Fung cheukyiu 565714 finaljournal

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O FUNG CHEUK YIU KRISSY 2014

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CONTENTS

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Introduction

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Part A Conceptualisation A.1 Design Futruing A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix - Algorithmic Sketches

7 8-13 14-19 20-25 26 27 28-31

Part B Criteria Design B.1 Research Field B.2 Case Stuxdy 1.0 B.3 Case Study 2.0 B.4 Technique: Development B.5 Technique: Prototypes B.6 Technique: Proposal B.7 Learning Objectives and Outcomes B.8 Appendix - Algorithmic Sketches

32-33 34-37 38-43 44-49 50-57 58-59 60-63 64-65 66-71

Part C Detailed Design C.1 Design Concept C.2 Tectonic Elements C.3 Final Model C.4 Additional LAGI Brief Rerquirements C.5 Learning Objectives and Outcomes

72-73 74-97 98-109 110-123 124-129 130-133

References

134-135

Introduction

My name is Krissy. I’m a thrid year Architecture student at the University of Melbourne.

When I was young I have no idea what I’m going to become and I just started my Architecture course in Melbourne regarding on my interests in drawing and handcrafts.

Unexpectedly I start to develop interests in this subject. I truly enjoy learning to use any softwares, as well as conceptulizaing my ideas into real things.

I do think architects are responsible for bringing positive changes to the world, although it is an extremely tough job as it would be against the the way how the whole world works today.

I guess I am a pragmatic person. Despite my desire to make some little changes to the world, my treasure of family often stops me from being an architect as my future career.

I greatly admire those who dedicate most of their life in their pursuit of goal and persist their values.

I hope I could have this courage and bravery some days later.

I love tennis and swimming. It is a bit hard for me to speak in front of people and I’m trying hard to do my best. Yet in my personally life I really enjoy interacting with my friends. I treasure every opportunity to talk to someone as exchaning information with one another is invaluable to our life progress.

I like using Rhino, Revit, Sketch-up, AutoCAD as well as the adobe suite to accomplish my work. I have done Virtual Environments in my first year and had some knowledge about Rhino and Grasshopper. I will try my best to get the most out of this subject by learning parametric thinking and enhancing my skills in Grasshopper.

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PART A CONCEPTUALISATION The creation of design is usually begun by conceptualizing the project which helps designers to define 'what' is to be built and 'how' it will be built.{1} This is the first step of achieving integrated design proposals. The collaboration of stakeholders involved in the design process would then be based on the argument designers have made at this stage; their talents and insights in design, construction and fabrication would be combined for the sake of attaining such common goal.

This chapter aims at justifying the way a parametric approach to the design challenge in terms of the way it could relate to the function of architecture and bring new insights to design process.

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{1} Cf. AIA National and AIA California Council, Integrated Project Delivery: A Working Definition (AIA, 2007 [cited 28 March 2014]); from http://aiacc. org/wp-content/uploads/2010/07/A-Working-Definition-V2-final.pdf. P.1.

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A.1 DESIGN FUTURING 'We actually exist in the medium of time as finite beings in a finite world.

It is not just that many contemporary practices harm the world of our dependence but also that so few of them deliver the means to actually know the consequences of their activities beyond a horizon of immediate concern.' {2}

Design futuring is a practice which aims at creating time for human existence by eliminating forms of action, goods, systems and institutions which take time away.{3} 'Answering the ''design futuring'' question actually requires having a clear sense of what needs to be mobilized for or against. Even more significantly, it means changing our thinking, then how and what we design.' {4} To make architecture is to construct knowledge - to build vision. Architecture as 'discourse', 'discipline' and 'form' - is an instrument for human to construct identities and differences, and to shape how we know the world. We alter our thinking and actions according to what and how we view and feel the surrounding world.

Today's social conditions urgently call for new types of structures, new types of usages, new construction methods. In particular, the issue of climate change has been a significant issue for years; we have been experiencing its negative impacts everyday yet, I think most of us still could not sense its degree of seriousness by taking immediate changes in the way we live.

'Contemporary practices have been harming the world without noticing their consequences which lie beyond the horizon of immediate concern.'{4} Although there are a number to factors that lead to this pattern of thinking, I strongly belive designs play a critical role in solving the problem. To me, the goods, systems and institutions that 'take time away' are those structures or modes of consumption which are totally ignorant to the limited nature of the planet's resources. One is designing futuring only if he or she takes the issues into consideration in the design process. {2} Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p. 11, 25. {3} Roudavski, Stanislav. Design Futuring. Presented to Year 3 Architecture students at University of Melbourne on 6 Mar 2014. {4} Fry, p. 4. {5} Dutton, Thomas A. and Lian Hurst Mann, eds (1996). Reconstructing Architecture: Critical Discourses and Social Practices (Minneapolis: University of Minnesota Press), p. 1. {6} Fry, p.4.

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The concern of the plant's resources and the environment is thus important to whether a design is 'designing futuring' or not. Kuggen an office building located in Gothenburg, Sweden, is an successful example of this creation. Inspired by both cog wheels and the saw-toothed edge of a leaf, the circular building is marked by its impressive feature - the rotating sun screen for the top floor. Since the top floor has no shade, a metal track and sun screen was installed on the facade, which tracks the sun, providing shade for the spaces behind. Photovoltaics are integrated into the screen to produce electricity for the building's use.{6} The building does not only provide a cool place to hang out but also aims at enhancing the energy efficiency of the building. With all the energy efficiency measures, daylighting and the facade, the building uses less then 60 kWh/sq meter. The variety of green strategies adopted in the same project also exemplifies innovation in sustainable construction, which encourages further innovation in the future.

A1 Kuggen, in Gothenburg, Sweden, designed by Winngårdh Arkitektkontor. Ceramic panels serve as the facade’s cladding, which were then {5} painted in bold shades of red.

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As a successful precedent in addressing the issue of climate change in a 'cool' manner, the design is embraced by the locals and visitors. Its response to the global issue which related to one's ethical values and social responsibilities lead an enhancement of appreciation. Such 'good feeling' of oneself does not make changes to the individual but also the community as a whole, since one's manner of acting and living would alter according to the changes in their thinking and feeling.

{5} <http://inhabitat.com/multi-hued-kuggen-building-the-cog-features-a-rotating-photovoltaic-shade-screen/kuggen-1/?extend=1>[accessed 28 March 2014]. {6} Mein, Bridgette, ‘Multi-Hued Kuggen Building ( the cog features a arotating photovoltaic shade screen’. Inhabitat 2011. <http://inhabitat.com/ multi-hued-kuggen-building-the-cog-features-a-rotating-photovoltaic-shade-screen/kuggen-1/?extend=1>[accessed 28 March 2014]. {7} <http://inhabitat.com/multi-hued-kuggen-building-the-cog-features-a-rotating-photovoltaic-shade-screen/kuggen-1/?extend=1>[accessed 28 March 2014].

A2 The dramatic facade is shaped like a cog wheel or the saw-tooth profile of a leaf.

The triangular shaped windows let in light where it is needed most, which is at the ceiling, so that daylight can penetrate into {7} the center of the building.

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An important aspect which is determant to conveying an design idea like 'design futuring' is its ability to create a discourse with the surrounding context as well as users.

Architecture as 'discourse', discipline' and 'form' - is an instrument for human to construct identities and differences, and to shape how we know the world.{9}

{11}

A4 {12} A5 310 internally polished stainless steel tubes with no strings attached draw the landscape of light through the structure which also hum at low frequencies, enabling viewer to contemplate an ever changing landscape of light and to listen to natural melodyproduced by this ‘musical instrument’.

The Aeolus Acoustic Wind Pavilion exhibited in Canary Warf's Canada Square in 2012 utilizes zero electrical power or amplification to create sound by the use of nylon harp strings attached to tubes.{10} Interactivness of the scultpre with participants is of extremely significance in conveying the designer's idea.

By looking out through a field of internally polished tubes which draws the landscape of light through the structure whilst humming at a series of low frequencies, the public is able to visualize the shifting wind map by interpreting the sound around them.

Such use of visual stimualtion to gain attention is a common strategy adopted by many scultpers; what delineate the difference between them is the sensational experience inside the structure that follows it.

The Aeolus Acoustic provides spectacular, everchangin experiences to users in a innovative yet sustainable way which I think is able to convey the idea of building a harmony relationship with the surrounding landscape.

A2 The project was designed by Luke Jerram, a multidisciplinary artist known for his large scale public engagement artworks. The idea of investigating acoustics of natural elements was conceived during the artist’s {8} research trip to Iran in 2007.

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{8,11,12} < http://www.evolo.us/architecture/aeolus-acoustic-wind-pavilion-luke-jerram/#more-19599> [access 28 March 2014]. {9} Dutton and Lian, Reconstructin, p. 1. {10} Grozdanic, Lidija. ‘Aeolus – Acoustic Wind Pavillion’. Evolo 2012. < http://www.evolo.us/architecture/aeolus-acoustic-wind-pavilion-lukejerram/#more-19599> [access 28 March 2014].

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A.2 DESIGN COMPUTATION 'Post-modernism and deconstructuvusm were mere transitional episodes ; parametricism will be the great new style after modernism.' {13}

It is possible to categorize architecture - as a network of communication - into systems of 'artefacts', 'knowledge' and 'practices', such that its 'ultimate communications' would variously service different social systems within the society.{14} Indeed, the concept of Autopoetic System of communication includes also the constitutive moment of self-observation, self-demarcation and self-description.{15} Therefore, it is essential to maintain an ongoing flow of communications, such that unique components and structures would be generated to suit the everchanging and varying context and needs of people.

As studied in part A. the responsiveness of designs are critical in creating an architectural discourse. In terms of addressing the issue of climate change, the responsiveness to the ever-changing environment makes the design beyond pure symbolic meaning; in terms of a piece of land art, dialogue between users and design could be made much more easily if they could touch, and interact with it.

In making a sustainable and influential piece of design, computation could potentially offer great advantage in creating design effects. How could the parametric characteristic of computational design benefit our design challenge ahead?

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{13} Schuacher, Patrik (2010). The Parametricist Epoch: Let the Style Wars Begin,’ Architects’ Journal 231 (16): 41-45. < http://www.patrikschumacher.com/Texts/The%20Parametricist%20Epoch_Lets%20the%20Style%20Wars%20Begin.htm> [access 2 April 2014]. p.43. {14} Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), p.18. {15} imid, p.11.

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The medium for architecture as an 'instrument for communication' is fundamentally its formal representation. In traditional practices, designers 'invent' the 'thing' in mind which comes to something comprehensible when it is illustrated on paper.

As technology being advanced, the transformational process has been assisted by computers in which the final outcome become very much characterized by digitized tectility.

Computerization is a mode of design in which deisgners use the computer as a virtual drafting board{18} ; with the Computer-Aided Design (CAD) and Computer - Aided Manufacturing (CAM) the technology enables designers to make efficient modification, analysis and optimization of designs at any stage of process.

Frank Gehry's Guggenheim Museum captures the seitgeist of the digital information revolution. Initiated from a conceptual sketch, the design concept is being translated into a digital form in computers and then constructed digitally based on the data inmore understandable, three-dimensional model with the aid of digital technologies in drafting and manufacturing. Like the construction of cars, ships and aero planes, architecture is now able to be constructed in a highly complex but accurate geometry.

A6 A sketch by Frank Gehry showing the concept of the museum in an early {16} stage of design process.

A7 Guggenheim Museum, Bilbao, 1997. Frank Gehry. The twisting facade made of glass, titanium and limestone is a step towards the use of digital {17} tools in archtiectural design.

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The 'creativity' of Gehry in terms of his keen manipulation of the digital tool in creating innovative formal representation is undoubtable. Nevertheless, comtemporary techlogical development leads to the rise of another approach to a design issue which suggests that the capacity of one's creativeness can go far beyond than that.

{16,17} < http://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry>[access 30 March 2014]. {18} Kolarevic, Branko. Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 10.

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Computation in architectural practice encoded all qualitative and quantitative dimensional information necessary for the design process{20}. It is the use of the computer to process information through an understood programe which can be expressed as an algorithm.

The Phare Tower marks the significance of computational design in today's industry. Both the form and the orientation of the building respond to the path of the sun. As it rises from its tripod base, the tower's asymmetric profile swells slightly to accommodate the soaring Grand Hall, then becomes more slender in response to wind load, and finally tapers off to a thicket of wind turbines, antennas and hair-like structures on the roof. The tower appears to shift continually, distinct from different vantage points; not a single image but a dynamic structure that responds to its site, environment, and performance requirements.{21} Different from Frank Gehry's Guggenheim Museum, computational technologies integrated into the Phare Tower to harness the wind for the production of energy and as well as to enhance spatial experience.

A8 The Phare Tower, designed by Morphosis, emerges from its irregular site, defined by a neighboring motorway and a rail link, and bisected by an exist{19} ing pedestrian walkway.

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Computation allows the dialogue between the architecture and the surrounding context to be maximized; architecture and designs are no longer a piece of arbitary sensasional object but one that makes refernce to actual performance criteria starting from its formal synthesis. This does not lead radically generated structure in a sense, but more importantly, one that have elaborated inferior calculation of performance in real practice which in turn a more effective design.

{19} < http://morphopedia.com/projects/phare-tower> [acess 1 April 2014]. {20} Kolarevic, Branko. Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 30. {21}‘’Phare Tower’’. Morphopedia, 2012. < http://morphopedia.com/projects/phare-tower> [acess 1 April 2014].

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A.3 COMPOSITION/GENERATION 'Computational thinking is the thought processes involved in formulating problems and their solutions so that the solutions are represented in a form that can be effectively carried out by an information-processing agent.' {22}

Shifting from composition to generation, designers need to first adopt 'algorithmic thinking' - the ability to understand, execute, evaluate, and create algorithms.' {23} As an analogy suggested by Kalay, designers adapt computation as a 'puzzle-making' process; it does not seek to 'achieve constraints and goals by an optimized solution', but to create rules, fit pieces to the puzzle, reduce the solace space and form an ultimate coherent whole{24}.Continuous evaluation - dialogue between 'analysis' and 'solution synthesis' is consistently made during the design process like a 'feedback loop'; this ensures the interdependence of goals and solutions - they would never be separately determined.

A9 The three major stages of a design process. Generative design approach allows a frequent communication between analysis and synthesis.

  '{25} Parametric modeling is based on a logic of associative and dependency relationships between objects and their parts-and-whole relationships.It provides 'multiple singularities' in a 'continuum of perpetual evolution'.{26} That is to suit the well-known setting with numerous solutions, rather to look for the best solution.In order to internalize the expertise in utilizing softwares, today designers are actively creating their own design software. It is potentially a trend of architects to 'design how to design' rather than to design an object.

Computational technology as a whole frees designers from the rational analysis of the external, complex data and constraints, allows a greater focus on the internally-drawn idea generation process. Given that designer adopt an algorithmic thinking, the techbology could potentially lead to new inspirations design processes, fabrication and construction.

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{22} Jan Cuny, Larry Snyder, and Jeannette M. Wing, “Demystifying Computational Thinking for Non-Computer Scientists,” work in progress, 2010. {23} Roudavski, Stanislav. Design Computation. Presented to Year 3 Architecture students at University of Melbourne 13 Mar 2014. {24} Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MIT Press). p. 2. {25} Weisstein, Eric. 2003. CRC Concise Encyclopaedia of Mathematics. Second Florida: Chapman & Hall/CRC. Doi: 10.1201/9781420035223-18. {26} Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; NewYork: Roytledge), p. 7.

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In parametric modeling, designers usually are interested in a specific process or nature of the given context which is usually a micro-scale activity – which ultimately have macro-scale influences. The behavior of fluid is used as the generative design methodology for the Life Aquatic - a building system proposed by Architectural Association, Design Research Laboratory (DRL). Through the collection of water from a contoured fiberglass shell and the storage and distribution of water in a soft expandable silicone membrane, the building prototype aims to create a cohesive architectural environment through the interaction of different water-based building systems resulting in a fusion of design aesthetic and building performance in terms of maximizing its water carrying capacity.{27}

A10

As many other parametric designs, the structure generated from some natural forces or phenomena is characterized by its organic, fluid overall shape with certain embedded structural configuration driven by a kind of vector force. The astonishing visual impact of the parametric design easily creates a stir in the aesthetic and synthesis of the local habitat. Whether it is pleasing to all viewers or not, its exciting and often surprising visual impact resulted sufficiently bring in new elements to any mundane circumstances.

The idea of using sectional planes to carry water throughout the structure is undoubtedly innovative; interesting spatial experience potentially resulted is really attractive. Nevertheless, its viability and practicality in fabrication is still in doubt - for example, the use of fiberglass as structure sounds unrealistic, and the way flashing and drainage of water cooperates well with each would be extremely complicated. Also, the fascinating presentation of the design proposal largely depends on its use of color in the rendering.

One may question whether such kind of effect can be really created in real life.

A12 By contouring the surface of the project, the surface enhances its ability to carry water while at the same time making it more structurally sound.

A13 The project takes shape from its requirement to collect water analysis and synthesis.

A11

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{all images in this page} < http://www.designboom.com/architecture/thinktank-and-the-life-aquatech-water-generative-design/> [access 2April 2014]. {27} ‘thinktank and the life aquatech: water generative design’ Designboom 2013. < http://www.designboom.com/architecture/thinktank-and-the-lifeaquatech-water-generative-design/> [access 2April 2014].

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The Bionic Tower designed by LAVA is another parametric design inspired by nature which explores the ways in which natural and architectural can merge, creating the ultimate inhabitable structure. By referencing to the biological organization of the ecosystem and by the use of parametric modeling of a behavioral logic, the system gets constantly optimized from the smallest unit to the intelligence of the overall system.{28} New materials and technologies enable adaptability, responsiveness, environmental awareness and strength. The building systems and skin are controlled and react to external influences like air pressure, temperature, humidity, air pollution and solar radiation.

Computational design techniques also allow the optimization of structural lightness, efficiency and elegance.This enables the archtiects to use the design as an ‘instrument’ to address issues of ventilation, solar access and water collection as an evolutionary instinct of self-preservation, found in nature and adopted by architecture.

A14

On one hand, computationl technology precisely calculates the ‘best’ solution in terms of structual optimization; on the other hand, its varieties of individual structural members might lead to difficulties and higher costs in fabrication, since elements could not mass produced in the same manner or by the same formwork. Customizing members is fast in easy in computers but would be quite troublesome when it comes to real life.

A15

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{images} < http://www.evolo.us/architecture/bionic-tower-combines-structure-and-ornament-lava/> [access 20 April 2014]. {28} AGrozdanic, Lidija. Bionic Tower combines Structure and Ornament. < http://www.evolo.us/architecture/bionic-tower-combines-structure-andornament-lava/> [access 20 April 2014].

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A.4 CONCLUSION

A.5 LEARNING OUTCOMES

Computation is a process of ‘making of form’ to ‘finding of form’ – the algorithm describes ‘how’ the function is computed but not ‘what’ the function is.{29} It celebrates structure of relations and interconnectedness that exist internally and externally within an architectural circumstance.

Part A of the course has been focusing on the relationship between contemporary architectural design and digital technologies. Although computation is new to me, it has been an interesting learning process in picking up its concept, application, advantages and disadvantages, as well as some basic skills in playing with them.

This focus on ‘function’ rather than ‘causes’ stimulates functional inquiries, opens the view onto functional equivalences and thus potentially innovates functional substitutions.{30} We may ask – ‘which function does this social structure or institution fulfill in society?’

The adoption of computation is beneficial to the promotion of sustainability in terms of the appreciation of an underlying societal requirement or problem which suggests the further question – ‘in which other way and by which other means might this underlying problem or requirement be addressed?’

The parts-and-whole relationships of parametric design are also an analogy of the ecosystems on the planet. In terms of drawing awareness of sustainability, through the emphasis on functions of architecture, one might realize the excess of the current mode of living; and through the interdependent relationships within, the importance of thinking in a broader scale could be raised.

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{29} Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keli, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp 11. {30} Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp 27.

While computerization is not a new concept to me, I was totally unfamiliar with all the concepts and processes behind the computational technology. Despite the complexity in picking up all the ideas including the ways of using as well as the pros and cons of it, it has been an interesting learning process.

It was quite challenging to start using Grasshopper, since I am usually confused its complexity and all the possibilities that popped up in my mind. During the weeks, I played around with commands for ab amount of time but still have not really obtained the main idea or principle of the tool. I think one of the techniques I would have to train myself is how to handle the issue step by step and not trying to achieve everything in one time. While avoiding losing any new ideas by ensuring certain flexibility in the way I think, I should also learn how to focus on solving one issue at one time and explore it in a deeper sense. Otherwise, I could hardly achieve or produce anything that really responds to the problem.

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A.6

Appendix - Algorithmic Sketches

Lofting

Triangulation Algorithms

Curves

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Sectioning

Grid Shell

Graph maper

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PART B CRITERIA DESIGN A piece of public art always attracts people, triggers emotions, reflections and inspirations. It is a potential source of thoughts, of inspirations, of creativity - something that brings an individual and the whole species move forward.

Although I do not agree with her elimination if interrelationship between 'exterior' and 'interior', I think her definition for ornamentationis particularly useful for our project. How can we integrate material and geometry into an ornament that is able to communicate, to 'perform' and to express our ideas is the key.

Ornament can be used to visualize contemporary technology; parametric design offers an opportunity to improve the quality of design and this our living standard; we may think about how to show the role of computational technology in the creation of our design - for instance, how it extends material and structual capacity, and how it would potentially changes our values.

Our aim is to create a sculpture that creates visual and mental impact. Since we are trying to convey the global idea of sustainabilty, it is essential for the structure to be expressive so that the ideas behind should be understandable by everyone. The sculpture will then gain publicity for the city of Copenhagen, becomes an identifier for the community's vision and aspiration.

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B.1 RESEARCH FIELD

Today, material performance is regarded as one of the richest sources of innovation. The ability to actively and productively use these behaviors within design is related to advances in computation, fabrication and material science; it opens up new material, tectonic and sustainable possibilities for architecture.

Since a material construct can be considered as the equilibrium state of an intricate network of internal and external forces and constraints, architecture is shifting to practices by which the computational generation of form is directly driven and informed by material characteristics. Kolarevic advocates that this mode of morphogenesis refers to a bottom-up methodology in which the architect has the capacity control over the computational aspects of the process.{30} If the embedded behavior of material is used to play an active role in the design and construction process, designers have to study and gain a deep understanding of the world surrounding which requires rigorous experimentation and testing. Historically, Gaudi used the hanging chain model to investigate on distribution of static load on a hanging and inverted chain, subsequently a more interesting way to use masonry; Frei Otto experimented with lightweight tensile and membrane structure leading to the popularity of inflatable buildings.

B1 Material performance n usewidely used to optimize design in terms of its functions and environmental behavior.

The Textile Hybrid M1 by La Tour de l’Architecte utilized the characteristics of membrane and bending-active rods to span a long distance with minized force exerted on sur{31} rounding context.

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{31} Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp.

3-62. {32} Textile Hybrid M1: La Tour de I’Architecte.< http://icd.uni-stuttgart.de/?p=7799> [access 28 April 2014].

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Computational technology frees designers from mundane, repetitive experimental process or calculations. The embedding physical properties in computational design processes provide a powerful agency for both informing the design process through specific material behavior and characteristics, which in turn informing the organization of matter and material across multiple scales based on feedback from the environment. Such adaptation processes based on material performance are often used by architects to improve the environmental performance of buildings as well as to explore new geometric possibilities In the 2012 annual workshop held by Smart Geometry in New York, different materials were studied and experimented; ceramics, electro-active polymers, thermally active paint, CNC cut foam and plexi-glass, etc. Their aim was to is develop digital tools and physical prototypes and then look for interesting, innovative way in using materials. For example, students carried out experiments with smart material by making prototypes of responsive polymers, showing the potentials of architectural 'skin' as folded, double curved, complex and able to be manipulated.{34}

B2 ‘Reactive Acoustic Environments’ in ‘Smart Geometry’; Apart from responding to energy flow in the Responsive Building Envelop, materials can also be responsive to acoustics.

B3 B4 Through experimentation with smart materials, the works showed the potentials of architectural “skin” as folded, doubly curved, complex and able to be {33} manipulated.

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When computational technology and the emergence of innovative materials meet, possibilities are potentially created. In relation to our project which focuses on the idea of sustainability, the real-time environmental performance feedback is potentially an intriguing aspect such that it could respond to the surrounding environment actively thus emphasis on the utilization of existing resources, such as the movement of visitors, the heat energy from the sun, etc.

{33} <http://archinect.com/features/article/44893160/smartgeometry-2012-in-troy-new-york.> [access 28 April 2014]. {34} Peters. Terri. SmartGeometry 2012 in Troy, New York.<http://archinect.com/features/article/44893160/smartgeometry-2012-in-troy-new-york.> [access 28 April 2014].

ICD research pavilion 2010 is a bending-active structure made entirely of extremely thin, elastically-bent plywood strips. The computational generation of form is directly driven and informed by physical behavior and material characteristics.{35} From this case study, we realized the importance of acknowledging the variables on site in the dynamic circumstances - the interaction between internal and external pressures and constraints. For our project, we are not able to make a full scale model to study its performance; but prototypes in different scales are still helpful for us to understand the dynamics of the self-organizing system as well as test the relationships between varying material parameters.

B5 ICD research pavilion 2010; a bending-active structure made entirely of extremely thin, elasti{36} cally-bent plywood strips.

New possibilities of aesthetics become more readily achieved as constraints of materials have been greatly reduced by the advanced technology. The resulted appearance often creates a certain degree of surprise and fascination which aims at creating a new definition to the pre-defined nature of material.

For our project, it would be a good idea to capitalize on the properties of the particular materials in the process of fabrication, contributing to its formal aesthetics as a surprising, eye-catching piece of land art, demonstrating a new way of thinking in the city of Copenhagen. We think that timber would be a good choice as we are intrigued by its unexpected dynamicity in appearance aided by computational design processes; it also has low embodied energy which is suitable for our project.

{35} Stuttgart University. ICD/ITKE Research Pavilion 2010.<http://icd.uni-stuttgart.de/?p=4458> [access 28 Aprail 2014]. {36} <http://icd.uni-stuttgart.de/?p=4458> [access 28 Aprail 2014].

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B.2 CASE STUDY 1

The Voussoirs Cloud explores material behavior through its relaxed surface of vaults; pieces of thin timber components are tessellated to form the undulating surface. The internal pressures of structure are revealed by the density of units; more pieces cluster to gain strength at the base and the edge of the vaults, and less on the spanning top.{37} The geometrically complex voussoirs of a freeform masonry vault embraces architectural, structural and fabrication requirements and constraints, and computation design techniques play a critical role in facilitating the whole process. Digital fabrication and engineering techniques are critical to its construction. The custom-made plug-in also facilitates the construction process by its visualization of complex inderdepencies of material parameters for the streamlined production of hundreds of unique voussirs. Such high efficiency and accuracy in calculating the dimension of structures allows higher flexibility in adjusting the design at any stage.

B6 B7 The intriguing pattern of the triangulated petals create different experiences under and {38} above the structure.

The anchor aspect of tensile structure lies on the strong relationship between structures configuration and material performance in order to achieve a desired aesthetic impact. We are fascinated by the flexibility of tessellated geometries in forming a curved and soft 'fabric'. Such self-supporting feature using unconventional material forms the foundation of our design intent. We would like to utilize such flexibility offered by particular material to generate an aesthetically appealing free form to respond to different aspects of the site, for example, access, view, direction of the sun, etc.

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{37} Helm , Joanna . “Voussoir Cloud / IwamotoScott Architecture + Buro Happold” 15 Aug 2012.ArchDaily. <http://www.archdaily.com.br/54024>[access 28 April 2014]. {38} <http://www.archdaily.com.br/54024>[access 28 April 2014].

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EXPLORATION Based on the provided Grasshopper definition, we explored possibilities and look for unexpected outcomes.

Size (S) and Legth of vaults (L) | {I} Stiffness 6000 {E} Stiffness 1000 Damp 15

S 0.1 L -0.8 {I}

S 0.1 L -0.8 {E}

S 0.1 L -2.7 {I}

S 0.1 L -2.7 {E}

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2

3

2.2

3.1

S 0.4 L -0.8 {I}

S 0.4 L -0.8 {E}

S 0.4 L -2.7 {I}

S 0.4 L -2.7 {E}

TF

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2.1

3

3.1

3.3

1 Ahchor points control

2 Base geometry control - voronoi

3 Attractor point control (connect to rest length)

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Species 1

Species 2

Species 3

Chaning the anchor points by ‘ Cull Pattern’ means changing the number and location of supporting points of structure.

This alteration could be related to the existing constaints of the context. The species is potential for further explroation by other means like changing the boundary curve, shapes and number of columns, etc.

This exploration was quite experimental as actual application was unclear; it could be used in drawing relationship between the movement of people and the density/geometry of structure. The use of attractor point could be interesting and unexpected results often occuer.

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FURTHER EXPLORATION

SELECTED ITERATIONS

1 This geomtry was quite pleasing and balanced that seemed to be able to stand well in reality. The size of structure could be massive but soft which fit our design intent. The elevated part which could potentially act as a viewing platform for visitors to enjoy the view over the skyscrape.

2 This outcome contained an enlarged structure compared to 1, which could potentially result in structual failure. Yet, if we have sufficient techniques in selecting materials and structures, it could be seen as an innovation as it had an greatly elevated area which would encourage people to actively explore the design and the context.

3 We were really pleased by this soft vaulting geometry. It contained less intersections which would be easier to fabricate, as well as possessed more possibilities in innovative use of materials or structure. Also, it fit our intention to create an interactive structure since it contained voids of space where visitors could occupy.

As we were interested in geometry with fluidity and various internal pressures, we carried out further explorations on the relaxed vaults by adjusting the values of 'Hydro Pressure' and 'Damping' in the kangaroo engine.

We had been looking for a free-form with demonstrate a degree of 'softness', regarding on its aesthetics and possibilities for further development.

Through this exploration process, we were inspired by the free-forms and came up with a clearer design intent - in addition to attract people by its 'surprising' appearance, the structure should be more open and integrated with the surrounding so that visitors could interact with it which at the same time generate electricity.  

4 This outcome created a different atmosphere in the interior space compared to 3. Instead of merely walking around, the large internal surfaces of structure could potentially become venues such as gallery space. In terms of structural performance, both 3 and 4 were stable and possessed great possibilities for further development.

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B.3 CASE STUDY 2

The Metropol Parasols is a digital design made from bonded timber with a polyurethane coating. The individual laminated wood plates are generated by cutting vertically in an orthogonal through the form.{39} There is no two parts of the parasol are identical; the variation in structural thickness of the elements is the result of an iterative calculation. For this the engineers developed an automated iterative tool with which the thickness of each timber element can be determined and the connection detail optimized at each intersection. Such precision in dimension of elements, aided by computation design process, is critical to aesthetic value of this project.

While computation design seems to be characterized by the initiating design process from soft, streamlined free-form, visual impact is often created by using contrasting textures in different scales. Ehile case study 1.0 uses the embedded material behavior, this project utilizes the characteristics of structural compositions to contrast with such undulating form; unlike case study 1.0 being self-supportive, this project contains steel abrs which are glued inside the timber by means of a new bonding process, ideal for use in the hot city of Seville.

Although the structure might look a bit detached from the surrounding, I think the sense of innovation is important in expressing the vision of a community; computation design is a particular desirable device to convey ambitious ideas - from cultural and technological development to a sustainable future of the whole planet.

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{39} Argyriades, Marcia. Metropol Parasol//The World’s Largest Wooden Structure. Architecture 2011.<http://www.yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-HArchitects> [access 28 April 2014]. {40} <http://www.yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-HArchitects> [access 28 April 2014].

B8 B9 The structure acts as a community center for residents as well as a potential tourist spot for visitors to view the city in the elevated platform. The dual function approach could also be adpated in our project.

B10 The innovative structure asts with the medieval architecture surrounding it, giving {40} ‘life’ and ‘energy’ to city.

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REVERSE ENGINEERING PROCESS

1 Create curves according to the shape of parasol.

2 Loft the curves into a surface.

3 Draw intersecting lines which are perpendicular to each other on the loft surface.

4 Extrude lines into surfaces.

After interpreting the case study through its structural behavior, we tried carrying out the reverse-engineering process in grasshopper in two different approaches.

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5 Extrude surfaces to create thickness.

Before doing research on creating waffle structure in grasshopper, we at first approached the design as a gridshell structure made from geodesic curves.

First, we created curves and found the points on them. Then, by constructing arcs in between the points on curves and lofting them, a base surface for the geodesic curves was created.

By shifting the ends of lines by one unit, the twisting effect of gridshell was created based on this mushroom-like free form.

We think this experiment was quite successful.

Although it did not look exactly the same as the original design, it captured the essence of the structure - the expression of 'softness' through rigid 'intersacting components'.

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1 Create curves according to the shape of parasol and loft them to a surface.

2 Create a box to enclose the whole structure.

3 Look for the base edges of box using ‘List Item’.

Divide and create planes on points of the edges.

4 Intersect the loft surface with planes created.

After further exploration on scripts to create waffle structure, we took an alternative approach in re-creating the Metropol Parasols.

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5 Extrude intersection lines to create thickness.

The major difference between the two was the regularity of grid - while the metropol Parasols is structured by a regular waffle grid, the outcome of our experiment was more random and organic. Surprisingly, we found that such irregularity characterized by geodesic curves was aesthetically pleasing. Its expressive appearance would potentially contribute to our design intent to draw awareness from people.

Nevertheless, due to the potential complexity of loft surface, structures created by geodesic are often messed up which would be very difficult to fabricate. On the other hand, the waffle grid was established in a more systematic manner such that it would be an easier option for us.

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B.4 TECHNIQUE: DEVELOPMENT

Waffle structure is often used to create semi-public space that acts a canopy which allows sunlight to cast interesting shadows. The characterstics of the structural configuration also enables the creation of various visual stimulations from the outside and inside.

While waffle structure is manually formed, geodesic which is self- generated according to properties of curves can create smilar but more irregular, dynamic light effect and spatial experience.The dynamicity of such structure from Geodesic also contains potential aesthetic values that resulted from the different internal pressures.

In the exploration of pre-determined form in case study 1.0, simulation of a certain material performance was carried by computational technology which has been a tool for form-finding; while in the fabrication stage in both cases, computational tools play another role by providing accurate evaluation of each component. Such ability to calculate complex dimension could not be achieved without the tools.

The following explorations studied formal possibilities of structural performance on a relaxed surface derived from the Kangaroo component. By varying structural configuration on the same curved surface, we would be able to look for the best approach in achieving our desired effect - the texture of structure being rigid in the scale of individual element but soft in an overall scale.

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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

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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Species 2

Species 3

The grasshopper plu-in, Lunchbox, allowed the production of different panel patterns very easily. Variations were limited in this species, yet it could be an efficient tool to look for structural options for complex geometry.

This species could potentially result in interesting sturctures, and it unexpectly looked like ‘tensegrity’ structure. Yet it failed to achieve many variables, since the extruded surfaces often intersected with each other.

The ‘strings’ supposed to hold pieces of elements together did not seem workable in read life.

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4 1

6 2

3 5

Species 4 & 5 Based on the geometry selected from case study one, we tried to apply the geodesic structure we experimented at the beginign of case study two in various ways. Some resulted geometries were interesting but seemed to be unable to be built as the elements could not support each other.

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1 Divide points: 70 Shift clockwise: 6 anticlokwise: 6 Offset: 3 Extrude: 0.2

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

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

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

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

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

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

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

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

Species 6 As the previous two species looked rather messy, we tried using just one set of geodesic curves instead of two.

However, the results were not satisfactory and the structures would be even more unstable.

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

Although we were interested in exploring new possibilities of form and structure formed from geodesic curves, the waffle grid in fact offered a simpler option for our design in terms of for further development as well as fabrication. Due to the complex mesh resulted from Kangaroo manipulation, the structure was often over-complicated when geodesic curves being applied later on.

Being able to step back, we found that the use waffle grid over the pre-determined free-form would best demonstrate our design intent.

First, the timber strips giving a 'hard texture were used to form an overall fluid geometry. As inspired by the two case studies, such contrasts would be a potential quality in catching people's attention as well providing a definition of ideas.

Second, as we intended to create a structure which would have close interaction with visitors such that energy would also be generated in the process. This form, composed of relaxed vaults structre with timber strips widely spaced, the physical contact between structure and people became highly facilitated.

Finally, we were inspired by this result in the way of further connecting with the surrounding context. Instead of being merely a shelter, the voids of structures could become a representational connection with the mermaid, as well as a closely related venue of the taxi terminal.

These aspects we found in this outcome provide us opportunity to fine-tune our design in later stage.

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B.4 TECHNIQUE: PROTOTYPES

From the technique development process, embedded material performance is studied in relative to the supporting structure. Although the formal outcomes produced interesting observations and variations, there is still area for further exploration in the behavior of materials.

The configuration and the equilibrium of the structure was determined by the parametric tool; nevertheless, we found there were some deviation in perception in terms of scale. We found the height the vaults at the entrance as well as the canopy part were lower than what we viewed in Rhino.

This might due to poor techniques in producing the prototype; or we might need to adjust that part of the design by moving the control points on curves.

Since we did unrolling in Rhino and manually cut out the strips, as well as made the 'boolean' joints to 'interlock' each element. This led to the poor quality of prototype which greatly reduced the effectiveness of the process. Our group would definitely try our best to solve the issue and to test our design with a series of prototypes produced in a more professional way.

Apart from embedded materials performance which is guided by the internal pressures of the structure, we discovered that behavior resulted from external factors can also capitalize the design; for example, the different shadow casted under sunlight by different materials. Therefore, we proceeded to research on various interactive mechanisms from the external environment that would best optimize the aesthetic value in the expression of material performance.

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B11 Prototype testing the tectonics and the effect of light.

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B.6 TECHNIQUE: PROPOSAL

After studying our design with prototypes, we made adjustments in grasshopper in order to make it suit better into the site; the number of supports, the height of vaults and the southern canopy were elevated, the positions of supporting columns were also altered so that the overall design would more precisely with the existing major pathway and surroundings as evaluated in the site analysis.

To generate electricity in an interactive way, we decided to adpot Vibrational Energy Sheet Pavement on the major pathway connecting the main access on south and the river side, as well as the area inaide our design. This would offer opportunity for visitors to walk around the structure 'with a purpose' and capitalize the affects of our design in terms of drawing awareness and conveying the idea of sustinability.

According to the research, it is says that one square meter of an energy sheet is placed in the one the world's busiest pedestrian area where there are 900,000 people walking across. During the testing period of 20 days, the energy sheet is able to generate around 78 Wh daily. Nonetheless, while a household consumes 301 kWh per day, the energy generated merely by this method could probably unable to provide electricity for thousands of household. Therefore, we would proceed to look for alternative or a coombination of ways to generate sufficient electricity.

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The aesthetic and efficiency in the innovative use of materials has in fact become a common approach of designers today as to reveal the advancement of technology and future possibilities.

Thus the technique developed aims to generate an eye-catching structure with the visual impact of contrary material and structual systems as a medium to promote sustainability as well as a sign by the community to show its awareness of future development.

B16 The plan of our design with yellow region indicating the floor area paved by Vibrational Energy Sheet.

Grasshopper and Kangaroo will be used as a form finding tool through its simulation of material performance, both in the stage of form-finding and structual rationalization.

In conclusion, by looking at the sources of inspiration for the innovative use of material we are able to see the true values architecture could possess - create visual fascination as well as deliver an amition in the future of human beings.

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B12 The relationship between the structure and the surrounding landmakr and facilities.

B13 The relationship between the structure and the surrounding landmakr and facilities.

B14 Photo Montage.

B15 Attractor points could be used to control the density, as well as dimension and thickness of waffle strips in order to meet different spatial functions.

The intereactiveness which would characterize our design should be capitalized by the parametric tool in a greater extent. For instance, where the density of waffle grid of the canopy area would need to be higher, instead of adjusting the control points on curves, parameters such as attractor points could be used in order to observe the immediate respond of structual elements in terms of their density, thickness, orientation, etc.

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Objective 5 : Developing 'the ability to make a case of proposal' As we carried out our weekly tasks and developed our design intent, we focused too much on our own project but could not realize the importance of learning from precedents. We failed to develop a critical thinking over the drawbacks and limitations of one's approach. Importantly, we have to continuously criticize our own design and

B.7

LEARNING OBJECTIVES AND OUTCOMES

to look for arguments and data to support our design intent.

Objective 8 : Begin developing a personalized repertoire of computational techniques Grasshopper is a challenging but intriguing tool for us to explore new possibilities

After the mid-semester presentation, we were given feedback with

in thinking about design. I think if we really want to be well-equipped by scripting

regards to our scheme. It was a shame that our design failed to

techniques, we have to constantly paying effort watching online tutorials and experi-

meet the criteria of the project. Our design ideas were almost totally

menting' merely watching or reading is not helpful for us to gain real experience.

rejected - the major problem was that we were simplifying stuff such that parametric tools were used in a little extent. In fact, we attempted

Objective 2 : Developing 'an ability to generate a variety of design possibilities for a

to fabricate an outcome made by geodesic curves instead of simple

given situation'

waffle grid; however, we failed to unroll the structure such that we

The variety and dynam icity of grasshopper components is challenging for begin-

were not able to laser cut our files and we at last made a series of

ners like me to really understanding how they work and to utilize it in an effectively

estimated models which totally did not make sense regarding on the

manner in a short period of time. I wish I have started investigating parametric tools

essence of parametric design.

as well as parametric design earlier before the course since I think the project would be much more interesting if one has already gained a certain degree of knowledge

Although the major cause of our failure in this mid-semester presenta-

about the techniques.

tion was our failure to fabricate the model, I think we definitely did not try hard enough to look for ways in optimizing our design with

Objective 3 : Developing 'skills in various three-dimensional media'

parametric tools - which is the core objective of the subject. More ex-

We were failed to use models in different media to study the scale, material effects,

plorations are definitely needed to investigate different techniques of

and other aspects of our design. I think it is very important to the success of our

producing the structure, if the shape, size, density, angle of inclination

final design as it is always difficult to perceive any limitations or possibilities for

and expansion can be controlled, etc.

beginners like us to perceive in a virtual, digital world. We definitely have to pay more effort in producing physical prototypes to explore possibilities in extending the

Apart from taking advantage of parametric design, we also have to

capacity of our design.

look at more and more precedents of design that is based on expressing fluid geometry with rigid materials such that we could learn from

Objective 7 : Develop foundation understandings of computational geometry, data

them and look for any drawbacks that we could prevent.

structures and types of programming The reverse-engineering process was critical to our understanding of scripting; we could make our own design only after knowing how designers use computational design processes to visualize their ideas.

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B.8

Appendix - Algorithmic Sketches

Picture sampler

Graph mapper Data tree

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Fractal Tectrahedral

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Evaluating field

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PART C DETAILED DESIGN ‘The Detailed Design phase concludes that WHAT phase of the project. During the phase, all key design decisions are finalized.’ {11) This part focuses on teh development of a realistic but innovative design propsal - which is fully documented and would be convincingly argued to be a significant architectural discourse.

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C1 Our group was inspired by the dynamic heights of this kind of forms in choosing wind energy generation method

C.1 DESIGN CONCEPT

From our interim presentation, we were told that we were not producing a parametric design. In face, we were wrong at the beginning by merely choosing one of iterations as our desired form which has no relation to our brief and site.

Instead, we should have listed all the elements we perceived the design should address on and then find a way to compute them into Grasshopper.

As the start of Part C, we were still out of track due to the lack of quality design concept. This is probably due to the fact that we did not really understand how to relate our exploration of the tool previously to our design challenge. With the help of our tutors, we started to rethink the whole design process by analyzing the site and discovering opportunities. As stepping back to look the case studies in part A, we found that parametric designs are often driven by some dynamic forces in nature. Through our research, wind energy - the air movement - is probably the mode of energy generation which posses the greatest possibilities in design variations. Unlike solar energy which could only be placed on relatively flat surfaces, wind is moving in all directions such that it is less limited by the form. We also looked through the forms we have generated by Kangaroo Physics tool. The relation between the form and wind energy is drawn which gradually evolved into our design concept.

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Our group intends to create a visually dominant land art in Copenhagen. The land art is designed by having an in teractive landscape. Visitors can interact with the land art and participate in the process of energy generation pro cess for producing electricity for households.

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C2 Wind intensity record for each month in Copenha{41} gen.

Since we have decided to adopt wind energy generation method, we started to analyzed the wind intensity in Copenhagen in a detailed way.

By combining the statics obtained from each month, a fraction of wind intensity relative to total intensity reaching the whole site was distributed to each portion of the site.

These percentages represent the chance of that portion of land to receive wind through the year.

It was found that the south and south-west side received that strongest wind in the year. There is an average wind speed of 10.6 m/s.

C3 Diagram indicating the percentage of chance in reciving wind in each area.

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{41} wind statistics obtained from http://mesonet.agron.iastate.edu/.

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C4 The site is divided according to the orientation.

As we were going to use Kangaroo physics tool to generate our form, we distributed an amount of points randomly but according the fraction obtained into the eight areas of site.

C5 Points are distributed to each area according to their corresponding percentage.

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C6 People tend to walk from the East to the West.

In addition to addressing the wind intensity, the potential movement across the site has also been taken into consideration. We intended to create an interactive piece of land art such that people could participate in the process of energy generation. It is found that people tend to walk from the East to the West of the site to view the amazing cityscape and the little mermaid sculpture across the bay. Also, people may walk to the water taxi terminal on the South-west side if the site to meet their friends.

When we were generating the form, we moved the points in the area that received the most wind to the highest and the area with less wind to the lower part. The highest point, representing the tallest wall, was set to 15 meters while the lowest was 1 meter.

A 5 storey high structure would be quite huge which people could spot on even from a far distance. It would then attract people to the sculpture for further exploration.

Regarding on the site access, anchor points were placed lower than the ground so that the footpath could be produced after being trimmed off by a plane.

C7 People tend to walk from the East to the West.

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A great number iterations were made based on our set criteria. The final form was chosen due to its desireable shape as well as teh reasonably thick crests on each hill which would be easier for fabrication.

Final Form

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Original form from Kangaroo

Adjust the level of cutting plane

wind from Sourth -west

Trim off the rest of surface

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 decided to section form in the direction that is parallel to the major wind flow such that hairs standing on e wall surface would be perdicular to wind. In this way, hairs would be driven in the greatest possible extent and wind harvest could be maximized. Besides, in responding to our design intent of enhancing interaction between our design and visitors, the walls would be spaced 1.3 m apart.

People could walk through the pathways in between the walls, touch the hairs, so that participate in the process of energy generation.

Sectioning in the direction parallel to major wind flow

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Design Constraints The nature of conceptualization techniques is dynamic and time-driven; they should not be limited to the formal appearance only. While we now have visualized the dynamic forces that affect architecture by introducing dimension of time into the processes of conceptualization, we can begin qualify their effects by using digital analytical tools that help designers assess certain performativity aspects of the project.

Wind Simulation using Autodesk Wind Tunnel Testing Simulation Tools

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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.

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Strongest

Weakest

Medium

Wind Intensity Analysis

Shortest

Medium

Longest

After analysing the wind effect on the structure, adjustments were made to the length and density of hair in order to capture the maximum amount if wind.

Each hair has a 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 towards the middle of the wall. After a distance of 1 meter from the outer boundary, hairs without piezoelectric film would replace the normal hairs. They have identical form as the normal one. They are employed to reduce the cost of production due to no wind energy is received in this area.

There are areas with small separate structures sitting on the site which could be reached by visitors. 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, piezoelectric film can still generate electricity when they are being touched.

Hair length

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To make our design more interesting, we have created voids in the structure to provide areas for exploration. They were designed to encourage visitors to explore the whole site rather than simply walk by.

People could start their journey from one of the exploration areas and travel through walls to another exploration area.

As the walls might be too long and high to perceive the way to another void, the design creates a sense of mystery and excitement. Yet, apparently not many people would enjoy in this dark, a bit terrifying space.

To reduce the sense of mystery to reasonably acceptable manner, the walls were cut to create passage across each wall. They draw in light into the structure and also enhance the dialogue with visitors.

C8 Points are distributed to each area according to their corresponding percentage.

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C9 Wind Skin

{42}

C10 Piezoelectric Film

{43}

14.2 mm

Technology Light, tough plastic skin

Elastic material 73 mm

The technology we have employed is the wind skin technique; its flexibility in adjusting length of wind harvesting hairs coordinates with the parametric nature of our design which further enhance the efficiency of wind energy generation.

Adhesive Piezoelectric Film

Plastic Tube Hollow Core Concrete

Electrical wire Collective Tube

C11 Electricity Generation Flow

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{42} Wind Skin, (Ensci, 2014) < http://www.ensci.com/fr/createur-industriel/ateliers-de-projets/msindall/projet-eleve/article/11735/> [accessed 29 May 2014]. {43} 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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C12 Hollow core panel wall

{44}

Construction Process High quality hollow core panels would be fabricated in factory delivered to the site. Since truck size would restrict the height of panels, the walls would be composed of separate, reinforced panels joined by galvanised steel brackets.

Concrete is chosen as is has high compressive stength, spaces in hollow core allows the storage of electrical wires, its hardness allows teh transfer of vibrations from wall to wall and it has high resistance to rainwater.

C13 Site establishment

{45}

C14 Erection of panels by {46} cranage

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{44} Hollow Core. NPCA. < http://precast.org/tag/hollowcore/> [access 29 May 2014]. {45} < http://www.majorprojects.vic.gov.au/global-image-gallery > [access 29 May 2014]. {46} Precast Concrete. Gem Nexus.< http://www.nexus.globalquakemodel.org/gem-building-taxonomy/ overview/glossary/precast-concrete--pc> [access 29 May 2014].

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C.2 TECTOIC ELEMENTS

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The core construction element is repeated across our design. Since joints are critical to provide sufficient rigidity to the structure, our group decided to development of a prototype in a scale of 1 to 5 showing the junction between two hollow core concrete panels with materiality and surface treatments included.

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Steel Reinforcement

Bracket

Collective Tubes

Initially, concrete panels would joined together to form the walls of our design. However, it was later found that it is structurally unstable when the thickness of the wall remains the same along its 15 m 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.

Also, as to strengthen the concrete panels, reinforcements would be added to provide tensile quality for concrete. Galvanized steel brackets are placed in between panels to maintain 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, followed by the insertion of hairs (piezoelectric film embedded in plastic skin) 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 fabrication and onsite management would be reduced.

C15 Tectonic detail showing the junctions of concrete panels with hairs

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C16 Formwork

C19 Particles are too coarse

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C17 Concrete Mix with water

C18 Pour to formwork

After the concrete was tried, the concrete was not rigid enough for us to remove the formwork. Most critically was due the falling apart of aggregates.

Since 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 as we did not have a smooth concrete mix and the coarse aggregates blocked the gap between the hollow box and the base formwork. The mix was unable to reach the bottom part. Thirdly, the 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.

C20 Formwork is hard to be taken out, bottom part has no concrete reached

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C21 Formwork

C24 Drill holes on the hardened concrete surface

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C22 Cement Mix with water

C23 Pour to the base of formwork before inserting the boxes

In the second trial, 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 form during and after the pouring process. Hence, shape edges of the concrete could be seen.

C25 Make sure the depth of holes reaches the hollow space inside

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Hairs (made of plastic with embedded piezoelectric film at the top) were put into the holes and secured with sealant. Finally, plaster was poured for surface finish. After the detailed model was made, we found that the objective of attracting visitors to touch on the hairs was unable to be achieved in this model.

It was observed that there were too little amount of hairs. We should therefore drill more holes in the concrete as to allow more hair to be inserted in. Also, since that the locations of the hairs were 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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C.3 FINAL MODEL

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Prototypes and models transformed our digital model to physical ones. Meanwhile, we would realize the degree of success of our design in conveying our design intent when it comes to (semi) real construction.

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Prototype in scale of 1 to 100 - testing materiality, surface treatment During the fabrication process, time and effort were spent on locating each pieces of sections. This can be avoided by scorching lines the base of model in the future so that efficiency and accuracy of the process can be increased.

We realized that the hair is too small to be fitted in a model of 1 to 100 scale. We had tried to put hair on this prototype. However, it turned up with a messy appearance. Therefore, we chose not to put them on both of the final models. We would rather convey our design intent through photomontages.

Also, from this prototype, we found that the use of wood to construct the walls would be unnecessary, since the hairs would cover up the surface. Therefore, concrete would be used to reduce the cost of production as well to enhance energy generation by transferring vibrational forces across the walls.

The height difference shown in this prototype was not significant enough such that we adjusted the values in our digital model for the sake to expressing its dynamic characteristic.

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Pieces were unrolled and cut from Rhino for the construction of the final models. After gaining experience in working in the unrolling process and the laser cut file, pieces were laid 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.

For that smaller scale site model, our group would like to create a significant contrast between our design and the site. 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. Indeed, burnt marks on the white base exaggerate the boundaries and contours of the site.

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Site Model in scale of 1 to 1000

C27 Plan

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C28 North Elevation

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C29 View from Water Taxi Terminal

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C30 View from the major pathway

C31 One of the Exporatory areas

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Model 1:100 showing one of the Exploratory areas

C32 Plan

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C33 From top

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C34 The Exploratory area

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C35 Passages across the walls would enhance intereaction between the design and visitors

C36 Dramatic structures result in a sense of mystery

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C.4 ADDITIONAL LAGI BRIEF REQUIREMENT

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Our group intends to create a visually dominant piece of land art in Copenhagen. This interactive landscape allows visitors to participate in the process of energy generation for households. Having wind and air movement as the main source of energy, the form of our design is derived from the wind rose analysis in Copenhagen. It aims to capture the maximum amount of wind on the site. At the same time, the structure is designed to enhance the human interaction within such that energy is also generated by movement of people. 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 piezoelectric 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 weighted and able to put on surfaces easily. Also, it is relatively low in cost compared to other electricity generators.

Moreover, elements of our design change parametrically according to the dynamic real-life situation. The wind skin provides great flexibility in customizing the dimension of unit.

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According to our research, each piezoelectric film is able to generate 4.2e-11 kwh in a cycle. Therefore, in total we are placing 32,144,800 pieces of piezoelectric film in the site. Our design can then generate electricity of 58254 kWh annually. Around 40 households would be benefited in this design. More energy can be generated if the wind is stronger and more people are coming to site and interact with the structure.

Dimension list of the primary materials: Hollow core concrete panels (length x width x thickness): 2000 x 1200 x 300mm Reinforcement (diameter): 12mm Plastic skin for protecting the piezo flim (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): 12x 15 x 1mm Longest (the innermost of the wall): 200 x 15 x 1mm Piezo film (length x width): 73 x 14mm

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Environmental impact Statement 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 sufficiently conveys our intended message of individual contribution. The piece of land art would be comprehended as an encouragement for human to live a sustainable life in the future. Also, recycled materials including recycled concrete and plastic would be used - crushed pieces of concrete are used as gravel in concrete mixture and recycled high density polystyrene is used in hairs. This does not only reduce the cost of the project but also its embodied energy. The concrete panels are precast in a factory which increases the efficiency in manufacturing in terms of the use of form-work and materials. We aim to promote our green idea both conceptually as well as in a visible manner.

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C.5

LEARNING OBJECTIVES AND OUTCOMES Objective 1: Interrogating a brief by considering the process of brief formation in the age of optioneering enabled by digital technologies Computation technology allows the generation of numerous options in a short period of time which provides designers quick and clear insight into the design brief.

Through generating options based on the selected parameters, designs start the ‘process of creation’ based on a focused issue of the design one wish to address on.

Through the process of continuous (digitally) generation and selection, we started to understand what would be desirable what would not at the very beginning; we are able to interrogate the design brief provided by LAGI in a practical, more tangible and understandable manner.

Objective 2 : Developing ‘an ability to generate a variety of design possibilities for a given situation’ As a beginner of computation design, the course did not require us a highly complicated situation. Instead, what it wanted to convey was the idea of producing design possibilities without any constraints from any simultaneous consideration of design brief and design itself. To design freely is the key to be creative in use the tool, given that the appropriate parameters are set prior that.

Objective 3 : Developing ‘skills in various three-dimensional media’ In part B, we were failed to produce appropriate models for the study of the design’s scale, material effects, and other aspects; in part C, we had understood its importance to a digital design process. We have made an effort in producing a number of physical prototypes and models which had been really guided us to examine our design’s pros and cons, and to continuously made judgments and improvement for our design. We found that only when we have made something real and tangible we could fully understand what we were actually doing and how it is going to work.

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Objective 4: Developing ‘an understanding of relationships between architecture and air’ through interrogation of design proposal as physical models in atmosphere The dialogue between physical models and the surrounding context, including us, is critical in determining our next step taken in the design process. Through making close relationship between architecture and air, designers observe, interpret and later take control over the dialogue in between the two. Through the emphasis of prototyping and modeling, as well as the importance of thinking ‘how are we going to build’, the course has guided us to understand this relationship in a deeper sense compared to the past studios. The more opportunity we come into contact with the models we produced, the more experience we have gained and the better knowledge and understanding we would have about their nature. It would be useful in assisting us how to design what we want in the future.

Objective 5 : Developing ‘the ability to make a case of proposal’ In part B, we focused too much on our own project but could not realize the importance of learning from precedents. We were easy to lose our track throughout the design process. Also, we failed to develop a critical thinking over the drawbacks and limitations of one’s approach. Importantly, we have to continuously criticize our own design and to look for arguments and data to support our design intent. In part C, through the process of model making and continuous revision of the viability of what we were doing, we actually have made a certain degree of improvement over this issue, which however, still require us much more efforts to create a really good case of proposal.

Objective 6: Develop capabilities for conceptual, technical and design analysis of contemporary architectural projects.

The course has required us to learn from precedents, since computation designs are new to most of us and we need some past work in guiding our progress. After more than 10 weeks of materials, I have learnt the values of the conceptual, technical and design analysis of architectural projects; in fact, I think these are not necessarily contemporary – we could also learn a lot from what our classmates did. By this we were able to compare the different approaches to the same problem and would hopefully look for any drawbacks of our own proposal.

Objective 7: Develop foundation understandings of computational geometry, data structures and types of programming The reverse-engineering process was critical to our understanding of scripting; we could make our own design only after knowing how designers use computational design processes to visualize their ideas. In part C, we tried developed our own script.

However, I think I did really bad in this part. I think we were unable to think out of the box – or to take risks and make effort to learn more new knowledge and techniques.

We were probably kind of frightened of the indefinite computation world.

Objective 8: Begin developing a personalized repertoire of computational techniques Grasshopper exposes the mathematical, geometrical and computational concepts are directly applicable to many other programs; it is also a flexible platform what can easily be extended with various plugins or custom scripting It is an intriguing tool for us to explore new possibilities in thinking about design. I think if we really want to be well-equipped by scripting techniques, we have to constantly paying effort watching online tutorials and experimenting’ merely watching or reading is not helpful for us to gain real experience. Tools and techniques can constrain creativity – I wish to get rid of these constrains by developing a solid and lasting understanding of these tools.

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To conclude, I think our final design proposal was not sufficiently developed in terms of being a parametric design as well as a pleasing piece of land art and its practicality in generating electricity; the design was out of human scale, and the cost of the project makes it impractical to build.

Nevertheless, although I have done badly in the course, I do not dislike computational design. Throughout the semester, the lack of experience in creating design proposals, good techniques in managing time and challenges might have led to my frightening of taking risks which prevent me from moving ahead. We apparently paid far less effort as required by the course in exploring the tool and creating our own scripts.

Indeed, I think Grasshopper would be a very interesting tool to play with if I am not constrained by the requirement of any course materials; we could gain little from the tool when we are in a rush or with a strong intention of achieving something in mind.

The tool really takes time for one to explore its essence, especially for one who needs a long time to get into something digital. As perceived by many people, parametric designs would potentially gain a more and more dominating role in the industry; and fortunately, my interests in the tool still exist. After being more familiar with the tool as time passes, I would love to spend time on it and hopefully I could get a much better control over the tool so that I could use it in my future design career.

I would like to take this opportunity to thank our tutors for their kind and helpful opinions, and most importantly their patience, as well as willingness to teach students. We have learnt a lot from them. I would also like to thank my group mates for the pleasing experience for learning design together.

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