Ilhyeon yeo 583928 final journal

S T U D I O .

ILHYEON (MICHAEL) YEO 583928 Semester 1, 2014

A I R

CONTENTS Part A A.1 - LAGI PROJECT DESIGN FUTURING

Pg. 1~2

RENEWABLE ENERGY RESEARCH

Pg. 3~6

- Precedent of previous LAGI project

- Solar energy

A.2 - COMPUTATION Crystal Island, Russia

Pg. 7~8

- Building Precedent

Spire Edge

Pg. 9~10

- Building Precedent

A.3 - COMPUTATION + ALGORITHMIC

Pg. 11~12

Computation to generating

Pg. 13~14

Toyo Ito: Serpentine Gallery Pavilion, 2002

Pg. 15~16

National aquatics Center, Beijing

Pg. 17~18

Conclusion & Learning outcome

Pg. 19

Reference

Pg. 20

- Building Precedent

- Building Precedent

Part B

Pg. 21~22

Parametric Design

Pg. 23~24

B. 1 Research Field - Banq Restaurant

Pg. 25~26

B.2. Case Study 1.0 - Matrix

Pg. 27~28

- Critria

Pg. 29~30

B.3. Case Study 2.0 - Lignum Pavilion - Reverse Engineering

Pg. 31~32 Pg. 33~36

B.4. Technique: Development - Iteration

Pg. 37~46

B.5. Technique: Prototype

Pg. 47~50

B.6. Technique: Proposal

Pg. 51 ~ 56

B.7. Learning Objectives and Outcomes

Pg. 57

B.8. Appendix - Algorithmic Sketches

Pg. 58

Reference

Pg. 59

Part C

Pg. 60~61

C.1. Design Concept

Pg. 63~72

C.2. Tectonic Elements

Pg. 73~78

C.3. Final Model

Pg. 79~84

C.4. Additional LAGI Brief Requirements

Pg. 83~92

C.5. Learning Objectives and Outcomes

Pg. 93~94

REFERENCE

Pg. 95

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PART A

CONCEPTUALISATION

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DESIGN FUTURING PRECEDENT OF PREVIOUS LAGI PROJECT

This architecture is done by team “GEMBONG REKSA KAWULA” named as wind fountain. The main and final idea for this project is being aesthetically beautiful while making use of renewable energy. It adapts “piezoelectric effect”, which is a term to describe an energy production through movement, as the structure goes under stress and strain electricity is produced.

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The each “tree” like shape architecture are named as wind fountain as shown in figure 1.

Each units of thread are flexible and is covered with corresponding piezoelectric transducer, to deal and receive the maximum amount of wind.

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The transducer, emits electrons when stresses (kinetic energy), is absorbed and converted to electrical power (emitting electrons), that is transmitted to a electrical regulation circuits, thus electricity is generated.

The fountains are arranged in a way to produce “fantasy” like atmosphere that they are located along the riverside.

This produces, according to the designers, welcoming sense where individuals can enjoy the scenery and wildlife. Also the for each thread contains LED light that will be used during night time to enhance and reinforce the mysterious and majesty sense for individuals to experience.

Fig. 1 Top left, Wind Fountain Fig. 2 Top right, Windo Fountain Fig. 3 Left, section

Furthermore, at the lowest part of the architecture, a computer controlled fibre optic is embedded, where it reacts to movement, touch for individuals to engage with the design and experience the actual procedure of creating electricity.

In my opinion, it is very inspiring to observe how they make use of their design concept for individuals to be involved and engaged with the design. However, in terms of sustainability, as wind is not very reliable source to produce all required energy this will be quite hard for realisation of the actual building and to be sustained after period.

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ADESIGN FUTURING PRECEDENT OF PREVIOUS LAGI PROJECT

The Maple Leaf by Phil Choo, Chulho Yang, Seung Ra, Sung- Yeoul Lee, maybe not be the most polished and refined project but it had some intriguing ideas that in my opinion, would be helpful to my project for air studio.

This design is carefully approached with consideration of its existing structure, the gas extraction wells and its surrounding nature, which forms a interaction between man made and nature, where in my opinion, it is like an “organic architecture” which brings harmony and unity to the building and the nature as one.

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The general concept of this design is to consider whole function as like a “plant”, such that plant undergoes photosynthetic process from solar energy which is in benefit of reducing carbon dioxide and increasing oxygen. Similarly, for this design, a renewable source of solar energy were chosen to produce electricity and distribute to electrical grid. It uses “uni solar PVL” which allow flexibility, light weighted which provides possible realisation of the design and is energy efficient where it produces about 130 kWh per year.

Fig. 4 Left, MAPLE TOP VIEW Fig. 5 Left- bottom, MAPLE INTERIOR 1 Fig. 6 Lett - bottom, MAPLE INTERIOR 2 Fig. 7 Right, MAPLE TOP VIEW

Furthermore, it also employs methane gas that is produced on site where the efficiency is nearly twice as much as the solar panel.

This connects back to its original idea of “plant” where this is process of using “unnecessary” to utilise it as a positive aspect and producing electricity, enriching sustainability.

In my opinion the real success for this design is going beyond what is given, where this design does not stop on the “aesthetic” view, but takes step forward and making the place interactive where users are able to access the highest point of the design and be entertained and really enjoy the panorama view.

Furthermore, it considers in regards to “future design” as Fry Tony (2008) conveys on human destruction of environment, but design could be a possible solution for sustainability.

That this think about the duration or life time of technology or its resource and being prepared for future possibilities.

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RENEWABLE ENERGY RESEARCH SOLAR ENERGY

RENEWABLE ENERGY As to accelerate on “defuturing” condition of unsustainability in this finite world, the focuses on renewable energy has significantly increased.

Renewable energy is a essential aspect of design for its sustainability reasons and as wells as interesting design ideas, concept that can be worked around with the renewable energy source.

SOLAR ENERGY One of the common renewable energy would be solar energy, which utilises radiation from sun and is most clean and abundant renewable source.

The most common solar energy is photovoltaics and solar thermal energy. Photovoltaics is a direct conversion of solar radiation to electricity through certain materials is able to absorb photons of light and emits electron, which is than captured as electricity.

On the other hand solar thermal energy uses concentrates radiation which heats the “thermal receiver”, usually a fluid, that is used for heating purposes. For both photovoltaics and solar thermal energy is fairly old generation of technology, meaning that it is bulky, takes away large spaces, not so flexible, thus extremely limiting overall design and its ideas or concept that can come through with.

Fig. 9 Thermal Receiver

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Fig. 8 HOW SOLAR WORKS

Fig. 10 Photovolatics

NEW TECHNOLOGY New technologies are opening up opportunities for various design to form and interesting ideas to flow.

UNI SOLAR PVL Uni solar pvl contains thin panels, which works similar to photovoltaics but this allows flexibility and light weight construction, thus enabling complex and different type of geometrical designs can be formed.

Though installation of this should be carefully considered as it has to be installed where it can receive most of sunlight, such as roof, throughout day.

SOLAR WINDOW While panel type, such as uni solar pvl, has to be installed top of roof, this type has more flexibility on where to install while providing some natural day light which is sort of double effect as it saves costs for lighting while producing some electricity.

This really broaden the options for design. On short coming it is less efficient in producing electricity compare to other type of solar technology.

Fig. 11 Uni solar PVL

In conclusion, with development of technology, in terms of its size, volume, flexibility, efficiency and so on, it was possible to open up opportunities for different variations of design and it will be very interesting to implement this solar energy into LAGI competition, to be sustainable by producing electricity for surrounding areas as well as reducing CO2 emission.

Fig. 12 How solar window works

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Building Precedent Crystal Island, Russia

Fig. 1

The design and construction industries are in the storm of ongoing and incoming change that can be both positively and negatively effect the architecture. Ongoing changes would be the computation of design, where nowadays, most of works are done by computer instead of hand drawing.

Incoming changes would be some of challenges and consequences of utilising the computing to be dealt, where individuals like “terzidis, kostas (2009)” argues that computing should be able to assist in “free” and “innovative” imagination of design, but it works as a cage where limits the infinite possibility and creativity to the designers.1

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In this architecture it demonstrates how some of consequences, such what “terzids kostas” portrayed, is possible to overcome and is overcame through going beyond just using the tool, but being able to combine as a part of design.

The precedent 1, Crystal Island, Russia, designed by Norman Foster, has interested me through its elegance of dynamic features of spiral lines drawing down to up, as wells as utilisation of use of renewable energy. The esthetical part of the building is accomplished through the computation of outer layer of the building, where each lines are seemed to be curling up to top.

This creates dyna movement which eyes to follow and t quick overall view while having the d of the aesthetic. hand however, the t building makes differ opposite outcome, th no longer curling up, out towards grou

This two contrasting really interesting aest to curl up and down, w angles. One negativ would be individuals able to experience perception of the

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<1>. Terzidis, Kostas (2009). Algorithms for Visual Design Using the Processing Language (Indianapolis, IN: Wiley), p. xx

Fig 13. Left, Crystal Island 3D model Fig 15. Right, Crystal Island side view

amic sense of directs human thus provides a of the building distinct flavour On the other top view of this rence sense and hat each layer is but is spreading und to water.

If this were to be in LAGI project, i would have to consider to develop this kind of idea to accommodation various experiences by just having different angles, actions and so on.

Nevertheless, The computation of the design allowed fast visualisation of the final product of the building resulting many different types of geometry to be tested out, shaping the ideal form while conceptualising within.

g views creates thetics, having it with different view ve fact however, are not actually e this different e architecture.

Therefore, forming can be very innovated and creative shape, breaking out of â&#x20AC;&#x153;cageâ&#x20AC;? and overcame it.One last thing for this building is that this uses wind as wells as solar energy as a sustainable provider for its need.

It is very inspiring as it makes use of its "visual" and "aesthetic" idea to incoporate the renewable energy meaning, the high rised aspect of the building enables higher amount of wind as higher altitude means less pressure, allowing more wind.

Furthermore, solar panels are installed in the facade reinforcing the aesthetic while generating some electricity for the building. And as such, the aesthetic was the main idea for this architecture, it may lack a little creativeness or involovement with individual, but utilising different views or two types of renewable energy is very inspiring when to consider the LAGI project.

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Building Precedent Spire Edge

The second precedent is the Spire Edge, by Ken Yeang which features the unique use of vegetation throughout the building. It also incorporates various technology, such as solar and use of natural light, for its sustainability. I really liked the building how it is utilising the vegetation within the building as part of the design while the design tries to be as dynamic as possible.

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The architecture would used computation for the positioning and angle of each side of layers of the building to precisely calculate sun, wind direction to suit vegetation while alteringfor some dynamic shape. This building may not be very innovative, in terms of argorithmic sense, but still demonstrates how ongoing and incoming architectural changes are effecting architecture.

Ongoing changes for this kind of building could be formed identifying and adjusting the best conditions or angles of wall for its vegetation.

Also having aesthetic part, although the vegetation itself maybe part of aesthetic, but it restricts oppotunities and possibilities of possible outcome of design.

In terms of LAGI project brief, limiting design possibility to utilise the renewable source woulde have very critical impact as renewable source should be a tool to improve or assist how the final shape will be, thus this building has failed in creating a design that engages wit individuals, but rather its engaging with vegetation.

Fig 16. Right, Spiral Egde side view Fig 17 Left, Spire Edge Whole site view Fig 18 right bottom, Spire Edge partial close

On the hand incoming changes would be providing flexibility on design appearance by utilising higher technology as to have limitation of design on this type of building.

This maybe have failed to engage individuals, but this architecture has great idea on making use of renewable source as it is built for vegetation, and as such being sustainable. The architecture uses 2 renewable source just like first precedent.

Main focuses are obviously on the usage of vegetaion in cooling and providing fresh air, which could result in reducing energy use.

This also produce some natural aesthetics, which inspires myself in a way to use this kind of design concept into LAGI project, but only purely on "utilisation of renewable source" Furthermore, myself may develop and use to interact with individuals, not renewable source, for better outcome and flexibility of design.

Moreover, its use of solar energy, as another source to accommodate part of energy use of the building, whilst interacting as aesthetics.

As such this building has inspired me on "how" i should incorporate the renewable source, that is to improve overall design, not to be centre of the design.

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Computation to generation

â&#x20AC;&#x153;When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.â&#x20AC;?2

Nowdays designing some building has became a task where anyone can or have ability to create a new and interesting architecture through introduction of computation.

Computation could just be to simply digitalise any of procedures to visually conceive the design, and yet it could be a process of dealing with highly complex cases as Achim Menges defines as a process of information that interacts between elements, providing framework for negotiating and influencing the dataset, having capacity to generate complex order.3 Therefore, it is a process of using information through an understood model, expressing algorithm, thus for various new ideas. If we find a way to take advantage of computers where we lack and use our abilities on where computers lack of, will produce very powerful symbiotic design3. This is the fundamental idea of how the computation allow us to create very innovative and new ideas, that as algorithm is a particular set of instruction, and by applying computation, it is possible to solve design problems, generating unexpected results, allowing for design concept to go beyond the intellect of the designer.

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Furthermore, as to generate the design, utilising computation allows designers to quickly change the on going progress very fast and easily as they just need to alter and change the problems they encounter or sets of rules they would like to apply, in the computer, therefore digitally, instead of physical models that would consume much more time.

Also it allows to test out materiality of the design, for a quick test if they building would be stable or in terms of textures or many other facts in consideration to real life built form, reducing huge amount of time that should be taken, if it were to built to test out. Therefore, provides more time on idealisation of the design, giving for time to critically think about and engage wih the design, thus creative and unique designs can be produced

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<2>. Yehuda E. Kalay Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and methods of Computer - aided Design (Cambridge : MIT Press, 2004) p.3.

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Building Precedent Toyo Ito: Serpentine Gallery Pavilion, 2002

Fig. 19 Serpentine Gallery Pavilion

This pavilion is done by a japanese architecture, Toyo Ito, which incorporates computation of argorithms that forms this unique outer layer of the pavilion.

The pattern that has been used for this pavilion is done through collaboration with a team called "ARUP" whom came up with a geometrical algorithmic pattern which is shown in fig. 15. The basis of the pattern starts with rectangle or squared plane and drawing lines in between of each lines wit certain ratio,

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for instance, line joining from half point from one side to other side.

Continuing with this, will creates a rectagle or square in the original plane, but just rotated. By repeating this for number of time a certain pattern will form and different ratio of lines drawn, will make whole different pattern allowing countless patterns to be formed.

Then, Ito extented each side of those "boxes" which allows lines to cross, producing a "network" of lines. These connections are then folded over the box, which enfolds the box. The lines are extended over the plane and other side, where it is described as "going nowhere but going everything". Therefore, emphasising the limitless idea prodcued, denying to be a hard skin of the volume, but be dynamic and have the movement or change within them. The idea of having a simple, very simple geometry to form a endless and countless algorithmic form is very inspiring in this design. Such that a rectangle, or square, has turned into a unique mathematical related algorithm with very simple rules applied to it. 4

Fig. 20 Algorithmic sketch

Fig. 21 Modeling structure`

Being able to achieve a unique and limitless pattern is very admiring, but on the other hand, this type of way will produce very random shape that cannot be predicted, which can act positively and negatively. On positive part, it is true that this "unpredictable" shape is why algorithmic is used for, but this way of approach, results in some of "weak points" as seen in fig. 16. For it to be built in real life, forces has to be considered, as seen in the figure, it is obvious that some part of side has literally like a point of joining where it is unable to carry load thus unable to support the structure.

This algorithmic approach was very inspiring as an "idea", but not as "realistic" construction, which may have to force building to change its pattern, ie breaking the rules, or forcing it to be in particular way, ie limiting design outcomes.Ito has motified the pattern as he was to solve the local force problems. In order to make a lighter, and yet stronger in the centre, they have changed the ratio from 1/3-1/2 to 2/3-1/22 . Then they removed some of panels to produce larger opening and entrances.

Also, they have altered the secondary struction on roof to main facade structural for better durability and resistance of load. Lastly an extra support was added at the glazing area in the centre of the pattern.

Although, in my opinion, too abstract or too random system would be hard or limiting the design to be constructed in reallife, but as Ito accomplished his idea of "endless void", by altering, adding, fixing, it indeed resulted as not a mere random building but a architecture that conveys its algorithmic as well as the aesthetic, which inspired me alot and changed my opinion to utilised these kind of algorithm and incorporate renewable source for the project

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<4>. Ton, Deuling (2011). Serpentine Pavilion // Case study, CollectiveArchitects, Viewed 24 March 2014 <http://www. collectivearchitects.eu/blog/77/serpentine-pavilion-case-study>

Building Precedent National aquatics Center, Beijing This aquatics center is a winner for international architectural competition, which is designed and also built by PTW architects, ARUP international engineering group, China State Construction Engineering Corporation and China Construction Design International.

The pattern for this algorithmic building is based on natural trainsformation of "bubbles". It goes down to historical period and developed that, at first, the concept of an optimum bubble which consist 14 sides, was form. Then this principle of "optimum bubble" considered in terms of 3 dimensional object with minimum surface and no intermediate spaces. Two different shapes were then used either, two different pentagonal or combination of pentagon and hexagon, which results in creation of the "Weaire-Phelan" structure, the natural pattern in forming of crystals.

With this concept ARUP developed the constructional system for the watercube by utilising computation, through a process of rotation, cutting and combining as demonstrated in figure ?.

The natural algorithm of bubble creation is quite stable in consideration of constructing as well as in comparison to Ito's pattern. It is interesting to identify, how the designer has placed this endless natural algorithm into a "box" which can be a boring structure and could turn out very simple and something that hides or removes the concept of the design.

However, in those sketches and 3D model the boxes are actally amplifies the sense of expension, growth and the flow between each bubbles which gives a sense where this box going to expload any minute.

Fig. 22 National Aquatic Centre

Fig. 23 Algorithmic Sketch

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Fig. 24 3D model

On the side fact though, the actual constructed model does not contain this sense, but is perceiving very flat and static form, rather than dynamic growth of the pattern.Therefore, a limitation of these kind of approach can be identified such that focusing on just one thing, in this case the growth, but not thinking through as real life, may critically effect on its idea or the aesthetic that can provide.

In my opinion, through this precedent, it can be concluded that utilising a natural algorithmic can be very innovative and distinct, but directly using what nature provides, and not creatively using it may produce quite plain design, in fact a design where all the concepts are shown, but only in sketch not in real life construction.

Furthermore cultural aspect of the building can be considered as part of "why" they have used some types form. The chinese culture have great relationship with boxed type of shape which they have used in this, although in my opinion, this can be developed more whilst having the "box" sense, by for example, creating second layer of algorithm with box while having the bubble algorithm within it.

Lastly, this incorporates solar power, which is very effective way to utilise the buildng property, "bubble like", meaning transparent, suitable for solar panels to be placed. Thinking and make use of renewable source as a form of taking advantage of the design would actually be able to broaden possibility to create unique form rather than held in with renewable source, as demonstrated in this building.

Fig. 25 Algorithmic sketch

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Conclusion & Learning Outcome

In conclusion, computation is a design approach that can lead to great possibilities of nothing to innovative and really inspiring design. Some people may argue that this computation is such a negative way to approach design that limits possibilities and opportunities, such as kasta (2009) has portrayed. However, through observation of precedents it was clear that computation was not limiting the design, but it produced new and interesting shape that almost as an artistical sculpture. It also allows for very complex designs, such as incorporation of algorithm within and as concept of design.

The dedicated 3D model of certain algorithm, such as bubbles in national aqutic centre, can be seen and produced in short amount of time, allowing experimentation of the concept, therefore gives better oppotunities to design critically and to be refined, resulting distinct aesthetic and engagement of the architecture.

Also, not only aesthetics part of the architectures, but utilising renewable sources. The renewable sources should be used as an improvement or assistance of a building and should always be considered as fry (2009) explores the defuturing of our humanity and we are desperate to keep it sustainable. As result, architectures are able to have its artistic aesthetic whilst incorporating renewable source to have sustainability.

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In these past weeks, looking back through the precedents and i was able to obtain a lot about algorithmic design and how renewable source be used within the building. The precedent has inspired me in many ways, including how computation is truely essential part of creating new design, whilst algorithmic incorporated and is really useful to produce very innovative and dynamic art-like architecture. Also i've understood that, its not about focusing on renewable source, but it should come along with the design, not a design that suits for making use of renewable source without any other engagement (aesthetic, individuals).

Also the grasshopper was a fairly interesting tool to use, as it was first time, some of tutorial was bit hard as lacked informations for first time users to understand, Nevertheless, grashhopper seems to have lots of oppotunities to apply the algorithmic and i could visualise myself, being able to model using grasshopper as to undertake the fundamental part of tutorial.

References Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp.

08-15 Terzidis, Kostas (2009). Algorithms for Visual Design Using the Processing Language (Indianapolis, IN: Wiley), p. xx Ton, Deuling (2011). Serpentine Pavilion // Case study, CollectiveArchitects, Viewed 24 March 2014 <http://www. collectivearchitects.eu/blog/77/serpentine-pavilion-case-study> Yehuda E. Kalay Architecture’s New Media: Principles, Theories, and methods of Computer - aided Design (Cambridge : MIT Press, 2004) p.3.

Fig. 1, 2, 3. Gembong Reksa Kawula, 2012 , Wind fountain, Land Art Generator Initiative, Viewed 25 March 2014 <http://landartgenerator.org/LAGI-2012/WF252RKA/> Fig. 4, 5, 6, 7. C. Phill, Y. Chulho, R. Seung, L. Sung-Yeoul, 2012 MAPLE LEAFT, Land art generator initiative, Viewed 15 March 2014<http://landartgenerator.org/LAGI-2012/40574453/> Fig. 8. Home Solar Info 2012 How does solar power work, Home Solar Info, Viewed 15 March 2014<http://www. homesolarinfo.com/how-does-solar-power-work.html> Fig. 9. D. Jack, 2010, how solar thermal power works. Howstuffworks, Viewed 15 March 2014<http://science. howstuffworks.com/environmental/green-tech/energy-production/solar-thermal-power.htm> Fig. 10. G. Jannes, 2011, Thermal imaging cameras for solar panel inspection, photovoltaic production, Viewed 15 March 2014<http://www.photovoltaic-protduction.com/450/thermal-imaging-cameras-for-solar-panel-inspection/> Fig. 11. N. Paul, 2007, uni-solar: portable, he 12 Volt Shop, Viewed 15 March 2014<http://www.12volt.com.au/ redirect.html?a=/General Htmls/webcat2003/solarpage.html> Fig. 12. L. Joyce, 2011, Solar PV out of the box, Focus, Viewed 15 March 2014<http://www.renewableenergyfocus. com/view/18888/solar-pv-out-of-the-box/> Fig. 13. NFO MMO, 2014, Le Crystal Island Viewed 15 March 2014, <http://www.infoimmo.fr/le-crystal-island/> Fig. 14. NFO MMO, 2014, Le Crystal Island Viewed 16 March 2014, <http://www.infoimmo.fr/le-crystal-island/> Fig. 15. Karim Yergaliyev, 2007, Moscow: cstal island viewed 15 March 2014, inhabitat, <http://inhabitat.com/tallestskyscraper-in-the-world-coming-to-moscow/> Fig. 16. SPIRE EDGE 2008, Spire Edge – India’s first Mainstream Green office complex Viewed 16 March 2014, <http://spireedge.wordpress.com/> Fig. 17. NAR SPIRE WORLD 2008, THINK GREEN, THINK AHEAD Viewed 16 March 2014, <www.wtcmanesar.org/ green-advantage-brochure.php> Fig. 18. SPIRE EDGE, Spire Edge Manesar Gurgaon-Office Space Spire Edge, Viewed 16 March 2014 <http://www. spireedgemanesar.com/Spire_Edge_Office.php> Fig. 19 S. D. Taschen, 2002, Serpentine Gallery Pavilions, Serpentine Galleries, Viewed 25 March 2014 <http:// www.serpentinegalleries.org/about/press/2014/02/exhibitions/serpentine-gallery-pavilion-2002-designed-toyo-itoand-cecil-balmond> Fig. 20, 23, 25 Dr. Toni Kotnik, 2007, Algorithmic Architecture - Introduction to the MAS colloquia 2006/07, caad Darch, Viewed 25 March 2014 <http://wiki.arch.ethz.ch/asterix/pub/MAS0607/MasColloquia/Lecture01.pdf> Fig. 22 F. Charlie, 2009. The night view of Beijing National Aquatics Center, F Charlie, Viewed 25 March 2014 <http://en.wikipedia.org/wiki/File:%E5%9B%BD%E5%AE%B6%E6%B8%B8%E6%B3%B3%E4%B8%AD%E5%BF %83%E5%A4%9C%E6%99%AF.jpg> Fig. 24 Mapolis architecture + BIM, 2009 A Static and esthetic Masterpiece, viewed 24 March 2014 <http:// architecture.mapolismagazin.com/node/1068>

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PART B

CRITERIA DESIGN

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Parametric Design

â&#x20AC;&#x153;Parametric design depends on defining relationships and the willingness (and ability) of the designer to consider the relationship-definition phase as an integral part of the broader design process.â&#x20AC;?

R. Woodbury 2014, 153

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B. 1 Research Field - Banq Restaurant

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Fig. 1 Left - BanQ - along sectioing Fig. 2 Right - BanQ exploded axo

Our group has decided the “sectioning” as material system and will be using “Banq restaurant - office dA” as our precedent project.

Banq restaurant by office dA, is located at Boston, MA, USA. The restaurant features contour like sectioning of material system, that is constructed with wood slats. The main purpose of this contours are to conceal the mechanical, plumbing and lighting system on longitudinal axis and provide aesthetics to users. What i was inspired with this architecture was how this kind of structure could provide different impressions at different view point.

Longitudinally, parallel to the structure, it is possible to experience the seamless contours that continues from the start to end drawing out its presence at the place. On the other hand, looking at the structure perpendicularly, with incorporation of change in amplification, where some of them actually works as structural component like column, it appears as if the ceiling is dripping or flowing on to the ground producing very interesting design. It was very inspiring the way design is part of structure and working with it and broaden the opportunities and my understanding of design that also to work with surroundings, not only by itself.

The algorithmic part of this design really is just a some contour lines with changes in amplification or some more of variation within. However, just like i have said above, and just like the Banq restaurant there are infinite possibilities and opportunities. It comes through the benefits of computation, such as being able to produce a complex design within short time frame, which enables the design to develop as it is possible to play around with the contours, altering its shape, direction, amplification, beyond its limit,

and most importantly a oppotunity to work with and in of the design and the place, which broaden its potential and possibilities, thus to forming matrix.

In terms of fabrication, it could be simple job to fabricate, but having it to be spaced perfectly could be a problem or use of weak and light weighted materials, such as card board, paper, and so on, may result in bulking, bending of the design that will alter and change the idea behind and result in different, in failure way, final fabrication.

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B.2. Case Study 1.0 - Matrix

Specie 1

Variation 1

Variation 2

Variation 3

Variation 4

Variation 5

Variation 6

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Specie 2

Specie 3

Specie 4

Specie 5

Specie 6

Specie 7

Specie 8

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B.2. Case Study 1.0 - Criteria

1. Interesting form - dynamic, innovative, sculptural 2. Potential spatial development for space and spatial experience - void vs solid, approach, passage 3. Potential to incorporate renewable energy, solar and kinetic energy, on the LAGI site.

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1. Simple and yet having elegance in form was created through several iterations of original species. Simple patterns of small bumps may not appear to be dynamic or inspiring, but it is not only the complex or extraordinary design that will always be beautiful. The simplicity of the design with flow of waves, resembles natural landscape suggesting me to look back and reflect upon simple and yet beautiful natural landscape, thus the surrounding environments. Therefore potentially creating some specific spatial experiences such as large open communal area where individuals can connect with nature.

2. Utilizing series of horizontal sections and with height restrain, it has produced an interesting spatial layout as shown in selection 2. This restrain in height has formed an interesting shapes, that resembles series of valleys which results in combination of void and solid spaces where it can potentially be used for creating circulation of movement for individuals passing through the model, as well as the dynamic appearance of â&#x20AC;&#x153;valleiesâ&#x20AC;? could reflect upon materiality to produce interesting natural experience within the site. These qualities may interest individuals and attract more paticipants thus chosen as one of 4 selection.

3. Dominance of strong central wave and gentler waves around the it creates a interesting dynamic flow from wave to wave which appears to be similar to blossom, becoming very sculptural form. Although it may appear simple, when it compare to other iteration, but its neat and smooth flow adds elegance to the design signifying the interesting sculptural aesthetics. It is highly noticeable the sectioning lines intercepting at the centre, which broadens possibility for the design to produce various spatial experience such as presence of void and solid creating different zones of spaces, communal or private, or its potential to have bit of surprises for it to have different experiences from approach to passing through the interception having it feel discontinuous and yet possible to identify the flow beyond.

Furthermore various different techniques of solar could be applied as it does not interfere with other surfaces.

Also possible development potential to incorporate kinetic energy movement, just like in ---- but having it to move with human activity, not wind.

4. It may look alike with the first selection, this component has created better dynamic flow and sulptural form through manipulation of amplification component. The dominance of gentle flow sections maybe not be very innovative, but the quality of the orientation of the design, seamly upside down and the little varing bumps produces interesting dynamic movement of voide and solid which possibility allow for communal or private reflection areas.

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B.3. Case Study 2.0 - Lignum Pavilion

The Lignum Pavilion designed by Frei and Saarinen Architects in 2009, aims to inform the public about possibilities of wood application in construction field, architecture.

It is constructed by 50 mm thick wooden panels that is assembled and rested on vertical wood elements of 130 mm in height.

The base form of the architecture is a result of an abstraction of the figure “8”, that is sectioned in to horizontal layers. The production is fully digitized, computation, which allowed optimized material usage, helping to reduce cost while leverage the characteristics of wood.

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As the design intent for this architecture was informing about possibilities of wood, which, in my opinion, it brings out an idea of being organic and communicating with nature. This concept was successful in terms of being organic that the play on “solid” and “void” to create a pathway flowing through from entrance to exit. It strongly emphasise on the characteristics of wood that incorporates characteristic of sectioning, “seamless”, thus conveys its smooth and organic part of the design. Also the structure allows individuals to walk up to roof, interacting with different views, experiences and of it own, the architecture, revealing a idea of communication with “nature” as such for its interaction with wood, the architecture.

Fig. 3 Left - Side view Fig. 4 Right - Inner view

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B.3. Case Study 2.0 - Reverse engineering - steps

Starting with figure “8” shape to follow the trace of our architecture.

To produce “sectioning”, series of horizontal rectangles where added to cut away the pipes

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Using pipe tool, two different, one bigger, surfaces were produced

Having each horizontal planes be extruded, thus not a flat but has height, clear sectioning on pipes were made

Using box tool, the curve to start

Similarly, vertical p added to the definitio

set domains on t cutting out

planes were on

As result hollow pipes were produced, step closer to the architecture.

Which produced sectioning in vertical direction

Lofted for a better contrast with void and solid.

Then combined with horizontal to complete the reverse engineering.

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B.3. Case Study 2.0 - Reverse engineering - comparison

Fig. 5 Top Left - Side view Fig. 6 Top Right - Side view Fig. 7 Bottom Left - Inner view Fig. 8 Bottom Right - Inner view

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Similarities / Differences The direct similarity that can be observed is the form that is produced through series of vertical and horizontal planes. As the form is both based on figure 8 shape the vertical and horizontal planes are making the final result to be similar.

Also, the “circular hollow pipe” works positively with the sectioning planes, that the structure itself works as stairs providing opportunities for play on and with structure where individual and experience.

Furthermore, the void and solid space are one of similarities, which creates a circulation or pathway that individual can easily follow while experiencing the structure.

Another difference would be its base figure 8 curve which is visible in first two pictures that the final model created and original architecture has different overlapping curves, once being below and other being going above.

Also the original architecture implies randomization of pipe, that the pipe size varies throughout the loop while the final digital model produced has constant radius throughout the loop.

Furthermore, the thickness of 2 different pipes are different and for digital model, exact same shape, but offset, pipe was used for production of void space, where as the architecture also could have implied 2 different pipe sizes to allow more variation within the space.

To be very picky and literal, the obvious difference would be the number of section planes and its thickness creating different size of opening and spacing between the “structural step” moreover having the vertical planes sort of emerging with horizontal planes on digital model, shown in fig. 7, which really is different to the original architecture where actual consideration of utilisation of the structural steps are made, that the vertical planes stops on top of the stair, not following the horizontal planes to bottom, which prevents being it as obstacle when its used.

Development For further development, since it will be “unconstrained” by original form, we would like to develop to have a greater circulation, moving in and out and or out and in, and to utilise some of renewable technology to create different experiences inside and outside of the structure, for example having different level of ground, like a stairs or slopes, to make it resemble of natural landscape for individuals to experience or play on void and solid/ light and shadow in and out of the structure for individuals to experience or be surprised throughout a journey around the structure.

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B.4. Technique: Development - Iteration VARIATION

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B.4. Technique: Development - Iteration VARIATION

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* Addition of voronoi cutaways

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B.4. Technique: Development - Exploration

This is one of the â&#x20AC;&#x153;typicalâ&#x20AC;? iteration we produced which is replicate of our reverse engineering architecture, lignum pavilion. This was one of unsuccessful ones as it is just copy of a precedent we used and not much of development was done to this type of design.

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It sure had vertical and horizontal sections, but not the way we wanted to be, that the structure itself was too bulky looking and there was no dynamic movement or shape on the model.

One of successful outcome was the experimentation of grasshopper definition, allowing us to know which slider does what, and what component doing what type of job within the structure, further enabling us to develop the design.

This one was one we liked out of all of iterations and one that we decided to develop. This was because of its elegance in form, much less bulky but is flowing from end to end encouraging movement. Also by just having 1 of the pipe it was much easier to think the physical model on site, and how it will be used.

Also the spatial experience produced by this form was very clear that external and internal views/ spatial enclosure is completely different, and the â&#x20AC;&#x153;differenceâ&#x20AC;? was what we were seeking, which is why it was thought to be one of better ones.

On negative side, it maybe too closed in terms of vertical sections, that it is not open enough for individuals to reflect upon surroundings, though as it provide more surface it maybe better for incorporating renewable energy.

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B.4. Technique: Development - Development

1. Interesting form dynamic, innovative, sculptural

2. Potential spatial development for space and spatial experience void vs solid, approach, passage, view from/to the site

3. Potential to incorporate renewable energy, solar, kinetic energy and piezoelectricity

The more developed type was produced that we thought it fit the selection criteria we made.

The varying number of vertical and horizontal rib sections as well as curvy, sculptural design emphsising its dynamic flow and movement within the model.

Expanding span of vertical sections towards end creates different sense from entrance to exit also controlling void and solid atmosphere for various type of experiences inside and possible development on it to produce different type of void and solid. Also it provides different aesthetic views when its viewed from different direction, from entrance, across the site and around the site.

Also consideration of ribs allowed us to incorporate piezoelectricity to the design which to utilise vibration from wind to produce energy.

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B.4. Technique: Development - Development

For Further development and variety of design outcomes for us to test out, we tried go back and looked back at case study 1.0.

Interesting play on solid and void on design was identified that had potential to be developed on.

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The successful part of this form was that it allowed directed pathway with utilisation of void and solid spaces. This then have potential to result in different spatial experiences formed though concealed or directed view, contrasting the landform to surroundings.

Also various changes of its aesthetics in viewing it from different viewpoints can be developed upon, as once again landform conceals or reveals, thus with different viewpoint, different shape or form it will take.

Any of renewable technology, solar, kinetic, could be installed, but with piezoelectric it maybe a problem as it cannot receive as much wind as other types of design nor it is more free to move around, but is quite solid and bulky.

Strong horizontality is presented for encouraging peopleâ&#x20AC;&#x2122;s movement.

Therefore, we made development on the design, which is on next page, to explore how the design respond to our selection criteria.

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B.5. Technique: Prototypes - 1

Fig. 9,12 Top/bottom Left - Perspective view 1 Fig. 10,13 Top/bottom Middle - Perspective view 2 Fig. 11,14 Top/bottom Right - Top view

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Prototype Process After selection through the criteria, the digital model was combined with another grasshopper algorithm to create notches on the junctions of vertical and horizontal planes, this will act as joints for fabrication, therefore each vertical and horizontal sections able to support each other.

It is then laid out according to â&#x20AC;&#x153;FabLab rhino templateâ&#x20AC;?, which lays out the 3d model into each 2d sections for cutting and scoring.

For assembly, it will be assembled according to its shape, thus front to back, bottom to top and just by numbering them without any assembly diagrams, it was possible to fabricate.

We used mount board for fast construction on prototype, which lead to positive and negative results.

Positive result It was quick and fast to cut the scoring and assemble as mount board is easy to cut whilst having bit of stiffness.

Sectioning allows for optimization of material usage and efficiency Negative result As it is white coloured, the burn marks produced by card cutter was very visible which influenced overall visual effects.

The material was too thin for it to be assembled perfectly, that some of notches or even the section itself bent during fabrication. Therefore super glue had to be used for rigid connection between horizontal and vertical sections.

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B.5. Technique: Prototypes - 2

Fig. 15,18 Top/bottom Left - Perspective view 1 Fig. 16,19 Top/bottom Middle - Perspective view 2 Fig. 17,20 Top/bottom Right - Front view

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Prototype Process Those advantages and disadvantages of mount board did not seem to appear as much (just some of disadvantage) when fabricating the first one, but when it came to second one, because of horizontal and vertical connection it made lots of errors.

For different material usage, we would thought wood will be best solution to most of disadvantages on mount board as it has enough thickness for notches to perfectly fit, thus no glues required, or there is no worry for it to bend (thought it may break with impact forces, but as prototype this wont be problem).

Also the burn marks will actually effect as positive aspect of on wood, and it wont be as visible as much as mount board, but as blend in marks on wood positively effecting on its aesthetic.

After prototype, we found out that some modification had to be made such as for 1st prototype thickness should be changed as it was very unstable and time consuming with that small amount of connection.

For second prototype that the vertical sections which is only connected to 1 side should be altered, either reinforced for completely change, as it was not stable.

Also as for horizontal sections, the parts where there are no connections with vertical sections, the horizontal sections bent down, meaning overweight of the structure requiring support.

Nevertheless on physical properties on the model, the ribs were each to vibrate which is positive aspect to incorporate renewable energy, such as piezoelectricity, but larger surface will be required for higher electricity output, and model not so well responded to the technology, therefore further development are required.

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B.6 Technique: Proposal

Fig. 21 PHOTOMONTAGE TOP VIEW

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DESIGN CONCEPT DESIGN A SPACE THAT CONTRASTS THE STATIC NATURE OF THE SURROUNDING INDUSTRIAL AREA MOVEMENT

SECTIONING

ORGANIC FORM

EMPHASISE HORIZONTALITY AND/OR VERTICALITY IN ORDER TO INFLUENCE FLUIDITY AND MOVEMENT ACROSS THE SITE

NATURAL TOPOGRAPHY

- Reflecting back to surrounding “man-made” factories and encourage users to think about how we can easily change the landscape around us - For a place where users can interact

CIRCULATION

RENEWABLE ENERGY

ENCOURAGE FLUID MOVEMENT THROUGHOUT THE SITE BY SUGGESTED PATHS

PIEZOELECTRICITY KINETIC SOLAR

SPATIAL EXPERIENCE VOID VS SOLID INTERNAL VS EXTERNAL LIGHTING

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B.6 Technique: Proposal

Fig. 22 PHOTOMONTAGE SIDE VIEW

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FORM - Sectioning Designing a space that will contrast to static and geometrical surrounding industrial site, to provide users a place to relax and reflect upon on how landscape can change the atmosphere easily. The main core idea behind is the movement/ fluidity created through sectioning which emphasises the horizontality and verticality and thus sense of movement and fluidity. In terms of choosing the final form, the most sculptural form consist of vertical and horizontal section was chosen. This not only express the dynamic quality of the model, but also the spacing between each sections are carefully controlled to provide different spacial experience throughout the model.

The control of number of sections provides different views at different position while reveal some of parts through gap/ opening encouraging users to be curious in concealing and yet providing some sneak peaks for them to keep move and explore through suggested pathways.

These elements have resulted in the successful incorporation of potential spatial development with void and solid spaces, an interactive passage along the site and different views also with incorporation of renewable energy in which explained below.

ENERGY SYSTEM Throughout engagement with prototypes we have decided that using external natural element such as wind, rain maybe even sound as our renewable energy source. Denmark is one of the pioneers in wind energy with the highest rate in the world, where 22% of electricity was produced by wind in 2012, and with goal of brining it up to 50% in 2020. One of evidence that LAGI site has enough wind production is the wind farm which is installed parallel to the LAGI site. A high magnitude and frequency of wind comes from the South, South-West, especially along the harbour where the site is located. Therefore, we have decided to incorporate this wind force to our “ribs (the vertical and horizontal sectioning)” as one of technology called “piezoelectric Vibration Energy Harvesters”.

Piezoelectric vibration energy harvesters utilises the vibration forces which the crystals in the membranes goes under stress and strain which results in conversion to electricity, which means to be located to the rib sections of our design. To maximize the vibration, ribs should be installed parallel to the wind direction. Also not only wind forces, but vibrations caused by rain, sound, bird, human activity will be also picked up by the energy harvesters. Therefore we are hoping to engage users on the site by promoting users to physically sway and interact with the ribs so they themselves are part of the energy making process on the site.

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B.6 Technique: Proposal

Fig. 23 Top Left - Views from across t Fig. 24 Top Middle - Ferries pathway Fig. 25 Bottom Left - Sun/Wind directi Fig. 26 Bottom right - Panorama view

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the site

Furthermore, for a secondary source, kinetic energy will be used as also to focus on movement. PaveGen is one of technology that utilises kinetic energy which will be installed along the guided passageway, to invite people to explore and move around the site.

Additionally a newly developed solar technology called “starpath” which features spray on coating that captures UV rays during day and emits light at night to be sprayed on PaveGen for manipulation of user’s movement through the site and visual lighting effect

PUBLIC ENGAGEMENT The space created expresses continuous dynamism, movement and fluidity where users will feel increasingly engaged and energized as they traverse through the site.

This is produced as explained above and thus the site will become a social hub for people to relax, for both day and night. Also users will begin to understand and appreciate the renewable energy system, which promotes users to understand what our projects means as they are engaging with production of electricity.

VIEWS From across, where mermaid statue is, it is possible for tourist to view the design in different direction. With differing spots (orange dots) different orientation of section lines can be identified. Similarly with people using ferries, they can experience the different aesthetic change motion by motion, thus encouraging users to be curious about the site and works as a one of attraction for people to visit

ion w

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B.7. Learning Objectives and Outcomes

In my opinion, the subject is well outlined that throughout part A to B, it is well organised in such a way each small parts are like a small step to objectives. For example, in part A, introduction and exploration of grasshopper was done to build fundamental ideas for next part, as well as throughout research on precedents further understanding on computation and as for a visual example for further development. These was then connected back the learning objectives such as objective 1, interrogating a brief.

Also in part B, through iteration of a particular design, it was possible to idealise how the parametric modelling was created, manipulated and designed. Then through process of reverse engineering, further developed the ability to generate a variety of design and 3d parametric modelling. Then in selection of digital model, it was possible to conceptualise the idea behind the model as well as by using renewable technology, the whole design was formed, shaped and eventually leading to proposal on design and site.

During interim reviews, the feedbacks in presentation was that we did not have a form that is suiting the technology but it was rather a random any type of form and renewable technology was just “sitting” or “placed” on top of it. I think the problem was that the design itself was produced only focusing on the flow of movement and organic shape, that we have neglected about fitting in the technology and thinking about how technology changes or restricts the design. Therefore, we decided to change from using solar panels, to more suitable and specific technology, piezoelectricity. Right now our design is not complete where it only responds some parts of how we utilise the technology, such as using vibration to engage users and produce electricity. To extend this design further to meet the requirement of the brief 1. It should be fully utilising piezoelectricity in terms of energy production and user engagement 2. The restriction should be considered more carefully, such as thickness/ number of joints of the rib sections as thicker the ribs are and more joints there are it will reduce vibration and causing to reduce output. Although this has to balance out with minimum structural connections required to withstand various load and to be able to structurally support everything.

3. as “making of form” to the “finding of form,” (Kolarevic 2014), we need to stop making a form randomly, but logically find a form that fits and works with all of aspect, renewable energy, individuals, aesthetic, and structural.

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B.8. Appendix - Algorithmic Sketches

This demonstrated the core aspect of sectioning as it consisted of both vertical and horizontal shapes. The core computational principle that i learnt from this was that complexity is not necessarily equal to very innovative design, it is about right pattern and right amount of definition that produces dynamic and innovative design. By having this type of â&#x20AC;&#x153;failureâ&#x20AC;?, as seen above, it is messy, surfaces are intersecting and looking very bulky which is very far apart from the proposal we had. From this mistake, i was able to think more flexible, that not only thinking about complexity, but having balance between complexity and its aesthetic.

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REFERENCE Copenhagen: solutions for sustainable cities, city of copenhagen, 2003 Avaliable at : http://www.sustainia.me/wp-content/uploads/2012/06/CPH-2025.pdf [Accessed 1 05 2014] Erin 2013, Lignum Pavilion, side and inner view, CONTEMPORIST, Available at: http://www.contemporist.com/2013/03/06/lignum-pavilion-by-frei-saarinenarchitects/ [Accessed 15 04 2014, ] Hogarth, B., 2014. 1millionwomen: Incredible Electricity-Free Alternative to Streetlights. Available at: www.1millionwomen.com.au/2013/10/16/incredibleelectricity-free-alternative-to-streetlights/a [Accessed 30 04 2014].

John, H 2008, BanQ, along sectioing and exploded axo, ArchDaily, Available at: http://www.archdaily.com/42581/banq-office-da/ [Accessed 5 04 2014].

Kolarevic, Branko (2014). ‘Computing the Performative’, ed. by Rivka Oxman and Robert Oxman, pp. 103–111 pdf Land Art Generator Initiative, n.d. Site Photos. [Online] Available at: https://app.lms.unimelb.edu.au/bbcswebdav/pid-4269798-dtcontent-rid-13528024_2/xid-13528024_2 [Accessed 05 05 2014].

MIDE, 2014. MIDE Engineering Smart Technlogies: Piezoelectric Vibration Energy Harvesters. [Online] Available at: http://www.mide.com/products/volture/piezoelectric-vibrationenergy-harvesters.php [Accessed 05 05 2014].

Pavegen Systems Ltd., 2014. Pavegen Systems. [Online] Available at: http://www.pavegen.com/technology [Accessed 05 05 2014].

Sustainia, 2003. Guide to Copenhagen 2025. [Online] Available at: http://www.sustainia.me/wp-content/uploads/2012/06/CPH-2025.pdf [Accessed 05 05 2014].

Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170

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PART C

DETAILED DESIGN

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C.1. Design Concept

Reflection Reflecting back to interim presentation, we have realized that we are missing and yet have lots of opportunities to improve and develop our design. The part B feedback was a direct pathway that fixed our group to jump back into track that a comment on “there is no necessary to provide a reason for “why” its is being organic form, but its more about being “crazy” and a thorough background research, explanation (design and site relations, technology, etc), and refinement on the design, including its joints, specific energy harvesters and how these are integrated into as whole design”.

As we were strongly, and mostly focused just on forms those feedback led to a few changes.

Firstly, we went back over the form, we were focused on form, but we were focused on being “organic” (our design concept, but just a random idea, not relating to site), not how it responded the site. Secondly, we went over our technology, from being just a “addon” or secondary sources, but as a integration and part of design that can harvest energy while it balances with design. Finally, further development was done according to our new technology, piezoelectricity, and its overall design form.

For first change (going over the form), started with experimentation of site arrangement on the site.

We were still interested in “organic form” as it amplified aesthetics of the sectioning design and in a nutshell, we liked the idea of contrasting the surrounding environment and providing users to reflect upon and appreciate the nature.

We started with one curve going across the site. However, as we find out Copenhagen’s city aesthetic, we found out that Copenhagen has grid-like system, where there are dominance in 2 architectures along side of centering pathway. It maybe literal approach, but we started to look into 2 curves and its arrangement.

However, with just this the form itself was fairly random and literal, while technology was not considered, thus as well as not much relation to the actual site.

Therefore, we went back to our core design concept and went through each point again.

As such our group decided to research on Copenhagen’s city life, and by relating how city looks like (its view, pathway, architecture, colour, and so on) we gave some social meaning to the site and for a obvious (where visiters can easily identify) reflecting city life.

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C.1. Design Concept

DESIGN CONCEPT DESIGN A INTERACTIVE AND GENERATIVE SPACE THAT REFLECTS COPENHAGEN CITY WHILE RESPONDING TO THE SITE MOVEMENT

SECTIONING

ORGANIC FORM

EMPHASISE HORIZONTALITY AND/OR VERTICALITY IN ORDER TO INFLUENCE FLUIDITY AND MOVEMENT ACROSS THE SITE

NATURAL TOPOGRAPHY

- Reflecting back to surrounding “man-made” factories and encourage users to think about how we can easily change the landscape around us - For a place where users can interact

CIRCULATION

RENEWABLE ENERGY

ENCOURAGE FLUID MOVEMENT THROUGHOUT THE SITE BY SUGGESTED PATHS

PIEZOELECTRICITY KINETIC SOLAR

SPATIAL EXPERIENCE VOID VS SOLID INTERNAL VS EXTERNAL LIGHTING

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Applying Design Concept and Technology Fig. 1 WIND ROSE DIAGRAM

Going through design concept that we have produced, and integrating it to the design, one by one, we were able to refine and develop its overall aesthetics and possibly user’s experiences, movement or circulation.

However, these were “without” consideration of site, thus the technology and doing this was same thing as interim, where we are just producing “organic: form that does not really mean anything.

Therefore, we decided to research on the most crucial aspect of piezoelectricity, wind and specific technology.

Firstly, wind direction and its magnitude and frequency.

According to Dansih Meteorological Institute, the westerly winds are predominant (Dansih Meteorological Institute, 1999, Observed Wind Speed and Direction in Denmark).

However, through research on wind stations around our site, such as Avedore station, it was possible to identify that the wind farms are mostly installed heading south, south-west and some for west. This indirectly reveals wind flow at around “our site” that southerly, southwesterly winds are dominant.

Secondly, We researched through piezoelectricity and found that there are 2 major piezoelectricity harvesting types, which are by vibration or tension and compression.

thus it requires the sectioning to be perpendicular to the wind directions allowing sections to move like pendulum. As result in this instance tension and compression system to be much more efficient that vibration harvesters.

These researches enable a site respond for our design, as well as possible opportunities for a fine balance of technology and design.

As mentioned in part B, the piezoelectricity vibration energy harvesters are vibration generators that work efficiently under vibrating conditions. This means the ribs, sectioning, requires to be parallel to the wind direction, south, southwest, to obtain maximum vibration. Whereas, tension and compression system based harvesters, requires a pendulum work,

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C.1. Design Concept FINAL FORM

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Further development, with consideration of Copenhagen city, design concept and technology (wind) was done and a elegant form and yet having brilliant balance with technology was chosen for our final form.

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C.1. Design Concept Vibration Panels -> wires -> ribs The first half of sectioning are oriented along the riverside of the site. This is to create a spatial experience of walking away from city, but towards river as well as scenic route, being exposed to wind. As explained above for more vibration the ribs are placed parallel to wind direction. At this moment, we had major design decision which was to incorporate wires to run between the ribs.

This was because of simple physics that “heavier the mass is, higher forces to move”, the ribs had 2 point connection to ground which seemed to be fairly rigid to be efficiently producing energy.

As such, very light-weighted wires (for eg guitar string) in between the ribs are used instead to produce vibration more efficiently. Furthermore, another simple physics, “larger surface equals more force exerted on the surface”, thus SQUARE panels were added to the wires. In terms of surface areas, with same length and height (or diameter), square has highest surface area. Not only that, square has high potential on controlling views, such that manipulation of views are possible for user experiences. Moreover, This not only increases the vibration (as more forces), but also as a interactive experiential source for users to spin and play with the panel and be part of energy making.

Most ribs are oriented parallel to wind direction will be using wires and panels to amplify the vibration to harvest more energy. To accommodate winds from other direction, panels will be installed throughout the site (number size controlled by point attractor) and for user to interact anywhere in site

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Compression/ Tension Rib heights Throughout the site all of the sections are with varying heights, to create different spatial experiences while for some parts, to capture larger amount of wind as wind force is stronger at higher altitude.

For perpendicularly arranged ribs, their heights are extraordinarily large (like cathedral impression) to receive more wind to move. However, as discuss, ribs have 2 point connection, which is quite rigid, and because of its size, it requires large amount of wind force to move back and forth. Although, with the ribs that are arranged perpendicular to wind direction, the wind force is not enough to generate enough energy. Therefore, we decided to use a technology called “building isolators” with piezoelectric ceramic disc to wrap around isolators.

The isolators, literally isolates the structure from ground as well as has ability to bring the structure to its original place after it has been bent by force.

This will allow the ribs to move back and force, creating compression and tension, achieving the goal of efficient energy production.

Secondary PAVEGEN A very simple and yet interactive kinetic energy production product, PAVEGEN allow users to be involved with energy making process as well as guide people throughout the site by encouraging people to step on the panel creating circulation and manipulation over the users.

Fig.2 Diagram, technology to electricity

Vibration

Compression/ Tension

Secondary

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C.1. Design Concept Algorithmic approach to form the design OFFSET AND EXTRUDE DIVIDE CURVE INTO EQUAL LENGTH SEGMENTS

CURVE 1&2

CREATE ARC BETWEEN POINTS ON CURVES 1 & 2

DIVIDE ARC INTO EQUAL LENGTH SEGMENTS SOLVE INTERSECTION EVENTS FOR CURVES 1 & 2

Envisioned construction process PREBARICATION OF STRUCTURAL STEEL MEMBERS AND CONCRETE FORMWORK PREPARE FOUNDATION FOR ISOLATORS AND FOOTINGS

ATTACHMENT OF STEEL STRANDS WITH TRUSS WORK

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TRANSPORTATION OF MATERIALS (STEEL MEMBERS, BOLTS, GUSSET AND L-PLATES, WELDING EQUIPMENTS, CONCRETE AGGREGATE, ISOLATOR, CONCRETE FORMWORK, PIEZO CERAMIC PLATES)

PIEZO VIBRATION HARVESTORS CLAMPED TO STEEL STRANDS WITHIN TRUSS WORK

FOUNDATION AND FOOTING CONSTRUCTION

PANELS ATTACHED TO STEEL STRANDS

FLIP DATA MATRIX

BY SWAPPING ROWS AND COLUMNS

CREATE AN INTERPOLATED CURVE THROUGH A SET OF POINTS

SHATTER CURVES INTO SEGMENTS

CREATE POINTS IN THE MIDDLE OF EACH SEGMENTS POINT ATTRACTOR

CREATE PIPE ALONG CURVE

CREATE POLYGONS PARALLEL TO CURVE

PIEZO CERAMIC PLATES INSTALLED AROUND ISOLATORS

TRUSS BOLTED TOGETHER

TRUSS LIFTED INTO PLACE WITH CRANES

CLADDING BOLTED TO TRUSS

FLASHING PLACED AROUND ALL HORIZONTAL PENETRATIONS

L PLATES BOLTED TO STEEL PLATE AND WELDED TO TRUSS

SITE CLEAN-UP

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C.2. Tectonic Elements

Prototype

Fig. 3 Top Left - Steel truss for rib Fig. 4 Top Middle - 1:5 rib footing (including rib structure) Fig. 5 Bottom Left - Isolator + ceramic disc Fig. 6 Bottom right - Concrete footing +Isolator + ceramic disc

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Fig. 3 is a exploration of the rib structure.

By having a I-beam truss system on 4 square hollow section, which is connected through, from ground - L plate bolted to ground (concrete) and welded to SHS, truss and SHS beams are bolted with the plates. Since the plates provide a rigid connection, the structure should have enough rigidity overall and should be sufficient to withstand the load.

Fig. 4 shows overall prototype structure as well as come cladding outside. The thickness of cladding may not be in “actual” size, but it should be fine to be just stuck with adhere, as it does not structurally support anything.

Fig. 5 and 6 shows the isolator and ceramic disc that will be installed under every rib. Right now, the connection or the joint is not rigid enough since it is just glued into concrete. This is not rigid enough because the building isolator is the one that is moving the most and is why piezo disc is wrapped around it (although there aren’t this big disc out in real yet, but we assumed that it will be in future). Therefore adhere wont be enough, but requiring joints such as plates and bolted to ensure a rigid and strutural connection It was just 3mm and 5mm formboard and 1mm screenboard, glue, wood texture, which is cheap to make. It only took a few hour to fabricate thus can be considered as fesible for time of fabrication, considering we didn’t fablab this prototype.

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C.2. Tectonic Elements Digital details and development

STEEL SHS, Square Hollow Section STEEL I-BEAM Natural ground Plate L-PLATE Concrete Bolts, washer underneath

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Fig. 7 Top Middle - 1:5 detailed digital rib footing (including rib structure) Fig. 8 Middle Right- Flashing on rib and Wire intersection Fig. 9 Bottom Right - The second part of design (cathedral part)

Simple flashing to protect steel structure from moisture

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C.2. Tectonic Elements Digital details and development

The SHS beams, I-Beam truss, plate connection remains same, but improved on bolts connection by increasing number of them and size of plates to have complete rigid connection.

To be environmentally friendly and energy efficient, recycled materials (recycled steel, concrete) will be used as well as low embodied energy wood should be used to keep the impact minimum but maximize renewable energy production.

Changed to bolted connection having 2 bolts at each edge of rectangle enhances the connection holds and structurally supports the isolator well.

Also added in relation to natural ground, that to allow movement on isolator it need gap, and by having gap natural ground need to be retained with concrete to avoid any collapse of soil that may interrupt the technology

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Fig. 10 Top Left - Rib structure Fig. 11 Bottom Left - Isolator + ceramic disc

Wire connection to Piezoelectric vibration harvester wire is connected to clamp that transfers vibration to piezoelectric and generate electricity

This is the material for piezoelectric. From top, FR4 is glass sheet, EPOXY is adhere, PIEZO is the material that converts mechanical energy to electricity, ESPANEX is a flexible material that allows movement (bending, thus tension compression) for this piezoelectric

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C.3. Final Model Fabrication Process

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Fig. 12 Top Left - Fablab-ed ribs Fig. 13 Top Right - Fablab-ed ribs Fig. 14 Bottom Left - Fablab-ed ribs Fig. 15 Bottom Right - Site

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C.3. Final Model Fabrication Process

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Fig. 16 Top Left - Rib construction Fig. 17 Top Right - placing in ribs Fig. 18 Bottom Left - adding panels Fig. 19 Bottom Right - final model

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C.4. Additional LAGI Brief Requirements

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Fig. 20 view from mermaid

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C.4. Additional LAGI Brief Requirements

THE WHISP

LANDSCAPE A elegant and yet overwhelming landform at the site â&#x20AC;&#x153;Refshaleoenâ&#x20AC;? indicating the Copenhagen city life while its organic curvature gently contrast the busy city and industrial life. An interactive place, Whisp, aims to drive users to be in a highly contrasting, and yet relaxing place for users to reflect the city life and provide a gentle time to rest. It is situated at its best possible beneficial place, south and southwest, for harvesting optimal wind energy. It has various passages, whether guided or non guided which all provide movement and different experiences throughout the site.

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One may lead to riverside or other to huge swinging cathedral like ribs that will provide a experience never had. It uses various technologies not only to harvest renewable energy, but also to interact with users such as designed panels are movable by individuals, or walk in the guided path to walk along the PAVEGEN and to be part of new forming of energy. At the end of the journey, bringing users to the boat area, where little mermaid and the river view can be seen as well as gaining a opportunities to go into other ways to experience different aspect of the building

Fig. 21 Left - Entrance Fig. 22 Right - Exit

MATERIALS The primary material used in the design is steel for ribs, wires and aluminium for panels. Steel is one of the most sustainable materials in the world with positive factors of low waste, flexibility, speed, long lasting, economical, reusability and recyclability. These ribs will be prefabricated to be more economically sound.

Steel is 100% recyclable which helps to save energy and reduce CO2 emissions. The ribs will be zinc coated to resist rust from natural elements such as rain or wind as well as will have bamboo cladding for further protection.

Furthermore, the cladding will enhance the natural and organic aesthetic while it is a highly sustainable material (low embodied energy) as it is highly efficient in growing. Thin steel wires will be threaded along its length, connected to the Piezoelectric Vibration Harvesters which is stuck to the ribs with adhesives. As aluminium is perfect for panels as they are light weighted (less resistance to wind, thin wire can be used, thus less wind resistance as thicker wire will vibrate less) recyclable, reusable and durable. The panel size will be varied for view manipulation, largest being 1.5mx1.5m.

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C.4. Additional LAGI Brief Requirements

MOVEMENT One of the main concept that this design consist is movement. The site is easily access with different types of vehicles such as car, boat, bicycle, or even walk. The form strongly emphsises on its horizontality and verticality to create a flow within the site and to encourage to move on. There are some choices just after entering the design that seems that the way separates out. This allow opportunities for users to explore and experience.

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series of contouring was donâ&#x20AC;&#x2122;t to produce passages inside, which separated into two, unique spatial experiences. One of them is a walkway pavilion and other is cathedral pavilion. Generally, the ribs are a structural system to hold up the wires and panels. Therefore, wind can cause the panel to flutter and oscillate against wires and produces vibration that goes into piezoelectricity.

Fig. 23 Left - Day Fig. 24 Right - Night

This constantly provides moving elements accentuated with the whirling and whistling (on strong winds only) of oscillating elements across the design. This therefore allow Visitors to experience and engage constant change of view (panels closing/ opening views) as well as interaction with the structure to be part of energy production.

Sometimes, ribs are structural, but also tied to ground and isolators that allows movement while they are rigidly holding up wires and panels. This is the cathedral pavilion part where it is highlighted by very grand ribs that sway back and forth. This part is purely on the interaction between the wind and its effect on the form, that this dynamic form allow visitors to feel and experience the wind, through touch, sound and site.

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C.4. Additional LAGI Brief Requirements

ENERGY HARVESTING

Located in Refshaleoen, Denmark, the most prevalent renewable energy source has been chosen; wind. The design has been orientated on the South, South-West to correspond accordingly with the strongest winds. As well as dictating the form, the ribs also act as the structural component.

They are threaded with thin steel wires attached to Piezoelectric Vibration Energy Harvesters at each end and attached to the ribs.

THE WHISP Energy Capacity:

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The wires are lined with panels of varying sizes to increase oscillation of the wires for more energy output. The cathedral ribs will be fixed to the ground and is connected to Piezoelectric ceramic lead zirconate titanate (PZT) plates so when the ribs sway the plates will compress and stretch to generate energy. Pavegen, a system that uses kinetic energy is also incorporated as movement is a key aspect. Additionally, the technology StarPath will provide a glowing path at night to attract visitors and promote kinetic movement by capturing UV light during the day and emitting it at night.

Fig. 25 Left - River view Fig. 26 Right - Cathedral

Piezoelectricity Vibration Harvesters 1 Piezoelectricity Harvester= 0.05mW/s 120 Ribs x2 Piezoelectricity Harvester in total= 12mW/s= 378.43MW/year 378.43MW/year X 40% efficiency= 151.372MW/year Piezoelectricity Ceramic Plates 1 Piezoelectric Ceramic Plate= 0.06W/s for 1 piezoelectric ceramic plates - there are 50 plates 50 Plates= 3W/s = 94.6MW/year 94.6MW/year X 50% efficiency= 47.3MW/year Pavegen 1 Pavegen Plate= 2.1W/hr 1500 Pavegen= 3150W/hr= 27.6MW/year Total Energy Produced= 226.272MW/year Therefore -> If average of 249kWh/month for a typical home= power up to 530 houses

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ENVIRONMENTAL IMPACT The Whisp aims to reflect and promote the ideals at Copenhagen, which is well known for achieving 100% renewable power. For better structural stableness on the ribs, the land will be dug out to install in some parts (where it is more unstable). Tourists and natives alike will be attracted to this innovative design, as result not only reflecting back on the city life, but also by interactively using the design, being involved with energy production process they can be part of achieving the ideals To minimize environmental impact materials should be considered and where possible recycled or recyclable materials should be used.

For our design embodied energy to construct.

Steel (recycled): 37210 MJ/m3= 297680MJ Aluminium (recycled): 21870 MJ/m3= 174960MJ Bamboo: 5720 MJ/m3= 45760MJ The Whisp Embodied Energy= 518400GJ= 518.4TJ This means The Whisp Embodied Energy return should be done in 6~7 years although this number is highly wind dependent

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C.5. Learning Objectives and Outcomes

The main feedback were lack of detail such as overall images expressing the spacial qualities, details of individual joints connections - ie tectonics, and further drawings and models, site arrangement as well as energy performance test.

This feedback was sort of what we were expecting to receive as we knew that there weren’t much on the slides or on our work, thus we went on and start draw, make, render those details that were in our head to express our design more thoroughly and resolve more.

Drawing diagrams such as how the electricity is produced, enhanced our understanding and allowed more possibility to communicate how the technology works, or like rendering allowed us and others to visually see what it looks on site, at night, or how the some of technology will work.

Then we went on to research about how the joints and structural element of our design to reinforce and deliver our ideas on how it will be stable or unstable, our development and decisions.

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In terms of generating variety of designs, we were able to create and arrange many different types of forms through parametric modelling and computation.

The computation generating design, thus this subject air, in my opinion it has very intimate relationship with architecture.

I did not thought of this until part C where this “crazy” design and ideas are resolved and logically forms into and fits into the form of “architecture”, such that finding joints, connections, its energy production, structural component and so many other “realistic” problems and fact.

Building the prototype, creating them in virtual world and fabricate, testing out the idea, whether is applicable or not, that its all sudden, from a idea that existed in virtual world came out to real world and it merges within.

Design futuring - the innovative idea of our project was a interactive space where people can be part of our energy harvesting system, while having connection with computation and technologies to produce renewable energy. design computation - the computation define our design, beginning from basic contouring of a simple pipe, arranging and iterating in different manner and forms, adding and subtracting different components, adding complexity forming a large whole design, and ending with small detailing of the model such as connections (holes, joints) forming and defining our design.

composition/generation - through computer experiment, i have found that even with digital help it is hard to bring out ideas and form and refine. I also found out that i become dependant on the software, that it makes me to think “oh maybe it does not work in grasshopper” or “should create something that can be produced in grasshopper rather than forming creative design”, and this is specially comes in strong when i cannot digitally model what i was thinking or some of component just does not work and it is frustrating to be dependent and be held up with “what grasshopper can do and can’t do.

Parametric - the 4000 panels and different size on them varying (point attractor) was not possible if there was no parametric modelling

Fabrication - we used computation to measure and scale our ribs to be right scale, schedule our fablab files to send it to prefabricate the design as well as numbering them or giving them order to be assembled at ease, not having to trouble with order of the assemble.

Manufacturing was all about sliding in the ribs, as we carved the ground out so the ribs just need to be slid in and rib itself was already prefabricated through fablab.

Analysis/Synthesis - If there are parts where one surface intersects because of too steep curves or some errors in the design such as panels orientated in wrong manner, allowed us to change and alter our design, ranging from simple curvature movement to complete change of one section (if that part just did not work.

materiality/patterning - first of all we needed to think about wind, and its direction, then we had to orient our design according to the wind direction.

It was important to understand material property and patterning to make sure it is at its highest (or at least higher) efficiency for the technology that it will incorporate within. Then it was just finding a balance between the form and technology to create best performing pattern

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REFERENCE

World Steel Association 2014, Sustainable Steel, <http://www.worldsteel.org/steel-by-topic/sustainablesteel.html> Accessed 30/5/2014 Australian Aluminium Council 2013, Properties and Sustainability, <http://aluminium.org.au/properties_ and_sustainability> Accessed 30/5/2014 EcoDesignz, 2006, Bamboo, <http://www.ecodesignz.com/whybamboo.html>.Accessed 30/5/2014 Canadian Architect, 2008, Measures of Sustainability <http://www.canadianarchitect.com/asf/ perspectives_sustainibility/measures_of_sustainablity/measures_of_sustainablity_embodied.htm>.

Accessed 30/5/2014 Mide Technology 2010, Piezoelectricity Vibration Harvester, <http://www.mide.com/pdfs/volture_ material_properties_2010.pdf>. Accessed 30/5/2014 Pavegen Systems 2014, Pavegen, <http://www.pavegen.com/>. Accessed 30/5/2014

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