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Who What Why
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Neha Nagarkar 3rd year architecture student Still trying to figure this one out. Hello and welcome to my journal! I fell into Architecture after school, with it seeming like the best way to team my interest in geography, physics and art. Two years later, most days I feel ill-equipped to be a third year, disconnected from the discipline. I'm still unsure about where I want to go with this field of study, and have been trying to explore it's many facets. In my previous work I have always found it important to have an all round idea of what I am aiming for as a goal to design toward. While I did attempt to stretch the brief given, I often did not feel like I could move ahead with thematic ideas of what a building should represent without being able to justify every little part. This has often left me driven ultimately by last minute panic. Not giving ideas a chance to be stretched to a workable possibility is an issue in my approach to design. I hoping to confront this with the use of digital tools this semester. I have previously used AutoCad and Revit during 11th and 12th grade to drawup and render product and building designs, and had my first experiences seeing what I had roughly sketched and visualized realized in images that looked life-like, learning the benefits of digital tools in testing aesthetics. First year Virtual Environments gave me a chance to dabble in Rhino.
Flailing at the screen is probably the most accurate description of what I did (the aforementioned panic inspired most of the eventual creation) and so I definitely wouldn't say I have had much experience with the full capabilities of the program. Digital design is new to me, especially as a form maker. The only real exposure I have had to it has been when looking at new architectural work that is coming up today. I am aware of it's ability to be used to test the physical boundaries of a structure, and it's benefits in the creation of new technology. However, I have never used it in such a manner, or ever to create form based on a function. I am looking forward to discovering how digital design can change my perspective of the design process that has gotten the better of me in studios in the past, and maybe find a way to dive back into architecture.
CONCEPTUALISATION Past, Present and Future
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Looking back on our collective existence on Earth, as a species we have taken more than our fair share. Her resources have been treated as a sovereign right [Fry, 2008], utilized without a thought up until only relatively recently in the history of our existence. Fry states that as a result of this, it can be assumed that we as a species are not going to have a guaranteed future. Survival is a strong instinct, and though we have put ourselves in a position that could easily lead to defeat, we in our masses cannot give up so easily. Thus, it is time for us to find not only solutions, but approaches that will enable future generations to exist without the remnants of our mistakes hanging over their heads. This idea has become more and more prevalent in society today, entwining with our daily lives and into discourse that we engage in every day, permeating our culture at a global scale through mediums that have a far reach. Architecture is one such platform that spreads across continents, with shelter being a basic human need and technology enabling a mass network of knowledge to be shared on an international scale. It can be considered an autopoietic system [Schumacer, 2011], constantly looking back on itself in reference and generating a web of communication that is all connected within a global realm, and holds a powerful position as a cultural phenomenon that can exist on a local and international scale simultaneously. It is utilized by groups of people both large and small, and is a large consumer of resources. It is through the engagment of design and it’s position as a world changing force [Fry, 2008] that this discourse can help benefit society.
Architecture is in a strong position as a conduit to the public, that has the potential to allow them to affect the environment in which they live, redirecting their assumptions away from overconsumption and towards new ideas of knowledge and actions [Fry, 2008]. The Land Art Generator Initiative invites designers to engage with this potential, by combining design with Energy Generating Technology to create a sculptural interpretation of beneficial form, that will contribute energy to it's surroundings and serve to reduce consumption of precious resources. The following pages consider the implications of this and how it can be implemented, through looking back at examples of design and techology use, as well as forward to new ideas and exciting techniques we have at our finger tips.
"We must add to and mobilize design “ intelligence" TONY FRY
Part A
CONCEPTUALISATION// Design Futuring
Fresh Clouds “'Harvesting the byproducts of human cosumption' Fresh Clouds was an entry for the 2012 Lagi competition, designed for the Fresh Kills Park next to New York City. What first attracted me to this project was the reference to clouds. I have always been fascinated by the fact that they hover in the same amosphere as us, but are driven by a completely different set of surrounding conditions and change constantly. When I was in India recently due to the high levels of smog the clouds were completely obscured in the sky, and looking up I always wished there was a way to suck the pollution out of the sky, instead of only being able to reduce the amount that enters it. This project of course oes not do this, but works within a similar theme, while simultaneously generating energy. The Fresh Clouds relate directly to the site by finding a way to combat the negative effects of it's past use instead of just building or creating over it. This combination of input and output was really fascinating to me.
F1: Balloon System (http://landartgenerator.org/designcomp/submissions/1385-CLOUD120_2.pdf.jpg)
F1
Their structure mimics the shape of a methane gas molecule, made of ETFE, a flourine based plastic that can withstand high temperature and pressure easily [Kosbau, 2011]. These ‘clouds’ are positioned over micro turbines that are in place already converting the methane that is being emitted due to the site’s previous use as a garbage dump. The by-product of this conversion is hot gas, that is allowed to fill these balloons and causes them to rise, using incredible lift to pull cables attached to fly wheels and generate energy. At height the air is released through the balloons top, causing them to slowly return to the ground at their own pace. They are constantly responding to the site while using infrastructure that is already in place. The structures also have the potential to be built anywhere and transported on site, reducing their embodied energy. I also liked the idea of structures that are off the ground, if only because of the slightly romantic notion that we have left enough of an impression on the Earth with the advent of urban sprawl and heavy infrstructure. A design that gives land over to the natural world appeals to me, and
buidlings off the ground seem to be a good compromise. Alternately there is potential for the land to be further developed in the future. Seven larger pods also have the ability to be made into exhibition spaces, and showcase a display over the course of their journey up and down and can thus share knowledge of the project and it’s objectives with visitors. Their reuse of an old site could inspire thoughts about how exists landfills could also be adapted in a similar way, and would make people look twice at by products as a potential force. As public art they are an effective aesthetic excersize, and their value is mainly generated from their ability to engender interest in the public. Flaws in the system would be it’s use in the long term, as the amount of menthane reduces they would not be effecive in the manner they have been created. There is no evident system in place for future adaption, which would be ideal in a project like this to showcase the forethought that we as a race have neglected to show in the past.
F2: System in place and in use (http://landartgenerator.org/designcomp/submissions/1385-CLOUD120_2.pdf.jpg)
F2
Scene-Sensor
The first prize winner at the 2012 LAGI competition utlizes wind energy is a way that is very different from the conventional turbines that we often see in the hills surrounding towns. Instead of the now stock standard fan on a tall stick we know, they have utilized the length of the space to create what is essentially a reactive wall, that thrums as the wind blows into it and generates energy. It functions as a conduit between areas of the site as well, functioning as a social generator. It serves as a transitional space, utilizing the natural path of optimal wind flow through the site. They are lifted above the water line so that they do not affect the local eco system, while also acknowledging the recreational
uses of the stream by allowing space for kayaks to pass under, balancing human and ecological needs. Scale has been utilized to allow the panels of the screen to move freely while also being attached to the larger sheet, generating energy at both levels. The reflective metallic mesh shot through with peizoconnectic wires transform the mechanical forces of bending and motion generated by the wind into energy [Murray and Vashakmadze, 2012]. This has been coupled with the avenue within the channel serving as the main access path for pedestrians, bikes and the like. The floor of this section has been created such that it will collect the energy generated
It does not rely simply on human activity to generate energy, thus being a perfect acknowledgment of the two main forces on site, ecological and human. In contrast to the previous project it factors in long term use, relying on an energy source that is assumed to continue to flow in the future. It is a realistic design that factors in times when people may not be present on site, while also providing an aesthetic outlook by virtue of mirrored panels that reflect the surrounding landscape back to a viewer, thus not allowing it to completely leave their mind. This acknowledgement of it's surroundings is an important facet of the design, redirecting viewers thoughts back to it and thus, the environment.
F3 F4 Render - The Scene Sensor [http://landartgenerator.org/LAGI-2012/ap347043/]
F4 Recreational Activiy and use [http://landartgenerator.org/LAGI-2012/ap347043/]
F4
The site in Copenhagen is a very large flat piece of land open to the elements, such that a number of technologies could be adapted very well to fit into it and generate energy. It’s coastal location leads me to believe that using hydro electric power would be an efficient way to generate energy, especially as the site is open to water on three sides. Vortex Power uses movement of the water to generate electricity. When water flows through a space in between obstacles, vortices or small turbulent spinning movements are created within the fluid. It has to be flowing through a space, and obstacles put in its way create small turbulent spinning movements. By using fins, the mechanical energy created by one such movement can be transferred to the next, generating a feedback loop. High speeds are not required as the Vortex power converter functions in waters flowing at speeds of as little as 2 knots [Ferry and Moonian, 2012]. The
direction of water flow could affect energy generation, but if the times of the tide at different times of the year and day are noted and the fins are created such that there direction could change easily, this system could be maximised even more to generate the most energy possible. The land could be manipulated with waterways to harness this power in a potentially very aesthetically pleasing manner, and the systems could be combined with solar power. Issues with this could be that the infrastructure involved would be quite intensive, so cost against gain would have to be measured carefully.
Energy Generation// WATER VORTICES
F5
F5: Vortices from Space, Source: http://astronomyonline.org/SolarSystem/Images/Earth_Moon/Vortex.jpg
A2 COMPUTATION
In this day and age, computers are all around us. We use them to interact, to write, to research and essentially communicate. Digital platforms allow tangible thought to be transferred via intangiable means, with no by-products of this interaction left behind. These devices have changed the way that design is approached, allowing creation within a conceptional realm. The use of computers in design was initialy mainly for drafting processes, in which the device was used to create accurate representations of designs that the designer had already conceptualized. Essentially they were used in a communicative capacity, but the advent of technology and shifts in architectural values have enabled them to be used for much more in the modern world. They are allowed to take on small or large parts of the design process [Kolaveric, 2003], moving from drafting to generating relations between data sets and proposing designs for human designers. Digital design using technology by providing it with algorithms with which to work, (essentially giving it the framework and then allowing the machine to reach a conclusion as to the best possible solutions) is thus capable of generating a high level of variability in form. Due to it's basis in math and code, essentially it will prodive outputs that could in theory be infinite, depending on the parameters set. Computers can create geometries that we could never visualize. With the focus on functionality of form in architecture today, computers can also calculate the efficiency of structure by virtue of inputs given to them by us humans. Thus these geometries that have been created in the virtual world can also be tested there, by entering material properties into the equation.
They allow for the integration of conception and production [Kolaveric, 2003], with the ability to handle large amounts of data and calculation meaning they can deal with performance based assesment during the design process, thus giving the archiect scope to change his design to enable maximum efficiecy. 'Scripting' and the ability to write formula that can then be used to test performance and energy parameters are changing the way design is looked at. Data can be modelled and simulated in a virtual space, including construction technology. A complete model can be created that contains all the data necessary for building, enabling architects to become 'master builders' [Kolaveric, 2003], closing the gap between construction and design and essentially changing the definiton of what it means to be an architect. Computation can be seen as a route to implement ideas of preceding architectural theory as well. Focus on materiality and the buildability of structure is an idea that has been present since Ruskin's time, and 'honesty in materials' can be expressed with confidence through digital design. Organic design vocabularies express biomorphic form that digital design seeks to replicate and use as inspiration just as was used in the early and mid twentieth century [Oxman, 2004]. It does not completly reject ideas of the past, taking on concepts and themes just as any new technique, and pushes the limits of these as much as possible within our new technological framework.
P3 PAVILION//Student Workshop
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The P3 pavilion is form created by virtue of 2 sets of scripts, one for the formation of the form and one for the perforation and connection. It has been described as an expression of applied physical forces and imposed design intent acting as shape finding criteria, thus providing two sets of data that were made to correlate to come to a conclusion. Parameters included the desire to use no binding and have the structure interlock by virtue of it’s peices and the relationship of the physical forces. The shape seems to have been defined previously, with the input of the rounded flat shape being pannelled and then extruded up to form the design objective of pavilion. The data inputs in relation to where connections and perforations should be made evidenty enabled the flat shape to be made 3d. Materiality was inputted in as one of the parameters. The most novel thing about it is the fact that it has been held together by virtue of interlocking. While the pavilion only serves the purpose of space making, the digital tools enabled the pavilion to be created such that it can be assesmbed and disassemled as needed as there is no binder (this could be ensured in the virtual tests). This is an example of design that has used scripting in two stages with multiple data sets relating to one another, thus showcasing the use of parametric design. [Coover Studio, 2013]
F6 (Above):Assemled F7: Form Finding (http://www.suckerpunchdaily.com/2014/03/27/p3-workshop-p3-pavilion/)
P_Wall and Zero/Fold Screen//Matsys The P Wall and Zero/Fold screen are both creating vertical faces that use curvilinear form by virtue of computaton, but do so in a manner that is quite different, with computation used not just to generate a creative form but to fulfill other objectives as well. The Zero/Fold screen could be seen as an example of the ‘typical’ parametric design that was prevalent soon after the advent of ‘folding’ and computation began, with the undulating shape simply spreading across the surface with no apparent guidance, it is an arbritrary set of values. However, the objective was to work backwards from the material that was being used, so as to ensure that there would be no waste left over. Thus it reverse engineers the usual approach to digital fabrication, that does not factor in material and fabric. It optimizes for no waste, thinking about it’s implications as more than an aesthetic object and thus uses computational tools for a more fulfiling purpose.
F8
F8 (Above):Elevation F9: Assembled (www.matsys.com)
F9
The P_Wall uses computation as a guiding tool. Programs were used to create the cloud of points that guides where wooden dowels are inserted into the fabric formwork constructed, based on the grayscale of an image. These dowels then resist the downward force of plaster poured into the moulds and they settle into the shapes shown. Computational design was used to ensure that each section would have an individual random appearance, in order to avoid the possibility of a pattern emerging by virtue of random insertion of the dowels. It has also been used to test the physical response using a physics based programme. The final curvature of the forms however were determined by gravity only. This play between allowing the created structure to respond to it’s environemnt within the constrains created by digital programming is one that I find interesting. This project is of a scale that does not fully show the potential of computational design, but it’s ideas could be applied to such things as the LAGI competition in terms of the use of computer prgrammes to replicate real data and simulate reactions to ensure that the desired outcome is achieved, however since it only fulfills aesthetic purposes it has not shown this potentional. It also showcases how 2D data that is plotted can be trasformed to 3D structure in an alternate method to unfolding and assembly. It could almost be seen as an example of nature's process of form making, that used the parameters Matsys had set for it to react in a certain way.
F8: (Above) Competed P_Wall F9: Dowel Placement Planning (www.matsys.com)
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A2 COMPOSITIONAL//
Algorithmic based designs enabled shifts in architectural thought, from only using human creativity to create form to allowing computers to do so based on guidance through human input. Instead of the designer forming the external, instead they form the internal generative logic, from which the computer will then create a range of possibilities from which the designer can then choose the best outcome to work on further. This is how the generative apporach can be described, in which a set of parameters allows multiple iterations that can be changed by virtue of these changing paramters. The emphasis shifts from 'making the form' to 'finding the form' [Kolaveric, 2004]. As Brady Peter's decribes, insteading of just using the software, architects are now making the software, learning how the manipulate their inputs in the virtual environment. They communicate via scripting, which is used to create algorithims that then deal with the relationship
between data sets of elements within an environment. These mutliple parameters are necessary to ensure that scripting does not simply become about repetitive cladding or form, and not obscure from design objectives that are more than just about aesthetics, as could be one issue with it's use. For example, in relation to the LAGI competition factors relating to environmental conditions on site and optimal conditions for energy generation, or perhaps for circulation of people and use of the site can all be inputted in some way to generate forms. Computation in this way goes ‘beyond the intellect of the designer’ by generating unexpected results, as can be seen in Micheal Hansmeyer’s [Hansmeyer, 2012] work. It shows the thousands of surfaces that are at work through computational modelling that could never have been imagined in a human mind.
It is not about the architect knowing what a design solution will ultimatelly look like, instead it is about knowing what factors the solution has to deal with and consolidating these. Algorithmic thought forces the designer to think in this way. It is amost like they are keeping the project and it's components and factors in mind in an exploded view, while the computational device deals with the overall merging of the factors. An issue with computation arises in the buildability of the generated form. Since it exists in a world devoid of physical constraints, execution can be difficult, meaning design remain could purely theoretical. However, already technology is moving forward into a stage where this digital design is used as input for 3D printing, meaning that design can be executed witth more and more accuracy.
“"This computational way of working augments the designer's intellect and allows us to capture not only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a building’s formation." Brady Peters
//GENERATIVE
F10 F10: HygroScope within the glass chamber (www.achimmenges.net)
Achim Menges//
HYGROSCOPE Menge's HyroScope was created to be situated in a glass case in the Centre De Pompedui in Paris, as an experimental archiectural form that reacts to it's climatic conditions without the need for machinery, data collection or conversion using energy. It utilizes the inherent characteristic of it's material, timber, to absorb humidity from the surrounding air, showing a reaction through the gentle opening and closing of the fins of the structure. The small scale environment within the case reflects the large scale world outside of it, by reacting to the air that is ever present around us, showcasing a property that would prviously not have crossed most people's minds. It uses computational design to complete this objective with the ‘generative code being just as important as the material systems research’ [Menges, 2012]. The way machine computation is used to generate the system is directly related to the way material computation is employed to enable the system’s responsiveness'. They have related the data used
for physically programming the behaviour against the digital program that unfolds the system’s morphology. Custom made algorithims use the following parameters: [i] the fibre directionality, [ii] the layout of the natural and synthetic composite, [iii] the length-width-thickness ratio and [iv] geometry of the element and especially [v] the humidity control during the production process.' Thus it is about more than the creation of form, and is an example about how the relation between nature and design can be optimized to cause a reaction without excess use of materials. This is an objective of the LAGI competition that we are going to begin to think about in the next stage of the course, and this could be an interesting precedent to look back on. It can be fabricated by virtue of available mateials, so buildibility is also essential in it's inception.
BioThing// SEROUSSI PAVILION
This pavilion was based on the self modifying patterns of vectors, based on electromagnetic feilds. Attraction/ Revulsion as experienced within magnetic fields were mapped, then lifted using six different types of geometries. The ulimate form is driven by the unseen forces that are present in our world, that form patterns we do not otherwise engage with. To enable buildability the tiling for the roof was increased by algorithimic differentiation of component features [Biothing, 2007]. All factors such as views and light are driven by parametric definitions. The internal logic is driven soleley by the form finding vectors used. The intention of the space is also to be used as an art space, defined by
the existing logic, thus carrying the idea of unplanned form and layout through to it's use. Additional features were added to the initial generating script along the way, showcasing the ability of digital design to be adapted as one moves through the process. It can be used to respond to issues that crop up, such as site topogrpahy. Due to the integral mathemathics, radi of influence can be woven from the fabric into existing landscape elements. Generative design enables architects to enagage more fully with their inspirations, even when they are basically unseen forces like that of electro-magnetic. It allows for a more thorough and vital construction of discourse.
F11 F11: 3D printed prototype (www.biothing.com/seroussi)
Learning Outcomes// Conclusion
Computational design is enabling architects and designers to go far beyond their individual intellect, by virtue of programmes that can take on high amounts of data analysis as well as through the exchange of knowledge about these programmes. It is leading to the creation of structures that are much more efficient, with material use and performance being optmised before fabrication, ensuring minimal waste. Computers enable better assessment and communication of ideas, while minimizing the time between ideation and production by virtue of integrating concepts of construction and design. We can now push structures to their creative and technological limits, contributing to architectural discourse in a positive manner. Fry told us that good design allowed people to have an impact on how they live, and computational design can help that happen. I feel like I have been able to develop an understanding of what computational design is, and how parameters and such can be used to implement it through the readings and examples looked at. Looking at how architects have used the programmes in their work, it is clear that my previous use of Rhino wasn’t using it to it’s full capabilities at all. When I created my lantern (for Virtual Environments) the shape was quite straight forward, a simple bowl inspired by the form of a jellyfish. Computational tools could have been used to assess the change in shape and perhaps map it, which could have lead to a much more dynamic form. he scope and innovation that digital design enables is clear in the readings and extent of the precedents that I encountered, with each adapting the technology to suit their situation. the readings were especially informative in describing the change in professional practice, and this influences the skill set that I feel I have to work on in my future studies and career. The use of digital tools in performance testing is especially interesting to me, as I feel that efficient material use is also vital in the future of our natural environment. I am still unsure of what makes up an algorithim that is plugged into the computer, with most of the scripting language going over my head. The next few weeks will be a real learning experience in relation to using Rhino, and attempting to change how I look at design and it’s related workflows.
REFERENCES
Biothing, Seroussi Pavilion, 2007 <http://www.biothing.org/?cat=5> Ferry R and Moonian E, A Field Guide to Renewable Energy Sources, LAGI 2012<http://landartgenerator.org/LAGI-FieldGuideRenewableEnergy-ed1.pdf> [accessed 10th March 2014] Fry T, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p 10. Kosbau T, Hines J, Warford B, Smith C, Saucedo S, and Eleta B, Fresh Clouds, Land Art Generator Initiative, 2012 <http:// landartgenerator.org/LAGI-2012/cloud120/> [Accessed 12th March 2014] Hume Coover Studio, ‘P3 Pavilion’, Suckerpunch, 2014 <http://www.suckerpunchdaily.com/2014/03/27/p3-workshop-p3-pavilion/#more-35687> [Accessed 25th March 2014] Hansmeyer M, Building Unimaginable Shapes, TEDGlobal, June 2012 <http://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes> Matsys, Zero/Fold Screen, 2010 <http://matsysdesign.com/2010/02/28/zerofold-screen> Menges A, HygroScope: Meterosensitive Morphology, 2012, <http://www.achimmenges.net/?p=5083> Murray J and Vashakmadze S, ‘Scene-Sensor’, Land Art Generator Initiative, 2012 <http://landartgenerator.org/LAGI2012/AP347043/> [Accessed 13th March 2014] Kolarevic B, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) p 20.. Oxman, R and Oxman R, Theories of the Digital in Architecture (London; New York: Routledge, 2004), p 7.
IMAGES
Schumacer P, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011), p 4.
F1: http://landartgenerator.org/designcomp/submissions/1385-CLOUD120_7jpg
F2: http://landartgenerator.org/designcomp/submissions/1378-CLOUD120_2.pdf.jpg
F3: http://landartgenerator.org/designcomp/submissions/1385-CLOUD120_2.jpg F4:http://landartgenerator.org/LAGI-2012/ap347043/ F5: http://landartgenerator.org/LAGI-2012/ap347043/ F6: http://astronomyonline.org/SolarSystem/Images/Earth_Moon/Vortex.jpg F7: http://www.suckerpunchdaily.com/2014/03/27/p3-workshop-p3-pavilion/ F8: www.matsys.com F9: www.matsys.com F10: www.achimmenges.net F11: www.biothing.com/seroussi
CRITERIA DESIGN evaluating, testing, selecting
Part A introduced us to an array of theories about the evolving field of parametric design, helping us try and understand its complexities. Further investigation will continue in Part B, with a more thorough application of tools in an attempt to further understand for ourselves the possibilities that lie just beyond reach, limited only by our knowledge. As Robert Woodbury says, (Woodbury, 2014) parametric systems are a way of making the mathematics of such things as tangents, planar properties and surface normal ‘active’. Not only in the sense that computers have the power to handle equations that we cannot but also as a way to take the mathematics of form and shape and use this in conjunction with data that define our use of space, thus moving closer to optimising architectural creation for certain objectives. A ‘process’ can be defined, with individual elements to be manipulated. This can be applied to all elements of structure, from the layout of internal spaces, form and overall external appearance such as cladding. One of the criticisms of parametric design has been that it allows ‘cladding’ to be given more credit than it is due. However, Moussavi and Kubo show us how this outer skin can be seen as a ‘tool that engages architecture with its urban setting’ (Moussavi and Kubo, 2006). Instead of simply playing an aesthetic role, they explain how this relationship can be taken even further, with the ‘ornament becoming a figure that emerges from the material – shaped by construction, assembly and growth’. Parametric design and computational devices can be used to enhance it, combining the ‘visible and invisible forces of architecture’ in the consideration of such things as materiality, considered a ‘composite’
force. It becomes a tool to connect the inside to the outside through the use of materiality, in what could be called material systems. These ‘Material systems’ in design could be considered to be the elements that enable the overall form of a structure to be shaped, providing a framework for the rest of its elements to fit into, including such things as connections, appearance, material interaction and form generation. The use of parametric design in ‘Material Systems’ is considered and followed in the following pages, through to a stage where we start to develop and engage with form on more than just a theoretical level.
Part B:
PARAMETRICS// MATERIAL SYSTEMS
STRIPS//FOLDING Defining the system:
A look at the examples expresses some common ideas between them that provide an insight into what the system of ‘Strips/Folding’ entails. While there is a certain overlap between the ideas of ‘strips’ and ‘folding’, it is also possible to create a distinction between them based on the continuity of form and structural performance.
‘Folding’ seems to imply that the same material, in a single expanse, has been used to create the form, and a single skin has wrapped around or is creating a frame. Thus, when looked at the form is such that it loops throug, within and around itself, being a contained unit. There is an element of seamlessness to it. • • • •
Material repetition Seamless quality between elements of form Lighting is important – creates dynamism Fabrication/Assembly– Cladding on a frame
In‘Strips’, individual elements can be distinguished, but they still come together to create a cohesive form. Parts have commonalities, regularities; they all share such as general material or similar forms with differing basic dimensions, which are combined to create irregular forms. • • • •
Individual elements can be distinguished Linearity and planarity is emphasised Asymmetrical Fabrication/Assembly – Exposed elements serve a structural function.
"With digital parametric design and production, variation becomes possible not only in spatial layouts and component dimensions, but also in material composition and surface articulation" -Kolarevic, Branko and Klinger-
Using these, it is possible to create an overall form that is a curious combination of inconsistent and consistent, with common elements binding it together. It could be symmetrical but made of sinuous organic form, such as Loop 3(F1), or asymmetrical and seemingly random, but visually tied together by elements such as the Botswana Innovation Hub(F4). Each one applies these ideas in diverse ways, and this further evidences computational design’s positives.
LOOP 3//Co-ed-IT
Keeping the material consistent over the frame, it appears to be folded into the form we see, with colour variation being only due to the play of light across the surface. Mathematical trigonometric algorithms applied for an aesthetic objective coupled with curved forms for maximum structural performance and creation of spatial zones resulted in the final form, that was then fabricated through a cladded frame system. 'Strips' of material laid onto the frame resulted in a shape that appeared folded, which makes it a perfect example for this system (SuckerPunch, 2012). An advantage of 'strips' could be derived here; ease of assembly is prompted with this system as elements can be fabricated off site and brought in for assembly. They are all slightly different configurations of the same materials. There is a consistency between the fabricated form and the computed design. The computational program enabled the team to bring their form to life, with elements of each layer being 'unfolded' flattened and laser cut from panels, meaning that prefabrication of these elements was possible.
F1
F1: Frame and Cladding (http://www.suckerpunchdaily.com/2012/11/05/loop_3/)
DOUBLE AGENT WHITE//TheVeryMany
This form is one which showcases how two approaches and objectives of parametric modelling can be applied simultaneously to create a cohesive form. Nine intersecting hollow spheres with central trunks for the support system for this pavilion like structure. Two parallel but divergent sets of distributed agents describe the surface condition geometry for the structural aspect, and aperture for aesthetics (Escobedo, 2012). By creating a distinction between the objectives, it allows them each to be given appropriate consideration, thus providing a more elegant solution than if they had both been just facets of the overall idea. This design has been described as one that achieves the maximum degree of morphological freedom with the minimum amount of components. The have considered constructability in the very initial phases of computation, using specified sized aluminium sheets as a parameter to generate the minimum number of elements cut from them, thus reducing wastage of material. Nesting of elements into the sheets they were cut from enables minimum wastage. Double Curvature has been used, incorporating mathematical theory for structural stability of form.
F2
F2: Individual elements and assembed structure. (http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/)
BOTSWANA INNOVATION HUB// SHoP
This structure has been proposed as a space for research and development, and thus has a focus on sustainabe technologies, with a brief that asked for a timeless structure that has the most advanced green technologies. It uses ‘strips’ not as a structural or cladding element, instead they act as the base planes for the areas of the site onto which the green energy and ‘sustainable’ technologies will be incorporate and applied. (ShopArc, 2013) This could be seen as an expression of the landscape around, flat expanses that would be jarred by the intertion of a tall structure. Instead, layering the levels with glass cladding in between these elements makes it appear as if it hovering in the landscape. Roof planes that appear to slope down into ground planes create a dynamic intertwinging environment. Linearity and planarity can clearly be seen to be expressed here. The scale of these planes seems to be quite expansive, meaning that structural systems will have to be quite expansive as well.
F3 View from the top and side (www.shoparc.com/project/Botswana-Innovation-Hub)
F3
ARCHIPELAGO// Chalmers University of Technology
Strips of malleable material have been used to assemble this little pavilion. It was put together by 33 students to serve as a getaway from the nearby city centre, provided shade both inside and outside (Grozdanic, 2013). A parametric approach has been used to ensure that material loading was balanced with form generation. It also enabled the form to be laid out flat in strips, thus making construction easier as the elements could be easily generated. As the team wanted the way the form was put together to be a part of the visual experience, conveying the assembly method, bolting that is visible on the exterior of the surface is not an issue. The form is one that can easily be extended end elongated if needed, to include more seating opportunities. As it has been created using computation, the form can easily be changed and manipulated, as well as re-created, just as Woodbury stated (Woodbury, 2010).
F4 Shading Pavilion on site in use (www.evolo.us/architecture/archipelago-parametrically-designed-pavilion/)
F4
10 HILLS PLACE// Amanda Levete Architects
The subtlety of this parametric design is provocative. It contrasts with the more traditional architecture surrounding it, being a smooth expanse that gently lifts at regular intervals to let light in. The angle has been optimised for this function (Etherington, 2009). Fine faceting has been used on the strips, reflecting the street and sky. This is an example that exemplifies what a faรงade can be, and how it can relate the internal spaces to the outside in a very different way from ordinary windows. While it could have been much more elaborate, the architects have chosen to leave it subtle and direct instead, using ship hull technology to achieve the smooth finish and gentle curving form. It is not using parametrics to make an excessive statement of form or patterning, which could easily have been done. Instead it is showcasing its ability to be applied with finesse. This example is also one which showcases the overlap between what strips and folding could be. Aluminium strips have been used to create the facade, being curved around the window areas. Because of the repetition of material, it appears to be formed out of a single sheet when glanced at quickly, with very thin delineations marking the sheets from one another. Thus, it seems like the sheet has been folded up where needed, with a seamless finish, but when looked at closely the linear elements can be seen.
F5 Built, Elevation and Assemby Detail (www.dezeen.com/2009/09/10/10-hills-place-by-amanda-levete-)
F5
CASE STUDY 1.0// SEROUSSI PAVILION
F6 Below and Opposite - Fields and 3D Printed Experimentation (http://www.biothing.org/?cat=5)
The Seroussi Pavilion was chosen for case study 1 because of it’s rich organic form, that seemed like a very interesting one to try and change in any way we could. In a sense it is a ‘classic’ parametric form, using curves and sinuous form in a repetitive manner, but each poit of origin causes slighly altered geometry of the curves to be formed in the resultant linework. Created using electromagnetic fields, the pavilion is an exemplar of strips, with them playing a structural role, making up both the wals as well as the roof of the structure such that it is a seamless transition. Individual elements make up the overall form, that is cohesive . The following pages showcase iterations created through manipulation and changing fo the base definition of a form very similar to the seroussi pavilion, in order to better understand the parametric universe and power of Grasshopper as a tool for creation of form .
Increasing Values
EXLORATION MATRIX
Decreasing Values
Spin Fields and Functions
The matrix was a really fun excersize, largely because it took the pressure of figuring out Rhino and Grasshopper off our shoulders. With the basic definiion to play with, the design and form of the structure changed rapidly with even just a few small numerical changes to elements. Further exploration meant that the form changed even more with a number of parameters changed at once, leading to the final choice of 4 made based on selection criteria which we detailed as follows:
1. Consideration of the energy generating system we want to use for the LAGI competition Water Vortexes, Wind or Kinetic Energy 2. Intriguing to the eye of a viewer 3. There must be an interaction between the space and the movement of the people through it. 4. Represent the function of one or more of the technologies used - thus have contiuity through the form as well as itâ&#x20AC;&#x2122;s function Kaliedascope Function
5. An organic overall structure
The shape and ‘spin force’ component used to create this form bring to mind one of our possible technologies, wind vortexes. The form generated emulates what the action of the vortexes would be, and could be used as a pavilion that is generated around them. The space could be an oudoor park that is centered around the idea of water moevement. The form is also a circulation path that would take uses all the way around the site in a loop, bringing them to the centre in a spiral. Thus, it could perhaps even be a running course where one follows the water.
This iteration brings to mind ‘pods’ again, but this time fully enclosed, spaces that could be left floating on the water left to respond to currents that would pass by as the tide went in and out. They could have some sort of urbine attached to the bottom that would respond the water movement, while people’s wieght would possibly keep it in place. They could be clad in solar panels to further collect energy. Since they are rounded, if they could open and thus increae surface area and collect even more that would also be an included feature, thus making the space dynamic and ever changing as they open and close.
Again reflective of the movement of water through the vortex, this iteration shows individual pavilion spaces that could also be recessed into the ground, thus they can be looked into and descended into, and are not totally private. This would create private spaces that could also still be exposed to natural light, but would be sheltered from wind. Thus, the walls could extend up and catch the wind as it moves through the site undisturbed by masses of people. Even if not used by large groups, the space could still remain undisturbed, but would bbe oepn to the elements and thus not possible to use al year round.
Chosen Iterations
This series of lines has potential to be seen as deliniating internal and external spaces, creating mini pavilions that could provide seperate meeting spaces for various groups, a space for private reflection or various ‘pods’ could face different views, allowing people to focus there attention in a paticular direction or internally on themselves. Appears to be growing out of the ground, and could even be a series of wind turbines that could be raised to to different heights depending on wind direction and speed. The way the ‘arms’ flair out bring to mind something spinning in the wind, there is potential for an interactive exhibit where users come to the site and canpush these ‘arms’, and when one is set in motion another turns too, creating an interesting display that could include light too.
CASE STUDY 2.0// KLUPA BENCH F7 The KLUPA Bench it up at night (http://www.solidsmack.com/design/klupa1000cm-bench-design-modelart/)
The Klupa 1000cm bench was created as part of the research into the impact of architecural installations and interventions in pubic spaces (Lavinia, 2012). In this way it is an example that reflects the LAGI brief that we will be considering, as that too is about the intervention of a system into public space. While the scale of the two is quite different, ideas from the bench, both parametrically and as a affect of change, could be beneficial in further consideration of LAGI. The design objective of the bench is to ‘wrap around the urban landscape’,
tying together natural and built form. Rhino and Grasshopper was used to create a bench that was as long as the space would allow. They constrained it at 1000cm, but more pieces can simply be added to the end to extend it to whatever length is desired, showing that adaptibility is another feature they wanted to enhance. Completely hollow, it’s external members are also sructural, strips of timbers that intersect to create an oscillating shape that offers seating for people of all shapes and sizes (user focused) with various series of angled members providing for varied posture/ position prefereces. The inside is lit with gentle lighting, emphasising it’s undulat-
The bench succesfully blends with it’s surroundings, with the timber and curving form finding a place among the trees , while the geometrical elements ensure it doesn’t appear out of place in relation to the built form that is also present. A slightly varied shape, that perhaps wraps around itself and allows more seated areas on the bench to face each other instead of being in a long line might be an adaption to the design that would have enhanced it’s role in the research of public installation, as it would have encourgaed user interaction not only with the bench but also with one another. It is a very simple approach, not attempting to disturb in i’s intervention of the public space, but still visualy dominating the area.
The basic form of the bench is a twisting rectangle, with members running in the opposite diretion. We started of by trying a few methods to create a base shape onto which we could put lines. Perhaps reflective of our still fledging Rhino skills, but we found it quite challeging initially. Our main approach was using lofted lines to make the surface and then attempting to put lines to represent the timber members onto this.
Attmepts at creating a twisted box.
Lines between lines
Finally achieved a form that was similar, by drawing curves between divded lines. However this definition does not have the complextity of the bench shape, or many parameters with which to play with. Thus, we decided to take a step back and look at it again.
Lines in wrong direction - but accurate representation of members
REVERSE ENGINEERING// Initial Attempts
Point - Move up a distance(*) - lines between points - Polygon(*+*) - Rotate Polygon(x) - Divide line (x) - Loft Solve Brep Plane Intersections (x) indictaes Parameters that can be changed numerically or through the input of another curve/geometry This definition offers many oppurtunities to do so, which have been looked at on the following pages.
The final outcome is a series of lines along a lofted series of surfaces, that are asymmetrical and non linear, not just following the XY Plane, due to how they relate to two polygons with different numbers of sides. These can be adapted into formed timber members if needed, that will subsequently lead to one assembly method. Alternately, the form could also be unfolded as our definition is one surface. The KLUPA bench on the otherhand can be seen to be a bit more complex, with much more distorted and twisted form, perhaps relating to twisting polygons that are not along the same line, as in our definition. It is also made of members that interset at every alternate junction, which has not been fatored into our definition. Similarities are present in the overall form, as well as the ability to extend the definition if needed through the addition of more polygons at intervals from the first point. Similar to how the Klupa Bench can be adapted to itâ&#x20AC;&#x2122;s setting, te definition offers enough control over itâ&#x20AC;&#x2122;s parameters to allow for optimisation dependant on the surroundings.
While it isnâ&#x20AC;&#x2122;t explicit whether this was done, the bench seems to have been using parameters that would have optimised it to be used a seat, therefore factoring the ergonomics of the human body. Since the use is going to be adapted for a different purpose, this is not a factor that we would have to be concerned with.
F8 Generative Model (http://www.solidsmack.com/design/klupa1000cm-bench-design-modelart/)
Increasing Values
EXLORATION MATRIX
MPlane-Rectangle
Lofting Geometries
Shifting Orientation
The selection Criteria chosen previously continued to be relevant for this section, as they took into consideration all the factors we considered to be important aspects of our design 1. Organic Form 2. Energy Generation Method Integration 3. Interaction of space and movement of people 4. Intriguing to the user 5. Represenative of the technology used Extending Form
CHOSEN ITERATIONS: Developing for This iteration shows one of the shapes that moved most away from that of the definition,. If turned on itâ&#x20AC;&#x2122;s side it could be an interesting pavilion shape on the site, perhaps dug out of some of the area and proturding out from the other side. There is also potential to expand this form out, so that the shapes could be seen better and used as a mesh surface, which can subsequently be used as a Peizoelectric shield, with each polygon making up an element that will vibrate when the wind hits it. This could also be solar panel array. These could also be tower like structures that are scatered across at varied heights. This form was very provocative, especially due to the appearance of the layers of lines that show dark and light areas that are all created from simply laying them over one another. It hints at a form that could use trasnparency of material to arise interest in viewers, and create an intriguing display. In response to the LAGI site, it could form a very complex visual display, that could be seen from the tourist attraction (Mermaid Statue) acorss the river. It would create a very interesting transitional space between the city and the river views that the plot offers. Laid on itâ&#x20AC;&#x2122;s side, it shows the possibility of using it as a tube like structure at offers dark and light spaces, for varied degrees for contemplation, communication and experientia quality.
As we worked through the chosen iterations, we found that our design ideas, it was way too large to find a way to apply to a very large scale that took away any real benefits of using was ideal to visualize water vorices, it was not effective to find
It was too late to change our iteration completely, so instead and attempt to combine ideas from both into a form that cou inspiration in the form of giving us oppurtunity to experimen another form that emulated the motion of water vortexes an work with to create a form that fulfilled our selection criteria.
The intersecting members of this iteration bring to mind the elements of a machine, that rotate as they are given a force and move in a circular motion around a central axil. If place just off the land on site into the water, and assembled such that the elements were allowed to move, it could be an interesting method of harnessing the flow of the river to turn an internal turbine. Collecting the force of the water some way is an important aspect of this site I think, but the scale of the structures we have considered doesnâ&#x20AC;&#x2122;t seem to be very effective to do so in an effective manner that will cover the site well and not just inhabit one side of it.
This iteration was considered as a a very good representation of one of our energy generating technologies, water vortexes. This seems to emulate the movement of water, it was an immediate image that came to mind on viewing it. Subsequently, we thought that such a form could be placed in the water around the site, and people could walk around them and be able to view the water as it created patterning when it flowed around these structures. Thus the parametric design could provide the framework for the patterning instead of being used to literally create it. This would be a way to raise awareness of the technoogy among users in an interesting and interactive way.
rm to fulfill a goal.
as we factored in the size of the site to the form of the bench without it getting g the form generated. While the shape d a way to occupy the site.
we decided to look back to the Seroussi uld be placed on the site. It had offered nt with spin force vectors, which were nd thus seemed like something we could
RESULTING FORM + PROPOSAL//
INTERACTIVE MAZE
Function: Function: Interactive Maze that generates enegy sustainably - fulfills criteria of user interaction Form: Form: Organic and Curvlinear to mimic the movement of water - Second Criteria for desiign set previously
Considerations: Considerations: * Factored in andd experimented with in prototyping, a pump has been proposed as a soution to get water into site as well. * Circulation of Public - will walk through the maze space, be guided through the whole site. * Placement of Energy Systems - water is directed into them, placed around the site with smaller ones closer to land where the force will be less and larger ones closer to the river edge. * Bringing Water to the Energy Systems Pump, or inclines will have to be created so that the system is lower than the water level and thus water will be guided in. * Materiality and structure - Lightweight but sturdy waterproof materials - some experimentation done in protoyping
Development of Form and Walls: The intial points with charge and field lines running through were very dense, and did not create enough spaces for people to be able to navigate easily. We developed the definition to include cull patterning and reduced the points to generate a layout that would be better suted to allowed people through. The curves were divided and seperate spin charges applied to each section, so that more smaller vortexes could be placed on the side closer to land, and transition up to less but larger ones as one walked through the space towards the water. The parameters that we coud control were the curves and number of points. The walls were deleloped to try and find a way for water to pass through them. Piped and strip walls were prototyped.
F9 Pipe Walls
PROTOTYPING - Inclin
2 DEGREE Water movement over an incline surface was tested, to ensure that our assumption that it would move quicker within the same amount of time over a more inclined surface was accurate, and it was evidenced to be true. At this stage we weren't factoring the angles of the piping, but there was also a tentative idea to have areas dug out to enable gravity to play a part in moving water through the site, so this prototype helped us realize that qite a steep angle would be needed to transport water with enough force to move through the large area of the site, there was the chance that it would lose momentum quite quickly, a pump would still be needed.
5 DEGREE
8 DEGREE
The pump would be powered by a turbine witin the river so it would not be using up any energy to function.
Entry Point of Water
Experimentation with water and curves, to see which woud be most effective at the entry pint to guide water onto the site and into the area where either the pump woud be, or the entry into the rest of the site fo rit would be.
Curved Inward:Water will not enter quickly as it passes by
Curved outward, but short - again, water does not enter quickly, takes a while to fill the space
Curvd outward and extended - catches water as it passes and enters area quickly
Water Through Pipin Water Movement through the pipes was tested for response to speed, found that fast water went thorugh better, was able to 'climb' the kink in the pipe to get through to the other side.
SLOW WATER MOVEMENT
FAST WATER MOVEMENT
Wall
'PIPE WALL' ASSEMBLY
S W A
s a
in s
po
ta
of
Possible assembly of the pipe walls - hanging system. Though it is an intriguing structue, it Would not be able to support the water passing through, seems fragile.
th or
STRIP WALL ASSEMBLY
The Strip wall seems more secure from the modelling it at a small scale stage. They would achieve the desired ffect of arising people's nterest as they entered the site and followedd the water through, showcasing the ower of water vortexes and sharing the idea that susainable energy generation is possible with the residents f the city. These walls could be shaped quite easily into he curves, thus allowing the rganic form that we envision to be conveyed.
Transparency
Looking at lighting through cuurved walls - ut this is too flat so was no considered further, not dynamic and intiguing enough
WATER MOVEMENT
These diagrams show the water as it would enter the site into the walls, pushing the previous image of the srip wall prototype. A turbine that was powerd by the water o this pump, causing it to be a self sustaining system
AND MAZE ON THE SITE
e turbines indicated in the of the river would drive
LEARNING OBJECTIVES AND OUTCOMES Moving Forward
At the Intermin Presentation,
We found that there were quite a few issues with our proposal, mainly in terms of it’s functionality as an energy generating space. Since this is one of the main objectives of the LAGI brief, this is something we have to re consider going forward. The main issue was how we were going to get water onto the site. EVen if it were to be pumped, the system is such that the energy gained would be utilised to function the pump, and optimal energy generation would not be possible. While the form does generate interest and is provocative, it could be pushed further as well. Using these two responses as we look at Part C, incorporating Wind Technology to perhaps power the pump is an option, as well as raisning the walls of the model and making them more than just dividions between the maze spaces. They could have an element of Peizoelectricity to them as well, which could feed into the system. Alternately, we could look at a whole other system all together, using elements from ‘Water as a Guide to the Future’. Since it is a design concept that ties very strongly back on itself and the idea of water, optimising it by factoring some real data about water speed and how the maze could function using it would be ideal, instead of choosing a whole new technology, and this is something to think about in the upcoming week. At the end of Part B, I am feeling a bit more comfortable working within the Rhino and Grasshopper space. The Reverse Engineering and Matrix creation excersices were very helpful in getting familiar with them, largely because it was back on comfortable ground for me I think, wherein I had an objective a form, that I needed to get too and was using tools to generate that. I am still not very comfortable approaching and using Grasshopper as a freeform tool that will create form through data input, as I do not know the programme well enough to be able to understand it’s true capabilities. Also, some of the terminology and structure of the interface still feels forgein. However, I can feel myself getting more comfortable with the programme, as well as starting to understand what it is truly capable of.
LO1: ‘Interrogating a Brief’ The brief is something that has not been fulfilled in this part very well by us, due to our lack of conceptulisation of how the technology chosen would work. Thus, I feel i have not given the brief due consideration, and must do so for the next part LO2: Generating multiple design responses I believe that I have done this with my group to a certain extent, however we did tend to focus on one set of skills within Grasshopper that we had accumulated and went back to, i.e. the spin charges and Seroussi Pavilion. This could be seen as a bad thing as now we need to re consider what we thought we had done quite thoroughly through knew eyes, and we do not have any very different responses that we did not use to fall back on. However, the iterations could be seen as an example in which lots of diverse responses were created using a single start point. LO3: Skills in 3D Media I am still finding my footing with Grasshopper and do not fully have a grasp on it’s abilities, so would not say that I have very well honed skills in relation to this, but am hopefully improving enough to apply them better in the next few week with the input of real data into out definitions. LO4: Architecture and Air Since we focused on water based technology the ability to showcase an understanding of this has been limited and well as to consider it extensively as a specific relation, but in terms of parametric modelling and skins of buildings the relation to atmosphere is very important, as it is what causes such things as temperature incrase or decrease. Further Modelling in the future of prototypes, even if they are based on water, will introduce the ide of atmosphere and such things as rain and wind on small and thus large scale models. LO5: Make a Case This objective has definitley been tested in this proposal, and while I feel we had good reasoning for our form and subsequent struture, the fact that in actual practice the deisgn would not work is something we should have considered more thoroughly, instead of leaving it to think about later. Our arument was thus not well rounded enough, as we didn’t factor in all the elements. L6: Analysis of design projects After Part A and B I have begun looking at structures with a more a critical eye, as well as from the perspective of what elements have been achieved through parametrics in architeture we see today. L7: Foundational Understanding of Computational Geometry L8: Personal Repetoire of Skills These two are things I am still gaining confience with, and my developing Algorithmic Sketchbook is something I will able to eventaully look back on a representation of new skills and the Foundations of this computation.
//
C I M H T I R S O E G H L C A ET K S
REFERENCES
Etheringon, R, 10 Hills Place, Amanada Levete Architects, 10 September, 2009, <http://www.dezeen. com/2009/09/10/10-hills-place-by-amanda-levete-architects/> Escobedo, J, Double Agent White in series of Protypical Architecture, EvoB, June 28, 2012, <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/> Hume Coover Studios, Co-de-iT and Loop_3, November 5, 2012 <http://www.suckerpunchdaily.com/2012/11/05/ loop_3/> Grozdanic, L, Archipelago, October 22, 2012, <http://www.evolo.us/architecture/archipelago-parametrically-designed-pavilion/> Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24. Steinfeld, Kyle and Andrasek, Alisa, “Seroussi Pavilion/paris/2007”, Biothing - Repository of computational design, March 24th, 2010, <http://www.biothing.org/?cat=5>
IMAGES
Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170.
F1:www.suckerpunchdaily.com/2012/11/05/loop_3/ F2:www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany F3: www.shoparc.com/project/Botswana-Innovation-Hub
F4:www.evolo.us/architecture/archipelago-parametrically-designed-pavilion/
F5:www.dezeen.com/2009/09/10/10-hills-place-by-amanda-levete-
F6: www.biothing.org/?cat=5 F7: www.solidsmack.com/design/klupa1000cm-bench-design-modelart/
DETAILED DESIGN Tectonics and Final Ideation
WHAT THE WHAAAA? At the interim presentation, our feedback all led to the realisation that our design was not optimised to generate energy in an efficient manner, and would result in a loss rather than a gain. We realized that we didn’t have a “WHAT” just yet at all, and that it was time to buckle down and find one. Where we are coming from: Response to The ‘Maze’: The feasibility of it functioning was quite low, and the techniques we had in place to make it work were more trouble than they were worth. In summary: • • •
• •
• •
Water flow was not strong enough for it to be pumped through the site without a pump, and a pump would need to run on power Thus, power generated would have to be fed back into the system to run it Not the most efficient approach and thus not worth pursuing – The technology would not generate enough power to fulfil the LAGI requirements. It is not site appropriate and would work much better under the influence of gravitational force, thus a sloping site would have been much more effective – prototyping backs this up as it showed that quite a high force needed to push water through the piping, and a higher incline led to quicker water flow. These factors were not given enough consideration, and showed that prototype should be used more thoroughly in the future to assess possible issues The forms generated by the field lines were provocative and interesting but was too 2 dimensional Overall form too flat – there is no 3 dimensionality to it – Thus could not be appreciated from a relatable human perspective (eye level), the nature of the form could only to perceive from above which is not the best way to respond to the artistic sculptural aspect of the LAGI brief. Walls should have more interest and be more dynamic IDEA THEREFORE NEEDS TO:
Relate back better to the two main points of the brief:
ENERGY GENERATION and PUBLIC SCULPTURE
HOW IT COULD BE ADAPTED: • Contour site for height – the site can be added to or dug out off to create a height differential that could then force water into the site by virtue of gravitational force • Integrate another technology to power the pump that gets water into the site – perhaps wind as Copehagen is one of the higher wind producing areas of Denmark We realized that the possible changes we could make would have probably improved the proposal slightly, but the inherent flaw was in the energy generating technology. The very large site dimensions mean that getting water onto the site would only be effective close to the river’s edge, and that the most interesting part of any design would be situated 200m from the entrance if we wanted to use the water idea we had most effectively. Thus, we decided to take a step back, and make a change to the technology, and let this choice drive the form instead of our algorithm from the previous module. We decided on Wind Technology as it is above ground and was available (albeit at differing intensities) across the whole site, thus taking away our initial issue of having to bring the force to us.
Part C
IDEATION// FABRRICATION
WATER to WIND The technologies that have been developed that utlilize wind mainly use the wind load as a force that ‘pushes’ an element, and this mechanical energy is transferred to usable energy. The main way that wind power has been harnessed in the past has been by virtue of turbines, and these have also been use to gther the data for wind speeds that we will be using as average assmptions. Some technoogies [LAGI, 2014) are: • Wind Turbines - that reflect the classic wind mill • Concentrated Turbines, that use a funnel shaped form to achieve better efficiency of overal form • Windbelt - That utilises the rocking motion of a thin peice of metal in the wind to hit against kinetic plates at it’s ends, that generate a current.
We all went away to think about how different ideas could be applied to the site. When we came together again it was obvious that we had differing ideas, but with some advice from tutors we were able to take elements of each and begin to consolidate a design proposal that began to take much more concrete shape right away. Common Aspects/Positive Responses: • Experiential qualities • Tunnel like forms • View from the little mermaid – big bold and eye catching • A simple idea that would serve its purpose without being too excessive, adding interest to the site while being a form we could theorize about with a higher probability of it working due to its simpler nature .
Back to the beginning: Desgn Concepts
The 'Wires in the Wind' Concept was deemed the strongest. It arose out of an interest in feild lines that was developed earlier in our initial concept. Instead of wires we decided to solidify the arcs into fin like structures that would rock in the wind, and our design began to develop down two paths
Fin Shape and Technology Integration
Siting and Experiential Quality of the Space Result
FOLLOW THE WIND
Wires in the Wind Sound Generating Tunnel
Wires to Individual Modules - FINS Sound to Sight - Visual Experience instead
Siting - Arrayed using Field lines to create an overall form on site
Enables views from outside the boundaries of the site - views from Little Mermaid, from ferries along the river, covers whole site
Techiques applied: Difference in Contouring of site - Array along contours
n Scale g curve and
THE FINAL PROPOSAL
FOLLOW THE WIND Walking down the road to the LAGI site, one would catch glimpses of silvery shimmering arcs in the distance, over the top of the boxy industrial structures that surround it. As they reached the site, they would be greeted with a large arc, rising above them and rocking gently in the wind. This would lead them onto the site, where a series of tunnels create an experiential space in which the people of Copenhagen can interact with the elements, viewing energy being generated by the wind in the subtle rocking of the fins within the space. In a broader context, the large scale of the fins and height differential creates dynamic views from outside the boudaries of the site, being visible from the tourist attraction across the river as well, the staute of the Little Mermaid. These arcs not only generate interest, their main function is to generate enegry by the use of Peizoelectric discs situated within wires that connect them to the ground, that are compressed and stretched with their rocking motion. Contouring of the land was done in an effort to provide a series of subtly changing spaces, with an escape from the wind situated in long dip that runs across the centre of the site, that differentiates the two tunnels. Curving lines have been used as guides to array the fins so as to factor in differing wind directions. While this does not optimize energy generation, it will provide a varied visual experience, that contributes to the sculptural, aesthetic aspect of the brief. Further explanation of ideation and process has been done in the following pages, as well as assesment of the energy generating potential and materiality.
F1 F5: Fins in Ned Kahnâ&#x20AC;&#x2122;s exploration of reactive wind elements [http://nedkahn.com/portfolio/wind-fins/]
Ned Kahn is an architect encountered in research who has utilized fins in his structures that move with the wind. They are of a much smaller scale than the oneâ&#x20AC;&#x2122;s we aimed to create, but video and images shows them undulating in a similar fashion to the effect we wanted to emulate. The connections of his fins were with tilted hinges so that they go back to there position at a 90 degree angle to the wall. This attention to detail to something that occurs after the movement occurs was interesting, and provoke thoughts about the rocking motion of our fins and how they should idealy move back into position after they have been rocked to enable another motion subsequently.
Research PRECENDENT//
Ned Kahn//Neiman Marcus Store
Fins - Module Generatio
Each fin functions as an individual module that produces energy, connected underground to a central generating space within the dip on the site (shown in the siting section) via wires. They spread scorss the site in a repeating pattern that combines geometry and energy. The arc shape enables users to interact directly with the energy generating technique, travelling through and around it. It could be seen as a representation of how wind based energy generating technology can be a seamless insertion into our surroundings without being obviously so, not being as obvious as wind turbines have and can be. The Fin was developed in Rhino optimised for capturing and interacting with the wind. Itâ&#x20AC;&#x2122;s shape was developed and proved to work through simulateous Rhino modelling and tectonic exploration.
Kangaroo within Grasshopper was used in a very basic manner to atempt to replicate the action of wind against the basic shape we were beginning to develop. We found physical prototyping (tectonics) was effectve in proving that our fin shape would work, so further wind representation was not needed in a virtual sense, but this initial exploration did serve to prove that when fixed at the two base points the arc would feel the force at itâ&#x20AC;&#x2122;s apex the strongest, and thus this should be a wider part of the fin.
Initail exploration of shape provided us with some guidlines to follow: 1.
2. 3. 4.
Could not have a thin connection to ground as this would not enable rocking would have to be a rounded base Must have a wide top but not very geometric - too sharp, a softer shape Some sort of weighted system incorpotated into base, again to enable rocking Connection to ground for peizodiscs had to be factored in, it was decided this would be in the form of wires that connect to the ground on either side of the fin.
F2 Basic Rhino iterations of fin shapes
The final form, a shape that: 1. Has wide faces to enable wind capture, that are also slightly curving so that the wind is guided off it instead of confronted by the flat expanse 2. Weighted curved bottom that enables rocking 3. Hollowed out so that it is light enough to be pushed by the gusts 4. Cut out andstreamline side sections so that wind hitting it from that direction will pass through and not put an unnecessary force on it 5. Tubes with peizo discs connecting to ground.
1
4 -Streamline
Initial Attempts: Some prety cool looking results! Unfortunately not optimised for wind capture. Successful below!
Contouring Shape
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Lofting Between Curves
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Capping Shape to create hollow f
form
MATERIALITY Proposed Construction Process
Faces Cut out of LIghtweght Aluminium Sheeting - leaving a minimum 20 mm offset from actual edge of face so that this section can be folded and joined.
Laid out sequentially
All outward and inward facing connections welded and bolted together - Then top and bottom connections that will not be visible done externally
3/4 - Hollowed out/Cut Out
2 - Curved
2 - Weighted
Peizo Tubes rolled and assembled seperately and hen welded to the side of the fin Modules Laid out across site
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Adding Perforation for Tubes
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Tubes
5 - Tubes
TECTONIC EXPLORATIONS done after the fin was created on Rhino during the FABRICATION STAGE of it as our â&#x20AC;&#x2DC;core construction elementâ&#x20AC;&#x2122; that was repeated across the site ended up being a process that reflected what would be done in the real context, albeit at a much smaller and more basic scale. The Laser Cutter and white card substituted the aluminium sheeting and cutting, and glue substitued welding and bolting, but the process of nesting anf assembly triggered thoughts about how the ensure the final connections appeared seamless or were not visible as they would have to be external. It also showed us that though paper was able to bend it did not stay in this position without being creased, and the material that the module was actually made from woud have to be one that could be bent and curved slightly and hold that position, as this would lead to easier assembly.
TECTONICS Some initial tectonic exploration was done completely independant to computation of any kind, This was a series of arches to test out theory of strings and how they might enable the fins to sway. The elastics were attached to a point close to the base of the arch and to the ground, and a hairdryer was used to mimic the wind moving across the ‘site’. It was seen that they allowed movement whiile als bringing the arch back to it’s upright position after. This basic exploration enabled us to prove that that was a theory would in fact work in real life, and we could move forward with that in mind when developing our digital model. We did not want to reply on computation after our intermin proposal was seen not to work, but computation was very useful in executing the form once it had been decided on.
Fins moving in the wind
F3
Computation was essential to the process of taking the virtual model and making it a 3 dimensional object. This was firstly due to Rhino being used to create the digital model that represeted the final form is it’s exact dimesions. Thus, subsequent scaled down versions were accurate reflections. Subsequently Rhino was vital in unrolling the geomery of the fin. The ‘UnrollSrf’ command was able to compute the surface is a 2 dimensional framework and lay it out, after which manually peicing together the faces was a much easier task. These Unrolled surfaces were then converted to lines that woud be inputted into the Laser Cutter with the ability to be cut, etched or rastered by virtue of their colour. The edges were etched and plaves where the tabs had to fold were etched to make this a smoother connection, and then glue and
The nested file was sent to te FabLab to be cut and then assemblled used super glue
UnRoll Srf
Tectonics continued
FIN//Assembed The Construction Component fabricated showed us that the spring worked on our constructed hollow fin, enabling swaying of the module from side to side without moving. They bend as we wanted them to, as this shows that if discs were within them they too woud bend, and stretch, getting the exact physical forces that peizodiscs require to generate energy. The technology is explained further in the next few pages.
The technology used are PEIZODISCS - that produce energy when they are compressed or stretched. These are stacked within the tubes that connect to the ground and respond to the fins as the tubes do, thus get bent and strecthed with their movement. They are connected to a Torque Generator at the base, that converts collected energy and transfers it to a central area.
The technology used are PEIZODISCS - that produce energy when they are compressed or stretched. These are stacked within the tubes that connect to the ground and respond to the fins as the tubes do, thus get bent and strecthed with their movement. They are connected to a Torque Generator at the base, that converts collected energy and transfers it to a central area.
F5
F4
Above: A typical Piezo disc Left: Diagram of how the Windulum utilizes tension and compression. (http://phonoscopy.com/SonicGeologic/SonicGeologic.html) (http://windulum.com/page0/page0)html
Diagramming Movement
The above diagram illustrates the fins response to the wind and subsequest movement and compression. The torque generators have been indicated beneath, encased in a concrete housing that is below the surface but is accessible from a hatch by each fin for maintanence. the concrete runs under each fin, providing an enclosed means by which wiring can run to a central generator.
Final Tectonic Exploration
Tube//Peizo-discs
This model attempts to look at a detail of the tube, showing the internal and external tubes that interact with one another. When the external tube is moved up and down, the soft maerial representing the discs (cotton!) can be seen to compress and stretch. There must be a rigid connection between the top disc and the outer tube that that the force is transferred downward, and rigid discs in between to push and pull.
Diagram of Basic Connection
Siting - Form Generation and Experientialit
The Fins are the integral sculptural aspect, of our concept, being the means by which the actual energy is generated. However, they are too simple as individual elements, and siting of these on the expansive LAGI site was done in order to add another dimension of experientiality to the space. This will enable user interaction and thus fulfill an important aspect of the brief, relating to users and audiences in order to be more than simply a functional peice of design.
Curves drawn across flat surface - contoured suface placed underneath - 'pull to curve' used to reflect the curves onto it to follow the same path - curves offset - 3 pt arc b/w points arrayed along curves Above is the diagram that represents how we began to think about siting. The inital ‘Wires in the Wind’ idea and definition fed back into our concept here. We played with the definiton to get an idea of how arcs would look playing across the site. We knew that: • We wanted people to be guided through the whole site, towards the water and back again. • The arcs would have ideally probably all faced the same direction in rows, which would have been in the premodinant wind direction gained from weather data. While this would have optimised the form to an extent, it woud have made a space very ordered and potentially quite dull. Also, while average wind directions can tell us a yearly average direction, wind still funnels down to river, from inland and from all directions. We wanted the design to have fins facing all directions, relfecting varied intensities and directions of wind movement. Rhino and Grasshopper were used on order to layout and represent the modules we had created into the site, and get varied options without having to place them manually.
Contour Top and Side View
When the fins replaced the lines of arcs in the model we saw that the tunnel began to appear very dense, and we knew we had to reduce the number in order to make sure they did not overwhelm the site. From the options tested the single curve that ran over the site was deemed te most elegant solution, defining a path through the space effectively. The form was spilt in order to create a recessed area running through the site, that would provide an area of shelter from the elements and add some interest to the otherwise flat. We decided to contour the land up as well, to emphasise the experiential difference. The arches were also felt to be too small, and so we scaled them up to varied heights of: 4m, 6m, 8m, 10m, 14m and 16m. These have been looked at on the next page.
Contouring adds different levels of engagement with the site, enabling differing levels of experiential qualities and exposure to the elements. It was provides a â&#x20AC;&#x2DC;naturalâ&#x20AC;&#x2122; hidden away area into which the central generator can sit. The arcs have also been allowed to follow the curves of the hills, so that the effect is off a tunnel snaking along hugging the hill. The contour also enable wind at different heights to be caught.
Blue represents wind force - the dip can be seen to be sheltered. Green represents the central generator in the dip
Scale of our individual module was played with to add more dynamism to the form. The diagram shows how just making the module larger already create a more interesting visual experience, as well as adds an element of monumentality due to the scale in contrast to the users. Situating the larger fins so that they face the predominant wind direction was done in order to make sure that they as heavier modules would still rock. They would have more peizodiscs within their tubes (as they are longer to reach the ground) so it is important for them to be exposed to the wind direction that occurs more frequently, in order to increase the potential of more energy generation. They average energy generating potential has been calculated as part of the LAGI brief requirements in the next few pages.
Variation in Height and random placement Dynamism
Contoured Emphasise Height Differential - Experiential
The site would aso be able to be used at night as a space to watch the stars, lights on the river or simply walk around with the gentle rocking of the fins around you. Moonlight would gleam off the aluminium on clear nights, creating a magical space.
FINS After Siting and Fin Ideation the overall form was complete, and we could create an overall site model to showcase the idea in itâ&#x20AC;&#x2122;s entirety. This was done at a 1:500 scale so as to include the whole site. As with the conceptual development stage of the design, the contours and fins were nested seperately and then put together.
CONTOURS These were created using Grasshopper from a surface, and then each layer was colour coded and nested before being sent to FabLab to be cut out of MDF. This got us a very smooth finish along the edges, that helped create a very clean neat model.
The fins were created by unfolding the faces of the fin model we had as one unit. When this was first attempted it did not go as smoothly as expected, as the curved nature of the form meant that they did not unroll flat. There was an overlap at one side, so instead the form was taken as a general symmetrical oval shape, that was scaled up to reflect the different shaped arches. We used the Rhino model to figure out how many of each were needed, and nested these together. This was then etched from the FabLab, as cutting them out would have meant they fell through and were lost in the machine due to the fine nature of the very small ones. We used Stencil Knives to cut them out and folded each in half with a drop of super glue to replicate the accurate shape of the arch with the rounded bottom that would rock. This also provided a surface that could be glued to the contours.
COMPLETED MODEL
LAGI COMPETITION NOTES What is it? Visitors to what was once a flat, simple expanse of grass will now be greeted by a sea of leaming arches that spread out before them, raised and lowered in a dynamic spread that gently rocks in the wind. Some are still and some are moving, reflecting the environment around them and the wind direction and speed. Each arc is connected by 6 tubes to the ground, that bend and stretch with the rocking movement. To the unsuspecting viewer these could just be stabilizing components, but in actuality they contain Peizoeectric discs, that generate energy with every movement. A form of wind based energy generating technology that does not involve large finds or spaces, instead is in the form of modules that can be placed anywhere. In this case they form paths through the allocated space, forming experiential tunnels that offer the user a sculptural energy generating space that can be appreciated from up close as well as far away.
How much does it generate? 630 MicroWatts every Compression /HR
5 Estimated compressions
= 3150 Microwatts per disc/HR
What is it made off?
How many discs? Using the Largest Arc as it has the largest energy generating ability
Primary Materials Used Aluminium Sheet (thickness 0.5cm) for each fin - relaive to fins dimesnions of: 4m,6m, 8m, 10m,14m and 16m high
Each tub = 750 m Each disc (with backup plate) = 4cm
Aluminium sheeting is a cheap material that can be modled easily into the forms required to assemble it into the module.
= 188 discs X Wires per arc = 1125 Bolts for connections /HR /ARC = 3543750 Micro Watts/Hour/ Arc FOR 24 LARGE ARCS = X 24 = 85050000 MicroWatts = 0.085 KW/Hr
How does it work?
X 24 = 2.04 Kw/Day
Peizodiscs are made of material that produces an electric current on compression and stretching, and they have been stacked within the tubs that connect the fins to the ground. Stacked with back plates in between, each movement pushed discs on one side while stretching the material of the discs on the other, producing currents. These are transferred to torque generators at the base of each set of tubes, storing and tranferring energy to a central point on site that feeds it into the grid.
THEREORE = 744.6 KW/YEAR THUS, the system as it is now can generate a minimum of 744 KW per year. If the value is not significant then in the long term the system can be adapted through the addition or repositioning of the modules - the system is adaptable to change.
Peizo Discs for each arc - circular, 2 cm tihick and 5 cm diameter Other materials needed: Concrete - for the underground housing of wiring Wiring to connect the various electrical elements
The design is one which tries to look at energy generating technology in a cohhesive way, from a local users perspective who will want it to be something that is aesthetically pleasing as well as effective. The world we live in today is going to have to confront climate change as a long term issue, not just one that will be fixed by the addition or inclusion of solar panels on most homes. We are going to have to adapt to using different element based technologies for many years in the future, and this breif encourages thought about how these techhnologies can be incorporated without aesthetic judgment effectively. The concept will promote user interaction and presence on the site, hopefully excite and bring about curiosity about the need for such structures in our world today. Copenhagen as a cultural hub is the perfect place to begin voicing this message to the world stage.
LEARNING OBJECTIVES AND OUTCOMES THE END OF THE END
At the final presentation our feedback was allround quite positive, with the crits saying that the design was convincing and thought out, however with a few points about constructability and justification of siting being raised. They suggested improving our diagramming to get ideas across, which has been completed in the previous pages when discussing aspects of the design. This project was one that helped me really see how computational tools could be used in the execution of design intent and thoughts. It was used by us primarily to complete tasks that had a repetitive nature and thus the computers capacity to follow through wih these in an efficient manner was taken advantage off. As a design tool, Rhino’s capabilities in modelling were used. Grasshopper was not used as much as previously in the semester when it enabled the parametric creation of form, but it was utlized for arraying as well as testing out the basics of winds affects on form in a virtual environment. Another very useful aspect was in fabrication, where it enabled loical dissassembly of form in order to figure out how it could be created in the real world. I can see that the tools have potential beyond anything that we did with them, with such a wide array of components and inputs that is limited only by one’s knowlege. Another aspect of limitation is also imagination and way of thinking. One thing that the course has taught me is that one’s approach to design is very important. It can be easy to dismiss a tool because it is confusing to use, but it can also have capabilities to execute tasks of a different kind that would never have been discovered if one did not approach the tool willing to use it at different scales of the project. It was also important to try and glean positive aspects from any work done, as the tutors encouraged every week. While some of our ideas were not functional or used in our final outcome at all, the tutor’s encouragment to find a new idea that we were more interested in by using roots from our old one was very helpful. Crits were also effective in showcasing potential that was not thought of previously.
LO1: ‘Interrogating a Brief’ We were able to create a potentially very effective sulptural component on the site, that fulfilled the brief’s requirements of being both artistic as well as generating energy in a sustainable manner. We tried to think about the design in all the contexts it would be seen, from users as well as those involved in it’s exectution, and provide information and a response that could effectively communicate all it had to to varied audiences on a number of scales. LO2: Generating multiple design responses As a group we generated a number of responses to the brief when we looked at it again before the Final Submission, but then went on to develop a single sculptural form as a team. However we did consider multiple iterations for siting, which were not the most effectively justified and admittedly the result of time constraints, but were chosen based on criteria that we established in order to make an effective decision LO3: Skills in 3D Media Grasshopper was not used as much as in previous weeks to execute design ideas, but it was very useful in rescaling, arraying and siting, tasks that I would not have felt comfortable completeing or even attempting a few weeks ago. I feel more ready to explore within grasshopper at the end of this semester, and find modelling within Rhino comes with more ease and familiariy with the interface and tools. Nesting and Fabrication skills have been developed, with the ability to think about the unfolding of structure encouraged by computation’s ability to do so easily. LO4: Architecture and Air Our technology related closely to ‘air’ and the idea of elemental interaction between technology, users and the land. Our physical models were all made such that they were able to respond o air movement, and the weight and shape of elements in order to make them do so was considered along the way and executed quite effectively. LO5: Make a Case We very effectively put together a presentation for this proposal, with diagramming being quite effective as a commuication tool to showcase the fin and how it would work. However, we lacked data to back up some of our rational, and this could have allowed for better justification of what was a very basic reason for the shape of the tunnels. I did not leave enough time to consider what could be used to change the guiding lines of the overall form. On one hand this is due to the lack of effective modelling software for wind, due to it’s unpredictable and complex nature, but perhaps it could have been replicated using lines and a point attractor or the anemone tool in some manner to create some imagery that would start moving toward visual justification L6: Analysis of design projects After Air I have begun looking at structures with a more a critical eye, as well as from the perspective of what elements have been achieved through parametrics in architeture we see today. It is interesting to consider what parts of structures could be parametric, or what could have been improved through the integration of parametrics. L7: Foundational Understanding of Computational Geometry L8: Personal Repetoire of Skills Both of these are going to be developing for me for a while, as difficulty with programmes when perfoming new tasks has stopped me from furthering my knowledge around the time consraints of the semester. However I do feel that the essence of waht parametric design can be and how it can be used, as a tool guided by principles has begun to shape my way of thinking. I have picked up the very basics of Grasshopper, so a shallow foundation has begun to form that I hope to keep adding to.
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REFERENCES
Kolarevic, Branko, 2014, ‘Computing the Performative’, ed. by Rivka Oxman and Robert Oxman, pp. 103–111 Burry, Mark, 2011, Scripting Cultures: Architectural Design and Programming (Chichester: Wiley) pp. 8-71
IMAGES
Unkown, 2014, ‘Sustainable Technologies: Wind’, http://landartgenerator.org/readwind3.html
F1http://nedkahn.com/portfolio/wind-fins/ F2: Author’s own F3: Author’s own
F4:www.windulum.com
F5:www.materiality-sonics.com