MENGQI YU
Meng Qi Yu [Jessie] I was born in Guilin, a small but beautiful city in the southern part of China. Now, I am a 3rd year architecture student studying in University of Melbourne. Architecture is a very exciting but challenging major for me. Hand drawing and painting are my strength, but I would love to discover the world of parametric design. My first encounter of parametric design is in year 1 in Virtual Environment. From then on, I knew how different digital design is from the traditional design techniques. Through the study of Rhinoceros, I have gain the basic knowledge of constructing NURBS models. Air studio provides me a great opportunities to explore and enhance my digital design skills by using the logic of algorithm. Another semester with so many sleepless night began! Keep Calm and do Grasshopper.
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This is my first NURBS model constructed by Rhinoceros. The inspiration of the project is from natural process of cloud formation, which is the evaporation and condensation of water vapor in respond to the temperature around. The gradual change of the intensity of light acting as different levels of temperature, which makes the form expand or shrink like the water vapor. The model is simply constructed using panelling tool and lofted curves. However, it is not a very successful model for showing the natural process. The logic behind the natural process has not been clearly expressed through the modelling process. Therefore, for my further study of parametric design, the most important aspect is understanding the logic behind the whole parametric design, rather than considering too much about its final outcome.
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CONTENT
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6 7 12 20 28 29 30
PART A: CONCEPTUALISATION A.1. Design Futuring A.2. Design Computation A.3. Composition/Generation A.4. Conclusion A.5. Learning Objectives & Outcomes A.6. Appendix-Algorithmic Sketches
34 36 42 54 58 74 80 95
PART B: CRITERIA DESIGN B.1. Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique: Development B.5. Technique: Prototype B.6. Technique Proposal B.7. Learning Objectives & Outcomes
100 101 122 144 156 162
PART C: DETAILED DESIGN C.1. Design Concept C.2. Tectonic Elements C.3. Final Model C.4. LAGI Brief Requirement C.5. Learning Objectives & Outcomes
PART A
CONCEPTUALI SATION
PART A. CONCEPTUALISATION
A.1 Design Futuring “Design Futuring has to confront two tasks: Slowing the rate of defuturing [...] and redirecting us towards far more sustainable modes of planetary action.”1 - Tony Fry In the anthropocentric world, human beings treat the planet as an infinite source of excavation to develope our civilization. Most human activities,
which meant for creating a better future, are essentially defuturing. The consumption of natural resources is rapidly increasing. Serious ecological damages cause various environmental issues. “Nature alone cannot sustain us.”2 Hence, there is a pressing need for people to engage with the world around us to change the current situation.
the power to create infinite possibilities to redirect our future to sustainability. In order to achieve the goal, design intelligence needs to be developed. This requires the understanding of the existing environment and the making crucial judgements about actions based on their positive or negative impact on the future.
Design, the unique talent we have, has
1.Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1-16. 2.Fry, Design Futuring,pp.1.
PART A. CONCEPTUALISATION
Fig.1:Harbin Culture Centre Ariel View
In 2010, MAD won the competition for designing the culture centre of Harbin. The purpose of creating this project is to integrate culture, art and nature into a whole as an island. Thus, unlike other theatre buildings which normally located in the city centre, the location of the culture centre is in the natural landscape of the riverside wetland, north of Songhua River. In order to link human culture with the surrounding landscape, the form and rhythm of the culture centre mimics a stretching glacier (from plan) and a snowy mountain (from its elevation).3
The imitation of natural patterns is a very common way for designing free form architecture. However, this is a very superficial way to express the harmonious relationship between human and nature. Indeed, its site location, structural and material system all lack of harmonious relationship between each other. First of all, the building was built on an unusual site -- a fertile wetland system. The damage on the regional ecological system is a major environmental concern. Moreover, the external material is a cladding fixed on the back up steel frame structure for aesthetic purpose.
3. Diego Hernandez, ‘Harbin Culture Centre / MAD Architects’, ArchDaily, (2013), <http://www.archdaily.com/430314/harbin-cultural-center-mad-architects/52 38c6d7e8e44e24570001e5_harbin-cultural-center-mad-architects/> [assesed 20 March 2014].
PART A. CONCEPTUALISATION
HARBIN CULTURE CENTRE Architects: MAD Architects Location: Harbin, China
Except its building form, there is very less evidence to show the engagement with nature from any part of the building. The design concept of the Harbin Culture centre is lack of deep understanding of its surrounding environment. The harmony relationship between human and nature has been emphasizes on the level of social
Fig.2:External Metal Cladding
practice, but not the environmental side. It is a successful architecture in the aspect of gathering the publics to enjoy art, music and natural beauty at the same time, but fail for interpret idea of sustainability in the design thinking process.
Fig.3: Steel; Frame Structure
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PART A. CONCEPTUALISATION
Fig.4:Masdar’s City Centre Ariel View
Fig.5: solar-powered sunflower umbrella
PART A. CONCEPTUALISATION
MASDAR’S CITY CENTRE
Architects: LAVA Architects Client: Abu Dhabi Future Energy Company Location: Masdar, UAE The Masdar’s City Centre is located in the world’s first eco-city, Masdar in UAE. It is a highly interactive space with central plaza, hotels, convention centre and retail facilities. This building can be treated as a design for the future, as it incorporated adaptive building technologies as well as efficient energy and water used in its overall design. One of the most distinctive and interactive way of utilizing renewable energy is the solar-powered sunflower umbrella in its outdoor public plaza.4 This city centre has a strong adaptive capability in respond to its environment around. Due to Masdar’s arid climate, outdoor projects usually suffered from the blistering heat of the dessert. However, extensive heat also means that solar energy is a fertile energy on the site. In Masdar’s City , vast areas of outdoor area is used for creating a unique public gathering place . The solar umbrella not only creates shading but also facilitate air ventilation.
are also integrated in the building, such as the adaptive building facade, which automatically adjust their angles with the sun, the wall surface material respond to changing temperatures, rooftop garden
the building.
for food growing using organic waste as well as interactive and heat-sensitive technology.5
throughout the whole development of human civilization in the future. As Fry argues, “the relation between creation and destruction is not a problem when a resources is available, but it is a disaster when it is not.” The decision is in us, it depends on whether we will choose the way to sustain our human culture, or the other through the process and design and create.
This intriguing design appeared in the arid zone amazingly shows the power of design. It is important that LAVA put energy as a primary consideration while generating their design concept. This shows an intelligent design thinking by understanding the environment while making decisions, which minimizes the risk of environmental damages caused by
The realization of the current environmental issues and limited usable resources should be permeated
Fig.6: Masdar’s City Centre Energy Flow Diagram
The city centre is basically a selfefficient building without relying on any imported energy from outside. It has its own energy generated system to keep the building functional and alive. Besides the design of “sunflower solar umbrella”, other sustainable features 4. ‘Masdar City Centre’, LAVA, (2008), <http://www.l-a-v-a.net/projects/masdar-city-centre/>[assessed 20 March 2014]. 5.Bridgette Meinhold, ‘LAVA’s Winning Design for Masdar’s City Centre’, (2009),<http://inhabitat.com/lavas-winning-design-for-masdars-city-center/> [accessed 20 March 2014].
PART A. CONCEPTUALISATION
A.2 Design Computation Computer is standing on a dominant space in the architecture field today. In most architectural field, it has been used a virtual drafting tool for the expression of ideas from designers’ minds. This mode of working has been defined as ‘computerization’.1 CAD, one of the computerization methods, has been critiqued by Lawson as a way of encouraging ‘fake’ activity against the real one.2 As indeed, the way of design
thinking is the same as the traditional one, where the source of design comes from human imagination. Similar but different as computerization, computation allows designers to extend their ability to deal with highly complex situations. It is a process of thinking involved in both formulating problems and solutions in order to make the solutions effectively carried out by and
information-processing agent.3In terms of architecture, the understanding of the logic of behind its construction is more important than its final outcome. This logic can be expressed as algorithm. The flexible application of this functional logic provide the opportunities to generate complex and unexpected results which go beyond the intellect of designer.
1.Kostas Terzidis, Algorithm Architecture (Oxford: Architectural Press, 2006),pXI. 2.Bryan Lawson,‘Fake and Real Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press, 1999), pp. 174-179. 3. Jan Cuny, Larry Snyder, and Jeannette M. Wing, “Demystifying Computational Thinking for Non-Computer Scientists,” work in progress, 2010.
PART A. CONCEPTUALISATION
Abu Dhabi Performing Arts Centre
Architects: Zaha Hadid Architects (2007) Client: The Tourism Development and Investment Company of Abu Dhabi (TDIC) Location: Abu Dhabi, United Arab Emirates The Performing Arts Centre is a free form architecture located in Abu Dhabi. Its design concept emphasizes the branching geometry, which results a “natural growing” seafront island generated by the urban fabrics. As described by Hadid, the design is conceived as: A sculpture form, emerging naturally from the intersection of pedestrian pathways within a new cultural district as a growing organism that spreads through successive branches forms the structure like “fruits on the vine”4
The form of the Arts Centre has already been pre-conceived in the architect’s mind through the analysis of surrounding context. The digital practice of modelling the building is only a tool for designers to preview their ideas before the real construction. The role of computer here has no mean in terms of generating solutions for solving problems that might be occurred during the erection of the building. The Arts Centre only expressed the idea of “natural growing architecture” from the external building form, which is
very superficial. As this design thinking process is lack of consideration for both materials and details which are the essential elements to make the architecture grow and alive. Natural design is more than just imitating the appearance of the organic, it is the learning from natural principles to produce form which response to the real condition of the environment. Computation allows the exploration of potential future structures according to the material properties via fabrication, which can indeed produce a “second nature”.5
Fig.7: Abu Dhabi Performing Arts Centre [Plan]
4. ‘Abu Dhabi Performing Arts Centre’, Zaha Hadid Architects, (2007), < http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/#> [accessed 21 March 2014]. 5. Oxman, Rivka and Robert Oxman, eds. Theories of the Digital in Architecture, (London; New York: Routledge, 2014), pp. 1–10.
PART A. CONCEPTUALISATION
PART A. CONCEPTUALISATION
Fig.8: Abu Dhabi Performing Arts Centre
PART A. CONCEPTUALISATION
Fig.9: SLFoundation individual foam block
SL FOUNDATION PROTOTYPE
Project Team: Roland Snooks (Design Director), James Pazzi, Amaury Thomas, Armin Senoner. (2003)
PART A. CONCEPTUALISATION
Fig.10: SLFoundation foam blocks
Studio Roland Snook is a example of the shift in architecture production and design. This Melbourne local design team has the major interest in exploring the principle of complex self-organising behaviours found in biological, social and material system.6 This research direction of discovering the underlined natural principle is also the spirit of the parametric design in architecture.
of the interlocking individual foam blocks. The key of the design is not about the final outcome, but the definition of the individual geometry of the foam block, which enables them to interlock with each other in both structural and aesthetical ways. As Oxman argues, the emergence of research by design is the theme of the age, where form is driven by performance.8
The logic of associative, dependency as well as parts-and-whole relationship between objects are indeed the focuses of parametric design.7 SL Foundation is not a representation of a state of art, but a form naturally emerged from the organization
In the new age of architectural design,the edge between structural and surface material has been blurred. The concept of material as a tectonic system is emerged to stimulate the digital architecture design process. Architecture has been
shifted and redefined as a material practice. As shown in SL Foundation, its structural and material systems have been integrated as one to form the final project. The modelling of material using new technology enables a potential for contemporary tectonic expression, where more unconceivable forms could be achieved.
6. ‘Studio Roland Snooks’, Nation Gallery of Victoria, (2014),<http://www.ngv.vic.gov.au/melbournenow/artists/studio-roland-snooks> [accessed 21 March 2014]. 8. Oxman, Theories, pp1-10. 7,Oxam, Theories, pp.8.
PART A. CONCEPTUALISATION
PART A. CONCEPTUALISATION
Fig.11: SLFoundation Rendering
PART A. CONCEPTUALISATION
A.3 COMPOSITION/GENERATION Architecture forms are composed by spaces and masses. Composition is the organization of the whole out of its parts. By following the rule of composition, an ordered form of architecture can be created. In general, architects generate their ideas using 2D graphics (plan, section and elevation). Traditionally, there are many strict rules for defining a perfect composition. For instance, the book of A Discussion of Composition, Especially Applied to Architecture (1902) written by Van Pelt and John Vredenburgh is all about the composition rules applied in geometries, architectural elements, organizations and presentations. In this book, the idea of “balance and contrast” , establishment of primary and secondary focal points, the arrangement of climax, three-motive composition and consistent architectural styles are emphasized.1 Most historical architectures have reflected a set of rules like these.
However, the traditional definition of composition only express an impression of order within its surroundings, but lack of explanation of the underline order of its natural structure. We are now living in an era facing the conceptual change from composition to generation, where architectures are dominated by computational design. Computation redefines the practice of architecture through “sketching by algorithm”.2 This design approach create complex architectural forms through the process of generation. Unlike the concept of composition, where series of rules are set by human for the purpose of being aesthetic. Generation is a concept derived from the exploration of natural processes, where diverse possibilities could be created. During the process of generation, algorithm is the simple infinite set of rules, methods or techniques for the modification of the generating code.3 By reading and
understanding the set logic of algorithm using computer, unexpected and complex results will be generated, which go beyond the intellect of designers. Thus, this great shift from drawing to algorithm in architecture broaden the potential for the exploration of more complex and responsive architectural forms and structures in the future. Nevertheless, the use of generation approach in parametric design also has some other constrains. In parametric design, each part and its dimensions are defined by parameters. Theses parts are not isolated but inter-related with each other. Therefore, if designers just want to change a single dimension within a part and keep others fixed, it will be very difficult. In the other word, its strength of creating highly complex object also makes it lose the capabilities of keeping something simple.
1.Van Pelt and John Vredenburgh, A Discussion of Composition, Especially as Applied to Architecture (New York: Macmillan, 1902). 2.Brady Peters,‘Computation Works: The Building of Algorithmic Thought’, Architectural Design Journal, 2,83 (2013), pp. 08-15. 3. Wilson, Robert A. and Frank C. Keil, eds, ‘Definition of ‘Algorithm’’, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999), pp. 11- 12.
PART A. CONCEPTUALISATION
Fig.12.Growth Algorithm Natural alike growing pattern with simple set of parameter. Randomness is generated with underline ordered rule.
PART A. CONCEPTUALISATION
Fig.13: Hera details (Top - bottom)
PERFORMATIVE DESIGN Performative design is based on formation process driven by analytical techniques that can directly modify the geometric model.4 Different from traditional definition where performance was treated as an evaluation process. In the case computational design, the idea of performance was defined as a shaping force for the generation of complex geometries.
4.Rivka Oxman, ‘Performative design: a performance-based model of digital architectural design’, Environment and Planning B: Planning and Design 2009, 36 (2009), pp. 1026-1037.
PART A. CONCEPTUALISATION
HERA- [APOMECHANES 2009]
Designed and Built by Tania Branquinho Portugal | Eleftheria Xanthouli Greece Apo Mechanes [2009] : Ezio Blasetti, Dave Pigram, Roland Snooks, Ioulietta Zindrou BIOS Athens centre for today’s art and cross media, Athens | Greece
Apomachine is an intensive computational architecture studio clearly reflect the logic of performative design. The projects from the studio proves the idea of emergence by following simple algorithm rules. Hera is one of the installation from the studio in 2009. This installation is a result of following basic recursive script. In the script, a series of different aggregation configurations was generated by allowing for internal alterations to the natural proliferation of a component. Also the insertion of external attractors which could override the original rule set and instigate the propagation of the component as a morphological reaction.5 The components and their connections are carefully designed based on the performative requirements rather than predetermined reference. This allows performance feedback at various stages, which creates more opportunities for the exploration of new design options
process, which minimise the materials waste commonly happened in the current built industry. For instants, the nesting of Hera’s components during fabrication optimizes material using nesting techniques by leaving minimum leftover. Only three (50cmx100cm) boxes are used for packing the 320cm x 190cm model.
Performance-based-design model requires integrated performance-based generation during the experimental and developmental process.7 This means that analytical techniques are emphasize to inform generative process, rather than testing the performance of a given design. In this example, various influenced factors (such as internal and external attractions) and their relations were analyzed in the process of recursive script writting. The script was act as performative stimulation, which drives the geometry into a certain level of complexity and diversity. Finally, the distinctive advantage of the performative design is the effective distribution of materials during the fabrication Fig.14: Hera (2009) Plywood: 320cm x 190cm 116 connection pieces 59 components 75cm x 60 cm (118 pieces) 5. ‘Hera’, Apomechanes, (2009), <http://studio.apomechanes.com/filter/apomechanes-2009#Hera> [accessed 26 March 2014]. 6. Peters, ‘Computation Works-The Building of Algorithm Thought,’ pp.14 7. Kolarevic and Malkawi Eds, Performative Architecture: Beyond Instrumentality (London: Spon Press, 2005).
PART A. CONCEPTUALISATION
Fig.15. Subdivided Column Fabricated Details
PART A. CONCEPTUALISATION
FABRICATION
"Given the processes digital nature, computational models that facilitate intuitive design, efficient representation, fast simulation, and visualization of physically realizable objects play a central role in modern fabrication."8 -Bernd Bickel & Marc Alexa (2013)
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PART A. CONCEPTUALISATION
SUBDIVIDED COLUMN-[A New Order] Michael Hansmeyer (2010)
Subdivision is a principle borrowed from natural process like splitting of cell and the growing of tree branches. This simple underline logic from nature is the key for generating complex orders and geometries. Hansmeyer inspired from the natural principle, experimented with traditional Doric Columns and raised it into a new level of complexity. Fabrication techniques give physical form to virtual model. However, in order to make the digital model fabricatable, one crucial aspect is to give controllable appearance characteristic to the digital model. The final form of the subdivided column has a great complexity, which seems extremely difficult to be fabricated. This requires the 6 million faces of the models individually intersected with a plane to text self-intersection, then a polygon-in-polygons test deletes interior polygons followed by the last step of an interior offset to lighten object’s weight. 9 Hence parametric design makes
Fig. 17, Column sections
Subdivided fabrication
computer understood the properties of the digital model through the analysis of the parametric data and its processing rules, which broaden the possibilities for producing more unconceivable
PART A. CONCEPTUALISATION Fig.16: Subdivided Column Exhibition (2010)
geometries in the real world. The computational aspect of fabrication is interdisciplinary, as it encompassing material science, mechanical engineering,
geometry processing, human-computer interaction, and perceptions In this case, 1mm sheeting, individually cut using laser cutter, was selected for the full-scaled (2.7m) fabrication. Layering method was applied by stacking and holding together by poles that run through a common core.11 The choice of the sheeting materials is due to its economical values, cutting efficiency, thin material thickness for creating detailed individual plate as well as
lightness. From its mechanical aspect, its offset interiors have been hollowed out with supported frame in the middle for the purpose of keeping light and stable (Fig. 17). Therefore, the understanding of computation techniques in relation to the real materials and construction is the key for fabrication design.
8. Bernd Brickel and Marc Alexa, ‘Computational Aspects of Fabrication: Modeling, Designing and 3D Printing’, IEEE Computer Graphics,6,33 (2013), 24-25. 9. ‘Subdivided Columns-Design’, Michael Hansmeyer Computational Architecutre, (2010), <http://www.michael-hansmeyer.com/projects/columns_info2. html?screenSize=1&color=0> [accessed 26 March 2014]. 10. Brickel & Alexa, ‘Computational Aspect’, 24.
PART A. CONCEPTUALISATION
A.4 CONCLUSION Design plays a key role for redirecting the human actions away from defuturing activities. In the exploration of future architecture, the new emerged computational design stimulates the possibilities of generating more complex orders, forms and structures processed by the algorithmic logics. This technique shifts the way of design thinking from the traditional form-design to process/logic design, which is parametric design. Through the designing of process rather than form itself, a deeper understanding of the design performance could be achieved. A diversity of complex forms can also be generated beyond designersâ&#x20AC;&#x2122; intellect through the modification of parameters. My intended design approach is to explore the underlined natural principles as an inspiration to build up my own algorithm. As natures is the greatest designer, which creates infinite complex forms under its own set of rules. The LAGI design proposal is about creating a public sculpture, which can generate energy. This requires extensive interdisciplinary research across the fields to understand the opportunities and constrains of during the computational design process. Both aesthetical and functional requirements are the goals to achieve from the design of the sculpture.
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PART A. CONCEPTUALISATION
A.5 LEARNING OUTCOME From the readings and precedents analysis about computational design. I had a greater understanding of the reasons and benefits of using digital design in architecture. Parametric design needs to set input data, performative requirements and finding problems as well as solutions during the designing process, which is totally different from the traditional design approach. After first encountering Grasshopper, I realized how rigourous the algorithmic logic to generate a certain outcome. It is important to understand the properties and features of the function menu within GH, in order to connect them in a logical manner. Therefore, what I need to improve from my past is to research and understand the tools within grasshopper , learn and inspire from the existing definition to experiment my own definitions. Precedents, such as Roland Snooks studio and Supermanoeuvre, are useful sources to get inspiration.
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PART A. CONCEPTUALISATION
A.6 APPENDIX- ALGORITHMIC SKETCHES
Morph box tesing, but the 3D mesh failed to panel on surface 3 dimensionally, it only shows 2d patterns
PART A. CONCEPTUALISATION
Further develope traditional Gridshell structure via piping and cull patterns, which results dynamic strcutural shapes
Bibliography
PART A. CONCEPTUALISATION
Text
‘Abu Dhabi Performing Arts Centre’, Zaha Hadid Architects, (2007), < http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/#> [accessed 21 March 2014]. Brickel, Bernd and Alexa, Marc,. ‘Computational Aspects of Fabrication: Modeling, Designing and 3D Printing’, IEEE Computer Graphics,6no.,33vols., (IEEE Computer Society: 2013), 24-25. Cuny,J., Snyder, L., and Wing, J.M., ‘Demystifying Computational Thinking for Non-Computer Scientists,’ work in progress, 2010. Fry, Tony., Design Futuring: Sustainability, Ethics adn New Practice (Oxford: Berg, 2008), PP. 1-16. Hernandez,D, ‘Harbin Culture Centre / MAD Architects’, ArchDaily, (2013), <http://www.archdaily.com/430314/harbin-cultural-center-mad-architects/5238c6d 7e8e44e24570001e5_harbin-cultural-center-mad-architects/> [assesed 20 March 2014]. ‘Hera’, Apomechanes, (2009), <http://studio.apomechanes.com/filter/apomechanes-2009#Hera> [accessed 26 March 2014]. Lawson, Bryan (1999). ‘Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press), pp. 174-179. Kolarevic and Malkawi Eds, Performative Architecture: Beyond Instrumentality (London: Spon Press, 2005). ‘Masdar City Centre’, LAVA, (2008), <http://www.l-a-v-a.net/projects/masdar-city-centre/>[assessed 20 March 2014]. Meinhold, Bridgette., ‘LAVA’s Winning Design for Masdar’s City Centre’, (2009),<http://inhabitat.com/lavas-winning-design-for-masdars-city-center/> [accessed 20 March 2014]. Oxman, Rivka and Oxman, Robert., eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10. Oxman, Rivka, ‘Performative design: a performance-based model of digital architectural design’, Environment and Planning B: Planning and Design 2009, 36vols, (Ireland: Pion Ltd and its Licensors, 2009), pp. 1026-1037. Pelt, Van., and Vredenburgh, John., A Discussion of Composition, Especially as Applied to Architecture (New York: Macmillan, 1902). . Peters, Brady., ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2 no., 83 vols, (Chichester: John Wiley & Sons, 2013), pp. 08-15. Robert, A., and Frank C.K., eds, ‘Definition of ‘Algorithm’ in Wilson’, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999), pp. 11-12. ‘Studio Roland Snooks’, Nation Gallery of Victoria, (2014),<http://www.ngv.vic.gov.au/melbournenow/artists/studio-roland-snooks> [accessed 21 March 2014]. ‘Subdivided Columns-Design’, Michael Hansmeyer Computational Architecutre, (2010), <http://www.michael-hansmeyer.com/projects/columns_info2. html?screenSize=1&color=0> [accessed 26 March 2014]. Terzidis, Kostas., Algorithm Architecture (Oxford: Architectural Press, 2006),pXI.
PART A. CONCEPTUALISATION
Image Fig.1:Harbin Culture Centre Ariel View, Rechieved from http://www.archdaily.com/430314/harbin-cultural-center-mad-architects/5238c6d7e8e44e24570001e5_ harbin-cultural-center-mad-architects/, 20 March2014. Fig.2:External Metal Cladding, Rechieved from http://www.archdaily.com/430314/harbin-cultural-center-mad-architects/5238c6d7e8e44e24570001e5_harbincultural-center-mad-architects/, 20 March2014. Fig.3: Steel; Frame Structure, Rechieved from http://www.archdaily.com/430314/harbin-cultural-center-mad-architects/5238c6d7e8e44e24570001e5_harbincultural-center-mad-architects/, 20 March2014. Fig.4:Masdar’s City Centre Ariel View, Retrieved from http://www.l-a-v-a.net/projects/masdar-city-centre/, 21 March 2014. Fig.5: solar-powered sunflower umbrella, Retrieved from http://www.l-a-v-a.net/projects/masdar-city-centre/, 21 March 2014. Fig.6: Masdar’s City Centre Energy Flow Diagram, Retrieved from http://www.l-a-v-a.net/projects/masdar-city-centre/, 21 March 2014. Fig.7: Abu Dhabi Performing Arts Centre [Plan], Retrived from http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/#, 22 March 2014. Fig.8: Abu Dhabi Performing Arts Centre, Retrived from http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/#, 22 March 2014. Fig.9: SLFoundation individual foam block, Retrieved from http://www.rolandsnooks.com/, 25 March 2014. Fig.10: SLFoundation foam blocks, Retrieved from http://www.rolandsnooks.com/, 25 March 2014. Fig.11: SLFoundation Rendering, Retrieved from http://www.rolandsnooks.com/, 25 March 2014. Fig.12.Growth Algorithm, Retrieved from http://crtl-i.com/blog/category/research/page/2/, 27 March 2014. Fig.13: Hera details (Top – bottom), Retrieved from http://studio.apomechanes.com/filter/apomechanes-2009#Hera, 27 March 2014. Fig.14: Hera (2009), Retrieved from http://www.suckerpunchdaily.com/2010/05/19/apomechanes-2009/, 27 March 2014. Fig.15. Subdivided Column Fabricated Details, Retrieved from http://www.michael-hansmeyer.com/, 27 March 2014. Fig.16: Subdivided Column Exhibition (2010 , Retrieved from http://www.michael-hansmeyer.com/, 27 March 2014. Fig. 17, Subdivided Column fabrication sections, Retrieved from http://www.michael-hansmeyer.com/, 27 March 2014.
PART B
CRITERIA DESIGN
PART B. CRITERIA DESIGN
PARAMETRIC CHALLENGE “Post modernism and deconstructivism were mere transitional episodes” and paramatricism will be “the great new style after modernism” -Schumacher 2010, 431 It is time to use parametric design as a tool for searching innovative forms and opportunities for contemporary architectures. In the part B section, we started from the research field of “strips and folding”. By analysing the underline logic behind the relevant case studies, we are able to understand how to establish parametric “relationships” to generate design in responding to the LAGI brief.
1. Schumacher, Patrik. 2010. “ The Parametricist Epoch: Let the Style War Begin, “ Architects’s Journal 231 (16): 41-45. http://www.architectsjournal.co.uk/2011stirling-prize/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article.
PART B. CRITERIA DESIGN
B.1 RESEARCH FIELD Strips & Folding
Folding is a new and playful technique of designing used in contemporary architectures, which offers free rein to spontaneity and surprise during the design process.2 What is innovative about the system is its capability to balance the properties of both flexibility and stability through folding, bending and creasing materials without the secondary structural support. The underlined logic behind the folding system has also been explained by Chuck Hoberman in his “Unfolding Architecture” : Unfolding architecture is “an object that is identically a structure and a mechanism. Underlying these unities of structure/mechanism and fluidity/strength are unique mathematical principles. The elegance and economy exhibited by unfolding architecture derive from this mathematical and geometric basis. The basis of each folding structural system is embodied in a minimum number of representative connected parts... Unfolding structures are made up of simple part with simple connection between them.”3. Hence, the technique of folding has a strong basis of mathematical functions as well as geometry performance. In this section, parametric design will be an appropriate tool to exploit the potential of folding techniques.
2.Andre M. James, Deployable Architecture (Atlanta, Georgia Institure of Technology, 2008), p1. 3. Chuck Hoberman, “Unfolding Architecture”, in Architectural Design (2004), p3.
PART B. CRITERIA DESIGN
Kinetic architecture
Metamorphosis--shimmer Philips (2010)
Folding technique maximise the flexibility and adaptability of architectures within a certain context. These distinct properties provide a self-modifying quality to the architecture in responding to its surroundings. This quality makes folding technique extremely well integrated with kinetic energy generated by users and natural environment. The precedent of the Shimmer project, designed by Philips, clearly illustrates a folded space facilitated by movement of human and natural features. Shimmer is composed of numbers of strips based on flexible elements that emit natural light and channel air. They can transform the interior characteristics of a space in response to people and the atmospheric conditions outside.4 Thus there is no fixed form for this project. The forms generated in the space is unpredictable and constantly change under various environmental conditions. The integration of folding technique and
kinetic energy create a continuos and intimate communication between the architectural forms and surroundings. The transformative space created by the changeable forms will not only strongly interact with the visitors, but also raised up their awareness to nature through the autonomous response to atmospheric conditions. Hence, the folding system
Fig. 1: Shimmer by Philips
can provide both visual pleasant and sensory stimulation to the human beings.
4. ‘Metamorphosis: Shimmer Concept’, Philips (2010), <http://www.design.philips.com/sites/philipsdesign/about/design/designportfolio/design_futures/design_ probes/projects/metamorphosis.page >[accessed 30 April 2014].
PART B. CRITERIA DESIGN
Fig. 2: The Yokohama International Port Terminal
The Yokohama International Port Terminal Yokohama, Japan. Foreign Office Architects (2007)
PART B. CRITERIA DESIGN
Structural Innovation Folding technique has also been used for the exploration of morphogenetic and structural opportunities in architecture. As mentioned before in Horberman’s “Unfolding Architecture”, objects created via this technique is identically a structure and a mechanism. This logic has been applied to the design of The Yokohama International Port Terminal in 2007. Inside the terminal hall, the folded surface above has the function of accommodating a large interior span as well as reconciliating the seismic forces generally occurred in Japan. The underlined logic behind this is the static architectural element produced by the connection of the triangular faceted surfaces, which distribute the structural loads diagonally towards the ground.5
Fig. 3: The Yokohama International Port Terminal Roof Plan
This implementation of folding technique into the real world construction reflects again its environmental responsive properties. Additionally, its folded surface pattern is also not merely an ornamentation, but for the purpose of being functional, flexible and stable through the careful analysis of the structural loading paths.
Spacial continuity Folding can provide a space with both variation and continuity. In the application of architecture design, it direct and facilitate the circulation of users naturally and fluidly. The design strategy of the Yakohama project opening up the public space through the facilitation of circulation. From a macro scale, the entire built project was articulated through the a folded organization responding =to the site topography, which provides continuity between internal and external as well as within different levels of buildings.
Fig. 4: The Yokohama International Port Terminal Timber Deck
5. Andre M. James, Deployable Architecture, 10.
PART B. CRITERIA DESIGN
RESEARCH for INNOVATION CONCLUSION & CONNECTION TO LAGI BRIEF
Distinct Features
Flexible
Adaptive STRIPS & FOLDING
Unpredictable
Environmental Responsive
P
PART B. CRITERIA DESIGN
Parametric Design as a Tool
LAGI (Public Sculpture)
Form generated from emergence
Increase visitors’ sustainable awareness through playful and attractive architectural forms
Performance driven geometry
Strong part and whole connections
Strong basis of mathematical principles
Intimate interaction with visitors and natural environments
Possible integrated Renewable Energy: Kinetic Wind
PART B. CRITERIA DESIGN
B.2 CASE STUDY 1 Seroussi Pavillion Designer: Biothing (2007) Location: Paris
Magnetic Field Behaviour (EMF): As the EMF behavior has an underlying logic to order complex spatial organization. The application of EMF in parametric design can be stand alone as a generative device in computational graphic and architectural design, which provide a high potential to explore diverse flexible forms.
Major Design Strategy: The vector patterns of Seroussi Pavillion was generated through electro-maganetic field(EMF). The initial computations were done in plan then lifted up via micro arching sections through the frequencies of sine function. The implication of EMF behaviour created a dynamic plan for the pavilion different from the traditional static architectural plan, which allows local adaptation to the local site. As described by the Biothing:
Fig.5: Seroussi Pavillion & its magnetic field plan
“it is a dynamic blueprint closer to musical notation _ deep ecology of imbedded algorithmic and parametric relationships are the seed for possible materialization procedures and adaptation to the site conditions.”6
6. ‘Seroussi Pavillion’, Biothing (2007), http://www.biothing.org/?cat=5[accessed 30 April].
PART B. CRITERIA DESIGN
REVERSE ENGINEERING IN GRASSHOPPER
1) Curve
2) Divide Curve
3) Charge divided points with positive point charges (as electric poles)
4) Create field line according to point charges
BASIC CONCEPT OF EMF Magnetric field has both north and south poles, where it constructs the point of repulse (N) and the point of attract
Point Repellor (+)
N
S
Point Attractor (-)
PART B. CRITERIA DESIGN
SPIECES & ITERATIONS
#1.1 CRV DIVIDE: 2 RADIUS: 0.05 CIR DIVIDE:10 FLINE STEPS: 200
#1.2 CRV DIVIDE: 3 RADIUS: 0.5 CIR DIVIDE:50 FLINE STEPS: 150
#1.3 CRV DIVIDE: 3 RADIUS: 0.5 CIR DIVIDE:26 FLINE STEPS: 80
#1.4 CRV DIVIDE: 1 RADIUS: 0.5 CIR DIVIDE:25 FLINE STEPS: 350
#1.5 CRV DIVIDE: 2 RADIUS: 0.5 CIR DIVIDE:30 FLINE STEPS: 200
#1.6 CRV DIVIDE: 10 RADIUS: 0.2 CIR DIVIDE:30 FLINE STEPS: 40
PART B. CRITERIA DESIGN
#2.1 F-SPIN:every charge STRENGTH: 2 RADIUS:2 DECAY: 2
#2.3 F-SPIN:every charge STRENGTH: 5 RADIUS:4 DECAY: 1
#2.5 F-SPIN:centre pt STRENGTH: 6 RADIUS:2 DECAY: 0.4
#2.2 F-SPIN:every charge STRENGTH: 2 RADIUS:3 DECAY: 2
#2.4 F-SPIN:centre pt STRENGTH: 9 RADIUS:2 DECAY: 1
#2.6 F-SPIN: centre pt STRENGTH: 10 RADIUS:8 DECAY: o.8
PART B. CRITERIA DESIGN
#3.1 Repellor:3 ATTRACTOR:0 CHR(+):1.0 CHR(-): 1.0
#3.3 Repellor:3 ATTRACTOR:2 CHR(+):0.1 CHR(-): 1.0
#3.5 Repellor:3 ATTRACTOR:2 CHR(+):0.6 CHR(-): 0.6
#3.2 Repellor:3 ATTRACTOR:1 CHR(+):0.1 CHR(-): 1.0
#3.4 Repellor:3 ATTRACTOR:2 CHR(+):0.1 CHR(-): 1.0
#3.6 Repellor:3 ATTRACTOR:2 CHR(+):0.27 CHR(+)DECAY:1.42 CHR(-): 0.8 CHR(-)DECAY:0.97 RADIUS:8
PART B. CRITERIA DESIGN
#4.1 F-SPIN:centre STRENGTH: 5 RADIUS: 3
#4.3 F-SPIN:centre STRENGTH: 32 RADIUS: 4
#4.5 F-SPIN:2 attractors STRENGTH: 14 RADIUS: 2.5
#4.2 F-SPIN:centre STRENGTH: 10 RADIUS: 3
#4.4 F-SPIN:centre STRENGTH: 7.5 RADIUS: 2.4
#4.6 F-SPIN:2 every charge STRENGTH: 10 RADIUS: 1.2
PART B. CRITERIA DESIGN
#5.1 GEOMETRY INPUT: circle GRAPH TYPE: conic
#5.3 GEOMETRY INPUT: circle GRAPH TYPE: power
#5.5 GEOMETRY INPUT: circle GRAPH TYPE: gaussian
#5.2 GEOMETRY INPUT: circle GRAPH TYPE: square root
#5.4 GEOMETRY INPUT: circle GRAPH TYPE: parabola
#5.7 GEOMETRY INPUT: circle GRAPH TYPE: sine
PART B. CRITERIA DESIGN
#6.3 GRAPH TYPE: conic F-SPIN: every charge STRENGTH: 30 RADIUS: 1.2
#6.4 GRAPH TYPE: conic F-SPIN: every charge STRENGTH: 30 RADIUS: 1.2
#6.3 GRAPH TYPE: bezier F-SPIN: every charge STRENGTH: 8 RADIUS: 2.1 ATTRACTOR: centre
#6.4 GRAPH TYPE: parabola F-SPIN: every charge STRENGTH: 8 RADIUS: 2.1 ATTRACTOR: centre
#6.5 GRAPH TYPE: parabola F-SPIN: every charge STRENGTH: 30 RADIUS: 1.2 ATTRACTOR: centre
#6.6 GRAPH TYPE: parabola F-SPIN: every charge STRENGTH: 30 RADIUS: 1 ATTRACTOR: centre (NEW CIRCLE IN THE CENTRE WITH DIVIDED CRV PT)
PART B. CRITERIA DESIGN
Parametric design provides us infinite possibilities to generate different forms. By breaking down, modification and experimentation of the existing Grasshopper definition of the Seroussi Pavilion, 6 species of forms were generated for the purpose of exploring the potential of multiple 2D and 3D spatial arrangement. The parametric techniques applied here include the change of existing parameters , alteration of input geometry and incorporation of additional definitions.
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1
2
Alteration of existing parameters Purpose: Understanding the original logics behind the definition.
2D Spin force experiment (through adjustment of strength, radius and decay) Purpose: Exploring dynamic flow and 2D spatial arrangement of magnetic field.
3 dime point Purpo relation of att
PART B. CRITERIA DESIGN
3
ensional corporation of t attractor and repellor ose: Exploring the spatial nship under the reactions traction and repulsion.
4
5
6
3D Spin force experiment (with additional pt attractors) Purpose: A synthesis of the previous experiments, which aims to explore a more innovative spacial arrangement defined by the comprehensive logic of magnetic field .
Mathematical Influence 1 (Graph Mapper +Spin Force) Purpose: Adjust of curvature of the field line in a dynamic and logical way.
Mathematical Influence 2 (Graph Mapper +Spin Force + Point Attractor) Purpose: With the addition of point attractor to the previous iteration, twisting and weaving effects are created to form a more complicated and spectacular geometry.
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PART B. CRITERIA DESIGN
SELECTION CRITERIA & SUCCESSFUL OUTCOMES #2.3
The four selected outcomes are defined as the most evolved and successful iterations from the previous experiments. They provide us great opportunities for further exploration and research. Selection Criteria: Aesthetics - Visual Effect Potential for Further Exploration Fabrication Possibilities Relevance to Brief -Potential to inhabit sustainable energy material -Function as interactive space to create awareness among visitors
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#3.6
PART B. CRITERIA DESIGN
#4.4
#6.6
PART B. CRITERIA DESIGN
B.3 REVERSE ENGINEERING
Fig. 6: Bird’s Nest Structure
BIRD’S NEST Design Teams: Pritzker Prizewinning architects Herzog & de Meuron collaborated with Chinese artist Ai Weiwei. In this chapter, the Bird’s Nest was chosen as the case study for the exploration of structural possibilities. By understanding the structural systems behind the Bird’s Nest, we are able to apply the logic to Grasshopper to reverse engineering using parametric design.
PART B. CRITERIA DESIGN
The Bird’s Nest National Stadium in Beijing is designed with the incorporation of Chinese Art and Culture for 2008 Olympic games in China. The stadium has two independent structures, a red concrete seating bowl and the outer steel frame around it. The design intent of the team was to make a balance between providing every spectator a good view under different events, creating a good atmosphere and designing an elegant building. 7 In order to achieve the design intent in a big scale, complex calculation, data analysis and measurement are required for the structural design. Hence, parametric design was the most appropriate and efficient tool to work out the sightlines, the bowl geometry, airflow to keep the grass in good condition, seismic studies and the design of the external envelope. The structural design was designed to be consisted of primary, secondary and tertiary steel members acting effectively and harmoniously around the facade and roof (as shown in Fig.7).
The primary steels was regularly layout by 24 columns (about 13 degree inclined outwards) forming the main ellipse shape of the building. They are tied up by diagonal crisscross steel elements and raise up to the horizontal spanned roof trusses. The combination of Columns and trusses form a series of interlocking portal frames, which effectively distributing load to the foundation.8 The secondary and tertiary steel members are randomly arranged to braced and supported the roof cladding. They also act as important roles to resist seismic load. Through the analysis of the Bird’s Nest structure, it is known that its structural randomness has actually followed the construction rules effectively to allow for large spanned space and seimetic resistance. Its structural integrity and continuity are also maintained through its wrapped steel members. In addition, the random lattice pattern by the structure also provide users a spectacular view by framing from inside out.
Fig. 7: A model of Bird’s Nest by M/s Arup showing the primary load carrying elements and the secondary and tertiary members.
7. ‘Beijing National Stadium’, Design Build Net work, < http://www.designbuild-network.com/projects/national_stadium/ >, [accessed 1 May 2014] 8. Dr. N. Subramanian, ‘Olympic Structure of China’, NBM & CW (2008).
PART B. CRITERIA DESIGN
REVERSE ENGINEERING IN GRASSHOPPER 1
2
3
3 Ellipse curves
Curvature adjustment
Loft adjusted curves to surface
4
5
6
Divide surface along v direction to form the basis of interpolate curve. Then shift
Reverse shifted curves
Combination of two sets of shifted curves
8
9
10
Dispatch randomly reduced curves
Project curve onto surface (surface as the membrane of structure)
bake brep
curves along u direction
PART B. CRITERIA DESIGN
BOWL GEOMETRY
7
VERTICAL STRUCTURE Randomly reduce curves
HORIZONTAL STRUCTURE
INCORPORATION OF MEMBRANE
PART B. CRITERIA DESIGN
B.4 TECHNIQUE: DEVELOPMENTS
According to the LAGI brief of creating an artful energy generated sculpture, generating an innovative structure with both functional and aesthetic characteristics is vital important. Therefore, we decided to focus on the Structure Research Field for further technique development. The parametric definition of the Bird’s Nest will be used as a starting point for the development, as through the reverse engineering process of the project, we have already gained the understanding of its structural logic. More importantly, its random lattice structure system not only forms a rigid 3D truss system, but also extremely aesthetic pleasing, which will direct us to a new level of technical innovation.
PART B. CRITERIA DESIGN
SPECIES & ITERATIONS
1
2
3
Alteration of Bird’s Nest’s parameters through shifting points and reducing curves randomly to create different structural intensity and dynamicity.
Structural exploration based on the Bird’s Nest. Introducing “weaverbird” as a new plug in to excavating the potential of structural possibilities. Through the alternation of mesh surface using Wbframe, dynamic structural forms with great complexity and creativity are generated.
An extrapolate of the second specie.
4
5
Continuos exploring An extrapolate of the “weaverbird” and fourth specie. introducing Wbwindow. Different variations and aesthetics are produced. Additionally, the specie also assist us in the consideration of materiality.
PART B. CRITERIA DESIGN
#1.1 STEP: 1 REDUCTION: 0 SEED:0
#1.2 STEP: 1 REDUCTION: 35 SEED:31
#1.3 STEP: 4 REDUCTION: 5 SEED:3
#1.4 STEP: 4 REDUCTION: 45 SEED:23
#1.5 STEP: 6 REDUCTION: 23 SEED:12
#1.6 STEP: 6 REDUCTION: 45 SEED: 40
PART B. CRITERIA DESIGN
#2.1 WBLOOP WBFRAME WBTHICKEN
#2.2 WBCATMULLCLARK WBFRAME WBTHICKEN
#2.3 WBSIERPINSKI WBFRAME WBTHICKEN
#2.4 WBTRIANGLE WBFRAME WBTHICKEN
#2.5 WBSPLITPOLYGON WBFRAME WBTHICKEN
#2.6 WBMIDEDGE WBFRAME WBTHICKEN
PART B. CRITERIA DESIGN
#3.1 WBLOOP WBFRAME WBBEVELEDGE
#3.2 WBCATMULLCLARK WBFRAME WBBEVELEDGE
#3.3 WBSEIRPRINSKI WBFRAME WBBEVELEDGE
#3.4 WBTRIANGLE WBFRAME WBBEVELEDGE
#3.5 WBINNERPOLYGON WBFRAME WBBEVELEDGE
#3.6 WBMIDEDGE WBFRAME WBBEVELEDGE
PART B. CRITERIA DESIGN
#4.1 WBCATMULLCLARK WBWINDOW
#4.2 WBSIERPINSKI WBWINDOW
#4.3 WBTRIANGLE WBWINDOW
#4.4 WBSPLIPOLYGON WBWINDOW
#4.5 WBMIDEDGE WBWINDOW
#4.6 WBINNERPOLYGON WBWINDOW
PART B. CRITERIA DESIGN
#5.1 WBLOOP WBSTELLATE WBWINDOW
#5.2 WBCATMULLCLARK WBSTELLATE WBWINDOW
#5.3 WBSIERPINSKI WBSTELLATE WBWINDOW
#5.4 WBTRIANGLE WBSTELLATE WBWINDOW
#5.5 WBINNERPOLYGON WBSTELLATE WBWINDOW
#5.6 WBMIDEDGE WBSTELLATE WBWINDOW
PART B. CRITERIA DESIGN
An in depth exploration of structural forms, details and its complexity will be illustrated in the sixth, seventh and eighth species. These experiments have a strong knowledge based on the previous technical development. “Weaverbird” has be continuously applied as key tool for the form generation.
6
Structural detail exploration based on the original Bird’s Nest form.
7
8
Dynamic structural form modification. More playful forms are generated.
PART B. CRITERIA DESIGN
#6.1 WBLOOP WBFRAME WBTHICKEN
#6.1 WBCATMULLCLARK WBFRAME WBTHICKEN
#6.3 WBSIERPINSKI WBFRAME WBTHICKEN
#6.4 WBTRIANGLE WBFRAME WBTHICKEN
#6.5 WBINNERPOLYGON WBFRAME WBTHICKEN
#6.6 WBMIDEDGE WBFRAME WBTHICKEN
PART B. CRITERIA DESIGN
#7.1 WBCATMULLCLARK WBOFFSET WBTHICKEN
#7.2 WBSIERPINSKI WBOFFSET WBTHICKEN
#7.3 WBTRIANGLE WBOFFSET WBTHICKEN
#7.4 WBSPLITPOLYGON WBOFFSET WBTHICKEN
#7.5 WBINNERPOLYGON WBOFFSET WBTHICKEN
#7.6 WBINNERPOLYGON WBOFFSET WBTHICKEN
PART B. CRITERIA DESIGN
#8.1 WBLOOP WBEVELEDGE WBTELLATE
#8.2 WBCATMULLCLARK WBEVELEDGE WBTELLATE
#8.3 WBSIERPINSKI WBEVELEDGE WBTELLATE
#8.4 WBTRIANGLE WBEVELEDGE WBTELLATE
#8.5 WBINNERPOLYGON WBEVELEDGE WBTELLATE
#8.6 WBMIDEDGE WBEVELEDGE WBTELLATE
PART B. CRITERIA DESIGN
SELECTION CRITERIA & OUTCOMES
Kalay’s “Search” process assists us to select our successful outcomes, which involving producing candidate solutions for further consideration, then choosing the “right” solution from the candidate solution for further consideration and development.1 This detailed methods of “search” are listed below, which are common for design problem solving:
Selection Criteria: Aesthetics - Visual Effect Potential for Further Exploration Fabrication Possibilities Relevance to Brief -Potential to inhabit sustainable energy material -Function as interactive space to create awareness among visitor
1) Depth (first) 2) Breath (first) 3) Best (first) Our technical development process is hard to categorized as one single method. We started with generating multiple series of solutions in depths, then select the best ones from each series according to the selection criteria.
Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25.
PART B. CRITERIA DESIGN
2
5
+ Two sets of previous iterations were selected and combined to for more innovative inventions. The ninth and tenth specie are created based on the previous iterations with a further consideration of structural stability, spacial variety, materiality and visual aesthetic. From this stage, the development of technique expresses a stronger connection to the real architectural construction.
1
2
+
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PART B. CRITERIA DESIGN
9
WbWindow + WbFrame Dynamic visual aesthetic & Materiality
10
Custimization of WbFrame Substructure exploration & Materiality
PART B. CRITERIA DESIGN
#9.1 WBCATMULLCLARK WBSTELLATE WBWINDOW + WBFRAME
#9.2 WBSPLITPOLYGON WBSTELLATE WBWINDOW + WBFRAME
#9.3 WBTRIANGLE WBSTELLATE WBWINDOW + WBFRAME
#9.4 WBSIERPHINSKI WBSTELLATE WBWINDOW + WBFRAME
#9.5 WBCATMULLCLARK WBSTELLATE WBWINDOW + WBFRAME
#9.4 WBLOOP WBSTELLATE WBWINDOW + WBFRAME
PART B. CRITERIA DESIGN
#10.1 WBLOOP WBFRAME WBTHICKEN BIRDNEST FRAME
#10.2 WBCATMULLCLARK WBFRAME WBTHICKEN BIRDNEST FRAME
#10.3 WBSIERPINSKI WBFRAME WBTHICKEN BIRDNEST FRAME
#10.4 WBTRIANGLE WBFRAME WBTHICKEN BIRDNEST FRAME
#10.5 WBINNERPOLYGON WBFRAME WBTHICKEN BIRDNEST FRAME
#10.6 WBMIDEDGE WBFRAME WBTHICKEN BIRDNEST FRAME
PART B. CRITERIA DESIGN
B.5 TECHNIQUE: PROTOTYPE WIND BELT GENERATOR In this section, we are focusing on selecting possible structures for fabrication that meet the design criteria of being aesthetic, functional , energy incorporable and interactive. In order to reflect the LAGI brief, we started from analyzing the possible energy generator, that has the high potential to be incorporated in the overall design.
Wind belt is our selected energy generator to incorporate in the LAGI sculpture design. There are numbers of reasons for us to choose wind belt as the main energy focus: 1) COSTLESS 2) SMALL SCALE & LIGHT 3) FLEXIBLE & EASY CONSTRUCTION 4) EFFICIENT & POWERFUL The theory of the generator through Electromagnetic Induction. Its process of electricity production is illustrated in the diagram below.
WIND
BELT (a tensioned membrane)
ON THE SITE : Copenhagen, Denmark
Flutter motion
MAGNETS
Change in Magnetic Field
The wind belt generator has the potential to be adapted by local, which could be an effective technology for the LAGI sculpture design. The reasons of selecting wind belt as a part of design are listed below: -Wind is an unlimited source. -Denmark has abundant wind power due to its geographic location and climate. The implication of wind power has also been widely promoted by the government.
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PART B. CRITERIA DESIGN
The “Flutter” motion of wind belt
MAGNET STATORS(coils) BELT FRAME
STATOR (coil)
Current flow
ELECTRICITY (AC)
Conversion through rectifier
ELECTRICITY (DC)
- 22% of Denmark’s total electricity consumption is produced by wind turbines, the highest rate in the world.9 However, wind turbines has noise impact and expensive to build. While the wind belt is light and costless. -The average western wind to Copenhagen is over 10 m/s; as wind belt works best at the speed of 7m/s or higher, the technology is feasible in LAGI’s project design.
9. City of Copenhagen, ‘Solutions For Sustainable Cities’ (2012), < www.cphcleantech.com>, [accessed 3 May 2014].
PART B. CRITERIA DESIGN
PROTOTYPE 1: WIND BELT
After understanding the logic behind the wind belt generator, we decide to make a model to test its functionality in the real world. The model is simply assembled by a roll of copper coil, plastic belt and a magnet fixed on the boxboard frame. For the purpose of testing its production of electricity, the coil wires are linked to a LED light. The wind from hair dryer was used as a powered wind to drive the “flutter” motion of the belt. However, the LED light failed to light up under the windy condition after various trials. A few reasons for the failure are concluded below: 1) The magnet is too heavy and consistently presses the belt down to reduce its vibration frequency. 2)The powered wind has not covered the whole length of the belt, hence the wind force was not evenly acting on the belt. 3)Wind speed generated by the hair dryer is too low (less than 7m/s), which caused torsional flutter to the belt 4)The fixtures on both sides of the belt is not strong enough to
Stator (coil): copper Belt: plastic Magnet
hold up the belt horizontally. 5) The belt material is too soft and not taut enough for longitude vibration. This prototype of wind belt is critical and useful for the further incorporation with structures. The joint between the wind belt and structural element is the key to ensure the technique to be functional.
PART B. CRITERIA DESIGN
PROTOTYPE 2: WAFFLE GRID STRUCTURE
The waffle grid structure was made for the purpose of investigating the structure tectonics and wind belt installation. The material used for fabrication is 3mm MDF, laser cut in Fablab. This prototype is used as a representation of the proposed structure in the future. In the structure aspect, the notches connecting each ribs create a great stability to prevent the model from collapsing. In addition, the interlocking joint method is also very efficient, which made the assembly of model effortless. For the consideration of wind belt installation, we create a series of holes on the primary ribs. Hence, the wind belts can be installed longitudinally in parallel to each other to generate more energy. However, there are also numbers of limitations for the waffle grid structure due to its rigid grid patterns. This informs us to explore a more dynamic and playful structure in the future.
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PART B. CRITERIA DESIGN
WIND BELT + WAFFLE GRID STRUCTURE
In order to preview the result of the integration of the wind belt within the structure, we decided to use thread as a representation of wind belt to fill the spaces between each ribs. Under the lighting condition, the resulted shadow effect further enhances the visual aesthetics . However, due to the lack of consideration for the structure orientation, not all wind belts are facing towards the direction of the wind (especially on the top area), which does not optimize the energy generation. This informs us to primarily analyze the wind condition at the site before the form generation.
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PART B. CRITERIA DESIGN
WIND BELT IN DESIGN STRUCTURE
1
1. Two metal clips are nailed onto the structure with the belt fixed in between. However, it is not appropriate for non-flat structural members and might also disturb the overall design aesthetics.
2
2. Nailing blocks on the ribs and fixing the belt in the slot of the block. It has the limitation of adjusting the angle of wind belt according to the wind directions.
The joint between wind belt and structure is critical to ensure the functionality of wind belt generator. We explore 4 different types of possible joint method for the further design implication. 3
3. Drill holes with variable slots around. This allows multiple angled wind belt installation in responding to different wind directions. The joint is integrated as a part of structure, which is good in the aesthetic aspect. However, it might be failed in the functional part, as the belt is not fixed rigidly, which might cause torsional effect under the windy condition. 4
4. Additional adjustable plate are installed in between the metal cleats and block. This provides a great flexibility for the adjustment of the wind belts’ angles. This joint provides both flexibility and stability for the wind belt installation. Thus, we selected this joint as the most successful one out of the others.
PART B. CRITERIA DESIGN
B.6 TECHNIQUE: PROPOSAL DESIGN PROPOSAL This public art installation aims to stimulate visitors to the site through its aesthetic characteristics and create an interactive community space to raise the awareness of sustainable energy. Upon the idea that ‘wind’ is the most dominant natural resource at the site, the organic form of lattice structure was emerged from the wind diagram study. It integrates wind belt technology to create an dynamic environment that stimulate visitors to visualize wind movement and sensing the sound from wind belt, thereby encouraging the awareness of renewable energy. The design aligns with computational approaches for flexible and innovative outcomes where the form was followed by the dominate wind direction to determine the most efficient angle for wind belt installation to optimize the efficiency.
PART B. CRITERIA DESIGN
SITE ANALYSIS Lynetten Wind Farm
2014 Design site
N
Fig. 8: LAGI Design Site in Copenhagen
Site Location: Refshaleøen, a manmade island in Copenhagen’s harbor. It is famous for the shipyard of Burmeister & Wain, which is also an icon of Danish industrial history. Wind analysis: The wind condition at the site is our main focus to generate design. Due to Copenhagen’s coastal climate, its weather changes according to the prevailing wind directions. According to Copenhagen’s wind diagram, the dominant wind comes from sea on the west side with an average speed over 10m/s, which creates an effective condition for the wind belt. Additionally, the Lynetten Wind Farm has already been established to power electricity on the Northern part of the site. This shows the evidence of the practicability of integrating wind energy into the LAGI project design.
Fig. 9: Copenhagen Wind Diagram
PART B. CRITERIA DESIGN
DESIGN GENERATION A Conceptual and technical achievement
Upon the research that wind is the most dominant natural resource at the site, we decide to initiate our design from the study of wind diagram for the purpose of optimize the efficiency of energy generation. Our design generation can be broke down into 4 categories: form, primary structure, secondary structure and aesthetic. The design outcome is the synthesis of previous research and experiments in the areas of form and structure. This series of diagrams clearly illustrate how our design project fulfill the criteria of LAGI Brief through its technical development.
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PART B. CRITERIA DESIGN
1
FORM
2
PRELIMINARY STRUCTURE
3
SECONDARY STRUCTURE
4
AESTHETICS
PART B. CRITERIA DESIGN
1
FORM
Form followed by dominant wind direction to optimize the efficiency of energy generation. Technique used: Creating field lines using point repellor + attractor as an expression of the wind force orientation.
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Interpolate field line. Technique: Divide field lines into points then interpolate curve.
B Tec
Base surface chnique: Loft
PART B. CRITERIA DESIGN
Internal volume
Enlarge internal space to create a more welcomed and interactive spacial volume for the visitors. Technique : Control point adjustment
PART B. CRITERIA DESIGN
2
PRELIMINARY STRUCTURE
Parallel curves Technique: Interpolate curve from the original surface division points
This is where the basic patter of the primary structure generated. It was a combination of four series of shifted curves, which creates a random patterns on a lattice structure. These random patterns enhance the structure’s spacial quality and variation, resulting a more dynamic, playful and attractive design. Technique: Shift surface division points List in different directions, randomly reduce the points, then interpolate curves.
Set w Techn the curv
width to the structure (offset) nique: Offset curve on surface, en loft the original and offset ves together (forms ribbon-like structures).
PART B. CRITERIA DESIGN
Set height to the structure (offset solid). The primary structure was finished at this stage. The space in between each structural ribs are left for the installation of wind belt generator. Technique: Offset lofted surface to solid to form 3D structural members.
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PART B. CRITERIA DESIGN
3
SECONDARY STRUCTURE
Problem Finding
Strong dominant wind is acting on the western side of the structure, which might cause the structure collapse without the secondary structural support.
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The eastern part of the structure holds the strongest compressive stress caused by the wind. In order to maintain the structural rigidity, a secondary structure support will be created as a set of bracing to resist the deflection of the primary structure.
Original l the creati
lofted surface as a guide for ion of secondary structure.
PART B. CRITERIA DESIGN
Trim other part of the surface and leave the eastern part for further structural development.
The resulted secondary structure generated was composed of triangular web-like patterns, which has a strong stability to support the primary structure. The integration of both primary and secondary structure form a stable truss system at the windy site. Techinique: Transform surface to mesh, use “weaverbird picture frame “to generate triangular patterns. The structure thickness was created by “weaverbird mesh thicken”.
PART B. CRITERIA DESIGN
4
AESTHETICS
Incorporation of membrane (ETFE) in between the structure for visual aesthetic. Technique: weaverbird’s mesh window + weaverbird’s mesh thickening.
PART B. CRITERIA DESIGN
MATERIALITY WIND BELT
a taut membrane of mylar-coated taffeta
MEMBRANE ETFE Foil
STRUCTURE Bamboo
PART B. CRITERIA DESIGN
BAMBOO -Fast grown renewable material, 3-5 years for harvested (while timber takes 30-50 years for harvested)10 -Light, flexible, eco-friendly -Hollow inside, which creates a possible space for housing the required transformer (e.g: electric wires) to convert the wind energy into usable electricity. -Could be assembled together via Carbon fiber joint
mylar-coated taffeta -A taut membrane subjected to potential high wind speed -High tensile strength -Light weight & thin -Rigid, which will not disrupt the vibration of the ribbon.
ETFE FOIL -Fluorine based plastic -eco-friendly, 100% recyclable -Unaffected by UV light, atmospheric pollution and other forms of environmental weathering. -Flexible & Durable (life span excess 40 years) -Radiation resistance and high strength, light weight,
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PART B. CRITERIA DESIGN
DESIGN EVALUATION
DESIGN INNOVATION:
1
Form follow function: Form generated from the analysis of wind condition on the site, which has the potential to optimize energy production.
2
Structure innovation: It incorporates the characteristics of visual aesthetic, structure rigidity and spacial variation. Its overall dynamic form will be an attraction on the flat site to draw the visitors’ attentions.
3
Interactive: The sculpture raised up visitors sustainable awareness not only through visual effect, but also sound sensing from the vibrating wind belt.
4
Eco-friendly: Materials applied in the design are all eco-friendly and recyclable.
5
Economical: Both structural materials and wind belt generator are cost efficient.
DESIGN DRAWBACKS:
1
Lack of consideration for other powered wind: The form was generated according to the dominant wind force. However, the wind speed and directions on the coastal site are very changeable and diverse, which are crucial to be considered in the design.
2
The orientation of the wind belt: The wind belts are installed following the shape of the structure, which causes most of the belts not running longitudinally parallel to the wind forces. Therefore, the “flutter” motion of the belt will be disrupted, which reduces the functionality and efficiency for energy generation. Connection details between wind belts and structure have not been carefully considered.
3 4
Some spaces in between the structure members are too wide for wind belt installation: Wind belt works best in a smaller scale. The most effective length is about 1 meter. If the belt span is too long, a torsional effect might happened to disrupt the belt vibration.
5
The ETFE foil membrane is lack of functionality: The incorporated ETFE foil in the secondary structure seems only has the aesthetic effect at the moment. ETFE is a very powerful and effective materials, its could be further incorporated in the structure as a canopy or a place for LED light installation (creating night lighting effect).
PART B. CRITERIA DESIGN
PART B. CRITERIA DESIGN
B.7 LEARNING OBJECTIVES & OUTCOMES Feedbacks: -Consider material connection details in the structure. -Structure needs to be improved for the optimization of energy generation. This requires the consideration and analysis of multiple directional wind. -Further research on the implication of wind technology in the real world in order to ensure the design actually works to generate energy. -Thinking of the fabrication method for this type of structure. As each structural member are nonplanar and twisted along the base geometry, it has a certain difficulty for digital fabrication. The purpose of using computational design as a tool is for the generation of performance driven design. This requires the analysis of various performance criteria that might influence the design decisions. Our design was driven from the analysis of the wind condition on site and structure stability and requirements for wind belts installation. This analytical process of theoretical tasks are crucial, as they are the base for the composing the underlying algorithm logic in Grasshopper. Only by doing the analytical research, the form generated will be a environmental responsive and problems solving. Otherwise, the algorithmic experiment will only be a process of meaningless form exploration. Our experience of parametric design is very experimental and challenging. It creates multiple opportunities for complex form finding, which goes beyond the our own imaginary. From the computational experience, it is known that the resulted random and chaotic forms has an extremely rational and mathematical based logic behind. However, as we produce more and more algorithmic sketch, the whole design process will sometimes moves away from the brief to a pure form-finding experiment. Then we became to develope a technique with no context and not scale. Therefore we have to keep moving away and back to generate a proper design approach especially for the LAGI site. The computational tool is very powerful, but we also need to be careful to avoid being controlled by the tool.
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PART B. CRITERIA DESIGN
B.8 APPEDIX - ALGORITHMIC SKETCHES
VORONOI 3D + GRAPH MAPPER The voronoi algorithmic sketch was created from the purpose of exploring dynamic structural possibilities. The form of voronoi pattern provides a structural stability to the geometry, which informs us to consider the real world construction of our design. Furthermore, with the addition of Graph mapper, the rigid structure will be given the flexible properties, resulted in a playful and artful patterns. This inspired us to consider the visual aesthetic of the overall form and the beauty of materiality and for the design development.
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PART B. CRITERIA DESIGN
WAFFLE GRID STRUCTURE The waffle grid structure was created not straightly by the cluster, but from the very start. This algorithmic sketch really assists us to understand the underlying logic of the potential fabrication technique for the rib structures. This fabrication technique is suitable for curvy forms and efficient for material assemblies.
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PART B. CRITERIA DESIGN
Bibliography Text
Andre M. James, 2008, Deployable Architecture , Atlanta: Georgia Institure of Technology, p1. ‘Beijing National Stadium’, Design Build Net work, < http://www.designbuild-network.com/projects/national_stadium/ >, [accessed 1 May 2014]. City of Copenhagen, 2012, ‘Solutions For Sustainable Cities’, < www.cphcleantech.com>, [accessed 3 May 2014]. Dr. N. Subramanian, ‘Olympic Structure of China’, NBM & CW (2008). Hoberman, C., 2004,“Unfolding Architecture.” Architectural Design:3. ‘Metamorphosis: Shimmer Concept’, Philips (2010), <http://www.design.philips.com/sites/philipsdesign/about/design/ designportfolio/design_futures/design_probes/projects/metamorphosis.page >[accessed 30 April 2014]. Schumacher, Patrik. 2010. “ The Parametricist Epoch: Let the Style War Begin, “ Architects’s Journal 231 (16): 41-45. http://www. architectsjournal.co.uk/2011-stirling-prize/patrik-schumacher-on-parametricism-let-the-stylewars-begin/5217211.article.‘Seroussi Pavillion’, Biothing (2007), http://www.biothing.org/?cat=5[accessed 30 April].
PART B. CRITERIA DESIGN
Image
Fig. 1: Shimmer by Philips, Retrived from, http://www.design.philips.com/sites/philipsdesign/about/design/designportfolio/design_futures/design_probes/projects/ metamorphosis.page , 30 April 2014. Fig. 2: The Yokohama International Port Terminal, Retrived from, http://www.osanbashi.com/en/guide/index.html, 30 April 2014. Fig. 3: The Yokohama International Port Terminal Roof Plan, Retrived from, http://www.osanbashi.com/en/guide/index.html, 30 April 2014. Fig. 4: The Yokohama International Port Terminal Timber Deck, Retrived from, http://japanroundtrip.blogspot.com.au/, 30 April 2014. Fig.5: Seroussi Pavillion & its magnetic field plan, Retrieved from, http://www.biothing.org/?cat=5, 30 April 2014. Fig. 6: Bird’s Nest Structure, Retrieved from http://betterarchitecture.files.wordpress.com/2011/12/dsc03160l2.jpg, 1 May 2014. Fig. 7: A model of Bird’s Nest by M/s Arup showing the primary load carrying elements and the secondary and tertiary members. Retrived from http://betterarchitecture.files.wordpress.com/2011/12/beijing-national-stadium-structure1.jpg, 1 May 2014. Fig. 8: LAGI Design Site in Copenhagen, Retrived from http://www.landartgenerator.org/, 3 May 2014. Fig. 9: Copenhagen Wind Diagram, Retrieved from Danish Meteorological Institure, Technical Report, 99-13.
PART C
DETAILED DESIGN
PART C. DETAILED DESIGN
C.1 DESIGN CONCEPT By reviewing the feedbacks from the intermit presentation, we realized that huge design improvement is required to fullfil the design brief. In order to address the problems incurred, we came up with corresponding solutions for future design development. 1. Design is inefficient for wind energy generation. The erection of only one single sculpture on site is not efficient to capture the largest amount of wind. Instead, the whole site should be taken into consideration. 2. Lack of real data analysis for the proof of design functionality. We intended to generate our form through the real data stimulation. The program of VASARI was chosen as a tool to visually analyze the wind condition of Copenhagen. By using this, more efficient design for wind energy generation could be informed. 3. Shallow application of parametric definition in Grasshopper . It is more important to develope one parametric definition in depth than incorporating various systems at once. Magnetic Field System (as explored in Part B) was chosen as our main computational technique for further form generation. This system provides opportunities to generate structures with great complexity and flexibility. 4. Lack of in depth research in materiality. Avoid random cluster of different materials in design. Search the properties and environmental impacts of one or two major materials. It is also important to consider the material’s advantages and constrains during the design and fabrication process. Materials research is also crucial to assist us turning digital design into reality.
PART C. DETAILED DESIGN
SITE ANALYSIS & FORM FINDING The major focus of our design is generating structure that can optimize wind energy generation using windbelt technology. Based on the wind rose data at Refshaleøen, The VASARI Program provides us a clear visualization of the wind tunnel on site. As shown in the diagrams below, the multiple directional winds with different strengths inform our design decisions in location selection, orientation as well as form generation.
Fig.1: VASARI Wind Tunnel Stimulation (Screen shot from video by Wen Jun Wei)
wind directions:
W
SW
PART C. DETAILED DESIGN
S
SE
SE
PART C. DETAILED DESIGN
SITE ANALYSIS & FORM FINDING
Fig.2: Dominate wind area
N
Fig.3
PART C. DETAILED DESIGN
3: Proposed Design Area
N As a conclusion of the wind tunnel analysis in Fig. 1, it is observed that the most prevalent wind is within the South West region. However, The North East region is rarely affected by the wind due to its surrounding properties and its inner land location. Thus, we decided to build our design within the SW area in order to effectively generate energy without redundant uses of materials.
PART C. DETAILED DESIGN
TECHNIQUE DEVELOPMENT
Axis determine the centre of dominated wind areas, which constructs the logical base for further parametric development.
POINTS (ELEVATION)
1 Set 4 Point Attractors alone the dominated wind axis.
2 Set 12 repellors surround the 4 Pt Attractors.
Compu acco
PART C. DETAILED DESIGN
BASE STRUCTURES
3
ute 2-dimensional Field Lines ording to the planar points.
4
5
Move attractors up above repellors.
Compute 3-dimensional Field lines according to the non-planar points.
PART C. DETAILED DESIGN
TECHNIQUE DEVELOPMENT
By considering the real construction problems, the form has been developed into a dynamic lattice structure, in which the intersecting joint was created by applying spin force with opposite directions.
6
Rotate Field Lines with po Adjust Field Line curvat mapper (parabolic di
OUTER SHELL
INNER SHELL
OUTER S
+
8 Segment outer and inner curves for the convenience for further wind belts computation.
Split joint 2
PART C. DETAILED DESIGN
LATTICE STRUCTURES
=
+
7
ositive spin force. ture via Graph istribution).
Repeat the previous process with negative spin force.
Combination of positive and negative spin force field line creates an intersecting lattice structure.
WIND BELT
SHELL
INNER SHELL
=
9
each curve into segments of 50 lengths; 2 closest points to form windbelt curves.
Combination of outer & inner curves to create a dynamic wind belt configuration.
PART C. DETAILED DESIGN
TECHNIQUE DEVELOPMENT
10
Offset (option: loose) wind XY Plane in both directions; l curves to form wind
belt curves in loft the 2 sets of d belts.
PART C. DETAILED DESIGN
FINAL OUTCOMES
=
+
11 Pipe Field Line curves in radius 0.5
PART C. DETAILED DESIGN
FORM EVALUATION In order to explore the most efficient structure for generating wind energy, we also created alternative forms using similar algorithmic logic. By testing and comparing these two forms in VASARI program, we were able to conclude that the form selected is the most efficient one. Selected Form: -Point Repellor outside (facing to the wind) with Point Attractor inside -Concave field lines are generated faced to the wind Form 2: -Point Attractor outside with Point Repellor inside
Selected Form
Perspective
FORM 2
Wind direction Perspective Point Repellor Point Attractor Site Ground
PART C. DETAILED DESIGN
FORM 1
FORM 2
Bottom
Middle
By evaluating these forms using VASARI, we understood how wind performs differently while passing through the structures. As shown in the wind tunnel diagrams, the Selected Form has a greater capability to capture wind without extensively blocking the wind passage. Additionally, it also receives the largest amount of wind on its top area, where wind speed is much higher than the lower sections. This means that more energy could be stimulated via this structure. However, FORM 2 has its weakness in consistently blocking the wind passage. It was rejected due to its relatively inefficiency in capturing wind.
Top
Fig.4: Form Comparison Screen shot from video by Wen Jun Wei
PART C. DETAILED DESIGN
Fig. 4: Design Ariel View Render by Mengqi Yu
PART C. DETAILED DESIGN
PART C. DETAILED DESIGN
INTERACTIONS
Wind belts’ Vibration Effect
The playful lattice structure together with the dynamic windbelt installation provide visitors an unique experiences while strolling around the space. Besides the strong visual impact, visitors can also interact with the sculpture via auditory and tactile senses produced by the vibrating wind belts. Through these interactive activities, users will able to raise their sustainable awareness of renewable energy produced by the powerful wind.
PART C. DETAILED DESIGN Fig. 5: Interaction with users Render by Mengqi Yu
PART C. DETAILED DESIGN
CONSTRUCTION PROCESS photograph by Mengqi Yu
1
FABRICATION
In order to understand the real construction process of our proposed design. We visited Ralvin Engineering to record the fabrication process of bending steels, which reflects how our design could be produced in the reality. Material: Cold Roll Steel Tube 1016 CHS (101.6mm [d] x 2.6mm [t], Standard length 10m*) *Note: Steel length is restricted to 10m due to the length limitation of steel transportation is 10m maximum
S S Th re g tu
2 CUTTING Cut steel into standard length of maximum 10m each for the convenience of transportation and erection.
3
W b
PART C. DETAILED DESIGN
BENDING
Steel is bent using Section Roller. The bending ratio emains 5 times greater than the ube diameter.
Alternative cutting method: Cut steel section in an inclined plane. The tube will lean back or forward after erection.
3 WELDING
Weld tubes onto base plates
Photographs produced by Mengqi Yu (2014)
PART C. DETAILED DESIGN
FINISHED PROTOTYPE
*Note: The base plate of the prototype is only for display purpose. Further erection instructions are illustrated on the next page.
PART C. DETAILED DESIGN
Design Base Unit
Steel tubes
Anchor Bolts
Base Plate
In the real practice, each unit of steel tubes will welded on a circular base plate, then bolt into the rebate of mass concrete footing poured on site.
Mass Concrete
PART C. DETAILED DESIGN
C.2 TECTONIC ELEMENTS Structural Connections: Steel Tube Joints Steel Lapping Joints
Windbelt Connections: Wind belt Joints
PART C. DETAILED DESIGN
STEEL TUBE JOINTS
PIPE FLANGE
Fig. 6: Pipe Flange Connections Model by Mengqi Yu Render by Wen Jun Wei
MATERIALS STAINLESS STEEL 304L WELD NECK PIPE FLANGE PIPE: 101.6mm Flange OD: 245mm 8 BOLTS Due to the standard size limitation of each steel tube (10m), additional tube joints are required in order to reach a longer span. Pipe Flange was selected as a connections joints between each tube sections, which has the advantage of easy assemble and fabrication.
PART C. DETAILED DESIGN
STEEL LAPPING JOINTS CLAMPED PIPE CONNECTION
Fig. 7: Clamped Pipe Connection
During the parametric design process, lapping steel structures are created via the implication of opposite spin forces. In order to fix the two intersecting steel members, a handcufflike clamped pipe connection was created as a critical joint for the whole lattice structure. This joint has the functionality of preventing structure twisting and falling particularly under the wind loading conditions.
PART C. DETAILED DESIGN
Fig. 8: Structure Intersection Render by Wen Jun Wei
PART C. DETAILED DESIGN
WINDBELT CONNECTIONS WIND BELT THEORY
Wind belt relies on ‘aeroelastic flutter’, which uses a tensioned membrane undergoing a flutter oscillation to pull energy from the wind. The theory of windbelt is based on electromagnetic induction, which produces electricity across the conductor in a changing magnetic field.
PART C. DETAILED DESIGN
Flutter oscillation of the tensioned membrane
Changing Magnetic Field
Electricity Production
Fig. 9: Wind Belt Theory Diagram by Yutien Xie
PART C. DETAILED DESIGN
WINDBELT CONNECTIONS PROTOTYPE 1
Fig. 10: Wind Belt Prototype 1 Model by Mengqi Yu Rneder by Wen Jun Wei
PART C. DETAILED DESIGN
PART C. DETAILED DESIGN
WINDBELT CONNECTIONS PROTOTYPE 1
Based on the theory of windbelt, we fabricated the first windbelt connection using Laser Cutter. The conceptual logic behind the connection is having a tensioned membrane fixed by one side of Windbelt Holder and the other side of Windbelt Pendulum (Fig. 11). During the windy condition, the vibrating tensioned membrane will drive the windbelt pendulum to move up and down. Thus, the magnet embedded inside the pendulum will change its magnetic field and produce electricity through the coil behind (as shown in Fig.13).
Fixed
However, this prototype was failed due to the incorrect alignment of the coil and magnet orientation and rotation. The Disc Magnet has its pole positions on each face, while only 1 pole is oriented to the coil in this case. The up and down movement of the magnet in fact will not change the pole position of magnetic field, thus no electricity would be produced using this method.
S
N
Disc Magnet
Movement
Coil Fig. 11: Wind Belt Prototype 1 (model)
PART C. DETAILED DESIGN
Fig. 12: Wind Belt Pendulum Detail 1
Wind Belt Pendulum Rotational
Tensioned Membrane
Coil Magnet
Fig. 13: Wind Belt Pendulum Detail 2 Photograph by Mengqi Yu
PART C. DETAILED DESIGN
WINDBELT CONNECTIONS PROTOTYPE 2
Fig. 14: Wind Belt Prototype 2 Model by Mengqi Yu Render by Wen Jun Wei
PART C. DETAILED DESIGN
PART C. DETAILED DESIGN
WINDBELT CONNECTIONS PROTOTYPE 2
Learning from the failure of the first wind prototype, we created another wind belt connection to solve the previous problems incurred. In order to ensure the functionality of the wind belt, it is crucial to primarily consider the correct alignment of the coil and the magnet orientation and rotations. In this case, Disc Magnet has been substituted by Cylinder Magnet. The position of the coil and the magnet has also been swapped. Thus the coil will move up and down with the windbelt pendulum to drive magnetic field change.
N
SCREW
STRUCTURE JOINT
S Coil
Movement
Cylinder Magnet
TUBE
The functionality of other key elements are: ROTATIONAL PLATE: The plate is designed for the convenience of windbelt installation. Due to the fluid form of our structure, wind belts will be installed in multiple angles. The rotational plate will assist the builders to adjust the installation angle. The rotational plate then be fixed by screws once the installation angle has been confirmed. MAGNET HOLDER: The magnet holder will be notched into the coil stand to fix the magnet into place.
JOINT AND PLATE CONNECTOR
PART C. DETAILED DESIGN
BOTTOM PLATE ROTATION PLATE
MAGNET HOLDER
MAGNET COIL STAND COIL NUT
WINDBELT PENDULUM
NYLON SCREW
Fig. 15: Wind Belt Prototype 2 (Exploded Diagram) Render by Wen Jun Wei Annotation by Yutien Xie
PART C. DETAILED DESIGN
WINDBELT CONNECTIONS
PROTOTYPE 2- Fabrication Process photograph by Yutien Xie (2014)
1. Preparation
2. Glue each elements together
3. E
5. Screw Wind Belt Pendulum into the Coil Stand
6. Wrap Coil Wires
7. C
PART C. DETAILED DESIGN
Embedment of magnet into Coil Stand
4. Fix magnet using magnet holder
Completion of one side of wind belt connections
8. Testing Electricity Production with LED light
PART C. DETAILED DESIGN
WINDBELT CONNECTIONS PROTOTYPE 2- DETAIL MODEL
Fig. 16: Wind Belt Prototype 2 (Details)
ROTATIONAL
Fig. 17: Wind Belt Fluttering Effect
PART C. DETAILED DESIGN
FIXED
Fig. 18: Wind Belt Prototype 2 (Model) SCALE 1:1
PART C. DETAILED DESIGN
WINDBELT CONNECTIONS PROTOTYPE 2- DETAIL MODEL
Fig. 19: Notched Joint
PART C. DETAILED DESIGN
Fig. 20: Wind Belt Prototype 2 (Model) SCALE 1:1
PART C. DETAILED DESIGN
FINAL OUTCOMES
STEEL TUBE STRUCTURE
WINDBELT CONNECTION
N
PART C. DETAILED DESIGN
photograph by WenJun Wei
WINDBELT CONNECTION ON STEEL STRUCTURE
PART C. DETAILED DESIGN
C.3 FINAL MODEL
PART C. DETAILED DESIGN
FINAL MODELLING PROCESS
OUTER SHELL
OVERALL STRUCTURE
INNER SHELL
Initially, we planned to use 3D Print to construct our final model. However, the delicate structure would be too fragile for 3D printing. Therefore, in order to maintain the rigidity of the model as well as the desired design effect, we decided to manually bend the structures using FILAMENTS (1.75mm diameter). The overall structure was segmented to Outer and Inner Shells as an instruction for further physical modelling.
PART C. DETAILED DESIGN
FINAL MODELLING PROCESS photograph by Mengqi Yu
1. FABRICATING THE MODEL BASE PLATE
2. CUTTING & BENDING
Holes are hollowed out for the insertion of FILAMENT members. Larger holes are created for the convergence of multiple FILAMENTS.
Referring to the digital model. Cut FILAMENTS into certain lengths then bent into curvy shapes. White FILAMENTS: inner shell Black FILAMENTS: outer shell
3. FIXING EXPER
Experimenting how FILA under the base. Foam bo to hold up multiple mem zones.
4. FIXING EXPER
Replacing foam board b rigid support within the
PART C. DETAILED DESIGN
RIMENTATION 1
AMENTS could be fixed oard is not strong enough mbers at the convergent
RIMENTATION 2
by blue tags to achieve a convergent zones.
5. ARRANGEMENT
6. LIGHT BOX
Arranging the FILAMENT members according to the digital mode
Install lights under the base plate to create night lighting effect. Electric wires are installed in parallel.
PART C. DETAILED DESIGN
FINAL MODEL
Fig.21: Final Model outcomes Scale 1:100 Photograph by Mengqi Yu (2014)
PART C. DETAILED DESIGN
PART C. DETAILED DESIGN
PART C. DETAILED DESIGN Fig.22: Final Model outcomes Scale 1:100 Photograph by Mengqi Yu (2014)
PART C. DETAILED DESIGN
PART C. DETAILED DESIGN
Fig.23: Final Model outcomes Scale 1:100 Photograph by Mengqi Yu (2014)
PART C. DETAILED DESIGN
Final Model lighting effect Scale 1:100 Photograph by Wen Jun Wei (2014)
PART C. DETAILED DESIGN
PART C. DETAILED DESIGN
C.4 LAGI BRIEF STATEMENT
Fig. 24 Model render by Mengqi Yu
PART C. DETAILED DESIGN
THE BEAUTY OF WIND Our project is a steel lattice structure incorporated with wind belt technology. It is composed to be a public art integrating wind to generate clean energy and offsets the new energy demands in Copenhagen. Rather than simply producing energy, the installation aims to fully interact with users to raise their sustainable awareness via visual and audio stimulation of wind belts. The project is designed using computational approach, which expands its design potential through interdisciplinary integration including wind data analysis, material selections, fabrications and form abstractions. Thus, the form driven from the computational approach has the capability to optimize the wind energy production at Refshaleøen. The design is proposed to be built within the South West region of the site in order to receive the largest amount of wind. As wind is a dynamic airflow from multiple directions and strengths, an in depth wind analysis is crucial for the form generation. Our design was evolved from the wind data analysis using VASARI, which has its innate capability to capture wind without blocking the wind passages. By considering real world construction, the structural stability of the project is also achieved via computational approach. The gigantic double-layered lattice structure maintains its rigidity by having the intersecting joints created by applying spin force with opposite directions. The logic behind this approach is the same of creating gridshell structure but without being restricted to the form of a traditional gridshell. It maintains the beauty of structure as well as its capability of capturing wind by having no redundant support such as sub framing or bracing systems. Materials selected for the proposed structure are cold roll steel tubes. It is a durable materials with high tensile strength and stability, which allows various bending configurations to fulfill our design intent. Wind belt could also be easily incorporated
with the steel structure for energy generation. Windbelt is the first non-incremental innovative technology beyond this century-old approach. The technology is originated by Shawn Frayne associated with his company Humdinger to enhance social adaptation. The phenomenon destructive force was discovered to be a useful and powerful mechanism with multiple scales and costless price for catching wind. It relies on ‘aeroelastic flutter’, which uses a tensioned membrane undergoing a flutter oscillation to pull energy from the wind. The theory is based on electromagnetic induction, which produces electricity across the conductor in a changing magnetic field. As the membrane vibrates at a higher frequency, higher voltage is produced. Windbelt works the best in the wind speeds of 15mph (7m/s) or higher; hence the technology is appropriate in the context of Copenhagen, which average wind speed is over 10m/s. Based on the studies, a normal size windbelt can generate over 44kWh electricity annually at the wind speed of 6m/s. The voltage supply of each windbelt is around 3-4V, which is able to recharge mobile devices like mobile phone and ipad etc. There are over 6837 windbelts installed on our project, which means the whole design will be able to produce 300,828kWh electricity annually. In Copenhagen, the average energy consumption per person is 1340kWh per year and the population is around 559440 people. Energy generated by this project could reduce over 0.04% of energy consumption for each person in Copenhagen. However, due to the dynamic property of wind, it is rarely possible to maintain a 100% efficiency at each stage. In order to highly optimize wind energy generating potential, the integration of this innovative technology and lattice steel structure successfully maintains the wind continuity passing through the space from multiple directions. This complements the restriction of wind
PART C. DETAILED DESIGN
turbines that can only capture wind on one restrained plan. Therefore, it is proved that wind belt device is claimed to be 10-30 times more efficient than a small wind turbine. Our project enables wind flowing through the wind belts oriented in multiple sizes and directions, which is even more efficient to capture wind in various speeds thoroughly. Energy production in windbelt installation has the possibility to take place of the common wind turbines in the future. The new technology is introduced to generate wind energy with less cost and easier construction, which is believed to have the potential to be adapted by local. Our project is an innovative pioneer for windbelt installation. The delightful way of windbelt organization together with the dynamic lattice structure provide
visitors an unique experience while strolling around the site, observing and sensing the vibration effects caused by the wind. This intimate integration with users increases social attention to a new wind energy generator as well as promotes the utilization of wind energy in the future. As a consequence, the windbelt art installation responds to government statements of expanding wind energy in Copenhagen. It also further encourages public support for wind power by creating a community-owned facility. In conclusion, our project spearheads the installation of the latest windbelt technology in an aesthetic, efficient and interactive way, which responses to LAGI’s initiatives-‘Renewable energy can be beautiful.’
MATERIAL LIST & DIMENSIONS STRUCTURE TUBE
MATERIAL
FUNCTION
DIMENSION
CHS C350L0 Cold form tube
Structure tubes
76CHS 101.6mm (d) x 2.6mm (t) x standard length 10m
Stainless steel 304L weld neck pipe Flange
Connect tubes
Pipe: 101.6mm Flange OD: 245mm; 8 bolts required
Stainless Steel tube joint
Connect windbelt plate
D: 131.6mm T: 15mm H: 30mm
Screws & nuts (metal)
Fix joint on tube
D: 3mm L: 35mm
Galvanized zinc coat
Corrosion resistant
-
PART C. DETAILED DESIGN
WINDBELT JOINT MATERIAL
FUNCTION
DIMENSION
Curvative Block
Connect tube joint and plate
L:67.22mm W:20mm H:30mm
Metal Plate
Windbelt rotation
D: 80mm;
Screw (metal)
Fix plate and windbelt
D:3mm L:20mm
Screw (nylon)
Rotation axle
D: 3mm L: 30mm
Nut (nylon)
Fix assembly
D: 3mm L:3mm/ 6mm
Hole D:3mm/ 4mm
WINDBELT ASSEMBLY MATERIAL
FUNCTION
DIMENSION
Metal magnet box
Fix magnet
L:76.63mm W:49mm H:12mm
Screw (metal)
Fix plate to windbelt
D:3mm L:20mm
Rotation axle
D:3mm L:30mm
Fix assembly
D: 3mm L:3mm/ 6mm
Coil pendulum (stainless steel)
Fix windbelt
L: 120mm W: 48.75mm H: 6mm
Coils
Conduct electricity
D: 19mm H: 56.4mm
Cylinder Magnets
Generate energy
D: 19mm H: 56.4mm
Metal clip
Clip windbelt
Varies in belt thickness
Tensioned Membrane
ETFE foils
Varies
Screw (nylon) Nut (nylon)
End Written by Yutien Xie Edited by Mengqi Yu
PART C. DETAILED DESIGN
Fig. 25. Design Internal Space Render by Mengqi Yu
PART C. DETAILED DESIGN
PART C. DETAILED DESIGN
C.5 LEARNING OBJECTIVE & OUTCOMES
PART C. DETAILED DESIGN
FINAL FEEDBACKS Critiques: 1. Be more integrated with Parametric design and construction technique. Models should include one showing all assemblies together (steel pipes + steel connections + windbelt connections) 2. How site Interact with the users is not well explained according to the brief. This has been further explained in journal C.1 “INTERACTIONS”. 3. Lack of proof of numbers of structure pipes really intersect with each other in grasshopper. 4. The overall forms could be more dynamic by varying height differences and offset structures. Positive: 1. Clear videos showing the wind tunnel visualization as well as the steel bending process. 2. Nice rendering showing day and night effect of the project.
PART C. DETAILED DESIGN
DESIGN IMPROVEMENT
Outer Shell
Original Design Unit
Offset Outer Structural Shell
Inner Shell
PART C. DETAILED DESIGN
+
Overall Lattice Structure (Pipe)
Overall windbelt (loft)
Proposed Design Improvement
Based on the original design definition, we have improved our ideas in order increase the design dynamic for energy generation as well as visitor attraction. The technique applied here is offsetting the outer structural shell then creating vertically oriented windbelts across the offset space. Thus the multiple planar windbelts improve the energy efficiency by capturing all directional wind in each unit of design. Additionally, the sizes of windbelts became more consist, which prevents the problems of having extra large or small wind belts.
PART C. DETAILED DESIGN
Fig. 26: Design Improvement Render by Wen Jun Wei
PART C. DETAILED DESIGN
PART C. DETAILED DESIGN
LEARNING OBJECTIVES & OUTCOMES
During the course of this semester, we definitely gained a lot from the this Studio by challenging ourselves using parametric design. Through the extra long-hour exploration of Grasshopper technique and the tectonic elements of the design, we understood how to created sophisticated parametric models as well as transform them into reality. We believed that we have fulfilled the learning objectives of this course in various ways.
including Magnetic Field Systems, Weaverbirds and the creation of random lattice structures. The final outcome is the rational crystallization of the previous exploration, which resulted in a dynamic lattice structure created via Magnetic Field System. By using this computational approach, the unstable structural problems had been solved by creating intersecting joint using opposite spin force on the magnetic field lines.
By considering the LAGI Brief together with the site data analysis, we are able to create an environmental responsive design in the end. The final project was driven from the analysis of wind tunnel on site, done by the VASARI program (another analytical 3D modelling software). We found the VASARI program is extremely useful, which also assist us to evaluate and compare the performance of multiple forms created via Grasshopper. Therefore, rather than the traditional way of conceiving forms through sketching, parametric modelling enabled us to integrate with the inherent properties of the context around. This means that the final from generated will have its innate adaptive qualities to the local environments.
Another key aspect of the learning project is to incorporate energy generators into the parametric model, which is a difficult and challenging part of the project. In order to ensure the functionality of the design, an in depth research of the theory behind the energy generator is crucial. We chose wind belt generator as our energy producer and created a series of prototypes to test their functionality. By learning from several failures, we finally came up with an consolidate detail model that suitable for our proposed structure.
During the technical exploration of Grasshopper (most shown in Part B), we experimented various grasshopper definitions
In conclusion, the experience of parametric modelling is highly integrated across the fields of architecture, engineering and geography. One semester will never be enough to master the technique. If there is more time for the technical exploration, the design could be improved more into a new level.
PART C. DETAILED DESIGN
Bibliography
Support Documents, The Design Guidelines, LAGI art generator initiative, Retrived from http://www.landartgenerator.org/, 20 May 2014. Wind Belt generator, The Humdinger Wind Energy, Retrived from www.humdingerwind.com/, 20 May 2014. Steel Fabrication, Ralvin Engineering, 144 Cooper Street, Epping, Melbourne, VIC 3076. Xie, Yutien, ’LAGI Brief Statement’ (2014).
Special Thanks to ADS Air Group 9 Memebers: Wen Jun Wei (in charge of parametric design & rendering) Yutien Xie (in charge of material research & detail design) Myself (in charge of rendering, site and detail modelling & photographs) This is a highly integrated group work, we worked together and produce works in corporation.
PART C. DETAILED DESIGN
PART C. DETAILED DESIGN
PART C. DETAILED DESIGN
PART C. DETAILED DESIGN