Nihill hana 583814 parta by Hana Nihill

Studio Air Journal 583814 Hana Nihill Tutors Brad and Hasslett 1

Table of Contents

Introduction

Part A

Part B

Design Futuring

Criteria Design and Biomimicry

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a.1.1 a.1.2

Lab Studio

Computation

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Case Study 1.0: Volt Dom Case Study 2.0: ICD ITKE research pavillion

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a.2.1 a.2.2

Discussion of the itterative Process

Prototyping

Initial Proposal

Scene Sensor Metabolism

Penumbra Flying Robot Architecture

Composition/Generation

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a.3.1 a.3.2

Algorithmic sketchbook

Dragonfly World center for human concerns

Part C 60

Design Concept

Definition Developement

64 66

Energy Production Potential

Models

Tectonics

Conclusion

Introduction My name is Hana Nihill and I am completing my final year of an environments degree with a major in architecture. The plurality of the architectural discipline has always been what has drawn me to it. Something that can translate so fluidly between an aesthetic representation, through functionality and materiality to create some well considered experiences is something that I became fascinated by. The intersection of these qualities with technology is also interesting. The ability of computers to process data is unquestionable, and harnessing this data processing for design is

endlessly exciting. The interface between the computational and the physical in particular is something that interests me. Much has been written about how technology facilitates more exact bulding, however how is that translated when you introduce a more direct risk of human error during the construction process? That is something I hope to explore further in this subject.

Previous Rhino-fablab experience

Part A

A.1 Design Futuring The fundamental characteristics of architecture have been in a state of flux since architecture emerged as a profession. The tendency to categorize architecture as building or profession is pervasive yet overly simplistic, especially if we consider it within the context of the increasingly interconnected world that has emerged with the 21st century. Patrick Schumacher, in his two volume tome the Autopoeisis of Architecture, conceptualizes architecture as a ‘sui generis system of communications’; a discourse.1 The recursive implications of this classification are myriad and allow for a wider reaching understanding of the role and possibilities inherent in the architectural discipline. Arguably the significance of architecture lies in its ability to influence its context and the people who come into contact with it. Historically, this ability has been utilized by states seeking to influence recalcitrant populations, from Mayan civilisations to the famous architecture of the third reich, Soviet Russia, and post-revolutionary France. Juhani Pallasmaa grapples with this concept and suggests that architecture or, “The artistic imagination seeks imagery able to express the entire complexity of human existential experience through singular condensed

images. This paradoxical task is achieved through poeticised images, ones that are experienced and lived rather than rationally understood.”[2][3] The idea that space can be designed is taken up by Tony Fry who suggests: “Design, in the first instance, has to be understood anthropologically. It names our ability to prefigure what we create before the act of creation, and as such, it defines one of the fundamental characteristics that make us human.”4 In accepting Tony Fry’s description of the fundamental role of design in the creation of futures all of the so called design professions simultaneously take on a great deal of responsibility. This responsibility is explored as a series of ethical questions surrounding the role of design and the qualities that should be inherent in the role of designers. Paradoxically, as Fry progresses this argument, we begin to understand that this sense of responsibility is somewhat misplaced as “designed things go on designing (be they designed to do so or not).”5 This statement alludes to generative design, and the sort of design made possible through computation, as will be discussed in later sections, however it also hints at the inextricable nature of design

and culture. The current architectural discourse similarly attempts to make sense of problems facing society today. These problems include questions surrounding cultures of consumption, inequality and inefficiency. More often than not, these concepts are all placed under the familiarly manageable concept of â&#x20AC;&#x2DC;sustainabilityâ&#x20AC;&#x2122;. Architectures attempt to address sustainability has involved interactions with form materiality and computational design that seek to more efficiently use finite resources. Interestingly these investigations have also raised questions It is within the framework of this discourse that we may situate the LAGI competition, situated in Copenhagen in 2014. The competition serves to highlight some of the central themes around which the architectural discussion has organized itself within the last few years. Reflecting broader societal and cultural concerns, the LAGI competition briefs seek to find new ways of addressing community, consumerism and renewable energy generation.

A.1 Precedent Analysis

Scene-Sensor Ames Murray, Shota Vashakmadze

The LAGI competition of 2012 called for the regeneration of Fresh Kills park on Staten Island in New York. The brief required submissions to create a pragmatic, sculpturally artistic response that would “solicit contemplation from viewers on such broad ideas as ecological systems, human habitation and development, energy and resource generation and consumption, and/or other concepts at the discretion of the design team.” This competition represents an attempt being made by the architectural profession to propose solutions to sustainability issues that are currently faced by humanity as a whole.

throughout the space. This constant rippling movement creates extra awareness of the natural surroundings. The simple visual representation of the natural phenomena is subtle in its attempt to create an ecological awareness. It does not shove stainability down the throats of users. Rather a more meaningful connection to the surroundings is encouraged. 6 The “futuring” capabilities of this structure have been understood and created by the architects in their installation.

The entry that won first place -pictured- creates an awareness of natural phenomena in a way that enables a contemplative experience of the natural surrounds. The scene-sensor installation suggests that there are natural and social elements present in Freshkills that are able to interact in a more meaningful way. These elements are brought together through the layered walkways within the structure. The porous facade then allows views out onto the site. It also reflects current wind patterns 4

A.1 Precedent Analysis

Metabolism Kisho Kurokawa and the Metabolists

Although framed in a different way in modern society, the connection to nature that has been explored in the LAGI competition was also taken up in a culturally meaningful way by the Japanese architects responsible for the Metabolist movement. They used a similar lexicon to the one being used to describe computational architecture today. They envisaged a ‘dynamic’ architecture that could grow and decay in response to their context, to provide a fluid transition between public and private.7 Metabolism was the biological process around which they organized themselves, arguing that growth –and more importantly- decay was a natural process that facilitated regeneration. Essential to its inclusion in this publication is also the fact that, by using natural themes as their referents, the group called upon centuries of culture and tradition, manifest in Shinto vernacular in an attempt to remind the Japanese of their national identity following the war. Their urban proposals were prolific with plans for cities following no precedent. Kisho Kurokawa –a leader of the groupparticularly proposed cities where the false dichotomy between humans and nature was fully exposed through the integration of agriculture throughout the urban fabric. 8 The Nagakin tower 12

as well is the pedagogical example of an architecture that is designed for change. The interaction of this architecture with Japanese culture is selfevident. Its parallels to computational architecture is perhaps not. The themes being facilitated by computational and emergent design in particular, calls for an architecture that can grow and change in biomimetic processes. Although touted as entirely modern, the conceptual underpinnings of this new technology could be found in proposals made half a century ago.

A.2 Design Computation Computationalâ&#x20AC;&#x2122; design has become a major focus of the architectural discourse in the last twenty years. The role of computers, software packages and algorithmic design is something that is being constantly redefined and questioned. Nick Dunn, in his book digital fabrication in Architecture suggests that the â&#x20AC;&#x2DC;role of the computer in architectural design has essentially bifurcatedâ&#x20AC;&#x2122;.9 This bifurcation has seen some within the profession continue to use computers as a way of more accurately visualizing projects, others however have begun to use technology as a generator of form, exploring its capacity for adapting wide ranges of data and converting them into a more informed design. Fabrication in particular is something that digital design and computation has revolutionized. Since the advent of the industrial revolution there has existed a technological means

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for the production of built materials, however the ability to communicate with the machines that are producing these materials has been limited. Computation removes a variety of these limitations and has created new possibilities in fabrication and formation. One of the most useful of these new possibilities is the ability to produce highly accurate architecture. Material properties can be imbued in computational models and exploited through iterative processes to create the most efficient solution.10 This ability to explore options before construction is one of the fundamental tenants of computational architecture. Increasingly, the capabilities of materials are being tested, in ways that create unusual and responsive outcomes as seen in the work of Gramazio & Kohler and Neri Oxman to name two. Fabrication aside, the use of computational design in architecture

allows for a more informed design process. In comparison to the top-down design of the 20th century, the advent of parametric and algorithmic design has caused the process to be flipped. Architecture â&#x20AC;&#x201C;in response to societal conditions- has become concerned with engaging with context in a more meaningful way. This engagement can now take the form of direct input of data into an algorithm that sits inside a parametric system that is manipulated to produce iterative architectural solutions. Obviously this could be seen as a case for lazy design, however, when used in conjunction with a thorough analytical design method, computational design serves only to provide more information in the design process.

A.2 Precedent Analysis

Monocoque Neri Oxman The exploration of materiality in computational design in evident in Monocoque by Neri Oxman. She argues that traditional approaches differentiate between structural frames and building ‘skin’ and offers an alternative. Her work explores material heterogeneity, where structure is populated across –and formsthe ‘skin’ of the structure. The density of the voronoi pattern corresponds to multi-scalar loading conditions. The fabrication of the structure is also interesting. Oxman attributes the success of the structure to new 3D printing technologies that allow the printing of different materials within the same build. The composites that are made possible through this process propose a new way of thinking about the relationship of form to structure. This response is additionally a

generative one, with the skin and the form responding to scaling conditions placed upon it. The application of this construction in architecture, furniture and even ‘armor’ has been explore by Oxman in various other works.12 It introduces a new way of form finding that will resonate with the more fluid forms favoured by architecture today.

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A.2 Precedent Analysis

Flight assembled architecture Gramazio and Kohler Flight assembled architecture is the first work built by flying robots. Surely that as a sentence illustrates how far computational architecture and technology has come. The architects, Gramazio and Kohler have experimented with how to program the robots to collect and place â&#x20AC;&#x2DC;bricksâ&#x20AC;&#x2122; in a complex architectural formation. This particular construction is illustrative of an actual scheme that seeks to provide housing to 30 000 inhabitants in France.

perhaps two dimensional in its approach. The parametric potential that was originally discussed is lacking. Instead of exploring the potential responses to site, to articulate an architectural response, there has instead been a focus on a small-scale fabrication technology. This sort of approach still has its merits however. Given that the technology is previously unexplored, the experimentation with flying robots creates an interesting precedent for future works. It also evolves the fairly widespread utilization of robotics for manufacturing.13

In this project, the architects have devised a system for testing fabrication techniques to develop possible outcomes. It examines the interface between computational and physical development of architecture and finds that where there was once a line in the sand, there is now a field of ever expanding possibilities. Although this project explores fabrication technologies, it is

A.3 Composition Generation Looking to the future, computation has caused morphogenetic and even emergent design to become a part of the architectural discourse. In his book, Emergence; The connected lives of Ants, Brains, Cities and Software, Steven Johnson suggests that emergence describes â&#x20AC;&#x153;higher level pattern arising out of parallel complex interactions between local agentsâ&#x20AC;?.14 Emergence theory is necessarily multidisciplinary, with contributions coming from biology, mathematics, chemistry, and increasingly architecture. A seminal project, and one that has gone a long way towards making emergence more accessible, is the model developed by Mitchel Resnick that simulates the movement of a slime mould. Pictured opposite, the simulation shows the masses of inarticulate particles begin to amalgamate and organize themselves into discernable patterns of growth.15 These later groupings have even been capable of moving through a maze. The attraction of emergence to architecture is self-evident, as it allows the built form to contribute in a more meaningful way to its surroundings. However, The question of agency is one that inevitably arises out of a conversation about generative computational design. Emergent design is, by definition, design that evolves in a way that was unimagined at its inception.

This question of emergent properties has been asked repeatedly throughout this document alone and reflects a greater questioning in the architectural autopoesis as Patrick Schumacher would have it. Chris Wise, Chair of civil engineering design at Imperial College amidst comparing technology and beer, asks whether the systems that are currently employed in designing our buildings are in fact employing us.16

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A.2 Precedent Analysis

DragonFly Tom Wiscombe

Also adding to the case for computation is a project named dragonfly that comes from the EMERGENT lab by Tom Wicombe. Dragonfly takes biomimetic principles and applies them conceptually to an installation that spans efficiently across a room. This Form leaves behind the idea that architecture is a profession purely concerned with aesthetics, and instead employs bottom-up design theories that utilize physical parameters to generate design solutions. This project in particular saw multiple generated designs run through feedback loops geared towards several performance criteria. Once the design was reached, the geometry was nested using an algorithm that distributed the bands on aluminium sheets in such a way as to reduce wastage.

The process of bottom up design in the instance of the dragonfly produced a structure that informed the space in a beautiful way. That however, is perhaps the most superficial observation to be made. The efficiency of the process speaks the benefits of bottom up design and computational architecture that allows information to be processed to create a more informed product.17

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A.3 Precedent Analysis

World Center for Human concerns Michael Hensel

In his proposal for the World Center for Human Concerns, Michael Hensel challenges the unchangeable nature of architecture. The proposal embraces generative bottom up design in its approach to form finding. Instead of traditional formal strategies being imposed, a series of feedback systems are employed to create a transmutational, responsive, dynamic form. Three specific feedback mechanisms are employed. The first concerning itself with context-specific forces that act upon material form. The second looking at the relationship between material and human elements and the third, involving â&#x20AC;&#x153;interactions between human subject and environment that assert indirect influence on material arrangementsâ&#x20AC;?. Parametric design is employed in such a way as to allow all feedbacks to relate to one another creating a dynamic form that is constantly morphogenetically evolving in response. Interestingly the proposal envisages an ongoing architect-client relationship that will continue to optimize the building as the parameters dictate. This fundamental questioning of the role of architecture as

a time stamp on human activity expands the architectural discourse surrounding parametric design and computation. It also re-imagines the role of the architect and, indeed, the way we approach the built environment as a whole. The ideal of permance is pervasive amongst western architectural discourse, dating back from the Athenians and Romans and their collosal masonry forms. This proposal hilights an interesting junction in that discourse. Does this changeable architecture contribute to, or detract from its longevity? The proposal explores an architecture that is truly dynamic in its consideration of experience, form and materiality. Obviously drawbacks include the constructability of the space, and the ongoing commitment of all involved parties. However, as a theoretical proposal, it points architecture toward an interesting future.18

Algorithmic Explorations

The ability to quickly generate iterative form using grasshopper is one of the most gratifying elements of computational design. The modification of parameters built into grasshopper logic, or rhino geometries, creates diverse formal strategies that can be the basis for design outcomes.

Itterative Gridshel Logic

Voranoi and Delaunay population over loft

Metaball experiments 27

Conclusion The discussion surrounding computational architecture is certaintly divisive. Outcomes are varied and problems are as readily available as solutions. This being said, the possibilities inherent in computational architecture are an exciting way of looking to the future. The ability to process data specifically creates a platform through which more intelligent design is facilitated. This approach also encourages bottom up design that does away with preconceived solutions and visualization and fabrication techniques and instead focuses on satisfying paramaters and performance criteria. Arguably this approach creates architecture that is better suited to its environment and to the needs of its users.

Learning outcomes The exploration of computational design has expanded my understanding of the current architectural discourse monumentally. The understanding of new fabrication technologies, algorithmic possibilities and bottom up design has brought a new level of design awareness that I can take forward into future projects. In its simplest form the research done thus far has made me acknowledge that architecture needs to be more aware of its surroundings. For too long it has been floating in a conceptual space, with little formal or behavioral characteristics to tie it in a meaningful way to its population or place. Instinctively, better informed place specific architecture has always interested me, however with this new research, I will be able to frame my projects in a much broader context.

Text References Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 2 Juhani Pallasmaa, ‘New Architectural Horizons’ Architectural Design, 77 (2007) 16 3 Hari Kunzru, Memory Palace, (London: V&A publishing, 2013) p. 23-5 4 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 5 Ibid 6 LAGI Scene-Sensor (Staten Island: LAGI, 2012) <http:// landartgenerator.org/LAGI-2012/AP347043/> 7 Noboru Kawazoe, “Metabolism II: The Progress of Modern Architecture.” The Japan Architect, 45 (1970) 97-102 8 Kisho Kurokawa in, Rem Koolhaas. Project Japan: Metabolism Talks. Berlin: Taschen, 2011. 9 Nick Dunn, Digital Fabrication in Architecture. London: Laurence King Publishing, 2012. p. 103 10 Brendan MacFarlane ‘Making ideas’ in Architecture in The Digital Age: Design and Manufacturing ed. by Branko Kolarevic (New York: Spon Press, 2003) 255-279 (p. 255) 11 Neri Oxman Monocoque (Cambridge [Massachussets]: Neri 1

Oxman, 2011) <http://web.media.mit.edu/~neri/site/projects/ monocoque1/monocoque1.htmll> 12 Gramazio & Kohler and Raffaello D`Andrea Flight Assembled Architecture, 2011-2012 (Zurich: Gramazio & Kohler 2011) <http://www.gramaziokohler.com/web/d/installationen/209. html> 13 Steven Johnson, Emergence: The connected lives of Ants, Brains, Cities and Software, (London: Penguin Books, 2001) p. 19 14 “Slime Mould Simulation” Mitchel Resnick, Youtube, last modified 11 December 2011, http://www.youtube.com/ watch?v=bz6hO9FQEp0 15 Chris Wise, ‘Drunk in an Orgy of Technology’ Architectural Design, 74 (2004), 56-63 (p. 15) 16 “ Dragonfly” Tom Wiscombe, Tom Wiscombe Architecture, last modified 2007, http://www.tomwiscombe.com/project_28.html 17 Michael Hensel, ‘Finding Exotic Form: An Evolution of Form Finding as a design Method’, Architectural Design, 74 (2004), 27-33 (p. 29)

Image References 1 Happy Famous Artists, Zeppelinfield, (2012) <http:// happyfamousartists.com/blog/2012/08/> 2 Wikipedia, Hausmanns Paris, (Wikipedia, 2012) http:// en.wikipedia.org/wiki/Haussmann’s_renovation_of_Paris 3 Flikr, Worlds Best Photos of Wolkenbugel (Flikr, 2012)http:// www.flickr.com/photos/11047054@N08/1529826685 4 LAGI Scene-Sensor (Staten Island: LAGI, 2012) <http:// landartgenerator.org/LAGI-2012/AP347043/> 5 “City Farm” Kisho Kurokawa, My Architectural Moleskine, last modified 10 October 2011, architecturalmoleskine.blogspot.com 6 “Floating Cities” Dpr-Barcelona, last modified 10 May 2010, dprbcn.wordpress.com 7 “Nakagin Tower” Juan Ortiz, Madrid 2008-09, last modified 7 May 2009 madrid2008-09.blogspot.com 8 Floating City Juan Ortiz, Madrid 2008-09, last modified 7 May 2009 madrid2008-09.blogspot.com 9 Neri Oxman Monocoque (Cambridge [Massachussets]: Neri Oxman, 2011) <http://web.media.mit.edu/~neri/site/projects/ monocoque1/monocoque1.html>

10 Gramazio & Kohler and Raffaello D`Andrea Flight Assembled Architecture, 2011-2012 (Zurich: Gramazio & Kohler 2011) <http://www.gramaziokohler.com/web/d/ installationen/209.html> 11 Mitchell Resnick <http://www.youtube.com/ watch?v=bz6hO9FQEp0> 12Tom Wiscombe, Dragonfly <http://www.tomwiscombe.com/ project_28.html> 13 Michael Hensel, ‘Finding Exotic Form: An Evolution of Form Finding as a design Method’, Architectural Design, 74 (2004), 27-33 (p. 29)

Part B Biomimicry and Criteria Design The relationship between computation and the physical world is a complex, sometimes tortured one. The geometries that are dreamed into existence in software packages exist -more often than not- independent of gravity or physics. These virtual realities are requiring more and more sophisticated fabrication technologies in order to be called into physical existence. Biomimitic design stands anachronous to this idea that the digital world is separate from the physical one. It suggests that nature and natural phenomena can be realized in new and exciting ways digitally. Central to the increasing consideration of sustainability, biomimetics are being employed as ways of solving the problems of the human race.

These solutions have produced varied outcomes. Often times the more successful outcomes have used nature not as a tool for form finding but rather as a systematic way of addressing performative problems. This process was explored throughout part A, with the dragonfly wing and even as far back as the Metabolists in the 60â&#x20AC;&#x2122;s. The increasing sophistication of technology has meant that digital models are more readily able to mirror the capacities of biological systems, bridging the gap between the physical and the digital. This concept has also been taken up by visual artists and through the art installations of architects who are using a simpler performative platform to explore the possibilities of

material systems. In much the same way the LAGI competion asks for a piece of infrastructure art as a way of developing a design that connects strongly to sustainability and energy generation. Free from the practical constraints of a typical building, the infrastructure art brief invites a level of creativity and unrestrained experimentation. This is a truly exciting way of exploring biomimicry and energy production.

Lab Studio LabStudio is a multidisciplinary research and design network that looks to combine the expertise of myriad fields to produce solutions to problems confronting the areas of medicine, architecture, mathematics and materials science. Biomimicry lies at the heart of much of their research with visualisation strategies being constantly tested as a means of producing architectural outcomes and visa versa. The project was developed at the university of Pennsylvania as a biomimitic collaboration between Jenny Sabin and Peter Jones. The project was envisaged as the intersection between biology and biological processes and architecture. It was built as a tool for the medical and architectural professions to understand one another and share ideas. Architecturally, this project investigates the visualisation of biological processes through the creation of algorithmic design technologies. Fabrication is also investigated as a means of design development. This kind of hybridisaiton between the physical and the computaitonal is integral to the concept 32

of biomimicry and interesting to develop in the context of sustainable and energy generative materials. Projects like this one really test the limits of the data processing powers of architectural visualisation programs, highlighting their potential for connecting with physical paramaters. Perhaps not as sexy as paint splattered across a canvas, or an emotionally charged sketch,data entry and processing has nonetheless become an essential element of the design process. It is with projects like these that the mathematical potential for beauty is realised, creating a platform from which to encourage future computational design.

Case Study 1.0

VoltaDom

Case Study 1.0 Development This case study allowed me to experiment with populating shapes over different geometries and experiment with different kangaroo definitions. The most interesting thing was the creation of internal spaces.

Case Study 2.0 ICD ITKE research pavillion 2011 (sort of)

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2 1 Point Attractors/Lofted Surface

Point Attractors/Kangaroo planarise

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3 1 Point Attractors/Sphere

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3 4 1 4

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Itterations to develop

4 1 Kangaroo Mesh Relaxation

5 1 Warped surface/panels

6 1 Grid extrusion/Attractor Points

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Disscussion of the iterative process The initial iterative process was primarily concerned with form finding and introducing the concepts that had been identified at the beginning of the designing process. The itterations themselves represent an experimentation with elements of grasshopper that were interesting in the moment. The idea of generative design and bottom up processes is readily evident in these developments. The common theme that unites each of the ‘families’ is the creation of a parametric algorithm that provides the flexibility to produce iterations through the alteration of a few variables. A lot of the time, these variables would be point attractors, populated on curves that would then move the geometry around them. As with the early itterations, this form was abstract, as a way of understanding the parametric model. The later iterations represent attempts to integrate physics components and an understanding of the site to further inform the algorithm. Further development will be driven by that continued connection

to the brief and the context as identified by the design intent specified below. It is interesting to speculate on the role of the designer at this point given that the form generation is being driven by an algorithm and the selection criteria has been specified. The ‘designing’ becomes a methodical process from here, one that involves the refinement of the algorithm and the increased consideration of the site.

Design Intent

Selection Criteria:

We aim to build a heightened awareness of the environment and environmental issues in Copenhagen through the creation of a space - FIrmly entrenched in its context- that harnesses movement and interaction as a means of energy generation.

Connection to Context Awareness of the environemnt and environmental issues Movement Energy Generation

Precendent Analysis

After the initial itterative development and consideration of the site, it became clear that there needed to be a clear identification of the architectural or sculptural qualities and experiences that were to be imparted by the proposal. The idea of movement and views had by this point become integral to any conceptual or formal development, therefore projects that employed clever fabrication systems in order to encourage movement and generate interesting view and sight lines were of great interest. Specifically the serpentine gallery pavilion by Sou Fujimoto was an interesting way of inviting people to climb through what looks like a permeable and delicate structure. There is

a blurring of boundaries between the interior and the exterior, encouraging an awareness of context. There is no clear program and the use of the pavilion is driven by the users interests and personal motivations.

previously.

These themes are similarly explored by Kengo Kuma in his installation for Sensing Space, at the RA in London 2013-14. He similarly plays with patterning, as well as different ways in which visitors can interact with the form. Each of these qualities are ones that can be imparted to the LAGI site as they address many of the criteria identified

Material Exploration Relatively early on in the design process movement became a focus. This focus was logically translated into a material energy generation system through piezo electric generators. Particularly, new MEMS Kinetic Energy Generator that has been recently developed by MIT. The material is a flexible one that generates electricity as it is subjected to any sort of movement. This could include anything from wind travelling across the surface to people walking on top of it. These movements of the material have the potential to generate up to 45 microwatts of power per hour per meter of material squared. This sort of enerergy generation capacity is exciting in the context of a site the size of the LAGI site in Copenhagen. Additionally, it means that the visitors to the site are able to be involved in the process of generating electricity. As a way of visualising this production, there exist a class of materials called electroactive polymers that deform as a small current is passed through them. This deformation additionally has the potential to generate yet more electricity from the MEMS material at points of interaction, making this a potentially net-gain electricity scenario that has been articulated as part of the LAGI brief.

Technique RefINement

7 1 Point Attractors affecting extrusion

These itterative developments were informed by the design intent and criteria identified previously. They respond to the movement across the site as well as view points. They are however not considering energy generation in any sort of meaningful way. This will be the next step in the process.

8 1 Different Extrusion Geometries

9 1 Different Extrusion behavior and paths

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Initial Prototyping

The initial prototypes are a first attemt to experiment with materials and the way that different materials would interact with a frame. they also look at the visual effects that can be produced through the movement around a modular frame and the kind of optical illusions that can be created. These models can be fed back into the grasshopper algorithm using not only the observed effects but things such as an image sampler, to try and capture the qualities expressed in some of the images.

B.5 Prototypes

The prototyping initially involved an exploration of the way that the extrusions specified in the definition could be aranged in a structural system in relation to one another. This step in the process identified the possibility of having both the ground space and the â&#x20AC;&#x2DC;floatingâ&#x20AC;&#x2122; component, as a way of generating interior spaces.

the extrusions and then these considerations further informed the development of the algorithm and the definition within grasshopper.

Additionally, the prototyping process allowed for a more careful consideration of material systems. The materials that were identified earlier in the process were considered in relation to

B.5 Prototypes

Pros Invisible Joint Easily developable shape

Here I started experimenting with different methods of jointing in reference to the frame structure that sits above the base. The square columns were secured using a connection that sat inside each of them and allowed them to protrude at right angles from the connection node. This method of joining was effective, however the aesthetic result left something to be desired. The materiality was better realised in the copper connections next to it. The capilliary joints, also made out of copper, provided an interesting avenue for exploration in relation to the frame. These nodes could be individually designed to meet the needs of the structure quite flexibly in grasshopper. Additionally, the weathering properties of the copper, and its similarities to the copper used in the little mermaid and vernacular Danish architecture make it an ideal solution for this frame.

Pros: Copper material Tubular shape

Concept Sketches

The idea of having a space that protrudes downwards like many of the good itterations was something that needed to be carried through conceptually into the next stages of the proposal.

B.6 Proposal The final outcome to this point is a product of the various paramaters identified throughout part B. It takes into account the outomes of the prototying process and responds algorithmically to the criteria defined earlier.

Moving forward, further refinement of the population of the structure will be useful in the creation of a more meaningful architectural experience.

Learning Outcomes

The proposal can be extended in a variety of ways. The geometry needs to be optimized further to fit the site. This could be done using a variety of data driven techniques. Ideally looking at the number of visitors to the site over time and the typical movement patterns. Additionally, the wind data for the site can be used to optimize the energy generation potential of the canopy surface. Following on from this task I feel like my ability to manipulate the grasshopper parametric models has greatly increased. The

ability to input parameters and utilise those in a generative process is a tool that I think will inevitably create a much more informed design at the end of the process. It is this data entry and manipulation component of grasshopper that is the most difficult for me to wrap my head around, however it is what has been producing the most interesting results.

References: http://labstudio.org/index.html http://www.biomimicryinstitute.org/about-us/what-is-biomimicry.html http://www.designboom.com/art/yasuaki-onishi-reverse-of-volume-rg-at-rice-gallery/ http://mabstudiodesign.wordpress.com/2013/11/25/borderless-designing-future-asean-borders/ http://www.evolo.us/architecture/biomorphic-abstractions-made-from-tracing-paper-mary-burtondurell/ http://blog.experimentsinmotion.com/post/25506420479/wave-garden-by-yusuke-obuchi-as-analternative http://www.youtube.com/watch?v=yEkDosanxGk

Algorithmic Sketches

Image Sampling

Cull Patterns

C.1 Concept Development The technique developed so far in parts A and B has user experience as a key driver. It calls for a careful consideration of context and a response to the issues brought up in the LAGI brief information. Specifically, in relation to context, the definition responds to desired patterns of movement, sight lines and potential future uses as a music venue. In considering the LAGI the design needs to be optimised according to energy production requirements.

generation is something that is central to the success of any LAGI project. In adressing this component of the brief, the design responds in two ways. Primarily used during the day, the frame populated above the site contains an array of material panels. These panels flutter and move in the wind, making the natural phenomena more immersive. This is especially apparent when the user is fully enclosed within the frame, with the panels floating around them.

The particular user experience is one that is greatly informed by the desire for movement. In choosing Piezo-electric technology to harvest energy, the drivers of movement were -from the outseta major design concern. We thought about the drive to move between inside and outside, the drive to move towards vantage points, the drive to connect to a stage for a concert or simply the need to move from point A to point B as a matter utility.

At night, the structure can be utilised for concerts or the like. At this point, lighting will be activated that responds to the footfall of each user, lighting up canopy panels above them and in front of them, suggesting new paths and new relationships with other users.

Using these factors as the cornerstones of the conceptual development, the design grew into a form that blurred the threshold between indoors and outdoors, creating a constant feeling of suspense. Curving paths and porus frames distort sight lines and simultaneously create hidden vantage points, exploring prospect-refuge ideas, native to landscape psychology. Although generating movement is a key component of the site, there are natural ebbs and flows created throughout, with areas that encourage a more restful, contemplative state populated around natural thoroughfares. Energy generation is a major part of the design development as well and connecting people to the idea of clean energy

Initial Response

3 2

The spatial qualities conveyed in this initial response were ones that we wanted to have continue throughout the rest of the proposal. The porous frame casting shadows onto the ground below, creating interesting sight lines and interesting geometries to climb over were all things that were interesting about this stage of the process. What was lacking was the energy production in the frame. This was something that needed to be considered more seriously continuing on. 62

DEFinition Developement

Populate a series of paths along the site according to desired movement patterns

Invert the previous result to find the panels for the frame

Create a hexagonal, tessellating grid

Create internal spaces within the frame

Mo low

F t

ove the grid such that the panels closest to the paths remain w and those further away are raised

Find the frames below a certain point and cull them to create walking spaces

Find the panels raised up to a certain point and cull the rest

Populate a series of paths along the site according to desired movement patterns

Proposal JustiFcation

14832m Frame

934.5kWh

12206m frame

769.1kWh 43.4% 987 Pavegen Panels

Assumptions There will be an average of 100 visitors to the site per day. These visitors will stay for an hour on average. They will take an average of 3000 steps per hour.

This itteration of the design represents the most efficient population of pavegen across the site. Efficiency was calculated assuming a consistent energy generation capacity and then using inferring that the less pavegenâ&#x20AC;&#x2122;s there were the more each one would be stepped on. Additionally, this allows for a greater amount of frame, creating an even greater energy producing potential.

6450m frame

2552m frame

406.3kWh

160.8kWh

25.8% 1656 Pavegen Panels

2414

17.8%

14.9%

Pavegen Panels

2884 Pavegen Panels

Tectonic Elements

1 The waterproof material is suspended from the frame using a cable suspension system. The materials movement against the frame triggers energy generation from the MEMS material that is populated to line up with the edges of the waterproof fabric. The cables are also connected to piezoelectric generators that allow energy to be harvested from the wind energy through the site. These generators will be used periodically to power lighting through the form, making the site usable at night or for music concerts. 2 The frame is made of copper tubing joined together at nodes with capillary joints. The frame consists of the horizontal

hexagonal elements and the vertical pipes that give the structure its height. All of the wiring for the structure is contained within these tubes that are then passed into the base.

Pavegen panels sit on the surface of the hexagonal extrusions, with wooden panelling forming around the outside. The copper tubing is set into the volume so that the wiring can be transferred directly into the base of the structure where it can

then be connected to a more substantial infrastructure.

A timber frame supports the pavegen panels and joins each tessellating hexagonal panel to another. the timber frames are lightweight and can be assembled off site and brought to the greenfileds site ready to be inserted. Given the nature of the

construction, the need for a slab is relatively limited so these frames will transfer the load to the ground directly.

Materiality

The method of connecting all the pieces of the frame together in the structure is explored above. A series of nodes are created that hold the pipes, like the capillary joints explored in part B. The joints are able to be adjusted in terms of height, length and radius. The facility with which each of these factors can be changed in the grasshopper definition speaks to its usefulness in the construction process. The definition creating the nodes can be easily updated in response to client feedback, availability of materials or changes in the construction schedule.

Height is adjustable

Length of capilliaries can be shortened

The method of construction is also particularly straightforward. With the nodes connected, the length of the copper piping needs to be specified and then they all just slot into the capillary joints. With the frame also able to be slotted into the base, this makes for a particularly quick and easy construction process.

Site Model

Plywood base

Perspex layers representing the frame of the structure

The site model represents the characteristics of the definition populated across the site. The perspex layers form the wind generation frame that is extruded from the base hexagons. These elements have a porous quality that communicates the design intent explored earlier in the journal. The wooden base then lends a warm quality to the site and references existing Danish architecture.

LAGI REquirements

Environmental Impact Statement The impact to the environment of this design will be extremely limited. All the materials are to be sourced from sustainable sources. The pavegen panels are recycled rubber, where the timber will be required to be sustainable under Danish law. Additionally, the energy production of the site will feed energy back into the grid, decreasing the reliance on fossil fuels within Denmark. This falls squarely in line with the Denmark and EU climate action plans that areall geared towards drastically reducing the amount of energy produced by fossil fuels.

Materials List The materials Palatte will be extremely limited with only three major materials being used throughout the design. These three components are Copper Tubing PEFC certified Timber (resembling the characteristics of Blackbutt) Clear waterproof, fully recycled, polymer sheeting In addition to these materials there will be the pavegen panels on the specified panels and MEMS piezoelectric sensors along the edges of the material in the frame. These two components will generate the electricity for the design.

Conclusion and Learning Outcomes It would be impossible, after this process, to deny that studio Air has facilitated a great understanding of grasshopper and generative design. However, the technical knowledge has almost been the least significant aspect of the course. I will begin by talking about the LAGI project brief and the opportunities it afforded us. Initially, this brief set itself apart by asking for a piece of infrastructure art. It required a departure from traditional thinking about ways in which people interact with buildings and instead demanded an engagement with cutting edge material technology and sustainable energy systems. Not only were students subjected to the materials sytems they chose to pursue, they were also subject to the side range of research being done around them. The far reaching implications of this new knowledge for future projects cannot be understated. Secondly, grasshopper became the be all and end all of design. In order to create a truly â&#x20AC;&#x2DC;bottom upâ&#x20AC;&#x2122; design there had to be a thorough investigation of all elements of the program. Initially this was infuriating, however as the semester progressed and understanding deepend, the manipulation of the program became much more instinctive. These manipulations facilitated such a wide range of outcomes for any given design problem that it is hard to imagine going back to designing in any other way. This in itself is somewhat concerning however. The question of agency has been one that has shadowed every step of the learning process this semester. In the wong hands it seems as though grasshopper becomes a tool whereby one may be absolved of all responsibility. There needs to be a point in which

an intervention occurs. This point seemed to reside in some ill-defined grey area for most of the process, however it seemed to become clearer when attempting to justify the proposal according to a set of criteria. Criteria design was hugely useful toward the tail end of the process. It was an instinctive part of the design process before however identifying a clear set of requirements and parameters the design had to respond to it made it so much easier to design. This is certainly something that also has implications for future projects. Future projects that will look so much better now that there has been a basic attempt to learn 3D modeling programs such as grasshopper with kangaroo and various other plugins. Being able to use these programs aids in the production of convincing designs. As does the ability to use V-Ray. Although the renders done for this project were relatively basic, the understanding of the way in which the rendering engine works has been an invaluable learning experience. As a final note, i feel as though a discussion of grasshopper cannot end without a mention of scripting. As explored in part A of this process. The ability to script and create truly personalised design responses within grasshopper is something that I feel is necessary to achieve a full understanding of this process. Perhaps this will be the next stepping stone.