560890 Studio Air Final Journal by Filia

Design Journal

STUDIO AIR ABPL 30048 Architecture Design Studio: Air Semester 1 / 2014 Filia Christy

Design Journal

STUDIO AIR ABPL 30048 Architecture Design Studio: Air Semester 1 / 2014 Filia Christy 560890 Tutors: Bradley David Elias & Philip Belesky

CONTENTS 6-7 8-9 a 12 - 17 18 - 23 24 - 29 30 31 32 - 33 34 - 35

INTRODUCTION DESIGN BRIEF: Land Art Generator Initiative 2014 PART A. CONCEPTUALISATION A.1 Design Futuring A.2 Computational Design A.3 Formation/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix - Algorithmic Sketches Reference List & Image Reference

38 - 41 42 - 49 50 - 53 54 - 63 64 - 66 67 - 69 70 - 71 71 - 73 74 - 75

PART B. DESIGN CRITERIA B.1 Tessellation - Material System B.2 Case Study 0.1 B.3 Case Study 0.2 B.4 Technique: Development B.5 Technique: Prototype B.6 Technique: Proposal B.7 Feedback & Learning Outcomes B.8 Appendix - Algorithmic Sketches Reference List & Image Reference

78 - 91 92 - 115 116 - 123 124 - 139 140 - 141 142 - 144 145

PART C. DETAILED DESIGN C.1 Design Concept C.2 Tectonic Elements C.3 Final Model Proposed Design: Dragone with The Wind C.4 Design Statement C.5 Learning Objectives and Outcomes Reference List & Image Reference

INTRODUCTION

FILIA CHRISTY University of Melbourne | Bachelor of Environments | 3rd Year Architecture Major My first realisation of interest in architecture was through Jenga wooden blocks. The game was to stack them to form a tower and then take each blocks slowly to avoid collapsing. However, instead, my brother and I used them as ‘walls’ or bricks for my miniature doll house. It was like forming the plan of the house which I really enjoyed doing. But pretty much from that moment, I had never really done anything to express this hobby of visualizing or designing space. I grew up loving crafts and anything hand-made, from paper crafting to stitching. I noticed how I started to develop a particular style of aesthetic, which refers to more traditional aspect of beauty. Most of my projects revolves around making greeting cards, scrapbook, paper quilling and so on. But, without me realizing, the skill for neatness and

using glue and scissors starts to develop. These skills become my advantage when it comes to physical modelling. However, despite of the strong exposure to manual or traditional arts, I am not totally against computation. I am not necessarily a supporter of the Arts and Crafts Movement. For me, you can still create art that’s from the heart (opposite to the ‘coldness’ of industrial products) through computation. When it comes to using technology, I am actually quite behind. I have very minimal background knowledge nor curiosity in computation. Nonetheless, I did Virtual Environments in my first semester of uni, which has revealed to me minimally of what digitisation can do through Rhinoceros. Ironically, I experienced the underside of computation with my initial design intent couldn’t be realized due to complexity. My

experience and logical ability just couldn’t fit with the logic of parametric design. It was certainly a stumbling block in succeeding with the design. However, I want to make a new positive start with this new project. Since this time, we are using Grasshopper, hopefully the design process will be less troublesome. I do believe that in years to come (which already happening now), architecture will be dominated and totally dependent on computation. Since growing up in this Postmodern age, it is inevitable that the typology of today’s architecture, with parametric-based façade panels (and so on), will govern the way we think about architecture. We are, indisputably, the product of the architectural zeitgeist.

The final paper lantern model, inspired from the circular loops of Sunâ&#x20AC;&#x2122;s solar loops.

Panelling explorations using Rhinoceros.

DESIGN BRIEF xxxxxxxxxxxxx 1 Land Art Generator xxxxxx Initiative 2014

Introduction Land Art Generator Initiative is a design ideas competition that aims to provide platform for harnessing clean energy generation through the design and construction of site-specific public art installation. The installation will provide clean energy in the form of electricity to feed the demand for thousands of home. Due to its functional nature, the brief promotes interdisciplinary approach to design, between the disciplines of architecture, landscape architecture, engineering, applied science research, industrial design, urban planning, education, and environmental science. Lastly, the public artwork would stand as positive and innovative landmark which conveys that “renewable energy can be beautiful”.

LAGI 2014 Design Site The site for this year’s competition is located on Refshaleøen in Copenhagen. It is a manmade island, where initially housed the shipyard company Burmeister & Wain until 1996. Today, the infrastructure has shifted in function, into recreational areas such as flea market, creative entrepreneurship and cultural and recreational venues. The site boundary is located on the Sønder Hoved pier with some areas of the surrounding waterways. It is an old landfill where the remaining of the materials from the demolished building is still present in the ground. Moreover, there lies the water taxi terminal on the southwest corner of the site and water channel on the north which are to be main-

The panoramic view of the site from a distance.

tained. In terms of height, the proposal should not exceed the 125 m limit at any point.

Design Site LAGI 2014

Brief

The Birds-eye view of the Site from the satellite.

- To design a 3 dimensional art sculpture that inspires positive thoughts to the community about renewable energy generation and healthy ecological system. - To generate clean energy from nature and translate to electricity which then connected to the cityâ&#x20AC;&#x2122;s electrical grid - To not generate toxic emissions and negative impact on the natural ecosystem - To be pragmatic in terms of design constructability - To be safe for visitors to view and explore - To be sensitive with the history and the wider cultural context of the site.

The dimensioning of the Site Boundary.

CONCEPTUALISATION

PART A

A.1

PART A.1

DESIGN FUTURING “ The future is not presented here as an objective reality independent of our existence, but rather, and anthropocentrically, as what divides ‘now’ from our finitude.” Tony Fry in “Design Futuring: Sustainability, Ethics and New Practice”.

The coal combustion from power plant generator caused severe environmental defects, such as smog, accumulation of Greenhouse Gases and Global Warming

Introduction In the 21st century, there is a rising interest in questioning about the future, the possibilities and threats imposed to humans and the surrounding environment. This quest for understanding the future state inevitably has influenced the way of thinking about architecture. People are wandering about how buildings should look like and the kind of contribution it plays. In the past, discussion about architecture has been dominated by the problem of form propriety2. However, in today’s era of vast technological influence and environmental degradation, the exploration of architecture should go beyond the traditional mindset of style. As Vidler put it,”[A]ny serious ‘rethinking’ of architecture at the start of this century cannot be undertaken without upsetting the structure and emphases of the traditional profession, of traditional typologies, and of traditional modes of envisaging the architectural subject.”3. Therefore, it demands a critical understanding of what needs to be generated, thus shape our ways and means for design. It involves the revolutionary change in thinking into the idea of sustainment. Therefore, by its own nature, Design Futuring has two fundamental jobs: to decelerate the rate of ‘defuturing’ and to reorient people towards sustainability4. Sustainability & Design Intelligence Sustainability can be defined as the persistence of nourishment and nourishing activity to and by the surroundings within the bound of time and space5. In architecture and the built environment, the issue of sustainability majorly concerns about the environmental sector. Currently, the environment is undervalued by majority of people. The rates of U.S. average emission from coal combustion are reaching 2,249 lbs/MWh of carbon dioxide, 13 lbs/MWh of sulfur dioxide, and 6 lbs/MWh of nitrogen oxides. As result, the toxic gases cause severe breathing diseases (i.e. bronchitis, cancer)6 and greenhouse effect that contributes to global warming and climate change7. Therefore, there is an urgent demand for revolution in thinking about design by being critical about the way we engage with the world and redirecting mindset towards the idea of Sustainment . In other words, design thinking should be redirected into new forms of design intelligence, which focus on the sustainment of the environment of the future.

PART A.1.1

kitegen concept The realization of design intelligence is conveyed through the technological development for clean energy generators. One contemporary example of renewable energy technology is the KiteGen Concept9. The research looked beyond the modern windmill system and finds ways to improve from the limitations of conventional method.

Fig A.1.1.a The Diagrammatic Explanation of the the form of KiteGen Generator.

Typically, wind turbine requires tall thin structure to support the rotor at the highest possible height to obtain stronger winds. However, the method has very limited height since the structural integrity of the support is very restrained to the static post. Consequently, it restrains the possibility of obtaining stronger wind kinetic energy at higher altitudes. However, the KiteGen Concept started by rethinking on how the system to system can be improved. They observed that the end tips of a typical turbine are where highest speed is experienced, which accounts for 90% of energy produced10. Therefore, they reconfigure the shape into basic â&#x20AC;&#x2DC;kiteâ&#x20AC;&#x2122; form to replace the blade tips for more efficient result (Fig a). Because of the great loss in weight, the kites can be floated in higher altitudes or 800 to

Fig A.1.1.b The Diagram showing how KiteGen enables wider area of wind capture in contrast to conventional windmill.

1,000 m to get higher kinetic energy (Fig b). Meanwhile, intelligently, the heavier machineries such as rotor and energy storage are placed on the ground. Also, the kites are maneuvered by the engines below to control the rotational movement. The proposed advantages compared to conventional turbine are

numerous. First, it has higher capacity of reaching higher altitudes and wider areas, which therefore generated more energy. It also requires smaller area compared to conventional wind turbines to generate equal energy. Moreover, it has zero CO2 emission, produces less noise on ground and doesnâ&#x20AC;&#x2122;t create unwanted shadows.

From the functionality perspective, this technology conveys the idea of Design Futuring in the way that it promotes sustainable design practice through the rethinking of conventional design. Most certainly, this engineering innovation will change peopleâ&#x20AC;&#x2122;s mindset about wind energy generator towards a more efficient way to be sustainable.

Fig A.1.1.c The look of the KiteGen Generator on site.

However, if to transform this technology into architecture, the suitability may be questionable. Although KiteGen is an efficient wind generator, the application of the system does not coincide with the LAGI brief regarding the ability to establish poetic relationship with the ecosystem and human. The presence of really high objects (the kites) causes the restriction in establishing experiential connections with the users below (Fig c). Moreover, the height restriction of the brief and the limited engagement to just visual sensory inhibit the KiteGen concept to be implemented. As result, it lacks the ability to inspire the wider community about sustainability as an integration of human life and the ecosystem.

PART A.1.2

SCENE-SENSOR //

CROSSING SOCIAL AND ECOLOGICAL FLOWS Fresh Kills, US | Competition Entry 2012 The challenge of creating an architecture that are both functional and poetic in promoting Sustainability is certainly the main intention of LAGI competition. Among all the entries from 2012 competition, the one that creatively answer the brief is the winning proposal, entitled SceneSensor//Crossing Social and Ecological Flows. The idea of bridging two perpendicular forces, between the wind kinetic and human gravity, conveys a strong

Fig A.1.2.a Diagram showing the location of the installation

message of integrated human and ecological system11. The installation comprises two conceptual ideas of energy generation: Channel Screen and Vantage Points. The Channel Screen is in the form of two parallel planes with individual panels of piezoelectric thin films and wires (Fig c) that extend from the North and East mounds of Freshkills (Fig a). It acts as a â&#x20AC;&#x2DC;wind mappingâ&#x20AC;&#x2122; strategy by visually presenting the invisible forces of the wind kinetic energy and hence visualizing the action of

renewable energy generation in an interactive way (Fig b). As result, the technology proposes the sustainable ideal of nature taking control of the design which would inspire the community about the concept of Design Futuring. Moreover, the poetic nature of the proposal is enriched with the idea of Vantage Points. The communication between human and nature as energy generators is conveyed through the pedestrians walkways in be-

Fig A.1.2.b Rendering of installation of site shows the dynamic piezoelectric facade that changes by the wind kinetic forces.

Fig A.1.2.c Series of Diagrams (Left: Vantage Point, Middle: LED Lights, Right: Piezoelectric Panes

Fig A.1.2.d The pedestrian pathway, where people could walk and generate energy through piezoelectric panels on the floor.

tween the two piezoelectric planes (Fig d). The capturing of pressure exerted by human traffic will then be displayed with lights in the evening (Fig e). Here, the perpendicular and intersecting forces of nature and human are vividly depicted as to enrich our understanding of the ecosystem through the energy generation process. The design pretty much elevates the idea of Design Futuring. It promotes an active interaction and engagement between human and nature through design, in contrast to the passive connection resulted by the KiteGen concept. Therefore, Screen-Sensor sets a good example to learn from as part of the conceptualising stage of formulating the design for the 2014 LAGI Brief.

Fig A.1.2.e The LED Lights on the interior side of the installation.

A.2

PART A.2

DESIGN COMPUTATION

“Working in complex situations and typically looking for futures that cannot be derived from the past or from the laws of nature, designers search the present for variables that can be modified. ” Stanislav Roudavski in “Towards Morphogenesis in Architecture”

The Roof of Smithsonian Courtyard by Foster+Partners demonstrates the use of parametric technology for structural efficiency and performance-based design.

Introduction When talking about futuristic ideals in architectural design, the technology of computation inevitably plays an intrinsic part of the topic. Over the past few decades, computation has revolutionized the way people think about design by allowing new unimaginable possibilities. Its ability to deal with complex problems with high level of precision, without any arithmetical errors is the main advantage of computational technology in aiding architecture12. In the initial stage, computers were only used for mere representation of ideas. Terzidis defines the mechanic conversion of predetermined processes as ‘computerization’13. But, the true advantage can only be gained through the process of ‘computation’, which focuses on the exploration of the unknown. It involves algorithmic and parametric thinking to enrich the design beyond the limited generative-ability of the designer. Generally, algorithm can be defined as the set of finite list of operations being applied in logical order to set of objects14. Meanwhile, parameters refer to the variables, the limitations and boundaries, that govern how particular form could be generated. In collaboration, both of them constitute to the wider computational thinking framework as design generative tool. Digital Morphogenesis The term morphogenesis in architecture refers to the utilization of digitized sets of methods for the generation of form derivatives and transformation as favour over visual representation tool15. By its fundamental nature, computational morphogenesis focuses on the system behaviour and processing in contrast to mere shapes, which enables the integration of materiality and construction as part of the logic16. Oxman correlates the term Digital Morphogenesis as the creation of ‘second nature’ due to its ability for analysing and performancebased design. The capabilities of analysing efficiency and offering new possibilities of design through form generation are the desirable tools that will certainly push architecture into new forms of design futuring. Additionally, digital morphogenesis also inherits similar properties to biological morphogenesis, such as the concept of emergence and mass-customization17. Emergence in the fact that the results of the process are surprising and indeterminable. Meanwhile, mass customization refers to the ability to generate multiple alternatives by simply altering the parameters. However, the generative results undeniably depend on the designer’s ability in manipulating the full-capacity of computation. Nonetheless, the strive for achieving this higherorder function of computation with its generative process is crucial in moving towards a futuristic design thinking.

PART A.2.1

Smithsonian Courtyard Enclosure Fosters+Partners Architects | Washington DC, US | 2007 The idea of digital morphogenesis is depicted by Foster+Partners’ design for the Smithsonian Courtyard Enclosure. With the assistance from Specialist Modelling Group (SMG), the technology of computation accounts for the performative success of the project. The brief is to design roofing on the central courtyard of the National Portrait Gallery and the Smithsonian American Art Museum, to make an enclosed space for public indoor events (Fig a&b). The proposed design is composed of a glass canopy with structural fins in the form of lattice shell structure (Fig c). The un-

dulating form of the canopy with 3 domed bays are supported with a diagonal grid system and 8 steel columns. The essential role of computation comes in rationalizing the most efficiency form by generating multiple alternatives. For instance, it is used to determine the varying thickness of the twisting beam, since different parts of the area are imposed with different loading condition18 (Fig e). Moreover, algorithmic scripting was also implemented incrementally to generate alternatives for the canopy’s geometry and the structural beam. Meanwhile, sensitivity on performance such as acoustics and lighting of the build-

ing is also achieved with the help of computed-analysis programs such as Ecotect. The louvers for solar shading (Fig d), improved acoustics through perforations on the structural fins and undulating elegant form of the canopy suggest a harmonious integration between computation and the architect’s design intent to achieve performance efficiency. From this project, it becomes clear how computation enables the possibility of innovation both in the aesthetics of the form through parameters and also construction wise. Like Oxman argues in his book “Theories of the Digital in Architecture”, digital computation allows for performative design, where the intrinsic features of real life materials can be put into parameters19. Therefore, the relative performance of the materials can be tested even before it is built. The advantageous are numerous. It speeds up time for deciding the right construction method while increases the safety of the structure by having more accurate speculations of the structural stability. As a result, the aesthetical and structural qualities of the projects go beyond the basic thinking of what’s attainable.

Fig A.2.1.a The birds-eye view of the Smithsonian Gallery, showing the undulating,elevated canopy.

D IG I TAL M E THODS OF FABR ICATION AND C ONS

TH E S M I THSON I AN C OU R T

FIGURE 4

Courtyard Canopy seen illuminated at night

The Foster + Partners scheme encloses the building’s

later dates under supervision grand central courtyardthe with a fl owing glass canopy. Theof scheme aims to transform the public’s experience of the The four wings theevents building are building, and createsof a flexible space capable of holding receptions, performances, seated dinners, and Fig A.2.1.b The pleasant interior space of the courtyard, with the canopy. a 2500 square metre cou landscaping. Designed “to do theopen-air most with the least,” the fully glazed canopy develops structural and environcourtyard’s south elevation and por mental themes first explored in the design of the Great Fig A.2.1.d Louver panels above the Court at the British Museum (Foster + Partners 2005). of sandstone, while theabove elevation fins for solar shading. The courtyard canopy is supported the existing Fig A.2.1.c Beam Detail of the Canopy parapet on eight columns. The integrated design soluFIGURE 1 Norman Foster’s Concept Sketch for the Canopy wingstionare was a granite. gently undulating lattice shell that efficiently dealt with the structural requirements, provided protecOne of the the federal buildi tion from rainoldest and snow, acted as a giant acoustic absorber, and provided a sun shading and natural lightthe Patent Office Building was orig ing solution. Norman Foster’s concept sketch (Figure 1) shows the diagonal grid of structural elements gently the many scale models that patent la flowing over the central courtyard. to submit. Once described by the po “the noblest of Washington Build Patent Office from 1842 until 1932. the Smithsonian Institution in 195 Building now houses the Smithso Museum and National Portrait Ga 2003). Fig A.2.1.e Diagram of the thickness of the FIGURE 5

Plan of Twisting Beams

76 twisting beam across the region.

FIGURE 2

Beam Detail of the Competition Scheme Canopy

THE ARCHITECTURE COMPETITION

In 2000, the Smithsonian began a 21 project to restore the building. T

PART A.2.2

ESPLANADE Michel Wilford & Partners | Singapore | 2002

6 SHAHAB DIN RAHIMZADEH, VERONICA DROGEMULLER, GILLIAN ISOARDI

Another project that conveys the ability for performative design through parametric modelling is the Esplanade Theatre in Singapore by Michel Wilford & Partners. It highlights the potential of climatically responsive building through the generation of façade system based on the daylight analysis generated by Grasshopper (Fig c).

was also conducted to indicate the fraction of the floor area with potential glare condition. After all the analysis, it is decided that 1.75 and 2m are the best device projections to achieve the appropriate amount of sunlight.

This precedent communicates the intricate role of computational modelling in the strive for sustainThe challenge was to allow cer- able design. It allows the integraDIN properties RAHIMZADEH, tain levels of daylight illuminance 6 SHAHAB tion of physical of the VERONICA GARCIA-HANSEN, ROBIN Fig A.2.2.a The different angles of projecwithout getting the glare. Using DROGEMULLER, site (i.e. sunlight,GILLIAN wind, etc)ISOARDI as part Figure 2. Variation of daylight device project tions of the shading device. Grasshopper, three metrics were of the design generation process. produced: Daylight Availibility, Use- The design utilized the full potential Results ful Daylight Illuminance and Glare of Grasshopper in generating forms Probability20 (Fig d). Initially, the that effectively correlates with the USEFUL DAYLIGHT ILLUMINANCE 100-2 site’s physical availability of sunlight natural conditions. by looking at the sun path diagram UDI 100-2000lux analysis is the initial step to asse dictates the most efficient orienta- However the façade system light of Es- in the case study building. Within DIVA tion of the building. Useful Daylight planade only purposed for efficient of the useful daylight (100 to 2000 lux) per se Illuminance helps in deciding the and sustainable shading devices, on the measuring grid at 0.85 m above the grou cut-off illuminance that could enter while the proposal for LAGI deWeekly 8am to 6pm occupancy file. Error! R the building. Using Grasshopper, mands more difficult result, which shows the maximum UDI 100-2000lux is about 7 the shape of shading devices at any is the ability for renewable energy particular nodes was manipulated generation. Nevertheless, thedevice abil- projections of 1.50 m, 1.75 m and 2. Reference source not found.). to see the projected effects into the ity to create an ecological system Figure 2. Variation of daylight the façade system. Figprojection A.2.2.b The on modelling of shading building. The opening aperture var- based on the real world into compu- device devices to inform the level of illuminance ies from 0m full opening to 2.00 m tational parameters should inspire Table 1. Useful Daylight Illuminance 100-2000 lux perce inside the building. closed (Fig a&b). This study was re- Results creativity to transform those widely device projection and building orientat peated 9 times for different building available energy to our advantage. Shading device100-2000 LUX ANALYSIS Building orient orientation about the North axis to USEFUL DAYLIGHT ILLUMINANCE 0 projection (m) 0 450 study the optimum influx of natural UDI 100-2000lux analysis is the initial step to assess the performance of natural light into the interior space. Simulat- light in the case study building. Within 0 40 the annual percentage 38 DIVA plug-in neously, Daylight Simulation (DIVA) of the useful daylight (100 to 20000.25 41 lux) per sensor (1384 sensors are 40 placed

on the measuring grid at 0.85 m above a 0.50 the ground floor) 44 is calculated using 42 Weekly 8am to 6pm occupancy file. source not 45 found. 0.75Error! Reference 47

PARAMETRIC MODELING & DAYLIGHT STRATEGIES The graphical distributions of DAV200lux results are shown in

. Observing the resulting DAv200lux metric from the GH plug-in, a n symbol appears in front of the DAv200lux percentage where illuminan ceed an upper limit. This symbol appears when the sensor registers va times higher than the target illuminance, in this case 2000 lux, for a 5% of the time. From the simulations run across all variations of orie and shading projection tested, two scenarios emerged as preferred ba the metrics used. The first is 2.00 m projection gives the greatest fro and potential glare (GP less than 0.2 %). It is within UDI range 90% time; however, time outside of this range is generally below the 100 l el. This is consistent with the shading extent, and can be considered th servative shading option. Due to the extent of this shading option, th formance of this design is not significantly altered by changing b orientation (i.e. it rejects sun regardless of orientation). The second sc worth examining is the 1.75 m projection. This design gives more da has a comparable UDI value (88-90%). However, due to increased so cess, it has a larger GP (19% at an orientation at 90째). Also due to creased amount of sunlight, it is demonstrated that the preferred orie Fig A.2.2.c The view of the Esplanade from the river. is 900. This is where glare probability is minimal, and DAV is maximal

Figure 5. Graphical results from GH/ DIVA plug-in regarding daylight device variat Fig A.2.2.d The graphical result data of the daylight device variations with different rotation building rotations. angles from Daylight Availability modelling using Grasshopper.

A.3

PART A.3

formation/generation “When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture” Brady Peters in “The Building of Algorithmic Thought”. Michael Handsmeyer’s generated subdivision patterns conveys the complexity and unpredictability of form that could be generated using parameters and algorithms

Introduction The discussion on the rising algorithmic culture will certainly lead to the debate between form composition versus generation. The conventional method of utilizing computers for representational purpose results in compositional forms, that are limited by the designer’s imagination and physical media constrains. However, in digital morphogenesis, the idea of coming up with complex and unimaginable outcomes has induced the notion of form generation. By allowing algorithms to facilitate the process, it enables unpredictable alternative to the design, that focuses on the generative behaviour of the process. The Ongoing Debate Parametric thinking is revolutionary and yet controversial. It revolutionize design, shifting from form-based into process-based focus. Therefore, it encourages complexity, logical thinking, performative design, control and efficiency. However, it could also engender diversion from the real design objectives by being immersed with the greatness that comes out of scripting. Functionality is neglected while the new form of digital aesthetic is adored. Who is then the mastermind? Brady Peters, in “The Building of Algorithmic Thought” purposes the idea of ‘computation as an integrated art form’, where algorithm should be part of architectural design and not as something other21. The advantage of enhancing performance and managing complexity in construction should be gained by correctly identifying the limits of which generative-ability of the process should extend. Designers and computation should have a mutualistic relationship, to complete each other’s strength and weaknesses. Moreover, Peters also commented on the computation of the roofs for Smithsonian Courtyard, saying “The writing of a computer program that generates architecture requires the ability to understand and interpret of the design intent and then translate this into algorithms that the computer can understand.”22 Only by then, architecture and computational technology can be consolidated into a harmonious unity of design process.

PART A.3.1

subdivided columns Michael Hansmeyer | Gwangju Design Biennale 2011 The work of Michael Hansmeyer, The Subdivided Columns, is probably one of the most controversial projects regarding digital form generation. The creation of the ‘Sixth Order’ pushed forward the idea of designing a process or the algorithms and not merely the object itself23. Consequently, it results in a generatively complex behaviour that is promoted through continuous permutations and subdivisions of planes, as opposed to static and simple compositional form. The initial form of the column takes the historical Doric Order, together with the proportional characteristics of its shaft, capital and base. To maintain the iconic fluting and entasis in classical Roman columns, parametric inputs are tagged along the subdivision process. Infinite number of permutations are generated by altering the parametric numbers (Fig b). From here, it is evident how the generative process of designing has surpassed our thinking. It goes beyond the imaginable and extends the possibilities for design alterations because of the focus on formulating process not composition. Moreover, computation also breaks from the limitation of the physical constrain, such in drawing 2D on paper. Therefore, the design can have intersecting surfaces or stretching

Fig A.3.1.a The process of 3D Printing of the columns through layering of slices.

which further explore possibilities of design24. Additionally, the process also enables coordination between the algorithms governing the smallest detail and the overall form, which creates a unified result. However, the shortcomings of the generative process are vividly portrayed when translating the digital ideas into reality. Hansmeyer shared the difficulty in fabricating these columns for the Gwangju Design Biennale 2011 (Fig c) due to the complexity in subdivisions. The pragmatic issues start to bombard the 3D Printing process, including the breaking-off pieces and weight problem25. Moreover, he also commented about the doubts of failing

to reproduce the design accurately, predetermined by the printer’s accuracy level (Fig a). The precedent becomes an eyeopening fact that generative processes, which exist only in the digital world can go too far, such that it disconnects the design from reality. This disjunction is not favorable and definitely not what the LAGI Brief asked for. Nonetheless, the idea of focusing on the formulation of process as opposed to the actual form is the main important lesson from Hansmeyer’s columns. Relevant parameters and our construction sensibility should control the extent to which the form generation should go.

Fig A.3.1.b Digital Rendering of the Subdivided Columns with slightly different patterning by altering the paramets permutatively.

Fig A.3.1.c The exhibition of the 3D Printed Columns at the Gwangju Design Biennale 2011.

PART A.3.2

icd/itke research pavilion University of Stuttgart | Stuttgart, Germany | 2010 Although it is a challenge in applying digital morphogenesis, the ICD/ITKE Research Pavilion provides an excellent precedent on the appropriate application of the generative process. Instead of conforming to the conventional top-down engineering solutions to materiality (where form is generated first before moving into materiality), the design follows reverse method in creating architecture26. By integrating the physical properties and behaviour of the material into sets of parameters, it conveys the idea of performative and generative design solution. The design first took inspiration from vernacular housing of Madan people that is structurally under active bending forces. Then, they started out by examining the bending stress of the material, the birch plywood strips, through physical testing (Fig b). From here, the properties were then transformed into sets of parameters that would determine the form. Using algorithms, experimentations with the form were done to search the limits of buckling on each strips. Simulations using FEM Modelling also helped to analyse the tensile forces or buckling that occurs when the half-torus form is applied (Fig c&d). Therefore the final form is structurally efficient since it is informed and dictated by the materiality27 (Fig a&e).

Fig A.3.2.e The generative form resulted a very pleasureable space which is structurally efficient.

Fig A.3.2.b The physical testing of bending behaviour of the birch plywood strips.

Fig A.3.2.a The half torus form of the pavillion is dictated by the bending behaviour of the material.

This bottom-up approach of synthesising material behaviour into computation to explore the form reflects the full benefits of generative design process. The outcome of such method is beyond the ordinary, incapable to be achieved by conventional composition of form. It demonstrates a suitable approach to digital morphogenesis, that doesnâ&#x20AC;&#x2122;t cross the boundary of inconstructable form. The precedent exhibits the propriety of digital computation in assisting architectural design process, that should be pursued by every architect in the age to come.

Fig A.3.2.c The FEM Modelling to show the bending stress across the form.

Fig A.3.2.d The connection between two strips showing the tensile forces.

PART A.4

Conclusion The approach to the Conceptualisation of the design proposal starts by exploring and evaluating upon existing themes regarding Design Futuring, Design Computation and Parametric Modeling as means for responding to the LAGI 2014 design brief. The futuristic notion of design thinking coincides with the brief, in a sense that both promote redirection towards environmental sustainability. The precedents, KiteGen Concept and Scene-Sensor from LAGI 2012, suggest new modes of design intelligence, where efficiency in renewable energy technologies are advanced. Meanwhile, Design Computation is also another rising topic in the discussion about the future of design. The quote from Roudavski proposes the idea of using parameters to control design process, unlike any other previous conceptualization in the architectural history. The technology of algorithms in computation puts forward the concept of Digital Morphogensis, which promotes performativebased design that are efficient structurally and environmentally. It is evident in the projects Smithsonian Courtyard Closure and Esplanade. Lastly, it leads to the debate about Composition vs Generation, conventional form-finding method vs generative method from parametric modeling. On one hand, it can go to the extremes, like with Hansmeyerâ&#x20AC;&#x2122;s Subdivided Columns, where generative process no longer becomes realistic and separated form the functionality and pragmatic of the real world. Instead, the appropriate use of algorithms is conveyed by ICD/ ITKE Research Pavillion 2010, where bottom-up engineered solutions is done by setting parameters of the material behavior as part of the generative process of form-making.

To conclude, concepts about the future of design have been explored on the first stage the design process as means of enriching understanding about what needs to be designed and the suitable approaches to design. The LAGI brief demand sustainable thinking and energy generation, whose complexity can be answered logically with the help of the analytical and generative tools of Parametric Design. As being discussed in the precedents, the correct reconfiguration of design process through digital morphogenesis results in an architecture that are innovative, in terms of environmental sensitivity and efficiency in structure and function. The bottom-up approach with materiality, analysis modeling of structure and energy and prefabrication technologies are the approaches to be implemented with the case for the LAGI design proposal. Hopefully, not only physical benefits of sustainable living, but also the ideological benefits of enriching the notion of aesthetical beauty will shift design thinking towards the integration of parametric and sustainability

PART A.5

learning outcomes The study of theories and practice of architectural computing has been eye-opening. It has broaden my understanding of the attainable possibilities of computation technology, beyond our limitations in complexity. After analyzing the precedents, it becomes clear to me how computation is successfully applied in practice, not just some theoretical ideals, but real-life benefits on the design process. Moreover, the shift in design thinking, from form-based into process-based using the generative method of algorithms has revolutionize my perspective about futuristic design. Although I am aware of the danger that it may impose (by being too process-based such that it neglects the efficiency of the outcome in real world), still the benefits of generative design in dealing with complexity is too good to be missed. Furthermore, it also solves the problems with my past projects, where the focus was on the form and not the process. Now, I understand that what governs the form (the parameters) matters, not just the actual physical form of the architecture.

PART A.6 - Appendix

algorithmic sketches So far, the explorations with Grasshopper have been very limited, since the interface itself is complex. I also not yet used to the programming language of this plug-ins. However, I tried to implement the demonstration from the videos and learn about simple ribbing and box morphing to create 3D panels unto a surface. The initial surface and 3D Patter were taken from grasshopper3d. com. But the Grasshopper definition was made originally by myself, as being taught in the videos. The Ribbing pattern was created using the commands: Divide Surface, Project, and Loft in two axes (X & Y).

The 3D Panelling was done using the commands: Surface Grid, Surface Box and Box Morph. The number of panels on each axes can be easily altered using number slider.

This time, the height of the 3D panels were altered using point attractor to create a more dynamic form. However, the command wasnâ&#x20AC;&#x2122;t translated well at several parts of the model, too thin at parts underneath.

REFERENCe xxxxxxxxxxxxx xxxxxx REFERENCE LIST 1. “Land Art Generator Initiative: Copenhagen 2014 Design Guidelines,” Land Art Generator Initiative, last accessed 28 March 2014, http://landartgenerator.org/designcomp/downloads/LAGI-2014DesignGuidelines.pdf. 2. Michel Foucault and Neil Leach, Rethinking architecture: A reader in cultural theory (London: Routledge,1997), xiii. 3. Anthony Vidler, ‘Review of Rethinking Architecture and The Anaesthetics of Architecture by Neil Leach,” Harvard  Design Magazine, 11 (2000): 3. 4. Tony Fry, Design Futuring: Sustainability, ethics and new practice (New York: Berg, 2009), 6. 5. Helena Bender, Kate Judith, and Ruth Beilin, “Sustainability: a model for the future,” in Reshaping Environments: An Interdisciplinary Approach to Sustainability in a Complex World, ed. Helena Bener (New York: Cambridge 2012): 321. 6. “Estimated health effects from U.S. coal-fired power plant emissions,” Rocky Mountain Institute, last accessed 28 March 2014, http://www.rmi.org/RFGraph-health_effects_from_US_power_plant_emissions. 7. “Global Warming,” Natural Resources Defense Council, last accessed 28 March 2014, http://www.nrdc.org/globalwarming/ . 8. Tony Fry, Design Futuring: Sustainability, ethics and new practice (New York: Berg, 2009), 12. 9. “KiteGen Research Details,” KiteGen, last accessed 28 March 2014, http://www.kitegen.com/en/technology/details/. 10. “Electricity in the air,” Bob Silbery, Phys.org, last accessed 28 March 2014, http://phys.org/news/2012-07-electricity-air. html#jCp. 11. “Scene-Sensor // Crossing Social and Ecological Flows,” Land Art Generator Initiative, last accessed 28 March 2014, http:// landartgenerator.org/LAGI-2012/AP347043/. 12. Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge: MIT Press, 2004), 2. 13. Kostas Terzidis, Algorithmic Architecture (Oxford: Architectural Press, 2006), xi. 14. Robert A. Wilson and Frank C. Keil, The MIT encyclopedia of the cognitive sciences (London: MIT Press, 1999), 11-12. 15. Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), 13. 16. Achim Menges, “Computational morphogenesis.” Proceedings for ASCAAD 2007 (2007): 727. 17. Stanislav Roudavski, “Towards morphogenesis in architecture.” International journal of architectural computing 7, no. 3 (2009): 349. 18. Brady Peters, “The Smithsonian Courtyard Enclosure: a case-study of digital design processes.” ACADIA 2007 (2007): 77. 19. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), 6. 20. Shahab Din Rahimzadeh, Veronica Garcia-Hansen, Robin Drogemuller, and Gillian Isoardi, “Parametric modeling for the efficient design of daylight strategies with complex geometries,” in Cutting Edge: The 47th International Conference of the Architectural Science Association (ANZAScA) (Architectural Science Association, 2013): 4. 21. Brady Peters, (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design 83, 2 (2013): 15.

22. Brady Peters, “The Smithsonian Courtyard Enclosure: a case-study of digital design processes,” ACADIA 2007 (2007): 79. 23. “Subdivided Columns - A New Order,” Michael Hansmeyer: Computational Architecture, last accessed 28 March 2014, http://www.michael-hansmeyer.com/projects/columns_info4.html?screenSize=1&color=1#undefined. 24. “Interview with Michael Hansmeyer” Lawrence Lek, The White Review, last accessed 28 March 2014, http://www.thewhitereview.org/interviews/interview-with-michael-hansmeyer/. 25. Ibid. 26. Moritz Fleischmann, Julian Lienhard, and Achim Menges, “Computational Design Synthesis,” Shape Studies - eCAADe 29 (2011): 760. 27. Moritz Fleischmann, Jan Knippers, Julian Lienhard, Achim Menges, and Simon Schleicher, “Material Behaviour: Embedding Physical Properties in Computational Design Processes,” Architectural Design 82, no. 2 (2012): 44-51.

IMAGE REFERENCE LIST Part A.1:

Coal Power Plant, 2013, photograph, http://discovermagazine.com/~/media/Images/Issues/2013/Jan-Feb/coal-power-plant. jpg?mw=900. A.1.1.a. Comparison, diagram, http://www.kitegen.com/en/technology/details/. A.1.1. b. Swept Area, diagram, http://w ww.kitegen.com/en/technology/details/. A.1.1. c. KiteGen Carousel Image, digital rendering, http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2012/05/KiteGenCarousel-image-e1338472127448.jpg A.1.2.a - e. Scene-Sensor // Crossing Social and Ecological Flows, digital rendering, 2012, http://landartgenerator.org/LAGI2012/AP347043/. Part A.2: A.2.1.a, b, d. Smithsonian Courtyard Enclosure, photograph, http://www.fosterandpartners.com/projects/smithsonian-institution/ A.2.1.c. “Beam Detail of The Competition Scheme Entry,” in Smithsonian Courtyard Enclosure: a case-study of digital design processes, Brady Peters (2007): 75. A.2.1.e. “Plan of Twisting Beams,” Ibid, 76. A.2.2.a-d. “Esplanade Case Study,” in Parametric modeling for the efficient design of daylight strategies with complex geom-

etries, Shahab Din Rahimzadeh, Veronica Garcia-Hansen, Robin Drogemuller, and Gillian Isoardi (2013): 6 & 9. Part A.3 A.3.1.1.a - c. “Subdivided Columns - A New Order,” photographs, 2011, http://www.michael-hansmeyer.com/projects/columns_info4.html?screenSize=1&color=1#undefined. A.3.2.a - e. “ICD/ITKE Research Pavillion 2010,” photographs, 2010, http://icd.uni-stuttgart.de/?p=4458.

CRITERIA DESIGN

PART B

B.1

PART B.1

TESSELATION Research Field - Material Systems

“Parametric design and its requisite modes of thought may well extend the intellectual scope of design by explicitly representing ideas that are usually treated intuitively.” Robery Woodbury in “How Designers Use Parameters”.

In digital computation, there are numerous methods or forms of algorithmic manifestation in design, one of which is tessellation. Based on Escher’s fundamental definition, tessellation is the division of surface into similar-shaped figures that exist in harmony with no gaps in between or touching each other1. Historically, tessellation has existed in the forms of Roman tiling and Moorish Geometric Mozaic (Fig Top). These fascination for patterned ornamentation inspired artist like MC Escher to develop new forms of tessellation using objects with complex morphology such as animals. Moreover, he also introduced the idea of Metamorphosis, where one pattern slightly evolves into another pattern and yet still part of the same tessellation. It demonstrates the possible innovation within such art (Fig Middle)2. However, as in today’s technological engagement, tessellation patterns are further advanced with the help of computed mathematical algorithms. Its definition remains similar, but yet totally revolutionary in form due to the role of parameters. Relationships are established between form-dictacting factors, which increase the ability for exploration, generative and performative design (digital morphogenesis) in contrast to Escher’s conventional method of direct manipulation3.

Top: Alhambra Tessellation carved on the walls suggest the historical application of tessellated surface. Middle: M.C. Escher’s ‘Metamorphosis I’ 1937 Woodcut. Bottom: Neri Oxman’s Beast, the prototype for Chaise Lounge uses Tessellation for achieving Digital Morphogenesis.

PART B.1

beast-chaise lounge Neri Oxman | Museum of Science, Boston | 2008-2010

The avant-garde innovation of tessellation is demonstrated by Neri Oxmanâ&#x20AC;&#x2122;s Chaise Lounge. It transforms conventional notion of chaise lounge into a performative object based on the analysis of human body that informs the tessellation arrangement. Initially, the mapping of pressure exerted by human anatomical structures (Fig a)is utilized to determine the size of voronoi tiling on each nodes of the object and also the strength of material. Oxman uses the term â&#x20AC;&#x2DC;Tiling Behaviourâ&#x20AC;&#x2122; as an interchangeable term Material-

Based Tessellation. Smaller cells on steeper curvature and larger ones on shallow curvature suggest the idea of Curvature-based tessellation informed by the angle between the surface normal and the projection vector (Fig b)4. Moreover, the voronoi tiling is also dictated by the metric distance between each node of the curved surface. Meanwhile for the material selection, stiffer materials are placed on vertical regions for buckling purposes and softer materials on hori-

Fig B.1.a The Mapping of pressure exerted by parts of human morphology.

Fig B.1.b The Mapping of different material stiffness based on pressure map analysis.

zontal regions. The fabrication process of the chaise lounge comprised the assembly of 32 sections where each consists of prefabricated photopolymers cells with different stiffness (Fig c). However, since these manufacturing technologies are design for prototyping purposes only, the limitation of the material prevent from fullscale fabrication of the chair5.

Fig B.1.c Each pieces of the prototype composed of different cells stiffness.

Regardless of the disadvantages, this precedent teaches about the potential of tessellation as part of digital morphogenesis or performative-based design. It also conveys in a sense of Escherâ&#x20AC;&#x2122;s idea of Metamorphic patterning, where material of each cell transforms into different size and stiffness based on the analysis of human pressure curvature. Therefore, Oxmanâ&#x20AC;&#x2122;s appropriation of Tiling Behaviour should inspire future development on the use of tessellated technology for maximizing performance.

Fig B.1.d The scaled prototype of Chaise Lound called Beast.

PART B.2 CASE STUDY 0.1

voussoir cloud IwamotoScott | SCIArch Gallery, Los Angeles | 2008

Similarly, the idea of digital morphogenesis is also demonstrated in IwamotoScottâ&#x20AC;&#x2122;s Voussoir Cloud through the use of algorithmic tessellation. Initially, the compressive nature of the structure is successful with the help of computational hanging chain model and tessellated cells components6. The precedent looked at the historical work of Frei Otto and Antonio Gaudi who used hanging chain model to find efficient arch form under loading at any point on the surface. With the help of other form finding programs, the resulting vaulting of the arch, with fourteen segmented pieces and 5 columns, becomes structurally performative (Fig a). Moreover, the material strategy of the project is also crucial to the structural achievement of the vaulting. The curvature of the vaults is translated into Delaunay Tessellation with varying sizes, where smaller and denser cells are located at column bases and vault edge to form strengthening ribs, while bigger cells on upper vault areas to loosen the structure (Fig b). Interestingly, the compressive forces are held up by lightweight materials, thin wood laminate along curved seams, which rely on the internal surface tension and folded flanges to hold them in place (Fig c).

Meanwhile, the role of computation is also depicted on the varying treatment of each petal. The end points of each petal and tangents with centroid of nearby voids dictate the petal edge plan curvature7. As result, the petals are differentiated as having zero, one, two or three curved edges. Pure triangular cells (zero curve) are located at the base and edges, while more curved cells are scattered across the installation.

tessellation as a product of digital computation that further elevates performative-based design. Computation enables the division of surface into smaller segments (tessellation generation) that is controlled through engineering or logical algorithmic system. Hence, each constituent part can be controlled locally to contribute to the success of the performance as a whole.

Similar to Oxmanâ&#x20AC;&#x2122;s Chaise Lounge, this project conveys the idea of

Fig B.2.a The Form-making process using computation to achieve structurally efficient form.

Fig B.2.b The final constructed installation comprised of vaulting of tessellated petals.

Fig B.2.c The look on the installation from above.

PARAMETRIC MANIPULATION Column Behaviour Modelling

Radial Grid

Square Grid

Hexagonal Grid

Triangular Grid

Voronoi Grid

using Kangaroo Physics (F=70 z-axis)

Perspective View

Front View

Voronoi on 2D Points Grid

Voronoi on Phylotaxis Grid

Null Pattern

Trimmed at 0.5 Height

Vary Height with Point Attractor

Extrude to Tip Point

Null Pattern

Null Variation

Null Pattern Null Pattern

Null Pattern

Extrude Along

Extrude Along curve

Extrude Along curve with altered graph

Extrude Ribs along curve

Beizer Graph Manipulation

Graph Curve Multiplied by -10

Graph Curves Lofted (Closed Loft) to form bell-shaped form dictated by the Graph Manipulation Factor

Curves manipulated by Graph to form conic bell shape.

Spheres to Curve

Array to Curve, connect to interpolate curve.

Divide Fline into points and use as centres of spheres. Size = 0.4

Divide Fline into points and use as centres of spheres. Size = 0.2

Sphere along Interpolate Curve Points

Size: 0.5

Size: 0.2

Size: 0.2 Scaled NU by 0.5 in z-direction

Sphere Fit and Curve Fit

Sphere Fit through the points

Curve Fit through the points

Lofted Result of the Curve Fit Algorithm

Generative Design starts by playing around with the algorithms and parameters in a random manner with the motivation of exploring all possible outcomes. In result, unexpected outcomes do emerge as a way of demonstrating the complexity and unimaginability of algorithmic thinking. 47

selection criteria

So far, the iterations were very experimental. Not so much thinking on how to rationalize the outcome, but just trying out different possible commands that could alter the definition. Nonetheless, if to relate this process with the design brief, then the possible selection criteria would be: 1) Structural Efficiency 2) Dynamic Metamorphosis

Species 1: Efficient Vaulting Species 1 demonstrates the efficient form for vaulting, achieved using Kangaroo Physics to model Gaudi’s hanging chain method. Moreover, the hexagonal shape of extrusion is also the one that results in lower vault height compared to triangles, for instance. However, although this compressive form is structurally efficient, the definition didn’t explore tessellation as the chosen material system. Additionally, in the context of the LAGI brief, the iteration didn’t solve the brief for energy generation.

Species 2: Dynamic Tessellation Species 2 explores tessellation as a complex material system achieved using computation technology. The voronoi cells were created on regular grid but culled using Boolean patterning, specifically TTFTF, to create more dynamic pattern. Moreover, The height is also varied based on the distance from the attractor point to create a dynamic metamorphosis of cell heights. However, it doesn’t utilize any digital simulation for structural performance, neither energy generation.

Species 3: Spheres on Curves Species 3 extends the explorations beyond tessellation, into another material system. The initial definition is based on Biothingâ&#x20AC;&#x2122;s Serouissi Pavillion which was then altered using graph mapper. Next, the interpolated curves were divided into points which then used as the centre of the spheres. Although the structural performance of the design is rather ambiguous to be fabricated, yet it looks aesthetically pleasing and parametrically unique. It could probably be used as an art installation.

Species 4: The Unexpected Species 4 conveys how computation works beyond the complexity of our minds and how unexpected outcomes are resulted from the generative process. Although these iterations may be impossible to fabricate or donâ&#x20AC;&#x2122;t inform anything about the brief, they certainly induced shock when they first appeared. It was unexpected, away from the expected result in mind when the algorithms were connected with each other. Nonetheless, it was a challenging experience, where we were reminded again of the power of computation.

PART B.3 CASE STUDY 0.2

icd/itke research pavilion University of Stuttgart | Stuttgart, Germany | 2011

Another project that conveys the potential of computational tessellation in conjunction with biomimicry to achieve structural performance is the ICD/ITKE Research Pavilion 2011. The bio-morphological system of the sand dollar, a sub-species of sea urchin, is used as an example of natureâ&#x20AC;&#x2122;s structural efficiency being depicted in the installation8. It mimics the polygonal form of the modular skeletal shell which then jointed by finger-like calcite protrusions (Fig a & c). Fig B.3.a The interior of the pavillion.

In order to achieve this biomorphological adaptation, the computation process focused on 3 things: Heterogeneity, Anisotropy and Hierarchy. Heterogeneity deals with the varieties of cell sizes according to the curvature at each nodes and discontinuities, smaller cells around the edges, while bigger ones on low curvature values. Anisotropy conveys how the cells are directed according to the mechanical stresses. Lastly, hierarchy refers to the pavilionâ&#x20AC;&#x2122;s double layer of structure,

where the finger-joints were glued on the first level and screwed on the second hierarchical level to join the cells together. Therefore, three plate edges always meet at only one point which stops bending moment and yet still deformable due to the normal and shear forces translated through the structure (Fig b & d)9. Consequently, this approach optimizes the load bearing capacity of the structure and enables to be efficiently built out of thin plywood sheets (6.5mm) in contrast to the

Fig B.3.b. Finger-like Jointing that meets

scale of construction. The methodology is very successful in a way that it manages to create a performative system of construction from modular tessellated segments using computation. In contrast with other lightweight construction that use optimal load-bearing shapes, this system is applicable to varieties of shapes. It demonstrates the universal use of the system in the creation of architectural spaces that are both functional and aesthetically pleasing.

s at one point

Fig B.3.c The birdâ&#x20AC;&#x2122;s eye view of the pavillion.

Fig B.3.d The Bending Forces acting on each modules of the pavillion.

Trial 1

Trimmed with Avg Plane

Deconstructing Domain

Bounding Box

Populate Geometry with points

Normals at Nearest Point on Surface Finding Tip Point

Extrude to mid point

Lofted Base Surface

Creating Voronoi Grid on Surface

Hexagonal Grid

Creating Tesselation on 2D Plane

Lofted Base Surface

Trial 2

Voronoi 3D

Trim Voronoi with Base Surface to get intersecting Curves

Move Point normal to the plane

Surface Morph Extrude to Point

Final Result Final Result

The main limitation of this definition is that, the pattern gets skewed at certain points on the surface, since it is lofted on series of base curves.

Advantegously, the voronoi pattern is distributed evenly throught the surface. However, since the Voronoi pattern on the surface are curves, not straight lines, the resulting extrusions are also not straight sections. Hence the tip cannot be trimmed unlike in previous definition.

REVERSE ENGINEERING Planarizing Hexagon Panels

Loft Curves

Base Surface

to form readjusted dome

Half of Sphere

Wb: Hexagonal Cells

Contours

To Readjust Grid lines (avoiding merging on the apex)

Explode + Remove Duplicate Lines

Control Points

Springs from Line

Planarize

create spring from Hookeâ&#x20AC;&#x2122;s Law

Planarizing Hexagon Panels

Edges

planarize any polygon

Curve Pull

constrain or pull point to a curve

Kangaroo

physical simulation of the forces

Polyline Boundary

Planar surfaces

Area

to find centers

Normals at Nearest Point on Surface

Move

Trimmed with Average Plane

Final Result

The panels are finally able to be planarised. The tessellation is also evenly distributed and not skewed at certain points on the surface. However, the variation of cell sizes such in the Pavillion is not demonstrated. There are some details missing. The interior is not considered here and the actual panels on the pavilion are voronoi cells, not hexagons

Extrude to Point

B.4 TECHNIQUE DEVELOPMENT

PART B.4 Technique Development

RESEARCH ON WIND Introduction So far the algorithmic explorations hasn’t incorporated any thoughts about the energy generation aspect of the brief and the site condition. Therefore, at this stage of the design process, it becomes crucial to formulate the overarching design approach that could help guiding the process. Therefore, we have a clear direction on how to develop the algorithmic technique that answers the main requirement for energy generation Site Resource: Wind Wind is undeniably one of the strongest natural resources on site. According to Danish Meteorological Institute10, the weather of Denmark is hugely dictated by the wind. The wind coming from the West brings coastal climate with mild and humid weather during winter and cool and changing weather during summer. Meanwhile, the South and East wind brings continental weather that is cold during winter and hot and sun-

ny during summer. From here it can be deduced that the weather is very inconsistent due to the exposure to multiple wind directions.

analyse and understand the general behaviour of wind towards the landscape. Majorly, the movement of wind or how it behaves is incontrollable by human since mostly are dictated by natural factors such as temperature difference, altitude, latitude and so on. However, what we could possibly do to alter wind movement is through the form. We have seen in natural landscape, how different topography such in hills and mountains can result in different wind pattern11. Wind moves smoothly across round hills while steep ridged hills causes turbulence and eddies on the leeward side, due to pressure change (Fig a). It can be explained using the Bernoulli’s principle, where wind speed increases when there’s a decrease in pressure, which in this case caused by the sloping form of the hill12. Based on Københavns this knowledge, it 06180 informs the Lufthavn potential to manipulate wind through form-making to06180 generate more enStation KØBENHAVNS LUFTHAVN ergy.

On the site itself, majority of the wind comes from the South West. By using the Wind Rose data of the closest weather station, 06180 Københavns Lufthavn, highest percentage of wind from the West and Southwest is around 5-11 m/s and sometimes above 11 m/s (Fig b). Meanwhile, the potential energy that could be generated on site, above 45m off ground, is around 200-250 W/m2 (based on the assumption of using turbines as the generator). It is relatively small in contrast to the West ridge of Denmark since the site is rather concealed by the terrain. Nevertheless, efficiency is then becomes incredibly important.

Technical Report 99-13

Wind Movement Behaviour In order to be able to use wind as an energy source, it is crucial to first

01-01-89 - 31-12-98 Hele perioden

10%

0 15%

20%

Procent:

> 11.0m/s 5.0 - 11.0m/s

25%

Fig B.4.a Wind movement behaviour on two different types of hills.

120

150

0.2 - 5.0m/s S

210

240

300

330

Ialt

5.1

4.9

5.0

7.7

5.6

7.7

8.0

9.7

14.6

15.3

10.0

4.2

98.0

2.1

2.8

2.4

3.3

3.0

3.8

3.5

4.4

5.1

6.3

3.9

2.1

42.7

2.8

2.0

2.5

4.2

2.6

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5.1

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2.0

51.7

0.2

0.1

0.0

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0.3

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1.0

0.5

0.1

3.6

Fig B.4.b Wind Rose Diagram % 0.2-5.0m/s % 5.0-11.0m/s % > 11.0m/s Middel

panelling Tatami Box Pattern

Tatami Hexagonal Pattern

Tatami Mix Pattern: Small and Big Hexagons

Voxelization Pattern u = 15 v=8

Voxelization Pattern u = 21 v = 15

6 Star Grid + Pipe

6 Star Grid + Centre Circle

6 Star Grid + Sphere

6 Star Grid + Box

Circle Packing

panelling Circle Packing Jointed

Box Morphing: Rectangular Pattern

Box Morphing: Rectangular Grid

Lofting lines

Box Morphing: Rectangular Grid Erwin’s Hauer’s Box Morph

Box Morphing: Torus

Average Point on Box Grid + Vertical Line from Grid + Pipe

Box Morphing Box Morphing: Rectangular Grid

others Interpolate Curve + Surface

Triangular B Split Height = 6

Platonic Dodecahedron (LunchBox)

Triangular B Split Upside Down

Rectangular Pyramid with Point Attractor varying height + Sphere on top

Waffle Explode + Sphere Along Cuve

Extrude Hegaons to Point + Sphere Sphere on Grid

Trib Split

Extrude Hexagons to Point + Sphere + Alter Grid

6 Star Waffle Grid + Point Attractor varying height

Tree Item: Relative Item Offset: 0;1 0;0

Waffle Pipe

2;1

Tree Item: Relative Item Offset: 2;2

3;1 0;0

Waffle Pipe + Sphere

Tree Item: Relative Item Offset: 2;2 2;1 0;0

Divide Curve + Sphere

Tree Item: Relative Item Offset: 3;3 3;2

0;0

Divide Curve + Cylinder

Tree Item: Relative Item Offset: 2;2

3;2

0;0

Spiral curves: mathematics

Connect Points with Nurbs Curve x-value = cos x y-value = sin x * x Pi 1.03 Count 27

Connect Points with Nurbs Curve x-value = cos x y-value = sin x * x Pi 1.03 Count 80

Connect Points with Nurbs Curve x-value = cos x * x y-value = sin x * x Pi 1.03 Count 80

Connect 2 Points with Line + List Item x-value = cos x * x y-value = sin x * x Pi 1.03 Count 80

Connect 2 Points with Line x-value = cos x * x y-value = sin x * x Pi 1.03 Count 80 1.51 Factor

Connect 2 Points with Line x-value = cos x * x y-value = sin x * x Pi 1.03 Count 80 2.65 Factor

Spiral curves - graph mapper Lofted Rectangular Frames Width 10 10 Height Graph

Lofted Rectangular Frames Width 3 50 Height Graph

Lofted Rectangular Frames Width 10 10 Height Graph

Lofted Rectangular Frames Width 3 50 Height Graph

Lofted Rectangular Frames Width 10 50 Height Graph

Lofted Rectangular Frames Width 3 50 Height Graph

Lofted Rectangular Frames Width 3 50 Height Rotate 10 Graph

Lofted Rectangular Frames Width 3 50 Height Graph

Lofted Rectangular Frames Width 3 50 Height No Rotation Graph

selection criteria Based on the research done regarding the wind behaviour and site condition, the design approach that our group intended to pursue is to manipulate the architectural form of the installation and also its surface to optimize energy generation. The form has to channel the wind and the surface has to incorporate the Bernouliâ&#x20AC;&#x2122;s Principle into the shape and performance. Therefore, the selection criteria would be: 1) Undulating Form: Terrain-like, Artificial Hill 2) Cone-like or Tunnel-like Tessellation 3) Structurally Sound and Builtable

Species 1: Graph Mapping Species 1 demonstrates a very dynamic and flexible form, generated using graph mapper component. The undulating form has the potential to create areas of depression which may cause different pressure to wind. Such behavior can be utilized to generate more energy due to increase in wind speed.

Species 2: Dynamic Tessellation Species 2 explores the use of mathematical curves, such as the sine and cosine curves to create dynamic spiral form. Since it is controlled through mathematics, the result becomes very repetitive and ordered. However, it tends to be sculptural and not relating to the site much. More effort needed to connect this into some kind of meaningful data.

Species 3: Wind Tunnel Species 3 has the potential of increasing wind pressure through series of cone-shape modules. By having narrower opening on the inside, it could increase the wind speed which in turn could provide greater kinetic energy.

Species 4: Structural Ribs Species 4 conveys the potential for structural stability and also build-ability. The intersection between ribs going from 3 different directions suggest a strong and rigid connection of each part. This can help to provide structural support for the skin or modules, which is also aesthetically pleasing at the same time.

So far, the development has been rather limited by the tendency to maintain the compressive nature of the case study (ICD/ITKE Pavillion). We put too much time on getting planar panels out of the form, which constrains the exploration much. As a result, we tend to play around only with 3D paneling, varying heights with point attractor and so on. Although there were attempts to explore other parametric system, such as strips and graph mapping, still majority of the results are rather basic and predictable. Hence, our group encountered the difficulties of producing fruitful outcomes due to skill and time constrains. More time is actually needed to understand the way Grasshopper definitions work and how to combine different systems together. But nonetheless, our group already has a clearer design direction although not yet executed well on the algorithmic results.

PART B.5

PROTOTYPE Species 3 was then chosen to be prototyped to test the structural stability and aesthetical effect created. First, additional work on the algorithm needs to be done. Notches were used as a method of connecting since it is commonly successful in jointing flat intersecting members such in this case. The strips height should be enough not to easily torn, while the notches starts on midway of the height with the width of less than 1mm to make sure no loose connections

Algorithm for Notches

Prototyping Process Strips laid out on 900x600mm rectangle

Strips lasercutted and detached from Box board 1mm thick

List Item

Separate Ribs into 3 groups based on direction

B C

A +

B +

C +

Solve Curve | Curve Intersction Point on Curve

point at 0.5 (midpoint)

Circle + Boundary diameter = 0.9

Extrude z-axis

Forming cylinders with varied directions

Solid Trim

Result: Strips with notches on

Strips were arranged accoding to group and order

First was to finish connecting all strips from 2 directions before connecting the third group of strips

Finished Prototype

Fig B.5.a Photograph of the prototype from below.

The resulting prototype resembles the digital model in great clarity. The notches work well and able to create rigid connection between the strips. As a result, the structure becomes very rigid and compressed. Moreover, the shadow effect on the interior is also very pleasant. However, we were unable to test the structure onto different materials. Boxboard was chosen since it is bendable compared to timber for instance. Even during the prototyping process, the strips had to be forced or bended slightly (especially at the apex) to slip unto the designated notches. Therefore, the choice of material for prototyping this design is limited to flexible material. Fig B.5.b The Digital Model

For future prototyping, perhaps the form has to be simplified. Three ribs on different direction are actually overly structured. Probably the size of cells can be enlarged to reduce overlapping joints. Moreover, due to the rigidness of the structure, it tends to be very stiff and not dynamic. Hence, there should be a reconsideration whether to go with this type of structure, or to explore more tensile structures that offers greater flexibility.

Another prototype was made to test the wind generator system. At the moment, we chose turbine in favour over piezo-electric panels or other system because it extract the most out of the kinetic energy of the wind. The turbine tested in this prototype is still very primitive. The blades were attached to bigger tubes, which allow for easy rotation. Moreover, we also tested different types of blades: one, two and three blades. It was done to test which configuration spin faster.

Prototyping Process

White pipes were cut according to the right sizes & joined together using thread

Continue the process until 6 sides were formed

Slip through the end of thread back to the first pipe & then knot tightly

The pipes were glued to the base of a hexagonal cone.

When tested with hairdryer, the three blades spined the fastest compared to the others. The reason for that is due to greater stability between the blades as a whole. Probably, for future prototype, thin wire can be used instead of glass thread since it will form a more rigid framing for the blades.

The blades were cut and then glued to the bigger tubes

Finished Working Prototype

B.6 technique proposal

PART B.6

PROPOSAL Refshaleøen, Copenhagen | 2014 In responding to the LAGI design brief, the concept that our group would like to propose is the idea of channelling the wind through the formation of an artificial hill and also modular units of tessellation. By incorporating wind movement analysis and Bernoulli’s principle, the design is to increase the wind speed by creating areas of depression which then result in greater kinetic energy for the generators to capture. Form Finding The form is informed loosely by the wind rose diagram (Fig a). The shape is to focus on the major West

WIND ROSE MAPPING

and SouthWesterly wind, where it is sloping to face that direction. Moreover, the ridge is also exaggerated to intensify the pressure difference. Meanwhile the modules are made of hexagonal cones, with narrower opening on the underside to increase wind pressure and create eddies. Hexagon is used since it is the closest shape to circles (compared to square and triangles), but easier to construct. Turbine is used as the method for energy generation since it is the most efficient method compared to piezo electric panels for instance. It is also placed at the edge of the cones, where the wind is at the fastest.

N E

W ARTIFICIAL HILL

TESSELATION OF WIND OBSTRUCTION MODULES

INCORPORATE WIND ROSE MAPPING

Fig B.6.a Digram of the Form-Making Process

Algorithmic Technique The conceptual and technical achievement of the algorithmic technique is that it enables the intensification of wind as a method for wind channelling, through the cones. However, there are some limitations that need to be addressed. First, due to the stiffness of the form, it becomes hard to planarised the whole surface. Secondly, the algorithm hasn’t incorporated any performative parameter so far. And the last one, the form of the tessellation itself doesn’t give flexible structure to the design. As a result, it looks very stiff and not dynamic enough.

Top: FIg B.6.b Perspective View of the Design on Site Left: Fig B.6.c Site Plan Right: Fig B.6.d Perspective of the Interior

PART B.7

PRESENTATION FEEDBACK Here are some highlights of the feedback from interim presentation: 1) Too generic proposal/algorithm

2) Unresolved about how each modules can operate

At the moment, the proposal is too general and not specific enough. The algorithm itself is also too â&#x20AC;&#x2DC;pedestrianâ&#x20AC;&#x2122; or uninspiring. Iâ&#x20AC;&#x2122;m wondering whether these 2 factors are related though. But nonetheless, our group do agree on that and we are working on solving this issue for Part C. As mentioned earlier in the technique development section, our group constrained ourselves to planarised surfaces and compressive members, just like depicted on the case study. Therefore, we would like to explore more tensile elements or members in our iterations to come. If it does work better with tensile, then we might switch to the suitable material system or algorithmic technique. From there, it will also be much easier too to refine the design approach.

Again, if we do successfully manage to change into another material system, then the whole system of energy generation has to be rethought. However, we are also still considering alternatives beside turbines. Whatever that is, we will try to have the system integrated to the design, not like an afterthought.

3) Need to interact more with the site in terms of scale, programme, inhabitation and so on So far, our interaction to the site is limited to just wind mapping and topography. For Part C, we will consider more of the different aspect of the site such as views, history, pathways and so on. It is also possible to expand the programme for instance as markets or educational centre rather than mere installation.

PART B.7

LEARNING OUTCOMES Objective 5.

Objective 2.

Objective 7.

To a certain extent, the ability to make a case for proposal is demonstrated, although many parts of the design are still unresolved, such as materiality, structural system and so on (Refer to Part B.6). The limitations of the proposal, including the algorithmic technique have been acknowledged and put into consideration for future improvement.

By altering parameters and regular baking, wide range of possibilities can be made. Moreover, making matrices and the idea of having selection criteria enable to compare and contrast the different possibilities in a standardized manner. Therefore, the process of choosing particular result instead of the other is grounded on logical reasoning.

The understanding about computation through Grasshopper has been demonstrated, although rather limited to a certain extent. The principles of data flow through diagramming (Refer to Part B.3) suggests some basic understanding that could be refined further. The ability to read the algorithm of a particular case study becomes really important for the reverse engineering exercise.

Objective 8.

Objective 3.

The technique explored through case studies in Part B.2 and B.3 has shaped my repertoire of computational technique. By specializing into specific material system, the skill developed becomes personal as my own repertoire.

In Part B.6, we engage with digital fabrication on the basic level, such as lasercutting. It becomes clear how the digital can only be realized through the process of fabrication, where real-life material, structural performance and constructability are assessed using the prototypes.

PART B.8 - Appendix

algorithmic sketches Here are some of the sketches produced after learning from the weekly tutorial videos. New skills were being taught including: Tree Menu, Understanding Data Tree, Image Sampling, Beizer Curve Span, and many more.

The triangular panels were created by selecting the data or the points from the triangular grid on the surface. The chosen data dictates the kind of panels to produce.

Similar to the first definition, but the selection of data was altered using Relative Item Command.

The data chosen for the Relative Item is {0;0}, {2;1}, {0;1}.

Image Sampling of 2 different patterns. The first pattern is dicataing the cones, while the second pattern is dictating the circles. The dark and light ratio of the pixels on the image inform how big the circles should be.

Aranda Lasch Morning Line project was Reversed Engineered here using Recursive Method. The idea of using repititive element, in this case the truncated pyramid, creates an interesting form of algorithm. Additionally, Beizer Span curve that connects the end points of each geometry also creates a continuous patterning.

REFERENCe xxxxxxxxxxxxx REFERENCE LIST

xxxxxx

1. Ranucci, Ernest R. “Master of tessellations: MC Escher, 1898-1972.” The Mathematics Teacher (1974): 299. 2. “Gallery,”M.C. Escher, last accessed 5 May 2014, http://www.mcescher.com/gallery/. 3. R. Woodbury, “How Designers Use Parameters,” in Theories of the Digital in Architecture, eds. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), 153. 4. Oxman, Neri. “Material-based design computation: Tiling behavior.” In reForm: Building a Better Tomorrow, Proceedings of the 29th Annual Conference of the Association for Computer Aided Design in Architecture, Chicago, 2009, 125. 5. Ibid, p. 126 6. “Voussoir Cloud,”IwamotoScott Architecture, last accessed 5 May 2014, http://www.iwamotoscott.com/VOUSSOIR-CLOUD 7. Ibid 8. “ICD/ITKE Research Pavilion 2011,” Universität Stuttgart, last accessed 5 May 2014, http://icd.uni-stuttgart.de/?p=6553. 9. Ibid. 10. John Cappelen and Bent Jørgensen, “Technical Report: Observed Wind Speed and Direction in Denmark,” Danish Meteorological Institute (Copenhagen, 1999), 8-12. 11. “Chapter 6: General Wind,” last accessed 5 May 2014, http://www.firemodels.org/downloads/behaveplus/publications/ FireWeather/pms_425_Fire_Wx_ch_06.pdf. 12. “Bernoulli’s Equation,” last accessed 5 May 2014, https://www.princeton.edu/~achaney/tmve/wiki100k/docs/Bernoulli_s_ principle.html.

IMAGE REFERENCE LIST Part B.1 “Inside Alhambra,” last accessed 5 May 2014, http://hdfons.com/wp-content/uploads/2013/02/Inside_ Alhambra_2560x1600-Wallpaper.jpg “Metamorphosis 1,” 1937, Woodcut printed on 2 sheets, last accessed 5 May 2014, http://www.mcescher.com/gallery/ most-popular/metamorphosis-i/. B.1.a - e. Oxman, Neri. “Material-based design computation: Tiling behavior.” In reForm: Building a Better Tomorrow, Proceedings of the 29th Annual Conference of the Association for Computer Aided Design in Architecture, Chicago, 2009, 124-7. Part B.2: B.2.a-c “Voussoir Cloud,”IwamotoScott Architecture, last accessed 5 May 2014, http://www.iwamotoscott.com/VOUSSOIRCLOUD

Part B.3 B.3.a-c “ICD/ITKE Research Pavilion 2011,” Universität Stuttgart, last accessed 5 May 2014, http://icd.uni-stuttgart. de/?p=6553.

Part B.4 B.4.b John Cappelen and Bent Jørgensen, “Technical Report: Observed Wind Speed and Direction in Denmark,” Danish Meteorological Institute (Copenhagen, 1999), 135.

detailed design

PART C

c.1 design concept Rethinking of The Whole Design

PART C.1.1

rethinking design The interim presentation feedback suggests the need for further refinement of the design concept and implementation. The main limitating factor would be the lack of exploration with the parametric tool itself which then narrow down possibilities for innovative design. But nonetheless, we better maximize the algorithmic technique that we have learnt so far due to time constrain. The first thing will be to change the shape from hexagons to triangles for easier fabrication, since triangles are closer to planar surfaces. Next, the form has to be more logical, rather than some arbitrary connection with the Wind Rose. Then, the opening has to also be optimized for larger wind penetration. Furthermore, the design concept also needs to be refined to create a more in depth meaning to the installation in relation to the site. After we are set with the design, then we can move on refining the tectonics and constructability. For the technology, turbines are still our first main option since it produces the greatest amount of energy compared to other methods (i.e. Piezoelectric). Lastly, the program and site access have to also be incorporated to the formulation of the form..

Change from Hexagons to Triangles

Bigger Openings for the Modules

PART C.1.2

The argument REFSHALeoeN: PASt Refshaleøen was once an industrial site, a manmade island that housed the shipyard company Burmeister & Wain until 1996. The idea of industrialization has taken up the land in a degrading way, such in the extensive refills and damming of the rivers which alters the topography. Natural deformations and the amount of CO2 released, around 67 mill tonnes in 19901, suggest the intense situation that Copenhagen faced in regards to environmental responsibility. Additionally, industrialization also impacted on the social life of the city, where workers were put under the detrimental working condition, exposing to death risk and deprivation economically and health-wise.

refshaleoen: now-future Refshaleøen is moving towards sustainability in alignmentDenmark, with Denmark’s Copenhagen, CASE - 03 Energy Agreement in 2012 to convert the supply energy of the entire counwindgenerator farm Lynetten wind farm energy by 20502. Wind Middelgrunden try into renewable powered energy is focused as the main source for renewable energy along with biogass and biomass. Currently, wind farms are placed on the peripheral of the island and offshore, such as the Lynette wind farm on the north side of Refshaleøen. Moreover, incentives are given to promote more onshore wind turbines, up to 500MW. Additionally, the site is now transformed into recreational and cultural functions such as flea market, creative entrepreneurship and music events. So it promotes the sense of community as well in conjunction with a greener lifestyle through a healthier and more comfortable city.

Timeline Photos of Refshaleøen

Photo from east.

site Lynette Waste Water Treatment Plant

The Little Mermaid

Lynette Wind Farm

North Wind

SITE

SouthWest Wind

Lynette Marina

N 81

design intent Based on the site context and design brief, the proposed design intent consists of 3 ideas: • To bring a sense of nature back to the site in contrast to the surrounding built forms as part of engaging with the contrasting past and present context of Refshaleøen • To promote wind energy generation onshore in accordance to the Danish Climate Policy Plan and its optimization through parametric tools. • To engage the users with the energy generation process by enabling physical interaction with the installation • To become an iconic landmark of Refshaleøen that accommodates large cultural and social events as part of promoting a sense of community.

Conceptual Diagram of how energy generation can engage with the users.

1) RECIEVE - OUTER SKIN WIN

2) PROCESS WIND - TURBINE

3) INFORM - FLEXIBLE FABRIC

PART C.1.3

siting South West edge of the site, near to the riverbank, is the potential area for siting First, it maximizes exposure to wind, which comes majorly from the South West and North West. Secondly, it is near to the user access, i.e. the water taxi terminal and tourist attraction i.e. the Little Mermaid Statue across the river. Furthermore, the area is also away from built infrastructure which moves the users away from unpleasant view.

Boa

t Ac

Wind Source Direction

cess

Existing Building

Potential Siting Existing Building Water Taxi Terminal

Bus Stop

PART C.1.4

EXPLORATION on FORMS

selection criteria Some explorations on form were done, informed by the WindRose Diagram. In order to choose the most suitable outcome, the design intent is used as the Selection Criteria. The highlights of the criteria is: 1) Mimic natural forms 2) Able to provide large areas for public events 3) Constructability

The iteration is chosen as the final form as it ticks off all the required criteria. Since it utilizes Kangaroo Physics to model the Spring Force behaviour, the catenary arch form is surely an efficient one and constructible. Moreover, the arch can span great distance which is able to provide large areas for public space. Moreover, in simple terms, the undulating form resembles hill shape, which reinforces the idea of â&#x20AC;&#x2DC;natureâ&#x20AC;&#x2122; as opposed to the flat industrialised site.

PART C.1.4

form-making N 0

N 0

Ă&#x2DC;

10%

15%

10%

20%

Procent: 0

15%

25%

0.2 - 5.0m/s Procent:

20%

25%

> 11.0m/s 5.0 - 11.0m/s

Trace the Wind Rose Diagram

Scale by 0.7 and Move along z-axis based on the vector distance between the centre and points

Scale down by 0.5

Draw Lines connecting the corresponding points

Loft the Lines

Use Kangaroo Physics to generate the efficient arch form

Trim certain parts for users access

Panellize the surface

Add other functions (i.e. stage)

0.2 - 5.0m/s

form optimization The translation of the Wind Rose into the outcome is not an arbitrary nor abstract one, yet a quite literal one by taking precise vectors as the bases of determining the dimensions. The intensity of wind is translated into numerical vector which dictated the span of the arches and also the height at different parts of the form while still maintaining the proportions. As a result, it creates a dynamic form in terms of height and width while at the same time, rationally optimized for wind energy generation. Additionally, the consideration of program is also done in conjunction with the energy generation.

• Greater height on the West to maximize the greatest exposure to wind. • Allow for turbines to capture faster wind velocity in higher altitude. • Higher ceiling and span for large market space.

• Void in the centre for outdoor public events

• Lower ceiling and span to offer a more interactive space between the users and the energy generation process.

PART C.1.4

algorithmic technique outer skin

Base Surface

Scale by 0.7

The Turn

Wb Triangular Panels B

Move up based on Normals

Rotate slightly

Base

Loft

fabric

Base Surface 88

Mesh UV: Turn into Mesh

Mesh Tringulated

mechanism 1) Wind is channeled through the Skin Panel 2) Turbine rotates to generate energy 3) Fabric inflates

ning Up and Down of the triangular modules were done to maximise opening for wind.

Panel

List Item: Up Centre Point

Ribs

Triangular Panel

List Item: Down

Move up based on Normals Move down based on Normals

Extrude to Point

List Item: Select only 2 sides to create openings

Anchor Points: 4 corners & centre Wb: Mesh Edges

Springs from Line

Rest Length: multiply by 1.2 Wb: Mesh Vertices

Unary Force z-downward

Kangaroo

Resulted Mesh

PART C.1.5

design outcome

c.2 tectonic element Real Life Constructability & Prototyping

PART C.2.1

materiality Glass Fibre-Reinforced Plastic

Glue Laminated Timber

GRP is a composite material made of strands of glass fibre that are woven to form a flexible fabric3. The fabric is then stacked into layers with resin as the glue. The result of this process is a strong yet light and durable plastic. GFRC is selected as a suitable material for the skin due to these reasons4:

Glulam is made up of series of timber laminations with parallel grain that are bonded together with resin adhesives. There are numerous reasons why Glulam is chosen for the structural member based on these advantages of5:

• Strong in tension and compression: The skin is imposed to high lateral wind load which will cause shear and bending moment. Therefore it is critical for the material to sustain its form. • Lightweight material: Because the construction deals with high altitude, hence a more lightweight material is desirable as it reduces the overall dead load. Seamless construction thus watertight • Able to mold complex shapes  • Low ongoing maintanance cost  • Durable towards wind exposure

• Strong and stiff (strength-graded lamination) It is able to give the strength to achieve such long span (40m through lattice rib structure) with smaller member dimensions compared to conventional timber which strength is hard to control • Lightweight material The low mass in relation to strength makes Glulam a desirable choice in contrast to steel or conventional timber. It reduces the dead load of the overall structure, which enables to achieve higher altitude. • • • •

Able to be curved or bended Uniform distribution of moisture  Fast installation and easy delivery Aesthetically pleasing

PART C.2.2

construction system Timber shell

Timber shell stru

lattice ribs structure Lattice Ribs is a common method used in timber arch construction in order to achieve great span such in sports hall and exhibition hall6 (refer to images). Ribs are running in two directions, intersecting not necessarily at right angles, which may form diamond shaped voids or skewed squares. One direction of ribs becomes the primary ribs, usually the ones that are perpendicular to the surface. Meanwhile, the secondary structural ribs are Figure 2.21: Sports hall Berlin-Charlottenburg Figure 2.21: Sports hall Berlin-Charlottenburg (Müller(Müller 2000) fragmented and fixed attached to the primary ribs. 2000)

Figure 2.23: Radial rib dome (Müller 2000)

Figure 2.25: Davos ice rink under construction (Müller 2000)

Two-way Ribs to form a lattice ribs structure.

Figure 2.22: Nodeofofthe the barrel barrel vault (Müller Figure 2.22: Node vaultlattice lattice (Mü

Figure 2.24: Davos ice rink (Müller 2000)

Figure 2.26 Davos ice rink under construction (Müll 2000)

Figure 2.26 Davos ice rink under construction (M 2000)

Detail of Connection between Primary and Secondary Ribs Structure Primary Structural Ribs (Continuous)

Secondary Structural Ribs (Fragmented)

Resix jointing system Résix© is a jointing system developed by Simonin Company that replaces bolt-in-place with an invisible connection that allows for seamless design7. The threaded steel bars are embedded inside a high quality glulam. A strong epoxy resin is then used to allow for a rigid connection between the members.

Detail of The Hinge at the Base 130mm x 400 Glulam Timber Arc

Grade 8.8 Bolts on Steel Shoe Stainless Steel Welded With Stiffners Bolts on Stainless Steel Plate to Anchor Down to Footing Concrete Footing

Max Span: 40 m

Detail of The Hinge at the Apex Stainless Steel Plate (bolted to ribs)

Single Pin

3-hinged arch strucure The structure of the primary ribs is categorized as 3-hinged arch system8. The base is hinged to the footing, while another hinge is placed at the apex of the arch. The curved arch glulam can span above 50m.

Max Height: 15 m

PART C.2.3

Construction detail

Skin Panel, Ribs and Fabric Jointing System

Glass Fibre-Reinforced Plastic Skin Panel

Spider Jointing

Glulam Ribs

Metal Plate with Holes (bolted to ribs)

White Polyester Fabric

mini giromill cycloturbine The specified type of turbine utilizes two forces, lift and drag, to generate mechanical force to the aerofoils9. The blades are connected by a vane to the central rotor, that is also responsible in orienting the pitch of the blade. At low wind speed, the blades operate using drag force by pitching the blade flat against the wind. When it starts to rotate, lift forces is generated by pitching the blades, which then accelerates the turbine. Therefore, it becomes an efficient system compared to other vertical axis wind turbines (VAWT), especially in areas like Copenhagen where wind turbulence is high.

energy output The calculation is based on the graph produced by Danish Wind Industry Association & American Wind Energy where, x-axis represent the rotor size and y-axis for the energy output10. Association. It can be estimated that the 0.4m rotor size will generate 0.9 kW energy per turbine daily with the assumption of 15m/s wind velocity. Therefore, the total generated energy based on the proposed amount of 846 turbines is 761.4 kW. Per year, it will produced roughly around 6.6 GWh.

Turbine Mechanism Glulam Timber Rib Lattice Structure Downward Extrusion of Glass Fibre-Reinforced Plastic Skin Power Generatow which connects to DC to AC inverter connection to the circuit breaker 0.4 m Ă¸ Rotor Radial Arm to hold 3 blades to the rotor Blade

PART C.2.4

Prototyping

100

For prototyping, 1mm Box Board were used for the skin. Although the thickness is adequate for rigidity, issues were faced due to the jumbled numbering system of the strips, which caused major difficulty in figuring out the order and pairings. As a result, some panels were mismatched and poorly glued. Moreover, the tabs were excessive and many of them had to be cut since the process was automated using Grasshopper.

101

The ribs was very unsuccessful due to notch failures. The width was set slightly smaller than 3mm, which unable to be slotted. So, they were cut into segments and connected using Gluetac and tape to keep in place. Moreover, the connection to the skin havenâ&#x20AC;&#x2122;t been considered beforehand, which is an important aspect that should be improved for the final model. Additionally, the placing for turbines also havenâ&#x20AC;&#x2122;t been thought of.

102

Nonetheless, the prototype is a great tool to explain the mechanism of our project, better than any visual diagramming. For the final detailed model, we need to focus on refining the jointing for neat outcomes.

103

PART C.2.5

DETAILED MODEL Scale 1: 20

Materials 3mm Medium Density Fibreboard 400 gsm Optix Black Card White Polyester Fabric 3mm ø White Pipe 5mm ø White Pipe 0.6mm Translucent Polypropylene Fishing Line White Thread 5mm ø Pins

104

assembly components Base Strip Protriding Strip

Outer Skin (400 gsm Optix Black Card)

Ribs & Jointing (3mm MDF)

Ribs with Notches Pipe 3 ø Fishing Line Jointing Circles Knitting Thread

Turbine (3 ø Pipe inside 5 ø Pipe & Polypropylene Wings)

Inner Skin (White Fabric hanged with Pins and Thread)

105

unrOLL, LABEL AND LAYOUT 1

Unrolling for Skin

Material: 0.6mm Polypropylene 400 gsm Optix Black Card

900 x 600 sheet

D E

1A 3A

2A 2D

0A 0C

3E 4E 3C

106 0B

1A 3A

Unrolling for Ribs

Material: 2D

3 mm Medium Density Fibre Board

900 x 600 sheet

3E 4C

4E 3D

1D 1A

107

Algorithm for Fabrication Notches List Item

Separate Ribs into 2 groups based on direction

Solve Curve | Curve Intersction

Point on Curve Points at 0.3 & 0.65

Circle + Boundary Diameter of 5 &3 mm

Extrude z-axis

Forming cylinders with varied directions

Solid Trim

Result: Strips with notches on different sides

Jointing Circles Circle + Boundary Diameter of 15 mm

Solid Trim

Trim with previously trimmed ribs

Make Hole

108

Ribs and Circle Jointing 1) Laser Cut components 2) Thread knot to circles 3) Join circles with Ribs

Turbine 1) Insert Pipes to Fishing line 2) Knot Lines to Ribs through holes 3) Cut out Turbine wings 4) Glue Wings to pipes

Outer Skin 1) Laser Cut components 2) Cut out strips in pairs 3) Punctured with pins to connect to Ribs

Initially, polypropylene was used as the material for the skin as it reflects the GFR Plastic in real-life materiality. However, due to unexpected and intolerable burnt marks, our group decided to think of alternatives. Moreover, the transparent color also doesnâ&#x20AC;&#x2122;t emphasize contrast with the fabric.

Optix Black Card was selected as the skin material to replace polypropylene. Although it is much weaker and less resemblance of the real material, the thickness is still able maintain rigidity. The black color is also better in terms of representing the idea of contrast with the flexible fabric.

109

Scale 1:20

detailed model

Assembly Constrains One of the toughest part of the assembly was to join the skin with the ribs using pins. Because the holes were manually done and the skin modules were connected first, extra care and time was taken to gently (with little bit of force) pinned the skin one by one to avoid tearing the skin apart. Moreover, Moreover, since the digital model wasnâ&#x20AC;&#x2122;t properly planarized, it is inevitable that the skin gets skewed at certain parts and required manual adjustments to the size in order the skin to fit into each other.

111

Scale 1:20

detailed model

Assembly Success The Detailed Model has achieved several successful points. First, it resolves the jointing problem with the MDF ribs that existed during prototyping and also enables neat hanging of the fabric and turbines using small holes. Moreover, the neat jointing of ribs and skin using pins also performs effectively. But, most importantly, the model clearly communicates the mechanism of the skin, structure, fabric and energy generation, which provides a convincing argument to the buildability of the proposed system.

113

Scale 1:20

detailed model

c.3 final model

116

PART C.3.1

fabrication technique The first step was deciding the scale of model. Because making 1:50 model of it would certainly take too much time due to the level of details that should be put in (i.e. skin, ribs, turbines, fabric) and large number of panels, our group decided to go for larger scale model, in 1:500. Attempts were made to use flat fabrication technique, similar with the Detail Model, such as using MDF for the ribs and black card for the skin. However, the thickness of ribs would be too thin, 3mm only, which wouldnâ&#x20AC;&#x2122;t be able to stand firmly. Furthermore, the use of notches would also be very difficult. Due to these reasons, we decided to go for 3D printing.

3D Printing Although 3D printing takes less time, the result is very satisfactory in the case of our design. There are lots of constrains, such as the minimal thickness required. We end up converting the surfaces into basic triangulated mesh, with no openings. Although the triangulated pattern is visible, it doesnâ&#x20AC;&#x2122;t inform the functional and experiential qualities of the project.

Top and Bottom view of the Closed Mesh for 3D Printing.

117

PART C.3.2

site MODEL Scale 1: 500

Materials 3mm Medium Density Fibreboard 2mm Transparent Perpex 3D Printer Powder Black Card

118

assembly components 3D Printing Process Nurbs Surface

Mesh

Offset Mesh Solid Thickness 4mm Closed Mesh: Good

MeshLab

To Smoothen meshes

Site Model Process Laser Cut

Water: 2mm Translucent Perspex Site: 3mm MDF

Pathway & Landscaping Black Card

Place 3D Model

119

Scale 1:500

Site model

121

Scale 1:500

Site model

123

design proposal Land Art Generator Initiative 2014 - RefshaleĂ¸en, Copenhagen

Group: Dian Mashita Suryono, Filia Christy & Belinda Prasetio University of Melbourne 124

125

126

127

128

129

East Elevation Scale 1:1000

West Elevation Scale 1:1000

130

South Elevation Scale 1:1000

North Elevation Scale 1:1000

131

132

133

134

135

136

137

138

139

PART C.4

dragone with the wind Design Statement for LAGI 2014 Competition

RefshaleĂ¸en used to accommodate shipyard from 1871 until 1966. Ever since the shipyard company stopped operating, the island accommodates markets, cultural and recreational context. Our proposal program is to create an iconic landmark for RefshaleĂ¸en while benefiting from the strong wind to generate electricity. Also, the proposal will try to bring a sense of nature back to the current dully flat size by mimicking the natural topography of Denmark, which is hilly, and retreating the landscape of the site. The proposal will be a universal space, where economic and socio-cultural activities such as market trading activities, cultural exhibition and seasonal festivals can take place. While at the same time, it will contribute to caress sustainability awareness among society through the energy generation process. In regard to this, our design concepts are first to receive the wind, second to convert the reusable energy to electricity, and last to inform visitors the process. Primarily, the project consists of three layers. The first one is the roof skin that acts as openings to receive wind. The roof skin is triangular panelized that, where each triangle will accommodate one extrusion that opens up and down. As a whole, the roof will look like a dragon skin. The second one is the structural frame that holds the roof and acts as the entire structure. The third one is the fabric layer that is hung onto the structural frame. The fabric will inflate as the wind energy generation process takes place. Thus, the process will be able to be informed to the visitors. The proposed installation will occupy half of the size, where the widest span of curvature will be 42m and the highest point will be 15m. In order to realize the proposal, the structure will apply lattice rib structure. The ribs consist of primary and secondary ribs, which the primary ribs are spanning continuously and the secondary ribs are fragmented. The ribs are connected using method of resix jointing-system, in which the jointing is concealed within the ribs. Whilst, the primary rib itself is pinned to bottom plate that will transfer the acting loads to the foundation. The peak of the primary rib will also pinned to allow the rib structure to reach the height intended. Gluelaminated timber is proposed as the material for the lattice structure. The glulam is considered appropriate since it is lightweight, strong and ecofriendly.

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The roof skin is installed on top of the rib structure. Glass Fiber-Reinforced Plastic is proposed as the skin material as it is strong in tension and compression, yet lightweight. It is necessary to choose a material that can endure the wind exposure and lightweight to make the construction process easier. Moreover, the fiber-reinforced plastic is economical and long-run performer that the ongoing maintenance cost is relatively low. More importantly, the material is moldable that it is possible to adjust the size of the extrusion panel individually in response to the each waffle panel of the lattice structure. The roof skin is attached to the rib-structure using spider jointing. In every two extrusion-panels, a wind turbine will be allocated below the rib structure. The wind turbine adopts Giromill (vertical axis) three-bladed cycloturbine model with a little adjustment applied in the blade shape in order to catch more wind. Vertical axis turbine (Darrieus turbine) is proposed, as it is more efficient and less noisy than the horizontal axis turbine. Regarding the context of the proposal, it is necessary to have a quitter turbine system for convenience issue. Moreover, vertical axis turbine is proved to be more efficient than the horizontal one. It is calculated that there are 846 turbine modules with rotor size of .4m in diameter installed in the proposed design. By plotting a graph based on Danish Wind Analysis data, it is possible to estimate that .4m diameter rotor will be able to generate 761.4 KiloWatt at wind speed of 15 m/s. We then multiply the number with 24 (as there is 24 hours in a day) then with 365 (as it is assumed that there are 365 days in a year) to get the annual electricity output. Ideally, the proposed design will be able to generate 6.7 GigaWatts hour of electricity throughout the year. As a comparison, it is estimated that each household will require electricity consumption of 4200 Kilowatts hour annually. Thus, based on our calculation, our proposal fulfils the LAGI energy generation brief.

Written by Belinda Tiffany Prasetio

Annotation of Images produced by Dian Mashita & Filia Christy 1. Aerial View 2. View from Little Mermaid Statue Across River 3. Birdâ&#x20AC;&#x2122;s Eye View from North East 4. Elevations & Birdâ&#x20AC;&#x2122;s Eye View from South West 5. Day Render Main Market Hall 6. Day Render Small Pavilion 7. Night Render Concert Events

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PART C.5

learning objectives and outcomes Final Presentation Feedbacks The final crit highlighted several things that could be improved from the proposal. First, consideration for siting and form were the poorest amongst other aspects, which really weaken the argument for project like this where optimization for energy generation is one of the key point from the brief. Our group attempted to rationalise the siting and form post-presentation through more comprehensive site analysis and additional matrix to suggest exploration with form-making using Grasshopper. Secondly, another suggestion was to play with landscaping a bit, through plantings or level changes to draw visitors into the installation. We resolved that issue by adding pedestrian pathways and pavements for cyclist and visitors. Moreover, modification on the turbine shape was also suggested. This one is rather hard to change due to the need of additional research, as triangular shaped wings for turbines are unusual. Lastly was about visual presentation issues such as additional diagrams, better renderings and better models, which we attempted to improve in the final submission. But nevertheless, our proposal resolves great deal of construction issues such as the choice of construction system and jointing methods for real-life assembly, which becomes a strong argument for the buildability of the project. Additionally, the program is also convincing and promising in terms of real-life context of the site.

Learning Objectives Objective 1. The idea of interrogating and formulating a brief is a key challenge in the subject. I started the semester with a puzzled understanding of the brief, not knowing how to approach this, not even wonder how the final outcome would look like. But as knowledge on parametric modelling started to develop, the idea of generating unconventional design brief becomes possible. It is certainly a new concept for me and I still need to improve this skill. This might be the grounding technique of what future architecture might stand on.

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Objective 2.

Objective 5.

Exploration using visual programming and algorithmic design in Grasshopper evident in Part B.2-B.4 through matrix making with selection criteria has certainly opened my mind about the possibility of parametric modeling and itsâ&#x20AC;&#x2122; role in architecture. Now, I understand how parametric can elevate architecture into another level. In terms of structural performance, the use of physical modeling such as Kangaroo enables for efficient form-finding, like what I demonstrated in the final form (p. 86-87). Although, the process got really frustrating at most times (due to flaws in data flow which I couldnâ&#x20AC;&#x2122;t understand sometimes), it is still a worthwhile skill to learn.

So far, this studio demands the greatest depth of logical reasoning and critical thinking to come up with strong arguments to the proposal, compared to previous studios. All 3 aspects (Aesthetic, Firmness and Commodity) have to be solidly grounded based on extensive research and experimentation with the digital tools. I reckon this objective as probably the most influential one through my learning process.

Objective 3. Another huge advantage of using computation is the ability to support precise fabrication. At one side, it enables for 3D relationship within each part of assembly, which easing for creating precise jointing technique (p. 105). However, the constrains faced when translating digital model into real-world model (commonly deals with planarized surfaces) generate a great deal of frustration. In my case, the requirement for planarized ribs and skin has caused great distortions to the final model (p. 110). The failure to realize this problem earlier had caused time-consuming model-making process. Meanwhile, I also engaged with 3D Printing technique and was very amazed and yet upset at the same time because of its limitation (p. 117). However, probably my lack of knowledge of this process also inhibited successful fabrication outcome in 3D Printing.

Objective 6. The idea of starting the subject with conceptual analyses of precedent projects is needed, since it is my first encounter with such tools (Part A). It improves my skill for analytical thinking and researching. At the same time, it also opens my mind of what the industry is producing right now with these tools and how I can also improve myself to keep up.

Objective 7 & 8. I have developed principal understanding of data flow in programming and also computational techniques, evident in the Reverse Engineering exercise (p. 52-53) and through the matrices, which still show rather preliminary degree of complexity.

Objective 4. If it means something like architecture being grounded on land (or atmosphere) rather than existed only digitally, then Part C has answered this objective. I was encouraged to have a sound rationale in the construction method for the project through research and modelmaking (p. 94-99, 108-109).

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Concluding Remarks At the end of my learning journey in this subject, I would like to say how parametric thinking offers me a revolutionary perspective in design thinking and broaden my understanding about how architecture can be approached. The quest in finding the answer that could keep up with the demand for efficiency, performative and innovative design can be solved using parametric design. The idea of ‘thinking about the process’ instead of ‘thinking about outcomes’ , like in conventional methods, is mind-blowing. Moreover, it also fascinates me how algorithmic thinking enables for integrated design process, where the Realization Stage should be in ease because of the complexity dealt in precision in earlier stages (Refer to image below). Parametric seems to want to predict the future, moving away from speculative proposals and move towards realizing performative design with highly resolved complexity done in precision. In a way, this futuristic theme sits in alignment with the spirit of Modernism and Post-Modernism that envisage a better form of the built environment and historically significant to the deIn general, integrated project delivery will result in greater intensity IN INTEGRATED AND with increased team involvement in the early phases of design. In velopment DIFFERENCES of the architectural discourse to come. TRADITIONAL PROJECT DELIVERY In a truly integrated project, the project flow from conceptualization through implementation and closeout differs significantly from a non-integrated project. Conventional terminology, such as schematic design, design development and construction drawings, creates workflow boundaries that do not align with a collaborative process.

the integrated project, design will flow from determining what are the project goals, to what will be built to how the design will be realized. To provide a basis for comparison, however, the description below uses conventional project terms and phases to highlight the differences between a conventional and an integrated project. Terms in brackets throughout this document are the traditional equivalents, and are provided for context.

AIA (The America Insitute of Architects) comparing project phases between traditional and integrated design process.

WHAT REALIZE HOW

INTEGRATED

TRADITIONAL

WHO

PreDesign

Schematic Design

Design Development

Constuction Documents

Buyout

Construction

Agency

Conceptualization

Critera Design

Detailed Design

Implementation Agency Construction Documents Buyout

HOW WHO WHAT

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Closeout

Input from the broader integrated team coupled with BIM tools to model and simulate the project enable the design to be brought to a higher level of completion before the documentation phase is started. Thus the Conceptualization, Criteria Design, and Detailed Design phases involve more effort than their counterparts in the traditional flow.

Closeout

AIA California Council, comparing project phases between traditional and integrated delivery. http://www.aia.org/ groups/aia/documents/ pdf/aiab083423.pdf

REALIZE

This higher level of completion allows the Implementation Documents phase to be shorter than the traditional CD phase, and the early participation of regulatory agencies, subcontractors, and fabricators allows shortening of the Agency review and Buyout phases. The combined effect is that the project is defined and coordinated to a much higher level prior to construction start, enabling more efficient construction and a shorter construction period.

REFERENCe REFERENCE LIST 1. The Danish Government, “The Danish Climate Policy Plan” (August 2013): 15. 2. The Danish Government, “The Danish Climate Policy Plan” (August 2013): 37. 3. “Fibreglass / Glass Reinforced Plastic,” V. Ryan, last modified 2010, http://www.technologystudent.com/joints/fibre1.html. 4. “Glass Fibre Reinforced Polymer,” Stromberg Architectural, 2012, http://www.strombergarchitectural.com/materials/gfrp. 5. Glue Laminated Timber Association, “Specifiers Guide,” http://www.glulam.co.uk/pdfs/SpecifiersGuide.pdf, 5. 6. M.H. Toussaint, “A Design Tool for Timber Gridshells”, Delft University of Technology (2007), 22-23. 7. “Resix System,” n.d., last accessed 9 June 2014, http://www.simonin.com/en/catalogue-produits/resix/. 8. K.J. Fridley, “Timber Structures,” in Structural Engineering Handbook, ed. Chen Wai-Fah (Boca Raton: CRC Press LLC, 1999), 37-38. 9. “Giromill Darrieus Wind Turbines,” REUK, last accessed 9 June 2014, http://www.reuk.co.uk/Giromill-Darrieus-Wind-Turbines.htm. 10. “How Wind Power Works,” Julia Layton, last accessed 9 June 2014, http://science.howstuffworks.com/environmental/ green-science/wind-power4.htm.

IMAGE REFERENCE LIST (in order of appearance) (80) “Wind Turbine,”in The Danish Climate Policy Plan, The Danish Government (August 2013), 6. (80) “Kulturhavn,” 2014, last accessed 9 June 2014, http://refshaleoen.dk/event/kulturhavn-2/. (93) “Fibreglass / Glass Reinforced Plastic,” V. Ryan, last modified 2010, http://www.technologystudent.com/joints/fibre1.html. (93) “Glulam Beam,” last modified 2013, http://www.lumberworx.co.nz/assets/PDFs/Sept-2nd-2013/Lumberworx-LaminatedVeneer-Lumber-Glulam-Beams2013.pdf. (94) “Sports hall Berlin-Charlottenburg,” in A Design Tool for Timber Gridshells, M.H. Toussaint (March 2007), 23. (95) “Resix System,” n.d., last accessed 9 June 2014, http://www.simonin.com/en/catalogue-produits/resix/. (95) “B7: Componenets and System,”Woodspec, last modified 2006, http://www.woodspec.ie/sectionbdetaileddrawings/ b7componentsandsystems/ (99) “Giromill Darrieus Wind Turbines,” REUK, last accessed 9 June 2014, http://www.reuk.co.uk/Giromill-Darrieus-WindTurbines.htm. (142) “Traditional and Integrated Process Diagram,” The American Institute of Architects, http://www.aia.org/groups/aia/ documents/pdf/aiab083423.pdf.

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