systems. (8) oxman Traditionally, the former training of architects in painting, drafting and drawing skills to become designers is what has separated the conception of ideology in architecture from concept realisation, meaning the separation between architects and other professionals. (9) kalay However, the further advancement of parametric research-based design allowing the modelling and designing of different material systems has made material design an integral component of the design process. This lead to a change in the design and construction industries through promoting a “strengthened and collaborative design relationship” between architects and structural engineers who are both engaged in the same process of integrated design. (10) oxman

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A.2. Design Computation

“If I knew where I was going, I wouldn’t do it. When I can predict or plan it, I don’t do it.” (11) Frank Gehry

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omputation has enabled the genesis of free-form complex geometry and fabrication through parametricism. Different volumes are concievable through softwares which script algorithms as they can manipulate form and map different parameters which govern relationships between components producing many variations . This is a completely different design logic. This breakthrough has turned the architectural approach to be quite scientific, where new ideas and innovation are constantly created without the repition of old ideas.

This is where the impact on traditional achievable geometries takes place. We now have the tools to change our surrounding environment which is dominated by boxes and cuboids.

Design computation has concealed the future of architecture. We now do not know, and cannot predict, what the outcomes may be and what will come. Nevertheless, the ability to design and construct buildings that are original, well functioning, and inconceivable is indeed stimulating and exciting. The ability to study and model buildings in ways that were not available in the past has oriented architecture towards the focus on high-performance design.

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Soumaya Museum By: FERNANDO ROMERO

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he Soumaya Museum, Mexico, demonstrates the result of computerised-based digital design - where a general design idea or form is inputted into a software where it is modelled and defined.

The organic form of the building facade is ornamented with hexagons. The design of the facade and modelling it for construction, specifically, is where parametric design comes in. The hexagon was an attractive solution to pattern the surface as it takes double curvatures very well. The Soumaya Museum shows the clear contribution of parametrics to performance-oriented design. The facade of the building and it’s envolope was enabled to be structurally sound through parametrics, which through collaboration with structural engineers, it allowed the architectural firm to match their design to a fully realised, and well-functioning, built project. (12)

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What this promises for future possibilities in architectural design and construction is the enhanced ability to construct buildings employing challenging geometries and forms.

Organic design and forms propose issues in structural stability and technical performance.

Thus, computerisation enhances the architect’s ability to tackle these issues through creating a new profile of professionals involved in the project and overlapping their expertise.

This is apparent in the Soumaya Museum where the hexagons wrapping the facade were designed to be aligned with a structural mesh that would hold up the entire facade. This solution was digitally achieved through parametricism.

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MechanicAves By: ELLEN WONG

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echanicAves is a student entry to Suckerpunch Daily Architectural Forum in 2014. (13) What this project highlights is the incredible ability of computation to derive complex volumes through scripting algorithms. Parametric design enables the design process to begin digitally, which means that the original object can be actively and constantly changeable without affecting its nature. That is how parametric modelling softwares can aggregate volumes by mapping specific patterns in a simple object.

One of the main innovations in paramter-based generation of architecture is in its ability to optimise structures according to any statical aspects, such as stress or deformation of members. The strengthened collaboration between architects and engineers through manipulating parameters allows them to program architecture with the consideration of as many parameters as necessary for the design.

The implications of this on the future is the following - as the younger generation of architects begins mastering parametric design, we will be able to design buildings more efficiently with more competence. Considering elements such as energy consumption, structural optimisation, lighting needs and materials, which are all elements enhancing the comfort levels in buildings. What this leads us to, is a path towards beautiful and outstanding architecture.

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“ lgorithmic thinking means taking on an interpretive role to understand the results of the gene rating code, knowing how to modify the code to explore new options, and speculating on further design potentials.� (14) Brady Peters (2013)

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A.3. Composition & Generation

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he shift from composition to generation in architecture has been taking place over the last few years in architectural firms. This has impacted the outcomes of architectural projects on a global scale. The algorithm has played a crucial role in the way architects tackle design issues and how buildings are manufactured and built. In his paper, “The Building of Algorithmic Thought”, Brady Peters discusses the path algorithmic thinking lays before architects.

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Algorithmic thinking, as explained in the quote on the left, is the architect’s response to design issues through information processing of various codes (algorithmic data sets) and understanding how they interact with one another, influence outputs, and in turn maximise the architect’s “capacity to generate complex order, form, and structure.” (15) This is manifested in real life practice through what is called component design.

The entire design process of algorithmic generation is about the resultant forms that are defined with codes. One can generate many variations to a geometric input, such as a circle, via controlling different parameters regarding that circle. These could be the minimum and maximum number of points on a circle or which plane to offset the circle in.

Component design is the approach that parametric design enables architects to take in the design process. How this supports the cultural shift in architecture to computation is through a holistic approach to the design of buildings. Computational designers/architects are now able to generate “parametric families of components” (16) that have a strong relationship to each other, thus allowing efficient fabrication and construction of buildings due to the larger level of detail that goes into the perfection of the these parametric components that form whole structure. Unlike in the past, where only a single, or a couple of details would be given a lot of effort and attention in the design and construction stages. (17)

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Paremetric modelling is indeed a powerfull tool of design in our time. The concept of component design discussed earlier which is enabled by parametricism, can also be understood in the terms of generative design. Generative design, essentially, is the approach to designing architecture by finding form, and not by using form to design architecture.

The ability of an algorithm to impose a certain set of rules on an input can be beyond the intellect of the designer, there is a multitude of parameters that can augment the architect’s understanding of the building formation and lead to unexpected forms (outputs).

What will be discussed in this section, with regard to generative parametrics, is the ability of designers to digitally simulate the performance of building components as well as the efficient prefabrication of structures and their construction that is enabled by this tool.

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The Esplanade By: Michael Wilford & Partners & DP Architects Teatres on the Bay

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ll the precedents discussed earlier throughout the journal indeed show how computation has allowed architects to design outside the traditional and conventional architectural forms that spread throughout the modernist period.

With the revolution in Computer Aided Design programs and the advancement in design from computerisation to computation, architects have been designing more intricate forms that otherwise would be very difficult to produce, inefficient or not structurally sound.

This development gave architects the tools to simulate different solutions to design issues and challenges proposed by the brief. What this meant for architects and engineers is the ability to model buildings and analyse their performance based on the professional’s knowledge about the parameters experimented.

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As mentioned earlier, there is a multitude of parameters that are constantly designed by algorithmic specialists, which broaden the architect’s ability to come up with new and complex design solutions. However this means that architects must acquire knowledge about the different parameters to be experimented with and master algorithmic design to a level which allows these solutions to be valid.

An example of parameters that can be experimented is the response of a shading system to sun exposure. A responsive facade allows a much more efficient building envelope and an increased level of comfort within the building.

The Esplanade - Theatres on The Bay is an example of the use of the computation generative approach in design.

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Singapore (2002) was the show ground for The Esplanade, an architectural icon designed to be a performing arts centre in the heart of its context. The two rounded envelopes of the main theatre venues give the building its famous and dominating form. The trangulated sails covering the facade give the building its reputation as an innovative and efficient functioning building.

The facade system is a responsive skin which reacts to the level of solar exposure. This shading system’s triangular sails, changes pattern to suit the orientation of the sun - the efficiency in this is that it requires no manual or automated control, but rather brings life to the built environment, allowing it to respond on its own in the appropriate most suitable way.

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The self-initiated response of the building’s skin shows the effictiveness of generative design. Re-generation of a single parametric outcome (the triangular sail), applied on a large scale to the entire envelope of this building resulted in individual optimal performance of each sail as if it had a mind of its own. However the perfection of generative algorithms is the unifying of all elements into the whole. They all act as members of the same body, increasing the complexity of details in the overall building.

A crucial advantage is lying within reach when it comes to parametric design, that is the ability to simulate, fabricate and test each of these design solutions during the design process, leading to the most suitable outcome.

Interior view of the shading sails.

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Smithsonian Institution By: Brady Peters, Foster & Partners T

he continuous development of design tools using algorithmic scripting has opened the path for architects to not only skept algorithmically, but to also explore different construction possibilities that are efficient and that would lead to a reduced construction timeframe.

The Patent Office Building in the Smithsonian Institution, Washington, is an example of how parametricism is used in the construction industry. The structure is supported on light columns and has varying nodes of height. In order to build such a geometrically complex roof, obvious construction issues would be faced by the architects. The organic form of the roof meant that the structure must be able to provide self-support at the areas where there are no columns.

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The generative approach to design plays a role in the design of this structure as it allows for flexibility in the design.

The ability of algorithmic scripting softwares to allow for changes in the general form of structures without affecting the paremeters in place gives architects the oppportunity to modify the geometry in order to satisfy structural integrity. As changes are made in the scripting algorithmic codes, designers can generate a new digital model using those changes very quickly whilst still applying that same parameters. Computation in this instant allows for not only understanding the structural constraints, but to be able to fabricate solutions through physical modelling of the digital model that is accurate and critical in the design process.

“ This hasn’t simply transformed what we can design - it’s had a huge impact on how we build.” (18)

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Architecture has always been a method for cultures to express their influential movements. It is so much more than a structure or a built form, it is more than a housing fabric, more than a recreational space or a work space. It is a mirroring image of economic, social and political cultures. We now live in a digital age. An age where computation has advanced the fields of architecture and construction.

Computer Aided Design (CAD) softwares have existed for a while and were only a means of a more accurate and faster way of documentation. However, architecture is now moving towards parametric design and algorithmic sketching. A new design logic, and a different way of thinking about forms and geometry. Previous work by international firms, architects, and even students, was analysed to demonstrate the capalities of architecture and what it can propose to the field of design and construction through this digital cultural shift.

I personally believe that computational design has had a positive impact on architecture. The outcomes that are proposed by this approach augment architectural intellect and unfold innovative discourse that cannot be predicted.

In the next part of this journal I will be exploring and experimenting with algorithmic scripting and design in reponse to the LAGI design competition brief.

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So far, studying algorithmic design through learning Grasshopper, reading literature, and studying precedents has been an eye-opener to a new field of design for me. The logic of parametric design is something completely new and foreign to me.

Parametricism, generative design, algorithmic scripting, all terms defining a new architectural approach, describe this shift which is taking place. Through familiriasing myself with parametrics, I began to gain understanding of the logic and how it works. I have gained a founding knowledge to comprehend its role in design and fabrication.

Through strudying precedents, and experimenting with grasshopper myself, I have come to reflect over my previous work with respect to geometric forms, how I designed faรงade systems, and what was going through my mind during the design process. I now realise that this introduction to parametric and algorithmic-based design has changed my thinking process in terms of approaching forms and design solutions, which shows me that this is a field I am highly interested in. Nevertheless, I do think that it is a quite difficult design approach to master, however it has helped me to realise where I stand in terms of the innovating industry, which is moving forward, that I aspire to get in, and motivated me to advance my skills and push my design abilities.

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What is demonstrated above is an example of grid patterning in Grasshopper. Grid patterning is a useful tool for designers and architects working with complex, organic forms as it allows for a grid to be constructed off a series of points on a surface.

My explorations with grid patterning involve a Voronoi mesh component which patterns points with a simple grid.

However a great advantage to this is the ability to achieve varying/inconsisten patterns.

The first pattern was quite uniform, however applying other parameters to the voronoi

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component allowed manipulation of points which means manipulation of encopassing pattern.

Different components allow to keep or cull specific points arrayed on a surface. All this can be controlled (parameters), resulting in original unexpected forms. These patters can be offset and lofted together to form strips that can be fabricated.

The process of parametric design might be deliberate, however the outcome is still unexpected and in most cases, unseen.

The above form is composed of three separate curves, which can be transformed, scaled and moved as wished by the designer. What I attempted to do here was not simply lofting three curves, but rather divide the curves into a series of points, which location on the curve I can control, and join these points in an interesing manner. To do this, geodesic curves came into play. What they allowed me to do was to the shift the ending point of each arc connecting the three curves, keeping its start point at origin. This resulted in the diagonal curves intersecting in opposite directions. Thus, instead of lofting an entire surface for panneling, I only lofted the geodesic curves with their offsets to make this form constructable.

A difficulty which I was faced with during this exploration was applying parameters such as the gridshell patterns, demonstrated on the previous page, to this organic 3D form.

I found it quite difficult to apply a custom grid pattern to my three-dimensional form in order to explore further fabrication solutions. This, however, further proves the complexity of parametric modelling. In order to design algorithmically, beginners like myself, must be able to grab a hold of the algorithmic logic and basics themselves in order to understand how to develop creative solutions. It is quite a steep learning curve.

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(1) Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pg 4.

(2) Oxford Dictionaries (2014), Oxford University Press. Accessed on 9 Mar 2014.

(3) Dee Zeen Magazine (2013). ArboSkin pavillion made from bioplastic by ITKE. Accessed on 10 Mar 2014. <http://www.dezeen.com/2013/11/09/arboskin-spiky-pavilion-with-facademade-from-bioplastics-by- itke/> (4) PTW Architects, Watercube National Swimming Centre Project. Accessed on 10 Mar 2014. <http://www.ptw.com.au/ptw_project/watercube-national-swimming-centre/> (5) Oxman, Rivka and Oxman, Robert, eds (2014). Theories of the Digital in Architecture (Londong; New York: Routledge). pp. 1- 10.

(6) Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), p.6.

(7) Oxman, Rivka and Oxman, Robert, eds (2014). Theories of the Digital in Architecture (Londong; New York: Routledge). pp. 8.

(8) Oxman, Rivka and Oxman, Robert, eds (2014). Theories of the Digital in Architecture (Londong; New York: Routledge).

(9) Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press).

(10) Oxman, Rivka and Oxman, Robert, eds (2014). Theories of the Digital in Architecture (Londong; New York: Routledge).

(11) Brainy Quote (2014). Frank Gehry Quotes. Accessed on 18 Mar 2014. < http://www.brainyquote.com/quotes/authors/f/frank_gehry.html> (12) SuckerPUNCH Daily (2012). Fernando Romero. Accessed on 20 Mar 2014. < http://www.suckerpunchdaily.com/2012/06/29/interview-with-fernando-romero/#more-18469> (13) SuckerPUNCH Daily (2012). MechanicAves. Accessed on 20 Mar 2014. < http://www.suckerpunchdaily.com/2014/02/12/mechanicaves/#more-35154> (14) Peters, Brady (2013). ‘Computation Works: The Building of Algorithmic Though’, Architectural Design, 83, 2, p.8.

(15) Peters, Brady (2013). ‘Computation Works: The Building of Algorithmic Though’, Architectural Design, 83, 2, p.8.

(16) Peters, Brady (2013). ‘Computation Works: The Building of Algorithmic Though’, Architectural Design, 83, 2, p.12.

(17) Peters, Brady (2013). ‘Computation Works: The Building of Algorithmic Though’, Architectural Design, 83, 2, p.12.

(18) Peters, Brady (2013). ‘Computation Works: The Building of Algorithmic Though’, Architectural Design, 83, 2, p.12.

PART B C r i t e r i a D e s i g n

B.1. Research Field

GEOMETRY MINIMAL SURFACES | RELAXATION AND TENSION

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eometry has always been an essential component of architectural design throughout the past generations. Emphasis on geometrical solutions to architecture, patterning of surfaces, and internal partitions within buildings, continues to be a major area in architectural design today. It was discussed in part A how computation was used to derive solutions to complex geometries as well as to create custom geometries. However, computational geometry is a complex field which cannot be touched upon by only saying that it provides solutions. We must acknowledge that it requires understanding of form and structural integrity in order to be successful and useful to architects and engineers.

When it comes to geometry being the focus of design, what digital modelling can offer is experimenting with possible ways of fabrication in response to materiality. Why fabrication and materiality go hand in hand within this research field, is because the possibilities of fabrication are determined by the capabilities of the material and its limits. Within this research field, my group has chosen to focus on the studies of minimal surfaces and the tension and relaxation of geometries. Minimal surfaces is an interesing field, because it focuses on utilizing the max-

imum amount of surface area within the minimal possible surface. This is where the tensile and relaxation properties of materials are relevant, as the relaxation of form determines its overall aesthetic which depends on the intent of the design and its function.

This research field is an importnant focus in our response to the Land Art Generator Initiativeâ&#x20AC;&#x2122;s brief because it enables us to sustainably design a structure which does not overuse material, and is attractive and functions in a smart and innovative way.

The main purpose of the design is to attract users and allow them to actively engage with the structure in order to bring awareness towards sustainability and energy generation, which is why we see this research field as being appropriate. As discussed in the past precedents, materiality highlights the overall design and architectural intent. What the next part of this journal will be exploring is how parametric tools, such as grasshopper and kangaroo, can allow for the manipulation of form by testing its response to relaxation and minimizing its surface.

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Inside & Out

Articulated Tensions, Unviersity of Calgary 2013

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he art installation flipping inside and out on itself is a clear demonstration of a relaxed mesh structure and how it can be used in the formation of geometry. Inside and out has no specific surface orientation (1), but is twisted in and out on itself showing the complexity of form that can be achieved using parametric tools. The relaxation of the mesh is used to produce a minimal surface which is locally minimized in area. In order to achieve this, consideration of structural integrity must be taken on board by the designers. Geometry and performance are interrelated through the crafting

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and fabrication of the structure. The choice of material is what allows the structure to be errected within the space. Materiality manifests how the relaxation of the mesh can be achieved.

This project shows how parametric design can be used to compose form through the organisation of material and its method of fabrication. It also shows how an understanding of the concepts of minimal surfaces and tension of materiality can concieve attractive and complex geometry via parametric design.

Taichung Metropolitan Opera House

Toyo Ito & Associates, 2013

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till in the realisation phase, the Taichung Metropolitan Opera House in Taiwan, demonstrates the ability of the parametric approach in design to bring forth complex geometries. The spatial complexity of this building stems from the interior, coming out of the network of curved spaces the external form of the building takes its shape. How Itoâ&#x20AC;&#x2122;s employment of parametric modelling is relevant to this research field is in the use of materiality to realise this project. The volume of the building is achieved by using parametric design to create its minimal surfaces. The construction of the internal organic form is where the challenge lies. Parametric modelling

allowed for feedback about how such structure could be built at this huge scale. The internal curved walls are constructed with a mesh of steel beams and a steel mesh to create their shape. (2) Concrete is then sprayed onto this mesh to form the mass and refine it as accurately as possible.

In this case, parametric modelling gives the most efficient path in fabricating complex geometries which still enables efficient use of materials and resources, without over-use and without delays in the structural process. Of course the construction phase for a complex building cannot be so ideal, however it is a huge step in the architectural industry towards building a structure encasing 3D curved walls.

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Case Study 1.0 Green Void | LAVA

Sydney, Australia, 2008

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he 3-dimensional lightwight installation is the perfect example of employing minimal surfaces in design. With an area of 300sqm, the installation successfully uses minimal surfaces and tension to obtain a 3000sqm volume within a height of 20m spanning from floor ceiling and horizontally to the side walls. (3) This installation is an example of the state-of-the-art digital modelling using grasshopper and the physics engine, kangaroo, and fabrication using CNC. The green void provides a new dimension in the sustainable design practice as it is efficient in its material use, fabrication and short construction period, as well as weight. The installation is made out of a woven fabric which is extremely lightweight, and allows its suspension with only 2mm stainless steel cables. Not only is the installation fantastic in terms of its sustainable attributes, but is also quite visually striking in the way it fills the atrium space. Its spatial impact is large, as the sculpture is attractive and provides an impressive aesthetic to the space.

Within our group, we have used this example as a case study because we are interested in sustainable design and manufacturing. We see fabrication as a vital process in the design of any given project and we would like to expand on,

33 B.2. Case Study 1.0

and utilize, the algorithmic definition which produced this 3D form. Using the definition as a starting point, we explored the parameters of exoskeletons using different geometries and combinations of linework. Parameters tested covered the various branches of the exoskeleton to produce different effects, these branches included node size, number of faces on a mesh in order to achieve a round curved surface or a more panelled surface, thickness, and length of tubes.

Using kangaroo, we then explored how mesh relaxation was used to achieve this form.

We constructed a mesh in rhino, and through referencing the mesh into grasshopper and applying a kangaroo springs algorithm to it, we controlled the “goal length” of this given mesh.

What the goal length did was manipulate the flexibility of the mesh using the springs algorithm.

Such input was used in the green void in order to transform it from a rigid form to an organic tensile structure achieving minimal surfaces. Increasing the goal length “relaxed” the mesh, which lead to a sag-like effect. We wanted to increase its tension in this case, so via decreasing it, we created a mesh applying tension to minimal surfaces and used the control points on the mesh to manipulate its shape.

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35 B.2. Case Study 1.0

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Species 1: Exosceleton node size + no. of lines

Species 2: Exosceleton different Geometry + no. of faces

Species 3: Exosceleton thickness + size of nodes

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37 B.2. Case Study 1.0

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Species 4: Mesh | Kangaroo mesh tension/relaxation + control points

Species 5: Voronoi | Kangaroo control points + relaxation

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39 B.2. Selected Outcomes

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Case Study 2.0

Olympic Stadium | Frei Otto Munich, Germany, 1972

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tto’s Olympic Stadium’s tensile roof is without a doubt one of the world’s masterpieces in experimental architecture. The tensile structure, which was designed and constructued long before the digital shift we are in now, continues to be visually and technically impressive in terms of its execution and realisation. The roof structure, composed of 25mm steel cables within a 762 square grid (4), give us evidence on the physical and aesthetical possibilities of tensile structures producing minimal sufaces. The roof structure is suspended from metal steel columns using steel cables that act in tension.

The structure is quite strong in resisting lateral loads (such as wind) as well as other loads like snow and rain, meeting structural as well as stability requirements. It successfully meets requirements for provid-

ing shelter, as well as producing a degree of thermal comfort in an open space within the cold climate of Munich. What this project proposes for our group are the possible ways of form-finding through conception of spaces using mesh relaxation via grasshopper and kangaroo. This complex structure was constructed in 1972 without digital aid. Therefore we are now not only limited to applying such concept to a roof structure only or a single building element, but we are rather able to further explore and expand on the possibility of designing entire spaces using this logic of construction. This would be quite visually striking and attractive within the site for the LAGI brief, as well as providing the advantage of allowing great spanning structures across a quite large site.

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41 B.3. Case Study 2.0

1. In order to begin the reverse-engineering process, we had to find the basic geometry that could be a starting point for such a form. We saw that a rectangle meets this starting point in terms of the visual appearance of the roof - long span and shorter width.

2. Once we had the basic geometry, we were able to create a mesh within that geometry in grasshopper, using the rectangle as a boundary for the mesh.

3. Because the mesh is constructed within grasshopper, it can be parametrically decomposed in order to get the vertrices that control the shape of the mesh and the points of its intersection.

4. Once these vertices are available to us in grasshopper, we can “bake” the outcome of the mesh decomposition in order to have control over these vertices in rhino for mesh manipulation in grasshopper. The next part of the process involves the use of kangaroo, the physics engine.

5. What kangaroo allows for is converting the curves of the mesh into springs and then using specific anchor points to stretch these springs out. Therefore we chose the desired points to serve as anchor points by selecting them and referencing them as “points” into grasshopper.

6. Once we have referenced these points into grasshopper, they can then be plugged into kangaroo as anchor points for the mesh relaxation. We turn kangaroo on and see the effect on the mesh when it is anchored to the chosed points.

7. Going back to the backed vertices in rhino, we chose another set of points to be referenced in grasshopper to act as for the mesh. However, this time the points were moved in the z-plane to anchor the mesh from the top.

8. The second set of selected points is simultaneously plugged into kangaroo as anchors, as well as the first set. Kangaroo is turned on again, and we see how now the mesh is anchored from the side points as well as from the points on top.

9. This step shows all the vertices that are used in constructing the original mesh in grasshopper, and highlights the vertices selected as anchors for our mesh to receive its desired form.

10. A perspective view of the mesh once all its anchor points are plugged into the kangaroo plugin in grasshopper.

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A diagram illustration of Frei Otto’s Olympic Stadium’s tensile roof structure. (5)

43 B.3. Case Study 2.0 Outcomes

Outcomes of reverse-engineering Frei Ottoâ&#x20AC;&#x2122;s Olympic Stadium and form exploration in grasshopper. We were able to imitate the general geometry and form of the original project, and were also able to create some sort of internal volume undermeath or within our form. However our outcomes at this stage we are yet to explore the structural aspects of our form, we do not have a framing or a rigid structure to create this tensile form.

We would like to further to develop our form through experimenting with different patterned mesh and applying tensile forces to them. We are also yet to explore the effect of gravity on these tensile structures, which we did not achieve in these outcomes.

This step is yet to be further expanded on in terms of design intent. We would like to create a space where users can physically interact with the structure and the form and be able to touch it and experience it on many levels. In our technique development we would like to further explore and focus on how to integrate energy generation into our design and thus respond directly to the LAGI competition brief.

MATRIX Form and tensile properties | Structural Integrity

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ITERATIONS DEVELOPMENT In these iterations we expanded on our previous algorithm through the application of unary forces and gravity to our meshes via kangaroo. Experimentation with triangulated meshs were done as triangles wrap well around organic geometries, this was done with the purpose of experimenting with creating different volumes and spaces using our modified technique and algorithm. Later, new iterations emerged and we started looking at isosurfacing a framing structure through millipede. We were able to achieve a variety of forms and geometries by adjusting parameters such as the thickness of pipes and minimalising the isosurfaces. This technique developed to form a basis for a framing structure for our form, or a starting point for a form itself.

S E R I E S 1 Iterations A1 to C3 focus on deriving a volume using our reverse engineered algorithm from case study 2.0. We attempted doing that through manipulation of mesh points to create anchore for our surface and then apply a unary force in different planes to the mesh to further push the definition and see what it allows for in terms of creating tensile geometries.

S E R I E S 2 Iterations D3 to D5 use a different algorithm relying on the millipede plugin to create surfaces and geometries from points and curves. The reason we saw this as relevant to our experimentation with form comes from our design concern with developing a structural frame to support our form.

We experimented with circles to create isosurfaces and then minimalise these surfaces. In doing so, we were able to create surfaces off the points of our curves and manipulate their thicknesses as well as how relaxed or tense the minimal surface achieved can be.

S E R I E S 3 Iterations E5 to J6 follow the same algorithm, however a slightly different application. In developing our reverse engineered definition, different starting points gave significantly different outcomes even when the same technique was used. The same approuch is done here to go from series 2 to series 3. Isosurfaces and minimal surfaces were created within a bounding box and they formed the basis for our framing/form finding explorations.

46 B.4. Technique: Development

SELECTION CRITERIA

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These show some of the most successful outcomes (selected from series 1 and 3) as they demonstrate the direction of our experimentations and iterations at different stages. They also depict how our outcomes where most certainly not expected, but rather were aimed at achieving a specific effect or goal that we saw as a design intent.

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SELECTED OUTCOMES

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Design intent: achieving a tensile form which could be potentially used a membrane to wrap around a structure or to create a form in our design.

Design intent: creating a framing structure out of minimal surfaces for a membrane to be wrapped around or stretched within - creating a form.

Energy generation: can be used to generate energy kinetically by stretching and tensing.

Energy generation: piezoelectric actuators can be used at the anchor points of the membrane - therefore user interaction with the membrane and applying stress, pressure, or wind loads to the membrane can generate energy at its connections to the frame.

Algorithmic definition/fabrication potential: deconstructing a triangulated mesh in grasshopper, moving its vertices to create anchor points then applying a unary force to the mesh in the y-plane.

Can be made out of a flexible membrance attached to a supporting frame to maintain the form

48 B.4. Technique: Development

Algorithmic definition/fabrication potential: the frame is triangulated into panels which can be lasercut and assembled. Triangulation maintained the minimal surfaces.

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Design intent: utilizing the internal volume within the frame by increasing the thickness of the frame and merging adjacent minimal surfaces. This allows for the use of internal spaces.

Design intent: the previous form is kept, however the triangulated panels are now patterned. More aesthetically pleasing and can be create interesting patterns on our form.

Energy generation: by opening up the volume inside, the frame can harness energy and store it within its internal spaces.

Energy generation: biomorph disk actuators can be located at these joints of connection where mechanical stress is applied to the frame to generate energy.

Algorithmic definition/fabrication potential: this outcome uses isosurfaces that are minimalised using the millipede plugin. The triangulated surfaces are maintained which will allow the fabricated model to maintain the geometry of the minimal surfaces.

Algorithmic definition/fabrication potential: each triangle was minimalised to create this pattern and then penetrations created at their ends for joining. These patterns can be individually fabricated and assembled.

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Physical Prototype 1

pattern and fabrication technique

The images above demonstrate the unrolling process of our patterns in order to fabricate the first prototype. We chose digital fabrication, through laser cutting, to be our method for building this prototype. That decision was purely based upon the accuracy of the process as well as its efficiency. While preparing our digital model for fabrication through unrolling a part of its panels we crossed the first issue in our prototyping process. We realised that we were not able to generate penetrations at all our panels (for jointing) using our current algorithm. That meant that our form would be interrupted at these junctions where we did not have penetrations. However we decided to go through with fabrication to see the outcome and to solve this technical issue for the next prototype.

50 B.5. Technique: Prototypes

Materiality was the first thing considered when fabricating the prototype 1. We choose to use polypropylene for fabrication as the material allowed digital fabrication - laser cutting - and it is highly flexible. The flexibility of the material was one of the main reasons for its choice.

Using polypropylene meant that the panels we cut can be bent and curved to match our digital model and therefore achieve our form. The ability to laser cut our panels for prototyping ensured accuracy of sizes and also penetrations for joints. This level of accuracy madethe assembly process easier as the panels naturally took their shape once they were joined at all ends.

However what prototype 1 failed from structural aspects.

While it showed great flexibility and thus good geometric performance, polypropylene is very weak. We found that our prototype twisted significantly when pressure was applied to it. This meant that the material cannot be used for our structure as it requires strength in order to perform as a frame with structural integrity and support its own weight. Therefore we decided to explore other materials that would allow for flexibility as well as structural integrity.

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Physical Prototype 2

materiality and algorithmic problem solving

1 (left to right) - process of building prototype 2

Through prototype 2 we were able to resolve some of the issues in our initial prototype. For instance, a more mathematical and rational approach was added to our algorithmic definition in order to get much cleaner and more open panels. Penetrations were also now consistent among all panels meaning that they all had joints that were centered at the ends of each panel at the same locations.

52 B.5. Technique: Prototypes

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Strength and flexibility issues were tested in this prototype by choosing to built it out of 0.5mm thick aluminium sheets. Aluminium has much higher strength than the polypropylene used in the first prototype while still being flexible. This meant that our structure will be much more rigid without affecting its form or geometry.

Using thin sheets of aluminium meant that we have the opportunity to digitally fabricate and build the prototype by laser cutting the material through professional business that specialise in cutting metals. However due to time constraints we resorted to cutting our panels out of cardboard (image 1). Once I got the cardboard panels I traced their outline onto the aluminium sheets and cut the pieces by hand using a metal cutter. Due to resorting to manual fabrication that meant that the penetrations had to be drilled manually as well.

This meant that there locations on each panel were not as accurate as the digital model and slight offsets occured. M5.0x15mm hexagon bolts and nuts were used to connect the panels at their joints. Bolted connected at the overlaps of the panels meant that the prototype would be much stronger and also meant that piezoelectric plates and disks can be places at these joints between the overlaps of each panel.

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Physical Prototype 2

assembly and joint analysis

As expected - this prototype was much more rigid and a lot stronger due to using aluminium and due to bolting its connections. The aluminium panels were quite flexible so they were able to imitate the form of our digital model, however due to inconsistencies in the location of the manually-drilled penetrations, the panels did not take their shape with ease. Constant adjustments for each joint and panel were required so that they overlap at the joints and be bolted together. But the prototype proved to be significantly stronger than the initial one.

54 B.5. Technique: Prototypes

Once I built the aluminium prototype I attempted assembling the original cardboard panels that I used to trace the aluminium panels. This was done in order to compare the ease with which the lasercut panels took their shape at the joints, without twisting them, as soon as they were bolted, with the hand-cut and manually drilled panels where there was inconsistencies at the joints.

Due to each panel overlapping perfectly at the joint, the panels took their form much easier. Of course this prototype was very weak and unstable, however that was not the purpose of constructing it.

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Physical Testing

prototype 1 vs prototype 2

prototype 1

prototype 2

56 B.5. Technique: Prototypes

The first prototype completely deformed under bending, due to the nature of the material.

The material being highly flexible and elastic.

Prototype 1 can bent and deformed in both axes and directions. That means that in an applied form it is highly affected by winds and applied loads.

The aluminium prototype still deformed under bending, however under a much higher applied load. also due to the nature of the rigid connections it was harder to deform it.

Prototype 2 was not deformed in its longitudinal due to the bolted connections being closer to each other. However as we came to realise that connecting the panels at their ends was the weakest point of connection, we started to see how the joints were slowly deforming.

When twisted, the first prototype returned to its original form that it has taken due to the elastic properties of polypropylene.

Whereas the second prototype â&#x20AC;&#x153;permanentlyâ&#x20AC;? deformed. Of course as the aluminium is also quite flexible the panels can be bent back into their original form but that highly weakened the material.

Same thing happened when point load was applied at the joints. Prototype 1 deformed much more significantly but returned to its form.

Prototype 1 returning to its original form prior to physical testing.

Prototype 2 showing signs of deformation and twisting at joints after physical testing.

Prototype 2 deformed according to the load applied to its joint.

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Physical Prototype 3 overall form and scale

58 B.5. Technique: Prototypes

The third prototype was a 3D printed model at 1:1000 of our entire form. The purpose of this prototype/model was to grasp an understanding of the scale of the model and its physical attributes within the site and as a space. Our design is something that we aspire to be an experience for users, where circulation is important and an ability to physically interact with the design and the site (through our energy generation technique), hence this prototype allowed us to assess things such as cutting and sectioning areas of our form to create more interesting spaces and also things such as orientation within the site.

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B . 6 . T E C H N I Q U E : P R O P O S A L

Design Proposal & Site Context

DESIGN SITE

Our design concept in response to the LAGI brief is to create a sculptural land art which is visually pleasing and that would stand out on such a topographically flat site. Our design intends to raise awareness of renewable energy through interactions of users with the site. The Refshaleøen site, a reclaimed piece of land, is the perfect site to make a statement through art and architecture about renewable energy. Given the historical use of the site as an industrial shipyard, we must be aware of the necessity to find ways to attract individuals to the site and to ensure its revival again through our design, and thus making our project successful.

62 B.6. Technique: Proposal

The site is located accross the river from icons of cultural significance in Copenhagen, such as The Little Mermaid. Our design aims to make a connection with the cityâ&#x20AC;&#x2122;s cultural and historical landmakrs. In doing so, we give users the opportunity to fully understand the city they live in by utilizing the views from our design. As the site is quite flat, we will be using the height of our design to utilise these views and therefore allow the users to reflect on their relationship with their city at a site that intends to raise their awareness to environmental issues - such as renewable energy.

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Site Analysis sunpath diagram

summer sun

winter sun

LEGEND Entry point Wind path Sun path Proposed design site

Site analysis through the use of supplied documentation and research informed our design process as it helped us determine the direction of wind flow through the site, as well as developing a sun path diagram. Copenhagen only has 17.5 hours of sunlight during the summer and 7 hours of sunlight during winter. However the site experiences strong winds.

Through this process of site analysis and data collection, the potential of our design is informed and we can make design decisions about the location of the design, how to use green space spaces and where to provide shelter, as well as how to integrate our energy generation technique into the design site overall as well as our design itself.

64 B.6. Technique: Proposal

Although solar energy is not used in Copenhagen, the sun path diagram is still useful to our conceptual design approach. The maximum and hours of nautral sunlight in Copenhagen informs how much artificial lighting our design needs. Artificial lighting is therefore to be considered into our energy generation plan so that it can operate on renewable energy and attract users to the site not only at day time, but also at night. Copenhagen is a beatufiul city and its urban landscape is beautifully lit. Therefore we must take advantage of that in an aesthetic manner for our design, as our design is on the river by the water and therefore the use of artificial lighting can highlight the building in its flat site and be observed beautifully across the river.

Form Generation proposed design

View, exit point

Central Atrium Space

Framing system of structure based on entrances and circulation

Merged frame

South facing facade

Division of form

Form generated

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Design Proposal site application

view towards The Little Mermaid

Minimised surface panel entry point

Solid surface panel

South Elevation

The design at the Refshaleøen, as a reclaimed piece of land, needs to be a man-made attempt to reconcile users with their natural environemnt through their active contribution to generating renewable green energy. We will be doing so through integrating piezoelectric plates at the footpaths through our structure and on the floor inside the internal spaces. The red panels in the diagram above represent a solid base for our design as the frame needs to be structurally sound in order o support its own weight. Starting at the grey, going to the green panels, the frame will being opening up and we will start applying our triangulated panels that are joint at their ends. The green strips highlight areas that are constructured completely from the minimised surface panel. This aesthetic design approach is still yet to be refined and developed algorithmically and then applied to the site.

66 B.6. Technique: Proposal

As discussed earlier in part B.4. (selected outcomes), the design intentionally utilizes the internal volume of this frame in order to allow the users spatial experiences on different levels. The external area underneath the frame is intended to be used as a public outdoor space. The internal space will allow experience at a vertical level by taking the users up inside the frame where different lighting experiences are created by the patterned panels and the views across the rivers are experienced in a different manner. This experiential journey we propose to the users at different levels, not only does it influence our energy generation technique, but it also highlights a relationship between the users, the reclaimed site, and the city. Further development in our current conceptual design will lead us to a much stronger architectural response and will allow us to further develop our design. In the process of doing so, we aim to aim to satisfy the LAGI brief requirements.

Energy Generation piezoelectric stack actuator installation technique

Mechanical force from footstep Surface Panel located in pathways and on stairs Enclosed stack actuator

Lithium polymer battery stored energy used as lighting

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In accordance with the design proposal and the interim presentation feedback, we will continue with our current design concept which drives our conceptual design response and further develop and strengthen it in part C. We will be doing so through the refinement of our current form and exploring how it can be improved as well considering the spatial relationships as well as functions of spaces within and outside our frame. A criticism that our design recieved was our implementation of the energy generation technique. Further research on the application of the technology must be taken in order to strengthen our design response. By doing so, our design will be able to be more effective in communicating its design intent. Likewise, the userâ&#x20AC;&#x2122;s relationship will be much more significant when further development on the technique application is achieved. Architecturally, our design at its current state has not fully explored its aesthetic and experiential potential yet. Therefore by going back to computationally modify our form and its structural performance we can optimise the userâ&#x20AC;&#x2122;s experience. The minimalised patterened panels are to be reconsidered for structural reasons, at the moment we have proposed them to be joined at their ends, however other joints are to be considered in order to increase the designâ&#x20AC;&#x2122;s structural integrity. In terms of relationship with the reclaimed site we will also be looking at engaging the entire site, and not just a part of it.

68 B.7. Learning Objectives and Outcomes

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Thus far, my personal experience in Architectural Design Studio: Air has been a steep learning curve. The process of algorithmic generation did not start very smoothly for me, however at this stage as I am reflecting back on my learning so far, I can see a significant change in my thinking and approach towards design which somewhat aligns with the subjectâ&#x20AC;&#x2122;s learning objectives. This was influenced by studying computation and through looking closely at case studies that implement parametric design technologies which was a great tool in realising what it is that I am actually doing within this subject. Objective 1 looks at the interrogating the given design brief. With all confidence I can say that my approach in interrogating and responding to the LAGI brief in this studio was completely different from my response to any brief in previous studios. The approach taken in responding to the brief stripped away all constraints in my thinking, which was much more difficult than expected. The response focused much more on developing a unique thinking process which would bring forth a design technique that would guide the unexpected design outcome. The difficulty in doing so was turning my attention away from the reality of the design response and begin by investigating a specific design criteria (geometry, in the case of my group). Reflecting upon learning objective 2, I think that my ability to computationally generate a va-

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riety of design responses was quite restrained at the beginning as I still had not made much progress in objective 1. Part B.2 and B.4 (case studies 1 and 2) both required generating matrices of various iterations that push different algorithms to their extents and to add to them and experiment with their potential. I was much more comfortable developing the second matrix for B.4 which showed that I had made some improvement and reached some level of comfort using computational design tools. While the case study analysis and reverse engineering enriched my understanding of computational tools and helped me develop my skills, I am yet to develop more skills using parametric modelling. However, the technical exploration and navigation of various plugins and techniques within grasshopper to develop our algorithmic technique enhanced understanding. With regard to objectives 4 and 5, the previous experiences, along with previous knowledge about digital techniques in architecture, have contributed to my understanding of the practice of computational design.

This has enabled me to respond to design issues with a mindset which considers computational solutions and attempts to critically assess them. The ability to produce unimaginable outcomes is thought stimulating and exciting. Studio Air has strengthened my design approach and thinking in a way that I did not realise during Part A of the subject.

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Appendix

algorithmic sketches

Exploring generating a similar form as the Taichung Museum by Toyo Ito trying two different methods.

The one on the right shows our early attempts at reverse engineering the form using a voronoi pattern, which was difficult to manipulate and to create a smooth minimal surface through lofting.

Our second approach involved using milipede which was more flexible in terms of creating minimal surfaces and trimming off the edges to get the form we were after.

71 B.8. Appendix

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(1) SDA | Synthesis Design (2013), Articulated Tensions, University of Calgary. Accessed on 25th Mar 2014. http://synthesis-dna.com/articulated-tensions-univ-of-calgary/ (2) Designboom Architecture (2014), Taichung Metropolitan Opera House by Toyo Ito. Accessed on 25th Mar 2014. http://www.designboom.com/architecture/tai-chung-metropolitan-opera-house-by-toyo-ito-under-construction/ (3) LAVA Laboratory for visionary Architecture, Green Void. Accessed on 29th Mar 2014. http://www.l-a-v-a.net/projects/green-void/ (4) Tugraz Institute of Architecture, Graz, Austria, Olympic Stadium. Accessed on 1st April 2014. https://iam.tugraz.at/studio/w09/blog/wp-content/uploads/2009/11/OlympicStadium.pdf (5) Tugraz Institute of Architecture, Graz, Austria, Olympic Stadium

PART C D e t a i l e d D e s i g n â&#x20AC;&#x153;One of the great beauties of architecture is that each time, it is like life starting all over again.â&#x20AC;? (1)

Renzo Piano

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ollowing from the interim presentation, our group had to reconsider its design intent. It has always been a shared interest within our group to create an experience for the user, a physical and interactive relationship within space that would plant in a subtle manner an awareness about renewable energy issues and reclaiming unused industrial sites for the benefit and use of the society and environment. This section of the journal will outline how we have taken on the feedback from the interim presentation and re-tackled the brief. I will be discussing the changes made to our design proposal, conceptual idea, and generation technique.

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F O R M Starting with our form, the main criticism that we recieved was regarding its relationship with the site, and hence relationship with the user. Due to the large size of the site, our original form took no consideration in its design human scale. This took out of our design any experience of space to begin with since the structure was giant and there was no way for the user to directly experience a concievable space within the site.

E N E R G Y The implication of that on our energy generation technique was that if the user cannot experience a sense of space within an open site, they can no longer appreciate renewable energy generation techniques taking place within the site. And since piezoelectricity required lots of human movement, there would be no reason for a user to physically interact with a space they cannot percieve or capture visually in its entirety. Which lead to questioning piezoelectricity as a reliable source of generating energy in response to the brief.

T H E N W H A T ?

From this point, we realised that our design can no longer just be a â&#x20AC;&#x153;pavilionâ&#x20AC;? or a public meeting place. But it must have a specific function and a driving purpose for its existence, other than generating clean energy, that would entice users to come to the site and interact with the structure and appreciate its message.

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HtwoOexpo

NOX Architecture, Netherlands

77 C.1. Design Concept

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Starting with the design concept, there had to be a strong relationship that ties our form together with the energy generation technique. In our previous design, that relationship was very weak as piezoelectric panels can be added to any kind of floor, irrespective of the form of the structure it is used in.

As well as the reliance on user’s activity on site and physical interaction with the energy generating panels was an unrealistic expectation of the design concept.

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A precedent that successfully used water to create an internal experience of space was the Water Pavilion in Neeltje Jans Island, Netherlands, which held an exhibition primirally about water and its ability to alter the experience of space. (2) Looking at this project we were inspired by the idea of incorporating water into our design and site in order to mediate an interaction between users, context and building.

Through this interaction, not only an experience of space would be gained, but implementation of the energy generation technique would have to fit into this relationship in order for it to function. The inspiration that came from this precedent was about creating flexible architecture - incorporating water into our design concept means that our form could potentially imitate this nature of of form in its generation. As we have been exploring the potential of reducing surface curvature through the study of minimal surfaces, we are able to computationally generate one continuous structure that is a single volume which attempts to “frame” water features throughout the site.

Thus, our group had decided that a good driver for our design intent to engage the user in a recreational experience is the incourporation of swimming pools and water features into our site. Given any energy generation technique, the pools can be heated.

The generation technique however should be something that is observeable. In this way a guiding activity and function of the site is created which would give people a reason to go to an unused industrial site as well as understand how renewable energy can be generated and interact with the product of that.

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Energy Generation SOLAR PONDS

Solar ponds are bodies of water that are generally a few metres deep. They are better at storing heat than a normal body of water because of the salinity (salt content) of the pond. The water increases in its salt content with depth. The salinity of the pond stops any convective currents from taking place within the pond - which is the tendency of hot particles to rise and cooler ones to sink. As the bottom layer of the pond has the highest salt content, it is the layer that stores the most heat from direct sunlight. (3)

In relation to our project, we have chosen solar ponds to be the energy generation technique because of their efficiency to produce heat, as well as the possibility to incorporate them into the site as water features that can increase the aesthetic quality of the context of our design. The difference in temperature between the different layers of the solar pond ensures that the pond can still produce useful heat in winter as well as summer as the bottom layer will always be the one with the highest temperature, which can be utilised to produce heat.

This makes solar ponds large scale solar thermal energy collectors, that are efficient in doing so and due to the thermal mass properties of water, that heat can be stored for up to 24 hours. In addition to that, they are source of renewable energy and they propose a clean way of generating heat in Copenhagen that reduces greenhouse gas emissions. Incorporating solar ponds into our design as the generation technique means that the users can visually observe how the energy is generated and have an understanding of this specific technique of generation. However, the decision of using solar ponds as the energy generation technique resulted in two main design constraints that guided the process of generating a form that will allows us to utilise the efficiency of solar ponds. These constraints will be discussed in the following part of the journal.

79 C.1. Design Concept: Generation Technique

Solar Pond in Pyramid Hill, Victoria, Australia, Project by RMIT University. (4)

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SOLAR POND

installation & components

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Low-salt-content cool water

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Salt-gradient layer

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High-salt-content hot brine with heat-absorbing bottom

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Water circulating pump

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Organic working fluid pumped through copper tube in evaporator

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Organic working vapour drives turbogenerators to generate electricity

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Organic working vapour enters condensor and returns to fluid

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Low-salt-content cool water fed through condensor

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Organic working fluid is pumped back to the evaporator

81 C.1. Design Concept: Technique Implementation

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F O R M G E N E R AT I O N

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83 C.1. Design Concept: Design Constraints

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BOUNDARY AND POINTS

FORM GENERATION USING MILIPEDE PLUG-IN

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INSERT FUNCTIONS

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Design Constrains WIND

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Using solar ponds as the energy generation technique for our design introduced two major design constraints that will be guiding our form re-generation process. The first one is wind, as it is important to keep the pond sheltered from dust and leaves as the top layer is the most important layer to keep clean. Polluting it may cause sunlight not penetrating through to the base layer, which retains the highest temperature and thermal energy.

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85 C.1. Design Concept: Design Constraints

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Through the information provided by windrose plots of Copenhagen, we were able to determine the frequencies of wind direction and wind speed over the entire year. (5) Through the analysis of windrose plots we were able to determine that throughout the entire year, most of the wind will be coming from the south west. Thus increasing the â&#x20AC;&#x153;densityâ&#x20AC;? of our form in these areas is necessary, by increasing the number of points within the boundary in the milipede plugin we can create more curves in these areas.

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http://mesonet.agron.iastate.edu/sites/windrose.

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Design Constrains SUN

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The second constraint we chose for our design was the sun. This was a good constraint to design with as the solar ponds need as much direct sunlight as possible in order for them to function.

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Thus it was important that our structure would not cast shadows onto our solar ponds. Another consideration was how much of the site we need to dedicate to generating energy.

This meant that it was much easier to first, generate a form within the boundary of the site, and then computationally generate sunpath analysis of the form to see how much shadow it casts. This allowed us to determine the location of our points and curves in milipede as well as the height of the structure.

Our sunpath data analysis was done using the Ladybug plugin for grasshopper which allowed us to design with consciousness of this constraint.

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The day we chose to run our sunpath analysis in ladybug is the 31st of January. We made this decision based on knowing that it is during the winter season, where we need as much direct sunlight as possible, given the sun has its lowest altitude in the sky, hence, the most shadow will be cast.

87 C.1. Design Concept: Design Constraints

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89 C.1. Design Concept: Design Constraints

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Iteration 5E was chosen as it would allow us to utilize approximately half of the site for generating energy by inputting solar ponds. This meant that we can generate the maximum amount of energy provided that the location of our solar ponds does not compromise the techniqueâ&#x20AC;&#x2122;s potential for generating energy and providing heating.

91 C.1. Design Concept: Design Constraints

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Physical Prototype 4

structural integrity and physical testing

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Although our design and our energy generation technique has changed, our group decided to keep the tectonic element of the core construction of our form the same as we found it to be one of the most attractive features of our original form.

However, as discussed in the previous prototypes and in the conclusion of part B, the previous construction method of our panels failed at the joints due to compressive forces causing the panels to bend at their ends.

Therefore we had to reconsider their method of assembly as well as the joint system.

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93 C.2. Tectonic Elements

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Through studying how the previous prototypes failed under compressive stress, a solution we thought of was a adding a second layer of panels that could act as a brace for the main skin of our structure. For this prototype we used aluminium, due to its flexibility and strength only.

The second skin provided structural support by connecting each panel to its adjacent fron their centroids. By doing so, the second skin acts in tension by pulling in each of the primary panels when they are prone to bending at the joints. We did this by computationally working out the face centres of each panel

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and then connecting every three panels with a “secondary” bracing panel from their centroids. The assembly and fabrication process of this prototype is the same as prototype 2. Once assembled, the prototype was tested mainly against bending in order to see if its behaviour, reality, confirms our theory. We wanted the second skin panels to only resist bending in one direction - i.e. still allow our panels to bend in the other direction in order for us to create our geometry using this technique. This is demonstrated in fig. 4; the sheet can still bend and form a “ring”. When the pa-

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nels were tested for bending in the other direction it was very difficult to bend them to the point of deformation (fig. 5 &6).

This confirmed our theory about the second skin acting as a bracing system for our structure that would stop some of the panels from bending at the joints as the structure is exposed to different forces over time.

The second skin of panels allowed this bracing by pulling in each panel from its centroid. As the second skin is only acting in tension, we can use thinner panels. Aesthetically, adding a second layer of panels made our forms more attractive.

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Physical Prototype 5

materiality and structural properties

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This prototype explores the flexibility of our construction technique itself in terms of what materials can be adapted to it. We chose to prototype with plywood due to our interest in its aesthetic features.

As plywood is made of sheets laminated to each other with the fibres (direction of grain) in orthogonal directions, it is specifically designed to have equal strengths in all directions and resist bending.

However, plywood is not a flexible material, therefore we had to explore a way to bend the panels into the shape they would need to take when jointed together. We did this by scoring our laser cut panels in the direction they need to bend in. However this technique was not very successful as the panels still were not flexible enough and it would be difficult to bend them in the directions required for each panel without hot-steaming the wood for bending.

Therefore, when we scored the panels and attempted bending, the panel bent to a certain extent and then it started breaking at those points. Nevertheless, the texture of this material is beautiful and it had potential to open up a different direction in our design exploration and generated form, given we had the time to further explore the potential of integrating plywood into our design.

95 C.2. Tectonic Elements

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14 In this prototype we further developed the structural strength of our panels by merging the panels into sheets. Therefore rather than having the entire structure constructed out of individual panels, the panels can be grouped into sheets. The sheets can then also be prefabricated and delivered to site for assembly. In terms of aesthetics, there is not much variance.

The triangulated panels are still traced in the form, however this makes the structure stronger as there will be less joints over all, thus less points of potential weakness. Also it will mean that there will be less components for assembly, which shortens the construction time of our structure.

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Prototype 4 - Aluminium panels with second bracing skin implemented.

Prototype 5 - Plywood panels merged into sheets.

97 C.2. Tectonic Elements

The physical prototyping at this stage of the design process helped our group refine the tectonic elements of our form and further strengthen our construction technique. p r o t o t y p e 4 Through this prototype the group was able to deal with the problem of panels failing at the joints without necessarily changing the joint detail itself.

The meticulous approach we took to this prototype by computationally generating the second layer helped the success of this prototype structurally as it was important for our theory to work that the panels are exactly connecting from the centroids of the main skin. Otherwise the load path throughout the structure would cause it to sag if it is not going through the centre of each panel. Which would further weaken our structure, not stiffen it.

p r o t o t y p e 5 Although this prototype structurally failed, it further enhanced our design aesthetically as we were able to test out the physical outcomes to two design decisions - the first being the merging of our panels together, and the second being our overlap joint detail. In this prototype we tested and adjusted the finish of our bolted finish by creating the panels so that they have a flushed surface at the overlap.

Comparing this to our previous prototypes where the bolt head sat on the panels at the overlap, we liked the flushed finish more as it creates a more fluid and organic surface.

Looking at the results of these prototypes as well the earlier outcomes from part B, the group has decided to choose a material that can be premoulded into the shape of our panels (prefabricated). Thus, a material that is rigid, for structural strength, but flexible in its fabrication process in order to get minimalised curvature of surface. Therefore our group decided to use acrylic for the material of our final models and structure. Through the environmental analysis of the site and Copenhagen, the temperature will ensure that the strength of the acrylic is not changed as a result of contextual factors as it does not reach extremely high temperatures that would affect the properties of acrylic.

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Final Model

1:10 assembly model bracing sheet - second skin

sheet 1- primary skin

sheet 2 - primary skin

99 C.3. Final Model

The first final model demonstrates the tectonic element that is repeated throughout our structure, creating its form, at 1:10 scale. The model shows how the second skin laps over the primary skin and acts as a brace.

In the process of making this model I laser cut the acrylic sheets which were originally flat.

In order to bend the sheets and show curvature I heated the laser cut sheets and strapped it to “formwork” until it cooled down in order to maintain that shape. However, this method is misleading as the actual full-scale structure would require hot-forming the acrylic, to mold a shape the shape. The method used for bending this model is only done due to lack of resources, but it managed to create the desired effect.

Nevertheless, this model does not truly portray the structural properties of the full scale structure as this model would behave much more “plastically”, i.e. it would be a lot more brittle.

This model also demonstrated the material of the second skin - polypropylene. The choice of this material is purely based on its elasticity which would allow it to act in tension is maintains the primary skin in place by pulling it in from its centre points.

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Final Model 1:1 detail models

101 C.3. Final Model

The first model we chose to make is a construction prototype at full scale in order to demonstrate the joint detail of our design. The detail aims to demonstrate how two sheets are jointed at the overlap and the finish of the bolted joint (flushed). It also demonstrates the materiality and aesthetic quality of the full-scale structure as well as thickness of panels.

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Final Model 1:1 detail models

103 C.3. Final Model

Connection of the second skin of the structure with the primary panel sheets at 1:1 scale.

Overlap of the second skin with the primary skin of the structure.

Finish of the inside of our structure showing bolts at joints.

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Final Model 1:500 site model

105 C.3. Final Model

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107 C.3. Final Model

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In response to the 2014 LAGI brief, our group decided on one common interest in our design response, which is creating a meaningful physical experience of space for the user that would rasie awareness about environmental issues in Copenhagen. Through exploring the field of geometry, our design concept is informed with an understanding of the impact of form on the quality of space.

The design investigates minimal surfacing and its essential properties through comprehensive exploration of its dynamic aesthetics and structural aspects, as well as its potential in minimising different organic forms, and fabrication methods. The design aims to engage the user into an experience of space through placing a complex, intertwined structure onto an open site. Thus, changing the volume of the site and its dynamic, and adding different dimensions of experiencing space.

109 C.4. LAGI Requirements

We have integrated into the site solar ponds as a method of generating green, renewable energy. The site embraces a series of heated swimming pools, that engage the users in recreational activities within the context of our design as well as encourage the use of an abanoned industrial site. Our design frames these water features and guides circulation to, and around them. The sculptural form combines parametric design with user-conscious rationale in order to create an informal community space. A visually stimulating space that challenges the perception of form and creates a flexible environment for users to engage in various acitivities. In doing so, the user is physically engaged within the environment hosting our design, while our design plants awaress regarding clean energy generation into the conscious mind of the user.

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The technology that we chose to incorporate into our design is solar ponds. Solar ponds are saline bodies of water which act as thermal energy collectors which capture heat from sunlight and retain it and use it for heating purposes. Solar ponds are highly efficient for heating as they can entrap and store high quantities of thermal energy because of the salt gradient of the pond.

Solar ponds are regularly comprised of three layers increasing in salinity â&#x20AC;&#x201C; top nearly fresh water and bottom of pond has highest salt content. As the sun hits the bottom of the pond, thermal energy is stored at the third layer only as its salinity restricts convective currents to that zone only, thus no heat is lost back to the atmosphere. Hot water is then taken through pipes to a heat exchange unit where the thermal energy is then utilised and used for heating the pools.

Solar pond

Water features

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Central plaza

At the heat exchange unit, water is piped to an evaporator that heats up a coolant through a coil and vapourise it. The vapour then goes through a condenser, where it is turned into a fluid again through being cooled by circulating from the top layer of the pond. It is important to maintain the pond and ensure that it is protected from wind, dust and algae. Thus, a transparent glass cover, which is insensitve to solar radiation is anchored and sealed around the border of the pond in order to shelter it.

Solar ponds collect 185kWh/m2/year, thus we dedicated approximately half of our site to installing solar ponds. By doing so, we can generate 495,000 kWh/year. Meaning that annually, our solar ponds generate enough energy for 495 people.

111 C.4. LAGI Requirements

Primary Skin of structure

8.0mm clear acrylic Prefabricated sheets, approximately 1.5m x 3.0m (there will be slight variations in size of sheets depending on parametric configuration)

Second Skin of structure

3.0mm prefabricated black polypropylene sheets

Joint components

M5.0 x 25 hexagonal steel bolts 5mm diameter 25mm long, fastened with 5mm nuts

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113 C.4. LAGI Requirements

Sustainable living is becoming a must for most societies, especially in cities, as more than half of the worldâ&#x20AC;&#x2122;s population lives in cities now. Environmentally friendly development has been considered as limiting to economic growth, as it disregarded the conventional methods of harnessing energy on which the economic development of most cities is built on. Introducing green development, however, can boost economic development in the city of Copenhagen.

This is demonstrated through our project where we introduced a community space that circulates around a sustainable energy generating concept. This recreates a community space in an industrial area which opens up the potential for boosting economic development, rather than limiting it, through expanding the horizon of Copenhagen across its harbour.

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The final presentation for our design proposal in response to the LAGI brief was not a conclusion to our design process, but rather was an evaluation of where our project was at and in what direction can it be directed for further refinement.

Our form as a geometric structure has improved from the interim presentation, clearly demonstrating structural aspects of minimal surfaces and showing more complexity. One of the shortcomings of our design response, however, was the relationship between the solar ponds and the structure itself. As our form created a complex and intertwined dynamic of space, having the form simply frame and surround the solar ponds, made the form seem distant from the energy technique itself.

With respect to the design and the form itself, the panel was pleased with where the form is at geometrically, but recommended further resolving of the fabrication process. The panel recommended that we should further explore the potential for modular panels in order to make the fabrication of the full-scale structure more percievable and shorten construction period. Modular grouping of the panels is something that I am personally interested in further developing in our design, given that more time would have been granted in the course to do so. Through engaging in the physical prototyping of

115 C.5. LAGI Requirements

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our geometric form and focusing my efforts on ways to bring it from a digital model to a physical model, I realised my special interest in digital fabrication in complex geometry.

The prototypes demonstrated our exploration of different materials and how they impacted our design response structurally. However, the panel thought that we could have further explored the potential of each material, instead of marking it as a â&#x20AC;&#x153;failureâ&#x20AC;? to meet our design requirements. Which is somewhat a stiff approach to prototyping that we could have been more flexible in and would have brought forth a different aspect and more complexity to our design.

Overall, the critics were pleased with our presentation, work ethic as a group, and our project as an architectural response that attempts to engage the user in an interesting experience of space.

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Through my course of development through studio air, I have been forced to stand back and criticise myself as a future designer. On top of the learning objectives, the studio has implemented in my mind as a student the benchmark and standard of architecture in todayâ&#x20AC;&#x2122;s industry.

Through my engagement with the brief and the weekly algorithmic tasks, I was able to draw a connection between the concept of algorithmic thinking and form generation, which seemed highly technical to a beginner like myself, and the process of designing meaningful and functional architecture. Through the precedents and case studies that I looked at over the semester, I was able to further develop my understanding of parametric design and its capacity not only with regard to architecture today, but its potential for the architecture of the future. Which seemed to be an underlying factor in the subjectâ&#x20AC;&#x2122;s discourse.

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Looking at the subject objectives, and where I currently stand at the end of the course, I now view parametric design as a tool in the hand of the architect that can enable them to design complex geometry. Whether parametric design presents feasible outcomes or not, that depends on the designer. Their commitment to continuous learning, development of their understanding and trying to match that with the tools that parametric design provides to realise different projects.

The subject has developed my ability to respond to a brief with a much more open mind in a way that I would not have been able to experience without engaging with the frustration of having limited skills in parametric design. The process of going back and forth within the project and the design response, also tedious it may have seemed tedious each time it was more and more informative to what it is like being an architect in a dynamic industry that continues to develop.

In conclusion, I found studio air very mentally stimulating. It presented me the opportunity to expand my horizon and digital capacity as a designer. Learning about parametric design has opened my eyes to my own personal interests regarding how to use it and it has presented to me the opportunity to further educate myself, research and continue my learning.

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(1) WorkFlow MAX, Top 101 Exceptional Quotes About Architecture and Design. Accessed on 2nd Jun 2014. http://blog.workflowmax.com/architecture/top-101-exceptionally-badass-quotes-architecture-designlegends/ (2) NOX Architecture (2014), HtwoOexpo Interactive Museum. Accessed on 29th May 2014. http://www.nox-art-architecture.com (3) RMIT University, Mechanical and Automotive Engineering (2014), Solar Pond Project . Accessed on 22nd May 2014. http://www.rmit.edu.au/browse/Our%20Organisation%2FScience%20Engineering%20 a n d % 2 0 H e a l t h % 2 F S c h o o l s % 2 FA e r o s p a c e , % 2 0 M e c h a n i c a l % 2 0 a n d % 2 0 M a n u f a c t u r i n g % 2 0 E n g i n e e r i n g % 2 FA b o u t % 2 F D i s c i p l i n e s % 2 F M e c h a n i c a l % 2 0 a n d % 2 0 A u t o m o t i v e % 2 0 Engineering%2FResearch%20Specialties%2FSolar%20Pond/ (4) RMIT University, Mechanical and Automotive Engineering (2014), Solar Pond Project.

Special thanks to my awesome group members, Apple and Jinwoo, and awesome tutors Victor and Cam.