LanHingTing Kevin 562305 FinalJournal by kyslht

STUDIO 2014 Semester 1

LAN HING TING KEVIN The University of Melbourne

1. Introduction 2.

4. 8. 12.

Part A: Conceptualisation A1: Design Futuring A2: Design Computation A3: Composition/ Generation

18. Part B: Criteria Design 20.

B1: Research Field: Patterning

Iâ&#x20AC;&#x2122;m Kevin/ born in Mauritius/ Currently studying in Melbourne/ 3rd year student majoring in Architecture/ The University of Melbourne Hobbies/ Sports/ Socialising/ Drawing and Crafting/ Movies and Video Games/ Music

I have little experience with digital design. I have only used Rhinoceros software in Virtual Environments in my first year, where we had to design a lantern from cardboard. However, I did not really get a good grasp of it. I did manage to get a design from it but that is it. I am looking forward to learn more from this studio as i know that digital design will be an asset in architecture.

P A R T

C O N C E P T U A L I S A T I O N

A1.

DESIGN

FUTURING

L A G I 2 0 1 2 PRECEDENT

E n t r y

A TM O S P H ER IC S

Site Re s pon s e

‘Atmospherics’, through its design, accentuates the topography of the site. As the site is rather flat or have a very smooth inclination, the shape of the project gives the site some character by creating small hills like pattern over it. It also covers a wide part of the land with a slow gradient of change to where it converges to the same level of the land, that is the structure’s slowly lowers until meeting the ground level. This way, it brings some interest to the overall perspectives of the area with that very slow change from man made to nature and thus merges with the environment.

Structure

Another physical design feature used in the project is the use of material. We can see on the pictures that although the surface might seem like it is fully covered, a lot of sunlight is allowed under the structure which keeps the space as open as possible. A large area of the structure uses perforated sheets as roofing and meshes as connections between the panels. They also mentionned how the structure affects the landscape inside where in summer, it enhances the haze while in winter it creates a foggy environment. The way it is designed and the choice of the materials thus create a semi open space while also providing to the users of the space either a clear view over the horizon or a blurred picture of the surroundings depending on the weather from where it’s name ‘Atmospherics’. Hence, enhancing the area’s usability and enjoyment for the people.

Energy Production

In terms of energy production, â&#x20AC;&#x2DC;Atmosphericsâ&#x20AC;&#x2122; has, as mentionned before, a very particular technology. Four primary cell structures: the solar bubble, water tentacles, altered ecologies, existing ecologies. The solar bubbles located at specific places of the structure for maximising sun power generated according to the sunpath. The water tentacles will harvest and distribute water to the ecological cells where it increases the saturation level. Connected also to a subterranean matrix, it increases the soil temperature which in turn affects the ecology (growth of the flora) thus providing the effects of enhanced haze or fog. This will in the long term, provide for green energy production while maintaining the natural aspect of the site, or even help it grow better. This design will be an ever growing and changing/ developing place. The people around will get the opportunity to interact with nature while being provided a view over the horizon. Also, the structure will keep them conscious of how green energy can be produced while nature is still growing. The relationship between human and nature can thus only be strengthened.

Pictures: Atmospherics, Land Art Generator Initiative, 2012, http://landartgenerator.org/LAGI-2012/AXBXXBXA/

Energy Technology Research Kinetic Energy Kinetic energy, according to the dictionary, is the energy of motion of a body, equal to the work it would do if it were brought to rest.2

Kinetic energy = 1/2 x mass x velocityÂ˛ Kinetic energy is the energy of motion, observable as the movement of an object, particle, or set of particles. Any object in motion is using kinetic energy: a person walking, a thrown baseball, a crumb falling from a table, and a charged particle in an electric field are all examples of kinetic energy at work. Various technologies have been developed to calculate or translate kinetic energy and even to generate power from kinetic energy. As listed in the Field Guide to Renewable Energy Technologies3; piezoelectric generators, ambient radiation, pyroelectric effect, thermoelectrics and electrostatic devices are the various technologies developed to convert kinetic energy to electricity.

Kinetic Energy Harvesting â&#x20AC;˘ Piezoelectric generator A small crystal that when compressed, twisted or distorted, creates electricity due to its molecular arrangement. Any movement applied onto the crystal will provide electricity as long as it stays in fluctuating motion. â&#x20AC;˘ Elcetromagnetic generator A device that transforms mechanical energy into electrical energy through the induction of electricity within a conductor through use of magnets. As a magnetic field comes close to an electric coil, electricity is generated in the latter which can be connected to other devices to store the energy.

Piezoelectric

â&#x20AC;˘ Wind Electric generator Wind electric generators, as the name suggests, uses wind to power up generators to create energy. Wind will provide kinetic energy which in turn is used to rev up gears that provide energy.

Electromagnetic

As mentionned, kinetic energy is everywhere around us, and it can be considered as free or to the expense of physical movement from people. Harvesting Kinetic Energy can be therefore a great way to produce free and environmentally friendly electricity. This will also help towards a better place to live, both in terms of environment - less pollution and waste - but also get the people to engage in physical activities to produce energy.

Wind Turbine

Top: Piezoelectric, http://windulum.com/page0/ files/page0_1.gif Middle: Electromagnetic, http://www. daviddarling.info/images/electromagnetic_ induction.jpg Bottom: Wind Turbine, http://www.metecenergy. com/Images/UpFile/2009825175834363.jpg

A2. DESIGN COMPUTATION COMPUTATIONS ‘Computation’ (which can also be called ‘computing’) is redefining the practice of Architecture.4 It is synthesizing the relationship between material culture and technologies as well as defining a digital continuum from design to production, from generation to fabrication design.5 Computing is now being used as a design tool. It allows architects to generate ideas and design more complex structures than they can produce on paper. Computation has the cability to generate complex order, form and structure through the input of datasets of information.6 Therefore, computation allows architects to generate complex designs based on the input of data such as time, sunpath, wind direction over time. Data, either constant or variable, can be used. It also allows more complex ‘free-form’ geometries to be produced. Through the use of this new tool, architectures are evolving. A new period in architecture is starting, from the modernism to contemporary, to now. Computation is changing the today’s architecture into something more complex and abstract. They may somehow reproduce natural features or create a completely different structure. Computation, hence, is allowing architects to design more freely. Structures that once were thought impossible are now being generated and made possible. Computation is allowing the most complex structures to be built as it can define the type of supports required to achieve what is desired.

Cladding of the National Aquatic Centre, Watercube, PTW architects, Beijing, China, 2008, http://www.ptw.com.au/ptw_project/watercubenational-swimming-centre/

Watercube - PTW architects Beijing, China, 2008

Left: Corner of the structural system of the Watercube, ce.construction.com/ article.php?L=5&C=418&P=3 Bottom: The National Aquatic Centre, Watercube, PTW architects, Beijing, China, 2008, http://www.ptw.com. au/ptw_project/watercube-nationalswimming-centre/

With the use of computation, architects such as PTW architects have been able to use emerging technology and materials at their advantage. PTW architects have designed the ‘Watercube’ National Aquatic centre in Beijing, China, using computation. Although the shape of the building is simple - a rectangular structure, computation was needed for the designing of the wall structure or the skin. As the wall was to be made without being to bulky to as to prevent waste of floor area, they designed a structure made out of steel members. Then, they used ETFE (ethylene tetrafluoroethylene) pillows fill in the wall which also gives the building an aspects of “soapbubbles” which they were inspired from.7 Here, computation allowed them to generate the shape of the structure so that it ressembles the soap bubbles’ random shapes and patterns.

CCTV Headquarters, Rem Koolhaas, Beijing, China, 2012 Computation also allows architects to design and simulate the behaviour of their structures before having them built. Rem Koolhaas OMA required the use of computation to design the CCTV headquarters in Beijing, China. Without computers, the building of the CCTV headquarters would have been extremely hard or almost impossible. Computation allowed the achitect to determine the shape of the closed loop building as well as the angles at which the towers lean through generation and simulation and also enabled engineers to simulate the structure behaviour and come to find the appropriate structural systems to be used. As we can see on the facade of the building, the structure has a very uncommon pattern but was generated through some algorithms on computers.8 In the Watercube as well, the architects and engineers simulated the behaviour of the ETFE pillows as cladding so as to find any flaws in its structural system. Computation allows simulation of loads (as mentionned above), but also the constant changes of mother nature and so we can foresee how the designs work in regards to such changes or natural forces. Hence, the use of a material can be optimal to its properties.

“The dominant mode of utilizing computers in architecture today is that of computerization; entities or processes that are already conceptualized in the designer’s mind are entered, manipulated, or stored on a computer system. In contrast, computation or computing, as a computer-based design tool, is generally limited.”9

Left: CCTV Headquarters, Rem Koolhaas, Beijing, China, 2012, http://adventusvideo.com/forum/ attachments/f10/9159d1318401999-3_photo.jpg Middle bottom: Structural system of CCTV Headquarters, Rem Koolhaas, Beijing, China, 2012, http://www. a r c s p a c e . c o m / m e d i a / 6 9 8 9 6 4 / O M A- C C T VHeadquarters-9_468x271.jpg Middle top: CCTV Headquarters, Rem Koolhaas, Beijing, China, 2012, http://www.oma.eu/projects/2002/ cctv-%E2%80%93-headquarters

A 3 . F R O M C O M P O S I T I O N T O G E N E R A T I O N Composition to generation is a shift that computation has caused. On comparison to the past architectures, algorithmic thinking, parametric modelling and scripting cultures are create completely different styles of architecture.

generation allowing designers to extend their abilities to deal with highly complex situations.12 Therefore, the architectural designs that can be generated from computation can go far beyond that of the old days. Through which, the shift from composition to generation.

What is composition? Composition is the organisation of a whole out of its parts.10 That is, the joining of individual smaller parts to form the bigger whole part. In architecture, it could be considered as the designing of a building while planning all of the rooms and how they would function together. Hence, the precise planning and designing of a structure system.

Since computers can process very complex algorithms in a very short time, a lot of designs can result from one algorithm which is generation, and because computation can provide more complex results than oneâ&#x20AC;&#x2122;s intellect can, generation of designs becomes more important.

How did computation create this shift? Computation, due to the use of algorithms, scripting and parameters, is a way to process data from an input to an output. An algorithm is an unambiguous, precise, list of simple operations applied mechanically and systematically to a set of objects.11 Therefore, using the algorithm together with a set of information will produce a result. Or, the algorithm requires only one information to change for the result to change completely. From having the computer used as only a virtual drafting board where drawing is made easier, the computer has now become a tool of design

Generation of design is therefore faster and â&#x20AC;&#x2DC;easierâ&#x20AC;&#x2122; than composition. There is big leap in between composition and generation from the conceptual to the final designs. Hence, the shift from composition to generation. However, generation also got limits. The limits resides within the softwares used, and the ability for the designer to use the softwares. Some softwares may be designed in a specific way so as to provide some kind of results only. Thus using a software that cannot process what is desired can be a big problem. Moreover, training designers to use softwares to their maximum potentials can be very time consuming or even cost a lot.

Bird’s Nest (National Stadium), Herzog & De Meuron, Beijing, China, 2008

Galaxy Soho, Zaha Hadid, Beijing, China, 2009-12

As it is the case for the Bird’s Nest, only computation have been able to produce such an organic shape through generation. Shown above is the modelling process where steel members are connected, intersected or crossed over by the each other to form the supporting structure of the design.

The Galaxy Soho by Zaha Hadid is another example where generation took over composition. The building’s shape gives an aspect of flow, where the towers are connected together in such a way as all the structures seem to flow together without obstruction.

The rest is added to fill in and create a strong and impressive cladding that is more of an aesthetic. Hence, generation of the various combinations of the steel members was done through computation. This process would have been, on the other hand, tidious if i was to be calculated individually and placed accordingly.

Just for these curvatures to be planned would have required a lot of calculations. However, with the use of algorithms, several options can be generated and worked on. Computation can therefore generate part of the building or the whole building’s shape.

Left: Bird’s Nest (National Stadium), Herzog & De Meuron, Beijing, China, 2008, http://kdx5005.home.news.cn/blog/ a/01010001F90503D94712BD3A.html Right: Galaxy Soho, Zaha Hadid, Beijing China, 2009-2012, http://ultimasreportagens.com/newsletter/n22/ Top: Bird’s Nest (National Stadium)model, ARUP, http://betterarchitecture.files.wordpress.com/2011/12/beijing-nationalstadium-structure1.jpg Bottom: Galaxy Soho, Zaha Hadid, Beijing China, 2009-2012, http://www.zaha-hadid.com/architecture/galaxy-soho/

A 4 .

C O N C L U S I O N Conceptualisation through computation can be fruitful in terms of generating organic shapes. Computation through softwares can generate a lot of outcomes. Only thing needed is to create an algorithm that would suit for what we want to generate and provide a set of information. Computation is a great tool to be used in the todayâ&#x20AC;&#x2122;s architecture and its future as well. It will change the perspective of architecture towards one that is generated by computers. As the input can be based on the natural features of a site, it is most likely that the design generated will be in relation to the site and its environment. Also, incorporating new technologies, less waste will be produced, and materials will be optimal. Hence, computation is the way to a greener world. For this project, the use of computation will without doubt be important. In order to create a design that fits to the brief and guidelines of the Land Art Generator Initiative competition, the most efficient, and site responding design will be required together with some energy production technology incorporated.

A 5 .

L E A R N I N G

O U T C O M E S Architectural computing is indeed a very useful tool. At the beginning of the course, i had little to no understanding of how we could generate architectural designs from computation. However, after having viewed the various designs and architectures that used computing, and also researching about the computation, i can say that computing in architecture can lead to a better world. Whether be it in terms of the environment but also in terms of the living. Architectures built through a given set of data (scientific or observational) can be to our advantage as it responds better to the site context and any other external factors that may affect the area. Computation may also overcome the flaws in the urban planning and hence create a world with lower carbon footprint. In regards to my past designs, if computation was used, they might have been less bland, or more site responding. Also, the time management could have been improved - time spent correcting, changing, or redoing designs. More ideas could have been surfacing by generating them through algorithms.

Notes:

Appendix:

1. Atmospherics (Land Art Generation Initiative, London, 2012) <http://landartgenerator.org/LAGI2012/AXBXXBXA/> accessed on 11 March 2014 2. Dictionary.com <http://dictionary.reference.com/browse/kinetic+energy> accessedon 20 March 2014 3. Ferry, Robert & Elizabeth Monoian, A Field Guide to Renewable Energy Technologies (CopenhagenLand Art Generator Initiative, 2014) p. 60 4. Brady Peters, ‘The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), pp. 08-15 5. Rivka and Robert Oxman, Theories of the Digital in Architecture (London, New York: Routledge, 2014) p. 1 6. Brady Peters, ‘The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), pp. 08-15 7. Arup, National Aquatics Center (Water Cube), <http://www.arup.com/projects/chinese_national_ aquatics_center.aspx> accessed 28 March 2014 8. Shang-Hsien Hsieh, Visualization of CCTV coverage in public building space using BIM technology (Taipei, Taiwan, 2013) <http://www.viejournal.com/content/1/1/5> accessed 28 March 2014 9. Kostas Terzidis, ‘Algorithmic Architecture’ (Boston, MA: Elsevier, 2006), p. xi 10. Roger Scruton, Composition (Encyclopaedia Britannica, 2013) <http://www.britannica.com/ EBchecked/topic/32876/architecture/31848/Composition>Accessed on 28 March 2014 11. Robert A. and Frank C. Keil, ‘Definition of ‘Algorithm’’, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999), pp. 11 12. Brady Peters, ‘The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), pp. 08-15

The Virinoi tool: It creates random shapes from points inside a 3D geometry.

From my own experimentation, i found that this tool can be used to any 3D geometries or so i think happened.

What is interesting with this tool is that the outcomes are random and can be adjusted according to the number of points that populate the geometry. Moreover, it splits the geometry into smaller components which can be deleted to obtain different random shapes.

This could generate more design ideas - from a simple geometry to a complex interlocking set of smaller random geometries.

The smaller parts together form the geometry and they are assembled like a puzzle, as all the individual parts are unique. They form like a generated composition of various 3D geometries.

P A R T

T E R I A D E S I G

B.1. Research Field: Patterning What is Patterning? Patterns are designs that have been spread across all sorts of surfaces and they have been covering architectural surfaces since times immemorial1. They can be related to the aspect of ornamentation and decoration where in classical architectural theory, decoration was the complimentary term of a fundamental distinction and could be considered as a tripartite division of architectureâ&#x20AC;&#x2122;s teachings: Distribution, construction and decoration. These three were the fundamental tasks of architectural design2 but in the past, patterning was merely decoration.

Left: Aqua Tower, Studio Gang Architects, Chicago, USA, 2010, http://studiogang.net/work/2004/aqua Right: Wood Pavilion, Institute for Computational Design (ICD), Germany, http://www.realwowz.net/2013/03/ parametric-wood-architecture-germany.html

However, nowadays, architectural patterning had arrived within the avant-garde movement that we now - both in retrospect and in anticipation of more exciting explorations to come - promote as the style of parametricism3. Parametricism allows patterning to, not only be a part of the decoration but also, be the structure of the building itself. The structure can be made in such a way that it is appealing on top of being supportive or provides other functions which would not be possible before. In that way, parametricism opened the doors to many more design possibilities.

Top: MOMA/ PS1 Reef, IwamotoScott Architecture, Young Architects Program 2007, http://www. iwamotoscott.com/MOMA-PS1-REEF Bottom: 40 Bond Street Apartment Building, Herzog and De Meuron, New York, USA, http:// news.architecture.sk/uploaded_images/2010/03/ herzog-de-meuron-40-bond-street-03.jpg

B.2. Case Study 1.0 McCormick Tribune Campus Centre, Chicago, Illinois, USA(2003) - OMA Patterning, in the McCormick Tribune Campus Centre, is used on the the glass wall of the Welcome Centre. Here, small diagrams, in the form of pixels, were used to represent people’s activities such as sleeping, sitting, studying,... These were made using only 2 colours. When seen from a larger scale, the smaller diagrams just disappear to leave place to a bigger holographic image, the ‘pixelated’ portraits4. It was made possible due to the arrangement/pattern of the various pixels. These patterns are a visual mean of communicating to the students but also provide aesthetic values to the facade and partition panel and that both from a close range where we can only see an arrangement of small diagrams to a further range where the portraits appear. Moreover, the same patterns also act as a shading device thus reducing glare inside of the building.

Left: Zoomed in pattern, McCormick Tribune Campus Centre, OMA, Chicago, Illinois, USA, 2003, http://www. archined.nl/uploads/media/IIT_6_01.jpg Middle and Right: Larger scale pattern, McCormick Tribune Campus Centre, OMA, Chicago, Illinois, USA, 2003, http://www.arcspace.com/features/oma/mccormicktribune-campus-center/

-4B disabledB --disabledB - 2C - 3- 3 AA-A4B -A 7C - 7C- 2 - 2 - 2C

AA- 7B - 7B- 6C - 6C- 9 -9

-3

disabledB -A 2C -A3-A 2C A- A7B - 1B -A -4B -7C A - 4B - 4B --7B -- 2 --6C 2C - 2C -A 3- 3- 4B - A 7C- 4B - 2 - A7C A - 4B - 4B 2 - 5C - 5C - A2- -2 7B - A 6C -- 91B -A6C -2C -2C -4B 9--3 -3A 7C -2 - 2 A - disabledB - 5C -5C 7B -236C - 9- 9

AA- disabledB - disabledB- 2C - 2C- 3 -3

Experimentation: Iterations: Patterning A - 4B - 5C - 2

Geometry Use of a different geometry The

manipulation

the

shaped

The next attempt was to change the

geometries, was our initial starting point of

â&#x20AC;&#x153;pixelatedâ&#x20AC;? geometries completely and

making changes to the design - Changes

observe how the pattern changes. To

disabledB A-- -4B --4B 3-7C 2C- A1B -same 3- 4B -A9- A A-A -4B disabledB A- A --4B disabledB --32-- 92C A - 3- disabledB - 3--92C - 3A - 7BA- -6C disabledB - 2C -A3- disabledB - 2C - 3 were brought A - -4B 4B A- -A 5C 1B A 7C -2C -2disabledB 2C 2---5C 3- in -22 -the A A - 7B 2C A -A 7C - style A 6C 3 4B - 4B -- 27B -9 5C - 7C -as 6C - 2- the 2- 9 Acase - 7B - 5C A -6C -27B ---92C 7C - 6C 4B - A 7C A- disabledB -- 7B 2- 2C - 6C -9

of people activities.

were experimented and the results were that the pattern is more obvious but also

A - 1B - 2C - 3

A - 4B - 5C - 2

seem to be less crowded. There was

altogether, the pattern of the image used

A - 4B - 7C - 2

more free space in between the pixels.

A - 4B - 7C - 2

with different sizes (pentagons). These

at a close range but as they are seen

A - 4B -

do so, we used a simple geometry but

study, that is use of small representations These geometries could be easily observed

A - 4B - 5C - 2

A - 1B - 2C - 3

A - 7B -

becomes more apparent and the smaller geometries are more subtle.

A - 7B - 6C - 9

A - disabledB A - 4B - 5C- 2C -2 -3

- 4B - 7C A -A4B - 5C - 2- 2

A - 4B - 7C - 2

- 7B - 6C A -A4B - 7C - 2- 9

AA- -7B 1B- -6C 2C- -93

AA--disabledB 7B - 6C - 9- 2C - 3

A - disabledB - 2C A - 4B - 5C - 2- 3

A - disabledB - 2C - 3

- 5C A - A1B- 4B - 2C -3-2

A - disabledB - 2C - 3

A - 4B - 7C - 2

A - 7B - 6C - 9

A - disabledB - 2 33

A - 4B - 5C - 2

A - 4B - 7C - 2

A - 7B - 6C - 9

A - disabledB - 2C - 3

Image - Pattern Inclusion of 3D geometries The

following

iterations

were

experimentations with 3D geometries (Breps). These included different sizes and heights of the â&#x20AC;&#x153;pixelsâ&#x20AC;?. Using 3D shapes allowed to get the same pattern from a perpendicular view, but also allowed to play with the heights according to the image used.

A - 1B - 2C - 3

A - 1B 3 -2 A - 2C 4B - 5C

As it was observed, the resulting patterns depend on the image samples used. Focusing on the images used, the following could be observed: the arrangement of shapes used would vary according to the image used. Using Grasshopper, the iterations were limited to the amount of points used and also to the arrangement of these points which, here, only grids were used. Hence, all the geometries are aligned and curves could hardly be smooth. Also, a clearer image produces a better resulting A -pattern. 1B A - -4B 2C- -5C 3 -2 A -A4B - 4B - 5C - 7C - 2-

A - 4B 5C- -7C 2 -2 A - -4B

A - 4B 7C -- 6C 2 -9 A -- 7B

A - 1B - 2C - 3

A-A 4B- 7B - 7C- 6C -2-9

disabledB AA- -7B - 6C - 9 - 2C - 3 A - 1B - 2C - 3

A - disa 7B -

A - disable

A - 4B - 5C - 2

Surface Due to the limitation of this technique of patterning on a 2D surface: Flat geometries or plain still 3D patterns, the results were only sitting flat. For this section of the iterations, the use of a 3D surface was experimented. However, although using a 3D surface, this method of patterning still shows various limitations. The limitations are evident as to how the 3D patterns react to the surfaceâ&#x20AC;&#x2122;s curvature. They either overlap or are disconnected and directed apart. These results were not very appreciated as our goal was to create a smooth curvy pattern from these shapes. On the other side, 2D geometries mapped onto the 3D surfaces did provide some interesting results as they were following the curves of the surface.

Other experimentations

Design Potential

In order to make the patterns in a more controlled

This method of patterning is better used on

image, we came up with some modifications

flat surfaces such as in the McCormick Tribune

to our grasshopper definitions. Instead of just

Campus (Case study 1.0). As it is transposed onto

dividing the surfaces, contours and the division of

a 3D surface, it pretty much loses itâ&#x20AC;&#x2122;s meaning

domains were used. Also, we did not rely on the

and just becomes a random pattern. The final

image sampler tool but used attractor points. the

outcomes of the iterations were successful in the

outcomes were, hence, less random as we could

sense that the pattern were controlled and we

control the points. Thus causing the pattern to

were able to get the pattern in a specific way.

be more responsive to the curved surface.

Hence it can be used to create some pattern on any curved surface design.

Shape:

Density:

Attractor points:

B.3. Case Study 2.0 MoMa/PS1 - REEF, IwamotoScott Architecture, Young Architect Program, 2007 The Reef project, in the PS1 courtyard, recreates the underwater landscape to create an atmosphere of light, shadow, shade and movement. The design translates aquatic elements into architectural elements where fabric canopies are used as anemone clouds, wood seating mounds as reef rocks, and a bed of sand as the sea floor5. The flow of the sire and program generate the pattern of structure and surface for the anemone clouds and reef mounds3. The constructional system of the anemone clouds makes use of smaller pieces to create a larger whole7. The anemone clouds are composed of 1200 uniquely shaped fabric mesh modules hanging from cable trusses. This composition is designed so as to create the desired atmosphere of underwater as it filters light. With the various shapes, lengths and sizes of the apertures, each element contributes in the filtration: where the pattern is denser, light is more diffused while at less dense areas, the apertures are larger thus allowing more light to pass through. It also creates a floating effect due to the light weight of the shapes suspended onto cables which can hardly be seen as they long at the connections of the elements. This was designed using parametric software, Digital Project/CATIA to model and refine the design for fabrication of each module8. These were then done by sewing the fabrics into 3 dimensional rings.

MoMA/ PS1 REEF, IwamotoScott Architecture, 2007, http://jennifer.ly/?/professional/Reef-1/

Reverse Engineering (1.0) The approach we first took in order to reverse engineer the MoMA PS1 Reef design was based on panelling lofted forms onto the surface using domains and the ‘Surface box’ tool (Sbox) in grasshopper. However, we looked forward in recreating the pattern rather than reproducing the same design as the Reef one. We then further explored how could that pattern be used on other designs further on.

Lofted components that were remapped onto the surface.

Our process was as follow: We created a surface to work on, so we lofted a set of arbitrary curves through grasshopper. This allowed us to change the surface freely by modifying the referenced curves. The surface was then divided using a domain with ‘U and V’ counts which allowed us to play with the amount of divisions on the surface. Since our first iterations showed some limitations in the method used in case study one, we decided to move on and use another approach for this process. We used the Sbox tool and mapped a lofted geometry we created on rhino to recreate a pattern almost similar to the Reef design. The Sbox allowed us to avoid these overlapping geometries initially encountered and these created a more uniform pattern on the surface.

Observations The result obtained was however still different to that of the Reef design. This was due to the fact that our reverse iteration was dependent of the curve and the lofted components would follow it whereas in the Reef, the individual components made out of mesh fabrics which hang from the cables and thus subject to gravity. The effect of gravity was not part of our design as the Sbox would only remap the lofted components on the surface and the components could be considered as solid and rigid forms instead. Also, our boxed components were limited to the sbox deformations only. So basically, they were all the same shape just modified by how much the remapped boxes were compressed. The only way we found to make the openings independent of the boxes was to use the control points of the curves and make the surface and distribution of boxes more uniform. Cull patterning was also explored as a means to play with the openings, but these were limited to the pattern itself (that is the booleans inputted)

MoMA/ PS1 REEF, IwamotoScott Architecture, 2007, http://jennifer.ly/?/ professional/Reef-1/

Reverse Engineering (2.0) Our second attempt at reverse engineering the reef was done while keeping in mind the effect of gravity. To do so, we used the ‘catenary’ tool in grasshopper. This tool allows for a natural drop in a direction which in this case, we decided to reproduce the effect of gravity (vertically downwards). Together with catenary curves that we introduced into our new definition and lofted, we created 2 separate and independent surfaces where one is from the cartenary curves lofted. Hence, the top part would be a flat surface representing the cables, and the second one was catenary curves -based. The surfaces were divided equally on both by dividing the lengths in order to get them more even and matching. Geometric forms were then connected to each division points on again both surfaces using ‘construct plane, orient and scale NU’ tools. the geometries were then lofted to recreate the components of the Reef.

2 independent surfaces: Top is flat, bottom is based on catenary curves

In this attempt, the only problem we faced was the disconnection of the square geometries, but it was not of much importance since they were on a flat surface.

B.4. Technique Development MATRIX TABLE A. Catenary curves

B. Geometry C. Contours and division D. Cull Pattern

E. Image Sampler F. Extrude G. Attractor Point H. 2D Patterning I. 3D Patterning The four most successful iterations chosen were

based on the techniques used.

Catenary allowed for a more natural form to be created between two points.

Further Development We further developed the iterations - played more with shapes and extrusions, in order to create new patterns as a transition between 2D surfaces to 3D surfaces. These changes were brought in such a way as to chanel wind and use it to generate power. Extruding the tubes is a way we thought of to collect wind. Wind would come through the larger openings and is then chanelled and funneled so that it is concentrated onto a smaller area. Turbines would be located inside the extrusions to convert the wind into electrical energy.

B.5. Technique: Prototypes Curved surface panelling and Openings on surface In this physical prototype, we experimented how we could produce a curved form structure by using the folding method, thus creating an interconnected surface with all panels. Due to the problems faced in our earlier reverse engineering, which is having all parts disconnected and individual as they would hardly create a smooth surface. We decided to work in a more 2 dimensional surface. Hence, we managed to get all panels connected and create the smooth surface we were after. For this purpose, we divided the curved surface into a triangular grid. which later, we used cull patterns and scaling to create the openings.

Joining 3D shapes to create a self supporting structure Moving on from the 2D surface geometries, this prototype analysed the relationship between 3D geometries, here, cubes, cuboids, and extruded open components. Following a predesigned pattern on grasshopper, we joined them together and analysed how the pattern behaves. Depending on the shapes used, the pattern starts taking a form and curves wherever the structure allowed it. We also tested it under light, and observed the shadows created. However, because of the materials used, the contrast in light and shadows was not very prominent.

We also experimented how the openings would allow light to pass through. Using that prototype, we came to conclusion that our design needed more openings, or a transparent material as cladding in order to allow maximum light inside. However, the shadows created did provide some interesting pattern.

Precedent Jason Arndt - Chimes Pavilion China International Architecture Biennale Finalist Award, 2013 The Chimes Pavilion is based on the concept of ‘wind chimes’. “15 by 15 meters, this pavilion consists of arrayed modular boxes with bamboo chimes arranged within that are activated by wind10”. It engages the passersby by activating the space and engaging the spectators with form, sound and light. The pavilion attracts people to it by creating sounds, soft humming and harmonious as the architect would describe it11.

The use of chimes in a pavilion is a very original way of engaging the people to the site. This could be an interesting way to attract people, and at the same time provides a relaxing atmosphere through the use of sound or music. Since we were focusing on wind energy generators in our design, the inclusion of the chimes will benefit it by attracting people and turning it into an interactive space, hence preventing the boredom or stressing of the industrial environment around it.

Chimes Pavilion, Jason Arndt, China, 2013, http://faainc.com/news/ciab/

Digital prototyping (Making of Chimes using grasshopper)

Based on the idea of incorporating chimes into the design for the LAGI competition, we have experimented on how to recreate the chimes in grasshopper while creating a pattern with it. The process is simple and is similar to the case studies we previously analysed. What we did for this prototype is basically, create 2 surface, one flat and one curved, then divided both equally so that they match. Line tool was used to connect points on both surfaces to reproduce the cables for suspension. and geometry used to represent the chimes hanging from the cables.

2D Triangular chimes

3D cylindrical chimes

The lower surface was curved so as to analyse the flow in the chimes using varying length of cables, and also to make the overall aspect of the chimes more dynamic.

2D Triangular chimes facing different directions

combination of 3D geometries used as chimes

2D Triangular chimes extruded

Physical prototyping (testing the 2d shaped chimes)

This prototype was made to test the behaviour of the triangular shapes when fixed at 4 different points: vertex, middle, and middle edge as shown in the diagram below. Hung to a string, we blew onto them and observed the way they moved. The first and fourth ones were more successful in this test. The first one is longer and has greater oscillating movements and the fourth one ended up in arbitrary forms after being blown onto. This test showed how having the chimes hung at different points on the 2D geometry can provide different results.

Digital Prototyping: Joints For the fabrication of the design, we looked at the different joints that we could use. For the framing structure of the design, we got 2 different ways of designing it: either using a supportive steel frame, where panels would be fixed onto it which is a more rigid way, or a more flexible and lighter way of doing so was to make the panels self supportive and connect together using brackets. We thought about both connections and came to choose the more rigid way as it allows a lighter cladding to be placed onto it and also allows for extruded components to be fixed onto it.

As for the chimes, we were again thinking of various ways of doing so. We first thought of incorporating the chimes into the structure by making them pivot onto rods which would form part of the steel frame, but then, while moving it in rhino, found that they would all move together into a restricted manner, preventing collision between each to make sound. So we went back to the traditional way of chimes, the use of strings. Holes would be made in the chimes so as to allow a cable to be attached to it.

Cables will allow the chimes to hang freely and individually in the presence of wind. No restrictions means that the chimes would collide with each other and create sound.

Digital Prototyping: forms and combination of features Here, we worked with grasshopper in search of forms and pattern that would reflect the desired design. Using curves and arrays, we came up with various surfaces that we then applied some pattern to them. The patterns used were based on cull patterning or attractor points. The outcomes greatly varied in accordance to the techniques used. Here, we used the patterns in a 3D way to create the form and structure of the design itself.

B.6. TECHNIqUE: PROPOSAL Proposal Aim:

Our aim is to create a form that consists of extruded wind channels that slowly dissipates into a flatter surface where the chimes would be hung. This will be done by mapping shapes onto a smooth curved surface that will provide a wavy form to the site, and change the site from bland and flat to a more dynamic landscape. The design will also be such that it will attract people to it through the use of chimes which will sound and be like a call from far for passersby.. The wavy curve of the design and the humming sound will create a peaceful atmosphere.

Proposal Final Proposal The LAGI design site is situated in an ex-industrial shipyard, surrounded by water. This site is prominent to winds and therefore wind energy was chosen due to the conditions of the site. Through analyzing the landscape, we found it most appropriate to locate our design closer to the water as wind is more prominent and stronger at the edge of the site. In Copenhagen, the average wind direction is North-West and therefore positioning our design in that direction willallow us to generate an efficient amount of energy. Our design proposal consists of a structure made of wind channels with turbines that will capture the wind energy. The wind is then channeled outwards to move the wind chimes, thus incorporates both wind and kinetic energy in one process. Our design is not only sustainable in creating renewable energy, but it also allows for people to interact with a dynamic and non-static space we have created.

B.7. LEARNING OBJECTIVES AND OUTCOMES

For the next part, we will be focusing on developing a proper design for the site and how to implement our energy generator into our design as we have yet done more than exploring various features and computational techniques that we could use. We will also refine the idea of use of the chimes and make them connect to the design so that it forms part of it and not be just an added feature. Since we will be using a wind energy generator, the chimes will certainly work but how to connect it to the design is the question. Another aspect that needs to be reviewed is how to show and make our conceptual ideas stronger through the use of the form of the design structure. The idea of misconception that we have up to now can only be achieved through the form of the design, therefore we still need to develop it and make it more obvious or more experiential.

Through the exercises and researches that have been conducted up to now, my skills of computational design did increase, but yet not enough. I can manage to get simple designs, but because we chose to go into the patterning side of parametrics, i met some difficulties in generating actual forms. However, I can work with different ways of adding a pattern onto a surface either 2d or 3d. Computational design is, personally, still a skill that i have yet got a good grasp on.

B.8. APPENDIX - ALGORITHMIC SKETCHES

The techniques developed during the designing process of part B are more focused on patterning. I made used of various ways of producing patterns on both 2D and 3D surfaces. This iteration of a pattern of openings based on an imgae sample allows for the pattern to ressemble a referenced image. Here was a rather basic one, but when used on a larger scale, the number of details increases. The second one is a use of patterning on a curved surface with added features to it.

Notes: 1. 2. 3. 4.

Patrick Schumacher, ‘Parametric Patterns’, Architectural Design, 79, 6, (2009), pp. 30 Patrick Schumacher, ‘Parametric Patterns’, Architectural Design, 79, 6, (2009), pp. 30 Stephen Perrella, ‘Hypersurface Architecture’, Architectural Design, 68, 5–6, (1998), pp. 10 ‘McCormick Tribune Campus Center’, Wikipedia, last modified 1 April 2014, http:// en.wikiarquitectura.com/index.php/McCormick_Tribune_Campus_Center#Concept 5. ‘PS1/MoMA Reef’, Jennifer Ly/Designer, accessed on 25 April 2014, http://jennifer.ly/?/professional/Reef-1/ 6. ‘MoMA/PS1 REEF’, IwamotoScott Architecture, accessed on 25 April 2014, http://www.iwamotoscott.com/MOMA-PS1-REEF 7. ‘MoMA/PS1 REEF’, IwamotoScott Architecture, accessed on 25 April 2014 8. ‘MoMA/PS1 REEF’, IwamotoScott Architecture, accessed on 25 April 2014 9. ‘MoMA/PS1 REEF’, IwamotoScott Architecture, accessed on 25 April 2014 10. ‘Jason Arndt - China International Architecture Biennale Finalist Award’, Finegold Alexander Architects, accessed on 04 May 2014, http://faainc.com/news/ciab/ 11. ‘Jason Arndt - China International Architecture Biennale Finalist Award’, Finegold Alexander Architects, accessed on 04 May 2014 12. ‘Jason Arndt - China International Architecture Biennale Finalist Award’, Finegold Alexander Architects, accessed on 04 May 2014

P A R T

A I L E D D E S I G

C.1. DESIGN CRITERIA D e s ign Con ce pt Our first design concept was based upon our previously analysed case study - the MOMA/ PS1 Reef - which was to create an atmosphere through the filtration of light. Moreover, we also incorporated the use of wind through wind turbines and chimes. However, the incorporation of these elements to the design did not work well and after the feedback from the interim presentation, we decided to focus on just incorporation of the wind turbines instead. Our new design concept is to create a link between the analysed wind pattern (obtained from the wind rose data) and the response the design would have with these patterns. However, one main problem that we have is how to make a strong argument considering we are looking for a rather static form when wind is more dynamic in nature. Therefore, in part C, we are considering various ways to represent these. Site topography, and composition in relation to the site in order to provide users with an experiential aspect rather than focusing on form only.

For this purpose, we came up with the fact that wind is an ever changing natural occurence, that is in speed and direction. Therefore, our design would accommodate for that. after analysing the wind rose of the location, we found that winds are more frequent and stronger from the south west. Hence, the design is to capture most wind from there. Also, in order to represent that dynamic aspect, the topography of the site will change and provide interest and sensorial aspects to the design. so will be the pavillions designed - change in scale, and orientation. As for the wind turbines, in order to create a different and attractive atmosphere, they will be scaled, and used as some kind of cladding where through their rotations, will affect the light coming through and hence change the way people will experience the areas under the pavillions. Hence, the design concept is to create a changing urban landscape that will bring visual interest as it appears to morph and change throughout the undulating site.

LAGI 2014 Site The 2014 LAGI site is situated in an industrial zone of Copenhagen where a shipyard was situated..

Connecting major site features

This area is prone to windy conditions throughout the year with winds averaging 5m/s. Winds are most prominent west to south-westerly of Copenhagen and therefore this informed us of the type of energy to pursue for this design - wind. Two focuses of the site that we highlighted are The

Abstracting the lines

Little Mermaid Statue, and the watertaxi terminal. With these two pieces of information, we derived a pathway from two entry points of the site. This allowed us to determine the journey the users will take when on site, the positioning of the design/s and the types of manipulation of

the

topography

that

can

explored.

The flat landscape did not provide much to work

Determining the different areas: Elevation and Depression

with to create a dynamic experience that we envisioned through the design concept. Therefore we seeked to manipulate the landscape through creating areas of interest through elevation and depression. Creating height and depth These areas will determine the siting of each pavilion structure and its scale in relation to its position.

Placing and scaling of Pavilions

DECONSTRUCT SUB-SURFACE

Definition

PIPE

Sub structure

SURFACE

CREATE SUB SURFACE

DRAW PANEL GEOMETRY

EXTRUDED EDGES TO MAKE A BREP

MORPH USING SURFACE BOX

FIND CORNER OF SUB SURFACE USING LIST ITEM

FIT ON PLANE IN NORMAL DIRECTION

DRAW WIND TURBINE AS BREP

Panels

Turbines

ORIENT BREP AT CENTROID

SCALE BREP

POINT ATTRACTOR DOM 0-1.2

Wind turbines

ACTIVATES ROTOR AND BLADES

INFLOW OF AIR

ENERGY COLLECTED TO GRID

Since Copenhagen is a windy place, wind energy

5 BLADES IS A MID-STRENGTH AND MID-SPEED TURBINE

would be the most efficient efficient source of

energy production. Therefore, here, we chose the wind turbines as generators but they would also act as aesthetic to the design. The number of blades on the turbines determines the speed of rotation and the amount of wind captured. Due to the scale of the design, the selected turbines are of small scale, and also have more blades (5 blades) than the traditional ones (3 blades) as they can capture lower strength winds. The turbines chosen range from 900mm to 1500mm in diameters and are suited for class 2-7 wind zones. Hence, able to produce 1.2kW in 12.5m/s wind speeds.

SPINS GEAR BOX AND GENERATOR

SUITABLE IN CLASS 2-7 WIND ZONES 1500mm IN DIAMETER 1.2kW IN 12.5m/s WINDS 300-900RPM IN SUITABLE CONDITIONS CARBON FIBRE BLADES

W I N D P O W E R = 0 . 5 x S W E P T A R E A ( m 2) x A I R D E N S I T Y ( 1 . 2 3 k g / m 2) x V E L O C I T Y 3( m / s ) SWEPT AREA = PI x RADIUS(M)2 = PI x .752 = 1.766 WIND POWER = 0.5 x 1.766 x 1.23 x 12.53 = 2121.57kW

AVERAGE OUTPUT OF ENERGY = 0.01328 x D I A M E T E R 2( f e e t ) x V E L O C I T Y 3 ( m p h ) 1.5M = 4.92 FEET

12.5M/S = 26.84MPH

AOE = 0.01328 x 4.922 x 26.843 = 6215.5kWh/year

Form Finding We used the wind rose to inform the form of our design. Since the wind rose is a representation of the wind data - direction, average speed, and frequency - we went for a quite literal approach. We tried abstracting the shape of it, but in the end, it was about the same. The pavilionsâ&#x20AC;&#x2122; perimeters were shaped almost like the wind rose itself but we did play with the height a bit according to the data provided. Where wind is more frequent and stronger, the top were raised providing a larger surface area for wind capture. The form was also made in order to blend into the topography of the newly designed site and provide for dynamism as stated in the design concept. Hence, the pavilions and the landscape work together towards that undulating aspect we were looking for.

C.2. TECTONIC ELEMENTS Early Prototypes : joining

Early Prototypes : turbines profile

In order to work with panels as cladding for the design, we looked at ways of interlocking them. However, because interlocking would only account for a â&#x20AC;&#x2DC;temporaryâ&#x20AC;&#x2122; joint with very low joint strength in this case, we looked at ways to provide for a stronger fixing method: a pin joint.

3 types of turbine blades were tested to know which one would be more effective. one flat blade perpendicular to the wind direction, one angled and a curved one.

For this prototype, we focused on part of the design - in this case the connection between 4 adjacent panels. we built it according to the dimensions of the focused area of the design. We, then, interlocked them and analysed its behaviour. However, the prototype could still be moved and the joint was not rigid enough, as we could easily rotate the panels about the pin joints. Hence, a more rigid and stronger joint would be required at this stage.

We then tested it using a blow dryer, the wind was blown perpendicular to the turbines, then moved to an angle to the normal. We recorded and analysed the observations. As expected, the curved blades responded better to the changes in wind speed and direction changes. This showed us what type of turbine would be better in our design. Curved blade turbines respond better to low wind and to winds that come from an angle other than being perpendicular to the turbine.

Roskilde Dome Kristoffer Tejlgaard

Roskilde Geodesic Festival Dome is a plywood modular structure that functions as a communitive gathering space and is easily assembled on site. The modular panels were made usng the CNC machine in order to enhance the elasticity and slenderness of the plywood panels, thus allowing them to be curved corresponding to the specifically shaped timber battens. 3D shaped panels are made from the plywood sheets and interlock with one another to create that self supporting structure, providing greater strength and stability.

The domeâ&#x20AC;&#x2122;s form makes maximum use of the space with minimal material and energy consumption. The use of transparent waterproof membrane can enable protection from moisture penetration when placed over the openings. They can also act as drainage for the exterior. Here is a rigid material that enabled for a curved surface for the design.1

The sliding interlocking tectonic ensures the structure is stable and well connected

Roskilde Dome, Roskilde, Denmark, 2012, http://www.archdaily.com/355536/roskilde-dome-2012-kristoffer-tejlgaard/

Materials and Joints After having analysed the previous prototypes and seeing how the Roskilde Dome was built, we came up with the idea of using plywood as base panels since they are lightweight, able to be bent, but also can be sourced from recycled materials. Here, we looked at a more traditional way of building the pavilion. The tectonic system chosen is the mental brackets system, where the panels will be connected together by use of brackets rather than being interlocked as earlier stated. This way would allow for heavier load to be carried. However, because this joint is flexible, a substructure is required. Therefore, we came up with the idea of having a steel tube sub structure with the 3D timber cladding fixed onto it. This substructure will take away from the timber cladding loads such as the materials of the structure itself, but also that of the turbines.

C.3. FINAL MODEL Prototype : 1:500 Site model with pavilions Melting Process Modelling the design was a very difficult process due to the double curved form produced from our definition in grasshopper. Since the panels were non planar surfaces, digitally fabricating them would be very difficult. It was suggested to us to model it instead using an analogue enactment of a digital process where Morphing becomes Melting. In this site model, we contoured the shapes to create the base form of the pavilions and then located them onto the site. The forms expressed were rather interesting and would reflect our design well. Then, we melted hole punched perspex to shape it according to the layers previously laid. However, problems arised when we tried melting the perspex. When melted and shaped, the perpex was hard to manipulate into the same form desired as it would harden up pretty quickly and when reheated to work more on it, the perspex had a tendency to go back to its initial state - flat. This method was hence rather ineffective in this context and did not show the form of the design, and also was a very time consuming process.

Prototype : 1:200 Individual part pavilion Moulding process Our next attempt to better show the form which we worked on a bigger scale was done by making the substructure first. For this purpose, we used the digital fabrication to create a ribbed waffle structure through grasshopper. We got the individual parts that would intersect together to form the substructure of the design. This came out nicely as it showed the curved surfaces complexity. Next was a drift from melting to moulding/ laying. We used a very malleable material which was plastecine that we flattened to a very thin layer and hole punched. We then laid it onto the substructure, and surprisingly came out as a smooth surface. The choice of material in this model portrayed well our form. Through this process, we found that using a more malleable and mouldable material can accommodate for the complexity of the curved form of ours. Hence, we came to the conclusion that a rigid material would not be the best way to clad the design but we should instead go for a more flexible material. It was then that we thought of using some fabric like material because of its lightweightness, efficiency but also low cost of the material.

Modification from final presentation feedback for future development The feedback from the final presentation was focused a lot onto the cladding we had, that is timber panel cladding. After having seen the design and its renders and compared them to the models that we brought in as well, it was said that the models was better than the renders, as they would convey more of the design intents and form of the pavilion. Thefore, we wanted to go back and explore further the materiality of our pavilion structure as it would help us create a more convincing argument for our design. As we used a more flexible and malleable material on the model, we wanted to use a suitable material that would have the same properties in terms of flexibility and shaping capacity as that of the model. Hence, we came up with the idea of using a PVC membrane material. Such material allowed us to go for the analogue enactment of the digital process but not only in a small scale model, but due to its skin like nature, when used under tension, the PVC membrane would be a more realistic way of constructing the pavilion. It would be placed onto our steel sub-structure and attached to it through means of bare-rings around the turbines. Thus, providing a cladding that is light weight, weather resistant and low cost.

London Shooting Range Magma Architects

Membrane architecture was explored by Magma Architects for the London Olympicsâ&#x20AC;&#x2122; Shooting Range Venue. The form is made out of PVC membrane with circular vents that protrude from its surface. The building evokes a sense of flow through its dynamically flowing spaces. The PVC membrane that acts like textiles creates a uniform parasol like form that was achieved by stretching that membrane over the underlying structure.

Due to the membraneâ&#x20AC;&#x2122;s light weight and long span, the sub structure can be light weight that carries low loads. Moreover, it can be made as a temporary structure as it can be easily dissassembled and moved to somewhere else if required. Installation of the membrane over the structure is pretty simple too and can therefore allow for temporary assemblies. That membrane also filters sun light, providing for a controlled glare inside the structure.2

Olympics London 2012, Shooting range venue, http://magmaarchitecture.com/en/projects/ olympic-shooting-arenas.html

Mapping becomes Moulding

100

Exploration of the modelling process, the

a plastic membrane would be more

proven long-term performance in harsh

newly chosen materials are quite basic

construction of prototypes and detailed

advantageous

conditions, puncture resistant, chemical

and

models, and through exploring possible

design and form. Textiles, such as in the

resistant,

seam

would help in making it easier to explore

tectonics, we came to the reality that

London Shooting Range, which closely

strength and flexible. If further research

different tensile materials with plug-ins

plywood may not be the appropriate

represented the skin of our pavilion with

was conducted it would have helped

such as Kangaroo. This software would

material to use for the construction of the

circular openings. PVC membrane is

direct us in a better direction with our

allow us to experiment with the physics

pavilion. A more flexible material such as

advantegous as it is UV resistant with

design. However due to limitations of

of the material under different controlled

time, the research of the

conditions.

representing

the

excellent

waterproof

conceptual.

Parametric

tools

101

102

103

104

105

106

107

LAGI 2014 Statement: Aeolian is a design that has been

Surrounding features include the water

AEOLIAN MATERIALS

influenced and shaped by the wind

taxi terminal and Little Mermaid Statue

The pavilion is constructed by two main

with five blades. The chosen turbine will

patterns analysed on the Copenhagen

sited across the river from the flat site. Due

structures: the PVC membrane faรงade

be suitable to use in zones of class 2-7

site. The design itself sits on an undulated

to the site being located across from the

and a steel skeletal structure. Bale-rings are

winds, will have an average diameter

landscape which creates a dynamic

main hub of Copenhagen, this acts as

positioned around each turbine which is

of 1500mm and can produce 1.2kW in

experience for users. As we approach the

anarea for the community to retreat to

connected to the steel structure. This acts

12.5m/s winds. The wind turbine blades

site we are entertained by a visual display

and view the city from across the river.

as a support for the PVC membrane and

are to be made from carbon fibre

of wind turbines that react to the ranging

Copenhagen is a city known to have a very

hence an overall, smooth skin-like faรงade

material as it is lightweight and will not

levels of wind exposure on site. The

relaxed ambient and friendly community,

with embedded turbines is achieved. The

impose large loads onto the already large

experience of the performance can be

and therefore this informed the program

nature of the PVC membrane allows for

scale structure. Calculations for a single

viewed from multiple angles and heights

for our design. It involves regular weekend

the structure to be easily replaced if the

5-bladed, 1500mm wide turbine resulted

throughout the landscape.

markets, outdoor carnival/festival spaces

material requires maintenance over time.

in the following:

The input of wind turbines into the pavilion

on special occasions and generally as an

PVC membranes are commonly used in

Potential Average Wind Power: 2121.57kW

faรงade aims at maximising the harvest of

everyday recreational space. The PVC

circus tents and tensile sale shelters, this

Average Output Energy: 6215.5kWh/year

wind energy by positioning larger turbine

faรงade can be removed or replaced

material is appropriate under tension.

systems where the wind is most prominent.

to suit the occasion, and even used as

Collected data from the wind rose

a surface to be decorated for special

AEOLIAN

influences the positioning of the turbines

events, such as lighting shows.

ENVIRONMENTAL IMPACT

onto the pavilion form. The pavilion is

The two access points to the site exist on

Wind

made from a PVC membrane stretched

the east end, and the water taxi terminal

determined by the amount of wind

Copenhagen

over a steel frame structure. The steel

entrance towards the south.

capture and its rotational speed. A three

people and in 2010, an average of

structure not only acts as a skeleton that

Aeolian brings light to the invisible nature

bladed turbine would spin slower than

1,340kWh/year

secures the membrane in place, but also

of wind. It illustrates to users the simple

a six bladed turbine. After prototyping

single Copenhagener. Therefore with the

supports each turbine into position.

idea that wind can be transformed

and experimentation with wind turbine

amount of energy produced from the

The site is situated amidst an industrial

into a usable energy and delivers a

designs, it was determined that for this

pavilions, it is calculated to be able to

setting known previously as a shipyard,

promising outcome for a sustainable

scale of design, it would be appropriate to

power an estimate of 700 homes a year.

which overlooks the city of Copenhagen.

future which utilises renewable energy.

use a mid-strength and mid-speed turbine

3,729,300kWh/year รท(1,340kWh x 4) = 695.7

108

Each pavilion structure has an estimate ENERGY

turbines

sizes

GENERATION/ and

200

wind

turbine

and

therefore

the combined average enery output blades

are

3,729.3MWh/year. family was

The

average

consists consumed

four by

109

C.5. Learning Outcomes When first starting the subject, designing using computation was a rather unknown knowledge for me. During the course of the subject, i got to learn more and more about it. I also got a more in depth overview of how parametric is used in the todayâ&#x20AC;&#x2122;s architecture. Through the research and analysis done during the semester, i got a better understanding of how parametricism is developing and is becoming part of our everyday design. As for my experience in parametrics, it was quite hard for a bit as i got stuck within the definition that my team members and myself have created. We got stuck because we did not know how to move forward from there, and all we did was to just try replace some commands with another and always working with the last few commands. We forgot the fact that we could actually still use the commands that we initially used to develop the definition better. Once we got some advice from the tutors, it became easier. However, although I have become more familiar with grasshopper and rhino, it is still not a very good grasp I got of it as of basics of parametricism. I can now design and at least generate some basic shapes and skin for a building. Also, i have now developed skills in using computation to generate materialsâ&#x20AC;&#x2122; properties inside my design. Like for our final design we came up with, how to make material lay onto the structures. Also, i can now develop some tectonic assemblies using it.

110

111

Notes: 1. ‘Roskilde Dome 2012’, Arch Daily, accessed on 8 June 2014, http://www.archdaily.com/355536/ roskilde-dome-2012-kristoffer-tejlgaard/ 2. ‘Olympic Shooting Venue by Magma Architects’, Dezeen Magazine, accessed on 8 June 2014, http://www.dezeen.com/2012/06/12/olympic-shooting-venue-by-magma-architecture/

1. 2. 3. 4.

112

R E F E R E N C E S : 1. Atmospherics (Land Art Generation Initiative, London, 2012) <http://landartgenerator.org/LAGI2012/AXBXXBXA/> accessed on 11 March 2014 2. Arup, National Aquatics Center (Water Cube), <http://www.arup.com/projects/chinese_national_ aquatics_center.aspx> accessed 28 March 2014 3. Brady Peters, ‘The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), pp. 08-15 4. Dictionary.com <http://dictionary.reference.com/browse/kinetic+energy> accessedon 20 March 2014 5. Ferry, Robert & Elizabeth Monoian, A Field Guide to Renewable Energy Technologies (CopenhagenLand Art Generator Initiative, 2014) p. 60 6. Kostas Terzidis, ‘Algorithmic Architecture’ (Boston, MA: Elsevier, 2006), p. xi 7. Magma Architects, Olympic Shooting Venue, (Dezeen Magazine,2012), <http://www.dezeen. com/2012/06/12/olympic-shooting-venue-by-magma-architecture/> 8. Rivka and Robert Oxman, Theories of the Digital in Architecture (London, New York: Routledge, 2014) p. 1 9. Robert A. and Frank C. Keil, ‘Definition of ‘Algorithm’’, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999), pp. 11 10. Roger Scruton, Composition (Encyclopaedia Britannica, 2013) <http://www.britannica.com/ EBchecked/topic/32876/architecture/31848/Composition>Accessed on 28 March 2014 11. Shang-Hsien Hsieh, Visualization of CCTV coverage in public building space using BIM technology (Taipei, Taiwan, 2013) <http://www.viejournal.com/content/1/1/5> accessed 28 March 2014 12. Kristoffer Tejlgaard, Roskilde Dome 2012, (Arch Daily, 2011), <http://www.archdaily.com/355536/ roskilde-dome-2012-kristoffer-tejlgaard/>

113