DoTrain_Amanda_586541_FinalJournal by Amanda Do

AIR JOURNAL

TUTORIAL 13 SEM 01/14 BRADLEY AND PHILIP

AMANDA DO TRAN 586541

“To create, one must first question everything.” – Eileen Gray

PART A

CONCEPTUALISATION

CONTENTS AN INTRODUCTION 7 A.1 DESIGN FUTURING 9 A.2 DESIGN COMPUTATION 17 A.3 COMPOSITION/GENERATION 25 A.4 CONCLUSION 32 A.5 LEARNING OUTCOMES 33 A.6. ALGORITHMIC SKETCHES 34 A.1. REFERENCES 39

AN INTRODUCTION

[1]

y name is Amanda. I’m a third year undergraduate at The University of Melbourne, pursuing an Architecture major in the Bachelor of Environments. I find comfort in the fact that over the last three years, my passion for architecture has not diminished as a result of sleep deprivation or the insecurities of future employment, but has in fact been heightened and reinforced. I cannot see myself doing anything else with my life. As sad or as great as that may sound. If ten years from now I were to find myself designing some form of space, somewhere, be it at large scales or small scales, exterior or interior, I will be happy. I’ve been drawn to the field of art and design from as long as I can remember. Perhaps it was the Lego building with my cousins, or the doll house days with my sister. Perhaps it was the witnessing of the my primary school’s gym renovation.

Or simply the ways in which architecture allows for a career of creativity, innovation and evolution, but most of all, of challenges. I was first introduced to the possibilities of parametric design through the first year studio course of Virtual Environments in 2012. I have since sought to develop my knowledge and skills in CAD and editing programs wherever possible, utilising them as a platform in enabling and improving my studio designs over the course of my architectural studies. Studio Air is a great opportunity to further explore the possibilities of parametric modelling first introduced in Virtual Environments, and the theoretical ideas of its place in the architectural discourse. I am eager to discover, explore and utilise the potentials of the system in the development of the 2014 LAGI project, as well as in the generation of future interesting, contemporary designs.

[2] Final fabrication of Virtual Environments model

A.1 DESIGN FUTURING

n our endeavours to sustain the needs, wants and norms of our life in the short term, we have in turn harmed the very thing that we fundamentally depend on most - the environment. Our lack of care and attention to the impact of our actions, has caused the world to experience pollution of all forms, exhaustion of energy and environmental resources, over-production of waste, as well as, of course, global warming. It is only through the re-evaluation of the ways in which we as humans view and treat the world, that counteraction to such a significant, ongoing problem can be achieved. Perhaps, a way to achieve just that can be found through design. From the table that we sit, to the car that we drive, to the very building that we live in, design has significantly shaped the way in which we live, but most importantly, how we occupy the world. In turn, design is an undeniably powerful tool in the re-evaluation of our action’s environmental impact, as well in the quest towards achieving a sustainable future.

A future where, through means of design, allow “development without growth in throughput of matter and energy beyond regenerative and absorptive capacities”1. Hence, design futuring is ultimately sustainability. Where we as architects, have the ability to take into consideration the wellbeing of current civilization as well as that of future populations, and through the discourse of architecture, create agents in enabling the use of resources and progressive transformations in world of today, as well as the stimulation of active participation, interaction and community building, to ensure the environmental, economical and social health of both current and future generations. With this in mind, architects and designers should utilise the power of design in moving towards a more sustainable future. The precedents of discussion in this section, demonstrates different design efforts in employing the power of design futuring and how it can be utilised through the discourse of architecture.

[3]

BINTELLIGENT

A ZERO WASTE LANDSCAPE

s an entry to the Land Art Generator Initiative in 2012, Bintelligent was designed by Austrian architects Tajda Potrc, Denitsa Angelova and Manuel Konrad, and was intended to be located in Graz, Austria.2 With a site that is home to one of the world’s largest landfills, the architects hoped to create an infrastructure that can aid in the reduction of wastes and achieve a solution not only to the city’s waste problem but also to the global issue of excess waste production. To create something that can reduce and even make use of wastes, to promote waste recycling and contribute to the strive towards a sustainable future. The design intent was to create ‘a sculpture that raises awareness of our way of dealing with waste but at the same time offer a new way to achieve zero waste.’

The project’s main approach was hence fundamentally based on the principle of recycling. With methods of waste collection, distillation and other processes of waste recycling significantly determining the formal characteristics of the final umbrella-shaped sculpture. The curvilinear and concave nature of the infrastructure can be seen to have been especially designed to draw rainwater and other waste products and allow ease of collection. The area needed to allow waste storage at the bottom of the infrastructure, as well as the containment of recycling agents, determined the large circular base and in turn gave the design it’s tree-like footing form. The footing area can then be used for purposes of seating and recreation, as seen in figure [3].

â&#x20AC;&#x2DC;An environmentally, functionally and aesthetically successful design.â&#x20AC;&#x2122;

[4] Design approach of Bintelligent

The umbrella-shaped sculpture, designed for collecting, separating and recycling waste products whilst producing renewable energy through its organic PV panels as well as collecting and filtering rain water.Organic PV panels are placed along the top of the structure to allow complete self-sustainability. The waste collected through from the concave roof is first compacted by the solar powered compacter, and later washed with the collected rain water. The cleaned waste is then transported to a recycling facility. Used rainwater is cleaned and used for further washing of waste products or for gardening purposes. The recycled materials are then used to produce cradle to cradle products in the West Shore area as well as creating solar modules.

I find Bintelligent to be an extremely successful proposal, as not only does it embody so many processes from producing electricity to recycling waste and rainwater, but on top of all that be an interactive infrastructure to the surrounding context. All its processes are invisible to the visitors under its soft and seamless facade design. The structure is able to integrate itself into the nature through its natural form whilst being an artistic and functional infrastructure to the site at the same time. Not only does the Bintelligent allow the reduction, reuse and recycling of waste products, but at the same time it creates and changes the waste into renewable energy and giving it back to the community, all whilst serving other functional and artistic purposes. 11

[5] The exterior facade of Scene Sensor, the winner o

SCENE SENSOR CROSSING SOCIAL AND ECONOMICAL FLOWS

he winning project of the 2012 LAGI Competition, was driven by the idea of creating a structural mean in which the interaction between humans and that of the siteâ&#x20AC;&#x2122;s ecological energy can be realised.

The project consists of a kinetic-sensitive exterior facade3, whose patterns are determined by the wind loads detected based on the ecological occurrences of the site, and a bridge that spans the landscape in which users can walk through to cross the site whilst experiencing the dynamic effects of the changing panel system. 12

The structure employs the idea of energygeneration through the design of the facade system itself. The exterior structure consists of multiple channel screens, that together form the framework in which panels of reflective steel mesh are contained and enabled to bend in relation to wind directions.

Itâ&#x20AC;&#x2122;s interest generation c discourse, n of scientific innovative d architecture designs of a eminence.

The framework of channel screens and the interwoven of the steel mesh channels with piezoelectric wires, all work together to perform the energy generation of the structure,3 that is the conversion of the kinetic energy obtained through the panel movement into that of electricity.

There is an of this proje frameworks to create cle Scene Sens

[6] Detail renders of the the structureâ&#x20AC;&#x2122;s facade.

of the 2012 LAGI Competition.

ting how self-sustained energy can be achieved in the architectural not only through enclosed structures proficiency, but through the design of dynamic and interactive e, to effectively createa successful aesthetic, functional and social

n immense honesty in the design ect, where processes and structural s are often concealed in architecture ean and streamline finishes, the sor depicts the effects and loads in

[7] Interior render and closer detail of steel mesh panels.

which each of its elements are experiencing in real-time and effectively illustrating the 4th dimension of the space, wind. The structure hides nothing to render all aspects of the surrounding landscape as it is. It is this aspect in design that should be channelled in future architectural designs. To create a structure not only of aesthetic and functional innovation, but of structural and contextual integrity.

Based on the practise-based experimental research project by designer Dr. Zane Berzina and architect Jason Tan, as seen in figure [8] above, electrostatic energy is explored as a speculative and poetic potential to the generation of renewable energy, as well as how it can be incorporated into an interactive architectural installation.4 Electrostatic energy can be found in our everyday lives and our everyday interactions with the environment. The phenomena of electrostatic arose from the forces described by Coulomb's law, where electric charges exert charges from and upon one another. Since the times of classic antiquity, it has been known that some materials such as amber have a tendency to attract lightweight particles after 14 rubbing against other surfaces.5

Although electrostatically induced forces often appear rather weak, those induced between certain elements can create forces of great voltage,4 ranging from the simple attraction of freshly opened plastic wrap against our hands to the friction of shoes on carpet, to the damaging of various electrical components, to the operation of photocopiers. Electrostatics is the build up of charge between two surfaces upon contact with one another, and is similar to the electricity induced from magnets or batteries.4 The process of contact causes electrons to be pulled from one surface and relocated onto the other. Although charge exchange happens all the time when two objects come in contact and separates, the effects of the charge can only be

ELECTROSTATIC ENERGY THE PHENOMENA OF STATIONERY

AND SLOW-MOVING ELECTRICAL CHARGE

8] E-Statics Shadows project by Zane Berzina.

[9] The formula from which force of electrostaticity is calculated.

seen when one of the surfaces are highly resistant to electrical flow. This is due to the charges that are transferred to or from the highly resistive surface are often trapped there for a long enough time that its effects are noticed.

on the surface until they eventually fade off to ground or quickly released through a neutralizing discharge - how and why you get that feeling of shock upon contact with certain surfaces; it is the build up of electrostatic energy on that object.

These accumulated charges then remain on the surface until they eventually fade off to ground or quickly released through a neutralizing discharge5 - how and why you get that feeling of shock upon contact with certain surfaces; it is the build up of electrostatic energy on that object.

By possibly collecting the electrostatic energy generated in an object, and translating and displaying them into other forces, such as those of audio or visual patternsâ&#x20AC;&#x2122;, that a creative installation proposal to the 2014 Land Art Generator Initiative be achieved. To create a design that not only answers the brief of self-sufficiency and energy generation, but be a dynamic infrastructure that is active, responsive and interactive both to its users and its surrounding context.

This is due to the charges that are transferred to or from the highly resistive surface are often trapped there for a long enough time that its effects are noticed. These accumulated charges then remain

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Not only has computational paradigms profoundly influenced the discourse of modern architecture, it has shifted the methodology and thinking of design.

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A.2 DESIGN COMPUTATION

uring its early introduction, ComputerAided-Design (CAD) was used only as a drawing tool to speed up the process of construction documentation. It was only after its transition to computational design in recent years that it was utilized as a design mechanism and is now widely recognised as a powerful tool for creative design.

On the other hand, parametric modelling can also be seen as a modelling constraint. There is no doubt that computation allows one to generate and explore ideas with great efficiency, but at the same time it can also limit the creativity of those ideas. Despite how powerful parametric modelling is, it is not an easy thing to master.

Today, computational design is linked with parametric modelling. The use of computation in parametric modelling has proven to introduce great control and efficiency, and as a result become a powerful tool in the design process of architecture.

Design computation requires you to not only be an architect, but a mathematician and an IT expert all at the same time. Poor computational skills limit the designer's ability to use, explore and create scripts of high complexity and creativity. Hence, the level of your design's creativity can only be determined by the level of your computer programming skills.

With the benefit of computational design, even algorithms of the greatest sophistication can be simultaneously resimulated and re-developed through pre-set parameters. Multipl geometric variations can be immediately created and developed without the need to manually modify each element through trial-and-error. Hence, where many complex designs can only be achieved through interdisciplinary efforts and communication, they can now be created effectively and efficiently through computer genertions Computation design has created a new spectrum of design possibilities with the greatest of efficiency. Not only is it a technical tool for productivity and accuracy of construction methods, it is also a powerful tool in creative innovation.

Despite these drawbacks, computation design and parametric modelling is still a far more effective design tool in the exploration of architectural forms than that of traditional model making processes. It allows for the generatation of geometries beyond the constraints of two-dimensional construction drawings and gives architects the freedom to achieve design complexities that would be difficult otherwise. Hence, with continual self-improvement and explorations within the powerful design instrument, one will be able to realise architectural projects of great complexity, innovation, and creative integrity.

[10] Exterior of the Bubble Pavilion

[11] Grid system created upon generated surface through parametric modelling.

[12] Refinement of geometric form created based on molecular make-up of water.

[13] Parametric representation of pavilionâ&#x20AC;&#x2122;s glass panels.

[14] Final generated form based on the algorithmic sequence of water formation

THE BUBBLE PAVILION BMW International Auto Presentation Frankfurt, Germany, 1999 Franken Architekten

omputation can also be used to map and visually represent data though the practice of architecture to create interesting results.

Before sustainability became a widely-enforced concept, Franken Architekten designed the pavilion for the 1999 BMW International Auto Presentation in the form that best realised the company's clean sun and water energy-generated cars: a drop of water. From its concept through to its very construction, the Bubble BMW pavilion was entirely created with digital computation.1

Rather than creating a form that merely mimicked the form of a water droplet, Franken Architekten used a drop simulation computer program to generate the form based on the very properties that make up water molecules. "Three hundred spherical Plexiglas sheets were thermoformed over computer-numeric-controlmilled polyurethane foam molds at temperatures of 150 degrees to 160 degrees Celsiusâ&#x20AC;?1 to create the pavilion's form of two merging water droplets. The Bubble was one of the first structures in the world to be entirely created using digital means.1

HYGROSKIN

A METEoROSENSITIVE PAVILION Permanent Collection, FRAC Centre Orleans France, 2011-2013 Achim Menges in collaboration with Oliver David Krieg and Steffen Reichert

was intrigued not only by how the HygroSkin Meterosensitive Pavilion explores the narrative of computational design but also how it's used to create component-based, climate-responsiveness architecture. The structure is meteorsensitive due to the thin planer plywood sheet's dimensional instability in relation to moisture.2 This causes the plywood to autonomously bend and curve, making the architectural skin change in accordance to the moisture levels of the atmosphere.

The project uses a computational design process to simulate the form based on the elastic properties of the material and its ability to form curvilinear surfaces. "The computation process integrates the materials' capacity to physically compute form in the elastic bending process, the cumulative structure of the resulting building components, the computational detailing of all joints and the generation of the required machine code for the fabrication with a 7-acix industrial robot."4

[15] Meteorosensitive plywood sheets that change and turn in accordance to moisture level of the air.

[16] The panelling and meteorosentive facade of the HygroSkin.

[17] The north facade of HygroSkin - Meterosensitive parvilion.

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Not only has computational paradigms profoundly influenced the discourse of modern architecture, it has shifted the methodology and thinking of design.â&#x20AC;&#x2122;

series of modular panels makes up the pavilion, where each components are joined and connected through vacuum pressing. Robotic trimming is then used to further define the panels and ensure precise tolerance levels are met.4 Where the integration of computation and material behaviour seemed like an idealised concept, Hygroskin demonstrates that it is a proposal that is not only feasible, but a method of great creativie integrity and value. .

The manifestation of computer technologies has changed architectural design and thinking in ways that are beyond that of technical drawing advancements. It has allowed for a new freedom of architectural creativity. In my response to the LAGI brief, I hope to integrate the processes of design computation with material behaviour and structural characteristics, to create a design of material originality and contextual consciousness, and achieve the computation potential of unexplored architectural possibilities.

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Generative design is not about designing a building, itâ&#x20AC;&#x2122;s about designing the system that designs a building. - Lars. Hesselgren1

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A.3

COMPOSITION/GENERATION

enerative design is the computational design method, in which a form or design ‘output’ is generated based on a set of algorithmic ‘input’ through a computer program. Parametric modelling programs like Rhino and Grasshopper have become such powerful tools in contemporary architecture that a shift from composition to generation, drawing to algorithm, is being seen in the discourse itself. With generative design, architects are able to create and explore designs of great complexities with the greatest of efficiency. It isn’t about allowing architects to now perform tasks that couldn’t have been done previously. Rather, generative design is the enabling of computers to take on design tasks that would have otherwise been inconceivably tedious. This mode of design hence allows the exploration of newer, bigger ideas, but also the resolution of complex design problems through the augmentation of the architect’s intellect.

Algorithmic thinking, parametric modelling and scripting cultures have changed the way architects approach design and the design process to one that is heavily integrated and highly collaborative with computational processes. From the representation of great formal complexity to the resolution of design problems, computation also has the potential to surpass the architect’s intellect to create unexpected outcomes. This extraneous possibility of computation can either be restricting or inspiring to the individual architect, depending on their algorithmic thinking and sketching ability. Hence, in order to effectively avail oneself of the power of generative design, the architect must first understand how it works, and essentially, be able to “design the system that designs the building.”1 It is the process of understanding the computation and it’s processes, that the power of generative design can be utilised into creating a powerful and honest representation of one’s creative mind.

AAMI PARK

THE RECTANGULAR STADIUM

[18] The exterior of AAMI Park Stadium, as seen from its north elevation.

esigned through the collaboration of Arup and Cox Architects, the awardwinning 31,000-seat rectangular stadium was created through the application of shell theory and of 3D modelling computations.2

through computational methods. The design features a bio-frame roof system of 20 independent shells and a single layer of supporting structure underneath, compiling of arching, cantilever and shell action.

From concept to construction, the entire design was realised

Through the use of generative design, the design process of the

stadium was significantly streamlined in which the architects were able to proficiently prepare parametric models of the roof definition, allow for explorations of alternative geometric compositions, and accommodate final preset values of the design for fabrication and construction.

The design was created using two scripts; the first containing variables from which the base geometry is determined; the second containing the internal and external lacing configurations of each individual shell. The shell pattern and its configuration was then generated through the importing of one script into the other.

he generative design approach of computational methods also allowed the testing and analysis of the design’s structural integrity. With the stadium roof geometry modelled through the Building Information Modelling (BIM) software, it’s scripting was used to allow manipulation of member properties and

structural components to achieve the most efficient structure, one of far greater steel conservation.2 Since the roof geometry was “subject to a variety of changes throughout its lifecycle, optimisation studies of the stadium roof were undertaken that led to the development of the final geometric and structural design.”

The generative approach is evident throughout the entire design of the AAMI Park Stadium as a powerful tool in design exploration, but also as a valuable tool in optimisation studies of the structural composition to enable the realisation of the final design - a logical construction of both tectonic and material creativity.

[19] Aeriel view of AAMI Park Stadium, Melbourne.

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Within architecture generative design can be defined as the approach of developing applications, or systems which can develop, evolve, or design architectural structures, objects, or spaces more or less autonomously depending on the circumstance.â&#x20AC;? - Jeffrey Krause3

Parametric Pavilion Jawor Design Studio and Lab Wroclaw, Poland 2013 Be Inspired Award Finalist

30[20] The underside of the Parametric Pavilion, showing the structural joints of unique nodes the B-spline beams.

PARAMETRIC PAVILION ORGANISM THROUGH GENERATION

[16] North elevation of the Parametric Pavilion in its context.

s a finalist in the Innovation in Generative Design category of Bentley’s 2013 Be Inspired Awards, Polish architects Jawor Design Studio and LabDigiFab created the Parametric Pavilion in Wroclaw, Poland using MicroStation and GenerativeComponents.4 The softwares, both of which are systems of generative design, assisted the designers in achieving the design intent of the project, that was to create a structure that can be used for sun and rain protection, and created entirely using CNC cutting and woodworking technology.4 The project team at Jawor Design Studio and LabDigiFab, used MicroStation to generate three B-spline surfaces, which in whole made up the formal design of the pavilion.

GenerativeComponents was then used to further refine the structure’s geometry. Due to the shape and scripting of the B-spline surface however, each of the generated beams differed and were unique to one another. Hence, each node was labelled with an identification tag in order to allow ease and accuracy of assembling during construction.4 The variations in the structure’s nodes gives each of them a sense of individuality that effectively grant the pavilion its organic cell-like organisation. The same organic quality can be seen in the other works of Jawor Design Studio, in which much inspiration are drawn from biology and nature. Parametric and generative modelling techniques were then used to architecturally mimic the behaviour and form of the various living organisms.

With a generative design approach, the design team able to discover and achieve the optimal geometry in order to create a functional pavilion. The organic cellular configuration of the pavilion was also made possible through the autonomous pattern generation of the algorithm, in which even the most complex of geometries can be created with the smallest amount of data. Generative design has allowed architects to represent, discover and optimise forms in ways that are far beyond that of the traditional drawing board. It has created a new spectrum of formal exploration, and permanently widened the design potential and possibilities of architectural practice and literature.

A.4 CONCLUSION

dvancements in technology is quickly changing the way architecture is approached, aiding it in reaching new potentials and creating designs of greater innovation. Methods like parametric modelling allows for the creation and exploration of geometries of unlimited complexities, greater understanding of structural performance and integrity, and significant efficiency and precision in fabrication and construction. From geometric generation to the resolution and optimisation of structural integrity, computational design has permanently changed the scope of architectural innovation. Building systems seems to be â&#x20AC;&#x2DC;growing,â&#x20AC;&#x2122; not only in a technical sense, but also in a theoretical sense, in which there is often something about contemporary architecture that makes it organic and steers clear of rigid, traditional forms.

Buildings are continually becoming more intelligent and dynamic, both in their design and the way they integrate into and interact with the people and surroundings. Itâ&#x20AC;&#x2122;s these advancements in design innovation that makes architecture unique to their individual sites. Perhaps this is the key to a more sustainable future, where architecture not only harmoniously complements its site and users, but utilise its environment to enable self-sufficiency and perhaps even energygeneration. This marks an exciting step for the Land Art Generator Initiative, as it represents the intended design approach in creating interactive installation, with a materiality and environmental consciousness, and of significant aesthetic and functional eminence, both to the user and to the surrounding context.

A.5

LEARNING OUTCOME

rior to this course, my knowledge and perspective on the theory and practice of architectural computing was shamefully small-minded. I had never distinguished the difference between computerization and computation methods, and focussed only on the physical and structural aspects of the building design. I never thought of computation and parametric modelling as much more than a digital representation of design - a computerization method that is unnecessarily complicated. This mindset is however significantly changed with each reading and parametric exploration, as I have come to understand computation as a tool in which design processes are aided and enhanced to allow architectural realisations of great innovation, efficiency and performance. Whereas computerization is the method in which an established analogue, design or idea is directly recorded onto a computer, without the digital improvements of computation design.

With this knowledge and appreciation for parametric modelling, perhaps I would have been able to employ computational methods into previous projects to explore and achieve forms of superior complexity and creativity, unrestricted by the shortcomings of drawing skill and traditional methods of technical representation. I have gained basic skills in Rhinoceros and Grasshopper that, despite how little, has enabled me significant insight into the vast benefits of parametric modelling in the generation of complex forms, and its aptitude to permanently changed the creative exploration space of architectural design. Iâ&#x20AC;&#x2122;ve come to learn that although developing designs using an alien program for the first time may seem like one of the greatest difficulties in life, it is also one of greatest learning periods during the student life of architecture.

A.6

ALGORITHMIC SKETCHES

ere are some of the most interesting and more successful algorithmic explorations from the Algorithmic Sketchbook.

Figure [22] The first algorithmic design exercise in which a series of lofted surfaces were to be created in Rhino using the Grasshopper plugin. The exercise showcases the parametric explorations with my very first ever Grasshopper definition. Figure [23] Projected contours lofted relative to topographical surface, to create contour planes for fabrication using Grasshopperâ&#x20AC;&#x2122;s transforming menu.

Figure [24] Week 2â&#x20AC;&#x2122;s algorithmic task of creatively representing a data set of our choice in Rhino. Despite the simplicity of the first task, a crucial advantage of Grasshopper became undeniably apparent to me: the ability to alter your design in real-time. Hence, allowing the various implications of the algorithm to be seen as it is manipulated, and allow the design to be refined, modified, or even transformed.

[22] Surface created with first Grasshopper definition ever.

[18] Lofted and oriented contour planes, ready for fabricaton.

or week 2’s data representation exercise, I chose to have fun with it and visualized a fun set of data from three variables and represent them as a set of points in Grasshopper. The three variable were: x - Number of assignments due within that week y - Hours of sleep that night z - ‘Happiness’ scale of 1-10 the next day The task challenged us to create a Grasshopper definition that would convert a series of data input, into a creative geometric form. In order to generate the surface seen in Figure [3], various definition iterations were created in order to turn the data input into points in parametric space, create a surface using a surface grid from those points, and project a pattern onto it to create meaningful geometry.

Above: Surface based on data points created from inputting points into ‘SrfGrid’

This task allowed me to realise the vast abilities of parametric modelling, in which even formless data, with the correct algorithmic definitions, can create interesting forms of feasible architectural construction potential. The original data input may not be evidently reflected in the final form, but it in this way, that demonstrates the unknown and uncontrollable nature of computational design associated with that of limited computer modelling skills. The end result is not an appreciation of this idea, but rather the recognition of it, and the stimulation to explore further into the parametric interface in achieving the desired design outcome.

Above and right onwards: Final baked result of data representation

Above: Surface box grid from ‘Sbox’, with exaggerated height to create a sharp pattern

Above: Projected pattern through ‘Morph’

[24] Final baked result of data representation

A.1. REFERENCES 1. Goodland, R. and Daly H., 'Environmental Sustainability', Universal and Non-Negotiable in Ecological Applications, vol. 6, no. 4, (1996), pp. 1002-1017. 2. Potrc, T., Angelova, D. and Konrad, M. (2014) The Land Art Generator Initiative, Available at: http://landartgenerator.org/competition2014.html (Accessed: 8th March 2014). 3. Murry, J., and Vashakmadze, S. (2012), ) The Land Art Generator Initiative, Available at: http://landartgenerator.org/LAGI-2012/AP347043/# (Accessed: 13th March 2014). 4. Zaneberzina (2014) E_Static Shadows, Available at: http://www.zaneberzina. com/e-staticshadows.htm (Accessed: 9th March 2014). 5. Faraday, M. (1893) Experimental Researches in Electricity, London: Royal Inst. 6. Hernamm, A. H. and Melcher, J.R. (1989) Electromagnetic Fields and Energy, Englewood Cliffs, NJ: Prentice-Hall. 7. Griffiths, D.J. (1999) Introduction to Electrodynamics, Upper Saddle River, NJ.: Prentice-Hall.

A.1. FIGURES Figure [1] Photograph of Myself Figure [2]Final fabrication of Virtual Environments model Figure [3]Design concept of Bintelligent proposal to 2012 LAGI. <http://landartgenerator.org/LAGI-2012/12311303/> Figure [4] Rendering of Bintelligent proposal to 2012 LAGI <http://landartgenerator. org/LAGI-2012/12311303/> Figure [5]The exterior facade of Scene Sensor, the winner of the 2012 LAGI Competition. <http://landartgenerator.org/LAGI-2012/AP347043> Figure [6] Detail renders Scene Sensorâ&#x20AC;&#x2122;s facade <http://landartgenerator.org/LAGI2012/AP347043> Figure [7] Interior render and close detail of steel mesh panels <http://landartgenerator.org/LAGI-2012/AP347043> Figure [8] E-Statics Shadows project by Zane Berzina. <http://www.zaneberzina. com/e-staticshadows.htm> Figure [9]The formula from which force of electrostaticity is calculated <http://farside.ph.utexas.edu/teaching/em/lectures/node56.html>

A.2. REFERENCES 1. Franken Architekten, Bubble (2013) <http://www.franken-architekten.de/> [accessed 18 March 2014]. 2. Achim Menges, Computational Design Thinking: Computation Design Thinking (AD Reader), ed. by Sean Ahlquist (UK: John Wiley and Sons Ltd, 2011). 3. Christopher Alexander, Sara Ishikawa, and Murry Silverstein, A Pattern Language (New York: Oxford University Press, 2002). 4. Achim Menges, 2013 HygroSkin: Meteorosensitive Pavilion (2014) <http://www. achimmenges.net/?p=5612> [accessed 19 March 2014].

A.2. FIGURES Figure [10] Exterior of the Bubble Pavilion <http://www.franken-architekten.de/> Figure [11] Grid system created upon generated surface through parametric modelling. <http://www.franken-architekten.de/> Figure [12] Refinement of geometric form created based on molecular make-up of water <http://www.franken-architekten.de/> Figure [13] Parametric representation of pavilionâ&#x20AC;&#x2122;s glass panels. <http://www.franken-architekten.de/> Figure [14] Final generated form based on the algorithmic sequence of water formation <http://www.franken-architekten.de/> Figure [15] Meteorosensitive plywood sheets that change and turn in accordance to moisture level of the air. < http://www.achimmenges.net/?cat=236> Figure [16] The panelling and meteorosensitive facade of the HygrosSkin. < http:// www.achimmenges.net/?cat=236> Figure [17] The north facade of the HygroSkin - Meteorosensitie pavilion. < http:// www.achimmenges.net/?cat=236>

A.3. REFERENCES 1. Infrastructure Writing, Generative Design, Changing the Face of Architecture, 6.3, (2009), , in Be Current <http://www.infrastructurewriting.com/wp-content/uploads/2009/10/GenerativeDesign-BeCurrent1.pdf> [accessed 20 March 2014]. 2. Arup Architects, AAMI Park Stadium (2010) <http://www.arup.com/Projects/AAMI_ Park_Stadium_Melbourne/AAMIParkStadium_Overview.aspx> [accessed 10 March 2014] 3. Jeffrey Krause, BArch USC, SMArchS MIT, The Creative Process of Generative Design in Architecture, Reflections, .1, (2003), 1-14 (p. 3) 4. Jaword Design Studio, Parametric Pavilion (2014) <http://www.jawordesign. com/> [accessed 17 March 2014].

A.3. FIGURES Figure [18] The exterior of AAMI Park Stadium, as seen from its north elevation. <http://www.arup.com/Projects/AAMI_Park_Stadium_Melbourne/AAMIParkStadium_ Overview.aspx> Figure [19]Aerial view of AAMI Park Stadium, Melbourne. <http://www.arup.com/ Projects/AAMI_Park_Stadium_Melbourne/AAMIParkStadium_Overview.aspx> Figure [20]The underside of the Parametric Pavilion, showing the structural joints of unique nodes and B-spline beams. <http://www.jawordesign.com/> Figure [21] North elevation of the Parametric Pavilion in its context. <http://www. jawordesign.com/> Figure [22] Surface created with first Grasshopper definition ever. Figure [23] Lofted and oriented contour planes, ready for fabrication. Figure [24] Final baked result of data representation

PART B

CRITERIA DESIGN

B.1 RESEARCH FIELD

s the research team, Fiona Mui, Charles Zhao and I, found the tectonic system of Tessellation to be the most fascinating and parametrically challenging of those listed within the courseâ&#x20AC;&#x2122;s systems of Criteria Design, the technique was explored through the following case studiesâ&#x20AC;&#x2122; analysis.

[25] The form-finding physics simulation used to optimise the structure’s vaulted form.

VOUSSOIR CLOUD Principals in Charge / Lisa Iwamoto, Craig Scott Project Leader / Stephanie Lin Design Team / Alan Lu, Manuel Diaz, John Kim, Tiffany Mok Los Angeles, CA.1 46

essellation can be witnessed a range of adaptations, from pan the holistic definition of repeate that is heterogeneity, to that of homog where individual repeating elements m surface of great complexity.

In Iwanmoto Scott’s ‘Voussoir Cloud tessellation was used both as the ma conceptual driving force as well as an fabrication process. The architectural is constructed of paper-thin wood lam folded along curved laser-scored sea create individual wedges that are the

across a nelisation, to ed elements geneity make up a

d’, ain n aid in the l installation minates1, ams to en beared

[26] The Voussoir Cloud installation, Los Angeles, CA.

to one another in compression to form arches of structural porosity. Voussoir Cloud explores the structural paradigm of compressive force coupled with an ultra-lightweight material system to create the reconstituted “voussoirs” of petal-shaped wedges. The project’s engineers, Frei Otto and Antonio Gaudi of Buro Happold, used computational hanging chain models and other form finding programs1 to optimise the form of the wedges, and find the most structurallyefficient geometry of tessellation.

The structural and material strategies were intentionally confused, as the design focusses on standardizing the representation of the digital model in the third dimension, using the princiles of tessellation not only as a mechanism of aesthetic influencde, but as a structural system in physical fabrication. Drawing from this, perhaps a similar mathematical design process can be employed in the formal exploration of the 2014 LAGI project, with each surface influenced by the folding of its individual cells and in turn its overall form to create a self-supporting, stimulating and dynamic structure.

[27]

VOLTADOM

n installation created by Skylar Tibbits in celebration of MITâ&#x20AC;&#x2122;s 150th anniversary and the FAST Arts Festival, the voltaDom populates the hallway between buildings 56 and 66 of the MIT campus2. A significant range of vault variations makes up the structureâ&#x20AC;&#x2122;s surface, giving the surface its enthralling reminiscence of Gothic cathedral architecture. By increasing the depth of a doubly curved vaulted surface, the voltaDom utilises 48 the simplicity of panel surfaces

to execute a dynamic and inimitable structure, comprised solely on the replication of itself based on an algorithmic formula and set boundaries, with an ease of manufacture and assembly. Similarly, in response the LAGI project perhaps through the multiplication of groups of cellular grids, a relationship of interdependence and self-replication can be created to produce interesting algorithmic outcomes of adaptive and organic tessellated architectural forms.

[28] Underside of the voltaDom installation.

] The voltaDom passageway installation, MIT, United States. [29] Further detail of voltaDomâ&#x20AC;&#x2122;s panelling and assembly components.

Designed by Skylar Tibbits and SJET Studios2 Location: Passageway between Buildings 56 and 66 of MIT Installation: Installed, on view 49

B.2 CASE STUDY 1.0

he tectonic system of Tessellation is further explored as the potentials of a basic Grasshopper definition of tessellation was tested, explored and developed. Endless iterations were created, some successful and some others not as successful. Of those created, four were chosen as the directional aspects of the final project as they represented the most successful outcomes of algorithmic exploration and carried the greatest architectural and fabrication potential in response to the LAGI brief. With the basic grasshopper definition provided for Tessellation, itâ&#x20AC;&#x2122;s potentials and limitations were put to the test. The exploration process involved manipulation of the existing parameters and number sliders, changing of the input geometries, varying of input options, and joining different components with the those of the existing. With this, unexpected outcomes of great architectural potential were created.

B.2 CASE STUDY 1.0:

1. Manipulation of Control Points

ITERATIONS

2. Manipulation of Control Points

3. Increas density

6. Further manipulation of input

11.

12.

13. Manipu

parameters

dius length

sed Cellular

ulation of Rah

4. Altered height input

5. Additional direction Z

10.

14.

15. Introduction of different

vector

vectors

16. Exploration of cellular

17.

18.

21.Introduction of â&#x20AC;&#x2DC;Functionâ&#x20AC;&#x2122; component to create interesting sprial and organic patterns

22.

23.

26.

27.

28.

organisation

19.

20.

24.

25.

29.

30.

B.2 CASE STUDY 1.0:

the directional aspect

e wanted to achieve a definition that would best represent our vision for the final form of the LAGI project. That is, a definition that represents the tessellation of an interesting, dynamic geometry, in an systematic yet organic organisation. Hence, we chose the above four iterations as the most successful outcomes of the Case Studyâ&#x20AC;&#x2122;s exploration process, as the first two iterations represented some of the most basic forms of tessellation -ordered and regular- yet it is their geometric qualities that continues to make them engaging and aesthetically powerful. Hence, with the integration of a more dynamic grid system, like those of the spiral grid patterns derived from mathematical components shown, the chosen iterations carry an unmeasurable developmental potential in the creation of a worthy architectural form.

B.3

CASE STUDY 2.0

t this point, the research team and I knew that we wanted to create a tectonic system of tessellated celllike geometries, one that were irregular and changed based on their location relative to an organic base geometry - whether that be an organic grid layout or through a physics simulation that was seen in the following case study.

[30] The Shell Star Pavilion,

SHELL STAR Andrew Kudless and Riyad Joucka, 2012.

hell Star is a lightweight, temporary pavilion commissioned for the Hong Kong art and design festival Detour, in 2012.1 Located on an empty lot within the Wan Chai district of Hong Kong, the pavilion’s design intent was to be “unique in design and appearance so that users would gravitate towards it” and serve as a social hub, as well as being able to “maximize its spatial performance while

Wan Chai, Hong Kong.

minimizing structure and material.” Composed of more than 1,500 individual coroplast cells, the curvilinear nature of structure is created when the cells are joined. A variety of parametric tools appears to have been used and the final impressive self-organising system was formed - with the lit up effect during the night, the pavilion will most definitely be a user-luring addition to the empty Wan Chai district.

[31]The baked form of the final reverseengineered outcome

[33]The developed reverse engineer defintion for Shell Star.

[32]The reverse-engineering curve.

REVERSE ENGINEERING

aving now been more familiar with the process of creating simple algorithms and successfully being able to manipulate a given casestudy definition, Case Study 2.0 was the beginning of our journey to creating Grasshopper algorithms that is our own. From scratch. To make the process more difficult, or perhaps more simple, Iâ&#x20AC;&#x2122;m wasnâ&#x20AC;&#x2122;t so sure, we were to reverse-engineer the an existing project of our choice, in which case was the Shell Star Pavilion. In the struggle to establish how the project could have been produced using Grasshopper, I found myself engaging with the parametric program more than I had ever before in the previous chapters of this course

[34]’Step 1’ of reverse engineering process.

INTR ROO P

SET GRAVITATIONAL FORCE AND ANCHOR POINTS

RECTANGULAR GRID OF HEXAGONAL CELLS

CURVE TO MESH

[38] Conceptual diagram illustrating the alrogithmic process of the Shell Star Pavilion’s reverse engineering.

[35]’Step 3’ of reverse engineering process.

APPLY SPRINGS FROM MESH COMPONENT

[36]Reciporcal Force Diagram from ‘Step 4.’

[37] Distorted Reciporcal Force Diagram from ‘Step 4.’

RODUCE KANGAPHYSICS SIMULATION BAKE

CURVE TO MESH

tep 1. A rectangular grid of hexagonal cells was first created in Rhino and plugged into Grasshopper as a curve. Step 2. A mesh is then created from the curve and using physics simulation of Springs, gravitational forces and Kangaroo Physics, a 3-dimensional form took shape - replicating that of the original project in discussion. Step 3. Anchor points set at the edges and randomly within the grid determined the pressure points of the physics model, at which a gravitation force occurred to “hold down” the mesh as the rest of the hexagonal cells protruded upwards based on a force dictated by the inputs of the Springs and Kangaroo Physics components. Step 4. Different component options were explored, and formal failures were discovered where the stiffness and rest lengths of Springs were set too high, as the form began to contort inwards and the original rectangular layout of the grid is distorted. Step 5. However, with the correct balance of parameter inputs, a dynamic geometry was created in which each tessellated cell was unique to its individual spatial orientation on the organic form.

REVERSE ENGINEERING: outcome

lthough the final algorithm developed was unable to replicate the exact angles and locations from which the Shell Star Pavilionâ&#x20AC;&#x2122;s surface was projected, each cell of the reverse-engineer was able to change and alter itself depending on its spatial position upon the curvilinear surface.

down by various anchor points within the fabricand successfully reverse engineered the elemental pattern and form of the Shell Star Pavilion.

Using the new Kangaroo skills attained and without the constraints of having to recreate the case studyâ&#x20AC;&#x2122;s form, we hoped to develop the definition by perhaps adding different physics As the physics simulation components, explore its caused the originally flat parametric potentials and and regular grid layout push the boundaries of its to become geometrically input variables to generate dynamic and potent in forms of parametric the third dimension, when innovation, aesthetic baked, it created a pattern influence and most of hexagonal cellular inportantly, architectural tessellation on a stretched prospective. fabric-like surface -held

[39] Most successful outcome of reverse-engineered iteratio

ons.

B.4 TECHNIQUE: DEVELOPMENT

ith the definition achieved in Case Study 2.0, physics simulation in Grasshopper was further explored and in conjunction with experimentations of the 4 iterations of directional prominence previously chosen, more than 50 iterations were developed.

Species 1: Density exploration of basic cellular tessellation.

Species 2: Exploration of different grid layouts

Species 3: Intergration of previously chosen sprial pattern grid, with cellular tessellation

Species 4: Further grid alterations and explorations

n addition to the previous Case Studiesâ&#x20AC;&#x2122; utilisation of the Tessellation tectonic system, we were particularly intrigued by the underlying theme of physically changing cellular components within the tessellated pattern that gave the forms their enthralling quality. Hence, with the 4 tessellated geometries previously chosen for their developmental potential, various form-changing components were explored to give more curiosity to the organisation of the original tessellating cells. Finally, by incorporating a spiral-like grid system to the cellular forms, we marked the beginning to the discovery of our desired geometry.

arious pattern grids were developed to experiment their effects in the incorporation of a tessellation tectonic system. However, the disorganisation and chaos in many of the outcomes required an algorithmic innovation, in which the component of Weaverbird was introduced.

Species 5: Manipulation of input geometries and component variables

Species 6: Alteration of anchor points and parameter inputs

Species 7: Introduction of vertically prominent grid patterns to explore new layout potential

Species 8: Surface height created using basic ancho point manipulation

Species 9: Introlduction and exploration of Weaverbird and Kangaroo Physics - smooth iteractions formed

Species 10: Further exploration of parameter inputs and pattern grid variations

ith this new addition, the definition was then able to create physics simulations of clean and fluid iterations. Of which, a final form was chosen as we found it best represent the dynamic and changing qualities of its tessellating panels and carried great potential to becoming an effective architectural project, or so we did at the time.

[40] Geometric outcome of B.4.

CONCEPTUAL PROPOSAL

t this point, the research team and I knew that we wanted to create a pavilion-like structure, one that would not only be functionally useful to its users and generate energy based on the natural forces of the site, but one that is interactive and ever-changing. However, it was only upon visualisation of how the form would actually work in real life through the conceptual proposal of its site orientation, that we realised the formâ&#x20AC;&#x2122;s lack of engagement to the surroundings and its users. We failed to notice earlier, where the hexagonal cells of the initial grid evolved into those of triangular panels, that the form had lost much of its aesthetic captivation and became an straightforward form that was, quite frankly, dreary.

[41] A conceptual proposal for the LAGI proje

ectâ&#x20AC;&#x2122;s site orientation.

B.5 TECHNIQUE: PROTOTYPES

unning with the concept of creating a structure that would ultimately be an architectural installation, physical prototyping allowed such things as structural integrity and physical limitations to be tested, as well as new possibilities to be realised.

PROTOTYPES: PROCESS To ensure that our team will create a credible design that is possible to be fabricated on a large scale, it was crucial that the strength of our ideas were tested through physical prototyping.

dimensional structure without compromising form and aesthetics? Thinking back to the days of Virtual Environments, the best way to fabricate similar forms of triangular tessellation was to use the ‘Unroll’ command in Rhino and adding It was decided that the best necessary tabs to the flat material for the triangulated panels. However, how could panels would have to be we achieve the same result something of structural without using Rhino? integrity, yet light weight and slender enough to be After intense studying of able to carry its own weight. computation forums and Hence, ivory card was mass explorations with chosen for the fabrication Grasshopper, an algorithmic of the developed form, that definition was achieved in is only representational of which each panels were laid the form’s real life material out flat in the XY plane, system. tabs added and each surface labelled relative to its threeThe second step of the dimensional model. On a prototyping process was small scale, this method to develop a fabrication would be useful as each technique - how can individual panels are simply we transfer a digital, attached to their neighbours abstract form into a three- using the relative tabs.

[42] Physical prototype of developed digital model.

PROTOTYPES: FAILURE

uring the fabrication process, we had hoped to generate another method of physical assembly, one that didnâ&#x20AC;&#x2122;t require the use of tabs or even if we had to, not attach them using glue.

[43] Physical prototype of developed digital model, showing structural failure and inability to withstand self-weight.

As if to challenge that idea further, the prototype was unable to hold itself up due its inability to sustain the unforeseen weight. The lack of structural support made the prototype fall flat (no pun intended) of larger scaled fabrication and hence, a design innovation was in order.

PROTOTYPES: PROCESS

he structural flaw of the physical prototype prompted the quest for a rib structure that would be the underlying supporting system to the failed prototype. A grasshopper definition was used to achieve this, in which the main â&#x20AC;&#x2DC;axesâ&#x20AC;&#x2122; of the structure was extracted to create multiple long surfaces in the image of the selected form, that can then act as structural ribs of the physical form.

modelling proficiency, an ambitious attempt was made in which the linework was recreated in the real world using the likes of fishing wire and sewing thread. The rib structure developed was thus used as the base structure of the wiring prototype, with small rectangular teeth created along its length based on the edge points of the triangular panels in the previous form.

However, an event of stumbling upon the wireframe representation of the tessellated form, sparked the realisation of a new design possibility and the beginning to a journey of infinite creative potential.

Perspex was chosen as the material system of the prototypeâ&#x20AC;&#x2122;s rib system and model base for its structural strength, whereas its transparent quality allows the wiring to be highlighted as the main design constituent of the form.

With the wireframe depiction of the tessellated panels demonstrating a far more interesting representation of the developed form, as well as having great physical

The geometric modernization from the new prototype has established a whole new altitude of fabrication, aesthetic, energygenerative prospective.

[44] Wireframe representation of parametric model.

[45] Rib Structure with rectangular teeth - derived using soley Grasshopper definitions.

[46] Physical prototype of wireframe representation the â&#x20AC;&#x2DC;negative spaceâ&#x20AC;&#x2122; of the tessellated panels.

B.6

TECHNIQUE: PROPOSAL

s the wires still follow the tessellated panels of the previous form, however only in a far more compelling way by tenfold. It was obvious that a final form of tessellation effectuality and user interaction was desired, and with the newly established wiring geometry of tessellation depiction, we looked at a similar project of wiring significance with the energygenerative quality of music production inspiring the design proposal for the 2014 LAGI Copenhagen Competition.

[

[46] Site Proposal

â&#x20AC;&#x2DC;

Renewable energy can be beautiful. - 2014 Land Art Generator Initiative1

â&#x20AC;&#x2122; 87

THE CARGO GUITAR

he Cargo Guitar, a room sized electric guitar created by architects Marcelo Ertorteguy and Sara Valente in collaboration with Takahiro Fukudu. Eight steel strings are stretched 8 metres across the length of a reclaimed shipping container, from

a vertical media column to another horizontal media spine - resulting in a hyperbolic paraboloid. The strings are fixed to pegs along the media columns, each tuned to a different note to achieve variations in sound scales that when strummed, two amplifiers translate the vibrations

into room so that the sound can both be heard and felt. A glowing coat is also applied to the steel strings, allowing visitors to not only experience the customisable sounds generated by the structure, but to witness its visual impact.

[47] The Cargo Guitar, Kobe Biennale Exhibition, Japan.

[48] Tensile structure depicting vision for current formal development.

THE

thus be int electrical, t a combinat a similar m seen in the developme

[49] Conceptual render illustrating wind chracterisitcs of the site.

E PROPOSAL

ith the brief of the LAGI project relatively vague in the definition of â&#x20AC;&#x2DC;energy generation,â&#x20AC;&#x2122; it can terpreted as anything from to light, to acoustic, or perhaps ation of all three. In implementing method of energy generation as e Cargo Guitar into the formal ent of our own structure, we

hope to create a project that is both self sustaining and with its wiring feature, be able to generate acoustic energy and be a gigantic string instrument to the users of the site. And perhaps, with further exploration into the mechanics of wind energy, be able to generate and collect enough kinetic movement in the wiresâ&#x20AC;&#x2122; vibrations to generate electrical energy. Probably not much, but enough electricity to light itself

up and provide an aesthetic feature to the night of the Copenhagen, an create a spatial vortex whereby users would feel drawn into the pavilion centre and subsequently drawn back out in the larger surrounding, otherwise unvisited site. A new and exciting installation that would beautify and enliven its local environment.

B.7 LEARNING OBJECTIVES AND OUTCOMES

ased on the feedback received during the interim presentation, in the next chapters we will place significant focus on the integration and rationalisation of the project’s energy generation, as well as paying greater attention to the engagement and integration of the project with the site. The organic flow of new and previous forms will also be explored to develop the radial pattern of the current wiring and rib system.

life construction and the turning point in the design development would not have been realised otherwise. Hence, there is an imperative need to physically test computational designs in order to determine their structural integrity, and discover formal failures as well as new opportunities.

Throughout the semester, numerous computational and design hurdles were Due to the open nature of the encountered, team that up with form, the project’s contextual one of the steepest learning orientation would not be of great curves ever and we have my concern as channelling wind direction isn’t of relevance. Hence, highest record of caffeine intake design focus will be placed on the in a period of 5 weeks. However, acoustic generation of the structure the application of parametric design in the process of and the development process in designing for the 2014 LAGI executing it to work as a beautiful, instrumental form. Copenhagen Competition, has greatly increased in variation and trialling possibilities The entire computation throughout the project’s creative journey of the semester has development. introduced an entirely new set of skills to my previously limited programming repertoire. I’ve come to develop a deep Through prototyping, new skills appreciation for the parametric were developed and old skills modelling tools of Rhinoceros revised, especially in concern and Grasshopper, as the with file preparation for digital number of design solutions and fabrication and the assembly of iterations attained would not large scale prototypes. Without have been possible otherwise completion of the physical given the time restriction. The prototyping process, the digital effective and efficient adaptation model’s incompetence for real- of Grasshopper definitions,

meant that each algorithm was able to be extensively explored to their absolute limits through simple alterations of parameter inputs. As a result, dozens of design variations and solutions could be developed in a matter of minutes, vastly increasing one’s ability to achieve a satisfactory design of a set criteria’s standard. The vast exploration processes of each algorithmic definition made its outcomes increasingly creative and innovative, and as my skill level in Grasshopper improved, certain issues and hurdles that were present at the beginning of the course began to diminish. But the grandest learning outcome of all, is that over the course of the semester, rather than the previous feeling of creative inhibition by the tools of computational design, a sense of freedom is the beginning to break through as Grasshopper evolved from being a scary and alien design tool to one of familiarity, comfort and creative opportunity.

B.8

ALGORITHMIC SKETCHES

hrough continuous practice in the algorithmic sketchbook as well as further learning conducted through B.02 to B.04, some of the most challenging and successful algorithmic explorations are listed below.

Figure [50] Planarization: Experimenting with recursive input geometries and an organic pattern grid to create a far more dynamic form of tessellation. Figure [51] Further Development of B.04: Further exploration of one of the B.04 iterations, where both components of Weaverbird and Kangaroo were used to generate a smooth physics simulation. Manipulation of parameters create highly varying formal outcomes.

[50]

[51]

B.1. REFERENCES 1. Iwamoto Scott, Voussoir Cloud (2014) <http://www.iwamotoscott.com/VOUSSOIRCLOUD> [accessed 31 March 2014]. 2. SJET Studio, voltaDom: MIT 2011 (2014) <http://www.sjet.us/MIT_VOLTADOM. html> [accessed 1 April 2014].

B.2. REFERENCES 1. Inhabitant, Shell Star Pavilion (2014) <http://inhabitat.com/spidery-shellstar-pavilion-lures-festival-goers-into-its-web-in-an-empty-hong-kong-lot/shellstar-pavilion-bymatsys-04/> [accessed 20 April 2014].

B.1. FIGURES Figure [25] The form-finding physics simulation used to optimise the structureâ&#x20AC;&#x2122;s vaulted form. <http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscott-architecture-buro-happold/voussoir-cloud_1307120263-2-hanging-chain/> Figure [26] The Voussoir Cloud installation, Los Angeles, CA. <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> Figure [27] The voltaDom passageway installation, MIT, United States. <http://arts. mit.edu/fast/fast-light/fast-installation-skylar-tibbits-vdom/> Figure [28] Underside of the voltaDom installation. <http://arts.mit.edu/fast/fast-light/ fast-installation-skylar-tibbits-vdom/> Figure [29] Further detail of voltaDomâ&#x20AC;&#x2122;s panelling and assembly components. <http://arts.mit.edu/fast/fast-light/fast-installation-skylar-tibbits-vdom/>

B.3 FIGURES Figure [30] The Shell Star Pavilion, Wan Chai, Hong Kong. <http://matsysdesign. com/wp-content/uploads/2013/01/ShellStar-7849.jpg>

B.6 REFERENCES 1. Murry, J., and Vashakmadze, S. (2012), ) The Land Art Generator Initiative, Available at: http://landartgenerator.org/LAGI-2012/AP347043/# (Accessed: 13th March 2014).

B.3 FIGURES [31] The baked form of the final reverse-engineered outcome [32] The reverse-engineering curve. [33] The developed reverse engineer defintion for Shell Star. [34] ’Step 1’ of reverse engineering process. [35] ’Step 3’ of reverse engineering process. [36] Reciporcal Force Diagram from ‘Step 4.’ [37] Distorted Reciporcal Force Diagram from ‘Step 4.’ [38] Conceptual diagram illustrating the alrogithmic process of the Shell Star Pavil ion’s reverse engineering. [39] Most successful outcome of reverse-engineered iterations.

B.4 FIGURES [40] Geometric outcome of B.4.

B.5 FIGURES [41] Conceptual proposal for the LAGI’ projects site orientation. [42] Physical prototype of developed digital model. [43] Physical prototype of developed digital model, showing structural failure and inability to withstand self-weight. [44] Wireframe representation of parametric model. [45] Rib Structure with rectangular teeth - derived using soley Grasshopper definitions. [46] Physical prototype of wireframe representation - the ‘negative space’ of the tessellated panels.

100

B.6 FIGURES [47] The Cargo Guitar, Kobe Biennale Exhibition, Japan. CARGO http://inhabitat.com/6-examples-of-innovative-architecture-inspired-by-music/ertorteguy-fukuda-valente-cargoguitar-2/ IMAGES! SAME! [48] Tensile structure depicting vision for current formal development. [49] Conceptual render illustrating wind characteristics of the site.

B.8 FIGURES [50] Planarization. [51] Further Development of B.04.

101

PART C

detailed conclusion

102

C.1 DESIGN CONCEPT

pon reflection of the interim presentationâ&#x20AC;&#x2122;s feedback and after much discussion and exchange of ideas with our tutors, a group decision was made to explore the musicality and sound generative nature of our design. As our design was to be relatively open and minimal in its physical impact upon the site, we decided to really push its acoustic as well as its physical relationships with the siteâ&#x20AC;&#x2122;s wind flows, to establish a structure of innovative value and immense aesthetic beauty.

103

THE VISION: AN AEOLIAN HARP

o create a musical instrument upon the site that interacts with the breezes to produce siteresponsive music that are unique to each and every day. With stimulating explorations of lengths, gauges and types of strings, an Aeolian harp-like structure is to be produced---giving colour and life to the ever-changing characteristics of the siteâ&#x20AC;&#x2122;s wind flow. Wind Harps are wind-activated sound sculptures.The tones and sounds vary with changes in wind

104

speed. Aeolian harps are like acoustic paintings of nature. The warbling breeze meets the mute moving air, to create an instrument of musical beauty. A large part of the magic of Aeolian harps come from the fact that there are no apparent means in the making of each note. This hence gives the feeling that the music create are of, entirely of, nature herself. Aeolian harps are wind-activated sound sculptures. The simplest of

such instruments can be made up of a single sou and tuned wires. Wind c vibrations in the stretche where variations in tones dependent on the wind s force are generated. The instrument date b as the 1600â&#x20AC;&#x2122;s, where it w described by Athanasius (1602-1680) in his book Nova in 1673.1 It soon b common household inst

e entirely und board causes the ed wires s and sounds speed and

back as early was first s Kircher Phonurgia became a trument

[51] LAGI Proposal Site, Refshaleøen, Copenhagen.

during the Romantic Era and has continued to be a musical object of great curiosity and beauty.1 In order to optimize the structure’s honesty in its acoustic representation of the site’s natural aerial movement, a number of engineering methods and precedential works were looked at, from which, enabled the realization of a final design of audible acoustic generation, without the use of additional electrical power or addition amplification.

105

VENTURE GRANT HARP A WIND INSRUCTION BY HENRY GURR

ocated in Vaucluse, South Carolina, the Venture Grant Harp was designed and constructed by Professor of Physics Emeritus at The University of South Carolina Aiken, Henry Gurr.2 The harp was used as a supplement to the principle investigator’s physics classes and received much media attention for its success in the USCA Times Science Awards and the Venture Grant Project.2 Standing more than 12 feet tall, the musical strings of the harp are supported on a sturdy base of painted aluminum. The strings permit musical notes of up to three octaves, with three strings for each octave and as done in piano strings, every two strings are tuned to the “third” and the “fifth” notes. Months of research conducted on the wind pattern and aerial behavior of the site, it was ensured that the Aeolian strings were subject to a steady air flow, created by a small wind tunnel. The tight wires,

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hereinafter called strings, were largely made of smooth solid steel, cylindrical in shape. The strings ranged from diameters of .008 inch to .073 inches, whose effective “speaking length”, the length that would allow optimal sound generation3, was around 45 inches.2 Gurr states that with every increase in a string’s diameter, its relative speaking length would increase also, meaning that the thicker a stretched Aeolian string is, the thicker it would have to be and vice versa. The Venture Grant Aeolian Harp was observed to generate music from wind speeds as low as 5 miles per hour,2 a significant improvement over many traditional Aeolian harps of which Gurr is aware. At such low wind speeds the resulting music on the harp is typically that of a steady vibration sound around 40Hz, equivalent to what would be classified as a very large pipe organ’s lowest note. At progressively higher wind speeds, increasingly higher (greater frequency) notes are generated, making it more consistent with the sound generation of the more traditional Aeolian harps.

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[52] The Venture Grant Aeolian Harp, Vaucluse, South Carolina.

SITE ANALYSIS: wind activity

RefshaleĂ¸en, Copenhagen, Denmark.

upporting documentation of the brief and the annual wind activities of the site were studied in aiding the creative process of the designâ&#x20AC;&#x2122;s formal realization. Of which, it was found that the dominant wind directions of the site were the westerly and south westerly directions, making up 31% and 23% of the daily wind flows respectively.4

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[53] Distribution of the siteâ&#x20AC;&#x2122;s daily wind flows.

daily average wind activity

two year study of Denmark’s wind distribution conducted by EMD International A/S and the Risø National Laboratory,4 mapped the dominant South Westerly wind directions of the site as the accumulated result of the local offshore “Middelgrundens Vindmøllelaug” wind farm as well as the high public profiles across the river.4 Known as the wind tunnel effect, the high-rise buildings located South West to the site acts as obstructions in the wind flows and consequently causes the generation of stronger wind forces that respective direction.

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annual wind directions

[54] Dominant west and south-westerly winds due to win tunnel effect.

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[55] Curvature development of rib structure from wind forces of the site.

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DESIGN GENERATION: FORMAL DEVELOPMENT

‘

An interconnection of concept, configuration and context.’

s music can only be generated upon strings perpendicular to the wind flow’s velocity,3 the previously radial rib structure was developed in order to achieve a form with maximal verticality in its string components and enable optimal acoustic generation. To create a form of greater interest and explore beyond what could be a less effective structure of

simple, uniform vertical Aeolian strings, the rib structure of the form was explored and pushed to become a result of the site’s natural activities. In a sense, we allowed the air movements to mould and shape the structure itself, to create a final form directly influenced by the fluidity and forces of the site’s wind flow----subsequently creating an interconnectedness and interdependence in the design’s concept, context and configuration.

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ALGORITHMIC TECHNIQUE: MILLIPEDE

n further developing the newly realized form and achieve its dynamic potential, a range of parametric tools were tested in which Millipede was explored. The plug-in is a structural analysis and optimization component for Grasshopper, where with great efficiency, allows for accurate linear elastic analysis of frame and shell elements in both the second and third dimensions. Systems are able to be optimized through topology optimization methods built into the plug-in, of which results generated can also be extracted into visualizations or other formats of data for more thorough analysis. The main objective was to study the changes and possible deflections in the form’s structural integrity through different material and construction selections, so that through material optimization and geometric revision, a vibrant design of structural and aesthetic harmony is realized. Hence, a variety of rib material systems were simulated with Aeolian strings of different tensile forces, to generate stress visualizations showing the areas of tension and compression as well as material failures and lateral bucking in the form. The rib system was refined in accordance to such stress points, a curvature form was achieved - with exaggerations throughout the structure to reflect the tensions present in the different load-bearing areas of the structure. Finally, the material optimization processes modified the final shape of the structure. In effect, the design’s final form is a celebration of its structural functions and a direct reflection of the material system’s loadbearing processes.

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POINT

The location of nodes/ string edges along a frame element

TOP CURVE

Creates a closed boundary between the two curves determining the domain of the following inputs.

POINT SUPPO & SUPPORT T

The type of suppor allocated points, w it is free, roller or f

DIVIDE - LIN

The surface is th divided along its d curves and each d is connected with The number of div can be manipulat generate different densities.

ORT TYPE

rt at the whether fixed.

FRAME CURVE

Creates frame structure based on the curves

hen derived division a line. visions ted to string

FE SYSTEM & SOLVER

The Feature System and Feature Solver components: Both are crucial in the Millipede tool as they determine the density distributions of different materials relative to certain stress loads to calculate the deflection factors

CROSS SECTION

Determines shape of material, such as cylindrical, triangular and rectangular - all of which have different structural properties.

MATERIAL, RADIUS, THICKNESS

Materiality and strutural variations in the frame system

FRAME VISIULISATION

Generates quick visual representations of the frame elements and allow structural deformations of the system to be seen. It can also illustrate the variations of forces and stresses along different elements and around their cross sections.

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END: LONGER STRING, LOWER NOTES, LOUDR TONES The rib system continues to extend and finally branches outwards at the end of the structure, peaking at a height of 15 metres, resulting in the most elongated string lengths to be present. Along with the optimization of the strings’ verticality, the end of the structure is able to capture the predominant south and south west wind velocities of the site and create music of the most significant dominance and volume.

T s o l r g d a

MIDDLE SECTION: INTERCHANGING LENTHS, DYNAMIC EXPERIENCE As the visitor proceeds further into the structure, the strings begin to organically interchange in length to provide an experience of the wind’s altering directional prominence. The curvature of the rib structure also causes greater variations in the strings’ tilting angles, and thus their reception and reaction to the present wind flows - creating a more dynamic and compelling sensory experience.

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ENTRANCE: SHORTER STRINGS, HIGHER NOTES, SOFTER TONES

The strings at the entrance of the structure begins short, vaguely relative to the average personâ&#x20AC;&#x2122;s height of approximately 3-4 metres and gradually grow in length as it extends towards the end of the site. As a result, visitors would experience an initial acoustic generation of calm and gentle tunes upon arrival, directly reflective of the modest wind velocities present at its respective directions - north and north east.

DESIGN GENERATION:

FORMAL DEVELOPMENT

T [56] Plan view of developed form showing branching effect.

he form is repeated and manipulated to create a final branching effect, as the structure starts off small and gradually grows to extend and reach out towards the south-westerly boundaries of the site. This sense of branching allows utilisation of the dominant wind flows and ensure an adequate generation of acoustic activity.

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he idea of having the form extend in plan as well as in section, creates an effective narrow entrance way elongated into its grand body and becomes a directional force as one ventures further into the structureâ&#x20AC;&#x2122;s wonders. Strings are shortest at the entrance of the structure as it visually represents the modesty of wind flows from the north and north-east areas of the site. This causes the Aeolian harp to emit pleasant soft, higher-pitched notes at the entrance, creating a more welcoming ambiance to the visitors.

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[57] Elevation of formâ&#x20AC;&#x2122;s curvature development.

[58] Elevation of developed rib system.

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DESIGN DEVELOPMENT:

The Von Karman Vortex Street Effect

he structure would produce sounds based on what is known as the von Karman vortex street effect. As the motion of wind forces come in contact with each string, periodic vortices are created along its length and cause it to vibrate.5 Fluid dynamics states that when air flows past a cylinder, or in this case, a string cylindrical in section, vortices are shed to its either sides. Such vortices are shed alternatively in a pattern of regular repetition, and as this fluctuationâ&#x20AC;&#x2122;s frequency meet the frequency to which the string is tuned, an Aeolian tone is created. 5

As previously mentioned, the strings need to be perpendicular to the wind to allow shedding of vortices to either sides and allow successful generation of acoustic activity. A dynamic surface whose formal states evolve from floor, to wall, to ceiling, is hence developed to maximize the verticality of the strings and allow tones created to change in accordance to stringâ&#x20AC;&#x2122;s pitch (length) and with the velocity of wind movement---giving the structure an everchanging acoustic sophistication.

[59] An animation of the vortex street effect caused by wind forces upon a cylindrical object. Different colours are assigned to alternating flows, demonstrating the shedding of vortices on opposite sides of the object.

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A SOUNDBOARD: VIBRATION ENERGY TRANSDUCER

ith the top of the surface similar to the rib structure of the previous explorations, it is further developed to become a form of greater planarity. The bottom rib is slightly wider to accommodate for the structure’s need of a soundboard from which the sounds can then resonate and acts as “transducers” to the vibration energy.3 Like any other stringed instrument, the vibration energies created in the string would transfer down into a bridge along the soundboard, and further moved by the soundboard from one system to another and eventually resonate along the transducer to generate a series of melodic energy.

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DESIGN DEVELOPMENT: A 70 Degree Distortion

hen the string is tilted at 70 degrees or more, little to no sound would be produced.3 Hence, strings with an angular tilt of 70 degrees and beyond would become acoustically inconsequential to the rest of the structure --adding a new element of complexity and variation to the acoustic inception. The tilting nature of each individual string is dependent on its relative location on the rib structure, and the curvilinear nature of structure is dependent on the load-bearing capacities and buckling nature of its material makeup. By doing so, we create a sense of self-resolution in the structureâ&#x20AC;&#x2122;s design in which its formal motivating force---the curvature of the rib system--- is intentionally derived, but the interrelatedness of its components---angle variations and acoustic generation---are liberated and organic.

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{60] 70 degree distortion Varioys degrees are implmented throughout the structure. At which strings of angles 70 degree and above are dysfunctional

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SHORTER STRING: HIGHER NOTE

GREATER TENSION: HIGHER NOTE

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PROTOTYPING: ACOUSTIC GENERATION

sing the Taylor String Formula by Brook Taylor (1685-1731)7, we were able to estimate the fundamental behavior of the strings vibration and calculate the structure’s average generation of sound pitches, and thus, prove that it can generate acoustic energy, if at all. The pitch of a note is almost entirely determined by the frequency)7: the higher the frequency, the higher the pitch. For example, 110 cycles or vibrations per second (110 Hz) is the frequency of vibration of the A string on a standard guitar, with the A above that as 220 Hz, and the following that as 440 Hz, and so on. We are able to hear sounds from 15 Hz to 20 kHz, where the lowest note on the ordinary guitar is 41 Hz. We started by exploring how different string lengths and tensions would produce notes of different pitch using the Taylor Tension Theory:

T = M (2LF) Where T is the tension of the string in lbs (pound force) M is the linear mass applied F is the frequency of vibration, and L is the length of the string in inches

It was found that the higher/tighter the tension of the strings – the higher the notes. E.g. tension of 5.6 N on 30cm string produces C3 note, whereas tension of 22.9 N on same length string produces a C4. 2 The shorter the string – the higher the note. E.g. Same tension on different length strings produced higher note when string was shorter. We first calculated the linear mass applied, where M = Cross Sectional Area x Density/Gravity = π ((0.04 inch)/2)2 x (0.0385lb/(cubic inch))/((386 inch)/sec⁡〖x sec〗 ) = 1.254 x 10-7 We then used the calculated linear mass applied to each string, or more simply, the wind force, to determine the stretch/tension of the string required to produce the note of A4 (vibration frequency/cycles per second of roughly 440Hz): T = M (2LF)2 = 1.254 x 10-7 (2 x 12 inches x 440 Hz)2 = 13.98 lbs = 13.98 x 4.45 Newtons = 62.227 N Hence, the tension needed for a nylon string of 12 inches to produce a note of A4 and 440Hz is 62.27 N.

The results are those to the left.

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PROTOTYPING:

brook tayor's string formula

onversely, if all the strings in the structure are to be uniform in tensile force and allow the changes in its lengths and the wind forces acting upon it to determine the notes and pitches produced, the result would be that of something much more dynamic and true to the natural flows of the site. Hence, the Taylor String Formula)7 can be used to calculate the variations in notes that will be produced based on various wind forces:

Lowest wind loads: 4mPh = 1.8m/s F = (0.5 V)/d = (0.5 x 1.8)/(0.01) = 90 Hz, a frequency too low relative to the string lengths of 4 to 30 metres long and thicknesses of 10mm, to generate an audible tune. Highest wind loads: 21mPh = 9.4m/s F = (0.5 V)/d = (0.5 x 9.4)/(0.01) = 470 Hz, a note between F4 and G4. Extreme cases of over 30mPh = 13.4m/s F = (0.5 V)/d = (0.5 x 13.4)/(0.01) = 670 Hz

Where V is the velocity or force applied on the string in m/s, and d is the diameter or gauge of the string in metres.7 With the structureâ&#x20AC;&#x2122;s strings to be of 10mm steel, ranging from 4 metres up to 15 metres long, the diameter of the strings would hence be 10/1000 m = 0.01 metres. Annual wind forces of the site range from 4mPh to 21mPh, with an average of 7.1m/s with heights up to 50 metres. F = (0.5 V)/d = (0.5 x 7.1)/(0.01) = 355 Hz Hence, the average pitch produced by the structure annually would be approximately 355 Hertz, a frequency generative to a note between that of D4 and E4.

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Though wind velocities of site rarely ever exceeds 30mPh),4 if it were perhaps to, the structure will generate a vortex vibration of approximately 335 Hz, a note between C5 and D5. Hence, an Aeolian harp structure of 10mm steel wires, fixed onto a rib system and a vibration energy transducer, ranging from 4 metres to 15 metres in height will indeed be able to generate acoustic energy, varying from those inaudible to notes of F4 and G4, up to notes of C5 - D5, and produce an average annual melodic generation of notes between D4 and E4. Not only is the form of the structure a derivative of the forces of the siteâ&#x20AC;&#x2122;s wind flow itself, but the so are the variations present in the acoustic outputs of the project, once again subsequently reinforcing the designâ&#x20AC;&#x2122;s interconnectedness and interdependence in its concept,

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ACOUSTIC GENERATION:

AVERAGE FREQUENCIES AND RELATIVE SOUND WAVES

5.6N - C3 132Hz

10.07N - F3 177Hz

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22.91N - C4 267Hz

38.92N - F4 348Hz

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C.2 TECTONIC ELEMENTS

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SYSTEM DETAILS:

Assembly and tuning system of steel strings

The strings are secured with a sealant around its edge of contact with the bridge to ensure resistance to vapour penetration and structural integrity. The wider bottom rib of the structure

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SYSTEM DETAILS: Rib Structural System

The rib system of the structure is designed to be that of timber as this materiality allows for the optimization of structural integrity as discovered through previous Millipede explorations and is the most effective in aesthetic and economical functions. As it is impossible to create a singular impossible to create a singular timber structure of such length and allow ease of material transportation and assembly upon the site, the timber ribs are divided into separate 5 metre long sections enabling ease of assembly, with each section simply joined together with a double cleat plate system of 210x150x18mm steel plates and 4 M30 bolts of 50mm spacing on either sides.

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STRUCTURAL JOINERY: supporting steel column

Supporting steel column and fixing of steel strings along rib structure. The 10mm stretched aeolian strings are designed to secure along the lengths of curved rib structural system where they are weaved through a series of teeth and fixed using a rigid timber fixing system with six 30mm metric hexagonal head bolts, or M30 bolts.

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Supporting steel columns are distributed along the structure to support peaks of curvature heights--areas of weakest loadbearing capacity--and ensure stability and lateral resistance. The steel columns allow the rib structure to rest upon its top rebate and are secured to the ribâ&#x20AC;&#x2122;s faces with steel slide-in plates.

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TECTONIC MODEL: 1:5 JOINERY DETAIL

The model to the left was constructed in order to test the joinery system proposed earlier involving the use of timber fixing and teeth-like rebates along the rib structure. The physical model enforced the rigid weaving system of the 10mm steel wires, and physically simulated it on a precise scale of 1:5. The model showed great promise in the constructability of the established structural system and the tectonic systems of the design was finalised.

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TECTONIC MODEL: 1:5 JOINERY DETAIL 140

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C.3 FINAL MODEL

or this design, a solution was needed to be developed to allow weaved strings to be held in place with sufficient tensions whilst remaining secure fixed in place. The nature of the project forgoes common methods of digital fabrication as a large part of the design, the assembly and construction of the steel wires will have to be predominantly driven by the visualisation of data from the digital model. The digital data was hence used in the direct physical assembly of the design, and after many hours of late night modelling, a 1:500 final model was completed.

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FINAL MODEL:

1:500 DESIGN & SITE MODEL

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FINAL MODEL:

1:500 DESIGN & SITE MODEL 148

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C.4 LAGI BRIEF DESIGN DESCRIPTION

he use of acoustic engineering in combination with natural environmental forces to create architecture is an old science. With a love for this area of multidisciplinary and powerful conceptual approaches and as a product of physics, natural processes and architecture, an aeolian harp-like structure was formed. The design is highly effective and environmentally sound due to the fact that it doesn’t require additional energy or forms of amplification in the creation of its melodious outputs. Instead, using simple laws of aerodynamic physics, a form is created whose conceptual, structural and visual characteristics are all more or so direct derivatives of the site’s wind processes---an interconnectedness in concept, design and contextual forces. The stretched strings on the structure are of 10mm tensioned steel wires, all designed to a uniform force across the form. However, with variations in lengths and hence pitch, different notes would be produced and along with the dynamic ever-changing characteristics of the wind present, the generated acoustic energy will artistically reflect aerial movements of the site in real time.

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TECHNOLOGY

he primary source that drives the concept and aesthetic of our design is the dynamic composition of the wind. As our sculpture performs on the principles of Aeolian tones, it relies on the velocity of the wind in order to produce and illustrate the ever changing patterns of the wind. The wind is thus used as the prime technology to give acoustic functionality to our design. Moreover, the characteristics of the wind has also been utilized in the organic form of the structure. As winds are predominant on the south west side, our lengths of the Aeolian strings are maximized in vertically on the south west end as to present the wind’s distributed dominance. In contrast, shorter strings are situated on the entrance of the sculpture to represent the inactivity of wind on the north east. As a result, there is a gradual and dynamic changing form that evolves from soft, higher tones (short strings) to loud, lower tones (long strings). The wind’s behaviour dictates itself on our form, as it imprints itself through the form of acoustics as it passes the string, and stimulates our design like a monumental musical instrument for observers to experience.

ENERGY GENERATION

he designs utilises the wind forces of the site to create an aeolian harp-like structure innovative and economical in its generation of acoustic energy using the simple concept of the van Von Karman Vortex Effect. The aerodynamic effect creates alternating shedding of vortices along the lengths of the tensioned steel wires, causing it to vibrate. As a result of this rhythmic collapse, the strings are able to generate outputs of melodic energy. The structure extends and branches out as it reaches the west and south west areas of the site, allowing the predominant harvested wind activities in the respective areas to be captured, thereby enhancing the acoustic generation of the structure. The following are the basic calculations and projected statistics of the design:

LOWEST WIND SPEED IN COPENHAGEN 4mph or 1.8m/s

WEAKEST ACOUSTIC GENERATION Inaudible

HIGHEST WIND SPEED IN COPENHAGEN 21 mPh or 1.8m/s

STRONGEST ACOUSTIC GENERATION Notes between that of C5 and D5

YEARLY ENERGY GENERATION WIND VELOCITIES OF 7.1mPh Notes between that of D4 and E4.

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MATERIAL & STRUCTURAL SYSTEMS

here’s the aspect of steel columns that comes in the heights of 15 metres. These columns spans over our design, which extends 150 metres and in the intervals of 15 times with a diameter of 300mm. In order to support the loads of the structure, galvanised screw piles are connected to the steel posts to enable support. It additionally stabilises the structure under both tension and compression. The screw piles goes 5 meters underground, 20mm thick with a diameter of 100mm. The screw pile is a very efficient system to install, as its • Quick to install – saving time & money • No concrete or curing time – enables speedier commissioning of sites • Small footprint – enables smaller bases in restricted areas • Flexible design - frames can be designed to bridge services allowing areas with congested services to build on. • Sustainable solution – they are removable & re-useable. • Installation in low temperatures – no down time, unlike concrete.

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The structural timber frames (the top bridge and the soundboard) are divided into 90 pieces for the purpose of construction and transportation. These pieces will be 5 metres long for the ease of constructability. In order to connect the divided pieces of the top bridge, a steel plate is oriented on each side of the timber frame, with 4 M30 bolts, with dimensions of 210x150x18mm. Timber fixings at the dimensions of 250x200x50mm are attached to the top bridge in order to hold the tensioned steel strings. 6 M30 bolts are fixed onto this in order to hold it in place. A soundboard is the bottom ridge of the structure, and behaves as a crucial element to allow the effect of vibrating strings to produce sounds, as it acts as a base for melodic outputs to be generated. The provision of a rubber sealant is installed at the bottom end of the string, this prevents moisture penetration and thus helps preserves the longevity of the steel material. The tuner of each string is located inside the soundboard, this allows the ability for workers to tighten the pitch periodically. This is then covered by a removable timber plane.

ENVIRONMENTAL IMPACT

he major construction of our design comprises of structural timber frames and the tensioned steel strings. As our design is cantilevered on steel posts, the posts will need to be prefabricated prior to the installation of it on the site. Additionally, due the height of the structure reaching 15m, the steel posts will require to go into a deep suitable length into the ground, as the stability relies on these structural beams and there is a need to evenly distribute the loading capacity of this large structure. The execution of driving the posts into the ground will evoke some form of environmental impact to the soil, however, the impact will be momentary as no further refinements are needed after the constructive installation.

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DESIGN PROPOSAL SITE RENDERINGS

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C.5 LEARNING OBJECTIVES & OUTCOMES

COMPUTATIONAL DESIGN

ver the course of this semester I feel that I have definitely fulfilled the learning objectives prescribed at my premier to the subject. In our proposal for the 2014 LAGI Competition, the final design was created through a series of algorithmic explorations. The design is essentially an echo and repetition of itself in many forms, as there is an interconnection of three repeated curvature forms. Relative to various lateral forces, the structure was modelled off the lofted curves of the deflection and buckling characteristics of the material itself - meaning that the entire design is effectively an echo of its own in entirety, manipulated by parametric modelling tools to reach a fascinating level of complexity that would have otherwise been much more difficult to achieve using traditional modelling techniques

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PARAMETRIC MODELLING

illipede, the Grasshopper plug-in explored, demonstrated how parametric algorithm is capable of generating a sub-structural system---subsequently the core structural system of the design--and simulate its real-life lateral behaviour with the greatest efficiency. This proved to be of great aid in the visualisation of the projectâ&#x20AC;&#x2122;s functioning characteristics and allowed for resolution of technical issues in the shortest of time, effectively increasing efficiency in the construction process. This was significant to the realisation of the final design as it would have been near impossible to test the integrity of all structural and material variations through physical prototyping alone. Or at the very least, would have been extremely costly and timeconsuming. While physical prototyping was done in developing other processes of the design, the only way that the entire design could have been realised was through computational methods.

SETBACKS

owerful parametric design tools of significant experimentation is not without its limitations. Although most probably due to lack of experience and skill in the tool, in various cases, it seemed easier to model directly in Rhino as inherent flaws in the components explored wasn’t able to produce intended or desirable outcomes. As it always is when learning new skills and tools, much time is spent in frustration and in worse cases, heartbreak. When something doesn’t work and the reason just doesn’t seem to be apparent and you are left not knowing what to do. This goes to show that there is relatively random nature in parametric modelling, of which many outcomes generated, although interesting and insightful to the geometric and aesthetic potentials of a design, could not be utilised as they are unable to answer the structural brief of a built form. Despite the long hours spent in attempt of resolving technical difficulties, at times resulting in compromise or deviations from the initial concept, only to discover much simpler solutions afterwards, upon accepting these frustrations as part of the learning process and channeling them into driving forces in the exploration and achievement of a design’s utmost potential. In hindsight, it’s these very deviations that allowed us to explore the significant range of tools and techniques that we did, and subsequently, insightful understanding of their specific shortcomings and potentials in various situations.

REFLECTION: A NEW PERSPECTIVE

eflecting upon the achieved innovations and the role of parametric design in the generation and development of the final design, the most rewarding aspect of Studio Air wasn’t specifically the newly developed software skills as expected in the introductory week of the course, but of the changes in perspective in which I now view parametric design. Although yet to be completely confident in my proficiency in the infinite techniques and tools introduced, I have gained a deep appreciation for parametric modeling as it has proved to be an invaluable tool in the creative design process. Not only has the course assisted me to appreciate the complex processes involved in generative parametric design and understand previously nauseating concepts, Studio Air has taught me the significance of identifying and understanding the intents and techniques behind a design and how insightful theory interpretations can be utilized within our own work, to create architectural solutions of significant and cohesive conceptual depth. With new knowledge and perspectives come newly undiscovered challenges, however, I now welcome them with anticipation.

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C.1 REFERENCES 1. Harmonic Wind Harps, The Aeolian Harp (2003) <http://harmonicwindharps.com/ about-wind-harps> [accessed 11th May 2014]. 2. Henry S. Gurr, The Venture Grant Aeolian Harp (1999) < http://www.usca.edu/ math/~mathdept/hsg/venturegrantaeolianharpreport.html> [accessed 12th May 2014]. 3. Henry S. Gurr, The Harp in Interature (2000) <http://www.usca.edu/ math/~mathdept/hsg/aeolian.html> [accessed 12th May 2014]. 4. EMD, A Case Study (2012) <www.emd.uk> [accessed 22nd May 2014]. 5. McGraw Hill, Aerodynamics: Theordore von Kรกrmรกn (1963) <http://barreau.matthieu.free.fr/tmp/AERODYNAMICS-VON-KARMAN.pdf> [accessed 16th May, 2014]. 6. Rouse Bal W. W, Brook Taylor (1997) < http://www.maths.tcd.ie/pub/HistMath/ People/Taylor/RouseBall/RB_Taylor.html> [accessed 15th May 2014].

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FIGURES Figure [51] LAGI Proposal Site, Refshaleøen, Copenhagen. <http://landartgenerator. org/LAGI-2012/AP347043/> Figure [52] The Venture Grant Aeolian Harp, Vaucluse, South Carolina. Figure [53] Distribution of the site’s daily wind flows. Figure [54] Dominant west and south-westerly winds due to win tunnel effect. Figure [55] Curvature development of rib structure from wind forces of the site. Figure [56] Plan view of developed form showing branching effect. Figure [57] Elevation of form’s curvature development. Figure [58] Elevation of developed rib system. Figure [59] An animation of the vortex street effect caused by wind forces upon a cylindrical object. <http://en.wikipedia.org/wiki/File:Vortex-street-animation.gif> Figure [60] 70 Degree Distortion

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