565832_Jeannie_Air Final Journal

AIR J e a n n i e

K o n g

STUDIO 7 Cam & Victor

Content Introduction

Part A

CONCEPTUALISATION

A1.Designing Futuring A2.Designing Computation A3.Composition vs Generation A4.Conclusion A5.Learning outomes A6.Appendix - Algorithmic sketches A7.Bibliography

Part B

4 - 5

7 - 10 11 - 15 16 - 21 22 23 24 25 - 26

Criteria Design

B1.Case Study 1.0 B2.Case Study 2.0 B3.Project Development B4.Prototype B5.Design Proposal B6.Learning Outcomes B7.Appendix - Algorithmic sketches B8.Bibliography

30 - 45 46 - 59 60 - 63 64 - 67 68 - 71 72 - 75 76 - 77 78

Part C

Design Development

C1.inital design concept C2.technology C3.design concepts C4.design constraints C5.construction process C6.tectonic C7.final model C8.lagi brief requirements C9.presentation feedback C10.Learning outomes C11.Bibliography

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My name is Jeannie Kong. I am currently studying in The University of Melbourne, being a thirdyear student of the Bachelor of Environments, majoring in architecture. I come from Hong Kong and I came to Melbourne for my tertiary student since 3 years ago. Melbourne is a great place where you can relax and enjoy the things around you. Unlike Hong Kong, people are very stressed about their work, study and even everything.

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I have been working in Hong Kong Green Building Council as a student intern during the summer vacation. Although it is not an architectural firm, it provides another opportunity for me to explore how the concept of green architecture has been applied in the real world. I have developed my interest in the green field of architecture. Having a knowledge of like this may help me to develop my design ideas in this studio easier.

In my first year of architectural study, I had a touch on the digital design. Rhino had been used to create a wearable lantern. Also, Grasshopper was used to create the tabs for the unrolled surfaces for fabrication. The idea of the project is started on the natural processes. As a year one student, I found it was really challenging as the design concept was too abstract. However, as time passes, I got used to it and fabricated a lantern hat. Since the architectural industry is moving forward to a new design approach, the digital design, it was a great experience for me to explore the flexibility and the creative power of digital design.

In my second year of study, I have moved away from digital design to a conceptualized ground of ideas development. Moreover, I have developed my presentation skills on communicating the conceptualized ideas by computer programs. For now, I would like to utilize all equivalent skills that I have learnt in the previous year for this semester project. Also, to develop some more skills, like the algorithmic think and parametric design skills, and enjoy the whole designing process.

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PART A conceptualisation

A1.Design Futuring

Recently, there is a discourse of architecture.

People who involved in the discourse are finding the meaning of architecture. This debate intends to be grounded on a morality base which finding a sense of “sincerity” and “appropriateness”.1 It is argued that architecture is not only about form. It is also about something that to shape the community or even the world.2 Architecture is to build the vision to the community. It has a great interaction with the people around and influences their pattern of life.

At the same time, the issue of defuturing has emerged and been discussing vigorously.

Human have come to a critical moment in our existence that we may disappear at some time. Global warming and the diminishing of available resources are the signs. Since that it is claimed in the discourse that architecture is being an important factor in planning our future by directing what the people think.3 Therefore, architecture has assigned a role in addressing problem of defuturing. On one hand, it has to slow down the rate of defuturing; On the other hand, it should redirect the human towards a far more sustainable mode.4 It refers to how people perceive, think and act. Thus, Architecture must be well-designed as to allow its function of transforming people’s thoughts to be performed. However, the action should not only focus on the immediate response. It should also know about the consequences beyond the

1 Neil Leach, Rethinking Architecture: A Reader in Cultural Theory (London: Routledge, 1997), pp. xiii.

2 Stanislav Roudavski, Design Futuring. University of Melbourne. Lecture recording, (2014).

3 lbid.

4 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 6.

5 Fry, pp. 25.

horizon of immediate concern.5 It is because the immediate response is just a small step in changing the whole picture.

Therefore, computer tools come to assist the human for collecting data around the word. Hence, it is able to calculate and predict the future possibilities. Moreover, as there is a change in what architecture is. The design approach that used in the past is not applicable for now.

Computation is used as a new approach to design.

Also, through computation, the “sincerity” and “appropriateness” of architecture can be found among the outcomes.

In this chapter, architectural projects will be chosen as precedents to show how architecture is performing its role of slowing the effect of defuturing and changing the mind of the world in reality. While in the next two chapter, precedents are selected to study how computation helps in designing in the industry.

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Fig. 1. City Forest under sun light.6

Supertree Grove

Fig. 2. Supertree Groveat night.7

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2012

This garden is perceived as a public land art.

There are total 18 vertical “trees” in the garden.8 These structures consist of rainwater collectors, exhausted agent and cap with solar panels.9 They solar energy is then transformed to electricity to light up the trees at night.10 This garden is seen as a green architecture within the city scape. It is acting as a giant cooling tower as to reduce urban heat island effect and hence reduce the energy consumption of cooling agents. It applies Fry’s idea of architecture while taking up the role to combat against defuturing conditions.11 Through the design, it can be seen that it is taking the first step to work against the deconstruction that human had made in the past. Although the solar panels on top of the tress are not able to generate enough electricity for households, it can be seen that the placement of the garden is strategically designed in the middle of the city as a Green reminder. Due to the massive scale of the “trees”, it can be used to remind people around to act green anytime. The garden is acting as virtual sign especially for those people who have visited it or travelling pass.

It is reflected architecture is not only about a

form but also something that can be used to change human’s perception.12 In this case, the electricity produced from the solar panels for night use is seen as an immediate response to the problem of defuturing. While acting as a virtual sign to redirect people’s attitude is perceived more as a long term response to the environment. Apart from creating a virtual sign, the garden also changes people’s perception that green architecture is boring to something interesting. It is because this garden can achieve both environmental and aesthetic performance at the same time.

Besides, the garden is a tourist attraction where visitors can walk up to the structure.

At that height, the urban scape of Singapore can be seen. It allows them to have a great experience. Such great experience may inspire the visitors from overseas and the inspiration can be brought back to their home countries.

Hence, the architecture may not only motivate local people but also the one around the world to act green.

6 aremaKanta, Supertree-Grove (flickr, 2012) < http://www.flickr.com> [accessed 13 March 2014].

7 Daily mail, (Daily mail, 2012) < http://www.dailymail.co.uk/news > [accessed 13 March 2014].

8 National Geographic, City Forest, Singapore (National Geographic Society, 2013) < http://news.nationalgeographic.com/news/2012/07/pictures/120726-green-tech-city-building-solutions-urban-heat-island> [accessed 13 March 2014].

9 lbid.

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11 Fry, pp. 6.

12 Fry, pp. 25.

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Fig. 3. Semicircular swing in Blaxland Riverside Playground.13

Blaxland riverside playground

JMD Design 2012

It is chosen as a precedent since that it is a land art built next to a riverside.14 It has a similar content with the brief. Also, it has some interacting elements with the people. It is not merely a sculpture but also something that people can play around. It allows people to link themselves to the playground.

In this design, the idea of the architectural discourse has been employed. Indeed, it is changing human habitation through a well-designed place.15 I would think there is a meaning assigned for this playground. It is to create a community space for the people who live around. Also, it is acting as a living space to the community which helps to enhance the feeling of a community. It is designed to encourage community activities by designing a nice place for family to go. Such aim is achieved by taking the

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advantage of its site location. It is sitting next to the river. The design emphasizes the visual effect of the river and the vegetation along the riverside.16 Relaxation and sense of comfort can be created by these views. More people are attracted to visit this space because of the special views and comfort that is being generated.

However, it has a smaller impact on peopleâ&#x20AC;&#x2122;s patterns of living than the City Forest in Singapore. It is because it is smaller in scale and not sitting at a place that people can easily access to. Also, similar parks can be found everywhere. As time passes and if no new elements are introduced, visitors will become fewer and its impact will go.

13 Brett Boardman, Blaxland Riverside Playground (Architecture Media, 2013) < http://architectureau.com/articles/blaxland-riverside-playground/> [accessed 13 March 2014].

14 Linda Corkey, Blaxland Riverside Playground (Architecture Media, 2013) < http://architectureau.com/articles/blaxland-riverside-playground/> [accessed 13 March 2014].

15 Fry, 25.

16 Linda Corkey.

A2.Design Computation

Recently, there is a significant change in the designing process of the architectural industry due to the emergence of the technology age. It is that computers have been involved in the process. Hence, there are the terms of “computerization” and “computation”.

“Computerization” is the dominant method of utilizing computers in architectural industry.17 It refers to the process of transforming and manipulating the conceptualized idea of the designers to a computer system; While, “computation” refers to the process that the deign outcomes are totally generated by the computers with just a small initial idea.18 Usually, algorithmic thinking and parametric modeling are applied.

In terms of design, these two approaches are taking up two distinct roles. Computerization is usually used to present ideas by rendering the project. Also, it is used to test some functional performance of the design as to make refinement to the project.19 However, computerization does not have the ability to develop design outcomes, though it has the ability to generate a variety of outcomes with efficiency.20 Also, the design outcomes can run out of the conceivable boundary of the designers by parametric modeling.21 Hence, unpredictable results could be developed. With a wide range of results, designers can choose the one which fits the brief the best. It is suggested that a higher level of rational thinking is required as to analyze the outcomes.

For computation, it allows the integration of parametric designs with the simulation software for structural and other performance calculation.22 Hence, it improves the efficiency of eliminating design outcomes that are not fit to the structural or other required performance.

Last, it walks a step forward as to foretell the feasibility of a design as architects may not know whether a form is structural stable till the designs have been sent to the engineers.

It is found that in contemporary architectural projects, the use of these two approaches is mainly affected by the scale of the project.

Computerization is more likely to be seen in large scale architecture while computation is seen in smaller scale structure, especially land art. It is because in the larger-scale projects, more complicated aspects like visual composition, ecology and the landscape have to be considered and they may require human intelligence.23 The outcomes that are merely generated by computer may be not able to solve the issues effectively.

However, this phenomenon will change in the future as more simulating software will be developed and they are able to incorporate those complicated elements in the parametric design.

17 Stanislav Roudavski, Design & Computation. University of Melbourne. Lecture recording, (2014).

18 lbid.

19 Kalay E. Yehuda, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25 (pp. 12).

20 Rivka Oxman and Robert Oxman, “Introduction”, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), pp. 1-10 (pp. 3).

21 Stanislav Roudavski, Composition/ Generation. University of Melbourne. Lecture recording, (2014).

22 Oxman, 4.

23 Peters Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), pp. 8-15 (p.13).

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Fig. 4. Timber from work of the structure that are developed by computation.24

Gaudis Puffy Jacket

Supermanoeuvre 2013

Fig. 5. Thin-shell concrete is laid on top of the timber frame work.25

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This pavilion is made up by a timber frame work and ornamental thin-shell concrete.26 The most interesting part about this project is that the form is developed by computation.

Through computation, differentiations of design elements can be created and modulated easily.

27 It may generate innovative variations that designers may not be able to generate initially.

This method of using computation to facilitate the design process is moving away from the old architectural design approach, which is an approach that based on compositional and representation.28 Also, it provides a more efficient production path.

Layers of algorithmic modes have been set up for this pavilion to explore the design opportunities, including spatial, structural and ornamental.29 This implies that there is an emergence of integrating the parametric design with the simulation software for structural calculation.

Moreover, in this project, it can be seen that the materials, thin-shell concrete and timber frame, are acting as tectonic elements for the structure. It indicates there is a shift of ideas development from representation theorizing to

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material design in contemporary architecture.

The architecture is seen as a â&#x20AC;&#x153;surface of complex material systemâ&#x20AC;?.30 Computation is used in this case as to find the possibilities of the material system and transform the material design to production. This method allows the material design to be an integral part of the whole design process.

The fabrication of the timber frame is also aided by computation using algorithm. It allows triangular tile elements to mesh on the form. 31 The timber fame is formed by unrolling, cutting and assembling those bits together.32 Apart from the computation process, the fabrication stage is also important to the architecture.

Since some of the outcomes from parametric design may not be feasible in reality, prototypes are important to test the structural ability of the design. In this project, designers explore numbers of prototypes for testing before the structure is built to make sure its workability.

33 At the same time, it reduces the risk and the cost as well.

Supermanoeuvre, Gaudis Puffy Jacket (Supermanoeuvre, 2013) < http://supermanoeuvre.com/iaac-workshop/ > [accessed 20 March 2014]. lbid. lbid.

Oxman, 5.

Oxman, 4.

29 Supermanoeuvre.

30 Oxman, 5.

31 Supermanoeuvre.

32 lbid.

33 Oxman, 5.

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Fig. 6. Aerial view of Beko Masterplan. It shows how the design sits in the context.34

Beko Masterplan

Zaha Hadid Architects

Fig. 7. Perspective view of Beko Masterplan.35

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Beko Masterplan is a project designed by Zaha Hadid Architects. This project is a master plan which consists of residential, commercial and retail spaces.36 This project is practically focusing the interaction with its surrounding elements. For instance, included in it are the habitable landscape and the views of the two rivers.37 Computerization has been used in this project to transform the primarily sketches to a digital 3D model. Computerization is taken rather than computation as the project is in a very large scale and several of aspects should be added into consideration before designing.38 In view of this, human intelligence is required in considering the ecosystem, the landscape and the visual combination. Computerization creates possibilities for designers to refine their design.

For example, computer programs are used to test the light penetration and the energy efficiency.39 Architects may need to make minor changes to the design in order to solve some unpleasant issues. Moreover, through some software, the design is rendered and â&#x20AC;&#x153;come to a realityâ&#x20AC;? as to show the scale and materiality of the structure.40 Through rendered images

and scaled drawings, alternating design issues can be experimented for forms and functions.

41 Apart from that, communication between architects and client is aided. In contemporary architectural projects, most of the projects are using computer as a presentation media to express the conceptualized design ideas to the client or to the public through rendering.42 After studying both computation and computerization projects, I have discovered that the use of these two approaches is affected by the scale of the project. Computerization is more likely to see in large scale architecture while computation is seen in smaller scale structure, especially land art. It is because in the largerscale, more complicated aspects should be considered that may require human intelligence.

The outcomes that are merely generated by computer may be not able to solve the issues well.

34 Zaha Hadid Architects, Beko Masterplan (Zaha Hadid Architects, 2014) < http://www.zaha-hadid.com/architecture/beko-masterplan > [accessed 20 March 2014].

35 lbid.

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38 Yehuda, 10.

39 Yehuda, 11.

40 Yehuda, 8.

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42 Yehuda, 13.

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A3.Composition vs Generation

In the previous chapter, we have talked about the change in architecture that more designs are developed by computation rather than computerization. Apart from that, the form development of architecture has been changed from composition to generation. Composition is seen as a process of creating an architectural form from conceptualized ideas.43 Also, it is a rational composition of placing elements together to form a coherent whole.44 This approach focuses on the visual expression and the technical performance of the structure.45 However, a critical move has been made. Due to the emergence of computation, the architectural from can now turned to an approach of generation for form development. â&#x20AC;&#x153;Generationâ&#x20AC;? refers to a process that designers are relying on the computer programs for generating an architectural from by setting simple rules.46 Indeed, in contemporary projects, designers have taken natural process as the primary rule for generation.47 It is because components in the nature consists of a high level of details and complexity. The nature is seen as a great architecture and usually admired by the designers because of this reason. Hence, designers would like to immitate the form of such. However,

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human are not able to create a form with such a high level of complexity. Therefore, computation is required. Usually, algorithmic thinking assists the process. It is because the designers, by inputting a simple geometry (called as primarily surface) and rules to the algorithmic process, the forms can be easily formed within a short period of time. The result generated can be extremely complex and is beyond human prediction and imagination.48 It could be made up of a lot of micro details as well. Further, information of some curved primarily surfaces is not visible by the designers. Yet, these kinds of information can assist the form generation and new development.49 The computers in such a case is able to create a variety of forms based on the invisible information, for instance, curvature and intersection of the surface. Hence, more outcomes are produced. These outcomes are seen to be innovative and inspiring to the designers.

To sum up, generation benefits the industry through helping designers to create a complex structure with high level of details. Also, through combining the use of computation, million outcomes that are unpredictable by

human can be created. With regard to these benefits, generation requires a high level of critique of the outcomes as the outcomes do not consider the interaction with the surrounding environments that the structure is placed. Unlike the old composition method, there is a thoughtful process of considering how things are interacting and responding to the surrounding landscape. Therefore, rational thinking is required as to find the most suitable outcomes for the context. Moreover, the fabrication of the generated form is labor intensive and time-consuming. However, with the help of some stimulation software, the complex tectonic connections can be tested and the most suitable one can be found.50 Also, with the help of the computers and machineries, complicated calculation of the unrolling process can be accomplished.. After that, by simply assembling the unrolled surfaces, the whole structure can be formed.

43 Stanislav Roudavski, Composition/ Generation. University of Melbourne. Lecture recording, (2014).

44 lbid.

45 lbid.

46 lbid.

47 lbid.

48 Brady, 10.

49 Stanislav Roudavski, Composition/ Generation. University of Melbourne. Lecture recording, (2014).

50 Brady, 13.

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Fig. 8. Final product.51

Grid Shell

SmartGeometry 2012

Fig. 9. Details showing how materials are connected.52

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Architects and designers are now moving away from compositional design to generation. This structure is chosen to be a precedent as to show how generation can be achieved in reality.

Parametric tools have been used in this project as to develop a form. Some basic rules are set for the parametric models. It is that the self-supported structure should only be built up by bending straight wood members along the geodesic lines with various types of materials.53 In view of this, the structural and material performance becomes a major concern of the generation process. There is an integration of the parametric design and the analytic tools to test the structural and material performance.

In fact, a parametric geometric model and a structural model are created.54 Hence, a feedback loop is generated between the two models as to allow adequate refinements to be made.55 Apart from all digital processes, a small scaled physical prototype is produced. It is used to test whether the analyzed results that shown in the computer would be achievable in the reality or not.56 Furthermore, the prototype is used to see how the structure can be fit into

the context and whether itâ&#x20AC;&#x2122;s responsive to it.57 In this case, generation helps to create several geometric forms in a short period of time. Also, by integrating all the parametric designs and the simulation tools, some of the outcomes that fail to meet the performance requirements are quickly eliminated. It minimizes the time of the designers to calculate and deduce the best outcomes. In addition, computation allows the designers to fabricate the model easily as to create a prototype. However, there are shortcoming of generation. The major one would be designers should spend a lot of time to select the best outcomes. Rational thinking is also required to select from those similar outcomes and see which one best fits the context. Also, the final result that is generated in the computer is just an ideal. In reality, people have to deal with the varying material strength, availability of materials, time and the context.

In order to minimize the negative impact, making prototypes for testing becomes a critical one.

51 Matsysdesign, SG2012 Grid Shell (Matsysdesign, 2012) < http://matsysdesign.com/2012/04/13/sg2012-gridshell/ > [accessed 25 March 2014].

52 lbid.

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54 Smartgeometry, Gridshell Digital Tectonics (Smartgeometry) < http://smartgeometry.org> [accessed 25 March 2014].

55 Brady, 15.

56 Oxman, 5.

57 Brady, 15.

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Fig. 10. Subdivided Columns.58

Subdivided Columns

Fig. 11. Detail of the ornamentation on columns.59

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Michael Hansmeyer 2011

This precedent has been chosen as to discover the fabrication process of the generated products. Again, this project is staring from the form of a Doric column and a rule.60 Indeed, it is the natural subdivision process. Designers aim to find a new column order with highlydetailed ornamentation.61 With such a high level of detail, computers are employed to aid the design generation. Data of the Doric order column including the proportion of columnâ&#x20AC;&#x2122;s shaft, capital, and supplemental base are inputted for generation.62 Computer at this point is used to generate numbers of outcomes based on the input data of each component and the rule. The developed outcomes are then allowed to generate different form of ornamentation at each part of the column.63 Designers have to choose the outcomes that achieve overall coherency that the ornamentation is seen as a continuous flow.

In terms of fabrication, a full-scale model with the height of 2.7 meters is produced from numerous layers of 1mm sheet.64 Fabrication machineries such as layer cutters and 3D printers

are suggested to be used in this project as to speed up the fabrication process.65 Computer programs facilitate the fabrication process by intersecting sheets of plane with the parametric model. Sheets with the shape of each layer are being cut. After that, other computer programs are required to calculate the interior offset distance as to reduce the weight of the finished column after assembly.66 In this project, with the help of computation, numerous of thin sheets can be laid out in the computer and cut it out easily by the machines. It reduces the need of labor and time and improve the accuracy.67 In comparison, the fabrication process of this project is much easier than the Grid Shell project. It is because there is only one material needed for fabrication. Also, the sheets are assembled together simply by stacking up; while for the other one, nods are needed to joint timber members together.

Moreover, there is less likely for a risk of material to be happened in the stacking process.

58 Evolo, Algorithmic Column with Six Million Faces / Michael Hansmeyer (Evolo, 2011) < http://www.evolo.us/architecture/algorithmic-column-with-six-million-facesmichael-hansmeyer/ > [accessed 20 March 2014].

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65 Oxman, 5.

66 Evolo.

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A4.Conculsion

In the previous chapter, it is found that the industry is setting a new definition to architecture. Architecture is now perceived as an object to transform the people's mind in a moral base. It is particularity addressing to the problem of defuturing. It is aiming to make changes in both short and long term. With such a change, computer tools have been used to assist the design generation process as to collect data and predict future possibilities.

Apart from that, computation also creates numbers of benefits in the design process.

The most amazing one is that it can generate numerous of outcomes from simple rules. With the integration of the parametric design and the stimulation tools, performance of the design can be tested. It allows the designer to select desirable outcomes easily. Moreover, computation helps in the fabrication process as to reduce the production cost, material waste and the labor intensity.

It is suggested the discourse will continue until architecture can perform its function ideally.

However, I think that it is hard for the whole world to reach this ideal. It is because the concept is still staying in an abstract stage and not many people aware the issue. Therefore, the semester project is a good start for architectural students to touch on the concepts and being prepared. On the other hand, by integrating the concept with computation, students are able to explore different possibilities of design and being inspired by how powerful can architecture be.

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A5.Learning outcomes

Through learning the theories and practices that newly emerged in lectures, readings and tutorial discussions, I have broadened my view of the role of architecture in the design industry.

Also, it inspires me in terms of approaching my design in the later semester. I would like to create a structure that user can interact with. Through the interaction, energy can be generated to power up the households. I would like to convey a message to the users that they can contribute to save the environment.

On the other hand, through doing the algorithmic exercises, I discover how the new technology assists in the design process and creates numerous of unpredictable outcomes. Also, I find that some designs which perform well aesthetically are only generate by simple rules.

However, I find it very hard to understand the rationale behind the algorithmic thinking. By simply following the online tutorial, full understanding of the algorithmic still cannot be gained. Also, the commands that used in the tutorial will be forgotten very soon. Therefore, by redoing the tutorial exercise for several times, it helps to understand the whole process and explore more possibilities of parametric design can be created. I hope that the algorithmic skills that I have learnt in these weeks are useful for next stage of design exploration. If not, I can at least develop new skills from the principle of algorithmic thinking that I have learnt.

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A5.Appendix

- Algorithmic sketches

The steps that I have gone through in this exercise echoes with the readings and the materials we had gone through in part A. It reflects the simple principles of computation and generation. It is that several of unpredictable results are generated from simple rules. This exercise starts with a closed-lofted surface and layers of extruded surface. After that, keep the intersection surfaces of the two. By baking those intersections surfaces and delete the unwanted surface, the original lofted surface is now produced with contours.

While deleting the surface, I found that some mistakes have been made. For an example, some the contours has been deleted unconsciously. It 24

will then end up with some little surfaces stood apart from the main form. However, an alternative is created; those surfaces can either be deleted or acted as some meaningful elements within the structure. The above example shows that besides from having all computer-generated result, designers can modify the unsatisfied final outcomes as to create some meanings.

Apart from applying the theories into practice, all the innovative results may able to inspire me for design generation in this or another projects. It is always good for a designer to explore a variety of creative ideas and form.

A6.Bibliography

AremaKanta, Supertree-Grove (flickr, 2012) < http://www.flickr.com> [accessed 13 March 2014].

Brett Boardman, Blaxland Riverside Playground (Architecture Media, 2013) < http://architectureau. com/articles/blaxland-riverside-playground/> [accessed 13 March 2014].

Daily mail, (Daily mail, 2012) < http://www.dailymail.co.uk/news > [accessed 13 March 2014].

Evolo, Algorithmic Column with Six Million Faces / Michael Hansmeyer (Evolo, 2011) < http://www.evolo. us/architecture/algorithmic-column-with-six-million-faces-michael-hansmeyer/ > [accessed 20 March 2014].

Kalay E. Yehuda, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25.

Linda Corkey, Blaxland Riverside Playground (Architecture Media, 2013) < http://architectureau.com/ articles/blaxland-riverside-playground/> [accessed 13 March 2014].

National Geographic, City Forest, Singapore (National Geographic Society, 2013) < http://news. nationalgeographic.com/news/2012/07/pictures/120726-green-tech-city-building-solutions-urbanheat-island> [accessed 13 March 2014].

Matsysdesign, SG2012 Grid Shell (Matsysdesign, 2012) < http://matsysdesign.com/2012/04/13/sg2012gridshell/ > [accessed 25 March 2014].

Neil Leach, Rethinking Architecture: A Reader in Cultural Theory (London: Routledge, 1997).

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

Rivka Oxman and Robert Oxman, “Introduction”, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), pp. 1–10.

Smartgeometry, Gridshell Digital Tectonics (Smartgeometry) < http://smartgeometry.org> [accessed

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25 March 2014].

Stanislav Roudavski, Composition/ Generation. University of Melbourne. Lecture recording, (2014).

Stanislav Roudavski, Design & Computation. University of Melbourne. Lecture recording, (2014).

Stanislav Roudavski, Design Futuring. University of Melbourne. Lecture recording, (2014).

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

Supermanoeuvre, Gaudis Puffy Jacket (Supermanoeuvre, 2013) < http://supermanoeuvre.com/iaacworkshop/ > [accessed 20 March 2014].

Zaha Hadid Architects, Beko Masterplan (Zaha Hadid Architects, 2014) < http://www.zaha-hadid.com/ architecture/beko-masterplan > [accessed 20 March 2014].

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PART B Design

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B1.Case Study 1.0

Fig. 1. Voussoir Cloud.1

Voussoir Cloud

Iwamoto Scott & Buro Happold 2011

Fig. 2. Lighting effects that are created.2

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This project is taken as a precedent of â&#x20AC;&#x153;Material Performanceâ&#x20AC;?. Voussoir Cloud is a land art that made up of vaults, columns and panels. The whole structure is made up of thin wood laminate.3 By folding thin wood laminate along curved seams, 3 dimensional petals are created.4 They are then paneled on the designed form. The structure is held up because each vault is acting like an arch.5 Each panel in the structure is relying on each other and retains a compressive force.

Voussoir Cloud is seen as a special case as only one material is employed. Thus, no form work is required. The thin wood laminate is used to construct a form and panel pattern on top of the form. Although it is described as a single material structure, different parts of the material performs different parts of the function. Indeed, the edges of the wood that are connected with the others are performing a structural function to hold up the structure.

On the other hand, the other parts of the wood laminate are seen as the aesthetic paneling patterns of the form.

In terms of the material choice, it is suggested the designers have made a wise choice. Firstly, thin materials are used that it will not add a lot of loads to the structure which will make it unstable. Secondly, such thin materials allow light to penetrate and can create different lighting and shading effect. Hence, a desirable environment can be created by utilizing different lighting effects.

In terms of the structural performance, each petal is designed to have a slightly different geometry as to allow every piece to fit perfectly on the form and provide a good support.6 Therefore, computation is employed as to calculate the curvature for each petal.

Moreover, generation programs are in use as to generate a workable compressive vault shapes.

In terms of fabrication, various types of scale are fabricated as to allow them to be placed in different contexts. Personally, I think for those that are bigger in size, they require a huge amount of labor. It is because each petal should be placed in the right position carefully.

A small error will create a structural failure easily as the compressive loads are unable to be transferred to other petals. On the other hand, for those that are smaller in size, 3D printers are used to assist the fabrication process. It is because the small components of the structure may be too small for assembly. 3D printers are used to make the form precisely and efficiently.

Referencing back to the semester project, Voussoir Cloud inspires me that the use of thin materials has its ability to integrate with different lighting effects. I would like to have a shelter-like form that renders a relaxing environment for people who stay inside. In terms of paneling pattern, different dimensions of the patterns should be designed as to fit the panel and create great aesthetic effect. A uniform paneling pattern will make things boring.

1 lwamotoscottarchitecture, Voussoir Cloud (Iwamotoscottarchitecture, 2008) < http://www.iwamotoscott.com/VOUSSOIR-CLOUD > [accessed 25 March 2014].

2 lbid.

3 lbid.

4 lbid.

5 lbid.

6 lbid.

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Exploration Spring Component General

Direction of one spring

Anchor points

Kangaroo Physics tools

Uforce

Mesh Pressure

Hydro Pressure

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Damping

Stiffness

Comp Fail

Cutoff

Plasticity

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Series 1 :Changing the direction of one of the spring 1 Positive offset at middle point

6 Plasticity 7.4

2 X vector 21.4

7 Damping 8.2

3 Z vector -14.3

8 Increased size of openings

4 Swapped offset points

9 Z vector 16.2

5 Z vector -14.3

10 Plasticity 7.4

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Series 2 :Changing the pattern of the anchor points 1 TF, Z vector

6 TF, Y vector

2 TTF, Z vector

7 TFFFT, Z vector

3 TFFT, plasticity 4.5

8 TFFT, damping 7.4

4 TFTFF, Z vector

9 TFTFF, damping 7.4

5 TFTFT, plasticity 3.2

10 FTTFF, Z vector

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Series 3: Changing variety of inputs of the Kangaroo Hydro Pressure tools 1 HydroMesh, Cutoff Time: 1t

6 HydroMesh, Cutoff Scale factor: 0.8 Time: 1t

2 HydroMesh, Cutoff Time: 2t

7 HydroMesh, Cutoff Scale factor: 0.8 Time: 2t

3 HydroMesh, Cutoff Time: 3t

8 HydroMesh, Cutoff Scale factor: 1.1 Time: 1t

4 HydroMesh, Cutoff Scale factor: 0.1 Time: 1t

9 HydroMesh, Cutoff Scale factor: 1.1 Time: 2t

5 HydroMesh, Cutoff Scale factor: 0.1 Time: 2t

10 HydroMesh, Cutoff Extruded Z value: -42

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11 HydroMesh, Cutoff Extruded Z value: -21

12 HydroMesh, Cutoff Extruded Z value: -3 Time: 1t

13 HydroMesh, Cutoff Extruded Z value: -3 Time: 2t

14 HydroMesh, Cutoff Extruded Z value: +12

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Series 4 :Using the Damping and UForce tool 1 UForce vector X: 0 Y: 0 Z: 25 Time: 1t

6 Extruded Z vector -9.5

2 UForce vector X: 0 Y: 0 Z: 25 Time: 2t

7 Extruded Z vector -1.5

3 UForce vector X: 0 Y: 0 Z: 25 Time: 3t

8 Extruded Z vector -48.5

4 UForce vector X: 0 Y: 20 Z: 82

9 Scale factor: 0.2 Time: 1t

5 UForce vector X: 20 Y: 20 Z: 82

10 Scale factor: 0.2 Time: 2t

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11 Scale factor: 0.9

12 Scale factor: 1.7 Time: 1t

13 Scale factor: 1.7 Time: 2t

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Series 5: Changing the size and length of vaults 1 Size: 0.1 Length: -0.8 Stiffness 6000

5 Size: 0.4 Length: -0.8 Stiffness 6000

2 1 Size: 0.1 Length: -0.8 Stiffness 1000 Damp 15

6 Size: 0.4 Length: -0.8 Stiffness 1000 Damp 15

3 Size: 0.1 Length: -2.7 Stiffness 6000

7 Size: 0.4 Length: -2.7 Stiffness 6000

4 Size: 0.1 Length: -2.7 Stiffness 1000 Damp 15

8 Size: 0.4 Length: -2.7 Stiffness 1000 Damp 15

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Series 6: Anchor points control of outcomes in Series 5 1 TFFFF

5 TF

2 TFFFF

6 TFFF

3 TFF

7 TFF

4 TFFF

8 TF

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Series 7: Base geometry control - voronoi of outcomes in Series 5 1 Value: 2

5 Value: 2.1

2 Value: 3

6 Value: 3

3 Value: 2.2

7 6 Value: 3.1

4 Value: 3.1

8 Value: 3.3

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Series 8: Attractor point control of outcomes in Series 5- connect to the rest length 1

5

2

6

3

7

4

8

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Outcomes

In comparison to the other outcomes, these two outcomes have been selected as there are less intersections. With less intersections, it is easier to fabricate. Also, our group does not want to create a very complex structure as we think it is not visually pleasing and is not in line with the idea of having a relaxing environment. Further, the structure is an interactive one. People can interact with the structure and help to generate electricity. Our group is keen to build pathways that transform kinetic energy to electricity. These structures are designed with numbers of void that people can walk through. It acts as a meeting place for the public, especially for people who come by water taxi. Also, the top of the structure is extended outwards which performs as a shelter for people. In terms of structural performance, these outcomes are seen to be more stable and are able to stand alone on the site. The connections of columns are in compression which is able to achieve the structural performance.

By comparing these two outcomes, the voids and pathways are designed to be smaller and narrower for the bottom one. It creates a sense of transition that generates a dynamic experience for the visitors when they are entering from an open space to an enclosed tunnel.

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These two outcomes are selected as they have less interactions. Also, there is a big void that people can pass through. Moreover, some parts of the structure are lifted up. They mark a significant difference with the other outcomes.

In relation with the context, the elevated parts can act as a viewing and waiting platform which people can interact with. A Viewing platform is mainly designed for tourists to enjoy the view of the city scape. While the waiting platform is designed for people who are waiting for the water taxi or waiting for their friends who arrive by water taxi. In addition, these two outcomes are huge in size and being stretched horizontally relative to the two on the left. It dominants the site and it can act as a landmark to remind people to act green.

Comparing the two, the first one is able to stand by itself as the base of the structure is designed on the same level. While the second one is unable to stand alone as there is a height difference between the base on the left and the right. It is seen as an innovative alternative to the previous one. It is having one side of the platform higher than the other side. The whole platform is appeared to be a slope. A ramp is created across the platform for access. The varying height of the platform allows different angles of the city and the sea can be seen. It creates an impression that people have to climb up to the top to get the most amazing view and thus it encourages people to move upwards. It is where electricity generator can be placed as people use more energy to walk up the slope.

As a result, more electricity can be created.

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B2.Case Study 2.0

Fig. 3. Seville Metropol in streetscape.7

Seville Metropol

Fig. 4. Upper platform of Seville Metropol.8

46

Jurgen Mayer 2011

Through simply looking at the form of the Sevilla Metropol, it is found that the structure of Sevilla Metropol is revealed partly to the external. It is because the grid is performing as a spanning element to span across the driveway. Also, it is because the grid panel is a skin of the Sevilla Metropol. It is discovered that the waffle gird pattern is acting as a wrap of the structure. The structure is supported by a hollow reinforced concrete and steel bars.

In terms of parametric design, the form of the structure has limited ability to be transformed differently to create some unexpected outcomes. From which, the form is hardly turned to be an interesting one. However, parametric design helps in the fabrication process of the form. Since that the structure is huge, as to provide structural stability, simple construction technique is the best way to fabricate the form.

Parametric tools are used to experience different thickness, spacing. Outcomes are analyzed by designers and find the most appropriate one based on the visual and structure performance.

After decisions have been made, simulation tools come to test different lighting qualities and the materialities. The grid form is chosen in this case. This choice suggests that there is a consideration of the urban landscape. The structure cannot go too far with distorted patterns that is unable to be connected with the city scape. The city scape is constructed in

uniformity with ridge lines. Curvature can hardly been found. Therefore, the panel pattern is chosen to be simple enough to stay in relative consistency with the landscape.

In terms of fabrication, strips of timber with holes for interlocking with other pieces are constructed by machines. Then, strips are placed in the designed location on top of the huge constructed concrete column. After that, strips are interlocked with each other and connected by pins. Computation assists in fabrication as to unroll the parametric design and calculate where the holes (for interlocking in later stage) should be located in the strips.

In terms of affect and sensation, this project is a good example to demonstrate Moussavi’s argument in “The Function of Ornamentation”. It is that the structure shows its aesthetic effect by its structural patterns and materiality rather than some additional ornamentation.9 Though without ornamentation, it has created a dramatic effect on the urban landscape. The Sevilla Metropol sits in the middle of the city.10 In contrast to the surrounding buildings, it has a huge scale and a very different architectural style. The curves of the structure seem to be a new thing in the city scape as the others buildings are constructed in straight lines.

Sevilla Metropol has broken the rule of rigidity and created a differentiated affect.

7 Real WoWz, Metropol Parasol, Spain (Real WoWz, 2012) < http://www.realwowz.net/2013/03/metropol-parasol.html > [accessed 2 April 2014].

8 Gastrosol, Image Gallery (Gastrosol, 2011) <http://www.gastrosol.es/en/galeria-de-imagenes/> [accessed 2 April 2014].

9 Moussavi, Farshid and Michael Kubo, eds. The Function of Ornament (Barcelona: Actar, 2006), pp. 8.

10 HomeDSGN, Metropol Parasol in Seville, the World’s Largest Wooden Structure (HomeDSGN, 2011) < http://www.homedsgn.com> [accessed 2 April 2014].

47

Fig. 5. Aerial view showing the contrast between the structure and the surrounding building environment.11

Fig. 6. City scape viewed from the elevated platform.12

48

Through a more thorough review of Sevilla Metropol, it is discovered there are 3 major design ideas that the architects would like to convey.

- Create a sense of transition of views and experience from the street views to sky views.

Such transition allows visitors to appreciate the urban design in different ways. When they come to the top of the structure, they are able to enjoy the amazing views and the sunset.

- The structure is designed to be functioned environmentally.

- The structure is seen to be multi-functional.

Personally, I find that those design intents are successfully executed in the real world.

Firstly, in terms of the idea of transition, the structure is set at a height. Hence, there will be a large difference between what people see and experience on the street and on the terrace.

Also, the height is set reasonably that it is slightly higher than the surrounding buildings but not extremely high to disrupt the uniformity and the calmness created by the uniform roof line. Moreover, walkways are created in the terrace. Visitors can walk freely from one side to another to capture different views of the city scape. Furthermore, dinning place is designed on the terrace level.13 It allows people to enjoy their meals and the view of the city at the same time.

Secondly, the structure is designed to be functioned environmentally. Solar panels are placed on top of the structure as to capture solar energy.13 Also, the spanning parts of the structure act as a shelter to the plaza in order to cool the area. The cooling effect is further enhanced by adiabatic cooling.14 It is used to assist the process of bringing up the air. Since that the plaza is controlled with a comfortable and environmental temperature, people will intend to visit more frequently. In addition, Sevilla Metropol practices the concept of performing environmentally in the discourse of architecture. Such a huge structure may also act as a reminder and a sign for people of that landscape to act green.

Thirdly, the structure is designed to be multifunctional as to replace the old market with a new one and incorporate different elements of the city. Indeed, there are restaurants, market and museums.15 It is seen as a successful encompassing approach that all of the elements of the structure are brought together and conceived as a coherent hole rather that some scattered pieces. It is coherent because the plaza is elevated which allows the market to be placed in its old position. With the elevated â&#x20AC;&#x153;coverâ&#x20AC;?, the market and the museum underneath will not disrupt the form of the whole structure.

Referencing back to the semester project, the contrast of materiality and the fluidity form inspire me in developing my design,

11 HomeDSGN. 12 lbid.

13 Solarpedia, Metropol Parasol Shades Sunny Seville (Jurgen Mayer Architects, 2012) < http://www.solaripedia.com/13/393/5659/metropol_parasol_north_south_section. html > [accessed 2 April 2014].

14 lbid.

15 Arcspace, Metropol Parasol (Arcspace, 2013) < http://www.arcspace.com/features/j-mayer-h-architects/metropol-parasol/ > [accessed 2 April 2014].

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Reverse-Engineer

Create curves

Loft the base surface (like a mushroom)

Drawing intersection lines on the lofted surfaces

Extrude lines into surfaces

Offset the surfaces and create thickness

50

We are now planning to reverse the engineer of the project as to discover the parametric principles behind the Sevilla Metro. Also, by doing this, we would like to get some inspiration for our project.

Since the structure was apparently made by intersecting curves (diagonally like a cross), we started off by the method of generating a grid shell. Then, we applied this concept into our grasshopper development. First, we created curves and divided it into points. Then we use explode tree and arc tool to link points on each curve up and form uniform lines. The surface was created by lofting the curves. On the other hand, shift tool had been used to link points on one curve to another point on another curve. It allows us to create spiral lines on the surface.

After that, geodesic tool was employed to create intersecting and twisting effect of the spiral lines on the surface. Then, we extruded those lines to form surfaces and assigned thickness by using the offset tool.

I think that we had done this experiment successfully as we had captured the main features of the Sevilla Metro, the grid. We were able to copy one of the columns of the whole structure. Also, we were able to create a similar form as we had successfully captured the main curves which made up the form. In addition, the strips were interconnected perfectly. None of the strips were left single In comparison to the original one, the grid that we have created is seen as spiral lines whereas the original is seen as a straight line. I think that our version is more interesting as it has a higher ability to express the lofted surface. It shows the curvature clearly. Moreover, since we are using geodesic pattern to create the panel on a narrowed base, the patterns which are paneled on the base is very messy. Furthermore, we are unable create span between multiple columns. We think that it is something to do with the original form. Multiple â&#x20AC;&#x153;columnsâ&#x20AC;? should be connected to each other before placing geodesic patterns on it.

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Exploration

Besides from developing our own definition in grasshopper, we had used the one we found on the web to start with. We wish to create multiple outcomes that we can use for further development of the design brief.

52

Series 1:Using Lunch box tool to make panel on the form 1 Square

6 Triangular A

2 Quad

7 Triangular B

3 Diamond

8 Triangular C

4 Quad random

9 Hexagon

5 Skew quad

10 Delaunay edges

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Series 2 :Using string to hold the component, extrude the component 1 Skew squad

6 Triangular A

2 Diamond

7 Triangular B

3 Quad random

8 Triangular C

4 Quad

5 Staggered quad

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Series 3 : Combining definition developed in Case study 1.0 and 2.0 1 geodesic with arc curves

6 Joining curves Simplify by deleting few curves

2 Geodesic with arc curves

3 Geodesic with lines

Shift clockwise: 2 anticlockwise: 10 Offset: 3 Extrude: 0.2

4 Divide points: 20

Shift clockwise: 6 anticlockwise: 6 Offset: 3 Extrude: 0.2

5 Joining curves

The outcomes that are resulted from simply combining the form making method of Case 1 and the paneling strategies of Case 2 are very complicated and messy.

Hence, they are impossible to fabricate. Therefore, we took a single element (the column) out from the five and started to play with different algorithmic.

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Series 4: Combing definition developed in Case study 1.0 and 2.0 (single column) 1 Divide points: 70 Shift clockwise: 6 anticlockwise: 6 Offset: 3 Extrude: 0.2

6 Divide points: 35 Shift clockwise: 10 anticlockwise: 10 Offset: 3 Extrude: 0.2

2 Move control points Divide points: 70 Shift clockwise: 6 anticlockwise: 6 Offset: 3 Extrude: 0.2

7 Divide points: 35 Shift clockwise: 2 anticlockwise: 10 Offset: 3 Extrude: 0.2

3 Divide points: 10 Shift clockwise: 6 anticlockwise: 6 Offset: 3 Extrude: 0.2

8 Divide points: 35 Shift clockwise: 2 anticlockwise: 20 Offset: 3 Extrude: 0.2

3 Divide points: 20 Shift clockwise: 6 anticlockwise: 6 Offset: 3 Extrude: 0.2

9 Divide points: 35 Shift clockwise: 2 anticlockwise: 10 Offset: 5 Extrude: 1

5 Divide points: 20 Shift clockwise: 6 anticlockwise: 6 Offset: 3 Extrude: 0.2

10 Divide points: 35 Shift clockwise: 2 anticlockwise: 10 Offset: 3 Extrude: 1

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11 Divide points: 35 Shift clockwise: 10 anticlockwise: 10 Offset: 5 Extrude: 0.2

12 Divide points: 20 Shift clockwise: 10 anticlockwise: 10 Offset: 3 Extrude: 0.2

13 Arc 3pt Divide points: 35 Shift clockwise: 10 anticlockwise: 10 Offset: 3 Extrude: 0.2

After exploring different variables in grasshopper, we had chosen some outcomes which are less complex and look aesthetically pleasing for further development.

It is that we will combine 3 of the columns and create a structure. We were doing 3 instead of 5 because such structure is so complex that will disrupt the visual order.

We do not want visitors to focus on too many things of the design.

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Series 4: Combining 3 forms 1 Connect points on contour A Arc tool B Arc tool C Line tool

2 Connect points on contours A Arc tool; divide: 40 B Arc tool C Arc tool

6 Changing Height B > A> C

7 6 Changing Height B > A> C B divide: 30

3 Connect points on contours A Line tool B Line tool C Line tool

8 Changing Height C > A> B A divide: 40 B divide: 20 C divide: 15

4 Geodesic Shirt Clockwise: 5 Anti clockwise: 0

9 Changing Height C > A> B A shift clockwise: 5

5 Geodesic Shirt Clockwise: Anti clockwise: 10

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10 Changing height C drop 1 level

11 Tilt the upper contour

12 Adjust the tilt and the level of contours

13 Gradual change of slope of the upper contour

However, from reviewing the outcomes above. They do not contain a lot parametric character. Also, it is found that there is a limitation of computational method that most of the comes that we have created are unable to fabricate. Therefore, our group tend to look back to the outcomes that we had made in Case study one. Those are seen to be more interesting and show the parametric characteristics.

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B3.Project Develpoment

Site Analysis

60

. Through developing numbers of outcomes, we have refined our design intent and selection criteria to cover a more comprehensive base.

We intend to create an eye-catching piece of art work and a meeting point that can attract people to engage in generating electricity.

Also, it is acting as a virtual sign of the city’s ambition in promoting stainability.

Therefore, by analyzing the site and the brief, a numbers of selection criteria of the outcomes have been identified 1.

It must be a self-supportive structure.

It is because adding extra supporting structure may affect the aesthetic effect of the design and distract the visual focus of the design.

2.

Since the design is intended to act as a meeting point for people who arrive at the site by water taxi, a sense of relaxation should be communicated. Therefore, smooth surfaces with less rigid elements should be employed. Hence, more curvature should be added to the form.

3.

As a gathering space, shelter should be provided for the visitors. Thus, a structure with a large canopy is required to shade the people from the sun and the rain.

4. The form should be stretched horizontally as to utilize and dominate the site.

As the site is now described as a waste land, utilizing the whole site can bring more people to the site. It can turn the wasted space to a functional space.

5.

It should be designed large in scale as to response to the design intent of creating eye-catching land art. It will then able to catch people’s attention and draw people from far to the site. Not only that, it can also act as a virtual reminder for people. Since the structure is designed as a green land art, it promotes green by it’s design concepts and is a good reminder for visitors and people from far to behave green in their daily lives.

6.

Pathways should be provided for people. From the site analysis, it can be seen that potential pathways can be found. People tend to enter the site from the east and will proceed either to the water taxi terminal or to the west to view the little mermaid. Therefore, the form must provide voids for people to walk through. In terms of its function of generating energy, we would like to place vibrational energy panels on the major pathway as to generate the maximum amount of energy. According to the research, it says that one square meter of an energy sheet is placed in the one of the world’s busiest pedestrian area where there are 900,000 people walking across. During the testing period of 20 days, 1m2 energy sheet is able to generate around 78 Wh daily.16

16 Lusi Patron, Let’s Generate Electricity by Walking! (United Nations University,2008) < http://ourworld.unu.edu/en/lets_generate_electricity_by_walking > [accessed 25 April 2014]

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Top view of the most successful outcome selected.

Prespective views of the most successful outcome selected.

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As we are meeting a lot of technical failures and are dissatisfied with the outcomes that were developed from Case study 2, we would like to revisit the ones that have been generated in Case study 1.

This is chosen to be the most successful outcome as it is able to stand alone with multiple columns of the form being used to support the whole structure. Also, the base is designed to be flat to give stability. Secondly, the form has a stronger emphasis on its horizontal built relative to the others. It demonstrates the ability of dominating the site. Also, smooth surfaces with no sharp ends or rigid elements would be found in the form. It is intended to communicate a sense of relaxation and comfort for the visitors. Moreover, the curvature on top of the form creates a canopy to shade people from the harsh attack of sun and rain.

Comparing to the other outcomes, the canopy of the form is extended to a larger distance. It has a greater ability to perform its sheltering function. Thirdly, voids are created between columns, people are able to walk through and proceed either to the west end or to the water taxi terminal. In comparison to the other outcomes, the openings of the structure are seen to be wider and higher. Narrow and short openings give a sense of tightness. They are unable to echo with the idea of creating a relaxing environment.

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B4.Prototype

Prototypeâ&#x20AC;&#x2122;s fabrication process.

64

. Since that we had the wrong approach in our design development, we had wasted plenty of time. After we had reconsidered our design approach, we faced technical problems in fabricating our model. It is found that the curves that are paneled on the mesh cannot generate a brep for making the interconnections between strips. However, we found that it is possible to make interconnections by editing the curves in Rhino. It is believed that the form that we have chosen cannot generate perfect curves for making surfaces. Due to the failure and the time limit, we choose to make the prototype by hands instead of laser cutting it. Undeniably, there will be defeats in cutting and assembly. It is found the cuttings of the interconnection are slightly off. It makes some of strips cannot be assemble together.

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66

Luckily, the prototype in a sense is successful as it has our objectives in terms of testing the materiality, assembly method of the vault form. We have chosen the vault of form for fabrication as it is the main features of the form. Also, it is acting as one of the support of the structure.

In terms of materiality, we have been using timber as our construction materials. It has been chosen as in this project, the â&#x20AC;&#x153;Greenâ&#x20AC;? concept is very important. Timber is described as one of the materials that have a lower environmental impact. Also, as a reference to Voussoir Cloud, timber is employed as to create relaxing yellow lighting effect when sun shine through. However, it has been tested that only thin timber sheets are able to create such an effect.

tightly. Also, the vault is able to stand on the ground. However, we have discovered that the height of the vault is too low that is unable to achieve our design intent. It is to have a wide opening and communicate a feeling of relaxation to the people.

In terms of visual and compositional aspects, the material and the assemble method cast shadows on the ground. It is found that the shadow is denser in the center of the pavilion.

From the site analysis, it is suggested that there is where most of the people staying in.

Therefore, by having a denser shadow, it has a greater ability to shade against the sun and hence cooling down the area.

After testing with different abilities of our design, refinements of the design techniques should be made.

For the assembly method, we have been using the interlocking of the strips in the waffle grid.

Waffle grid is being used as we have taken the reference to the Seville Metro that to create a fluidity form by using rigid materials.

Despite of the human defects in modelling, the assembly method is achievable. Strips of two directions are able to connect to each other

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B5.Design Proposal

Views captured from the refined form.

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We refine the design technique after the testing process. Firstly, in terms of the orientation, we would like the design engage more with the site.

We would like to orientate in relationship with the potential pathway. It is that the vaults of the structure are acting as openings for the main entrance, doorway to water taxi terminal and to the west side. However, there are five columns running across the structure which some of the columns are standing on the main pathway. They reduce the strength of the idea of directing people to destinations. Therefore, the number of columns is reduced to four. Moreover, it had been tested with prototypes that the vaults are too short. Hence, adjustments of the height of the vaults are made. In addition, we adjust the wideness of the openings. It is that having the openings of the main entrance narrower to the others as to communicate the idea to open up the space once you have enter the structure.

In relationship with our inspiration from the two case studies, the design technique that we are using is able to create the relaxing vaults. Also, such fluidity form is fabricated by rigid materials. It reflects the idea of having contrasting form and materiality which is seen in both case studies.

Through the development of the design technique, a lot of failure is made. The major one is seen to be the fabrication failure. Since our form cannot generate a set of perfect curves for waffle grid. As to solve it, we look back the form in Rhino and fix the defeats of each curve. However, it is a very slow method. Hence, our group would like to change the fabrication method in order to speed up the process.

On the other hand, it is found that the extended part of the canopy of the original design is too small. It reduces its ability to shade against the sun. Therefore, we increase the area of on south. The adjustment is made as the sun is moving across the south side. It suggests that more shading should be provided on the south than the other.

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Site map with design.

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Photomontage of the Design.

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B6.Learning Outcomes

Irrelevant â&#x20AC;&#x153;prototypesâ&#x20AC;&#x153;.

72

In the interim presentation, we had made a fatal decision and caused a total failure in the presentation. It was that we chose to continue to make â&#x20AC;&#x153;prototypesâ&#x20AC;? of a parametric outcome that could not be fabricated. It was impossible to be fabricated as it was a geodesic form with meshes. Therefore, we ended up with very abstract models having timber strips on a platform. These models showed nothing about our computational design. It could only show unimportant features of the structure, like how the thickness and the material of the structure created different shadow effects. Ironically, they all got similar effects which did not help in further development of the design techniques.

Besides, we had developed our design using an opposite approach as we were supposed to do.

Instead of having a number of selection criteria for review before choosing the design outcomes, we had fatally chosen one of the outcomes and created rationale for it as making it fit to our brief and site. It was found that the failure was mainly caused by not being brave to produce or show something we want to achieve. We simply avoid trials due to the technical problems. To our realization, we should rather show something that we intended to do as to give an insight of our design in the presentation instead of making and showing something irrelevant.

After getting the feedback from our tutors, we have decided to restart the project all over again. As to avoid the same failure, we first listed out all the selection criteria before choosing the computational outcomes. Also, we had sought for fabrication advice to ensure the outcome we have selected is able to be fabricated. In terms of technical development, as we had taken the opposite approach, we should revise our selection criteria and choose the outcomes properly.

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In response to the learning objectives in Part B, I think we did pretty well in the outcomes exploration in Case study 1. Lots of unexpected outcomes were generated. Although most of them were unable to be fabricated due to its complexity and heavily intersecting forms, our mind was expanded. From all those outcomes, it told us how powerful computation was. However, we did not do as well as we did in Case study 1. One of the reasons was we were looking to â&#x20AC;&#x153;Structural Performanceâ&#x20AC;? and we were not playing with the form. Instead, we were just playing the surface of the form, unlike that we were allowed to create great variations in form in the previous case study.

In addition, the theoretical researches provided an insight for our design proposal. We were satisfied about how we turn the theoretical ideas to our design proposal. Main concepts which made up the precedent had been taken and brought to our project. Firstly, Voussoir Cloud inspired us in terms of the relaxing vault surface and how compressional force operated to provide structural stability. By using the Kangaroo tool, we had discovered numbers of innovative outcomes that we can choose from and

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take it further to design development. However, most of the innovative outcomes were seen to be too complex. Despite of that, the exploration process had expanded our mind. It helped us in our future projects when the fabrication technology would be further advanced. Secondly, we appreciate how the structure of Sevilla Metro was expressed. The structure form was fabricated by using the grid panel. It had the ability of turning a complex, curving structure to a simple and visually pleasant one. It gives an inspiration for us to covert the curvy form that we had developed in Case study 1 to a simple grid structure. By using grid form tool in grasshopper, the calculation of the interlocking and material thickness had been done. It made the fabrication easier. Also, the idea of the structure dominating the site also provided insight to our own design. A huge structure with a total different form and construction method that deviated with the surrounding buildings would stand out in the context. Therefore, our design intent of having a virtual reminder was achieved.

Last but not least, in terms of parametric modelling, as it had been discussed previously, we were unable to fabricate our initial design idea. However, we did not realize the problem until the very last step. As a result, we produced models that were unrelated to the design proposal. Nevertheless, we re-did the prototype. Honestly, this part was done in a rush that many aspects of the design could not be thoroughly tested. We have learnt from the failure that we have to consider most realistic issue in design once the outcomes are produced. Indeed, it is whether the design can be fabricated or not. Only following this, we will have more time to work on the prototypes and test the materiality and performance under designed condition.

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B7.Appendix 1 Simple geometry

2 Complex geometry 1 Evaluate Vaule: 0.3

3 Complex geometry 1 Evaluate Vaule: 0.9

4 Complex geometry 2 Evaluate Vaule: 0.3

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- Algorithmic sketches

Through the exploration in the morning line project, it is found that how complexity is form in a simple form. By using the python strip, unique patterns on the Tectrahedra is formed when the midpoint of the parametric changes.

No matter where the point is located on the polygon geometry, low as 0.3 or high as 0.9, complexity of the pattern can still be seen.

Hence, the outcomes produced are unexpected that go beyond our indignation. This effect is done by the powerful python strip. Also, how the complexity creates aesthetic effect fascinated me. As in my project complex form can be easily developed in Kangaroo tool. However, it is not aesthetic pleasing. Instead, it is seen as messy.

In my opinion, the aesthetic effect is created in this polygon because the complexity is derived from the pattern instead of the form. Thus, the messiness is not found. Also, the patterns in geometry have its ability to cooperate with lighting. Light is being diffused and blocked.

Hence, it creates different shadow effect along the structure.

is only able to produce single brep. If it is wished to combine more brep together as the morning line does, we have to do it in Rhino by ourselves.

However, the concept that is discovered in this exercise is hard to apply back in our design. It is because the form of our design is a mesh which no solidity can be found. Merely y paneling patterns on it will make the fabrication harder.

Also, I find the principle of the python strip is very hard to understand. It requires a high level of understanding.

It is also seen that parametric design offers a high level of flexibility. In this exercise once a new brep is formed, just simply by plugging it in. Similar effect of patterning is immediately generated. Nonetheless, limitation of parametric design can be seen here. It is that the strip 77

B8.Bibliography

Gastrosol, Image Gallery (Gastrosol, 2011) <http://www.gastrosol.es/en/galeria-de-imagenes/> [accessed 2 April 2014].

HomeDSGN, Metropol Parasol in Seville, the Worldâ&#x20AC;&#x2122;s Largest Wooden Structure (HomeDSGN, 2011) < http://www.homedsgn.com> [accessed 2 April 2014]. lwamotoscottarchitecture, Voussoir Cloud (Iwamotoscottarchitecture, 2008) < http://www.iwamotoscott. com/VOUSSOIR-CLOUD > [accessed 25 March 2014].

Lusi Patron, Letâ&#x20AC;&#x2122;s Generate Electricity by Walking! (United Nations University,2008) < http://ourworld. unu.edu/en/lets_generate_electricity_by_walking > [accessed 25 April 2014] Moussavi, Farshid and Michael Kubo, eds. The Function of Ornament (Barcelona: Actar, 2006).

Real WoWz, Metropol Parasol, Spain (Real WoWz, 2012) < http://www.realwowz.net/2013/03/metropolparasol.html > [accessed 2 April 2014].

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PART C Design Development

C1.Inital Design concept

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From our interim presentation, we were told that we were not producing any outcomes that related to the parametric design. Also, we had the wrong approach in finding the initial design form. In fact, we had chosen one of the outcomes and created rationale for it as making it fit to our brief and site. However, we should rather set up a list of selection criteria for review before choosing the design outcomes. We had redone the form finding part in Part B immediately after the presentation.

Nonetheless, it was found in the week after the presentation that we were still heading in a wrong direction. It was found that the selection criteria that we had set up were too general.

They could all be applied in anywhere. There was no direct correlation to the context. Such failure was caused as we did not understand how to relate the exploration that we had explored in the early stage to the design stage. With the help of our tutors, we started to rethink about our design technique all the way back in analyzing the site and discovering opportunities. Then, grasshopper was used as a tool to create a form that we needed to achieve the design concepts. We looked through

the forms that we had developed in the earlier stage and found all the interesting ones were generated by Kangaroo physics tool. They are interesting as they are dynamic in form and numerous results could be created by simply changing the location of the anchor points and the length of the arches.

With these dynamic forms, we started to think about the energy generation method. Through researches, wind energy is the best way to fit in the form. Unlike solar energy which can only place on relatively flat surfaces, wind is moving in all directions that has a less limitation in terms of working with forms. Also, wind is seen to be dynamic which echoes with the initial form that we would like to develop further on.

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C2.Technology

Wind Skin.1

Hollow core concrete

Plastic tube Piezo film Collective tube Electric wire

Electricity generation flow

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Convertor

Households

Piezoeletric Film.2

14.2 mm

Light, tough plastic skin

Elastic material

73 mm Adhesive

We choose to employ the wind skin technique in our design. It is because it is flexible to put on any surface. It is effective to turn wind energy to electricity. Also, it is small in size.

Large amount of fur can be paneled on the surface to generate maximum amount of energy.

When there is a vibration, velocity is induced and hence electricity is generated.

1 Wind Skin, (Ensci, 2014) < http://www.ensci.com/fr/createur-industriel/ateliers-de-projets/m-sindall/projet-eleve/article/11735/> [accessed 29 May 2014].

2 Piezo Film for Energy Harvesting, (Richard H Brown, 2013) < http://eh-network.org/events/eh2013/speakers/2.2.pdf> [accessed 29 May 2014].

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C3.Design Concepts

Our group intends to crea land art in Copenhagen. T

having an interactive interact with the land the process of energy g producing electricity

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ate a visually dominant

The land art is designed by landscape. Visitors can

art and participate in generation process for for households.

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Since that we have decided our energy generation method, we start to do detail analysis of the wind intensity in Copenhagen.

It is found that on average over a year, the southwest side received the most and strongest wind. There is an average wind speed of 10.6 m/s. According to the data we have, we divide the site into fractions and assign different percentage of the chance that wind will hit on those divided parts.

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7%

9%

9%

24%

7% 17% 15%

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11%

Since we would like to use Kangaroo physic tool to develop the final form of our design, anchor points are placed in different density according to the percentage.

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Potential Pathway

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Anchor Points Highest High Low Lowest

We have moved the points in the area that received most wind to be the highest and the area with less wind to be the lowest. The highest point is set to 15 meters and the lowest point is set to 1 meter. A 5 storeys height is designed as to create a huge structure on the site which people from far away can spot it. On one hand, the huge structure direct people to come and discover what it is when approaching.

On the other hand, the huge form can act as a symbol to remind people to act green.

Apart from considering the wind direction and intensity, the potential movement across the site has been taken into consideration. It is because we intend to

create a structure that human can interact as to generate electricity. It is found that there is a potential footpath on the site.

People tend to walk to the west side of the site as to enjoy the amazing city scape and the little mermaid sculpture across the bay.

Also, people may walk down to the water taxi terminal on the southwest side of the site. Therefore, we placed anchor points along the potential footpath to be lower than the others as to open a footpath after the form is trimmed off to a ground level.

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We start to explore different outcomes by changing the difference of height and distance of the anchor points.

1

6

2

7

3

8

4

9

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Final form. It is chosen because the different of height between points are more pronounce. Also, the form is more easy to fabricate as the there is a reasonable thickness of the crest of each hill.

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As the aim of our design is to generate electricity, we would like to increase the surface area of the structure as to allow more hair to be inserted on walls. Therefore, we decide to cut the form at direction that is perpendicular to the direction of the main wind direction. Indeed, it is the southeast. Cutting in this direction allow wind energy to be harvest more efficiently. Besides from harvesting wind

energy, in responding to our design intent of enhancing interaction between the land art and human, we would like to section the form with spacing of 1.3 m. People are able to walk through the walls. Since hairs are inserted into the wall, people can touch them while they are walking in between walls. Hence, they are participating in the energy generating process.

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We have designed voids in the structure as to provide an exploration area for the visitors. It is designed as to encourage visitors to explore the full site rather than simply walking on the main pathway. People can start their journey from one of the voids and traveling through walls to the other void.

Since each wall is too long and high, people might not know where they are heading to, it creates a sense of mystery and excitement. To further enhance the human interaction within the design, we have cut holes between walls as to create a maze that it more fun for visitors to play with.

Also, we have also taken into account of the high wall that may bring a terrifying feeling to the people. Hence, lighting are added in between walls to create a brighter environment that to attract people to explore.

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C4.Design Constrains

Wind Simulation: Overall Form.

Wind Simulation: Outer boundary of walls.

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Wind Simulation: Between walls.

It is found that wind is a finite energy. Energy reduces gradually when it hits a surface. From the wind simulation, it is found that a higher wind speed is hit on the outer boundary of the walls of the main structure. The wind energy reduces when it enters between walls.

Wind Simulation: Smaller stucture on the site.

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Wind Intensity Analysis

Strong

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Weak

Fur Length

Short Medium Long

After analysing the effect of wind on the structure. Adjustment of the length and density of the fur should be made as to capture wind energy in the most efficient way. Each hair has a slightly different dimension with each other. For the hair which inserted in the outer boundary of the wall is designed to be shorter and less dense. The density and length of the hair increase progressively toward the middle of the wall. After a distance of 1 meter from the outer boundary, “fake hair” replaces the normal hair. These “fake hair” has an identical form as the normal one but there is no piezo film embedded in the plastic tube. They are employed to reduce the normal hair as it is

ineffective in this area due to no wind energy is received.

Nonetheless, film with identical length can still be found in the design. In fact, those areas are the small separate structure sitting on the site and the area that is reachable by human.

It is discovered that the small little objects which are sit separately with the main structure receive a relatively equal amount of wind across the whole structure. On the other hand, for the area that human can reach, piezo film can still generate electricity when they are being touched.

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C5.Construction Process

Fabrication

3

High quality hollow core concrete panels are fabricated in factory.

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High compressive strength

It is able to support its dead load.

Flexibility

Electric wires can run freely in the holes in the concrete.

Hard

When part of the film in the concrete wall vibrates, concrete is able to transfer some of the vibration force to the other part of the wall. Hence, piezo film in those area can also generate electricity.

Water-proofed

it is good to place in a area where it is exposed to rain.

4

3 Paramount Concrete Constructions, (Paramount Concrete Constructions, 2013) < http://www.paramountcc.com.au/> [accessed 2 June 2014].

4 JW Hollow Core Concrete Slab Extrusion Machine, (Paramount b2btrade.bi, 2014) < http://www.b2btrade.biz/leads_209586//> [accessed 2 June 2014].

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Site work & Assembles

5

6

7

Excavate the site as to allow concrete panel to be placed in firmly.

Using crane to put th in place.

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7

8

he concrete panels Reinforcements are added in the panels as to add tensile strength to the structure.

Also, galvanized steel brackets are used to join panels together.

5 Trenching and Excavation, (OSHA, 2014) < https://www.osha.gov/SLTC/trenchingexcavation/> [accessed 2 June 2014].

6 Excavation, (ACT government, 2013) < http://www.det.act.gov.au/about_us/building_the_education_revolution/schools/Yarralumla_Primary_School/Yarralumla_Primary_School_P21/Gallery> [accessed 2 June 2014].

7 Tile Up Buildings, (Sagel Construction, 2013) < http://www.sagle.com.au/tilt-up.asp> [accessed 2 June 2014].

8 Precast Concrete Construction, (SCP, 2014) < http://www.standardconcrete.net/blog/category/concrete/> [accessed 2 June 2014].

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C6.Tectonic

Hollow core concrete panel Piezo film

Bracket

Reinforcement

Collective tube

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Due to the great height of the wall, it is impossible that a 15 meters tall wall is built with a single plane of concrete. Therefore, concrete panels have to be joined together to form a tall wall. However, it is found that it is structurally unstable when the thickness of the wall remains the same along its height.

Therefore, we have decided to reduce the thickness gradually from the bottom to the top.

In our model, it is reduced from 300mm to 200m thick. (Fig) Also, as to strengthen the concrete panels, reinforcements are added to provide tensile quality to the concrete. Moreover, galvanized steel brackets are placed in between panels in order to improve the stability of the whole structure.

Since only common construction materials are employed, hollow core concrete panels can be easily found from factories. Then, holes for hair are drilled in the factory according to the designed density and location. After that, hair (piezo film embedded in plastic skin) is inserted into the drilled holes. Electric wires of the films are collected in the bigger tubes that sit in the hollow core of the wall. As most of the fabrication process are easily and done by machineries in factory, cost of time of fabrication are reduced.

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prototype

However, in reality, our group was unable to find precast concrete panels from factory. Therefore, we made our own by using formwork.

Set up the formwork.

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Mix the concrete pre-mix with adequate amount of water. (200ml water is added in 2kg of the mix)

Pour the concrete mix into the formwork.

Wait till it is set (24 hours).

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It is not stable as there are too many coarse aggregates.

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Shape edge could not be formed as the formwork is bending

g.

There is no concrete in the bottom part of the formwork.

After the concrete was tried, the concrete was not rigid enough for us to remove the formwork. It was because a lot of coarse aggregates were falling apart. This failure was mainly due to that in 1:5 scale, the aggregates should appear to be much smaller than it is. Secondly, we found that no concrete was able to enter to the bottom part of the formwork. The main reason was we did not have a smooth concrete mix and the coarse aggregates blocked the gap between the hollow box and the main formwork. The mix was unable to reach the bottom part. Thirdly, it was discovered that our formwork was too weak to hold the strong concrete. When we were pouring the concrete in the formwork, it bent and could not provide a shape edge for the concrete mix.

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detailed model

We had taken the lesson that we learnt from the prototype and remade the detailed model.

Set up the formwork.

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Mix the cement pre-mix with adequate amount of water.

Pour the concrete m

mix into the formwork before the hollow boxes are inserted in.

Continue to pour the mix into the formwork after the hollow boxes are added in.

This time, we had taken the lesson that we learnt previously, we chose to use the concrete mix with less aggregates so as to make a smoother mix. Also, we added more water as to make it smoother to pour into the formwork. Apart from making the mix smoother, we poured the mix in before inserting the hollow boxes as to make sure the formwork was fully filled with the mixture. Although we were using the same materials to make the formwork, there were less coarse aggregates in the pre-mix. As a result, the formwork stayed in its formed during and after the pouring process. Hence, shape edges of the concrete could be seen.

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Drill holes in the hardened concrete according to the designed location generated in grasshopper.

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Inse on f

ert hair in the holes and secure it with sealant. After that, pour plaster for finishing.

Wait till it is dried.

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After the detailed model was made, the objective of attracting visitors to touch on the furry was still unachieved in this model. It was observed that there were too little amount of fur and there was a large spacing in between each hair. We should therefore drill more holes in the concrete as to allow more hair to be inserted in.

Also, since that the location of the hair was determined by the grasshopper, we had to refine the result in grasshopper as to communicate our ideas accurately through photomontages and other illustrations.

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C7.Final models

prototype

Laying out laser-cut piece systematically.

Print out the paper which references the location of each piece in the digital model.

Calculate the distance of between each piece and glue individual piece on the base.

During the fabrication process, we had used a lot of time to calculate the distance between each piece and find out the exact location of the next piece. Also, inaccuracy was noticed.

Therefore, we planned for score lines to be placed on the base of the final model to indicate where each individual piece should be seated as to reduce the fabrication time and improve the accuracy.

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Also, we realized that the hair is too small to be fitted in a 1:100 model. We had tried to put hair on this prototype. However, it turned up with a messy appearance.

Therefore, we choose not to put them on both of the models. We rather produce more photomontages to convey to the others that the appearance and the functions of the hair.

Moreover, when we were reflecting upon our prototype, it was found that it was not necessarily for us to use wood as our primarily material. It is because when hair is inserted in, the texture and the beauty of wood cannot be seen. Also, there will be a high production cost in employing wood. Therefore, we decided to replace wood by concrete as to lower the cost. Also, due to the variation energy required to generate electricity in piezo film, concrete has its ability to transfer some of the vibrational force within its structure. Furthermore, the difference of height between the highest point of the wall and the ground is not significant enough. The dynamism of the form cannot be expressed through the model. Hence, we readjusted the value in grasshopper and move the highest point of the wall higher.

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technical documentation

Scoring lines on the base of site.

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Unrolled pieces.

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fabrication

Laying out laser-cut piece systematically

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Score lines on the base to indicate the exact location of each little piece.

A huge amount of pieces were unrolled from Rhino. Thankfully, after gaining experience in working in the unrolling process and the laser cut file, it helped us lay out our unrolled pieces in a systematic way. We did not need to spend a lot of time in sorting out the sequences of the unrolled pieces through the competed laser-cut job. Also, all of those pieces were not aligned with the others. They were indeed slightly offset from the previous pieces. Hence, we put in score lines to show the exact location of each piece on the base. It shortened the time of laying the unrolled pieces on the base and improved the accuracy.

In terms of choosing the materials of the base (site) and the model, our group would like to create a significant contrast between the two. As there will be burnt marks left on the white surfaces after laser-cutting, we choose to fabricate our model in black with a white base. Hence, burnt marks are hardly to be seen. However, burnt marks will be left on the white base, those marks helps in communication as they exaggerate the boundaries and contours of the site.

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At entrance. Showing the main pathway towards the west end.

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At the west side. Looking towards the entrance through the main pathway.

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At water taxi terminal.

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On main pathway. Looking towards the water taxi terminal.

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Exploration area.

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We also created a 1:100 model as the scale of 1:1000 is not able to show the exploration area that we designed for the visitors. The model shows there is a random circulation designed for human to explore more around the site. People can choose to enter one of the circles and start that exploration journey. This is designed to is an interesting experience Once walk in the maze, the tall walls block their version, they will not know where they are heading to. However, holes are cut in walls as to bring in some light and used as an indication for visitors the way out.

Besides, when people are surrounded by hair, there is a tendency for people to touch them. In due turn, energy is generated. Also, hair in some of the area is longer than the other areas. The hair has a length that touch the human automatically when they enter the site Again, energy can be generated with ease.

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C8.LAGI brief requirement

Our group intends to create a visually dominant land art in Copenhagen. The land art is designed by having an interactive landscape. Visitors can interact with the land art and participate in the process of energy generation process for producing electricity for households. We would like to use wind energy as our main electricity generation tool. Hence, the form of the design is mainly derived from the wind rose analysis in Copenhagen. The design aims to capture the maximum amount of wind energy on the site.

Further, the structure is designed to enhance the human interaction. It is to convey the idea that everyone can engage in the green energy generation process. It is fun, interesting and easy. Also, through the design, people are educated through their own experience that they can act green easily in their daily life.

Wind skin has been chosen in our design for energy generation. The piezo film is embedded in the tip of each of the hair. When there is a vibration, the voltage of the film varies and electricity is generated. Wind skin is chosen as it is light and able to be put on surfaces easily. Also, it is relatively low cost comparing to other electricity generators. Moreover, it is easy to be customized into the sizes that fit our design. Since there are various length of the hair in our design, thus different dimensions 144

of films are required According to the research, each piezo film is able to generate 4.2e-11 kwh in a cycle.

Therefore, in total we are placing 32,144,800 pieces of piezo film in the site. Our design will then able generate electricity of 58254 kWh annually. Around 40 households are benefited in this design. More energy can be generated if the wind is stronger and if more human interaction can be facilitated.

Dimension list of the primary materials:

Environmental impact Statement:

1/ Hollow core concrete panels (length x width x thickness): 2000 x 1200 x 300mm Reinforcement (diameter): 12mm 2/ Plastic skin for protecting the piezo film (length x diameter x thickness):

Shortest (located in the outer boundary of the wall): 80 x 15 x 1mm

Medium (located gradually inward from the boundary): 12 x 15 x 1mm

Longest (the innermost of the wall): 200 x 15 x 1mm 3/ Piezo film (length x width): 73 x 14mm

The design is able to provide sufficient electricity for 40 households daily. Although this is not a huge amount, the production and use of renewable energy by individual contribution is the intended message we would like to bring out. The piece of land art will be comprehended as an encouragement for human to live a sustainable life in the future. Also, recycled materials including recycled concrete and plastic are used as gravel in concrete mixture and recycled high density polystyrene is used in hairs respectively. This reduces the cost of the project but also its embodied energy. The concrete panels are precast in a factory, itâ&#x20AC;&#x2122;s a result of high efficiency in terms of element production and thus the use of formwork and materials. We aim to promote our green idea both conceptually as well as in a visible manner.

.â&#x20AC;&#x192;

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C9.Presentation feedback

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In the critic session, we have been told that our design concept is interesting but there were still a lot of possibilities that we could developed from. Thankfully, we still got 10 days before handing our final submission. Therefore, we have incorporated some of the comments that we have received in our design. However, it is found that a week and half is not enough for us to develop all the possibilities. Also, through this architectural academic journey, we are taught that there are always improvements in our design. Therefore, we have chosen some critical ones to focus on.

are too frightening. It is mainly due to that it is too dark inside. Visitors have no intention to enter such a terrifying space and interact with the structure. This argument is very critical to our design. It is because the idea of encouraging people to interact with the structure has been the major concern of our design. To address this problem, our group agrees to add more light in between wall to light up the area. LED lights are added in the plastic fiber that used to hold up the piezo film. Some of the energy generated by the hair is used to operate those lights.

Firstly, the crits mainly pointed out that the estimated amount of electricity generated is wrong. It is because wind is a finite energy.

The amount of energy reduces when it hits objects. With a numerous of fur inserting on the wall will diminish the wind energy gradually.

Hence, the wind is unable to hit the furs which are placed in the innermost of the wall and no electricity can be generated. In addition to the comments of the crits, we also found that by placing useless film in the design is not efficient and costly. Hence, our group plans to use a wind simulation tool to estimate how wind is distributed across the design. Then, we can adjust the length and the density of the fur.

Also, we have decided to replace the film that cannot receive any wind energy but simply a plastic skin to reduce the production cost.

Nevertheless, there are more possibilities can we can develop in our design. We can fine tune the length of the hair to create different texture and visual experience when people walking pass. Also, a variety of colors can be added in as to attract more kids to come and touch them. It is suggested that kids are the â&#x20AC;&#x153;main sourceâ&#x20AC;? for generate electricity as they are energetic and love to explore new things.

They are more willing to move around across site. I think it will be good for us to develop more after the final submission to make it a more coherent piece.

Secondly, it is pointed out from our photomontages that the areas between walls 155

C10.Learning outcomes

In general, the feedback that we received is more encouraging than the interim presentation. It is mainly due to the fact that we were back to the right track after the interim presentation. We were no longer allowing Grasshopper to govern our mind for the whole design. Instead, we were able to manage the parametric modelling tool and produce something that we intended to make. Honestly, the confusion that made in Part B was mainly due to our inability to understand how to relate the exploration section to the design section in the course. We were glad that our tutors and classmates gave us a lot of advice and suggestions which brought us back to the track. The learning throughout the process, though a bit costly is just too valuable for us Nevertheless, I was disappointed for not realizing some of the arguments that the panel had raised in the final presentation. It was mainly due to that we got our initial idea approved in the week before the final presentation. Hence, our group did not have enough time to think deeply into the possibilities and what our design could do. I could not blame anyone about this as our group had used a lot of time to figure out what we were supposed to do in this course after the interim presentation. For my future practice, I should ask for advice earlier when I met dead ends or having confusion of what I am doing. Also, I should have a better time management to allow my design to be developed on a solid ground before making all the final models.

In terms of my performance in the course as a 156

whole, I would like to reflect by looking through the learning objectives that we have agreed in the early stage of the semester.

This course helps me to develop my ability to analyze the contemporary architecture.

Computation is seen to be a new direction in the industry. Through studying the contemporary architecture which designed through computation broaden my perspective in the architectural industry. Just looking at the design brief, it appears to be easy to create such a form with the help of parametric tool. However, when we take those we have learnt in the analyze process into exploration and design development,. we find that it is hard to translate what is in our mind in Grasshopper. On one hand, it tells me the limitations of Grasshopper. On the other hand, it shows that we have not spent enough time to learn different commands in Grasshopper.

Secondly, in terms of understanding the relationship between architecture and the roles of computation, the relationship becomes clearer after the interim presentation. It is because we had been directed to an understanding that our design in the interim presentation had nothing related to the site and the brief. It was just a random piece derived from a computation tool.

Through these weeks, I understand parametric software is just a tool for us to find design outcomes. Before the generation of the parametric tool, we should decide our selection criteria based on the brief, site analysis and our design intent. With all those parameters, we

control points and factors in Grasshopper as to achieve a desirable outcome. For example, in our case, it is setting up the density and the height of the anchor points based on the wind direction and intensity of Copenhagen.

Thirdly, in terms of the ability in learning and managing the computation tool, I do not think that I have performed a good job. To me, especially in terms of working with new software, it is fine for me to learn with instructions and demonstrated videos. I can manage to work with all the algorithmic exercises. However, I resist working in additional exploration in Grasshopper.

I was not able to produce innovative scripts out of Grasshopper. Indeed, I did only simple commands and generate numerous outcomes based on the scripts that my group mates had produced. While my group mates were taking the responsibilities to work on Grasshopper, I was doing the researches and thinking of how our design could go based on the exploration we did in Part B. When comparing our work with other group works, our group did not explore the computation tool as much as the other group did. It would be different if I could be willing to work harder to learn more commands and help my group mates to think how the tool could assist in our design as a whole.

Fourthly, we have done well in terms of converting parametric design to a physical model. It is because we have a simple fabrication process in our final model. The model is made by simply laying the unrolled pieces according

to their designed location. However, failure is also found in the detailed model as it is the first time that we pour concrete. Though we had tried a few times with prototypes, some of the problems had been fixed but some of them were not. It was discovered that there were a lot of bubbles found in the concrete, which we did not realize it was a problem until we were told in the presentation. We should do more research on the material performance and the making process before we make the model. We did some researches about concrete after the presentation. It was found that we should continue to vibrate the concrete while it was pouring into the formwork as to get rid of the bubbles. Moreover, we were not patient enough. We took off the formwork before the concrete was set completely. Therefore, bits were falling off and we did not have sufficient time before the presentation to remake one.

Again, to solve this issue in future, we should try more prototypes to test the different materials before the last few weeks.

Throughout the whole project, we had experienced a failure in fabrication in Part B. We had a form that Boolean could not be created in Grasshopper. We have to do it manually in Rhino. There were definitely inaccuracies in the model as we were doing the assembly process manually with lots of errors. Luckily, we had taken the lesson that we have learnt in Part B and started to develop our design while considering also the fabrication possibilities.

Yet, through looking at other groupsâ&#x20AC;&#x2122; work, it 157

was suggested that the accuracy in the digital model could not be fabricated precisely unless computers were also used in the assembly process. In addition, it is found that in many of the parametric projects, the fabrication part has been the major obstacle. It is because there is no limitation in the computer but in reality, there are limitations like construction stability, materials availability and time.

Finally, when listening to other groupsâ&#x20AC;&#x2122; presentations, I have found that using a video that shows the function of the design is very powerful and persuasive. A video helps to communicate the idea in a more dynamic way than diagrams and photomontages. People can easily understand where the design sits, how people are approaching the design and how people interact within the site. Also, it is more interesting and able to catch peopleâ&#x20AC;&#x2122;s attention after listening to numbers of presentations.

Those videos inspire me to learn video programs and use videos in my future presentation to convey my design ideas.

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