Brady mitchell

STUDIO AIR 2014, SEMESTER 2, PHILIP BELESKY MICHELL BRADY

STUDENT JOURNAL MITCHELL BRADY: 587149 SEMESTER 1, 2014 TUTORS: PHILIP BELESKY & BRAD ELIAS

ABOUT ME

Hi, my name is Mitchell Brady and I am a third year Bachelor of Environments student majoring in architecture at the University of Melbourne.

I have had a strong affiliation with design in particular architecture since a young age. This is in part due to being apart of a property family, where since an early stage, I have had the opportunity to view many different properties. Having seen many properties, I gained a strong interest in the design principles and functionality of each property, which has ultimately driven my motivation to become an architect.

I was fortunate enough to have undertaken exchange for one semester at the University of Manchester. My time at Manchester University allowed me to do an extensive travel around the United Kingdom and also visit many other European countries where i was able to gain an

appreciation for the different styles of Architecture on offer, ranging from Roman times to modernist Architecture. In particular, one of my favourite places whilst abroad was Venice. I was particularly interested from an Architectural standpoint how the city operated, seeing as it is a city built on water.

My design work to date has been largely based around hand drawings, Google SketchUp, Auto CAD and the introduction to Rhino. I endeavour to establish a greater understanding of Rhino and Grasshopper throughout this subject, that will ultimately fulfil this subjects requirements and also allow me to continue my studies of Architecture through completing my major.

PART A CONCEPTUALISATION

CONTENTS A1

Design Futuring

A.1.1

Design Precedent

A.1.2

Design Precedent

A2

Design Computation

A.2.3

Design Precedent

A.2.4

Design Precedent

A3

Composition/Generation

A4

Conclusion

A5

Learning outcomes

A6

Algorithmic Sketches

“As change has to be by design rather than chance, design has to be in the front-line of transformative action.�

DESIGN FUTURING

Humanity’s actions and mentality towards the planet have been undeniably destructive. As damage to the planet’s ecological systems continually increases, there is the pressing need for way we as humans ‘live, act and engage the world around us, to change’ 1 As a society we have lived beyond our means and the beyond the capabilities of the planet to sustain us. We have treated the planet simply as an infinite resource at our disposal. The planets renewable resources are being used up at a rate of 25 per cent faster than they can be renewed. 2 Therefore, humanity has been in ecological overshoot where the annual demand on resources has been exceeding what the earth can regenerate each year.

Therefore, it is critically important that we address these issues by getting people to change their actions and actually admit that change needs to occur. Changing public mentality must be at the forefront of our international agenda. This is where, contrary to popular belief, that design holds the answer to a more sustainable and viable future.

Essential for the creation of design to be remade with sustainability, design intelligence needs to be developed. ‘The realisation of design intelligence would mean having the ability to read the qualities of the form and content

1,2,3,4,5 Tony Fry, ‘Sustainability, ethics and new practise’, Design Futuring, 1.1, (2009), p12.

of the designed environment in which one exists’. 3 To achieve design intelligence the current way design is thought needs to change.

Design futuring looks at adding to and mobilizing, design intelligence. It does this in three ways. Firstly, design futuring looks at how design practise is understood, developed and deployed. Secondly it looks at how strategies to enable change are presented and examined. Thirdly it elaborates on how design practice and change strategies can be deployed.4 Design futuring looks at delivering other ways of thinking and delivering change. ‘In doing so it confronts the issue of the seeming impossibility of redirecting the trajectory of human development away from the defuturing path of unsustainability’. 5 The Land Art Generator Initiative (LAGI) is an excellent example of how we can go about setting this change in motion. The LAGI proves that sustainable design and renewable energy can be aesthetically pleasing, and that they are not mutually exclusive.

In-fact, it proves that something simple as public artwork can have a positive ecological impact.

DESIGN PRECEDENT 1.0

FIG.1

‘Calorie Park’ was a proposal submitted by entrants from Columbus,USA. The artists designed a mechanical energy structure in the form of an exercise park. The premise behind the structure is to convert mechanical energy by enthusiastic athletes into electricity. How is this achieved? Calorie Park is configured from a series of three dimensional pods that create a ‘habitrail-like’ maze.

The clusters of interconnected pods houses different fitness equipment.1 The pods are designed under the premise that the built in fitness equipment collects the mechanical energy produced by users and converts the generated electricity to the city’s grid. The artists have taken into consideration that exercise for most people is usually morning or evening, and to compensate for the shortage of mechanical energy during noon hours, and to regulate the production of electricity, solar panels have been added to the areas on the pods where they receive the most sunlight during these hours.

1

Morteza Karimi, Calorie Park (2010)

Calorie Park revolutionises the form of exercising and how it can positively contribute back to the environment. It revolutionises the way in which exercise can be thought of, in terms of not only fulfilling and pursuing exercise for ones own health and fitness but also ensuring that it is done in a way that can positively contribute back to the environment. Furthermore, it breaks down the barrier of having the singular purpose of being a renewable energy source, but promotes and thrives off human interaction. The design of the pods, is visually appealing and can not only be seen as a fitness park, but designed also to look like a public sculpture, that can be admired from the surrounding highways.

Ultimately Calorie Park would be appreciated by New Yorker’s not simply as a renewable energy source but as a social experiment and new form of exercising, that if implemented could change the face of renewable energy as simply not being only solar or wind farms void of human interaction, but in-fact, a thriving fitness park that generates renewable energy from manpower.

FIG.2

DESIGN PRECEDENT 2.0

FIG.3

The ‘Freshkills Playground’ project was an entry submitted in the 2012 LAGI competition. The artists from Oslo, Norway, designed a multi purpose solar farm, breaking down the production barriers of large scale energy generation and human interaction. They have achieved this by introducing the idea the idea of including human interactive spaces in a solar farm setting. They have introduced the idea of sun-cathers interacting with the user like trees do in an open landscape revolutionising the idea of the multi use space. Instead of placing the grids in the homogeneous way, the sun catchers have been designed in a clustered approach at three different heights creating diversity and guiding views in many different directions, allowing the clusters to become denser and therefore have a greater effect. Through introducing ‘denser’ clusters, certain electrical components such as the power

certain electrical components such as the power optimizers and cabling can be shared, reducing production costs. Furthermore, the stainless steel poles play a double role in the design. The poles create interactive add ons that stimulate activity including features such as lighting, a water tap, a power outlet, a height adjustable hook, all of which cater for a variety of games.

The ‘Freshskills Playground’ proposal is an ingenious idea, promoting human interaction in an otherwise ‘off-limits environment’. The ‘Freshskills Playground’ is an example of where power-production and social activities can successfully co-exist. This power production methods provides an inviting public domain without being intrusive or dangerous. The ‘Freshskills Playground’ proposal has tremendous potential to be developed on a variety of scales, and could revolutionise the way large scale solar farms are viewed.

FIG.4

“We are subsequently experiencing an architectural shift from the drawing to the algorithm as the desired method of articulating and communicating ideas�

DESIGN COMPUTATION

The digital realm has penetrated itself through the design process in architecture. Today, technology is now used as an imperative means to the end design.

The pivotal challenge facing the architectural industry at present is finding a balance between human and computational contributions to the process of the designing of architecture. Architectural design is an activity that deals with specifically imposed external constraints (e.g. climate, functionality, site conditions, building codes etc).1 It is evident that the origins for this are dependent on human thinking.

However, there are benefits for designers to adopt a design technique that unifies the benefits of human thinking and the advantages of computer aid.

In Today’s society there is a dominant methodology to take entities, processes or ideas that are conceptualised in the designer’s mind, enter them, manipulate and store them in a computer system.

This is a widely adopted procedure by many of the world’s architects and is known as computerisation.

Computerisation itself revolves around ‘automation, mechanisation, digitalisation of entities or processes that are preconceived’. 2 The biggest limitation with this approach to design is that it does capitalise on the extensive scope of possibilities that computation and computational design hold.

‘Computers by their nature are superb analytical engines.’3 This is where computation comes into play. Computation is primarily the procedure of calculation, whereby something is determined

1,3 2,4

Kalay, ‘Architecture’s New Media’ pp2 Kostas Terzidis, Algorithmic Architecture, p.xi

through mathematical or logical methods. 4 Computation is a digitally driven design process that focuses on the exploration of the indeterminate, vague, unclear and often ill-defined processes.

Unlike computerisation, computation not only uses the computer as a tool for documentation but as an extension of the human intellect. The computational design process involves generating automatic shapes by following specific algorithms, by which generates geometries far more than the designer can imagine. The benefits of computational design, is that designs can be edited rapidly, through editing the algorithms, allowing for designers to produce an extensive range of proposals for examination, which largely enriches the range of design products and extends design possibilities.

The computational design method has brought about a whole new approach to the design process and the benefits of this method of design are enormous. Computation employs the faultless and thorough manner of the computer to run monotonous data & processing that would otherwise be tedious for the human mind.

DESIGN PRECEDENT 3.0

‘Shellstar Pavilion’ is a project by MATSYS that articulates the capabilities of computational modelling. The Shellstar pavilion demonstrates logical and rational algorithmic technology which gives rise to something that is seemingly unimaginable, leaving viewers to question how this sophisticated and intricate design was thought of.

The pavilion was a lightweight temporary structure, commissioned for Detour, an art and design festival in Hong Kong. The organic pavilion was designed to be an iconic gathering place for festival attendees.1 ‘The design emerged out of a desire to create a spatial vortex whereby visitors would feel drawn into the pavilion centre’. 2 Working entirely within the parametric environment, the design was quickly developed and iterated within a six week period including all works of design, fabrication and assembly.

FIG.5

The designers used grasshopper and the physics engine Kangaroo to achieve the catenary-like thrust surfaces that are aligned with the structural vectors.

The surface is made up of 1500 individual cells that are slightly non-planar. Each cell was optimised to eliminate any interior seams and make them as planar as possible, greatly simplifying the fabrication process.

Surface optimisation was undergone to ensure that the smaller planar form to wrap the overall curve of the larger system, done using Python scripts.

Through MATSYS implementing algorithms they were able to maximise structural enclosure while minimising material use. Shellstar pavilion demonstrates the benefit of computation and computational modelling. It equipped the designer to create a structure that was far more complex than something the human brain could come up with or justify.

1, 2

Dennis Lo, Shellstar Pavilion, (2013)

FIG.6

FIG.7

DESIGN PRECEDENT 4.0

Zaha Hadid has designed this extravagant train station dubbed to be the worlds most luxurious once completed. The train station commissioned for Saudi Arabia’s King Abdullah is a breathtaking and sweeping design, created by Architect Zaha Hadid to mimic the country’s wind blown sand dunes.1 The design of this articulates the where the benefits of computation and computational modelling lie. It equips the architects to create structures that are far complex that something the human brain can come up alone with or justify. Computational modelling opens up a whole world of design possibilities and provides architects the potential to take their architectural design to never before seen places. The potential lies where it allows designers to extend their abilities to deal with highly complex situations.

The financial district metro station design clearly articulates the capabilities of computational modelling.

It uses logical and rational algorithmic technology giving rise to something that is seemingly unimaginable, an architecture of free from. The exterior of the building, mimicking the country’s wind blown sand dunes highlights the intricate and sophisticated shapes that have been achieved through parametric modelling.

Similarly, the interior is defined by a series of angular curves and parametric patterns, designed to let light in while keeping out the harsh desert sun.

The architects behind this vision would have taken there relatively abstracted vision for the complex and employed computational modelling to refine, modify and develop their initial concept, allowing them to arrive at complex and sophisticated form that truly pushes the parameters of design.

1 Zaha Hadid , King Abdullah Financial District Metro Station (2014)

FIG.8

FIG.9

FIG.10

“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method for design architecture.

COMPOSITION/GENERATION

With the recent propagation of utilitarian computing, architects rejoice as the digital era opens its doors to a plethora of new possibilities. Society has grown accustomed to ‘eye-popping architectural statements’.1 The immensely complicated systems being used to create these architectural statements, known as parametric modelling, does much more than facilitate these intricate creations. Parametric modelling is not just used to buildings more visually compelling but used to precisely tune every aspect of performance from acoustics to energy efficiency. 2 Since the 1980’s, Computer aided design has been the industry standard in the design realm.

Computerisation simplifies the task of humans through the use of technology as a ‘virtual drafting board making it easier to edit copy and increase the precision of drawings. 3 Operating as a digital pencil, it requires the designer to move a mouse around to manipulate the lines of the architectural drawing.4 Conversely, computation on the other hand extends the architects abilities to deal with highly complex situations. 5 The parametric side of computational modelling is much more than just a drafting tool. It can not only model a building and many of its attributes in 3-D, but can revise models instantly. It is a vague process where the pathways of concepts and forms intersect in a series of algorithms and scripting. It is seen as form finding rather than from making. 6

1, 2, 4 ,7 Allison Arieff, New Forms that function better (2013) 3 ,5, 8 Peters, Brady ‘Computation works’, p.10 6 Kolarevic, Branko, ‘Architecture in the digital Age; Design and Manufacturing’, p.13

Parametric design allows the designer to set the rules and parameters, with the computer doing the iterations. This gives designers more flexibility to explore designs and make changes faster. The computational modelling phenomenon has revolutionised the way in which we design. Phil Bernstein, vice president at the software maker Autodesk , believes that parametric design makes new buildings more environmentally sustainable.7 Architects are using parametric design as not only a means to create intricate designs but are able to use the software to investigate what a building can be made out of and for example, how a design can be configured to maximise the natural lighting.

Computation has redefined the practise of architecture.

This has been illustrated in new building projects by some of the world’s most forward thinking practices. Computational design illustrates the potential of providing inspiration to the designer, going beyond the intellect of the designer, through the generation of unexpected results. 8

DESIGN PRECEDENT 5.0

FIG.11

Shenzhen Bao’an International airport is one of the world’s largest parametrically defined buildings.

Based on a given building organisation and floor plan structure, a freely shaped terminal design was developed as result of an international competition in 2008, from which Italian architect Massimiliano Fuksas supported by German engineers Knippers Helbig emerged victorious. 1 The design process began with the initial design development where clay models were made by architect M. Fuksas. From here, they were subsequently digitalised using Rhino 3d. From there, Kinppers Helbig then undertook the discretisation of the surfaces through the implementation of parametric modelling tools. 2 Parametric modelling allowed iterative optimisation

1,2,3, Adrian Welch, Shenzhen Bao’an International Airport (2014)

of the facade at short time intervals, making it possible to complete the preliminary design of both the facade and structure within a year.

The building envelope is dominated by a honeycomblike facade which through its double skin largely permits indirect light to enter the interior through 25,000 openings. The rays of sunshine enter the building directly, however pending on the sun’s position, they offer unusual continuously changing lighting effects throughout the day. 3 Without the help of the parametric design tools, the generation of such a complex design by hand would be rendered impossible.

FIG.12

DESIGN PRECEDENT 6.0

FIG.13

The Dongdaemun Design Plaza in South Korea’s capital city Seoul, is another exuberant result of Zaha Hadid’s form exploration through parametricism. The variety of Public Spaces within the Dongdaemun Design Plaza include exhibition halls, media centres, seminar rooms, design markets and labs and a designers lounge.1 The DDP has presented the city with a space that presents the widest diversity of exhibitions and events that feed into the cultural vitality of the city.

Hadid’s signature flowing style shapes the Plaza’s many curves. Some 45,000 panels in various sizes and degrees of curvature were used for the facade which is also the roof. 2 Because of the buildings highly complex geometry, the construction proved to be very costly and difficult for the Korean Contractors.

1 Zaha Hadid, Dongdaemun Design Plaza, (2014) 2, 3 Ulf Meyer, Dongdaemun Design Plaza (2014) 4 The Angry Architect, ‘Zaha Hadid’s Seoul Design Park: Urban Oasis or Metallic Monstrosity?’(2014)

The facade incorporates a field of pixilation and perforation patterns making the building look like a singular entity. Critics has discussed whether the new centre is an architectural marvel or an ‘urban pimple’. 3 The generative form of the building claims to have responded to the surrounding building topology. The form does slightly infer a development of parametric families of components and in the essential control of data. Yet, critics suggest that Hadid’s ‘wave of titanium is a wholly disproportionate response, displaying a complete lack in the sensitivity towards the context’.4 The design of the Dongdaemun Design Plaza indicates that whilst the use of algorithms can generate impressive shapes, it is essential to first have a thoughtful composition of valued variable inputs including the connection between the human scale and the wider context in general.

FIG.14

CONCLUSION

FIG.15

Parametric design has changed the traditional form of Architectural design. Parametric design has been revolutionary in the design realm as it has allowed the creation of new geometries and awe inspiring final products. Without doubt, parametric modelling has pushed the boundary of design as it uses new structural systems and construction technologies.

On a theoretical level, it is not only an innovate approach to design as it incorporates the beauty of geometry, but also the efficiency and relative easy of designing through algorithmic design, with the ability to realise designs that are far more complex than the human mind could imagine.

The shift towards these computational approaches has essentially allowed for more responsive designs, allowing architects to explore new options, understand the performance and parameters of the materials and machinery involved in the design and construction process and to better analyse the architectural and structural decisions throughout the design process, ultimately, leading to improved, more well-rounded outcomes.

It is evident that in the design precedences explored that the push towards a technological and computational means of design is resulting in the innovation and development of more sustainable and environmentally sensitive design solutions. The computational design approach should be recognised as a way of taking advantage of the extreme complexity and exceptional capacity of the computer.

The intended design approach for the Land Art Generative Initiative is to harness the energy produced from the sun and channel it into a compatible landscape for human interaction, education and all renewable energy production. Ultimately, the ambition is to design a public art innovative sculpture that generates utility-scale clean energy for the city of Copenhagen.

It is essential to design in a way that is in accordance with the Danish Government’s ambition of green transformation of the energy systems. Therefore, it is essential that we find new innovative solutions through parametric design to generate solar energy that will contribute to the green transition to the city, without compromising the standard of living and quality of life currently experienced in Copenhagen.

LEARNING OUTCOMES

FIG.16

My experiences with Design Studio Air so far have been very enlightening. This subject has drastically altered not simply my view of architectural computing but architecture as a whole. Previously, my knowledge was quite limited, where i was able to identify buildings that had been designed with the computer, but was unaware of how or by what means the convoluted shapes i associated with it came to be.

My introduction to algorithms explained how these intricate and convoluted shapes were achieved.

The biggest understanding so far that has been achieved has been the distinction between computerisation and computation. Computerisation is now very clearly the automation, mechanisation, digitalisation of entities or processes that are preconceived.

Computerisation revolves around the idea being conceptualised in the designer’s mind, entered into a computer system, stored and manipulated whereas Computation is a digitally driven process that focuses on the exploration of the indeterminate, vague, unclear and often ill-defined processes.

The computational design process involves generating automatic shapes by generating algorithms, resulting in geometries far more advanced than what the designer can solely imagine. By distinguishing the difference between computerisation and computation, i feel that my architectural practise and analysis of architectural design has become more informed and analytical. The way in which i look at buildings in my everyday life has dramatically changed, where i no longer just look at them on a aesthetic level but instead the ability to categorise them into their relevant groups and envisage how their technical designs may have been realised.

Learning about computational design and the benefits that it holds has made me more open to using computational methods in my own designs, now and in the future. I believe that i could have benefited from the knowledge learned so far, not so much in a pragmatic and technical sense but in the form finding and idea generation of some of my previous design studios. From the knowledge learned, i envisage that from now my designs will explore with a computational method of some form.

REFERENCES TEXT Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 3-12

The Angry Architect, Zaha Hadid’s Seoul Design Park: Urban Oasis or Metallic Monstrosity? (2014) <http://architizer.com/ blog/angry-architect-zaha-hadid/> [accessed 20 August 2014].

IMAGES

Kostas Terzidis, Algorithmic Architecture (Oxford: Architectural Press, 2006) pp.5

Figure 1: http://landartgenerator.org/LAGI-2012/6713KE13/

Morteza Karimi, Calorie Park (2010) <http:// landartgenerator.org/LAGI-2012/6713KE13/> [accessed 2 August 2014].

Figure 2: http://landartgenerator.org/LAGI-2012/6713KE13/

Constantin Boincean, Aleksandra Danielak, Ralph Bertram, 2012 (Freshkills playground) <http://landartgenerator. org/LAGI-2012/RBADCB12/> [accessed 2 August 2014].

Figure 4: http://landartgenerator.org/LAGI-2012/RBADCB12/

Kalay, Yehuda E, (2004). Architecture’s New Media: Principles, Theories, and methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Dennis Lo, Shellstar Pavilion (2013) <http://www. contemporist.com/2013/03/04/shellstar-pavilion-bymatsys/ss_040313_01/> [accessed 9 August 2014].

Zaha Hadid , King Abdullah Financial District Metro Station (2014) <http://www.zaha-hadid. com/architecture/king-abdullah-financial-districtmetro-station/> [accessed 11 August 2014].

Allison Arieff, New Forms that function better (2013) <http:// www.technologyreview.com/review/517596/new-formsthat-function-better/> [accessed 18 August 2014].

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Kolarevic, Branko, ‘Architecture in the Digital Age: Design and manufacturing’ pp.13 Adrian Welch, Shenzhen Bao’an International Airport (2014) <http://www.e-architect.co.uk/hong-kong/ shenzhen-airport> [accessed 18 August 2014].

Figure 3: http://landartgenerator.org/LAGI-2012/RBADCB12/

Figure 5: http://www.contemporist.com/2013/03/04/ shellstar-pavilion-by-matsys/ Figure 6: http://www.contemporist.com/2013/03/04/ shellstar-pavilion-by-matsys/ Figure 7: http://www.contemporist.com/2013/03/04/ shellstar-pavilion-by-matsys/ Figure 8: http://www.zaha-hadid.com/architecture/ king-abdullah-financial-district-metro-station/ Figure 9: http://www.zaha-hadid.com/architecture/ king-abdullah-financial-district-metro-station/ Figure 10: http://www.zaha-hadid.com/architecture/ king-abdullah-financial-district-metro-station/ Figure 11: http://trends.archiexpo.com/projects/ shenzhen-baoan-international-airport-inauguration/ Figure 12: http://trends.archiexpo.com/projects/ shenzhen-baoan-international-airport-inauguration/ Figure 13: http://www.zaha-hadid.com/architecture/ dongdaemun-design-park-plaza/ Figure 14: http://www.zaha-hadid.com/architecture/ dongdaemun-design-park-plaza/

Zaha Hadid, Dongdaemun Design Plaza (2014) <http:// www.zaha-hadid.com/architecture/dongdaemundesign-park-plaza/> [accessed 20 August 2014].

Figure 15 http://1.bp.blogspot.com/_SIkloarbekI/ Sx9e0TGS2WI/AAAAAAAAA6I/jYvNz2N6Sz4/s400/5tentext1.jpg

Ulf Meyer, Dongdaemun Design Plaza (2014) <http:// www.arcspace.com/features/zaha-hadid-architects/ dongdaemun-design-plaza/> [accessed 20 August 2014].

Figure 16: http://4.bp.blogspot.com/_ SIkloarbekI/Sx9e0mmAZGI/AAAAAAAAA6Q/ AU82CUAgWNA/s400/6tentext4.jpg

A

ALGORITHMIC SKETCHBOOK

The Algorithmic journal for part A comprises the most interesting algorithmic sketches from weeks 1-4. I believe that the algorithmic sketches chosen demonstrate the large scope of learning that i have progressed in over the weeks.

The week one algorithms, were result of an introduction to Grasshopper and demonstrate the ability to produce a 3d surface using Rhino in conjunction with Rhino. Whilst, the two variations are particularly simple, it demonstrates a basic understanding to parametric modelling.

In contrast week three two variations demonstrate a superior and more skilled level of design again using Rhino in conjunction with Grasshopper.

The premise behind this image was to try and replicate the outside pattern of the RMIT building on Swanston Street. Once this had been achieved the challenge was to change the parameters of the shape and to try and create an opening in the panels using our knowledge on Grasshopper.

WEEK 1

WEEK 2

PART B CRITERIA DESIGN

CONTENTS B1

RESEARCH FIELD

B2

CASE STUDY 1.0

B3

CASE STUDY 2.0

B4

TECHNIQUE: DEVELOPMENT

B5

TECHNIQUE : PROTOTYPES

B6

TECHNIQUE: PROPOSAL

B7

LEARNING OBJECTIVES & OUTCOMES

B8

APPENDIX: ALGORITHMIC SKETCHES

DESIGN PRECEDENT 7.0

The Teshima Art Museum is one of the most intriguing contemporary artworks in Japan. Under the creative visions of Artist Rei Naito and architect Ryue Nishizawa, the musuem stands on a hill on this island of Teshima overlooking the inland sea. The structure opened in 2010 for the Setouchi International Art Festival.

Shaped like a drop of water, the museum lies in a corner of the spacious grounds surrounded by rice terraces.1 Structurally, the building consists of a concrete shell, devoid of pillars, covering a space 40 by 60 metres.

The open gallery space features a 25cm thick concrete shell with two elliptical openings that are open to the elements. On the higest ceiling 4.5 metres above, two oval openings allow the air, sounds and light of the world aoutside into this organic space where nature and architecture seem intimately interconnected. 2 Inside the feeling experienced is an ambiance that changes from hour to hour and season to season, revealing countless appearances as time passes.

FIG.1

The simple conctrete strucutre stimulates its visitor’s senses with the play of water drops on the concrete surface. Architect. Ryue Nishizawa, said that it was ‘important to create an architectural space to act in harmony with the island’s environment. Our idea was that the curved droplike form would create a powerful space in harmony with the undulating landforms around it’. 3

FIG.2

1,2,3 Benesse Art Site Naoshima, Teshima Art Museum (2014)

FIG.3

DESIGN PRECEDENT 8.0

The ‘KREOD’ pavilion was designed by Chun Qing Li of Pavilion Architecture and was on display at the Greenwich Peninsula in London during 2013. The pavilion is an innovative architectural sculpture, organic in form, environmentally-friendly and inspired by nature.

Using state of the art parametric tools and digital fabrication, KREOD was designed to challenge current thinking and showcase sustainable and forward-thinking building methods.1 The pavilion is representative of three seeds. Each pod is 20m2 and combined through a series of interlocking hexagons, creating an enclosed structure that is not only intricate in its design but also secure and waterproof. The water proof tensile membrane seals the interior from the elements. 2 The hexagonal composition was constructed with Kebony, the award winning sustainable alternative to tropical hardwood and preservative treated wood. The wooden structure of KREOD is durable, resistant, sustainable, environmentally-friendly, easily-maintained and beautifully aesthetic. 3

FIG.4

The pavilion was fully portable with demountable joints allowing for efficient transportation. The structural design aims to show a sustainable and forward thinking building method in the digital age, challenging the new way of thinking, designing, engineering, fabricating and installing.4 The architects behind the KREOD pavilion believe that Architecture is inclusive and highly collaborative saying ‘Our innovative application of experience and knowledge sharing enables us to create design solutions-aesthetically, functionally, economically and environmentally friendly’-Chun Qing Li. 5 FIG.5

1,2 ,3,4,5 Alison Furuto, KREOD/Chun Qing Li of Pavilion Architecture (2014)

FIG.6

RESEARCH FIELD

FIG 7

FIG 8

The Gridshell workshop was a result of a four day workshop that aimed at exploring how material properties can be embedded within parametric design and analysis environments. 1 Conceptually, the designers wanted to create a construction of a wooden Gridshell using only straight wooden members bent along geodesic lines on a relaxed surface. 2 Along the journey the design team faced many engineering problems including working with plywood and its tense relationship with bending stresses. 3

the iterative design cycle, whilst finding viable solutions integrating the trade-offs among requirements. The cluster focused on timber Gridshells as they provided an excellent opportunity to investigate the integration of generative and analytic digital tools with material reality. 4

The team worked hard on the design through the evolutionary design process involving the use of algorithms, iterative physical prototyping and testing to achieve the desired result. Ultimately, the goal behind the Gridshell project was to achieve escape velocity from

12 3 4

Mark Cabrinha, SG2012 Gridshell (2012)

The Gridshell project was chosen as apart of my research stream as i believe it will help facilitate and aid in the process my design. Like the Gridshell project i aim to use materials that are sympathetic to the environment and that minimise material waste. I understand that using materials that minimise environmental waste is difficult enough, but also on the other extreme be able to tolerate the winter conditions faced in Copenhagen.

It is essential that i take into account the climatic conditions that Copenhagen is faced with and design an energy generating sculpture that is appropriate to its surrounding environment and makes use of the weather conditions to achieve the best outcome.

FIG 9

FIG 10

CASE STUDY 1.0 1

A

B

C

D

E

2

3

CASE STUDY 1.0 4

5

6

CASE STUDY 1.0 1

A

B

C

D

E

2

3

CASE STUDY 1.0 4

5

6

CASE STUDY 1.0

Species A: Species A is playing with the base geometry where there was exploration to try and produce different shapes.

Species B: Species B explores the results of what happens when the density of the curved divisions are changed.

Species C: Species C explores the customisation of pipes by playing with the radius.

Species D: Species D changes the spherical joints within each of the strips with the use of â&#x20AC;&#x2DC;curve divisionsâ&#x20AC;&#x2122;

Species E: Species E is the cross pollination of species 1-4 by adding up the selected properties (base geometry, curve divisions, pipes and spherical joints) whilst also playing with the base geometry.

CASE STUDY 1.0 Species A5: This iteration was identified as successful as this particular shape i was able to create by playing with the base geometry, which produced an organic shape that i have identified as quite appealing.

The open section that has been achieved could be used as a light well to provide natural light.

Species C3: Off all the iterations produced, i identified this one as having the most promise for the realised application.

This iteration was not only successful in the aesthetically pleasing aspect but also successful in its functionality purposes. The thickness of the pipes, would ultimately allow for the electrical systems (wiring) to fit in.

Species D6: Similarly, this iteration was successful not only on an aesthetic level but also on a functionality level. The iteration has a potential light well in the middle. With this iteration i was trying to achieve a dome like structure where the creation of space was important. The potential architectural application in this is the definition of space here, creating pathways through the given structure.

Species E3: This iteration shares some resemblance with a dome like surface. This iteration was a cross pollination of species one-four, where individual selected properties (base geometry, curve divisions, pipes and spherical joints) were played with to produce organic forms. This iteration was the most successful from this species as it has produced an aesthetic shelter that could be developed as a mesh structure.

CASE STUDY 2.0

South pond is a project designed and created by Architects Studio Gang situated in Chicago’s Lincoln Park Zoo. The Architects, Studio gang, aimed to design a pavilion that would help transfer the picturesque urban bond from the 19th century into an ecological habitat with life. 1 The design’s improvements to water quality, hydrology, landscape, accessibility, and shelter, allow the site to function as an outdoor classroom in which the co-existence of natural and urban surroundings is demonstrated. 2 At the center of the boardwalk around the lake is the pavilion. The pavilion provides shelter for open air classes on the site. Inspired by the tortoise shell, its laminated structure consists of prefabricated, bentwooden members and a series of interconnected fiberglass pods that give global curvature to the surface. 3 I am particularly interested by the pavilion designed and created by Studio Gang. It features pre-fabricated wooden planks that have been interconnected and milled to form the curving structural members. The top of the pavilion is covered with semi-transparent fiberglass pods, which let light filter in while still protecting those underneath. The materials they have used to construct the pavilion work well within the surrounding natural environment. I particularly like the ‘openness’ of the pavilion, yet the ingenuity behind it where they have covered the outside with semitransparent pods, making it ‘usable’ all year around. Like Copenhagen, Chicago suffers from cold & wet winters, experiencing a lot of snowfall. The pavilion provides a space where people can exercise and congregate year round, whilst still remaining in an ‘open’ setting.

12 3 Studio Gang Architects, Nature boardwalk at Lincoln park zoo (2014)

CASE STUDY 2.0

CASE STUDY 2.0

1) Creation of two linear lines followed by making arches in between them through the ‘arch command’

2) Played with the ‘sine’ curve and made a similar pattern to what is seen on South Pond.

3) First array of the pattern in the vertical direction.

4) Second array of the pattern. After vertical length was achieved, the pattern was arrayed horizontally.

5) Projected two dimensional pattern onto the arch.

5) Extruded the projection in the Z direction.

CASE STUDY 2.0

Pictured above is the final outcome from the reverse engineering. Overall, the final outcome showed some strong resemblance to the South Pond structure itself. Similarities involve achieving a similar base form consisting of the shape and pattern. I was also able to achieve similar depth as the original. However, the flaws of the reverse engineer is that the bottom parts of the structure are flimsy because i was unable to extrude the pattern all the way to the ground . Also i was unable to achieve the transparent glass infill because the neighbouring curves werenâ&#x20AC;&#x2122;t linked to each other.

If i was unconstrained by the original form, i wouldâ&#x20AC;&#x2122;ve played around with the shape so that the projection would have worked better. Therefore, moving forward with this design, i would like to explore different pattern possibilities, similar to the one achieved here and the possibilities surrounding the overall shape.

TECHNIQUE: DEVELOPMENT

TECHNIQUE: DEVELOPMENT

TECHNIQUE: DEVELOPMENT

TECHNIQUE: DEVELOPMENT

SELECTION CRITERIA

The selection criteria has been revised from Case Study 1.0, based on the results i was able to achieve from the new set of iterations. The new selection criteria for these iterations has subsequently developed and become more specific due to narrowing down the iterations and having a clearer idea of the what i am wanting to achieve.

The new selection criteria revolves around wanting to achieve an aesthetic effect that is not only innovative in its design but also frames the nature that it is apart of. Therefore, the selection criteria will rely on the ability to be able to walk through the area, indicating the successfulness of the intermixed relationship between the nature and the structure.

Furthermore, identifying the iterations with interesting, innovative patterns will also fulfill the selection criteria bearing in their mind of being constructed and fulfilling the environmentally friendly materiality objectives. The patterns need to have the potential to frame the solar panels and therefore cannot be too intricate as they might fail in accommodating solar panels and hence limit the potential of generating renewable energy.

TECHNIQUE: DEVELOPMENT This iteration resembles an ‘igloo’ like structure.

The pattern that was projected onto the shape, is indicative of the form found in the South Pond project

by Studio Gang. In terms of architectural application and fabrication, this iteration could be fabricated into a real life model. Whilst,the pattern achieved is highly aesthetic and would work effectively with fitting solar panels, it is not organic, as its pattern shares too much resemblance to the Studio Gang project.

This iteration is a development from the single dome ‘igloo’. This iteration highlights an accumulation of two domes with the pattern being projected onto the surface. I find that this iteration could be a usable space on the site as it provides two usable spaces.

Whilst, i enjoy this pattern, i realise that it shares too much similarity with the South Pond pavilion.

Similarly, this iteration shares the accumulation of two domes as the base shape. The variable that has been altered here is the skin. a Pattern consisting of squares with circle insets has been projected onto the surface. Considering the need to have clear transparent surfaces and surfaces that are covered in solar panels, this iteration fits the brief, as the circle insets could fir the solar panels. I recognise this design as having some aesthetic appeal that could produce some interesting shadows from sun directing onto the skin.

The last iteration that has been recognised as the most successful. The exterior skin projected onto the surfaces of the three domes has been recognised as being the most aesthetically pleasing. This iteration demonstrates an accumulation of three domes, which if fabricated would provide a multitude of different user areas and the users experience would change through each dome.

Furthermore, the exterior skin suits well for solar panels to be fitted in as well as translucent glass panels.

TECHNIQUE: PROTOTYPE 1

To begin to think about materialisation, it is necessary to look at the proposed design in detail to explore the arrangement and structure of the external covering.

Firstly, i drew up some sketches of how the structure would be connected together. From analysing the overall structure, i decided that an assembly notch system would work best.

From ascertaining the joint system, i sent off the file, where the components were individually layed out to be laser cut. Prototype one was laser cut on 3mm MDF. I found that assembly of the notches in between the intersection points was quite a struggle.

The interlocking system was not working as well as intended and to solve the issue, and PVA glue had to be used to cement the joints together.

TECHNIQUE: PROTOTYPE 1

I have established that the composition of my design will be in most part wooden components. Therefore i believed that it would be most appropriate to prototype in a form that was closely representative to the form itself. Therefore for Prototype 1, i used MDF. The MDF allowed me to create components of the external layer and see how they best fit together and identify the assembly sequence. Though this process, i was able to test the tensile strength to realise whether the components would hold the tensile strength. The tensile strength of prototype 1 was tested by applying some finger pressure, from which the interlocking system worked well as the interlocking system did not collapse as the pressure was dispersed across the structure.

The second part of this prototype, was to create the external â&#x20AC;&#x2DC;skinâ&#x20AC;&#x2122; over the structure. The exterior skin was constructed with White ivory card (270GSM).The strips were connected together with tabs but ultimately for further fabrication there would need to be a detailed joint system.

Ultimately, this prototype was constructed as i wanted to test the shadows that were produced when light was projected onto the prototype. The concept of the design is to produce a light well that can pick up the external skin and reflect it onto the ground. I tested the skin over the structure by projecting a torch onto the prototype. The skin would be indicative of the glass components of the structure, so it is important that the sun would be able to project through the structure.

The prototype was tested under winter and summer sun to see if similar shadowing/lighting was achieved.

TECHNIQUE: PROTOTYPE 2

Prototype two was constructed with 1mm Box-board.

The assembly process for both structures (Prototype 1 & 2) was similar, using the same method. The assembly process for both comprised of the horizontal components being arranged first and then adding then interlocking with the vertical components.

Similarly as Prototype 1, the interlocking system needed glue for them to properly stick together.

I found this prototype with the box-board to not be as sturdy as prototype one, with the end bits struggling under pressure. There is the possibility for this prototype to work, which it would need to be embedded into the ground. The ability to take a â&#x20AC;&#x2DC;skinâ&#x20AC;&#x2122; on top decreases and therefore less pressure can be applied. Therefore, it was deduced that the MDF, was a lot studier and could take heavier loads and showed no signs of cracking when pressure was placed on it.

TECHNIQUE: PROTOTYPE 2

This prototype used the shell from the 1mm Boxboard and applied the skin on top of it. The skin was constructed with Black ivory card (270 GSM).

Similarly, the skin, a series of ivory card strips were connected with tabs, however they would need a detailed joint system if they were going to be fabricated for real life construction. The black ivory card skin was representative of the solar panels.

Prototype, it produced dark areas in the internal area, as seen in the photo directly above.

The idea for this prototype was to also testing the shadows produced when light was projected onto the structure. This prototype was tested under the summer and winter sun to ascertain whether sufficient lighting/ shadowing was achieved. From the prototype, it was realised that sufficient lighting was achieved within the dome when the summer lighting was projected onto it.

Here, the structural grid was reflected onto the ground.

However, when the winter sun was reflected onto the

I have realised that instead of having two ‘skins’, the internal structural skin, and the external aesthetic skin, the design needs to incorporate both skins into the one structure. This can be achieved by altering the structural skin to incorporate the desired pattern so that the translucent glass panels and solar panels can be inserted into. I have noted through this process that when the structure is thicker the gaps in between can be bigger, and hence the solar panels/glassing can be larger (less joints, optimising efficiency) producing a cleaner aesthetic look.

Connecting the external ‘skin’ to the structure proved difficult and did not work as well as anticipated. Therefore, i have deduced, that from extensive testing with prototypes, the design needs to be changed and simplified.

TECHNIQUE: PROPOSAL

My design concept is in response to the LAGI design brief which is to create a sculptural land art which is visually pleasing on what the LAGI website has identified as a virtually flat site. The site is located in a rather industrial area, making the adjoining buildings lack in character and design. Whilst there is no underlying design theme other than the bland nature of the industrial buildings, the intention is to create a structure that will draw and entice people to the site.

The Refshaleoen site, is a reclaimed site and provides a perfect opportunity to make a statement through art and architecture about renewable energy. The site provides the perfect opportunity to achieve certain LAGI targets such a promoting the generation of renewable energy whilst challenging the notion that building green diminishes the aesthetic outcome and to ultimately inspire and educate the public about the scope of potential in sustainable design.

SITE CONTEXT

LAGI SITE

The site is located across the river from local icons of cultural significance in Copenhagen, such as â&#x20AC;&#x2DC;The Little Mermaidâ&#x20AC;&#x2122;. My design aims to make a connection with the cities cultural and heritage landmarks. In doing so, the design gives the users the opportunity to fully understand the city they live in by utilizing the views from the design. As the topography of the land is quite flat, i will be utilising the views on the ground level. The sculpture intends to shape the site around it and not isolate the users to be removed from the surroundings they are in.

SITE ANALYSIS

entry point Summer sun

bus stop winter sun ferry port

Addressing the site and its relationship with the designed environment, there are various factors that need to be considered.

The first was the servicing entry and arrival points and integrating them into the design. As such, the pathways throughout the design connect the water taxi terminal at the south west of the site, the bus stop at the south east end of the site as well as another point along the eastern boundary.

The topography of the site was also analysed as the topography of the land for any given site directly affects what can be designed and what can ultimately be realised on the site. However, the LAGI site, as referred to on the website refers to the site being as virtually flat, which meant that the design or structure did not have to be altered drastically to accommodate for this.

Site analysis through the use of supplied documentation and research informed the design process as it helped ascertain a sun path diagram. Copenhagen has only 17.5 hours of sunlight during the summer, and 7 hours of sunlight during the winter.

Through this process of data collection and site analysis, the potential of our design is informed and we can make decisions about the location of the design, how to use green spaces and where to provide shelter, as well as how to integrate the energy generation technique into the design site.

Although solar energy is not used in Copenhagen, the sun path diagram is still important to the conceptual design approach. The maximum and minimum hours of natural light in Copenhagen inform how much artificial lighting the design proposal needs.

FORM: GENERATION

1) Establishment of a ‘path’ on-site that connects the ferry dock to the bus stop and the foot path.

2) The domes ‘igloos’ were arranged along each of the three paths in ascending order to the ‘centre point’ which is placed at the middle intersect of the three paths.

2) Once the domes were aligned correctly, the pattern ‘skin’ was projected onto the structure.

TECHNIQUE: PROPOSAL

TO DESIGN A SPACE THAT CONTRASTS THE STATIC NATURE OF THE SURROUNDING INDUSTRIAL AREA.

MOVEMENT SECTIONING

ORGANIC FORM

INFLUENCING FLUIDITY AND MOVEMENT ACROSS THE SITE

NATURAL TOPOGRAPHY

CIRCULATION

RENEWABLE ENERGY

ENCOURAGE FLUID MOVEMENT THROUGHOUT THE SITE

SOLAR

SPATIAL EXPERIENCE INTERNAL VS EXTERNAL LIGHTING MOOD

TECHNIQUE: PROPOSAL

The design at the Refshalaoen, a reclaimed piece of land, needs to be a man made attempt to reconcile users with their natural environment through their active contribution to renewable green energy.

Due to the exposed location of the site, i have decided on solar as the energy generation form. The proposal is in response to Copenhagen’s already carbon neutralising city and its need to continue on its green agenda. The proposal is an innovative glass structure that is comprised of a series of ‘domes’ with a variety of purposes. The aim behind the concept was to create a series of pathways on the site connecting the ferry dock to the road and the bus stop. The design is a series of three paths that intercept in the middle ‘centre point’. The paths are made up of a series of ‘domes’ that gradually get bigger in ascending height, where they reach their peak at the centre point, which is directly in the middle of the site. The domes do not only serve as a walk-able area, but as a versatile space that can be used as an art gallery space or serve for other communal and recreational purposes. The domes are arranged in an alternate order consisting of an open glass dome, allowing the natural light to project through the ‘skin’.

Following on from a glass dome, the user, will walk through a dome, covered in solar panels, which will be internally lit to counteract the the solar panel exterior. The domes are designed in an alternate order and varying height difference to create interest from the outset (external view) and ultimately enhance the users experience.

The drawbacks of producing a scale project of this size, is constructing it on site using large amounts of inefficient materials. My proposal counteracts these problems through the proposal to use Eco-friendly materials such as kebony timber, which will allow for the project to be largely prefabricated off-site and joined on-site.

The benefits of this construction method is that the components of the structure can be easily dismantled.

The proposal aims to achieve certain targets such as promoting the generation of wind energy, to challenge the notion that building green diminishes the aesthetic outcome and to ultimately inspire and educate the public about the scope of potential in sustainable design.

DESIGN REFLECTION The feedback i received from the interim proposal was very valuable in terms of where to take the design and how to take it further. The feedback provided from the proposal was that while the iterations were good, i need to look into the shape of the design more.

The assessors said that the proposal had good technical development and the ability of testing different options.

They believed that the prototypes produced were good as they tested different joints and tectonics.

The solutions that i was provided with to explore and extend the structure was that there needed to be more interesting variations on the domes that would create more interesting spaces. Architecturally, the design at its current state has not fully explored its aesthetic and experiential potential yet. Therefore, from the assessors critique, i intend to further explore the dome structure by incorporating a unique atmosphere through the lighting, scale and materials rather than just having light and dark spaces as currently proposed.

Further suggestions provided were that some of the domes needed to have some set programmes so that they can be designed to be rigid. Therefore, i intend to go back and computationally modify the form and its structural performance so that it can optimise the userâ&#x20AC;&#x2122;s experience.

In accordance with the design proposal and the interim presentation feedback, i will largely continue with the current design concept which drives my conceptual design response and further develop it and strengthen it in part C. I will be doing so by the exploration and refinement of the current concept and seeing how the spatial relationships as well as the functions of the spaces can be improved. Also further research on the application of the technology must be taken in order to strengthen the design response. By doing so, the design will be able to more effective in communicating its design intent.

LEARNING OUTCOMES In order to adequately to determine my performance to date in Design Studio Air, i am going to refer to the Learning Objectives stated in the Subject guide: Learning Objective1: Interrogating the brief. This subject has provided me with two briefs to adhere to. Firstly, what is outlined by the course, and secondly the outline of the Land Art Generative Competition (LAGI). I have been able to maintain a clear consideration to both of these briefs throughout the design process. This subject has also given me insight into how we are at an age where briefs are changing radically. Current social conditions require the use of new design tools and techniques, new types of structures, new construction methods, and new environmental requirements, placing further importance on the ability to generate and adhere to a brief.

Learning Objective 2: The ability to generate a variety of different design possibilities through the introduction of visual programming, algorithmic design and parametric modelling. This was demonstrated through the different iterations achieved in B2 and B4. The introduction of programs such as Rhino and Grasshopper has allowed me to produce a variety of minutely or vastly different outcomes explored in the different outcomes.

Learning Objective 3: Developing skills in various three dimensional media including computational geometry, parametric modeling and digital fabrication. My competency in three dimensional media has significantly improved from the start of the semester. I now have a solid understanding of how to use Rhino and Grasshopper in relation to what tools are required to preform various functions, understand and produce algorithms and furthermore manipulate it to achieve a variety of outcomes.

Learning Objective 4: Developed an understanding of the relationship between architecture and air, through the interrogation

of the design proposal. When built, the design proposal sits in a physical setting that is exposed to a variety of harsh climatic conditions. The process of putting forward a proposal requires proof that the design is stable and viable. The relationship between architecture and air was tested through constructing tangible prototypes of design components.

Learning Objective 5: Developed the ability to make a strong case for proposals through rigorous and persuasive arguments by the architectural discourse. The ability to argue our design proposal by highlighting similar projects that have eventuated and their success, in relation to what we were wanting to achieve ourselves.

Learning Objective 6: Ability to analyse contemporary architectural projects through conceptual, technical and design analyses. Since beginning this subject, the way in which i view architectural landscape has significantly changed. Instead of just looking at the aesthetic components of a building, I now look and begin to think what programs the architect had employed to design and achieve the specific intent.

Learning Objective 7: Developed foundational understandings of computational geometry. As previously stated, my understanding of computational geometry and visual programming has increased significantly. I believe that this process has been articulated in parametric outcomes, highlighting the development and knowledge with these programs.

Learning Objective 8: Development of personalised repertoire of computational techniques and beginning to understand their advantages, disadvantages and areas of application. I have begun to understand why specific programs are used to complete various tasks and why they are used over alternatives.

REFERENCES TEXT

IMAGES

Benesse Art Site Naoshima, Teshima Art Museum (2014) <http://www.benesse-artsite.jp/en/teshimaartmuseum/> [accessed 26 August 2014].

Figure 1: http://www.archdaily.com/151535/ teshima-art-museum-photos-by-iwan-baan/

Alison Furuto, KREOD/Chun Qing Li of Pavilion Architecture (2014) <http://www.archdaily. com/275460/kroed-chun-qing-li-of-pavilionarchitecture/> [accessed 26 August 2014].

Studio Gang Architects, Nature boardwalk at Lincoln park zoo (2014) <http://studiogang.net/work/2005/ lincolnparkzoo> [accessed 3 September 2014].

Mark Cabrinha, SG2012 Gridshell (2012) <http:// matsysdesign.com/category/projects/sg2012gridshell/> [accessed 16 September 2014].

Figure 2: http://www.archdaily.com/151535/ teshima-art-museum-photos-by-iwan-baan/ Figure 3: http://www.tinylittlesketches.com/ wp-content/uploads/2013/04/teshima-museumryuei-nishizawa-rei-naito-01.jpg Figure 4: http://www.archdaily.com/275460/kroedchun-qing-li-of-pavilion-architecture/jro_9158/ Figure 5: http://nykyinen.com/wp-content/ uploads/2013/02/02/Arch_Kebony_03.jpg Figure 6: http://www.istructe.org/getmedia/ bb6ace60-c392-46e5-8714-2379c78d1f54/kreod-1. jpg.aspx?width=900&height=549&ext=.jpg Figure 7: http://matsysdesign.com/wp-content/ uploads/2012/04/sg2012_ren_skin_03.jpg Figure 8: http://matsysdesign.com/wp-content/ uploads/2012/04/sg2012_ren_skin_01.jpg Figure 9: http://matsysdesign.com/wp-content/ uploads/2012/04/IMG_9422.jpg Figure 10: http://matsysdesign.com/wp-content/ uploads/2012/04/IMG_9420.jpg

A

ALGORITHMIC SKETCHBOOK

The Algorithmic journal for part A comprises designs that were explored in greater detail, but were eventually ruled out for a variety of reasons.

Algorithm one was designed around the purpose of having â&#x20AC;&#x2DC;two pathsâ&#x20AC;&#x2122; on the site that are joined at the middle. However, once undertaking a proper site analysis, i realised that it was not going to suit the site and the functionality purposes it has to meet.

Algorithm two was ruled out for similar purposes of Algorithm one due to not suiting the site effectively. Whilst this configuration was established as not appropriate, it was successful in achieving the ascending height order .

Algorithm three was intended to follow a simple straight line where i scaled the domes to ascending heights from the entrance. The idea here was to create a space where the areas got bigger as you walked through them, allowing a different experience through each dome. However, this configuration was discounted as it was too small on the site.

PART C DETAILED DESIGN

CONTENTS C1

DESIGN CONCEPT

C2

TECTONIC ELEMENTS

C3

FINAL MODEL

C4

LEARNING OBJECTIVES & OUTCOMES

DESIGN CONCEPT

Having received the feedback from the interim presentation in terms of where to take the design and how to take it further. The most valuable feedback received was that whilst the iterations in the case studies produced were good, i needed to look into the shape and design more. Having absorbed this feedback over the mid semester break, i began to think how i could improve and evolve the design.

I deduced that whilst the design proposal in Part B adhered to my original design concept, the feedback i received made it difficult to improve my original design proposal. The common intent from the start of this design has always been to create an experience for the user, a physical and interactive relationship within space that would plant in a subtle manner an awareness about renewable energy and reclaiming unused industrial sites for the benefit and use of the society and environment.

From this point, i realised that my design could no longer just be a ‘pavilion’ or a public meeting place. The design had to have a more specific function and a driving purpose for its existence.

From this point, i realised that my design could no longer just be a ‘pavilion’ or a public meeting place. The design had to have a more specific function and a driving purpose for its existence. This made me realise that the design must have a specific function and a driving purpose for its existence, other than just generating clean energy and being a ‘meeting place’. The purpose must entice users to come to the site and interact with the structure, and appreciate its message.

This section will outline how I have taken on the feedback from the interim presentation and retackled the brief. In this part of the journal, i will be discussing the changes made to the design proposal, the conceptual idea and generation technique.

â&#x20AC;&#x2DC; One of the great beauties of architecture is that each time, it is like life starting all over againâ&#x20AC;&#x2122; -Renzo Piano

DESIGN CONCEPT

Reviewing the design concept, and altering it to create a space with a ‘specific’ function, i have altered the design with the primary focus of creating a usable space that will consist of a series of thermal baths on site. The thermal baths will not only serve as a specific purpose for people to come to the site, but it will take advantage of the four distinct weather seasons experienced in Copenhagen by providing thermal baths catering for each season.

The inspiration behind this new concept, is that ‘Therme Vals’ in Switzerland designed by architect Peter Zumthor1.

Therme Vals is a spa designed over the thermal springs in the Graubunden Canton providing a complete sensory experience2. The space was designed for visitors to luxuriate and rediscover the ancient benefits of bathing.

The combinations of light and shade, open and enclosed spaces, and linear elements make for a highly sensuous and restorative experience3. The underlying informal layout of the internal space is a carefully modelled path of circulation which leads bathers to certain predetermined points but lets them explore other areas for themselves. The perspective is always controlled. It either ensures or denies a view4.

FIG.1

Looking at this precedent, i was inspired by the idea of incorporating water in the design in order to mediate an interaction between users, context and building.

Through this interaction, not only an experience of space would be gained, but the implementation of the energy generation technique would have to fit into this relationship in order for it to function. The energy generation through solar energy would ultimately heat the pools.

FIG.2

1,2,3,4

Peter Zumthor, The Therme vals, (2009)

FIG.3

DESIGN CONCEPT

In relation to the project, i have chosen solar panels for the energy generation technique, because of the efficiency to produce heat, as well as the ability to incorporate them into the design. The recent evolution of solar technology has seen solar products hitting the market that has made it easier to integrate clean technology into our daily lives 1.

Traditionally, solar power panels have often been conceived as an additional layer in architecture where they are added onto existing architecture in large pieces2. Whilst there are some exceptions, often these solar panels jar out compared to the rest of aesthetics3.

Traditionally, to achieve energy generation in a building you would have to trade aesthetics for eco credence.

However, of recent times, photovoltaic solar systems have been introduced. The photo-voltaic cells are integrated within laminated glass panels. They are arranged in a grid of rounded squares, with spacing in between that allows natural light to fall in, achieving sunlight, shade and power in the one go. The photovoltaic cells are elegant and can easily be incorporated into the design of a building design as seen in Figure 4 &5.

Figure 6, highlights how solar panels have become central focus and ‘talking’ points in the aesthetics of some architectural projects. The Ferdinand Braun Institute for High Frequency Technology in Figure 6 shows how the solar panels are entirely self contained, not requiring any substructure. The solar panels in this project composed of a protective flameless glass exterior layered over an enclosed solar module. Photovoltaic solar technology has demonstrated that it does not only serve as fulfilling generating renewable energy but also be able to produce architecturally exciting designs on an aesthetic level.

1,2 Gems Sty, ‘Architecture | Gems Sty’, 2014 3 Inhabitat.com, ‘Uber-Thin Modular Solar Panels Energize Any Building’, 2014

FIG.4

FIG.5

FIG.6

DESIGN CONCEPT 1) Established the topography for the site (5 metres at the highest point in the middle of the site).

2) Once topography has been established, the 6x domes were poly arrayed around the site, in which each space was defined as according to the sun.

3) Once correct proportions have been established, the main dome connecting the 5 thermal domes was created.

4) Next, the 2nd pattern was formed to create the â&#x20AC;&#x2DC;ribbonâ&#x20AC;&#x2122; structure and then projected onto the domes. Once it was projected onto the domes, the pattern was extruded in order to give it some volume.

5) Once the exterior surfaces and domes were establised, the internal thermal baths had to be created. The area space was established in one and repeated for the remainding domes.

6) Final step was to apply the pattern to the largest dome.

MATERIALITY

The Land Art Generative Initiative in Copenhagen is a competition that provides myself and other students of Design Studio Air, a platform for thinking about innovative ways of generating renewable energy. As aspiring architects of the 21st century, it is paramount to consider sustainability in our designs, as the world is becoming more conscious about their designs and minimising their impact on their environment.

At the forefront of environmental sustainability is Copenhagen. Copenhagen will become the first carbon neutral capital by 2025. To achieve this goal, extensive retrofitting of buildings, reorganization of the energy supply and change in transportation habits are some of the many initiatives that the City of Copenhagen is currently implementing in order to become carbon neutral by 2025.

As the green transition is high on the Danish governmentâ&#x20AC;&#x2122;s agenda, there is still a great need for the development of new ideas, concepts and solutions in order to transform Copenhagen into a green future without sacrificing the standard of living or quality of life. The Land Art Generator Initiative challenges the conventional notions of the paths to a green transition proposing that renewable energy can be beautiful and that public artwork can have an ecologically positive impact over its life-cycle.

FIG.7

The main goal behind LAGI is the design and construction of public art installation that has added benefit of large scale clean energy generation. The public space has to enhance the community, increase the liveability of the city and stimulate local economic development. Therefore materiality is a huge factor in achieving a sustainable design.

FIG.8

FIG.9

MATERIALITY

The primary layer of the structure is constructed out of Kebony timber. Kebony timber is a revolutionary external timber product. It is a sustainable made product made more durable, stable and aesthetically appealing through the infusion of biowaste (a process called Kebonization, that permanently modifies the cell wall of timber.)

Kebony timber has been chosen for a variety of reasons including its great resistance to weather, wear and decay.

Kebony timber products have a low carbon footprint and operate with low life cycle costs as they require no form of maintenance beyond normal cleaning.

The Kebony timber products are achieved through k\ Kebonization. Kebonization is the process in which the wood properties are enhanced to become harder and more stable, with improved durability. I have identified that because materiality is such as important factor as the design and energy generation itself, that Kebony timber is a solution for the future. It is a solution that satisfies the demand for innovation in terms of quality, aesthetics and environmental friendliness. Further to this, Kebony timber tolerates harsh environments.

One of the many successful examples of where Kebony timber has been used is with one of my precedents, the ‘KREOD’ pavilion in London. The KREOD pavilion has created a structure, primarily out of Kebony timber that is an innovative application of experience and knowledge demonstrating a design function that was aesthetically, functionally, economically and environmentally friendly.

Each timber component of the KREOD pavilion, is bolted together. KREOD timber is further appealing as the ‘ribbons’ can be mantled and dismantled on-site, minimising the building impact on the site, as majority of the structure can be pre-fabricated off-site.

FIG.10

FIG.11

FIG.12

CONSTRUCTION PROCESS 1) Clearing of the site of any lose debris.

2) Once the site has been cleared of lose debris, the topography needs to be built as per topography schedule.

3) Positioning of each thermal bath marked out on-site in order to ensure that positionng is correct before concrete is poured for the baths.

4) Excavation of earth for thermal baths. Once excavated to correct depth, trench mesh, bar chairs and piping laid for concrete 5) Reinforced concrete slab poured for the 5x thermal pools.

6) Kebony ber â&#x20AC;&#x2DC;ribbonâ&#x20AC;&#x2122; p prefabricated ed off-ste. Once been construc are delivered to begin ass proces

14) The final open air structure that â&#x20AC;&#x2DC;connectsâ&#x20AC;&#x2122; the 5x domes together is prefabricated in kebony timber off-site and crained and bolted in 13) into place.

Internal fixtures for the change rooms are installed including plumbing, showers, change rooms etc.

12) Frosted glass panels installed into place on the smaller dome used for toilets.

11) Photovoltaic cells are connected to the internal pipes that transport the generated solar energy to the thermal baths & external 10) grid.

The solar Photovoltaic panels are installed into the other 2x domes and are mounted into the support frame.

9) 3x domes are installed with the translucent UV protected glass panels. The panels are mounted into place.

timpods are 8) and treatConnection of e they have prefabricated ribcuted, they bons through the d on-site 7) bolt joint system. sembly Set of anchor points ss. for each dome are installed into the ground, placed even spacing aorund the thermal baths.

TECTONIC ELEMENTS

The prototype that i endeavoured to test was the ‘ribbons’ which are the main construction component of the domes.

It was important for me to test and prototype this element because the ribbons are repeated all across the structure.

The ribbons, intended to be Kebony timber in real life need to be tested to see how they bend to achieve the intended shape as designed and how they will ultimately connect and link together. Therefore, i tested a scaled version of the real life ‘ribbons’ using 3mm MDF which i got laser cut. Because timber products are not rigid and therefore are very hard to bend, i had to brainstorm how i would achieve the desired shape.

Kerfing, allows to easily bend wood. The ‘Kerf’ is the slot cut by the blade as seen in Figure 7. The process of Kerfing allows to create particular shapes and curves with otherwise rigid materials. The prototype was to test how the ‘ribbons’ would connect to each other, which would very well using the 18mm bolts. The bolts held the MDF strips together and allowed them to be connected to each other with relative ease.

The second variable to test was once the bolts had been attached and the strips were connected together to form one ribbon, was to see if the desired curve was able to achieved. To test this, hand pressure, as seen in figure 9 was placed at either end, forcing the pressure in, which would ultimately create the ‘curve’. Figure 9 demonstrates that whilst there was a curve created, the fluidity of the curve was not achieved and therefore the desired shape couldn’t be achieved. This explanation for why this happened was because there were not enough ‘kerfs’ in the MDF and as a result, the MDF was still too rigid,causing it to not curve properly under the pressure. Figure 8 demonstrates, that a curve was somewhat achieved, only when pressure was placed in the middle, from which some of the kerfs snapped because too much bending pressure was applied.

FIG.13

FIG.14

FIG.14

SUMMER VIEW

INTERIOR VIEW

WINTER WINTERVIEW VIEW

FINAL MODEL

1:20 STYRODUR FINAL MODEL

FINAL MODEL

1:20 STYRODUR FINAL MODEL

TECTONIC ELEMENTS

For the final prototype, there was the continuation to refine the prototype of the ribbon ‘pod’ structure. It is important to resolve this prototype in its entirety, because resolving this element will provide a clear indication of whether in-fact this design is viable and any issues that may have needed to be overcome. This is exactly what the final model prototype did. It smoothed out the issues that were experienced from the first prototype.

Whilst the first prototype of the 1:50 ribbon ‘pods’ was quite successful in terms of resolving the bolt joint system, which was refined and didn’t need to be altered, the rigidity of the strips had some issues. What we experienced was that the strips with the ‘kerfing’ were not rigid enough. There was a 50/50 balance with kerfing and just plain MDF, which proved that the amount of kerfing was not enough to achieve the desired shape.

FIG.16

Therefore, the refinement that needed to happen included resolving the kerfing system for each panel. The kerfing was increased to cover the entirety of each panel, leaving space for joint system. Upon connecting the strips to make one ‘ribbon’, it was realised that the prototype was successful and that the desired curvature was able to be achieved without pushing the wooden strips to breaking/bending point.

Secondly, the cover for the pods needed to be tested. For this perspex sheets in black (photovoltaic solar panels) and clear (translucent glass) were cut to appropriate sizes for the 1:20 scale. The sheets were mounted in place, from which the kerf strips moulded the translucent and solar panels.

Once one pod was configured, a series were connected together, both horizontally and vertically to see how they would hold in place. The final prototype of the ‘ribbon’ cells demonstrate that the construction method is in fact viable, which was resolved through the prototyping stage.

FIG.17

FIG.18

â&#x20AC;&#x2DC;Parametric design is a paradigm in design where the relationship between elements are used to manipulate and inform the design of complex geometries and structuresâ&#x20AC;&#x2122;

PRESENTATION FEEDBACK

Overall the feedback received from the ‘Termiske baths’ Part C presentation was overall relatively positive. I believe that Philip and Rosie were overall pleased with the design and saw the concept behind the thermal baths had merit. I also believe that the final proposal for Part C, was a vast improvement from my previous proposal in Part B. This is because, i believe the new concept really substantiated the idea that it would draw people to the site, not only for its energy generation methods but also because of its thermal baths that have been designed to cater for all times of the year.

the interior atmosphere was not only explained but conveyed through an additional render. The renders, were completed to the best of my ability and i was unable to improve the existing ones due to the lack of ability. This is something that i want to work on for future subjects. However, this semester, i have had to largely concrete on improving my skills on Rhino and the introduction of Grasshopper so i was unable to further develop my render skills. I am looking forward to getting familiar with better render tools such as ‘VRAY’ which will hopefully allow me to produce better renders.

Due to Copenhagen having a large variation of weather temperature during the winter and summer months, i thought it was integral to really design a space that would be usable under all weather conditions. I believe that i was able to communicate this idea well and overall gained the support my the accessors that this concept and good merit behind it, believing that it could work well.

Secondly, there was some criticism that the domes share too much similarity in regards to their aesthetic appearance, which clashed with the different descriptions of each dome having a unique experience.

In defence, the aim was to make a clear distinction between the domes that were covered in the Photovoltaic solar panels (2x) and then the domes that are covered in just translucent glass panels (3x). The experience from the translucent UV glass domes and the solar panels domes was aimed to be recognisable. The solar panels domes create a space that is less dictated by the views outside and therefore provide a more closed off and ‘cosy’ experience. The translucent glass domes, are unique in each way by having different outlooks of the site. Therefore a uniformity in its aesthetic has been created which unifies the pavilion on a whole, and a differentiation is created through the different temperatures of the thermal baths which ultimately dictates the user experience and how they feel.

However, whilst the overall criticism was positive an a vast improvement from my part B presentation, there was some feedback provided in regards to the renders and overall concept. The feedback i received was that the renders could be improved a bit and include one showing the interior atmosphere of the domes. From that feedback, i realised my renders didn’t show the interior atmosphere of the thermal baths and therefore i was able to complete one more render to ensure that

â&#x20AC;&#x2DC;Through my course of development through studio air, i have been forced to stand back and criticise myself as a future designerâ&#x20AC;&#x2122;

LEARNING OUTCOMES I believe i was able to achieve all eight learning outcomes throughout the duration of this subject in these ways: Learning Objective 1: This subject provided me with two briefs to adhere to. The first was that outlined by the course, and the second that of the LAGI competition. I have maintained clear consideration to both of these briefs throughout the design process. This subject has also given me insight into how we are at an age where things are changing radically. Current social conditions require the use of new design tools and techniques, new types of structures, new construction methods, and new environmental requirements, placing further importance on the ability to generate and adhere to the brief.

Learning Objective 2: The ability to produce a variety of different design possibilities through the introduction of visual programming, algorithmic design and parametric modelling. Learning how to use programs such as Rhino and Grasshopper has provided me with a platform to create a variety of either minutely or vastly different design outcomes.

The range of possible outcomes produced is evident in the series of iterations i was able to produce.

Learning Objective 3: My competency in three dimensional media has developed from little experience with Rhino and Grasshopper, to being able to understand how to use the programs, where the tools are, and what tools are required to preform various functions, understand algorithms, produce algorithms and identify how to manipulate it to achieve a variety of outcomes. My skills have vastly improved in the domains of computation geometry and parametric modeling, which is an accomplishment i am proud of.

Learning Objective 4: I have always understood the relationship with architecture and air and the way in which architecture reacts with the space (environment) around it. I believe that i was able to create a strong link with he final proposal and the environment surrounding it, ensuring that the final design did not look like an eye sore and the materials and design chosen were very sympathetic to its surroundings.

Learning Objective 5: I think my ability to think critically and argue persuasively has been developed over the course of the journal. I believe that i was able to produce a convincing case with my final proposal for Part C. I also believe that i was able to identify the key factors that make my proposal unique and viable source for producing renewable energy, presenting the case in a way that would generate interest around the project.

Learning Objective 6: This subject and particularly my journal has allowed me to develop capabilities for â&#x20AC;&#x2DC;conceptual, technical and design analysesâ&#x20AC;&#x2122; of contemporary architectural projects. I believe that i have been able to critically analyse work by seeking out precedents, as evident throughout the journal. Not only have i been receptive in the critical analysis of the design precedents, but have taken this approach in analysing my own work and the overall design brief for this brief.

Learning Objective 7: My understanding of computational geometry and visual programming has increased significantly since the start of this subject. The weekly ex-lab tutorials assisted in the development of my skills allowing me to design more efficiently. I gained an appreciation and understanding of these design parameters, and how they differ from the traditional approaches of design that we have previously been exposed to whilst studying at the university. My gained knowledge in these domains has been articulated in my writing, parametric process diagrams and parametric outcomes.

Learning Objective 8: I believe that i have gained a clear understanding of what programs are the appropriate ones to use for various tasks and why they would be used over other alternatives. I believe that i have acquired a good repertoire of what tools are required to preform relevant tasks. I think that through further practise and refining of my skills, i will continue to develop my repertoire of skills that will allow me to improve and further push myself with the computational programs.

REFERENCES

TEXT

IMAGES

ArchDaily, ‘The Therme Vals / Peter Zumthor’, 2009 <http://www.archdaily.com/13358/thetherme-vals/> [accessed 29 October 2014]

Figure 1: http://upload.wikimedia.org/wikipedia/ commons/b/b7/Therme_Vals_outdoor_pool,_Vals,_ Graub%C3%BCnden,_Switzerland_-_20090809.jpg

Gems Sty, ‘Architecture | Gems Sty’, 2014 <http://gemssty. com/category/architecture/> [accessed 29 October 2014]

Figure 2: http://nummynims.files.wordpress. com/2009/05/therme-vals-1.jpg

Inhabitat.com, ‘Uber-Thin Modular Solar Panels Energize Any Building’, 2014 <http://inhabitat.com/ uber-thin-modular-solar-panels-energize-any-building/ sulfurcell_solar_cladding7/> [accessed 29 October 2014]

Figure 3: http://ideasgn.com/wp-content/uploads/2013/04/ Therme-Vals-Switzerland-by-Peter-Zumthor-006.jpg Figure 4: https://www.ecn.nl/typo3temp/pics/9a2d4826ff.jpg Figure 5: http://gemssty.com/wp-content/ uploads/2013/01/light-thru-kowa.jpg Figure 6: http://inhabitat.com/uber-thin-modular-solarpanels-energize-any-building/sulfurcell_solar_cladding7/ Figure 10: http://designermaterial.com/blog/wp-content/ uploads/2014/04/kebony-material-kreod-sculpture1.jpg Figure 11: http://www.materialscouncil.com/wp-content/ uploads/2013/06/MC_Engineered_nature_9.jpg Figure 12: http://www.landud.co.uk/wp-content/ uploads/2013/02/Kebony-Bexhill-Beach-Shelters.jpg

ALGORITHMIC SKETCHBOOK

This Algorithmic sketchbook showcases my designs that didnâ&#x20AC;&#x2122;t make it into my journal. After my presentation for Part B and the feedback that i recieved about having to having to re-think my design, i had to brainstorm about how i could improve my original concept.

During the mid-semester (non-teaching) break, i brainstormed about where i could take my proposal and decided to act on it by exploring a new design.

The focus was to concentrate less on creating a series of paths and instead to incorporate a space that provides more of a user interaction and would specifically entice people to come there.

From site analysis, i decided to re-define the paths where they were less prominent, and add in a new element, a thermal bath. As seen in the images, i had designed a set of three baths, that gradually get smaller and meet in the middle of the site, at an elevated position. The paths lead to thermal bath/whirpool that is also in the middle of the site at an elevated position.

To incorporate solar panels into the design, i designed a canopy that would cover the thermal bath, also protecting it from external forces (rain, hail, snow etc).

This design allowed me to take something to Philip and seek his opinion and feedback. His feedback was that whilst the thermal baths was a good idea, the paths leading could be scrapped in favour for a series of thermal baths. Also, Philip expressed that the Canopy was structually weak. The feedback recieved was all relevant and allowed me to further develop the idea, which ultimately lead me to the final outcome and what i presented as my final concept.

AIR