Jung jinwoo 585694 Studio Air Journal

AIR Jinwoo Jung 585694

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University of Melbourne 2014 Bachelor of Environments ABPL30048 Studio: Air Jinwoo Jung 5 8 5 6 9 4

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CONTENT INTRODUCTION 04 A_"-CONCEPTUALISATION 07 ALGORITHMIC SKETCHBOOK #1 24 REFERENCE 26

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INTRODUCTION

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I am a third year Bachelor of Environments student that is majoring in Architecture, with the ambition of pursuiting my passion to live as an Architect by completing my masters degree at the Melbourne University School of Design.

I came to Australia in 2001 with my family from Korea, and have been living in Melbourne since, completeing my highschool education at Melbourne High School.

Ever since childhood, I was always interested in making and creating things, building castles and houses with Lego and wooden blocks. Now, as a student who has a lot more knowledge and understanding of the role of an architect and architecture, I

wish to live up to the fact that architecture is for the people. No matter what the context, an architectural project’s first priority is always to serve.

I am very curious as to how, through studio Air, I could utilize parametric design to achieve such function without delimiting the creative possibilities.

Throughout my studies, I was exposed to numerous programs such as AutoCAD, Rhino, the Adobe series such as Photoshop and Illustrator, and many more. Through the subject Virtual Environments, I was able to explore Grasshopper in a very minute scale to utilize the tab-making plug-in, as well as laser-cutting and fabricating the physical model.

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""""""''When architects have a suffIcient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture"'' -Brady Peters

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PART A CONCEPTUALISATION A1 DESIGN FUTURING A2 DESIGN COMPUTATION A3 COMPOSITION & GENERATION A4 CONCLUSION A5 LEARNING OUTCOMES A6 algorithmic sketches

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A1 DESIGN FUTURING i BLOOM i ‘Bloom’ is an innovative project ini-

the built environment must thrive to engage in; it is not uncommon to see many of the innovations of sustainable design coming from an understanding of biomimicery, mathematical algorithms, sociology, etc., such as Doris’s background in biological Thermo bi-metal utilizes the expan- studies as well as an understandsion of metals under thermal tem- ing of parametric design workflow. perature to control its deformation. Fry, in his book Design Futuring, By bonding two strips of metal with states that sustainable developdifferent coefficient of expansion, it ment must focus on ‘re-direction’, utilizes its contrasting elongation to a deflective process as opposed to resulting in the material to bend.[1] a confrontational process that utilizes the existing momentum of a Doris aims to utilize this material to force and use it to its advantage. [3] develop net-zero energy systems that can reinvent building skin, and to ex- What makes a public art installation emplify such technology, ‘bloom’ was such as Bloom successful is the fact installed at the Materials & Apllica- that not only does it achieve technotions gallery in LA. Bloom’s surface logical innovations in ventilation and is made completey out of thermo bi- cooling energy-efficiency, but also metal, and forms a canopy that can with its ability to make people interblock out the sun by constricting the ested in such concept. The visual aesamount of sun passin through whilst thetic could be said to not be of prime in other parts will open up to allow importance in the need for sustainventilation and let the heat escape. able design, but it is what first grasps the attention of those exposed to it There are endless combinations and and generates the curiousity to know applicatoins of materials and forms more about it as well as innovating that can be adadpted in the process them to contribute to the never-ending of design to redefine sustainability in design process to build for the future. today’s world where ‘sustainable design’ is trivialized and technocratic. [2] tiated by Doris Kim Sung, a former biology-major architect who borrows nature’s method of the human skin’s respiratory system and the technology of what is called a thermo bi-metal.

This project also emphasizes the importance of the multi-disciplinary nature that architects and designers of

1. Kanthal, Kanthal Thermostatic Bimetal Handbook (2008) < http://www.kanthal.com/Global/Downloads/Materials%20in%20wire%20and%20strip%20form/Thermostatic%20bimetal/Bimetal%20handbook%20ENG.pdf> 2. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 7 3. Tony Fry, p. 10-11

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5. Michael Pawlyn, Using Nature’s Genius in Architecture, filmed by TED Talks (London, 2010) 6. Johnathan Rae, ‘Sustainability in Nature and Architecture’, in Darington <http://www.dartington.org/blog/sustainability-in-nature-and-architecture> [accessed 11 March 2014] 7. Buckminister Fuller Institute, ‘Geodesic Domes’ <http://www.bfi.org/about-fuller/big-ideas/geodesic-domes> [accessed 11 March 2014] 8. Exploration, ‘The Eden Project Biomes’ <http://www.exploration-architecture.com/section.php?xSec=21&xPage=1> [accessed 11 March 2014] 9. Tristram Carfrae, ‘Engineering the Water Cube’, Architecture Australia, 95 (2006), <http://architectureau.com/articles/practice-23/> [accessed 12 March 2014]

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A1 DESIGN FUTURING i THE EDEN PROJECT i The Eden project is a horticultural

architecture project by Michalel Pawlyn that heavily undertakes the idea of bio-mimicry, a concept that Pawlyn expertizes on to create numerous project of the future. Bio-mimicry essentially refers to the application of the processes and design that occurs in nature into architecture. [4] Pawlyn himself believes that economical agenda should be a celebration of its connection to our spirits, and not a sacrifice as many have thought. [5] With such agenda on mind, the Eden project is also built upon 3 habits of nature that Pawlyn believes will change how architecture and society works in the near future, which are radical increases in resource effi-

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ciency, a linear to clsoed-loop system, and drawing energy from the sun. [6] Everything from the form of the building to the structure and the material is influenced from natural precedents: the form which resemble variants of connected soap bubbles are used to compensate for unstable topography where the final ground levels after an ongoing mining operation were unknown.

Multiple outcomes and forms could be tesetd and anlysed using parametric design tools, making it a lot more efficient and precise to respond to the unstable environment.

The structure, which is influenced

by Buckminster Fullerâ&#x20AC;&#x2122;s geodesic dome, [7] is arranged with hexagons and pentagons for optimum strength.

Finally, ETFE -which are polymers that are extremely light and inflatable for structural rigidity- was used as a membrane surface to enclose the space. Pawlyn’s innovative technique doesn’t stop from its mere appearance; added benefits of the ETFE in contrast to glass such as larger spanning length and being only 1% of the weight of glass meant it also reduced embodied energy by a factor of 100 and reduction of resources such as steel, which also allows larger surface areas for sunlight to penetrate into the building, reducing energy required for active heating during winter. [8] Such usage of materiality and structure only expanded further from that point on; it is possible to see projects that utilizes similar methodologies and

concepts world-wide, such as the Beijing National Aquatic Center which also utilizes ETFE claddings [9], as well as numerous DIY geodesic dome greenhouses being built for personal uses.

These examples can be seen as evidence that reinforces Pawlyn’s belief that our spirit is bonded with economical agendas; that we are inevitably drawn to natural processes and form; it shows that incoming threats of climate change and material wastage in today’s society can be redirected and deflected by architecture generated through rational, yet technical innovations such as bio-mimicry.

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A2 DESIGN COMPUTATION i LONDON CITY HALL|} I HELSINKI LIBRARY i The development and application of

The tilted egg-form has multiple passive design strategies such as computrs has pushed the bounds of minimizing surface area to reduce Architecture and design to a whole exposure to direct sunlight and new limit. It has revolutionized the deproviding shades for office areas. sign process from the past as wel as the role of the architect in the buildsuch trends of the interrelation of ing industry. The term computerizacomputerized design and buildtion and computational methods in ing performance influenced many design, raised by Terzidis[10], are other big firms and practices (both two inter-related yet very distinctive architectural and engineerign) to term that is vital to be understood become a lot more experimental in to know how the use of computers their approach to design, and initihas affected the design process. ates what Oxman describes as the period of ‘research by design’ [13].

The London City Hall, designed

by Foster Associates, is a computThe London City Hall is a project that erized design project that began was completed with a multi-disciplinconstruction in 1998 and was comary team consisting of the architect, pleted in 2002. By using advance structural engineers, quantity surveycomputer modelling, the modified ors, landscape architects, lighting enspherical form was engineered into gineers, and many more; the intimate the reality; a form previously unincorporation of the computational seen, being described as a “radical performance inevitably leads to a rethinking of architectural form”[11]. much more collaborative work environment uniting architects and engiBut whilst the form itself is indeed neers to contrbute to such ‘research a rational reapproach to the deby design’. The fabrication of elesign, the greater importance lies ments through computation drives the on the fact that these digital incorcreative yet rational process which poration initiates a process where “renew[s] the architect’s traditonal role the form is derived to meet perforas the master builder empowered with mative behaviours, including structhe understandng and ability to digitural and energy performance [12].

tally create in the material realm” [14].

However, this was only the beginning of the possibilities of computer-aided design; NURBS-based 3D modelling softwares such as rhino, along with graphical algorithm editor like Grasshopper further expands and contributes to making the computational approach a part of the design process as oppsoed to the documentation of it.

Computational processes are often believed to inhibit the creative process of humans due to their programmatic nature. Computational design do follow a set of ‘recipes’, somewhat similarily to Vitrivius’ Ten Books of Architecture, but as sets of algorithmic functions; the algorithms themselves do not restrict the physical form or shape of building elements; instead it invites computational data to become a part of the design process, opening up a large array of possibilities in virtually any scale that would not have been able to be produced without the use of computers. The ‘problem-solving’ nature of architectural design is shifted to a more inclusive view of not simply satisfying design briefs, but of the creative search for new possibilities and methods [15].

10. Terzidis, Kostas, Algorithmic Architecture (Boston, MA: Elsevier, 2006), p. xi 11. University of Idaho, ‘London City Hall’, <http://www.webpages.uidaho.edu/arch504ukgreenarch/2009archs-casestudies/gla_pataky09.pdf> [accessed 12 March 2014] 12. Oxman, Rivka and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 4 13. Oxman, p. 5 14. Oxman, p. 5 15. Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 14-15 16. http://www.robertstuart-smith.com/filter/projects

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A2 DESIGN COMPUTATION Helsinki Public Library

The Helsinki Public Library, by Robert Stuart-Smith Design, is a project which exhibits the expansive nature of algorithmic computation. the continuous post-tension timber surface is intricately permeated through the boundaries of function, aesthetics and performance.

By the process of feedback between the algorithm and the outcome, the post-tension mass is able to be fabricated to be a self-supporting suspension structure that acts as a formwork

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for the whole structure [16]. The expressive yet functional tectonic form of the project is not a pre-determined geometric preference like the London City Hall; it is the resultant of a generative architectural schema via the use of computational methodology, something that could not be generated manually.

The possibilities goes beyond simply form; as mentioned, the materiality of the structure and its internal amenities, structural performance

and its environmental context can all be pre-determined and explored in various ways through computation.

It is the back-and-forth relationship between its performance and volatility, a sensible balance between the architectural expression and structural optimization that drvied the final algorithmic outcome.

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A3 COMPOSITION AND GENERATION i AL BAHAR TOWERS i Computational thinking and modelling is becoming a very popular (some may even claim mandatory) trend in the field of design, along with more and more debates as to how such method should be conceived and utlized in the industry.

The main principle element of parametric design thinking which is causing such a phenomenon is the schema which stimulates a visual relationship between multiple variables such as geometry and performance to explore endless variations and hence creating a new form of design logic [17].

Such revolutional period is concreted by more and more practices and firms shifting paths to soley focus on taking on the role of not only utilizing softwares but to develop their own [18].

of live physics into the algorithmic patterns[19].) is giving architects more control over the application of parametric design in the context of real life, allowing a closer encounter of the architecture and the public as well as its construction.

It demonstrates that parametric design can be, and should be, expressed as not a physical manifestation of the designer’s desire, but as an artform that closely relates to the cultural and social context of the site and to the people.

The Al Bahar Towers, a project directed by Aedas, is a clear demonstration of how parametric modelling is utilized to address and balance the constructional, contextual and the cultural as well as taking into consideration environmental sustainability. The key principle feature of the building is the responsive facades whose main functionality is to block out the extremely dry and hot weather conditions that could potentially overheat the towers whilst still allowing light to enter using fibreglass. By using a simple folding geometrical pattern influenced by the ‘mashrabiya’, a traditional islammic lattice shading device [20], the mesh responds to the sun’s exposure and incience angles throughout the year.

But what are the limits? In this context, we are not talking about the limits of the parametric exploration; rather, more about matter of rationality in which could limit the scope of computational design in architecture to successfully perform as a building. This doesn’t only refer to the constructability and structural rigidity of the building, but also its cultural and aesthetic appropriateness as well as functionality. The continuous development of computer simulations such as BIM and Kangaroo Physics (A plug-in for Grasshop- The parametric redevelopment of per which allows the integration the ‘mashrabiya’ embedded into

17. Oxman, p. 7 18. Peters, Brady, Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), p. 8-15 19. Daniel Piker, ‘Kangaroo Physics’ in Food 4 Rhino, <http://www.food4rhino.com/project/kangaroo> [accessed 22 March 2014] 20. Karen Cilento, ‘Al Bahar Towers Responsive Facade/Aedas’ in Arch Daily, <http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/> [accessed 22 March 2014] 21. Peters, Brady, p. 12

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the facade embeds a cultural root to the design that relates to the public and the clients, and the responsive facade which is constantly changing the form of the building creates a dynamic aesthetic. Aedas demonstrates a rational parametric design process that manages to comply with the clientâ&#x20AC;&#x2122;s brief and standards that is deemed acceptable contextually, whilst also demonstrating innovative design art form and computational technologies that would further promote computational methods to become a â&#x20AC;&#x153;true method of design for architectureâ&#x20AC;?[21].

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A3 COMPOSITION & GENERATION i METROPOL PARASOL i The Metropol Parasol is another unique parametric desing example that communicates and relates to its context and clients with the direct intent of creating a culturally vibrant public square.

Boasting to be the largest timber frame structure in the world and only being held in place with glue, it is constructionally an impressive feat of controlled alogorithmic application of constructional rigidity.

ditional architecture by using computational design strategies. The notion that such building was commissioned signifies the increasing acceptance of parametric designs being realized into the real world.

There is a heavy relationship between an ‘art form’ and architecture in the Metropol Parasol. The sculptural, yet incredibly large structure appear raw and skeletal, which emphasizes J.Mayer’s intention of boldifying the building within the surrounding contrasting context to engage the public. It did indeed create controversy due to such large scale and its raw sculptural form; the Metropol Parasol in a unique project that challenges politically correct methods and steps outside the boundary of tra-

Stan Allen denotes that meaning in architecture can be constructed via the encounter of the architecture with the public [22].

Metropol Parasoli’s engagement with the public historically, contextually and functionally asserts a new meaning for archtecture in the modern age where designers are intimately understanding and utilizing computational methods to compose and generate architecture for the people.

Embedded within the sculptural form of the Metropol Parasol is the rational functionality of the space which really allowed such unconventional structure to be built; it is a building for people to The Metropol Parasol can be gather and celebrate the urban said to be a civic architecture, context of the site. The materiala structure that suggestes dy- ity of the structure exemplifies a namic movements through its visual cue and relationship to the form as well as its structure; mul- neighbouring town, and spaces tiple levels are extended along such as the underground muthe structure such as the under- seum located along the site of ground museum and elevated archeological findings houses plaza to interact with the users. a memorial to historical context.

22. Allen, Stan, Practice: Architecture, Technique and Representation (Routledge, New York, 2008), pp. XIV

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""""""''THOSE WHO LOOK FOR THE LAWS OF NATURE AS A SUPPORT FOR THEIR NEW WORKS COLLABORATE WITH THE CREATOR'' -ANTONIO GAUDI

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A4 CONCLUSION i DESIGN APPROACH i Winston Churchhill once said that “we shape our buildings; thereafter they shape us”. Architecture has been and will continuously be an important influential typology in the socio-cultural realm, and should continuously adapt and be open to developing technology such as computatoinal algorithmic programs such as Grasshopper. Such innovations in the architectural design process not only allows a test for variables of complex algorithmic forms, but also expands out to virtually verify processes such as building performance and structure whilst maintaining its creative integrity as an art form which serves social, cultural and aesthetical functions.

In the lead-up to the design for the LAGI initiative, parametric modelling tools such as Grasshopper will be utilized to explore extensive algorithmic variables to generate a form that responds to the contextual aspects of the site as well as addressing visual aesthetic cues to engage and introduce potential users and visitors to the complex beauty of parametric designing. Design strategies such as materiality, structural performance and responsiveness will be gradually explored and applied to achieve such design principle.

A5 LEARNING OUTCOMES i conceptualisation i My limited experience with the theory and practical application of architectural computation meant that most of the content was very unfamiliar and new; however, by progressively taking steps to understand parametric tools (Grasshopper) from the very basics such as the principle of vectors and the definition of algorithmic formulas down to practical applications such as making designs that could potentially get fabricated, the very basics of arhitectural computation has been understood. The process of ‘how’ a form is created as opposed to ‘what’ the form is a significant concept that will motivate future designs. Looking back at past design practices such as Virtual Environments, such parametric tools could have been utilized to very efficiently explore and generate a lot more design possibilities to analyse elements such as light and shade exposure and ergonomic forms.

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A6 ALGORITHMIC SKETCHBOOK

Initial exploration of Grasshopper consisted of creating and modifying lofted forms to base our further research on. By utilizing geometrical shapes and patterned curves, interesting forms were generated and modified into complex forms.

Such experimentation allowed a brief insight about the concept of algorithmic designing.

sert the fact that parametric tools can go beyond the capabilities of designers to generate designs not possible without computational processes.

Materialisation and fabrication of the designed forms were also slowly being understood.

Whilst the knowledge still lacks to give sufficient information for fabrication, notions such Throughout the course, many as extruding and offsetting other functions such as voronoi surfaces was explored to give was explored and applied. As depth and joints to the form. seen on the opposite page, several voronoi pattern was gener- As I begin to understand the ated through culling patterns. basic concepts of computaThe 2D pattern was then ap- tional design, I hope to venture plied on to the surface of the on more and more complex lofted form, and offseted to and interrelated datas and create a ribbed structure.

This notion of mixing and matchinng various components together to create complex geometries begins to as-

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functions to be able to adequately represent the design intentions of the final project.

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""""""''THOSE WHO LOOK FOR THE LAWS OF NATURE AS A SUPPORT FOR THEIR NEW WORKS COLLABORATE WITH THE CREATOR'' -ANTONIO GAUDI

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PART B CRITERIA DESIGN B1 RESEARCH FIELD B2 CASE STUDY 1.0 B3 CASE STUDY 2.0 B4 DEVELOPMENT B5 PROTOTYPES B6 PROPOSAL B7 LEARNING OBJETIVES AND OUTCOMES B8 ALGORITHMIC SKETCHBOOK

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RESEARCH FIELD

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B1 RESEARCH FIELD i MINIMAL:RELAXED GEOMETRY i Throughout the history of design and fabrication, study of geometrical patterns and shapes were and still continue to be heavily emphasized upon due to its boundless relations of size, shape, and its relative properties on space.

A minimal surface structure is a locally area minimizing surface that utilizes tension to produce optimum minimal surface area that maintains a zero mean curvature to be structurally supported [23]; it is the minimal surface of revolution of a catenary curve, also known as a catenoid.

Relaxed, minimal geometric structures has numerous unique principle features and potentials that can be applied to not just simply produce a unique organic form, but to address rational design strategies such as efficient usage of materials to meet structural needs, creating large open spans through the usage

of flexible membranes (such as ETFE and fabric) under tensile force, and control of positive and negative spaces.

Such properties are realized in early researches and works undertaken by pioneering architects and engineers such as Frei Otto, who adapted nature’s process of soap bubbles to create lightweight, efficient inflatable buildings, and Antoni Gaudi, who demonstrates ‘natural’ structure under gravitational force in his rope model for the Colonia Guell Church (which Gaudi asserted could be turned upside-down to create funicular designs that’s completely in compression). These early innovations of minimal flexible forms continue to be explored with the aid of computational design, allowing a much more sophisticated analysis of form, structure and material.

23. Torguato, S. and Donev, A, Minimal Surfaces and Multifuncitonality (Princeton: Princton University, 2004), p.1

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B1 RESEARCH FIELD i Taichung Metropolitan Opera House i

The Taichung Metropolitain Opera House is an important example of how computational methods is used to generate an architectural form based on minimal surfaces, as well as of its constructability in the real-life context.

A membrane that lies between two surfaces is divided into 2 alternating zones that are separated by a curvilinear membrane; this process is repeated vertically and horizontally and is emerged together to create a fluid, organic membrane [24].

Its multiple openings create an inviting

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environment from all sides for the public to interact with, forming diverse spaces that generates a place of communication for the people.

The Taichung Opera House demonstrates an effective balance of computational design thinking with its architectural funcionality that does not manifests itself in its own form, but creates a rational humanistic relationship with its users, which is a key factor that defines architecture.

24. ArcSpace, â&#x20AC;&#x2DC;Taichung Metropolitan Opera Houseâ&#x20AC;&#x2122;, <http://www.arcspace.com/features/toyo-ito--associates/taichung-metropolitan-operahouse/> [accessed 22 March, 2014]

B1 RESEARCH FIELD i sao paulo bridge i The Sao Paulo bridge by Robert Start-Smith Design is a project which is built up under the principle of minimizing surface areas whilst creating a dynamic aesthetics and satisfying structural requirements. Its form takes on a semi-monoque structure, its internal structural skin supporting critical areas under compression and tension. Custom-written softwares allowed an analysis of the areas of stress and deflection, and modified via ridging to accomodate the imposed stress whilst accomodating the characteristics of the intended material, fibre-reinforced plastics [25].

The use of minimal surfacings and materials shows the architect’s understanding of balancing the socioeconomical constraints with the aesthetic beauty to propose a functional structure whilst maintaining its art form.

25. Robert Stuart-Smith, ‘Sao Paulo Bridge’, <http://www.robertstuart-smith.com/rs-sdesign-sao-paulo-bridge-design> [accessed 27 March, 2014

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case study 1.0

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B2 CASE STUDY 1.0 i GREEN LAVA i

The 20m installation is a sculptural fabrication that demonstrates the concept of relaxed minimizing surface through complex algorithmic patterns adapted from natural processes such as cells, crystals and soap bubbles. Its lightweight structure and efficient usage of materials allows the sculpture to span across the interior of the Customs House [26]. The complex form is generated with

awareness of gravity, tension and natural growth, a process which would be near impossible without the usage of computational design and fabricational processes. By analysing the algorithmic function used in the process of this installation, its components will be dissected and tested to demonstrate further possibilities of what types of relaxed minimal surfaces can be generated and fabricated.

26. LAVA, â&#x20AC;&#x2DC;Green Voidâ&#x20AC;&#x2122;, <http://www.l-a-v-a.net/projects/green-void/> [acessed 9 April, 2014]

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B2 CASE STUDY 1.0 i exploration i

species 1. exo-skeleton

Species 1 involved utilizing the exoskeleton algorithm which allowed a thickening of wireframes to experiment with the numer of sides, node sizes, spacings and thickness along a simple open curve to generate forms.

Whilst a handful of iterations could be

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made, it was still yet quite difficult to get drastic differences in the general composition of the form. Kangaroo physics was attempted to be applied, but still showedheavy limits to what could be generated using computational methods.

species 2. exoskeleton on alternate geometries

Following through this algorithm, various other forms were generated by applying the system into more complex open and closed curves. By enclosing the system onto a closed 3-dimensional volume, it was possible to exemplify potential methods of creating a rigid structural

system that could be applied to generate an endless amount of further iterations.

The constant utilization of the wireframe thickening also meant that the resulting mesh were ideal for further refined processing and 3D printing/fabrication.

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B2 CASE STUDY 1.0 i exploration i

species 3. voronoi patterns and kangaroo physics

Kangaroo Physics, a live physics simulation engine, was analysed and explored further to open up further potentials by implying the interaction of tensile and compressive forces within the iterations.

Species 3 involved applying various

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unary forces onto a voronoi generated from a series of offsetted radial circles.

This resulted in a very organic yet systematic aesthetics, but the form itself was still quite fixed to the input curves.

species 4.kangaroo physics and anchorpoints

In order to open up more versatile iterations, the algorithm was applied to create anchorpoints and tensile/compressive aesthetics onto individual points.

Creating a base geometrical volume and extracting the point grids from it, the

points were able to be individualy shifted to manipulate and create a whole array of unexpected forms and geometries. It was also possible to see potential ideas of how such technique could be used to generate enclosed volumetric spaces.

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B2 CASE STUDY 1.0 i development i

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iteration 1

iteration 2

iteration 3

iteration 4

Upon initial exploration of relaxed geometry and minimal surfacing, 4 iterations which had the most developable potential and flexibility was selected. The first highlighted iteration is constituted of a skeletonized voronoi pattern that is modified to a proportional scale and inputted through the Kangaroo Physics engine. The outcome shows a very unique organic form which creates a fluid shape whilst maintaining order. Further exploration could lead to changes in anchorpoints, applying gravity and other foces, alternating the voronoi pattern, attaching the pattern to other geometries, etc.

The second iteration highlighted resembles fabric materials and characteristics, showing potential methods of how relaxed double-curved materials can be utilized. With further refinement, such type of iterations could be extracted and fabricated for prototyping to explore how physical materials can behave in real life.

The third and the fourth iteration is based off an initial simple geometry. The control points of the geometry is modified and

inputted as anchor points to create a volumetric form that shows caracteristics of relaxed and minimal surfaces. The volumetric form and openings can further lead to exploration of internal spaces and zonings, which can be a vital factor contributing to the final LAGI design.

The algorithmic patterns utlized in the making of the Green Void has been thoroughly utilized and re-modified to create multiple alternate outcomes. Along the process, many unexpected outcomes were created, which allowed for further expansion of potential designs and ideas.

Through such process, it can be seen that computational design is very much so a tool that can be utilized to not simply generate an intended desgin but to allow chains of outcomes that the designer alone might not have been able to produce.

As the utility of grasshopper becomes more and more familiar, it is hoped that more advanced and sophisticated outcomes can be generated into the design process to enhance the design process.

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case study 2.0

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B3 CASE STUDY 2.0 i Munich olympic stadium i

A prime example of how minimal surface structure is developed into real-life context, the 1972 Munich Olympic Stadium boasts an impressive span of light-weight tensile membrane structure supported by vertical masts that houses a very dynamic volume of spaces and function. The form and direction of these structures was heavily dictated via environmental and climatic concerns such as sun, wind and rain, as well

as having to create a large spanning area to cover a very high amount of popiulation whilst minimizing material and cost. The translucent, tensile skin is supported on saddle-shaped nets made of steel cables, which is supported by the tapering masts that reaches up to 70m in height, showing the flexibility of such geometrical design using light-weight tensile materials [27].

27. Heide, M. & Wouters, N., â&#x20AC;&#x2DC;Olympic Stadiumâ&#x20AC;&#x2122;, <https://iam.tugraz.at/studio/w09/blog/wp-content/uploads/2009/11/OlympicStadium.pdf> [accessed 9 April, 2014]

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B3 CASE STUDY 2.0 i reverse-engineering i

1. Create base surface

4. bake vertices

2. create mesh grid

5. select first set of anchorpoints

3. extract vertices

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6. input anchorpoints to kangaroo physics

7. apply second set of anchorpoints (to extrude vertically)

8. input second set of anchorpoints to kangaroo physics

the outcome of the reverse engineering resulted in a form that roughly mimics the form of the Munich Olympic Stadium. The anchorpoints acted as the point in which the masts and the steel cables held the fabric material, allowing the form to appear drooped and supported in tensile strength. Of course, the actual structure has a lot more wider area and

slightly more complex base geometry, but the idea of tensile structure remains. The next stages to reverse-enginer such project would consist of determining the various heights and elevations of the masts and cables which support the material, as well as generating the rectangular grid frames that supports the fabric material underneath.

9. extrude anchorpoints

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B3 development i iterations i

species 1. variation of open geometries and anchorpoints

Utilizing the algorithm ued to reverseengineer Frei Ottoâ&#x20AC;&#x2122;s project, the tensile and compressive characteristics was variated and modified to create rational geometric structures with the aim of generating a self-supporting shape. By logi-

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cally defining anchorpoints and upward/ downward forces on Kangaroo Physics, numerous different iterations was able to be created that resembled pavilionlike structures. Entry points, shelter, and circulation was able to be visualized.

species 2. application on geometries with volumetric depth

Expanding upon the algorithm applied on to the open geometries, the same computational approach was adapted onto closed volumetric geometries to explore more potentials of self-supporting forms. Like previous iterations, the forms

are initiated from quite general and simple forms and are gradually morphed through the composition of anchorpoints and the direction and strength of forces.

Minimal surfacing is explored in more

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B3 development i iterations i

species 3. millipede on curves

depth. The Millipede plug-in is a structural analysis and optimization component for Grasshopper that was integrated into the design development stage to expand upon how structural systems and framings could be generated to define functional-

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ity and form. Species 1 was created using points divided along multiple curves, utilizing the â&#x20AC;&#x2DC;cull duplicatesâ&#x20AC;&#x2122; command to create more charges along points of intersection to generate the minimal surfaces.

Exploration of the Millipede algorithm

A b C

species 4. milipede iterations

is continued in species 4; Species 4.A shows its integration on points derived from curves that suggests a spherical volume. 4.B demonstrates how Millipede responds to individual, randomly generated points; it was interesting to see the

highly dense yet fluid and open structure, very much so like Toyo Itoâ&#x20AC;&#x2122;s Taichung Metropolitan Opera House. 4.C shows an extension of how curves can be sub-divided and interpolated to create a systematic structure and suggest functionalities.

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B5 Development i selection criteria i

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A

B

C

D

From multiple attempts of generating several different species and iterations, a selection of iterations that showed potential to be refined and explored further were selected, based on the rationality of the form and structure, and how it may be utilized to compensate for not simply aesthetic reasons, but for how users may interact with the form and how various technologies could be implemented into the system.

same sub-divisions along each other, the iteration was created by subdividing a boundary form (a box), and creating individual frameworks in each to suggest spatial movements and functions within the structure.

Iteration A, based off the algorithm used to reverse-engineer Frei Ottoâ&#x20AC;&#x2122;s work, demonstrated an all-compression structure that showed a dynamic geometry and scale with the potential of developing into public openings and a space that invites the public to gather and communicate. Iteration B follows a similar pattern; both iteration emphasizes its entry points through its overemphasized influx in its form.

Iteration C was derived from the Millipede plug-in, which was very useful in opening up ideas of how frameworks could be implemented onto the design to begin thinking about its constructability. subdivided networks of curves, joint along the same points on each edges, were simply laid out on a grid to generate a large span, and the algorithm inputted to quickly create a large structural framework.

Following up from this, iteration D was chosen as a sucessful attempt of a more refined implementation of the sub-divided frameworks. instead of repeating the

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B5 "prototypes i panel generation i

Algorithm 1.boudnary and points are identified separately, and joint together.

algorithm 2. mathematical logic is applied to generate evenly distributed points in relation to the rest of the panel structure.

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B5 "prototypes i1i

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Going beyond the generation of forms and geometries, computational design process is now utilized to translate the virtual to the reality. Throughout the process of fabrication and assembly, the fluid organic characteristics of minimal surfacing was to be maintained.

pylene, a flexible yet strong material.

In the first prototype, overlapping trianglebased panels that also suggests minimal surfacing, was generated using a custom algorithm in grasshopper and applied onto a triangulated form to allow flexibility, and fabricated onto a polypro-

The inital algorithm used for the making of the panels also proved to be unsuccessful in generating uniform, evenly distributed hole penetrations along the corners, leading to complications in the asembly process.

Whilst the organic aesthetic was able to be retained, the first prototype raised problems in structural rigidity; the nature of the material meant it would not be able to carry any structural load.

B5 "prototypes i2i

After experimentation with the first prototype, adjustments were made both to the grasshopper algorithm and the materiality of the prototype. By applying a more rational, mathematical approach to the generation of the panels, the holes were now able to be constantly distributed at proportional spacings for a more efficient assembly process. the second prototypeâ&#x20AC;&#x2122;s primary focus was to experiment the newly defined algorithm and its behaviour when being constructed, as well as creating a base template to be used as a preliminary guide for cutting out the panels onto an aluminium sheet, which

was to be our next prototype. This particular prototype was cut out using a laser cutter, allowing a precise and quick process of creating the panels.

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B5 prototypes i3i

The template panels created in the second prototype was then used to draw out the panels onto an aluminium sheet to be used as our third prototype. Aluminium was selected as the material to be fabricated on due to its relatively strong rigidity whilst maintaining a level of flexibility so that the panels could be seamlessly joint together.

Along the joints, double-ended nuts and bolts were used to fix the panels into place. This allowed for a much more stronger and stable connection than the temporary fixings used in the first prototype.

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As expected, the aluminium panels proved to be a lot more stronger and rigid than the previous prototypes.

Due to the absence of adequate fabricating machines that could cut through aluminium, as well as time, meant that the panels had to be cut manually, which caused some minor issues along the connection joints which could be fixed. It was an important learning experience that exemplified the benefits of using computational technologies such as the FabLab or other fabricating services.

B5 prototypes i4i

The 4th prototype was an extension of the 3rd, using the same material and joins, but sequencing 3 different panel proposals.

The aim of the prototype was to explore how different panels could be joined seamlessly, as the variations would have a corosponding role dedicated to it. For example, the solid triangular mesh that are planned to be welded together along the edges, are expected to be used as a structural element that can create stability to the overall form around its primary load bearing zones, as well as acting as a base for in which our energy-generating technique could

be implemented, such as a piezoelectric footpath that will run along the interor volumes of the structure.

The 3 iterations progressively reveals more openings to allow a controlled intake of natural daylight and maintain a level of consistency within the patterning of the panels throughout the overall form. A problem that was faced during the assembly process included difficulty in controlling the positions of the solid panels into the desired place due to its much more rigid characteristics.

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B5 prototypes i performance i

prototype 1 udner compressive force

prototype 1 udner torque/rotational force. take note of its return to inital form

prototype 1 udner tensile force

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B5 "prototypes i performance i

prototype 3 under compressive force

prototype 3 under torque and rotational force. take note of deformaties

prototype 3 udner tensile force

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B6 proposal i site analysis i

DESIGN

SITE

summer sun

winter sun

LEGEND Entry point Wind path Sun path Proposed design site

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The LAGI design site in Copenhagen was initially used to house the shipyard Burmeister & Wain until 1996.

It played an iconic role in the Danish industrial history; now, the location is used to accomodate for flear markets, warehouses, and various cultural/ recreational venues [28].

The site lies on a very flat plane, enclosed within an industrial zone along its East and waterways along its South. Across the other end of the waterways perpendicular to the site lies an important Copenhagen landmark, the Little Mermaid.

Making use of such topographical features and landmarks, the aim was to create dynamic levels and openings that would expos and frame views that may not have been perceived previously to allow an appreciation of the natural landscape.

Climatic characteristics of Copenhagen such as a dramatic difference of daylight during summer and winter, and the high amount of wind needed to also be considered. should be considered.

28. LAGI, LAGI 2014 Design Guidelines (Copenhagen, 2014), p. 7

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B6 proposal i form generation i

start with box

form continuity

Framing system of structure based on entrances and circulation

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cut corner for public communication

Optimum angle for receiving sunlight

Central Atrium Space defined by void

sub-division for functional framing

Merged frame

Form generated through milipede plug-in

Taking into consideration the climatic and cultural characteristics of the design site, the refined grasshopper definition was then applied to generate a context-responsive form.

The form was initiated with a simple box that was used as a bounding parameter that would create openings within the resultant form for uses such as viewing platforms. the box was then split and cut out to respond to climatic factors such as optimum angle for photovoltaic solar

energy collection as well as defining communicative spaces such as a central void that would generate a main ground-level courtyard to bring monumentality to the overall structure.

The boundary was then sub-divided to implement an approximate framing system that would dictate the general form and the load path of the structure. Through 3D printing, it was possible to explore how potential spatial movements

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B6 proposal i potential site acclamation i

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B6 proposal i energy generation i Mechanical force from footstep Surface Panel Enclosed stack actuator

Lithium polymer battery stored energy used as lighting Piezoelectric system was decided upon to be used as the main energy-generating system implemented to the design. Piezoelectrical foorpaths, consisting of a walkable external slab, a layer of enclosed actuators and lithium batteries, converts the mechanical energy from footsteps into electrical energy and transfers them to the electric grid.

The system was explored in an attempt to retain an interactive approach where users

would be able to physically and visually be aware of their inputs to maintaining a sustainable design strategy, andh ence promoting further contribution.

The panels, which can be custom-cut and assembled for various applications, may be stacked upon existing panels within the structure to guide circulation within the building as well as generating immediate lighting needs.

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B7 learning objectives and outcomes Following on from the interim review, the critics were able to give valuable feedbacks on how the design proposal and techniques could be refined and expanded to have a more specific design intent and how it can be achieved. Through the review, the group had to reconsider the actual design brief of the LAGI competition of creating a sculptural art form that challenges users to reflect upon ecological system and energy and resource generation through its aesthetics and its ability to covert natural energy to electricity to be transmitted to an electrical grid.

gy produced. Considerations such as the net amount of energy produced throughout the year through the system, and what implications it would have on lighting needs would have to be analysed.

The refined form will continue to be developed critically, taking into consideration its specific functional needs as it becomes gradually more defined. Its fabrication and assembly process will also have to be re-visited, such as bracing systems for the aluminum panels as they have significantly lower load-bearing capacities around its centre, and the comFirst, the feasibility of the piezoelectric bination and utilization of different maenergy-generating technique had to be terials to incorporate into the structure. reconsidered. The efficiency of the technique was a problem; as piezoelectricity As a whole, the progress so far has chalonly generates a small amount of energy, lenged the capabilities of computational it would be very difficult to produce sig- design processes to a bigger extent; nificant amounts of electricity through fundamental algorithmic patterns and the limited amount of panels and users logic was able to be better understood interacting with the structure. In order through numerous case-study projects to resolve the issue, the solution was to that led to many successes and failures. manifest the site through a design that The generation of numerous iterations would gather a substantial amount of us- demonstrated the potentiality of compuers (hence, a much more definitive func- tational form generation, and the comtion and purpose than simply relying on bination of various technological and users to interact with the structure for the design analysis with experimentations of sake of it; for example, a public plaza, or a physical prototypes assisted in creating kidâ&#x20AC;&#x2122;s playground?) in order to expand the a sound knowledge of the integration of usage of piezoelectric panels to produce computational design to architecture, resufficient energy. Furthermore, Another alizing its advantages and disadvantagimportant aspect to be mindful was the es that began to slowly form a personal actual calculation of the amount of ener- repertoire of computational techniques.

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''computational approach currently tends to be the development of parametric families of components and in the requisite control of data. Here, what is relevant is the relationship between the parts, and the management of this change in response to local performance requirements'' -Brady Peters

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PART C CRITERIA DESIGN C1 DESIGN CONCEPT C2 TECTONIC ELEMENTS C3 FINAL MODEL C4 LAGI C5 LEARNING OBJECTIVES AND OUTCOMES

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C1 Design intent i principles i

Critical feedbacks and comments from the interim presentation opened up new concepts, ideas and methodologies that contributed to further refinement and solidification of the design concept. In response to the LAGI brief, which required a project of a land art that was mutually related to the evoking of environmental and renewable energy generation to the wider public, it was deemed necessary to also incorporate a functional driver that would encourage the publicâ&#x20AC;&#x2122;s interaction of the project â&#x20AC;&#x201C; something that lacked in the previous design concepts developed.

As such, the reclaimed site would now be serving as an informal communitydriven public space that will aim to bring the local community together, subtly informing and raising awareness of renewable energy techniques and capabilities through the functional and aesthetic characteristics of the project.

Such design principle will be established through a new energy-generating technique that is more feasbile than that of piezoelectricity, utilizing solar energy via solar ponds. Utilizing the prerequisites and features of solar ponds, the function and environment of the design will be heavily influenced.

Another vital element that will impact on the growth of the form is the site

itself, establishing a back-and-forrth relationship with its contextual culture, climate and geography along with the form development to create a sensible balance between an architectural aesthetic with the optimization of fabricational rationality.

Dynamism should not be lost or overwhelmed by its surrounding, nor within its form itself. The design should serve as a landmark that is controversial and stand out in an otherwise forgotten industrial site. Minimal surfacing characteristics should be retained constantly to demonstrate its structural stability and efficiency, whilst defining and establishing various functions and spaces throughout the site.

Fabrication processes is continuously proving to be challenging; whilst the panelling process is deemed feasible to retain the minimal surfacing geometry, a balance between its structural stability and constructability is challenging. Further ideas and prototypes are to be explored to refine the fabrication process, taking into consideration its approximate size in real life, method of joints, material attributes and characteristics, and the impact it will have on the overall design and the site (eg. shadow patternings and clean-cut flushing. etc.)

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C1 Design intent i technique i

There were 2 essential reasons in which the solar pond was to be implemented into the newly refined design; firstly, its prerequisite of needing a vast amount of area to adequately generate a feasbile amount of energy was met due to the large context of the LAGI site, and secondly, this meant that it opened up doorways to in which the ponds themselves could serve as a major contributor to not only the actual energy production, but also be serving as a â&#x20AC;&#x2DC;land artâ&#x20AC;&#x2122; that enhances user experience as well as creating an awareness of renewable enrgy.

Further reinforcing such notion of the incorporation of community and sustainable awareness, spaces such as public plazas and recreational spaces such as pools are to be incorporated within and around the form to attract the public to an otherwise unattractive place. By using a Rankine cycle system to generate electrical energy, the solar ponds can be used to supply electricity back to the electric grid or any other potential maintenance along the site. The residual heat generated through the solar pond will moreover be used to heat the pools that the public can access, creating more inter-relationships of the design intent.

In relationship to the site itself, vari-

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ous constraints had to be considered to maximise the potential of the solar ponds to generate significant amount of energy to self-sustain itself. These considerations included factors such as: - The solar ponds should be located close to a source of water to allow the flushing of the surface mixed layer of the pond (eg. near the edges of the LAGI site) - protection of the pond from wind, as it may result in infiltration of dust, leaves and algae into the ponds which will hinder the maximum solar gain.

- Ponds should be circular to minimize heat losses and liner costs - The ratio of surface area needed within the site to adequately provided energy to be sent to electrical grids.

- Compensation for areas of plant rooms to facilitate generators and pipes.

Various factors such as these all led to a development of further technical constraints alongside the contextual constraints to incorporate into the overall design. Such allowed a deeper analysis of performance and synthesis for design decisions and clarified methods in which the outcome could adequately meet performative requirements to develop a balanced, rationalized project that stemmed from the process of computational design.

8 1 2 3

4

1

Low-salt-content cool water

2

Salt-gradient layer

3

High-salt-content hot brine with heat-absorbing bottom

4

Water circulating pump

5

Organic working fluid pumped through copper tube in evaporator

6

Organic working vapour drives turbogenerators to generate electricity

5

7

7

Organic working vapour enters condensor and returns to fluid

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Low-salt-content cool water fed through condensor

9

Organic working fluid is pumped back to the evaporator

9 6

residual heat is used to heat swimming pools

extraction of solar energy via solar ponds

Rankine cycle generates electricty through turbogenerator, which in turn also generates residual heat energy

electricty produced is fed back into electric grids, or used for any other maintenance/functional reasons

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C1 Design intent i FORM GENERATION i

1. SITE ANALYSIS

4. constraint response (trim)

2. establishment of boundary, distribution of points

5. algorithmic form generation

The overall generation of form and its process was a continuous back-andforth cycle in which the balance of the climatic and technologic restrictions had to be established whilst maintaining the key characteristics of minimal surfacing throghout the site. The basis of in which the form was initiated from was through the distribution of points and curves in which the algorithmic process could feed through.

The distributed curves were then able to be altered to meet such constraints (eg. exposure/concealment). Another thing to keep in mind was the size of the mesh surfaces in relation to the possibilities of real-life construction.

Smaller mesh surfaces would mean greater definition of the minimal surface geometry but greater amount of 74

3. distribution of curves

6. establishment of services & function

panels to be fabricated, whilst larger mesh surfaces would mean that the geometry may be less flexible, and could be very labour-intensive if fabricated at a large scale. A balance had to be reached to ensure a size that allowed the nature of the geometry to be retained whilst considering the real-life size of the panels, which could be easily explored and experimented through the algorithm generated.

The following few pages will explore the various site response datas and strategies utilized to develop and optimize a form that will allow the distribution of efficient solar ponds and create a dynamic public space for the visitors to experience the monolithic land art and the incorporated facilities.

C1 Design intent i wind rose diagram i

January

May

September

February

June

October

Copenhagen is a site with strong winds throughout the seasons; hence it is possible to identify numerous wind turbines utilizing the climate at present. As wind is an important factor that can influence the efficiency of the solar ponds, it was essential to establish the main directions of wind movement to reduce its negative impact on the ponds.

It is clear to see that south-west winds

March

April

July

August

November

December

are quite prominent through most of the year, which meant that the design should compensate for such climate through strategies such as densifying the structure to block off the wind or specifying areas where the solar ponds would be able to be sheltered. Failure to do so would result in wave-induced mixing of the salt gradients of the ponds, failing to retain adequate heat .

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C1 Design intent i site response i

distribution of solar ponds version 1

form density version 1

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C1 Design intent i site response i

distribution of solar ponds version 2

form density version 2

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C1 Design intent i site response i

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The next stage of the form refinement involved selecting and developing an iteration that showed a good balance between the aesthetic/structural/potential functional qualities. The key focus was on having an aesthetic form that exemplifies the structural qualities of minimal surfacing that could also be represented as a monumental land art.

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C1 Design intent i refined proposal i After testing and experimenting numerous iterations, the most ideal form was selected and further analysed and refined. shading analysis was calculated at different periods of the year, and miniscule geometrical errors were fixed and cleaned up (eg. floating geometry, distorted planes etc.), The form was then used as a basis in which the specific functions and public facilities were defined within and around, and was only a matter of simply plotting it out as the form itself was developed with the consideration of the implementation of these functions. Solar ponds, taking up approximately half the given site, is situated across areas readily exposed to sunlight throughout the year, where the density of the structure is able to minimize the impact of windinduced waves whilst casting minimum amounts of shadows over the ponds.

Pools are situated close to the westen end near the sea in which users are able to maintain a sense of privacy by the structure, whilst also being able to enjoy the open view out to the urban landscape across the sea. A public plaza is highlighted through an elevated ground floor along the centre of the structure, a wide open space that can be used for public events and recreations such as concerts and festivals. numerous water features (including the solar ponds) enhance the journey aross the monumental land art and dictates the movement within, so users are not lost within the large mass. A concealed plant room is held near the most prominent solar pond, hidden from the users and facilitating the energy generation.

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Solar pond Swimming pool Water features Central plaza PLANT ROOM

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C1 Design intent i SITE PLAN i

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C2 tectonic elements

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C2 tectonic elements i construction prototypes i v

In order to establish the core construction element for the design, the panelling form has been re-developed to address the need for structural rigidity, whilst maintaining the desired visual aesthetics. It was recognized previouslly that due to the nature of the geometry of the panels, the centroids of the triangular panels would be the weakest part and hence was prone to deformation. It was also realized that the panels would need a bracing element to enhance its structural pperformance.

To address this, a develop88

ment of a second skin was proposed, where the centroids of the existing base panels are used to generate a second layer that will be connected on top of it to act as a retainer to prevent potential deformities or slump along the structure. The first prototype using aluminium proved to be a lot more rigid and structurally sound then the previous model, showing increased resistance to tensile and shear forces, but as exptected still had issues with deformation once bent to a signifcant level.

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C2 tectonic elements i construction prototypes i

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Further adjustments were made to reevaluate the issues; panels were grouped together to create a largerspanning single panel that would reduce the need for bolt connections for each triangular side, which would have caused difficulties in joining them together in the thickness of the 1:1 model as they were to be overlapped over one another. The same concept was introduced to the second layer as well, as seen in the diagram below. The connection finish was also considered; we wanted a clean flush fin-

ish throughout the structure and hence penetrations for the bolts had to be compensated to prevent any bolt heads to be sticking out.

It was also decided to test how plywood would perform in meeting such conditions; whilst the panels themselves were quite rigid and strong, their flexibility was heavily limited. Another prototype in which the panels were scored to allow more flexibility on the other hand created numerous weak points along the panel, causing it to snap when bent

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C2 TECTONIC ELEMENTS i REFINED DETAIL i

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After the sequence of more prototypes, the final panel detail design was established. The main material chosen for the base panel was clear acrylic. This was due to the cosntruction material having to perform characteristics such as: - Being able to have sufficient structural rigidity to resist dead loads of the structure as well as live loads - Being able to be moulded into shape without failing Be translucent to allow penetration of sunlight

sile strength to the structure, and will not be bearing any building loads.

The base panel is split into smaller groups to allow a more flexible nature whilst still maintaining rigidty, in which a single panel of the second membrane will bind the set together.

For the second layer of panels, it was decided to use black polystyrene to act as a wrapping membrane that will hold and brace the base panels to reinforce its structural performance. Its flexibility will provide ten-

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C3 FINAL MODEL i DETAIL MODELS i

The 1:10 prototype panels are laser-cut and heated into the desired shape. In real life, a base formwork would be developed to get the exact curve required.

Due to the scale, the bolted connection is unable to be represented, and is adhered instead. once the base panels are adhered, the second membrane is adhered along the centroids to enhance its structure.

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The 1:1 model was aimed to show specific dimensions and construction of the joints and the connections. The approximate size for the panels are around 1.5x3.0m, with the baes panel layered to be 8mm thick. The second black polypropolene outer membrane is 4mm thick, and bolted together through the 5mm diameter holes with a standard 25x5 bolts, with a flushed finish along the top surface.

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C3 final model i 3d printing i the main objective of the 3D print was to show the overall monolithic form of the design spanning across the site. It aims to show the dynamicism between the structural aspects of minimal surfacing and how the users may naviagte through the site.

In preparation for the print, the digital model had to be altered to meet the printing requirements; the scaled model had to have a minimum thickness

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of 2mm to ensure rigidity in the structure, and also required a base plate to hold the model together. Due to the large scale of the design, the model had to consequentially be divided up into 3 parts in order for it to fit the printing dimension. Despite facing numerous printing errors from the preparation to the final print, the final model is able to\ effectively covey the overall nature and experience of the site.

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C4 LAGI BRIEF i Design statement i The project aims to reclaim and revitalize an empty industrial site into a public community space that will, through its technology, facilities and art, stimulate and challenge the minds of the users about renewable energy and resource generation and consumption. The dynamic, controversial design form will create a new mindset within those who come across it, allowing a revaluation of how creative art can be incorporated into a â&#x20AC;&#x2DC;sustainableâ&#x20AC;&#x2122; built form.

The embedded technology of solar ponds to generate electricity to power back into the grid and the utilization of the residual heat will mean that the project will be free from greenhouse gas emissions or pollutions, a process that will be subtly reminded to the users of the site by creating recreational facilities for public use such as heated pools which will be powered 100% by the renewed resources extracted from the solar ponds. The dynamic characteristics of the minimal surfacing is also aimed to create a fun, adventurous atmosphere as users interact through it, where the numerous water features and structures governs the user circulation around the site. Other numerous spaces that will facilitate the public interaction within the site is also embedded into the design form, such as public plazas that marks the central heart of the design, elevated and opened up to promote public gatherings and events.

The technique that dictates the design proposal is the solar pond energy gen-

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eration system; the solar pond has an increasing amount of salt content dissolved in the water, called the salinity gradient. Below the gradient zone is the storage zone where it lies a near-saturated salt solution, and above it is a thin level of low-salinity water that forms the surface of the ponds. The solar radiation penetrates through the pond into the storage zone, heating up the concentrated brine. Due to the natural convection currents caused in the gradient zone, heat loss is prevented and hence rapidly collects and stores heat. The surface zone requires to be constantly flushed by fresh or low-salinity water to compensate for potential evaporation and also rinse away salt content rising up due to diffusion in the gradient layer.

Additionally, the thermal outputs of the solar ponds had to be considered; deep storage zones for the solar ponds means that it will be able to retain large quantities of heat for a longer period of time and also minimize heat loss, meaning that the collection and storage efficiencies will be high. A shallow storage zone would mean that heat could be readily obtained and retained, but consequentially the heat loss would also be quite high. For the specific functional and technical requirements such as the need to maintain at least 80°C to constantly run the Rankine cycle, deep storage zone was deemed for feasible.

The surface, gradient and the storage zone layer of the ponds will respectively be 0.5m, 1m and 1m, making the total depth of the pond around 2m.

This is also affected by the climate as high wind-prone areas require thicker surface layers to minimize the mixture of the salt gradients due to waves.[29] The main process for the actual conversion of the solar energy into electricity is done through the Rankine cycle. The Rankine cycle is a thermodynamic operating cycle of many power plants, where organic working fluids are constantly evaporated and condensed to convert heat energy to mechanical work/electricity. It is a closed loop cycle where the evaporator turns the working liquids into vapors that are fed into turbo-generators which generates the electricity. The vapor is fed back into the condenser in which it condenses back into liquid form, and pumped through the cycle back into the evaporator. At least 80°C is required for the Rankine cycle to function properly. The solar pond’s high-salt content brine acts as the heat source for the evaporator that turns the organic working fluids into vapors, whilst the top surface of cooler, low-salt content water is pumped through the condenser to turn the vapors into liquids.

During summer, it is expected that the solar ponds will reach temperatures above 80°C, which would be

available through both day and night.

Even during winter, the ponds will be able to supply sueful heat, as the temperature of the lower salt brine will remain approximately 30°C above the surface temperature, which can be utilized to produce useful heat.

Along with the Rankine cycle, the residual heat generated from the system can be utilized to heat waterpipes that can heat the public pools to the desired need. A standard leisure pool is usually kept at a temperature of around 30°C, and even spas and Jacuzzis require around 40°C, which can be quite comfortably be attained through the residual heat.

The annual kWh generated by the design proposal had to be estimated to ensure that the energy generating technique is significant enough to contribute to the electric grid power supply. In order to go about this, a few additional data were required: Size of Site: 5400m2 Amount of energy used per person per year: 1000kWh Latitude of site: 55degrees North Annual insolation: 1025kWh/m2 Pond efficiency: 18% Collected energy: 185kWh/m2/year However, a practical Rankine cycle has a

29. Akbarzadeh, A., Golding, P. & Andrews, J., ‘Solar Energy Conversion and Photoenergy Systems’, Solar Ponds, 1, 2-8

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smaller temperature difference, due to a temperature drop in the evaporator and condenser.

Assuming turbine efficiency of about 80 per cent, the resulting effective cycle efficiency is about 10 per cent. This means that in cases of power production, each m2 will produce 18.5kWh per year if 20kW generator is used running at 8000 hours per year (20*8000) = 160000kWh Then, 20 x 8000 / 18.5 = approx.

8648m2 of surface area is needed.

not have a modular dimension, but each panel would approximate to be around 1.5x3m due to the process of enlargening the panels by grouping them. The second layer of membrane is to be made with 4mm black polypropolene; it is much more flexible in nature as they do not have to bear any significant structural load, and will act as a tensile membrane that will assist in bracing the acrylic panels together. The connection details consists of 8 penetrations per joint that are 5mm in diameter, connected with The primary material used for the base a single standard 25x5 bolt per penpanels are clear acrylic sheets with a etration that will bind both the acrylic depth of 8mm thick. The panels, due and polypropolene panels together. to their individual specific form, does

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C4 LAGI BRIEF i Environmental impact statement i The usage of solar ponds and its application to the design prove to be environmentally and economically feasible in the given constraints and conditions of the LAGI site, as well as the techniques and energy production.

Some of the key advantages of solar ponds include factors such as ease of construction, use of commonly available salt and waters to form the salinity gradient, the combined ability of collecting and storing energy and the possibility of on-demand extraction of heat for nearby applications. The LAGI site proves to meet many of the ideal characteristics required for a solar pond to work effectively, and by using local materials and resources, the economic viability and ecological benefits will be increased. For example: The site is surrounded by the sea, a locally available salt-water and potentially saline water under appropriate filtering process, making it a lot more cost-efficient due to ease of transport and readily available material.

The large land areas and the topography of the surface make the installation of solar ponds ideal; the flat topography means earth-moving maneuvers will be kept to a minimum, and the large site will allow sufficient surface areas for the solar ponds to extract heat.

Copenhagen also is exposed to high level of solar radiation to fuel the solar ponds; Copenhagen has approximately 18 hours of daylight during summer and 7 hours in winter, its annual solar resource estimating at around 975kWh per sq m.

The siteâ&#x20AC;&#x2122;s prevailing weather condition proves to have quite strong wind conditions typically along the south-west, which could cause waveinduced mixing and the depth of the top mixed zone; whilst it is very hard to determine specific implications of wind, it should be attempted to be controlled to a degree via creating denser structure that shields the solar ponds from direct wind flow as well as potential debris carried by the winds.

29. Engineering Timeline, â&#x20AC;&#x2DC;Low Carbon Power Generation: Solar Poweri n Copenhagenâ&#x20AC;&#x2122;, < http://www.engineering-timelines.com/ why/lowCarbonCopenhagen/copenhagenPower_04.asp> accessed 04 June 2014

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C5 LEARNING OUTCOMES & OBJECTIVES The final presentation was once again able to create more challenging requirements and refinements to be established to make a more intimate correlation between the design intent, algorithmic processing and the fabrication/construction process. An example of such was raised on the materialityform response, where it was suggested that it would be an interesting process to establish the form-finding process based on the characteristics of the materials being used. Throughout the process there has been an emphasis on trying to establish the material to meet the requirements of the form (eg. rigidity, flexibility, transparency etc.), but was realized that addressing the material qualitiese to influence the form would have opened up a wider array of possibilities and iterations to be explored.

Whilst the preceding process was largely influenced due to the aim of retaining a structurally sound minimal surface geomoetry, and hence limited such scope of form flexibility, such working process could definately be considered in a wider discipline.

Another strategy that was raised during the final presentation was the development of modulated panels, very much like the Museo Soumaya in which the hexagonal panels were optimized and organized into â&#x20AC;&#x2DC;familiesâ&#x20AC;&#x2122; of panels distributed in accordance to the extent of the curvatures along the structure. Such methodology would bring in a dramatic change in the level of cost, time and material efficiency

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during construction, and would also mean that the structural/bearing capabilities of the panels can be more easily calculated due to the similar nature of each panels. Such process is beyond the capabilties of the groupâ&#x20AC;&#x2122;s knowledge, especially with such a complex and heavily curved geometry, and whilst it is unable to be demonstrated representationally, it should be recognized that there are teams of individuals that assist architects and engineers to bring about rationalized solutions, such as Geometrica. If such modulation process was to occur, the overall geometry would be further refined to minimize excessive steep curvatures and divided into multiple sub-groups depending on the level of curves induced on the locations of the panels.

To further enhance the user experience through the project, the use of coloured acrylic could also be incorporated into the panels. By doing so, a chain of numerous different spatial experience could be created to reinforce the dynamic form that is already estab-

Gemoetrica's modulation process of the Museio soumaya

lished through the minimal surfacing.

The coloured acrylic panels and its behaviour when exposed to natural light will create an unpredicted, constantly changing spatial and aesthetic qualities that reflects upon the unpredicted process of computational design.

Throughout the course of the subject, the challenging notion of computational response to architectural design has been thoroughly analysed and practiced to evidently state that many learning objectives had been met.

Although still quite faulty, computational progressions and workflow has allowed an integration of the brief to meet not only the brief requirements, but to also compensate for a more developed design principle that would not have been possible without the usage of algorithmic methodologies. The development of hundreds of iterations through parametric modelling softwares and applcations was only the beginning of experiencing the versatility and the capability of design-sapce exploration in computational design; as the refinement stage progressed and our understanding of computational design increased, the process was taken further in-depth to generate rational geometries that could be analysed and diagrammed, modelled and ready to be fabricated. In particular, analytical diagramming such as the sun path diagram and the respective shadow diagram achieved through the Ladybug and Honeybee plug-in played an important role in exemplifying how

something that would be very hard to achieve manually can be so easily shown through computational process.

Making critical design decision and case proposal were an important skill of the design process that was developed throughout the course of the design.

Ideas and concepts were constantly re-evaluated to ensure its conformity with the design intent and the brief, and was not restricted to mere personal favor. Working in groups allowed multiple cross-checkings and discussion of opinons to create rigorous persuasive arguments in corrospondance to the brief.

Encountering multiple errors and problems throughout the computational processing definately allowed me to understand both of its capabilies and limitation. For example, limits of 3D modelling proved to be challenging, where elements of the print broke off due to fragility in thin extrusions- but such model would not be possible to produce accurately without the help of computational technology.

Parametric designing will be a very pwoerful and useful tool that will definately be further analysed and developed to produce a personal repertoire that can be applied into future design practices.

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references Allen, Stan, Practice: Architecture, Technique and Representation (Routledge, New York, 2008), pp. XIV ArcSpace, ‘Taichung Metropolitan Opera House’, <http://www.arcspace.com/features/toyo-ito--associates/taichung-metropolitan-opera-house/> [accessed 22 March, 2014] Akbarzadeh, A., Golding, P. & Andrews, J., ‘Solar Energy Conversion and Photoenergy Systems’, Solar Ponds, 1, 2-8 Buckminister Fuller Institute, ‘Geodesic Domes’ <http://www.bfi.org/about-fuller/big-ideas/geodesic-domes> [accessed 11 March 2014] Carfrae, T, ‘Engineering the Water Cube’, Architecture Australia, 95 (2006), <http://architectureau.com/articles/practice-23/> [accessed 12 March 2014] Engineering Timeline, ‘Low Carbon Power Generation: Solar Poweri n Copenhagen’, < http://www.engineering-timelines.com/why/lowCarbonCopenhagen/copenhagenPower_04.asp> accessed 04 June 2014 Exploration, ‘The Eden Project Biomes’ <http://www.exploration-architecture.com/section.php?xSec=21&xPage=1> [accessed 11 March 2014] Fry, T, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 7 Fry, T, p. 10-11 Heide, M. & Wouters, N., ‘Olympic Stadium’, <https://iam.tugraz.at/studio/w09/blog/wp-content/uploads/2009/11/OlympicStadium.pdf> [accessed 9 April, 2014] Kalay, Y.E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 14-15 Kanthal, Kanthal Thermostatic Bimetal Handbook (2008) < http://www.kanthal.com/Global/Downloads/Materials%20in%20wire%20and%20 strip%20form/Thermostatic%20bimetal/Bimetal%20handbook%20ENG.pdf> Karen Cilento, ‘Al Bahar Towers Responsive Facade/Aedas’ in Arch Daily, <http://www.archdaily.com/270592/al-bahar-towers-responsive-facadeaedas/> [accessed 22 March 2014] Kostas, T, Algorithmic Architecture (Boston, MA: Elsevier, 2006), p. xi 18. Peters, Brady, Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), p. 8-15 LAGI, LAGI 2014 Design Guidelines (Copenhagen, 2014), p. 7 LAVA, ‘Green Void’, <http://www.l-a-v-a.net/projects/green-void/> [acessed 9 April, 2014] Oxman, Rivka and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 4 Oxman, p. 5 Oxman, p. 5 Oxman, p. 7 Pawlyn, M, Using Nature’s Genius in Architecture, filmed by TED Talks (London, 2010) Piker, D, ‘Kangaroo Physics’ in Food 4 Rhino, <http://www.food4rhino.com/project/kangaroo> [accessed 22 March 2014]21. Peters, Brady, p. 12 Rae, J, ‘Sustainability in Nature and Architecture’, in Darington <http://www.dartington.org/blog/sustainability-in-nature-and-architecture> [accessed 11 March 2014] Re Comm13, ‘Michale Pawlyn: Inspiration in the Field of Renewable Energies & Globalization’ <http://www.recomm.eu/downloads/dossier_pawlyn_en.pdf> [accessed 11 March 2014] Robert Stuart-Smith, ‘Robert Stuart-Smith Design’, <http://www.robertstuart-smith.com/filter/projects> [accessed 20 March, 2014] Robert Stuart-Smith, ‘Sao Paulo Bridge’, <http://www.robertstuart-smith.com/rs-sdesign-sao-paulo-bridge-design> [accessed 27 March, 2014 Torguato, S. and Donev, A, Minimal Surfaces and Multifuncitonality (Princeton: Princton University, 2004), p.1 University of Idaho, ‘London City Hall’, <http://www.webpages.uidaho.edu/arch504ukgreenarch/2009archs-casestudies/gla_pataky09.pdf> [accessed 12 March 2014]

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Exploration A" lgorithmic sketchbook

voronoi piping

attempts to recreate Taichung opera house

Voussoir cloud

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voronoi extrusion

skeletal structures

attempts to recreate Taichung opera house

attempts to recreate Taichung opera house

Voussoir cloud

Voussoir cloud

Exploration A" lgorithmic sketchbook

particle projecteries

particle projecteries

particle projecteries

Firefly live stream feed

Firefly live stream feed

Firefly live stream feed

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