Frohlich_natasha_588336_FinalJournal by Natasha Frohlich

STUDIO AIR 2014, SEMESTER 2, TUTOR: Philip Belesky STUDENT NAME: Natasha Frohlich

Table of Contents 4 Introduction 4 About me

32 Part B. Criteria Design 34 Material Systems 38 B.2. Case Study 1.0

6 Part A: Conceptualisation

40 Matrix 1

8 A.1. Design Futuring

42 Successful Experiments

8 LAGI Precedent 44 B.3. Case Study 2.0 10 LAGI Precedent 46 Reverse Engineering 12 A.2. Design Computation 48 B.4. Matrix 2 13 Benefits of using computers

52 Successful Experiments

14 Design Computation 54 B.5 Technique Prototypes 15 Precedent, HSBC Building 16 Precedent, Heydar Aliyev Center

56 B.6. Design Proposal 62 B.7.Learning Objectives & Outcomes 63 A.6. Appendix

18 Precedent, Guggenheim Museum Bilbao

64 References 66 Part C. Detail Design

20 A.3. Composition/ Generating 68 C.1. Criteria Design 20 Shift from composition to generation

70 Response to brief 72 Panels

21 Precedent, God’s Eye 22 Parametric modelling and design 23 Santiago Calatrava 24 Precedent, Guangzhou Opera

74 Colour & Transparency 76 Design Shape & Vegetation 86 C.2. Tectonic Elements & Prototypes 92 C.3. Final Detail Model

25 A.4. Conclusion

98 C.4. Learning Objectives & Outcomes

26 A.5. Learning Outcomes 27 A.6. Appendix - Algorithmic Sketches 29 References

100 References

Introduction

About Me My name is Natasha, and I am currently a 3rd year student at the University of Melbourne, majoring in Architecture. I have always been interesting in Art, Architecture and other Creative fields and found that growing up in Hong Kong allowed me to explore all my hobbies in a culturally rich manner. Not only do I enjoy architectural design, but am highly fascinated by painting and photography. I find the works of architects Daniel Libeskind, Zaha Hadid and Shigeru Ban to be compelling, in particular the : - Michael Lee-Chin Crystal (Libeskind) - Heydar Aliyev Center (Hadid) - Japanese Pavillion at Expo 2000 (Ban) I have previously worked with Rhino in two different subjects and found that the range of techniques/ tools to be intriguing and interesting to work with. In a previous subject I experimented with Panelling tools and unrolling / exporting CAD files to be used in architectural modelling. In the prior design studio â&#x20AC;&#x2DC;Earthâ&#x20AC;&#x2122;, I worked with Rhino to create my final design (as shown in figure 1). I find that digital architecture allows architectural designs to be taken to the next level through creative development processes that could only be accomplished through digital design. Fig.1

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Fig.2

Fig.3

CONCEPTUALISATION 5

Fig 4

Part A . Conceptualisation

A.1. - Design Futuring

Fig.5

The Living Ribbon -Artist team: Brett MacIntyre and Adam Pelissero -Location: Halifax, Canada -Energy technologies: Photovoltaic thin film and fog harvesting nets -Annual Capacity: 1,500 MWh About the Living Ribbon: • 1.6km in length • 15m in width • Surface area calculates to 24000m square

CONCEPTUALISATION

The living ribbon was inspired by the native flora and fauna , and seeks to improve the salinity of the water being distributed along the coastline. Over the years, the life that thrives along the coastline has been affected by global warming and climate change, thereby killing and decreasing the plant life along this area. The ribbon will act as a balance between the earth and sky, as well as the sea and land. By utilizing photovoltaic panels and fog harvesting-nets. The structure will be able to harvest moisture from the air for surrounding plant life , as well as generate up to 888kW of solar energy per day.

Fig.6

This design contributes to the field of ideas because it integrates two technologies, one that acts as a tension, and another that acts as compression. In doing so, this design has allowed for ‘tensegrity’, which not only minimizes the number of connections to the ground (therefore decreasing negative impacts on the site through constructing a foundation) but also allows for a multiple technologies and an increase in energy harvested. Although this structure was never built, similar technologies have been considered for other parts of the world, for instance, Miami. In an article by the “Sustainable Business News”, notions and design ideas of a ‘climate ribbon’ have been considered. Similar technologies are being considered in city planning and within skyscrapers. This goes to show that the theory is appreciated and that there are possibilities for expanding upon this design in future years.

Furthermore, the design of the ‘Living Ribbon’ wishes to commemorate the natural beauty of Abu Dhabi’s landscape and provide fresh water for the ecosystem. The use of fog harvesting nets is especially interesting, as it allows for fog to pass through the nets and condense, creating water droplets. These droplets will be able to provide water for the surrounding flora and fauna, as well as help stabilize the salinity of the water along the coastline. Not only does the design wish to improve upon the sites natural habitat, but also seeks to improve outwards.

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A.1. - Design Futuring

Fig.7

The Solar Cairn

Artist Team: Julianne Brown and Christian Brown – Onion 3D Design Artist Location: New York City, US 2012

CONCEPTUALISATION

The Solar Cairn features semitransparent shapes that form an oval structure. These shapes are constructed from photovoltaic thin film, stationed over varying sizes of curved frames. The Solar Cairn is located on a hilltop and is intended to be used by both people and native animals, as the structure caters for both. The structure is stretch across 5 acres of land along the LAGI design site and seeks to commemorate the freshkills landfill. Not only does the design act as a reminder of the negative consequences of “over consumption”, but also serves as a beacon of hope towards renewal and the future.

Fig.8

The design creates an outer body experience, as it mentally transports its visitors from the past, to present and the future. The interior space features varying surfaces, which are created using recycled materials. I believe this design is radical in its way of thinking, as it utilizes these many recycled materials to allow for drainage on the site.

This design contributes to the field of ideas by utilizing radical technologies in different ways. Not only does it collect and store energy, but the 17ft curved panels are fastened to the ground using a mesh grid. This mesh grid allows for easy drainage and a reduction in erosion levels. Moreover, the mesh allows local birds to rest on the site, creating harmony between nature and the structure.

Furthermore, the design is integrated with Oak trees, which provides acorns as a source of nourishment for local wildlife. This incorporation into the design of the site emphasizes its unity between humans and nature. The photovoltaic panels not only act as a shading device for visitors, but also transform sunlight into energy.

Lastly, this design could be expanded for future possibilities by being incorporated into playground and parks. The design is not only aesthetically pleasing, but could also provide solar energy.

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A.2. - Design Computation

Fig.9

CONCEPTUALISATION

The benefits of using computers in the architectural design process: There are numerous benefits to using computers in the architectural design process, not only does CAD and CAM allow for quick and easy changes to architectural designs, but it also benefits the design process. Computing in the architectural design process allows users to “generate and explore architectural spaces”, therefore enabling users to explore there design from both exterior and interior perspectives. This benefits designers by allowing them to visualize, construct and experiment with spaces without having to physically build models. Computer aided design allows for designers to experiment with their designs in an easy and flexible nature. For example, A single design can be altered and if the outcome is not desirable, reversing the change is only a few clicks away. This not only saves time and money, but allows for a greater understanding and development of the design process. Furthermore, software, such as Rhino and Grasshopper, allow for the community/ users to share their experience with the company. This enables programs to benefit from the learning experience of its users, as well as store information that could improve the software, and Furthermore, allow for templates and guidelines. By incorporating computing into architectural design, computing can re-define the design practice by taking design a step further. These programmes allow users to easily write and modify designs and experiment with different materials and colours, thereby experimenting with the aesthetics of the model without actually having to physically build one. “When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture” Computation also allows for unique opportunities and innovative designs by allowing designers to fabricate their designs/ models from the computer blueprints. This unique opportunity allows designs to be technically accurate and also speeds the design process.

CONCEPTUALISATION 13

A.2. - Design Computation

Some people believe that due to the complex notions associated with computer design, that the design process can be negatively affected. Not only do they supposedly stunt creative thinking, but they also limit the geometries and innovative design ideas (through restricted options in the chosen software). Although some consider design computation to be a negative impact on architectural design, there are many reasons to support it. As mentioned previously, computing affects the design process in many ways. Not only does it allow for easier communication between architects and clients, but it also allows designers to experiment with multiple design strategies.

What are the main differences between Computation and Computerization? Computation enables architects / designers to expand their potential and cope with elaborate situations. Not only does it do this, but it also allows them to use the computer to take care of information and process it through a known model, known as an algorithm. This design approach allows for the exploration of new ideas and enables designers to investigate and consider architectural spaces and ideas through algorithms. Fig.11

â&#x20AC;&#x153; It is possible to claim that a designerâ&#x20AC;&#x2122;s creativity is limited by the very programs that are supposed to free their imaginationâ&#x20AC;? - Terzidis, Kostas (2009).

Fig.10

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Fig.12

Fig.13

The HSBC Building, Hong Kong The HSBC buildings most intriguing feature is the exterior structure and non-existent interior supporting structure. In addition to this, each level / floor of the structure is designed to move flexibly in case of seismic shifts. This element was made possible by using digital design technologies and by doing so reduced the need for more adjustments. This building is an example of how computer-aided design can improve and provide a unique opportunity to respond to design problems. This is a great accomplishment, as buildings would previously have to manipulate the foundation that the building stood on, whereas now, through prefabrication and CAD, these problems are only a minor aspect.

CONCEPTUALISATION 15

A.2. - Design Computation

‘Heydar Aliyev Center’ Zaha Hadid’s ‘Heydar Aliyev Center’ is a intricate building located in Baku, Azerbaijan. The building features a distinctive style that could not have been accomplished without the use of digital design. The buildings skin was one of the most difficult design aspects to achieve and features a ceaseless free-flowing façade that incorporates complex technical systems. Through the use of sophisticated computing, the continuous curvilinear form has been accomplished. This building is a fine example of how computation impacts the range of achievable geometries. The use of computer-aided design has allowed for fluidity in the structure, which is a unique opportunity of modern digital design. Computation allows for innovative ideas in this design because the shapes structure is able to mirror and respond to the topography of the site.

Fig.15

CONCEPTUALISATION

Fig.14

Computing has been used to re-define practices here by utilizing digital design to form the frame system. The frame allows for the building to incorporate a free form composition. Not only did this benefit the overall shape of the building, but also saved an immense amount of construction time (similar to Frank Gehryâ&#x20AC;&#x2122;s Guggenheim Museum Bilbao). The architectural composition is complex and may not have been achievable without CAD. Due to the shape integrating structure with a seemingly effortless geometry, the building materials and mere scale were extremely difficult to accomplish. Hadid credits CAD and CAM for resolving all construction problems, for example: external loads, mass production, issues associated with temperature variation, as well as earthquakes. Fig.16

Fig.1:7

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A.2. - Design Computation

Fig.18

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Frank Gehryâ&#x20AC;&#x2122;s Guggenheim Museum Bilbao: The Guggenheim Museum Bilbao is one of the earliest examples of architecture to welcome computer-aided design. The surface of the structure was only attainable through the use of digital design softwareâ&#x20AC;&#x2122;s and could not have been accurately accomplished without it. This allowed Gehry to create free-flowing forms, a concept that was believed difficult, if not impossible to accomplish with simple design. Gehry designed the building to capture the light through the use of seemingly random curves/ forms. The building is an intriguing example of contemporary architecture and was completed within budget and on time. Gehry credits this to the use of digital design, as it allowed him to realistically envision the design outcome and control costs through the use of precise material measurements.

Computation and Computerization advantages: There are many advantages associated with the use of digital design, some of these include: Performance Ease of use Sharing Ideas

CONCEPTUALISATION 19

A.3. - composition/Generation

Fig.19

The shift from composition to generation:

Algorithms:

Architecture is being reconstructed and defined through the practice of computation. Not only does computation allow for efficient development and a wide range of possible geometries, but also it creates a number of opportunities in design processing and fabrication.

An algorithm is a method for doing something, essentially it is a strict set of rules that are easy to comprehend. Although many people think that algorithms are confined to numbers only, however this is not the case, as algorithms can be as simple as a categorized list of words. Algorithms illustrate how something is computed instead of what that function may be. Although there is a connection between computation and algorithms, it is extremely limited.

Design tactics have changed immensely in modern architecture, from creating intriguing preliminary designs to generating multiple options of how the form may be constructed

CONCEPTUALISATION

Fig.20

Fig.21

“God’s Eye” – Christina Galanou and Chrystalla Koufopavlou The ‘God’s Eye structure is a good example of composition and generation. The design came to life by utilizing computation and refining the structures features, whereas through generation the shape was constructed. The structures “skin” is made using a weaving technique and features interweaving curved surfaces. Furthermore, the design was experimented on using ‘digital simulation’ and through computing, the designers found that there were numerous restrictions on the structures design. However, by taking advantage of generation and computer- aided design, they found that by changing the design material and methods of construction they would be able to successfully build the form.

CONCEPTUALISATION 21

A.3. - composition/Generation

Fig.22

Fig.23

Generative Design:

Parametric Modelling:

Generative design is the method in which the outcome of a design is created using an algorithm, usually through the use of a computer program, such as grasshopper and rhino. This method of design allows for fast and easy explorations of design possibilities and diminishes the need for repetitive tasks.

Santiago Calatrava, a notable Spanish architect uses geometric transformation to experiment with parametric modelling. These transformation allow him to translate shapes both vertically and horizontally, twisting aspects of a structure to create a more interesting shape and/or solve design problems. Many of his design are noted as bio-morphic and allow for the structure to seemingly come to life.

Form Generation: Form generation is the developing of numerous alternative solutions for the design idea, generally in a practical and formal matter, I.e. generating forms to solve the design problem. There are many generative tools that aid in the development of new structural systems, for example, parametric modelling allows for easy developments. Katherine Liapi designed a way for architects/ designers to use tensegrity to envision frameworks (as shown in figures 22 & 23).

CONCEPTUALISATION

Parametric Design: Parametric design uses a number of algorithms and variables to create a mathematical order, allowing for geometric relation and thereby allowing designers to generate specific designs. Architects are no longer constrained to tools, as there is now the option to create and design your own tools. This fundamental design approach decreases the overall effort needed to create a shape, as it eliminates the energy dedicated to creating and testing options. Parametric design isnâ&#x20AC;&#x2122;t necessarily a way of constructing a solution, but about generating a wide range of possible design outcomes.

Fig.24

Fig.25

CONCEPTUALISATION 23

A.3. - composition/Generation

Fig.26

The Guanzhou Opera The 2010 Guangzhou opera house was designed by architect Zaha Hadid, and features curvy forms clad in glass, attributing a steel structure as the frame. The overall design was done through computeraided design and manufacturing. Due to the need for high acoustic quality, computation and generation allowed for simple experimentation and implementation of high quality acoustic technology. The overall interior structure is complex and could only be constructed from custom made materials (â&#x20AC;&#x153;moulded glass fibre reinforced gypsumâ&#x20AC;?) and would not have been possible without CAD and CAM.

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Fig.27

CONCEPTUALISATION 25

A.4. - conclusion

In conclusion, I have learn a lot about computation and digital design. The LAGI design competition acted as a introduction as what to expect and allowed me to gain better understandings on renewable energy designs and how they can be incorporated into architecture. Computation plays an important role in the design process and allows designers to explore and mend a wide variety of design ideas. Renewable energy The significance with designing using renewable energy technologies is that we are bettering our futures. By combining CAD, CAM and renewable energy, buildings/ structures can have multiple functions. This approach to designing for the future will benefit everyone, however I can benefit from it by learning new technologies and learning to design sustainably.

CONCEPTUALISATION

A.5. - Learning Outcomes

By learning about what algorithms are and what architectural computation is, my idea of design has changed and I am able to create architectural designs in new and exciting ways. Furthermore, by understanding the definitions of computing and computerization I am able to differentiate between different notions of design In addition to this, I learnt about how computing can be used to re-define practice and how it affects the design process. By using computer aided design, the designers can expand their capability to handle intricate situations and computer aided design allows designers to create complex shapes and forms, by creating frameworks and processing information through algorithms. Although I initially found Grasshopper very difficult, I have begun to understand the software and find that experimenting on shape, colour etc allows me to better my knowledge of the program. By experimenting with Grasshopper I have been able to construct complex forms through Rhino and investigate alternative design results.

Understanding developed through semester: My understanding has developed throughout the semester by gaining a better comprehension of what computation, computerization and algorithms are. Furthermore, I have been able to develop a skills in new computer design software, which will allow me to improve on my design approach

How could I have used my knowledge to improve a past design? With this new understanding of computer-aided design, I could have improved a past project by exploring a more detailed design process. By being able to experiment using grasshopper, my past design studio project could have benefited from a wider range of design options. Moreover, I may have been able to trial with parametric design and incorporate a more interesting faรงade design. The latest algorithmic sketch task (task 3) is especially relevant, as it allowed for this.

CONCEPTUALISATION 27

A.6. - Appendix - Algorithmic Sketches

Fig.28

Fig.29

How did my research extend the material in tutorials: My research extended the material in tutorials by allowing me to gain a better understanding of the reasoning behind each experiment, symbol and algorithm. Furthermore, by researching existing projects, I was able to understand and generate new ideas, as well as incorporate them into my designs. The precedents I researched provided as useful examples for each design theory, as well as act as inspiration for future architectural designs.

CONCEPTUALISATION

Fig 30

Fig.31

Reasons for choosing these sketches: These algorithmic sketches were chosen because they best exemplify my understanding of computation. In addition to this, these designs were the most interesting for each of the chosen tasks

What new knowledge, new understanding or new creative ideas do they represent? These algorithmic sketches have allowed me to gain a new understanding and perspective on computer-aided design. The use of Grasshopper in the design process was new to me, as I have only ever designed in Rhino before. However, these tasks represent a new way of designing and act as initial ideas for future projects,

CONCEPTUALISATION 29

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Figure 16:

“Zaha Hadid’s Heydar Aliyev Cultural Centre: Turning a Vision into Reality.” 30

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CONCEPTUALISATION 31

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Part B . Criteria Design

CONCEPTUALISATION 33

B.1. - Research fields: Sectioning

Fig.32

For this project I chose to explore Sectioning as my material system. I chose sectioning because it is growing in popularity, especially in architectural pavilion design. I wanted to explore why this technique is in demand, particularly in large structural designs, as well as explore how this technique is used in other styles of architecture. When researching sectioning as a material system, I found that there was a close link with waffling methods. Figure 32 portrays four different styles of sectioning (radial, symmetrical, 2D-adaptive and 1D adaptive) and these sectioning algorithms provide multiple perspectives on how the system can be used. Sectioning has been used in numerous forms of architecture and design, including pavilions, theatres, landscape architecture and furniture design.

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Fig.33

Fig.34

Fig.35

Fig.36

Examples of sectioning in design: Figures 33 and 34 portray â&#x20AC;&#x153;The Screenâ&#x20AC;?, and architectural fabrication project conducted at the Arizona State University. The screen was a class project where student explored interlocking components and experimented with how this technique could be applied to architecture and product design, such as furniture. The project provides an interesting look into how sectioning can vary in style and how by notching when using sectioning as a material system can provide structural stability. Figures 35 and 36 depict how the software Rhino can be used to create complex parametric architecture through computation. Yeom explores 3D modeling and how planar sections can be manipulated to intersect and expand the boundaries of design. After exploring how the curves could intersect, he experimented with the notching process and created a physical model using card (figure 36). These images provide an interesting example of how sectioning is used within computation and how it can be transcribed through materialization, which will be useful later in the project.

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B.1. - Research fields

The Metropol Parasol, Seville, Spain: The Metropol Parasol was designed by Jurgen Mayer-Hermann and was completed in 2011. The wooden structure is located in Seville, Spain and claims to be the greatest/ largest wooden pavilion structure in the world. There has been much public controversy surrounding the structure and its form, making it an interesting precedent to explore.

Fig.37

The structure consists of six large mushroom shaped parasols, inspired by the ficus trees within the area. Although the structures form is interesting and complex, the engineering firm Arup found that there were many structural difficulties due to the material in combination with the material system. They found that the material used added extra weight to the structure, which they had not anticipated. This is an interesting view into why materialization and fabrication is an important role in parametric design, as the structural integrity and overall design can be greatly affected when not tested accurately.

CONCEPTUALISATION

Fig.38

Although many small structures that use sectioning or waffling as a material system are found to be solid and structurally intact, a common problem with large structures utilizing the system is structural integrity. Through my research I found that many pavilions and architecture that utilizes this technique must reinforce the designs with concrete and steel. This structure is relevant parametric design and computation because without computerized design, the building would not have its complex spherical shapes. Structure dimensions: 150m x 70m x 26m

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B.2. - Case study 1.0

Office dA Banq: ‘Banq’, designed by Office dA, is a restaurant project featured in Boston, USA. The design focused on how interiors could create bold and evocative feelings, through a ‘tectonic point of view’. Due to the nature of the location, Office dA had to give way to the floor and design the roof as its focus plane. Through sectioning, architects Nader Tehrani and Monica Ponce experimented with the conventional terms of ceilings and eclipsed expectations when they used this latest materian resource. Office dA credits computation and exploring parameters for its design and found that sectioning was the most successful style for the restaurant.

Fig.39

With sectioning, much inspiration seems to come from topography and utilizing this to create the shapes, which will be interesting to explore during the LAGI project. Through exploring this material system, I have found that wood seems to be the most appropriate material choice for the technique, and it a popular choice amongst architects. Due to the complex nature of the technique, as well as the added weight from the number of ‘ribs’ required, it is understandable why wood has been chosen. Additionally, when utilizing sectioning as the main technique within an architectural design, Office dA boasts that the installation for the design is an important factor. Due to computation and fabrication, the structure makes for easy maintenance and replacement/ dismantling.

CONCEPTUALISATION

Fig.40

“Once we realized we had a system, we wanted that system to yield the most provocative readings” – Office dA

Speculation into the ‘function of ornament’: Moussavi, Farshid and Michael Kubos 2006 reading, ‘The Function of Ornament’, provided a range of insight into ornamentation and why architects choose to use this. This is an important aspect of parametric design, as modern architecture is becoming increasingly decorative and computerized. In order to proceed with my experimentation of computational design, I must first understand where and why it is used. Farshid and Kubo describe ornamentation as an element that allows architecture to connect to culture, through incorporating design concepts and materials to create new aesthetics. In the past, this has been done in many ways: Modernism used transparency Postmodernism used décor Deconstructivism used geometry of collage However, it is also important to note that certain buildings don’t need ornamentation and that the relationship between the interior and exterior is conveyed in the function itself. Although ornamentation has been frowned upon in the past, architects are now specializing in the design of a buildings ‘outer shell’. In reference to the LAGI brief and energy saving solutions, I believe it is important to understand which materials can be utilized to prevent extra costs and can be used to design sustainably. When cross referencing this with the Farshid and Kubos reading, I believe that certain materials need ornamentation in order to create energy saving elements in architecture. For instance, in relation to my chosen material system ‘sectioning’ glass may be utilized as a popular material, however sometimes layering is needed to improve thermal performance, and through sectioning this can be done in an aesthetically pleasing way.

Fig.41

Fig.42

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B.2. - Case study 1.0 - Matrix

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Below is my design matrix for Case Study 1. I explored the material resourse sectioning and how i explored the possibilities of the definition, changed existing parameters, investigated, pushed boundaries and created unexpected outcomes. The matrix features four â&#x20AC;&#x2DC;speciesâ&#x20AC;&#x2122; with multiple iterations for each. Going left to right *

* All images are my own

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B.2. - Case study 1.0 Successful Experiments

I found these experiments to be successful becuase they were the ones that i could control the sectioning in the most. Compared to the other experiments, i had the most control over how i could manipulate the sections within the design. When creating the sequence of geometries, i was trying to achieve a number of items. The first being (first image) i was trying to control the sectioning over the topography, so that each of the sections would follow the curvature of the landscape and follow it to create the shape. In the second image i was attempting to control which points would be extended and which would remain lower down, i found that this was difficult yet through the algorithms i managed to pick a number of points that i could command. The third image i created usign a topographical image, thereby importing a black and white topographical map and using it in the algorithm to create a landscape out of sections. Finally, in the fourth image i was attempting to limit the number of sections while still decreasing the overall heigh as the panels increased, this was very difficult.

CONCEPTUALISATION

I find that these kind of experiments can be applied to landscape architecture and would be useful in determining landscape patterns, as well as in pavillion architecture. Sectioning could be used to create a number of effects, such as topography within interiors, which i researched when looking at the â&#x20AC;&#x2DC;Banqâ&#x20AC;&#x2122; restaurant. Because sectioning is fairly limited in what kind of style you want to achieve, i find that it would be best when used for creating interesting textures on surfaces, rather than a just a building using the technique.

* All images are my own CONCEPTUALISATION 43

B.3. - CASE STUDY 2.0

Zaha Hadid’s Galaxy Soho Building: For my second case study precedent, i chose to look at zaha Hadid’s Galaxy Soho building. The buildings exterior resembles my chosen technique and is known for its computational design.

“There are 360 degrees, so why stick to one?” - Zaha Hadid

Fig.43

Brief Description and Analysis: The Galaxy Soho building designed by Zaha Hadid architects is located in central Beijing and consists of 330000 meters square worth of retail, office and entertainment space. Beijing’s impressive scale and futuristic environments within the present inspired the building. The structure consists of five volumes that continue on to one another, flowing and creating bridges between the shapes. The architecture resembles sectioning and through this material technique, creates a panoramic architectural transition. The building aims to deliver fluidity within its composition and aims to resemble every day life/ urban issues.

CONCEPTUALISATION

Fig.44

Critical analysis of precedent: When analyzing the Galaxy Soho building, it is important to consider how the form/ structure relates to the original design intent. The structure aimed to create fluidity and act as a futuristic transition into present life, and I believe that through the use of computational design, Zaha Hadid has achieved this. The structures five main spherical buildings connect and mesh with one another through walkways and intersecting levels, without a single corner or harsh line in place. The buildings entire structure oozes fluidity and would not have been manageable without computation. Although sectioning has mainly been utilized into wooden structures, Hadidâ&#x20AC;&#x2122;s building is constructed from aluminum cladding and insulated glass. This material choice creates a futuristic effect and changes the dynamics of the system. Although the building has been nominated for numerous awards, some see it as a failure due to its immense size and believe that it is just a creation of a name/ brand and is disconnected from reality.

CONCEPTUALISATION 45

B.3. - CASE STUDY 2.0 - rEVERSE eNGINEERING

Attempting To Reverse Engineer Zaha Hadids Galaxy Soho Building:

* All images are my own

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Final Reverse Engineering Of Precedent:

Although I found this case study interesting to research and experiment with, I found that it became increasingly difficult to reverse engineer the project. Due to the sectioning system, I found that it was difficult to control how the building could be sectioned using grasshopper. I initially tried to reverse engineer Zaha Hadid’s Galaxy Soho building using the sectioning algorithms provided by the Office dA Banq material resource as well as editing the algorithms to accommodate the shapes curvature. However, I found that this wasn’t working quite the way I wanted it to, so I explored the grasshopper 3D forum and discussion pages and found that the metaball technique was suggested for such forms. As seen in my reverse engineering, I utilized this technique but had many troubles controlling it. The large spherical shapes/ parts of the building were difficult yet manageable to recreate, however when trying to incorporate the floors / different levels onto the existing structure, I found that grasshopper and rhino wouldn’t allow for it, and that the shapes would disappear when they were placed onto one another. This is something that I found incredibly difficult in this project and think that choosing another precedent option may have produced better results, however learning the metaball component was intriguing.

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B.4. - Technique Development - dESIGN mATRIX

CONCEPTUALISATION

Below is my design matrix for Case Study 2. I chose to explore the how the parameters of the Galaxy Soho building could be pushed and manipulated and how it could be twisted into somethign completely different.

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B.4. - Technique Development dESIGN mATRIX continued

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* All images are my own

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B.4. - Technique Development Successful Experiments

I found this task to be the most difficult, however i find that this could have been because of my chosen material resource. Sectioning as a material technique is fairly limited within algorithms and is difficult to control, as changing individual sections or ribs is extremely difficult in grasshopper. While i was trying to recreate Zaha Hadidâ&#x20AC;&#x2122;s Galaxy Soho building, i found that creating the first few spheres was the easiest of the tasks. I initlally did this using the sectioning algorithm that i had learnt during the previous experiments, however while researching how best to section spheres i found that many people on the grasshopper discussion board had benefited from using the metaball component. I tried to use this component in my algorthms and is how i managed to link the sectioned spheres to one another, creating the walkways featured in the buildings design. Although this was a difficult component to use, it only got harder. While trying to create different levels using metaball, so that there could be walkways higher up in the levels, i found that i had to create two seperate algorithms to do so, yet when the points were placed near the existing shape, they would dissapear.

CONCEPTUALISATION

For this series of successful experiments, i chose them based on the techniques that i learnt while exploring them. Firstly, they allowed me to control the size of the floor plane and create interesting topographies. Secondly, the selection of experiments shown display my progress in how i was able to manipulate the boundaries between spheres, to create multiple levels. These experiments could be utilized in architecture through creating passages between objects, however more experimentation with the metaball technique would have to be done.

* All images are my own

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B.5. - Technique Prototypes

As i mentioned previously, when researching sectioning i found that the most common materials used were glass or wood and therefore i have decided to experiment with both of these materials (aesetate in replacement to glass). i began attempting to waffle aesetate but found that the materials strength was too low to section with acurately, and therefore decided to see what it looked like when it was layered (in reference to the function of ornament reading). i found that while layering the plastic, it only looked aesthetically pleasing and didnt serve any purpose that i could articulate into my design.

CONCEPTUALISATION

Secondly, i experimented using the sectioning/ waffling technique using balsa wood. This structure seemed to be stable and strong, even when pressure was put upon it. The best thing about the waffling technique was the light effects that were created. i experimented using a torch light and placed the light over the structure at different angles in a dark room and r ecorded the process with images.

* All images are my own

CONCEPTUALISATION 55

B.6. - Technique / Design Proposal

For my technique proposal to the LAGI brief, I chose to design a farmers market and community garden. The Garden space would be owned by the sellers at the farmers market, and would be utilized in conjunction with the bazaar. The entire sites space will be used, whilst the structure will only cover half of the area (estimated). Although numerous crops could be grown, I have chosen to limit the design to only five. I have chosen these vegetables because I believe that they will be of most use at a farmers market/ bazaar space and because research into Danish cuisine suggests that they are the most commonly eaten, these vegetables include: Cabbage, tomato, carrots, beans and a lettuce/ herb garden. Although the design could vary in any shape or form for a market, I have chosen to limit the parameters to certain aspects (as mentioned in detail on following pages). The roof levels and corridor widths will vary in accordance to the vegetables that are growing within that space, as some will need more space than others. For example, the tomato plants need direct sunlight and grow in tall stalks, therefore the design over this area will accommodate for this and there will be a high roof, wide corridor and will face the north. Crops such as lettuce will be placed on the south side of the site, with low roofs and wide corridors. Although some of the interior will be used for the market stalls, I plan for the design to utilize the outside space and plan for the building to provide enough shade to accommodate this. Furthermore, in later design stages, I plan to change the topographical layout of the site in order to make it more interesting and accessible. In relation to the LAGI brief, my structure will incorporate photovoltaic panels and store energy, this energy will be used to light the structure and provide energy to run the marketplace, thereby making the farmers market self sufficient and good for the community.

Lignum Pavilion - Inspiration:

Fig.45 56

Fig.46 CONCEPTUALISATION

Mood Board:

Initially, i planned to create a community garden structure that families or schools could go to to grow their own crops. This would act as a bonding activity

Zmianatematu Restaurant - Further Inspiration:

Fig.47

Fig.48 CONCEPTUALISATION 57

B.6. - Technique / Design Proposal continued Initial design:

The four images above show my intial design stages. After a minor presentation in class i found that my design was too simple and that i should change the overall shape and break it down into smaller and more structures. Due to the simple paneling design (which will feature the photovoltaic panels) it was decided that the structure would need to become more showy and that the exterior should include more curves rather than straight lines. Because the structure will be designed for a community garden and market place area, i found that certain parts of the structure should be larger than the rest, for instance later in the design stage i plan to change the roof levels so that they will vary in accordance to the height of the crops growing in that space, and the number crops that need more sunlight will face the north.

Developing Design Proposal:

* ALL images are my own

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B.6. - Technique / Design Proposal Continued

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There are a few drawbacks to my design and i plan to address them and change them during the next stage of the project. The buildings materiality will have to be reconsidered in order to make sure it is stable. furthermore, the layout of the design should be reconsidered, as well as the overall height of each of the structures, as they are currently too tall

Design is innovative because it utilizes the natural sunlight and the photovoltaic panels not only act as a shading device, but also collect energy that will be used for the farmers market

Photovoltaic panels

Space to grow crops

* ALL images are my own

CONCEPTUALISATION 61

B.7. - Learning Objectives and Outcomes

For my design proposal, I plan to experiment more with the materials that could be used, as well as the overall material systems. Currently I have been working with sectioning and grids, which will hold my photovoltaic panels in accordance with the LAGI design brief, however I plan to incorporate two systems together to take my design to the next left and push the structure further. I still find that the designs overall structure is too simple and that by using grasshopper and rhino I can make a more creative design. My design however is still innovative and meets the LAGI brief because it is a self-sufficient market place and incorporates modern technology into staying sustainable. Within the next few stages of this project, I plan to experiment with materials, form, and innovative solar energy tricks. Over the course of this studio, I have found that working with rhino and grasshopper is incredibly interesting and inspiring. I have found that the tasks for this section of the project have become increasingly difficult, in particular I had a lot of trouble with my case study 2 design matrix, however I believe that with more practice it wont be an issue. I also found that certain component on grasshopper proved more difficult than others, for instance the metaball technique I tried to utilize in Part B.3. This component seemed the most appropriate for what I was trying to create, however it is hard to control and videos explaining this component were difficult to follow. Although there were many challenges, I enjoyed the algorithmic sketch tasks and found that they helped me with my journal progress. By researching the material systems, my knowledge of architecture has expanded and I have found that the world of computation is only just beginning. The theoretical research tasks have affected my knowledge of architecture by allowing me to understand why ornamentation and parametric architecture came to be and what role it plays in the design world. Furthermore, the roles of computation in the design process are much more apparent to me. I find that many of todays modern architecture, especially that of Zaha Hadid, would not have been possible without computation, materialization and fabrication software’s, and that many architects are now using these software’s to create more intriguing ‘outer shells’. After this stage in the project, I find that I am more ocmpetend in creating and manipulating algorithms, as well as designing using parametric modeling. The reverse engineering task, however difficult it was, allowed me to understand what stages of design may have been taken in order to create the precedents.

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B.8. - Appendix

* All images are my own CONCEPTUALISATION 63

Image Reference List:

Title Page: “Digital Fabrication in Architecture Group.” Digital Fabrication in Architecture Group. N.p., n.d. Web. Sept. 2014. <https://dfabnus.wordpress.com/category/studio/ay-20112012-sem-1/>. Figure 32 “Ongoing Research - Sectioning Design Systems.” Behance. N.p., n.d. Web. Sept. 2014. <https:// www.behance.net/gallery/3528751/Ongoing-research-Sectioning-Design-Systems>. Figure 33 & 34 “The Screen | Sectioning.” Jeff Yarnall. N.p., n.d. Web. Sept. 2014. <http://jyarnall. wordpress.com/product-design-and-misc-projects/the-screen-sectioning/>. Figure 35 & 36 “Interaction Design Story.” Interaction Design Story RSS. N.p., n.d. Web. Sept. 2014. <http://www.myrobbie.com/blog/?tag=parametric-architecture>. Figure 37 & 38 “Metropol Parasol // The World’s Largest Wooden Structure.” Yatzer.com. N.p., n.d. Web. Sept. 2014. <http:// www.yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects>. Figure 39 & 40 “BanQ / Office DA.” ArchDaily. N.p., n.d. Web. Sept. 2014. <http://www.archdaily.com/42581/banq-office-da/>. Figure 41 “Artist Layers Sheets Of Glass To Create Ocean Waves.” DeMilked. N.p., n.d. Web. 20 Sept. 2014. <http://www.demilked.com/glass-sheets-wave-sculpture-ben-young/>. Figure 42 “Glass Panels » Retail Design Blog.” Retail Design Blog RSS. N.p., n.d. Web. 22 Sept. 2014. <http://retaildesignblog.net/tag/glass-panels/>. Figure 43 & 44 “Galaxy Soho / Zaha Hadid Architects, by Hufton + Crow.” ArchDaily. N.p., n.d. Web. Sept. 2014. <http:// www.archdaily.com/294549/galaxy-soho-zaha-hadid-architects-by-hufton-crow/>. Figure 45 & 46 “Lignum Pavilion / Frei + Saarinen Architekten.” ArchDaily. N.p., n.d. Web. Sept. 2014. <http:// www.archdaily.com/274331/lignum-pavilion-frei-saarinen-architekten/>. Figure 47 & 48 “Zmianatematu Restaurant by XM3 Architects.” Visua Design Inspiration RSS. N.p., n.d. Web. Sept. 2014. <http://blog.visua.com.au/previous-blog/architecture/zmianatematu-restaurant-by-xm3-architects/>.

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References:

“Archicraic.” : Inspiring Interiors. Web. 17 Sept. 2014. <http://archicraic.blogspot. com.au/2012/09/inspiring-interiors-banq-restaurant.html>. “Artist Layers Sheets Of Glass To Create Ocean Waves.” DeMilked. Web. 20 Sept. 2014. <http://www.demilked.com/glass-sheets-wave-sculpture-ben-young/>. “Australian Design Review.” Banq. Web. Sept. 2014. <http://www.australiandesignreview.com/interiors/661-banq>. “BanQ / Office DA.” ArchDaily. Web. Sept. 2014. <http://www.archdaily.com/42581/banq-office-da/>. “BANQ Restaurant by Office DA.” Yatzer.com. Web. Sept. 2014. <http://www.yatzer.com/BANQ-restaurant-by-Office-dA>. “Destroying Beijing Heritage.” The Guardian. Web. Sept. 2014. <http://www.theguardian.com/ artanddesign/architecture-design-blog/2013/aug/02/zaha-hadid-destroying-beijing-heritage>. “Digital Fabrication in Architecture Group.” Digital Fabrication in Architecture Group. Web. Sept. 2014. <https://dfabnus.wordpress.com/category/studio/ay-20112012-sem-1/>. “Galaxy Soho / Zaha Hadid Architects, by Hufton + Crow.” ArchDaily. Web. Sept. 2014. <http:// www.archdaily.com/294549/galaxy-soho-zaha-hadid-architects-by-hufton-crow/>. “Galaxy Soho by Zaha Hadid Architects Photographed by Hufton+Crow.” Dezeen Galaxy Soho by Zaha Hadid Architectsbr Photographed by Hufton + Crow Comments. Web. Sept. 2014. <http://www.dezeen. com/2012/11/15/galaxy-soho-by-zaha-hadid-architects-photographed-by-hufton-crow/>. “Glass Panels » Retail Design Blog.” Retail Design Blog RSS. Web. 22 Sept. 2014. <http://retaildesignblog.net/tag/glass-panels/>. “Interaction Design Story.” Interaction Design Story RSS. Web. Sept. 2014. <http:// www.myrobbie.com/blog/?tag=parametric-architecture>. “Lignum Pavilion / Frei + Saarinen Architekten.” ArchDaily. Web. Sept. 2014. <http://www. archdaily.com/274331/lignum-pavilion-frei-saarinen-architekten/>. “Metropol Parasol // The World’s Largest Wooden Structure.” Yatzer.com. Web. Sept. 2014. <http://www. yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects>. Moussavi, Farshid, and Michael Kubo. The Function of Ornament. Barcelona: Actar, 2006. 5-14. Print. “Ongoing Research - Sectioning Design Systems.” Behance. Web. Sept. 2014. <https://www. behance.net/gallery/3528751/Ongoing-research-Sectioning-Design-Systems>. “The Screen | Sectioning.” Jeff Yarnall. Web. Sept. 2014. <http://jyarnall.wordpress. com/product-design-and-misc-projects/the-screen-sectioning/>. “Zaha Hadid’s Galaxy SOHO: Back From the Future - Failed Architecture.” Failed Architecture Zaha Hadids Galaxy SOHO Back From the Future Comments. Web. 20 Sept. 2014. <http:// failedarchitecture.com/zaha-hadids-galaxy-soho-back-from-the-future/>.

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Fig.49 66

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Part c. Detailed Design

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C.1. Design Concept Feedback From Interim Presentation: Although I was absent from the interim presentation, I received valuable feedback on my design progress and proposal during the tutorial. As seen in the supporting images, my design features a simple paneling system across the structure. Feedback included that the paneling system was pretty simple and could be explored more and experimented on. Furthermore, the triangular panels are a common aspect of contemporary architecture and should be changed in order to make the design more interesting. Another comment was that changing both the roof height as well as the overall shape was relevant in ensuring the structure could support itself. Additionally, I was told to reconsider the placement of the market place in order to interact with the site more. All of these comments were taken into consideration in developing the design proposal.

Addressing These Suggestions: I took these suggestions into consideration and changed the overall structure and refined the design idea. Although these images show a refinement of the design, further changes will be made for the final design proposal. I have addressed these suggestions and changed my design proposal in many ways. Firstly, the overall shape of the structure has changed to accommodate the site better and to utilize the space provided. By breaking down the structure into separate parts I have allowed for a more interesting final shape and the structures now allow for interactions between them. Additionally, I have experimented with the shape of the structures wall to create a contrasting aesthetic between straight and curved walls. The structure now contrasts and the shape has become more compelling. The outside community garden areas that were featured in the initial design have been removed and the community garden / growing area is now featured inside the structure, allowing me to develop the panels in order for them to respond to the proposal. Finally, I have also eradicated the small market place space and through the shape of the design, the market can now flow freely around the site rather than be restricted to a certain space. The comments/ suggestions have allowed me to start developing my design to make it more interesting, both aesthetically and technically, and further developments will be explained on later pages.

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C.1. Design Concept continued Response To The Brief: I feel that my technique can be developed and implemented onto the site in many ways. Not only does paneling allow for multiple variations, but it can also be manipulated to fit the brief. For instance, in the case of the LAGI site brief, I will manipulate my technique so that the panels are no longer just basic triangular panels, but respond to the site. These panels will therefore respond to the direction of the sun (in reference to the brief and accumulating solar energy) as well as be refined so that they utilize the most of natural lighting and shading. I find that because I started off with such basic panels, I should experiment with a variety of paneling shapes/ options in order to see which would best accommodate my proposal. This will be done in Rhino (creating the panels) and an algorithm in Grasshopper will place the panels onto the structure in response to the sunlight through attractor points. Additionally, my technique could be developed by changing the colours and transparency of the panels so that they not only act as a natural lighting / shading device but also benefits the structures purpose.

When reviewing the LAGI design brief, I found that the three dimensional design should: •stimulate and challenge the visitors •capture energy from nature •impact the surroundings positively •employ technology that can be tested •understand the history, geography and details of Copenhagen Not only could this technique be used as an overall aesthetic, but it will also act as the main energy source and it will visually challenge the visitors. The paneling system could integrate Photovoltaic panels into the structure and incorporate these PV panels into the design, therefore implementing sustainable energy sources into the design, but also capturing energy from nature.

CONCEPTUALISATION

Torvehallerne Market in Copenhagen, Denmark

Fig.50

Furthermore, this will impact the surroundings positively because the energy generated from these PV panels could support and run the market place, providing energy for the locals to sustainably run a community garden and food market. The benefits of developing this technique are that the technology has been used in numerous contemporary buildings and therefore provides precedent to the testing of this technology. Lastly, my technique can be developed and implemented in accordance to the history and geography of Copenhagen because the panels could be made from a local sustainable material (mentioned later) and the vegetation and structure will be in response to local needs.

How can the technique evolve in relationship to the site, clients and people? Site: The technique can evolve in relationship to the site in numerous ways, some of which have already been mentioned. The main benefit of a paneling system is that it can be designed so that it responds to the site directly, for instance through shape, colour and intensity. For my design I have chosen to develop my technique so that it directly evolves in relationship to the LAGI site by responding to sunlight. These designed panels will change the angles so that north facing panels will let in more direct sunlight / have an angle at a higher degree, and that south facing panels with have a lower angle, thereby letting shading the structure. In addition to this, the technique can also evolve by changing the materiality of the system, for instance the transparency could create a whole other effect on the structure and the material could change the overall intensity.

example of a material system responding to a sites topography. Fabric Study by Zaha Hadid Architects Fig.51

Clients:

People:

The paneling technique could also be developed in order to match the clients needs or wishes. Due to the fact that the paneling system can vary in multiple ways, clients will have the opportunity to pick and choose a design they want and therefore will match their needs directly. The paneling system could also evolve around the client by allowing them to change the materiality of the design without changing or affecting the overall structural performance. Lastly, panels could be mass-produced and pre molded, therefore allowing for fast and cheaper production costs.

This design technique could evolve in relationship to people visiting the site by having multiple uses. Users / visitors could potentially utilize the paneling system in other ways other than just aesthetics, for instance hanging things from the panels / structure or allowing vegetation to grow freely on the structure.

CONCEPTUALISATION 71

C.1. Design Concept continued

Fig.52

Panel Options: I created a number of different 2D and 3D panels in Rhino to explore which option could be utilized in my Grasshopper definition and final design proposal.

Chosen panel and why: I chose this final panel system after testing out numerous options that I created using Rhino. These options were all laid out onto a simple curved surface in order to decide which would work best with the site and the design brief. Although it was tough to decide, I found that this paneling design was the best because it not only incorporated a contemporary obsession with triangulated panels, but also allows for manipulation. The angle of the sharp edges of the panel could differ in accordance to sunlight, thereby changing over the whole structure and allowing for more sunlight and shading in certain areas.

CONCEPTUALISATION

Where will the Photovoltaic panels be? The panels will cover the entire structure and will be made from an environmentally plastic and prefabricated. Although there will be panels over the entire structure, not all of these panels will simply be plastic. The panels on the north facing sections of the structure with the highest transparency will be PV panels (highligted in yellow). I have chosen these panels because the will get the most sunlight and therefore the most energy. Panels that face the south side of the structure will be the most shaded and therefore donâ&#x20AC;&#x2122;t have any need to be made from PV panels. This will utilize the suns energy and will also save in production costs as the whole structure wont only consist of PV panels.

The panels will vary in degrees in order to optimize sunlight. By using Grasshopper and Rhino, I plan to alter these angles in compliance to the angle of the sun and which areas will need more sunlight than others. When referring to the images above, I plan to have a maximum angle of 90 degrees and a minimum of 20 degrees. Additionally, I plan to do this in Grasshopper by using attractor points to control the material technique. * All own images

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C.1. Design Concept continued Colour and Transparency:

Colour gradient differs throughout the design. Darker colours provide shading and have a lower transparency level, providing shade for the plants. Lightest gradient colour has the highest transparency level and faces the North to allow for maximum sunlight.

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** All images are my own CONCEPTUALISATION 75

C.1. Design Concept continued Shape of the structure: I have chosen to limit my vegetation options to six vegetables. These vegetables have been chosen in accordance to recipe ingredients that are common in Denmark and therefor will be the most popular vegetables to buy or grow at the market. The chosen vegetables in include: 1. Cabbage 2. Lettuce 3. Tomatoes 4. Beans 5. Carrots 6. Potatoes For the final shape of the structure I have decided to change the height of the roof in accordance with which plants are growing beneath it. For instance, low roof levels will be for smaller plants such as cabbage and lettuce, and taller roof levels will be for taller plants such as beans and tomatoes. Fig.53-58

Fig.59-64

Plant heights and sunlight needs When researching these vegetables, I found that each plant varies in height and requires different levels of sunlight in order to grow efficiently. Although most of the plants require a minimum of 6 hours of sunlight per day, some require more, such as tomatoes and beans. Therefore these taller growing plants will be featured along the north side of the structure, which will ensure that their sunlight needs are met. Vegetables that require less sunlight or fewer hours of direct sunlight such as potatoes or lettuce will be closer to the south side of the structure. 76

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Diagram showing structure at 1 meter high:

Diagram showing where vegetables grow: Cabbage Lettuce Carrots Potatoes Tomatoes Green Beans Market Place

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C.1. Design Concept continued

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Fig.31

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C.1. Design Concept continued Making Changes:

I have slowly begun making changes to my design in reference to the feedback recieved from the final presentation. One thing that I had to fix on my design was the thickness of the steel structure and windows, as seen in the image above, i have addressed this suggestion and continue to make small changes to my overall design.

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Another suggestion made during my presentation was that i should triangulate the window panels on my design. The image above show this done, however i feel that it doesnt look very aesthetically pleasing and im choosing to disregard this change.

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C.1. Design Concept continued Producing a physical structure: Photovoltaic panels research For the panel structure, one option of joining the panels is to create a metal support structure and to bolt the panels onto this structure using a flexible joint system. This flexible joint system will allow for formal adjustability and flexibility throughout the structure, optimizing the curvature of the design. The individual panel units will be prefabricated and joined on the site at the corners. Another way in which the panels could be built or constructed is to use a photovoltaic mounting system. This will fix the solar panels onto the roof of the structure by bolting the panels down to metal studs.

Fig.65

Fig.66

When attaching the steel structure to the ground, I plan on drilling the steel structure into the ground and reinforcing it with concrete in order to make the structure stable. These could be plinths connected by foundation beams.

Fig.67 82

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Workflow Of Design Definition:

* Own image

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C.1. Design Concept continued Material Choices: Panels: For the panels, I plan to use an eco-friendly plastic that is cheap to prefabricate and aesthetically pleasing. An option for this is PHA polyester plastics, which is environmentally friendly. Another option could be acrylic, which I plan to model with during the prototypes and final detail model. Acrylic would be a useful plastic to use because of its transparency levels and breakage resistance.

Fig.68

Solar panels:

I plan to make the solar panels using Photovoltaic cells. The PV panels will generate electrical power by converting sunlight into electricity for the materket. The good thing about PV panels is that they can also be prefabricated and molded into specific shapes, this will be beneficial to my grasshopper technique and when constructing the panels.

Fig.69

Metal Structure: For the metal structure, I will use steel. Structural steel is commonly used in high rise buildings and has a long life expectancy, as well as a high quality of construction. The steel structure can be constructed quickly and has high ductility. Additionally, using a steel structure is beneficial for locations with soft grounds, such as the LAGI site.

Fig.70

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Workflow Of Design Definition:

* Own image

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C.2. Tectonic Elements & Prototypes Chosen aspect to fabricate:

Construction detail:

For the prototyping state i chose to recreate the panels and consider how they should be joined to one another.

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Prototype 1: Initially i starting by making a hand made prototype so that i could understand how the elements would fit together and to understand the light and shading effects created by the panels in real life. I chose to use a brown card instead of transparent materials because i feel that is something that will be explored better using fabrication technology. This model allowed me to see that the panels would indeed curve well along the designed structure and allowed me to experiment with the angles of each of the panels. I have found that the panels create better lighting effects and look more aesthetically pleasing the wider the angle.

* Own images

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C.2. Tectonic Elements & Prototypes continued:

Fig.71

I sent an outline of the panels to the fablab to get cut using the laser cutter. I chose to use transparent perspex because it most resembles my chosen material for my design. Additionally, due to the thickness of the perspex, i chose to cut the angles out rather than etch them, as folding would not be possible with this material thickness. In real life construction stages for this design, the panels should be prefabricated using 3D printing or a mold.

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I started by seperating all the pieces and removind the protective layers from the material. The benefit of using laser cutting with this material is that the edges dont get burned and any charring occurs on the protective layer rather than the material, making finishing the product easier. After prototyping with the hand made card model, i found that i was using too many elements and that it wasnâ&#x20AC;&#x2122;t necessary in order to achieve the desired outcome, which is to test ways the panels can be joined. Firstly, i chose to create / laser cut a basic panel outline without any additional scoring or holes for connections, as i wanted to test out how the structure could integrate the panel into the frame.

* Own images

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C.2. Tectonic Elements & Prototypes continued:

CONCEPTUALISATION

As seen in the images on the left, i removed the protective layers and began to fuse the panels onto a 90 degree angles plastic frame. I chose to do this because many solar panels are integrated into the system this way and placed between the framework. i found that with the shape of my panels, this allowed for little to no rigidity and that although the structure was stable, it wasnt in the desired shape. When considering the problems with the rigidity of the panels, i addressed the problem by trying to create a flexible joint system between panels. Although it allowed for a lot more flexibility, the aesthetics were overwhelming and distracted from the design. This could be fixed by using a smaller joint system and possibly only including it on the interior of the structure so that it doesnâ&#x20AC;&#x2122;t distract. Another problem i found was join perspex to other material, as it is transparent, glue became instantly visible, therefore in the next stage of fabrication i plan to use little to no glue on the joints.

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C.3. Final Detail Model

I chose laser cutting because the cost and time of the fabrication process is feasible and wasnt overly expensive when compared to the 3D fabrication option.

Fig.72

CONCEPTUALISATION

For my final detail model, i chose to continue with the paneling joints, however this time i added holes in the panels so that they could be easily joined without the effort of using glue and ruining the aesthetics. I started my sending my file to the Fab Lab and cutting out my panels on the laser cutter. I then removed the protective covering and used pliars to open up tacs which will be a substitute for bolts / joints. I then attached these tacs to join the panels to one another, ensuring that all the panels faced the same direction.

* Own images

CONCEPTUALISATION 93

C.3. Final Detail Model Fabrication Process

Once i attached all the tacs to the panels through the cut holes, i found that the structure became stable and was still able to be manipulated to curve rather than stay too rigid. This will make it easier and more efficient for the panels to be attached to the structure. By using joints to connect the panels, it also enables the panels to be taken out or changed/ repaired if needed.

CONCEPTUALISATION

once the structure was stable and in the desired shape, i attached the second part of the panels using super glue and propped them at different angles. This is the main problem with choosing laser cutting as my fabrication method, as it is not realisted because if the panels were this shape in real life they would not be glued together.

CONCEPTUALISATION 95

C.3. Final Detail Model Close up detailed image

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Overall, i found that the final detail model clearly demonstrated the use of parametric tools and digital models of fabrication, however improvements could be made and perhaps next time a structure could be fabricated to attach the panels to. In addition to this, the final detail model has allowed me to understand how the structure might be supported in real life. I found that one main problem with using this join system is that the panels were very heavy once they were all attached to one another and therefores the panels should also be bolted to the structure for extra support and rigidity.

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C.4. Learning Objectives & Outcomes Address and consider and feedback given in the final presentation crit: For the final design crit, I received a lot of constructive advice on what to work on for the final hand in and valuable feedback that helped refine my final design idea. The positive feedback on my design proposal was that the structure was overall aesthetically pleasing and that the colour gradient changes over the structure was clear and interesting. Furthermore, the concept that the roof levels and transparency of the panels varied depending on the vegetation heights and sunlight needs was good and addressed the site.

Some of the constructive feedback I received included: 1. Decide on which panels should be used as solar panels and which should be plastic 2. Vary panel angles depending on sunlight needs 3. Change the dimensions of the steel structure (in the design) 4. Consider how the structure fits into the ground 5. Triangulate the glass windows rather than have them rectangular

I considered all of these constructive ideas worked on all of them to refine by final design proposal. For instance, when focusing on which panels should be used as solar PV panels and which should be plastic, I decided that the north facing panels that had a higher transparency would be the PV panels, as they would receive and generate the most solar energy. Therefore not all of the panels would be PV panels, this would allow for cheaper construction and would not waste materials, as some of the panels receive very little sunlight and wouldnâ&#x20AC;&#x2122;t be useful in generating energy.

The last three constructive points were also considered and addressed in redeveloping my design. I changed the dimensions/ thickness of the steel structure supporting the design and panels in Rhino, making the design more believable. Additionally, in Part C.1 and C.2 I considered how the structure would fit in relation to the site (refer to those sections for changes). Lastly, The rectangular windows on the design were split in two and triangulated so that they coordinated with the parametric paneling design.

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Before

After

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References: Image Reference List: Fig 49: own image

Fig 50: N.p., n.d. Web. <http%3A%2F%2Fwww.aok.dk%2Fshopping%2Ftorvehallerne-stadeholderne-skal-rode-lidt-mereRL%20or%20by%20searching%20for%20it.>. Fig 51: 2014. <http://www.patrikschumacher.com/Texts/Parametricism%20-%20A%20New%20Global%20Style%20for%20Architecture%20and%20Urban%20Design.html>. Fig 52: Own image Fig 53: “AgSource Cooperative Services - Potato Tissue Petiole Analysis.” AgSource Cooperative Services - Potato Tissue Petiole Analysis. N.p., n.d. Web. Nov. 2014. <http:// ag Fig 54: N.p., n.d. Web. <http%3A%2F%2Fhcgl.eng.ohio-state.edu%2F~ceg532%2Fchap1%2Fchap1_2.html>. Fig 55: “Lettuce - Butter.” Lettuce - Butter. N.p., n.d. Web. Nov. 2014. <http://www.perfection.com.au/produce/vegetables/leafy-greens/lettuce-butter.aspx>. Fig 56: “Cabbage.” Wikipedia. Wikimedia Foundation, 11 Jan. 2014. Web. Nov. 2014. <http://en.wikipedia.org/wiki/Cabbage>. Fig 57: “Pruning Plants Spring.” Home Garden Air. N.p., n.d. Web. Nov. 2014. <http://homegardenair.com/garden-tips-benefits-of-pruning-your-plants/pruning-plantsspring/>. Fig 58: N.p., n.d. Web. <https%3A%2F%2Fwoolworthsbabyandtoddlerclub.com.au%2Fbaby%2Fbaby-health-and-nutrition%2Fwill-carrots-really-help-your-babyseyesight%2F>. Fig 59: “New Health Guide.” How Many Carbs in a Potato? N.p., n.d. Web. Nov. 2014. <http://www.newhealthguide.org/How-Many-Carbs-In-A-Potato.html>. Fig 60: N.p., n.d. Web. <http%3A%2F%2Fwefs.co.nz%2Fcrops%2Fbroad-beans>. Fig 61: N.p., n.d. Web. <http%3A%2F%2Fguiltfreefoodguide.com%2F2013%2F05%2Ftomatoes%2F>. Fig 62: “Pruning Plants Spring.” Home Garden Air. N.p., n.d. Web. Nov. 2014. <http://homegardenair.com/garden-tips-benefits-of-pruning-your-plants/pruning-plantsspring/>. Fig 63: N.p., n.d. Web. <http%3A%2F%2Fwww.regional.org.au%2Fau%2Fesa%2F2001%2F03%2F0305finch.html>. Fig 64: N.p., n.d. Web. 2014. <http%3A%2F%2Fpixgood.com%2Funderwater-plant-drawing.html>. Fig 65: “Solar Energy.” EcoPlanet Energy. N.p., n.d. Web. 02 Nov. 2014. <http://www.ecoplanetenergy.com/all-about-eco-energy/overview/solar/>. Fig 66: “Baum Pavilion - Online Portfolio for Shifa Virani.” Baum Pavilion - Online Portfolio for Shifa Virani. N.p., n.d. Web. Oct. 2014. <http://cargocollective.com/shifavirani/Baum-Pavilion>. Fig 67: “Angles: Which One’s Right?” STEMologist. N.p., n.d. Web. 02 Nov. 2014. <http://stemologist.com/angles-which-ones-right/>. Fig 68: “Parametricism - A New Global Style for Architecture and Urban Design.” Parametricism - A New Global Style for Architecture and Urban Design. N.p., n.d. Web. 01 Nov. Fig 69: “Photovoltaics.” Wikipedia. Wikimedia Foundation, 30 Oct. 2014. Web. Nov. 2014. <http://en.wikipedia.org/wiki/Photovoltaics>. Fig 70: “Structural Steel Roof Trusses.” Structural Steel Roof Trusses Tattoo. N.p., n.d. Web. Oct. 2014. <http://www.tattoodonkey.com/structural-steel-roof-trusses-tattoo/>. Fig 71: dq=how+are+panels+attached+to+a+structure&source=bl&ots=usA_cAxspr&sig=rXK4LXxI9Z9G8ROIHc7O1zvIuDU&hl=en&sa=X&ei=E3tWVN7tIYnk8gXMhI GwCw& Fig 72: N.p., n.d. Web. <http%3A%2F%2Fedsc.unimelb.edu.au%2Ffab-lab>. 100

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All References: “AgSource Cooperative Services - Potato Tissue Petiole Analysis.” AgSource Cooperative Services - Potato Tissue Petiole Analysis. N.p., n.d. Web. Nov. 2014. <http://agsource.crinet.com/page2463/PotatoTissuePetioleAnalysis>. “Angles: Which One’s Right?” STEMologist. N.p., n.d. Web. 02 Nov. 2014. <http://stemologist.com/angles-which-ones-right/>. “Architect’s Handbook of Construction Detailing.” Google Books. N.p., n.d. Web. Nov. 2014. <http://books.google.com.au/books?id=5TunEp-KhgIC&pg=PA51&lpg=PA51& dq=how+are+panels+attached+to+a+structure&source=bl&ots=usA_cAxspr&sig=rXK4LXxI9Z9G8ROIHc7O1zvIuDU&hl=en&sa=X&ei=E3tWVN7tIYnk8gXMhIGwCw& ved=0CCoQ6AEwAg#v=onepage&q=how%20are%20panels%20attached%20to%20a%20structure&f=false>. “Baum Pavilion - Online Portfolio for Shifa Virani.” Baum Pavilion - Online Portfolio for Shifa Virani. N.p., n.d. Web. Oct. 2014. <http://cargocollective.com/shifavirani/ Baum-Pavilion>. “Cabbage.” Wikipedia. Wikimedia Foundation, 11 Jan. 2014. Web. Nov. 2014. <http://en.wikipedia.org/wiki/Cabbage>. “Lettuce - Butter.” Lettuce - Butter. N.p., n.d. Web. Nov. 2014. <http://www.perfection.com.au/produce/vegetables/leafy-greens/lettuce-butter.aspx>. “New Health Guide.” How Many Carbs in a Potato? N.p., n.d. Web. Nov. 2014. <http://www.newhealthguide.org/How-Many-Carbs-In-A-Potato.html>. N.p., n.d. Web. 2014. <http%3A%2F%2Fpixgood.com%2Funderwater-plant-drawing.html>. N.p., n.d. Web. <http%3A%2F%2Fedsc.unimelb.edu.au%2Ffab-lab>. N.p., n.d. Web. <http%3A%2F%2Fguiltfreefoodguide.com%2F2013%2F05%2Ftomatoes%2F>. N.p., n.d. Web. <http%3A%2F%2Fhcgl.eng.ohio-state.edu%2F~ceg532%2Fchap1%2Fchap1_2.html>. N.p., n.d. Web. <http%3A%2F%2Fwefs.co.nz%2Fcrops%2Fbroad-beans>. N.p., n.d. Web. <http%3A%2F%2Fwww.aok.dk%2Fshopping%2Ftorvehallerne-stadeholderne-skal-rode-lidt-mereRL%20or%20by%20searching%20for%20it.>. N.p., n.d. Web. <http%3A%2F%2Fwww.regional.org.au%2Fau%2Fesa%2F2001%2F03%2F0305finch.html>. N.p., n.d. Web. <https%3A%2F%2Fwoolworthsbabyandtoddlerclub.com.au%2Fbaby%2Fbaby-health-and-nutrition%2Fwill-carrots-really-help-your-babys-eyesight%2F>. “Parametricism - A New Global Style for Architecture and Urban Design.” Parametricism - A New Global Style for Architecture and Urban Design. N.p., n.d. Web. 01 Nov. 2014. <http://www.patrikschumacher.com/Texts/Parametricism%20-%20A%20New%20Global%20Style%20for%20Architecture%20and%20Urban%20Design.html>. “Photovoltaics.” Wikipedia. Wikimedia Foundation, 30 Oct. 2014. Web. Nov. 2014. <http://en.wikipedia.org/wiki/Photovoltaics>. “Pruning Plants Spring.” Home Garden Air. N.p., n.d. Web. Nov. 2014. <http://homegardenair.com/garden-tips-benefits-of-pruning-your-plants/pruning-plants-spring/>. “Solar Energy.” EcoPlanet Energy. N.p., n.d. Web. 02 Nov. 2014. <http://www.ecoplanetenergy.com/all-about-eco-energy/overview/solar/>. “Structural Steel Roof Trusses.” Structural Steel Roof Trusses Tattoo. N.p., n.d. Web. Oct. 2014. <http://www.tattoodonkey.com/structural-steel-roof-trusses-tattoo/>.

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