Nicolaou nicolaos 582946 parta b final by Nicolaos Nicolaou

STUDIO AIR: JOURNAL PART A NICOLAOS NICOLAOU 582946

SEMESTER ONE,2014

Part A

Conceptulisation

INDRODUCTION: 4 PREVIOUS WORK: 5 A1: DESIGN FUTURING PRECEDENTS: Past Competition Entries 8-9 ENERGY GENERATING TECHNOLOGY: Piezoelectric 10-11 A2: DESIGN COMPUTATION PRECEDENTS: Brandscape BMW Pavilion and The Smithsonian Institution 14-17 A3: COMPOSITION AND GENERATION PRECEDENTS: Londan Aquatics Centre and Fondation Luis Vuitton 20-23 A4: CONCLUSION 24 A5: LEARNING OUTCOMES 25 A6: APPENDIX ALGORITHMIC SKETCHES 26-27 NOTES 28-29 REFERENCES- IMAGES 30

INTRODUCTION Additionally my high school years steered my interest to technical drawing and began to become familiar with terms and types of technical drawing. From this I explored design using CAD programs to design, houses, cars and furniture. Undertaking design subjects in high school allowed me to grasp a taste of the world of design. My time at university has been rewarding.

i Iâ&#x20AC;&#x2122;m Nicolaos and I am third year Architecture student studying at the University of Melbourne. I have been passionate about architecture from a very young age and particularly have an interest for residential design. My appreciation for design was influenced by the environment I grew up in, as I have been exposed to various trades and hands on projects, particularly going to work with my father and see first-hand houses being constructed. Due to this I also value construction and am interested in how things work in terms of building. 4

To be honest I have found that the course has a different focus from what I pictured but none the less I have learnt some many valuable skills. My particularly favorite subjects are the technical and construction base subjects but do enjoy the design studios. Previously I have completed Studio earth, designing environments and virtual environments. I look forward to taking studio air and hope to explore the world of programs by learning Rhino and Grasshopper. Outside of my university life I hold interests in fitness, sport and anything to do with cars and motorbikes. In my spare time you will find me at the gym or outside photographing my car. And that is a little insight into my life.

Past Work

A.1

DESIGN FUTURING

Figure 1

LAGI PRECEDENT EXAMPLE_ PIVOT

he 2012 third place ‘PIVOT’ competition entry by Ben Smith and Vee Hu in my opinion responds the best to the site of the intended outcome and is the most visual and contextually suited proposal. The design is a canopy that is made up of a series of concatenated docks. The idea behind ‘pivot’ is to inhabit these docks in order to create a flow of human interaction on to the site and make a connection between the land and water1.

What really appeals to me about ‘pivot’ is that the design has been constructed in a way that it can adapt to changing environmental conditions and still perform as is intended. As the canopy is made up of the floating docks, it is able to withstand changes in sea levels and easily adapt2. This also means that the installation of this design interacts with animal and plant species on the edge of the water and land, rather damage their habitat. What was also interesting about this notion of ‘pivot’ is that the designer have focused on the idea of movement and have been able to create a design that feels like it’s part of the landscape rather than being an object that has been fixed to the site separating its natural qualities such as land from water. The design of ‘pivot’ is very well planned as it is have a minimal mark on the site while still providing maximum output in terms of energy and a beneficial impact on the site.

LAGI PRECEDENT EXAMPLE_ PIVOT The material selection is well chosen so it has the least amount of environmental impact on the site. For example, translucent fabric and metal mesh has been utilized to maximize sunlight penetration to the water under the system in order that the sea grasses and other species that occupy the area can survive3. Such thought process should be considered for future designs as they incorporate beneficial factors to a site rather than impact on their quality. The way energy is generated by â&#x20AC;&#x2DC;pivotâ&#x20AC;&#x2122; is by piezoelectric ceramic discs which are able to produce electricity by the force of rain and wind. The piezoelectric discs are made up of two types of fibers. This selection is lightweight, flexible making easy to integrate into the design; non-toxic, heat resistant and can reflex more than 95% of radiant heat that hits its surface. The energy generation system of this design generates 2,578MWh of electricity annually and is supplied to surrounding homes4. The important idea to note here is that this proposal considers future conditions and environmental changes and has been designed in a way that it is able to adapt for future circumstances so that it can be sustained for future use and is not reliant on resources to function.

Figure 2

ENERGY GENERATING TECHNOLOGY- P Piezoelectricity is generated by crystals that when pressure is applied to them a charge is conducted and therefore electricity is produced. The word Piezoelectric is derived from the Greek word piezo which means to press or apply pressure5. Piezoelectric crystals function by pressure, thus when they are compressed they create a generator charge which is the usual charge you find in batteries. Generally minerals such as quartz are common properties displayed in materials used to manufacture the crystals used to make piezoelectricity. Often the material is quite strong, has low cost and us chemically inactive making a beneficial material to use6. As this technology works by pressure I found it was interesting to see that forces such as wind and rain can be drivers to producing electricity by the means of piezoelectricity. As Figure 3

it is a new technology, it is still in it experimental stages and has mainly been seen to be utilized in design by having people interact with the piezoelectric crystals in a form of pressure applied through the action of walking or dancing. This is a great way to generate electricity that is not limited by one means of generation such as solar which can only generate electric through sun radiation. The advantageous aspect of pressure is that it can be achieved through many forms such as the force of wind, rain, sound and movement. Thus this form of energy generation can be incorporated in design, by making the most of space and materials that seem useless or wasted in terms of energy generation.

Figure 4

PIEZOELECTRICITY

Figure 5

A2: DESIGN C

COMPUTATION

PRECEDENTS: BRANDSCAPE BMW PAVILION Brandscape BMW Pavilion Designed in conjunction by Bernhard Franken and ABB Architekten, the BMW pavilion is a presentation of the BMW group return to Formula ONE which was designed for the 2000 Autoshow in Genva 7 . The design of this pavilion is a derivative of motion base design, which has to do with digital morphogenesis. The way the

The Pavilion is interesting in the sense that it is a complex design that is only made pos sible through the use of parametric modeling to create a process of which the fabrication can be made possible 9. The way this is made possible is by the extraction of isoparametric curves which help visualise the NURBS surfaces into two-dimensional members that form

Figure 6 and 7 form is generated is by motion dynamics. Motion dynamics are dynamic forces fields which are used to create changes in a form and their translation is a product of the actions between these forces 8.

the overall three-dimensional form of the pavilion. This process then allows for the model to be assemble out of smaller curved members that can be connected together to complete the whole structure.

Figure 8 These processes I will be utilising in my process of designing a form that can be fabricated without altering or impacting the integrity of it. The BMW Pavilion is a good example of how computational processes can be used to generate a form that is a derivative of form that has been transformed as a option of an original form. The impact this leaves on architecture is that geometrics and innovations that once were not possible are now viable and through computation, designs are able to be tested for performance in terms

of what will be the best methods of fabrication and selection of materials in order to ensure the best outcome of cost, time and structural reliability.

PRECEDENTS: THE SMITHSONIAN INSTITUTION The Smithsonian Institution is a good example of computational design where the courtyard was redesigned by Foster and Partners. As the courtyard is the largest event space in Washington the courtyard needed an innovative renovation. The architects chose to pursue computational methods to generate a lattice-like structure that would form the new roof for the courtyard10. Computer generated design was the driving tool to creating the roof and making sure it is viable. The structure is comprised of three interconnected vaults that lead into one another through curved valleys made up of fins that house the glass cover. The program used to make the roof structure possible was written by Brady Peters. This software is an algorithmic basis was the driver for exploration of geometries11.

ideas which otherwise would be not be explored. Computational processes were also used to explore options of structural, acoustic and overall performance. The information collected by these explorations allowed for decisions to be made on processes that would be most effective in fabricating the structure and selecting the most efficient materials to do so12. The reliance on computational methodology to design and construct this structure I find to shows the benefits of using software to generate and make possible design outcomes that can be difficult to articulate. I will be focusing on using algorithmic processes to generate geometry and make sure that it can be fabricated using digitals means to ensure that the outcome can be achieved.

This process is an interesting method in which using parametric modeling to produce something that cannot fully be visualised or even documented by hand. This design is a great example of computational design and how it generates possibilities and allows the testing of those

Figure 9

Figure 10

Design Computation A.3

C O M P O S I T I O N / G E N E R A T I O N

Composition is the formation of elements which work together to create a whole. In architectural terms, this is the properties that define the overall purpose of the design. Conventionally composition was used as a design tool by which intentions could be expressed. Although it was not a rule or guide on how to design it acted in this manner. It was a way to organise design elements to achieve an intended theme by applying compositional conventions to a design, hence overall composition13. As architectural practice progress many expressive styles were followed and composition became a flexible means of following some sort of rules to follow a style and shift towards a unique design outcome. This began to show links to focus on the overall form as a whole, rather than a style of architecture and from this form and function became more important aspects of design.

a base for a range of possibilities for which the designer can choose from, whereas composition creates one possibility that defines the form. This means that compositional approaches allow a certain level of prediction and is less complex. But generation explores many options to find the most appropriate outcome to develop further. The benefits to digital generation is that it allows for extensive exploration of ideas and forms, which in turn means that since it is all done on computer, the designer is free to alter the design as many times as needed to produce the intended solution. Thus, generational approaches to design allowed for a more accurate testing of the design before it is construction which minimizes error and the potential for poor outcomes.

As architectural practice has progressed, design strategies have shifted towards generative design approaches rather than compositional. Generation has had a positive reaction in architectural practice and is becoming more and more profound. It has particularly caused the shift to digital- computation which has come about from past traditions and norms. The main reason it has become so favored amongst the architectural world is because it enables designers to generative forms that are difficult to conceptualise and document in innovative ways and minimize budget costs 14. Digitally-generated forms are not designed or drawn as the conventional understanding; they are premeditated by the selected generative computational method15. Generative processes can be founded on conceptions such as dynamic, parametric design and genetic algorithms. Thus, generation is the shift from the creation of form to the discovery of form. In comparison to composition, generation creates

PRECEDENTS: LONDON AQUATICS CENTRE BY ZHA A good example of generative design and parametric modeling is The London Aquatics Centre done by Zaha Hadid Architects. The concept of the building is inspired by the â&#x20AC;&#x153;fluid geometry of water in motionâ&#x20AC;?16. The most complex element of the design is the constant surging roof. This without the aid of computational design would not be possible due to its complexity and surface topology. The reason computation has made this structure possible is it designs the elements needed to fabricate the roof to precise requirements and also allows the components to be organised in a manner that they can be assembled logically. This is one of the many benefits parametric design tools contribute to the design process 17. As complex and iconic as this building is, parametric design could be part to blame for the building failing to respond to the context of the site. Sure the design has satisfied structural reliability and performance based a criterion that

Figure 11

has been parametrically defined. However, the design has been heavily reliant and focused on parametric generation that the designers have forgotten to focus on site specifics and the consideration of discourse. Although computation and parametric softwaresâ&#x20AC;&#x2122; are very beneficial to the design process it is important to practice traditional methods in order to address aspects of the design that a computer cannot. Another issue that has been raised by this building is the obstruction of views from certain seating areas18. It is important to remember, although parametric generation has allowed the complex design to be structurally viable, there are always some issues that a piece of software cannot determine on its own unless it is programed in by a designer to do so.

Figure 12

Figure 13

PRECEDENTS: ‘FONDATION LOUIS VUITTON POUR Gehry Partners’design for the ‘Fondation Louis Vuitton pour la création’, which is an art museum located in Paris is by far an implanted aptitude to an innovative level. The project was generated and made possible through the creation of a design scripting tool. The tool was built by Gehry Technologies and was initially built on Subversion (SVN) which is an open source code program used for large software projects19. For this project parametric modelling was key in generating the design. The use of parametric tools from the start of the design process endorsed the exploration of geometry and performance of solutions. This would not have been possible if done using traditional methods, as traditional methods would not have the power to simulate the design. The use of the Gehry Technologies parametric tool was initially used to develop a best-fit panelled façade system made up of glass and concrete panels. The outcome was achieved using this tool to generate the correct fit to the complex form. Engineers and the GT team worked meticulously to create reusable models that could be stored in a serve to be able to explore and test the complex geometric issues

of the project and make any required alternations to the design20. From this fabrication and assembly are also tested. What was also an issue for this project was organisational complexity. Gehry Technologies also developed a tool that could manage all the information needed to construct the project without error. This was done using the SVN program which combined multilingual model based programs all into one common resource by which everyone working on the project could have access to. To extend from this Gehry Technologies created GTeam. This is the best cutting-edge multi-platform building information model (BIM) autopilot. The way it works is it combines data from a range of programs into a single tool that all can be accessed from. This includes information on accountability, social computing and workflow approval. From this navigation system the project was able to be virtually constructed and tested for structural, cost and feasibility performance before it was actually constructed21. Without the vast use of computation, projects like this example would simply be too difficult to develop and this would leave more room for potential error. Thus, generative design and parametric modelling will allow for prospective, complex buildings to be optimised.

LA CRÉATION’

Figure 14

Figure 15

Design Computation A.4

C O N C L U S I O N

Presently manifested to me is the innovation that parametric design brings to the design process. It allows designers to generate opportunities that would otherwise seem impossible to explore and develop. This is an approach to design that I hope to demonstrate during the design process and be able to explore new ways of generating form and ideas. I intend to utilise parametric modelling to generate a design that represents the benefits of sustainable design and show people how not doing so is degrading the potential of design. This will be done through a thorough analysis of the RefshaleĂ¸en, Copenhagen site. This will be the starting point into generating an appropriate form and also will help explore the prospective of energy generation sources. This design approach will be innovative as it will allow the exploration and analysis of the many various energy sources, from collecting data and manipulating the best possible source of energy generation. This will be a foundation into generating a form that integrates the importance of energy generation. The use of parametric design will allow the best possible outcome to be opted based on performance in terms of site response, cost, and energy

generating potential and how reliant it is on using resources to be maintained. The benefits this of this design approach are clear, in the sense that exploration and analysis will be easier to assess. The design process will run more efficiently and will have a higher production rate and will also minimise the potential for error. This means that costs will be minimised and construction and selection of materials will be appropriate to have least impact on the environment and be the best suited for the design to perform structurally and cost efficiently. This is a significant way to design as the architecture we create now needs to have the least possible impact on future generations and the environment. I hope to create a design that not only is friendly to the environment but also gives back to it, by producing energy and being able to use that for another purpose. Thus, it will allow us to move in the right direction for design in the future. In addition, these reasons for parametric design modelling is evident in the precedents I have studied and how parametric design has benefited the outcome of their design and how it has made the design process more productive and efficient to still produce the best possible solution to a design problem.

Design Computation A.5 L O

E U

A T

Prior to Studio Air my understanding of the theory of architectural computing was slim. I viewed architectural computation as a way to design efficiently and model a design proposal. I was aware that it did allow to some extent exploration and analysis to be conducted. The terms generative design and parametric design were also poorly understood. These past few weeks have been essential in developing my understanding of computation. My knowledge of generative and parametric design was broadened and I have come to understand the significant benefits they contribute to the design process. I have come to see that a shift in architectural discourse is innovative and beneficial to producing the best solutions for design and making the design process easier to organise and progressed through. I am now mindful of the possibilities that computation permits and how without it, some structures that we see today would not be possible. From the precedents studied it is clear to me how algorithmic thinking and parametric design are profitable to developing complex designs. The technical component of this course has also developed my understanding of parametric and algorithmic design. The weekly video tutorial tasks have been a good example to how programmatic design can develop different outcomes

R C

N O

I N M E

G S

quickly and how each can be tested and altered to achieve your intended outcome. Although I am still new to Grasshopper I am starting to get a feel for how certain components are used and how they can be used in conjunction with other components to alter an outcome or make the process more concise and understandable. This in turn, has sparked curiosity to explore the program and learn more about when and how to use components and what their effect is on an outcome. If I had the knowledge I have now about computation, in past studio subjects I would be able to explore and actually generate my ideas rather than be thinking of ways of how to document them. This would have been very beneficial as I would have more time to focus on other aspects of the design process and be able to refine the design outcome further within the time constraints. Also, this would benefit prototyping, particularly in the Virtual environments and be able to test fabrication techniques much earlier in the design process. Overall, I have learnt that computational design is highly beneficial. My learning has shifted my perspective of the architectural design process and I now draw focus on to the performance of a design not just its aesthetic and functional value.

Design Computa A.6

A P P E A L G O R I T H M

Figure A1

Figure A2

E N D I X M I C S K E T C H E S

ation

The weekly algorithmic tasks set by our tutors extend on the teachings of the video tutorials and are a good practical element to understanding how components and so forth work in grasshopper. By doing the algorithmic tasks I was able to familiarise myself with components and anything I did not fully understand in the video tutorials. This was done through a trial and error process. From this, I was able to explore the possibilities of parametric modelling and from this chose to explore additional videos to extend my knowledge of the program. The more I practiced using algorithms to design I began to appreciate just how complex some of the precedent buildings I have explored really are, and now understand that they are only possible using this method to design. The week three algorithmic task (figure A1 and A2) is an experiment using

the geodesic component to create a gridshell pattern through a selection of curves. This task was notable to my understanding of grasshopper and just how powerful algorithmic scripting can be in producing design. The algorithmic tasks have shown to be quite productive in terms of learning as with practice, grasshopper can be understood better. At times it is difficult to grasp the idea of how to connect various components but with more practice this should become easier. This being said the tasks have prompted me to hopefully be able to program a design outcome that is receptive of environmental conditions and to the site.

N 1 “2012 Third Place Mention Pivot,” Ben Smith, Vee Hu, Land Art Generator Initiative, last modified 2012, http:// landartgenerator.org/LAGI-2012/BV333332-3/ 2“2012 Third Place Mention Pivot,” Ben Smith, Vee Hu, Land Art Generator Initiative, last modified 2012, http:// landartgenerator.org/LAGI-2012/BV333332-3/ 3“2012 Third Place Mention Pivot,” Ben Smith, Vee Hu, Land Art Generator Initiative, last modified 2012, http:// landartgenerator.org/LAGI-2012/BV333332-3/ 4“2012 Third Place Mention Pivot,” Ben Smith, Vee Hu, Land Art Generator Initiative, last modified 2012, http:// landartgenerator.org/LAGI-2012/BV333332-3/ 5“Can house music solve the energy crisis?,” Maria Trimarchi, Discovery Communications, last modified 28 July 2011, http://science.howstuffworks.com/environmental/green-science/house-music-energy-crisis1.htm 6 Christopher Scholer et al., “A sustainable approach to clean energy generation in airport terminals,” Piezoelectric Harvesting, (2009): 4-8, http://emerald.ts.odu.edu/Apps/FAAUDCA.nsf/Second%20Place%20Environmental. pdf?OpenFileResource 7 “Accelerator,”franken-architekten, last modified 20 March 2014, http://www.franken-architekten.de/index.php? pagetype=projectdetail&lang=en&cat=6&param=cat&param2=123&param3=0& 8 Branko, Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), 19. 9 Kolarevic, Architecture in the Digital, 43 10 “Smithsonian Institution Washington DC, USA, 2004-2007,” Fosters and Partners, last modified March 20 2014, http://www.fosterandpartners.com/projects/smithsonian-institution/ 11 “Brady Peters. Smithsonian Institution Washington DC, USA, 2004-2007 Foster + Partners,” Brady Peters, last modified 20 March 2014, http://www.bradypeters.com/smithsonian.html 12 Peters, Brady. “Computation Works: The Building of Algorithmic Thought.” Architectural Design 83, no. 2 (2013): 13, http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1545/pdf 13 Andrew Hutson, “The discipline of architectural composition: the elephant in the room,” CONNECTED 2010 (2010): 1-2, http://connected2010.eproceedings.com.au/papers/p319.pdf 14 Kolarevic, Architecture in the Digital, 13. 15 Kolarevic, Architecture in the Digital, 13. 16 “London Aquatics Centre,”Zaha Hadid Architects, viewed on 26 March 2014, http://www.zaha-hadid.com/ architecture/london-aquatics-centre/?doing_wp_cron 17 Designito, “Architectural Discourse, Digital Computation And Parametricism,” Designito The search continues, April 4, 2013, http://designito.wordpress.com/2013/04/04/architectural-discourse-digital-computation-andparametricism/ 18 Designito, “Architectural Discourse, Digital Computation And Parametricism,” Designito The search continues, April 4, 2013, http://designito.wordpress.com/2013/04/04/architectural-discourse-digital-computation-andparametricism/ 19 “Fondation Louis Vuitton,” Gehry Technologies, viewed on 26 March 2014, http://www.gehrytechnologies. com/services/projects/fondation-louis-vuitton 20 Nolte, Tobias, and Andrew Witt. “Gehry Partners’ Fondation Louis Vuitton: Crowdsourcing Embedded

Intelligence.” Architectural Design 84, no. 1 (2014): 86, http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/ doi/10.1002/ad.1705/pdf 21 Nolte, Witt, “ Gehry,” :88

R E F E R E N C E S : Images: Figure 1-2,5 Pivot, 2012, computer generated, http://landartgenerator.org/LAGI-2012/BV333332-3/ (accessed on the 10th March, 2014) Figure 3 Kaist, Nanocomposite generator produces electricity, 2012, http://phys.org/news/201205-power-technology-based-piezoelectric-nanocomposite.html ( accessed on the 10th March, 2014) Figure 4 Scene-Sensor // Crossing Social and Ecological Flows, 2012, computer generated, http:// landartgenerator.org/LAGI-2012/AP347043/ (accessed on the 10th March, 2014) Figure 6,7,8 artist n/a, Bubbles, 1999, photograph/computer generated, http://www.frankenarchitekten.de/index.php?pagetype=projectdetail&lang=en&cat=6&param=cat&pa ram2=21&param3=0& (accessed on the 17th March, 2014) Figure 9,10 Foster+Partners, Smithsonian Institution, 2004-2007, http://www.fosterandpartners. com/projects/smithsonian-institution/ (accessed on the 17th March, 2014) Figure 11,12,13 Zaha Hadid Architects, Architecture London Aquatics Centre, 2005-2011 http://www. zaha-hadid.com/architecture/london-aquatics-centre/?doing_wp_cron (accessed on the 24th March, 2014) Figure 14,15 Frank Gehry, Fondation Louis Vuitton, http://www.fondationlouisvuitton.fr/ledifice. html#.UzQwCfmSxv0 (accessed on the 24th March, 2014)

Part B

Criteria Design

B.1. Research Fields

34-39

B.2. Case Study 1.0

40-47

B.3. Case Study 2.0

48-57

B.4. Technique Development

58-69

B.5. Technique: Prototypes

70-81

B.6. Technique Proposal

82-85

B.7. Learning Objectives and Outcomes

86-87

B.8. Appendix Algorithmic Sketches

88-89

Bibliography

90-91

B P A R T B C R I T E R I A D E S I G N

B.1

R F

A L

H D

iomimicry is the process of simulation of processes from nature such as models, systems and elements. The purpose of drawing inspiration from nature is to solve complex problems of design by the well functioning properties of nature. This is to analyse something from nature and try to mimic the process so that you can manipulate a design to perform in a certain way. Nature has been around for the past 3.6 billion years and thus has undergone a long process of refinement of organisms, processes and resource materials found on earth.22 This is one of the many reasons why designers and other disciplines look at nature to solve complex issues.

B.1I

C R E S E

This process of reproducing characteristics of nature and organisms can without difficulty be incorporated in computational design and form generation. The 2011 ICD/ITKE Research Pavilion is a great example of how nature can be studied to inform a design idea. The pavilion explores this concept through the study of the sea urchinâ&#x20AC;&#x2122;s biological principles (plate skeleton morphology) by the use of advanced computerbased design application. This project has shown to accomplish the prospect of applying these bionic values and structural performance qualities to a series of different geometries which are only conceivable through computational design. The use of very thin 6.5mm plywood sheets to construct the pavilion validates this idea of the

Figure 16

intricacy of the morphology involved. 23 This project is a worthy example of exactly how bio-mimicry can be used to advise our proposal for the brief of the LAGI competition as it does not impersonate the form of the sea urchin but rather uses its fundamental biological principles to produce one instead and is something we want to explore in our voyage for the LAGI competition. Also we would like to incorporate how to produce a form that can permit optimum energy generation performance through motivation of natureâ&#x20AC;&#x2122;s course. Lastly inspiration was gained by this project as it too used bio-mimicry to regulate cell proportions with the use of computational design. This allowed the design team to produce panels that are easy to manufacture for accurate fabrication. Biomimicry provided solutions for structural and material performance resulting in effective use of materials but has also shaped an aesthetic, that of nature.

Figure 17

D / I T K E A R C H P A V I L I O N

Figure 18

B.1

V O L T A T I B B I

Figure 19

A D O M T S

The VoltaDom, developed by SJET and founded by Skylar Tibbits was created as an entry for the 150th FAST Arts Festivial . The installation explores the use of computational processes which are evident in the geometric pavilion structure. The design comprises of vaulted ceilings which is a common feature of gothic cathedrals as they improve acoustics.24 Computer coding was a key association to this design and was created using assembly technologies. It explores concepts associated to architectural surface paneling, this is done by increasing the depth in a vaulted surface, which is further improved by a doublecurve that is practical to fabricate. Therefore the composite geometry

S K Y L A R S J E T employs customary geometric concepts but, growths upon these through computation to produce a contemporary equivalent and comprehensive intangible geometry.25 The VoltaDom is a motivating example in respects to the intellectual re-invention of traditional architectural geometric formations through parametric design. It suggests a comprehensive opportunity into geometric progress and operation through Grasshopper. What is interesting to note about the VoltaDom is that it is based on biomimetic processes but this is not expressed in the design in a clear way. It is difficult to see a relation to any biomimetic process at all.

B.2

CASE STUDY 1.O - MAT P=5

P=1

S=0

S=5

S=1

R=0.10

R=0.5

R=0

H=-0.5

H=-0.8

H=-

P=15.0 S=8.00 R=0.75 H=0.80

P=10

P=15 S=8.0 R=0.5 H=1.5

P=2 S=8 R=0 H=8

RIX 1

P=20

P=35

P O I N T S

S=15

S=20

0.75

R=1.0

R=2.0

-1.5

H=-3.0

H=-10.0

27.0 8.00 0.65 8.29

P=14.0 S=13.0 R=0.28 H=9.69

E E D RADIUS H E I G H T C O M B O

P=35.0 S=2.00 R=0.25 H=8.00

Populate geometry grid using different boundary curves and all results use same values P=10.0 S=3.00 R=0.75 H=1.62 Umax=0.56

B.2

CASE

Result W Seco Defini

CULLING PATTERN Cone with cull base & height False False True True

Cylinder cull base & cone cull height False False True True

T T Fa Fa

Fa Fa T T

E S T U D Y 1 . 0 MATRIX 2

With ond ition

True True alse alse

Umax=1

True False True False

Sphere cull base & cone cull height

alse alse True True

Cone 0Ne Height=1.5 Cone Two Height=-3

False True False True

Cone with cull but with 2nd cone negative height False True

False True False True

B.2

OTHER

DIFFERENT SHAPES WITH CHANGE IN POINTS

Change in points and using cones and cylinders as the base shapes. Also changes in height ratios and cone raduis.

Here I am experimenting with seperating the height ratio components so that I can vary the heights of each base shape.

Here I am playing around with seeding and number of points and also using cones as the base shapes. 44

EXPERIMENTS

This iteration looks at combining three shapes togther and also inverting and playing around with the heights of the shapes. As it can be seen the spheres are inverted.

Same as above, but raised the seed and number of points.

Here I am removing some shapes from the iteration above and also changing the points and seeds.

B.2

CASE STUDY 1.0 Iteration

Iteration

Intersection

between

shapes.

and

My attention for iteration 1 was to get an improved understanding of the complete definition for the Voltadom. Here I tested with different base shapes such as cones and cylinders and the iterations that could be produced by linking the two shapes together. This created an interesting intersection between the shape and a form that could potentially meet requirements of the LAGI brief.

For this iteration I am experimenting with intersecting two shapes together to create cells. This is done by positioning the points and seed number at the same value and offsetting the height ratio of the top cone to create the cell. This iteration is simple but does create interesting potential for energy generation systems to be integrated into the design.

Iteration

Cell

creation

Iteration

and

For this iteration I focused on creating extremes between the two shapes in terms of height to emphasise the aspects mentioned in the LAGI brief such as creating both positive and negative space. I found that this iteration could be useful in integrating wind power as an energy generation source due to these height differces. This is something that can be explored further.

Iteration

Iteration four is similar to iteration two as it too is an attempt to create cells. The difference here is that inside shape is a sharp cone that sits inside of a cylinder. The reason for this is to create a funnel like system that allows wind to be compressed through the botton of the cell. This could help generate more wind force, hence a greater amount of enegry generation and all enhanced by the properties of the design. This is something that should be focused on.

Iteration

Height

extremes

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creation

B.3 This pavilion is a temporary space of exhibition which displays a connection of people with natural environments. A key concept of the brief for the pavilion was to show the benefits that plants have to society and displaying just how vital they are that we cannot live without them.26 The principal of NEX, Alan Dempsey describes how they used the cellular structure of natural growth and plants to extend the design notions of the garden. The structure was designed with the aid of computer algorithms which mimic natural growth.27 This allows guests of the pavilion to experience the patterns of biological structure at a representational scale. The development of the design focuses on Bio-mimicry of leaf capillaries implanted in the walls of the pavilion. The function of these capillaries is to direct rain water from the enclosed glass roof down into the ground and soil. The subsidiary structureâ&#x20AC;&#x2122;s shape is formed by the main geometry of the timber capillaries with secondary timber cassettes that house the cladding.28

CASE STUD P A V I L I O N

The basic shape is shaped by the subsidiary structural geometry of the primary timber capillaries, with secondary timber cassettes that the cladding sits in. The pavilionâ&#x20AC;&#x2122;s contextual qualities which exemplify patterns of biological structures, allows guests to experience an evocative connection to the natural surroundings. 29 I think this project harnesses the importance and beneficial impact pants provide for the planet and our survival. Where I believe this notion is lacking is in the structure of the pavilion, I find the structure is more suited at conveying natural growth processes and what goes on in the structure of a leaf such as the capillary assembly. Apart from this the project has a great connection between humanity and nature. This I believe is an important intention that can be carried across to influence the design for the LAGI competition.

DY 2.0

T H E

T I M E S

E U R E K A

Figure 20

B.3

R E V E R S E

Populate BOX Explode

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E N G I N E E R I N G

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B.3

R E V E R S E

STEP ONE The Pavilion is a five sided cube that comprises of the base shape of a rectangle. To create the basic outline of the pavilion a rectangle was defined and then populated with points. From this a voronoi pattern was put on to this.

STEP TWO

From this the voronoi pattern was offs to create a second curve. This offs curve and voronoi curve were selecte and lofted to create a surface betwee the two. From this the surface was the extruded to create the main structur

E N G I N E E R I N G

set set ed en en re.

STEP THREE Next the voronoi was offset again to create the main structure details and lofted to create a surface.

STEP FOUR The following step was to find the midpoint of the initial offset voronoi curves. These points were then used to create the secondary structure of the pavilion. This was achieved using another voronoi and once again this was extruded.

REALISATION This was our first attempt creating the pavilion, focusing on creating one face of the cube and getting it right. We then experimented with using this panel to construct all the faces of the pavilion. We did not find this to be particularly successful.

B.3

R E V E R S E

SECOND ATTEMPT Using what was learnt from the first attempt we then experimented with making our definition more parametric in order to allow us to explore different possibilities for B.4.

STEP FIVE

STEP SIX

We decided it would be appropriate to construct a base shape which was a cube. We then exploded the cube to find the edge curves which allowed us to populate each face of the cube with points. As in our first attempt we began with putting a voronoi pattern through the points.

In order to offset the voronoi on each face we had to evaluate the faces in order to find the normal which we then used as our inputs for the offset component in order to make sure that all the faces would be offset correctly.

E N G I N E E R I N G

STEP SEVEN Just like step attempt but face to make extruding was

3 and 4 as our first again evaluating each sure the offsetting and correct for each face.

B.3

R E V E R S E

By making the definition more parametric we will be able to explore further using different base shapes through form generation techniques etc.

The Time Eureka Pavilion and our reversed engineered pavilion share many similarities. The pattern of the voronoi consists of three voronoi just like the original. They look nearly identical except for the original using a specific number of points to make the voronoi patterns line up on each face. Also our pavilion does not have an opening to allow access into the pavilion.

E N G I N E E R I N G

Using these voronoi surfaces, we want to explore break away from this cube shape as it is limiting in term of progressing our iterations further. Thus we want to focus on the pattern the voronoi creates and how we can manipulate this to explore different ideas such as extrusion and creating cells. In saying that this could be related back to the data we obtained in part A concerning the wind of the city of Copenhagen. Incorporating this information of wind into grasshopper can help us explore and push our iterations to actually have a great significance to the site and how the form is suitable for the site. Our proposal will seek new prospects by elaborating on work completed previously such as information on context and conditions of the site.

B.4

TECHNIQUE DEVELOPMENT P R E C E D E N T S

Shadow Pavilion (2009) Michigan, USA PLY Architecture

Figure 21

S H A D O W The Shadow Pavilion at Matthaei Botanical Michigan done by PLY

P A V I L I O N

is situated sound and water to create an interesting Gardens in micro-environment. Also we will use this Architecture.30 project to gain motivation to influence our technique development in creating The design was established through software a design proposal that enhances user modelling to govern design features such as experience as well as generate electricity. shadow configurations, material efficiency and assembly. Due to more than one hundred aluminum cones of varied sizes the pavilion is self-supporting. These cones act as structural support members for the design thus it does not require a structure.31 Also they formulate the overall form of the pavilion. What we would like to explore in our design process from this precedent is the way the interior of the pavilion funnelâ&#x20AC;&#x2122;s light and other qualities such as 58

Figure 22

B.4

TECHNIQUE DEVELO

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Note: iteration below also includes putting a structure onto it.

funneling & structure (hexagons) funneling & structure (continued)

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B.4

TECHNIQUE DEVELOPMENT S E L E C T E D

F O U R

We decided to take the idea of having panels inside of this frame structure further as we found that it could drive us towards a potential idea that will meet the requirements of the brief and be able to produce energy. A desirable outcome from this option consists of the harmonious act of the panels and being able to achieve a clear purpose. This is something we want to explore further into our proposal. This purpose being able to produce a sufficient amount of energy through an innovate system that works as a unified whole within the design. The panels on this prototype could be clad with piezoelectric material permitting pressure from the wind to be caught and converted into electrical energy. The angle of the panel faces and the faces themselves can be informed by the dominant wind direction. Also as energy generation is a key aspect of the brief sizing of panels will need to be determined in order to produce a sufficient amount of energy.

This iteration was chosen as we were inspired by the idea of how the precedent explored such as the Shadow Pavilion channels light and sound to enhance experience. We believe that the voronoi funnels could produce an interesting effect on light and sound within our design. This could also be a learning tool for users to see how energy can be generated by wind, as this will be expressed through the light and sound of the wind passing through the structure. To generate the electricity the funnels could be clad with piezoelectric material again. Sizes of funnel openings can be varied in grasshopper to make certain that wind actually gets channeled through the funnels. The funnels will be unrolled into strips and sent to the FabLAb to test how the funnels can be connected to each other to create the intended effect on light and wind.

This iteration is particularly interesting due to its smooth flowing form and also its three piece cell structure system. The openings of the cells seem to be able to frame views better in this configuration. We will be prototyping this iteration to test its structural capabilities and overall flow of form. Again piezoelectric material will be placed inside the cell to generate electricity. Once again the cell heights and sizes can be informed by the site conditions such as dominant wind directions.

B.4 We found it to be quite enjoyable to have funnels pointing out to the sky with this iteration as it is like the funnels as drawing wind and light into the structure by sucking it in. what is not certain is if the small openings of the funnels will diminish the amount of energy that can be produced. This idea will be further explored and we would like to take this idea of sucking wind in further and develop a proposal that shows this.

The last iteration was selected for its form. We derived this form by applying a wind vector using the kangaroo plug-in in grasshopper and then playing around with wind amplitudes and gravity. From previous research we found that the dominant wind direction is North and South West. When a form was achieved we modified it using the yearly average wind rose diagram of Copenhagen to have the form face west and have a greater surface area here. This was done to enhance wind power.

TECHNIQUE DEVELOPMENT

S E L E C T E D

F O U R

Figure 23

Copenhagen Wind Rose Diagram

B.5

TECHNIQUE: PROTOTYPES D I G I T A L

P R O T O T Y P E S

By using a culling pattern together with extracting certain items form lists we were able to change where the funnel openings would be positioned. These inputs were informed by, wind direction and views from the site. This creates lighting qualities within the space by the interruption of these openings to the form. Also this will create potential for energy generation through a piezoelectric material placed inside of the funnel and a rotating panel installed as well. To push this prototype further we decided to change the heights of the funnels as this would create a desirable outcome in receiving greater wind speeds. Hence certain sections of the design can be higher to maximise energy potential. Additionally this gives an aesthetically pleasing quality to the design and could possibly help show users how the varied heights of the funnels help generate energy at different rates.

The last two digital prototypes are a result of a hexagonal structure with funneled openings. This could allow for the funnels to vibrate from wind forces and could be another system to generate electricity. This could also add to the experience of the proposal for users. These prototypes can be made possible if a structural frame is created that allows for the funnels to be secured but also be able to move quite flexibly to be able to generate electricity. Further prototyping will be needed to test this possibility.

I T E R A T I O N S F O R P H Y S I C A L P R O T O T Y P E S

Three piece cell, testing structural qualities

Voronoi offset and loft between the two

Prototype of detail funnel, panel & frame 71

B.5

TECHNIQUE: PROTOTYPES D I G I T A L

P R O T O T Y P E S

The reason we made several prototypes was to test diverse features of our, to be design proposal. These including factors such as structure, form, wind and lighting effects, orientation and sizes, materials and heights. The very first prototype consists of funneled cells which were made in grasshopper by mapping a voronoi pattern to a surface and then offsetting this. Then the surface was lofted between the voronoi and the offset. The next prototype is a made up of cells. Each cells comprises of three hexagons, one hexagon is offset and then placed inside another. This is to create a funnel and the third hexagon is used as a cap to seal it off. The last prototype is a detailed model of the frame of the second prototype. This prototype shows how the funnel and panel connect to each other.

prototype 1

prototype 2

prototype 3 73

P R O T O T Y P E The intent for this first prototype is to determine if we can produce a form and structure made up of separate unrolled funneled cells. The assembly process was quite smooth and easy to construct. The purpose for this prototype was to test if wind can be guided through the funnels and how this can occur. After testing this with a hair dryer, we found that the air actually focused towards a central point. This was quite unexpected and an interesting observation for us, as we thought maybe will could use this to our advantage to guide the wind onto piezoelectric material to generate electricity. With further testing of this idea we could potentially explore how we can manipulate the wind to our advantage. Unexpectedly while making this prototype, we found that the model took a different form naturally from that of the grasshopper definition. Instead of having a linear base, it was curved. This we found to be preferable over the original as it was aesthetically more pleasing and could be utlised to create a entrance, or even give Model Making Process

O N E

height to our proposal. The reason this happen was because there was not enough downward force at the top of the model, hence resulting in an upwards curvature. This did teach us that we need to consider material strengths and elastic properties to achieve our intended outcome.

P R O T O T Y P E Just like the previous prototype, this model was unrolled and sent for printing at the FabLab. Just like the first prototype we tested the assembly process of this model to try and achieve a prototype that did not require a secondary structure. They way this was done was by having three pieces connected together making up one cell. These cells were quite rigid and could be connected to one another making a model that did not require extra structural support. This prototype overall proved to be a success in that it was quite easy to construct as a whole and was strong. The only difficulties we had was connecting the inside hexagonal piece within the cell. This may have been because of the scale of the prototype. None the less we are happy with the overall achievement of being able to make structure less model. Black card was used for the interior of the cells to show a representation of piezoelectric material and also to create lighting effects. The lighting effects were actually enhanced by the black card and hence were more visible. Another reason we constructed this Model Making Process

T W O

prototype was to test the scale and size of openings and how views could be framed by these. What we did realize from this is that some views that we want to frame will be obstructed by the surrounding buildings. This brought us to think of ways we could raise the height of these cell structures in order to overcome this issue and also if this will affect the stability of the proposal. What we did notice though is that a height increase in the cells will result in greater energy production. What we did do differently to the digital model was change the direction of the cells and from this we found that it led us towards a more modular design which could potentially allow us to extend to greater heights. Also a modular design will allow us to orientate cells in particular directions on the site to focus on views and dominant with direction.

P R O T O T Y P E

Constructing a prototype of one of the funnel cells we gathered a great deal about the properties of the hexagonal celled frame came to see that we need to refine the structure will be built in terms of material and connection details. This proved to be an issue as the plywood constructed frame required extra support as it was unstable. Also the choice of material made it very difficult to construct. With this prototype we used wind to experiment how the panel would react to the wind force and how it would spin. It proved to be a successful experiment but we did notice that we need to refine the panel system as it is not consistent with its rotation as it hits the edge of the funnel. The main concern we found from this prototype was that it is very important to consider how details work with each other and making sure it is correct in grasshopper. This was due to the nature of our funnel as Model Making Process

T H R E E

the hexagonal shape is irregular and causes friction when the panel rotates. In saying that we are also going to look at how we can create a function connection between the panel and the funnel as we found during the experiment that the connection plays a big role in how much wind force is needed to power the spinning panel. In conjunction to the wind experiment with a hair dryer we also used a spot light to see the lighting effects that can be created using such a system. This also showed our technique proposal of making the wind which is invisible, visible. This was seen in the shadow effects created by the light. During the experiment we also found that placing the panel in the center of the funnel to be effective as it is concealed and also if it was placed otherwise it would not spin freely. This experiment can be seen in the images below.

T I M E

L A P S E

D I A G R A

A M

B.6

T E C H N

The technique we developed to produce a design proposal for the LAGI site was based on the idea of making the invisible, visible. We decided that while focusing on generating wind through our design, we would also focus on being able to explore views around the site by capturing them within our design. Based on our iterations we developed an idea that would meet the requirements of our technique. This idea is to guide the wind through funneled openings which will be clad with piezoelectric material. Inside the funnel will be a panel acting as a turbine to enhance the process of generating electricity through wind. The funnel and the panel found inside will not only be generating electricity by transforming the windâ&#x20AC;&#x2122;s mechanical forces into electrical currents but will also express the idea of visualizing the invisible. The design is innovative as it will reveal to users the various wind flows as each panel will rotate at a higher or

I Q U E :

P R O P O S A L

lower rate. That being said it will also influence the internal experience of the users through the lighting effects that will be created from the spinning panel. This will be something we want to emphasis in our interim presentation as the dynamic movement of wind will become a visible experience to users through the panels, as users will be able to see the power of the wind by the various rates the panels will be moving at. To make our idea of framing views, innovative and respond to the site, we will use the context of the site to arrange the openings of funnels so that they focus on particular views. They will be focusing on views that will raise awareness of the efforts towards a sustainable future by the city of Copenhagen. Such views will include the wind turbines, other views will show the impacts to the environment such as the rising sea levels and the ships that pass through. Not only will this raise awareness about the need of a more sustainable environment but will also show the effects and impact of

B.6

T E C H N I Q U E climate change and industrialisation. This referencing to the idea of making something that is invisible, visible as these factors are difficult to see. To show the importance of some views, funnel openings will be larger and smaller for the less significant views. This could potentially be a draw back as it could inhibit the amount of wind that can be drawn into the funnels. Other factor that is a potential draw back for our proposal is the height of the design; this may affect the potential to generate more wind power if we keep the structure lower to the ground level. Also this could limit the ability of our proposal to show some views due to the heights of surrounding buildings. To overcome these issues will research the size and height requirements necessary to be able to generate enough wind power, and from this will try pushing this further so that we can produce as much energy as possible and also be able to frame the views we want to emphasise. Also we think

E :

P R O P O S A L

thoroughly about the positioning of our proposal on the site. One advantage of our proposal is that we have positioned it facing the dominant wind direction of the site which is in the North West corner of the site. We will also consider shifting our design to a more modular one so that we can position the funneled cells around the site. This way we will be able to work with various heights to deal with wind power and view obstruction. Also this will give the overall design of our proposal and the site a greater quality of experience.

disruptive like wind turbines which are rarely designed for cities as they are loud, affect views and building tend to block the wind anyway. This means our proposal can possibly be placed throughout the city of Copenhagen and by using computational design, understanding sizes of funnels and panels can be altered.

Our proposal will be preferable from other possible options as it will convey a deeper message through the way one experiences it of the importance of sustainability and the impacts of industrialisation and climate change. Our proposal will provide the city of Copenhagen with an aesthetically pleasing design that harvest wind without being

B.7

LEARNING OBJECTIVE

Looking back on Architecture Studio Air thus far has exposed to me the precipitous learning curve that this subject has enabled. I have advanced greatly in the method I approach design and the way I reason with it. Concurrently the course presented a number of diverse learning objectives for the learning experience of students which I believe I have achieved. The attitude taken thus far for learning objective;

my digital and physical fabrication skills in many tools such as Rhino, grasshopper, plug-ins for grasshopper such as kangaroo, lunchbox, weaver bird, SL and paneling tool. From this I was able to produce digital prototypes, which were then physically fabricated. As a result of this I also became more familiar with photoshop and illustrator in being able to produce quality imagery to support my work. Objective 3

Objective 1, this objective is a recent example and is best seen in B4 where the technique development began. This being that we wanted to evaluate the LAGI brief in order to comprehend design restrictions and prospects. By doing so I understood how software such as Grasshopper can be used to address necessities of the brief, such as energy generation and in doing so attained well design proposals. It is evident in B2 and B4 that the knowledge I gained by navigating and using grasshopper allowed me to develop an ability to generate a variety of design possibilities for a given situation.

Leading into prototyping and site application, objective 4 was achieved. From this our group began to understand the significance of height in response to architectural relationship with air. Meaning the higher your proposal the more potential it has to generate energy. This objective will continue to be expanded upon in part C and will have a great influence on it.

Where this all started was in the manipulation of the VoltaDom project and my ability to begin to expand on ideas with iterations. This was then developed in the reverse engineering project, Times Eureka pavilion. I found this to meet the expectations of objective 2, from this I found that objective 2 allowed me to achieve objective 3 as the learning from objective 2 related to this. Throughout part B I have developed

As important as it is to becoming more technically competent I found that it is just as important to have good analytical skills (objective 5). This has become common practice through research and exploration of precedents in part A and B. This realization allowed me to understand projects more clearly in terms of design sequence and fabrication techniques. Objective 6 Explorations made in the algorithmic tasks and our progression on our design has strengthened my ability in computational design and made clear the role of computation in modern

S & OUTCOMES architecture. My approach to design now focuses on exploring a range of possibilities and evaluating them to select the most suitable to respond to the requirements of its brief. In consideration to the feedback received in the interim submission, the fundamental notion for our proposal will be retained and strengthened over the concluding part C design phase. It was brought to our attention that more thought and analysis is needed in understanding site conditions. This being in terms of how we will direct our proposal to receive maximum input of wind and how it will be positioned on site to effectively integrate wind directions, views and path of experience. To address these factors we will conduct research on methods of wind system designs and refine our panel system further to achieve a more integrated cell and panel distribution. This will enable a well-versed arrangement across the site and within the whole structure. This will be further refined with added prototyping and analysis of Wind Rose diagrams to elect areas of the site that will enable us to meet the requirements of our fundamental notion for our proposal. Thus these areas will need to be able to effectively integrate wind direction, views and path of experience. We will also explore ways to make our design more modular so that we can position it in more appropriate areas of the site.

This will help us improve and support aspects of our proposal such as raising awareness for sustainability as we will be able to frame views more effectively. Lastly we needed to consider how the panels are to be integrated into the funneled cells. To achieve this we will research and evaluate the most suitable means of wind systems and will look at various piezoelectric mechanical systems and material. This will also include looking at panel sizes to and cell openings to determine the most effective configuration of energy collection. This will further be backed up by calculations that will allow us to test the performance of our choices and studies. Grasshopper will also be used to adjust the model to new sizing and panel direction and angles. Also we will look at altering the height of our proposal to be able to create more energy.

B.8

APPENDIX- ALGORITHMIC

Many principles have been presented and tested in the week to week video content. These concepts have given us the motivation to drive our design proposal further. Apart from the video content, time was also spent developing my understanding of additional plug-ins for grasshopper such as lunch box, weaver bird, SL, Kangaroo and paneling tools. By learning the basics I was able to use these to drive my ideas in which I created iterations to prototype such as the voronoi iteration that was mapped to a surface. This example brings meaning to the proposal and responds to the LAGI brief requirements by allowing space to be able to develop it into multiple iterations of itself. This idea was used to drive our design proposal. To further explore development for our design proposal, the kangaroo plug-in was used to further explore wind forces and see what wind forces act on the LAGI site. This was done by setting up a wind vector that had amplitude. After this was done simple iterations were made to see the effects of this component. After this proved to be successful, this iterations were then developed to have more significance to the LAGI site. The plug-in was then used to test how the iterations respond to wind forces when applied. By completing the video tutorials, I was then able to progress innovative design intentions. What I have come to see is that plug-ins such as Kangaroo, are key tools to drive our design further and keep a close connection to the site in terms of positioning and arrangement. This tool will be used to development our proposal further in part C in terms of materials, sizing and direction of panels etc.

SKETCHES

B.9

NOTES

22 “What is Biomimicry?”, Biomimicry Institute, accessed 6 April 2014, http:// biomimicryinstitute.org/about-us/what-is-biomimicry.html 23 Amy, Frearson, “ICD/ITKE Research Pavilion at the University of Stuttgart”, Dezeen magazine, October 31, 2011, http://www.dezeen.com/2011/10/31/icditkeresearch-pavilion-at-the-university-of-stuttgart/ 24 “VoltaDom Installation / Skylar Tibbits + SJET”, Lidija Grozdanic, evolo, accessed on 8 April 2014, http://www.evolo.us/architecture/voltadom-installation-skylartibbits-sjet/ 25 Ibid 26 “Times Eureka Pavilion – Cellular structure inspired by plants / NEX + Marcus Barnett”, Lidija Grozdanic, evolo, accessed on 12 April 2014, http://www.evolo.us/ architecture/times-eureka-pavilion-cellular-structure-inspired-by-plants-nex-marcusbarnett/ 27 “The Times Eureka Pavilion by NEX and Marcus Barnett”, bustler, accessed on 10 April 2014, http://www.bustler.net/index.php/article/the_times_eureka_pavilion_ by_nex_and_marcus_barnett/ 28

Ibid

29 Grozdanic, “Times Eureka Pavilion – Cellular structure http://www.evolo.us/ architecture/times-eureka-pavilion-cellular-structure-inspired-by-plants-nex-marcusbarnett/ 30 Milcher, “Shadow Pavilion Informed by Biomimicry / Ply Architecture”, 2011, http://www.evolo.us/architecture/shadow-pavilion-informed-by-biomimicry-plyarchitecture/ 31 Ibid

FIGURE REFERENCES

Fig 16-18: ICD/ITKE Research Pavilion at the University of Stuttgart, 2011, photograph, accessed on 7 April 2014, http://www.dezeen.com/2011/10/31/icditke-researchpavilion-at-the-university-of-stuttgart/ Fig 19: â&#x20AC;&#x153;VoltaDom Installation / Skylar Tibbits + SJETâ&#x20AC;?, Lidija Grozdanic, evolo, photograph, accessed on 7 April 2014, http://www.evolo.us/architecture/voltadom-installationskylar-tibbits-sjet/ Fig 20: "Times Eureka Pavilion / Nex Architecture" 12 Jun 2011, photograph, ArchDaily, accessed on 21 April 2014. http://www.archdaily.com/?p=142509 Fig 21-22: "Shadow Pavilion / PLY Architecture" 20 Dec 2011, photograph, ArchDaily, accessed 7 April 2014. http://www.archdaily.com/?p=192699 Fig 23: Copenhagen, January Windrose Diagram, 2013, http://mesonet.agron.iastate. edu/sites/windrose.phtml?station=EKRK&network=DK_ASOS (accessed on the 30th April, 2014)

Part C

Detailed Design

C.1. Research Fields C.2. Case Study 1.0 C.3. Case Study 2.0 C.4. Technique Development C.5. Technique: Prototypes C.6. Appendix

C.1D

E S I G

ucceeding on the advice acknowledged from our studio leaders and from many design consultations, there were numerous areas of our proposal that required additional refinement. One of the major concerns with our proposal was to address the issue of how the panel system can be applied across more of the site in response to factors such as wind, views and paths to the structure. To address this issue we developed a wall like structure instead of a pavilion. This gave us the flexibility to make several of these structures and be able to position them across the site. In turn this guided us to think of methods to resolve the integration of the panel flaps which will act as a wind turbine and how we will direct them to the dominant wind directions of the site. This change to our proposal will also benefit our integration of views and our overall conceptual idea of framing views and making the invisible, visible. In terms of the brief our technique can be developed further to create a quality experience for users. The design will be developed so that each wall like structure is positioned to face a dominant wind direction and also will

G N

C O N C E P T

all work together to guide wind to each wall. These structures will be laid out on the site in a maze like manner creating a degree of uncertainty for the users while experiencing the proposal. This will be implemented be re working the terrain of the site to create the correct positioning for the structures. This will also assist in developing our goal of allowing space for recreation and view capturing on the site. The tectonic relationship for our funneled cell system will need to meet requirements such as allowing flexibility between joints while still retaining strength. This is to be able to fold the panels of the funnel into their correct position. To achieve this testing of various jointing methods such as dove and tail and folding will be conducted with similar materials to those that will be on the actual structure itself, to see what the best way to connect the faces is and funnels together are, to create the cells while still maintaining a simplified look.

on the intended angle. We are considering steel for the secondary frame as it will give our design the structural integrity it requires to be stand and is a clean and effective method of joining the cells. Another area that drew our attention was the openings on the cell faces. Consideration into changing the face opening shape of the cell may be necessary to make the turbine feasible and sufficient to be able to generate energy. Thus we will explore the possibilities of a circular opening rather than an irregular hexagonal opening. This will allow us to implement and integrate our custom turbine panels in a more effective manner as the space lost between the cell opening and the turbine panel will be minimized due to the circular shape.

As it was brought to our attention in our discussions with studio leaders, the cells may require a secondary support to make them constructible. This could potentially be steel like secondary structure which will be needed to connect is cell together

C.1D

E S I G

G N

C O N C E P T

The design concept for our revised proposal will be a walk-like form that will be positioned across the site facing dominant wind directions. There will be one central tower like structure that will be utilized to generate a greater amount of energy as it will be must higher than the rest of the walls. The cell openings will now vary in size to respond better to wind conditions and be able to produce optimal amount of wind power. The driving concepts such as framing views, making the invisible, visible and promoting sustainability will still be kept and these changes will help us develop these better. Furthermore we will create a maze like experience for users where they will be faced with unpredictable and decision making to make their way through the site. This will allow us to manipulate what we want users to experience.

C.1 1

Design Iterations 2

Shifting from the pavilion like form we developed a wall like structure that was more fluid. The change still uses the same concept and cell system as the previous form but now permits us to apply it across more of the site. This will help us frame view better and also generate energy more effectively.to begin our development we alter the formation of our hexagonal funneled cells where the turbine was hidden inside the cell and now the cell has a circular aperture. This is done to resolve issues found in the prototype in particular with the turbine. The circle and the hexagonal cell were quite pleasing to us as it develops a tension between the two shapes that is not too heavy but rather aesthetically pleasing. As refinement continued of the design we found that the new form could be refined further to respond better to the site. Through the use of grasshopper we developed the circular openings and turbines to have varying sizes with a domain of turbine diameter between 50cm to 2000cm. We then used a graph mapper component to make the openings vary in size as the height of the wall increased. Areas where the wall tappers in the holes would get smaller to shelter users. The reason for the holes increasing in size when the wall increases in height is so that the turbines can produce greater wind

energy as wind speed would be increased. This notion also cooperates with framing the views with want with the bigger openings being the more important views. Various iterations were developed depicting this idea. From this we came to realize that the turbine could be integrated with the funnel better and so that we could stay pure to the idea of utilizing wind to generate energy and also to show users how energy is been produced through the dynamic effects caused by the spinning turbine. Iterations 4-8 are the ones with the turbines positioned inside the funnels including and excluding exterior facades. Iterations 8 and 12 are turbines that we were looking at having an exposed structural system by which the turbine could be fixed to. Iterations 9-11 are the turbines that are positioned flush with the exterior face openings. Although this looked nice, we found it to make the funnel useless and did not like having a separate securing system for the turbines as it would complicate the design and create clutter.

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Design Iterations

Also experimenting with different turbine types. The bladed turbine gives an industrial feel and would decrease light thus we chose not to use it.

Following the interim presentation we considered how we could generate a vast amount of energy and came up with the idea of having a central shaft that would be positioned in the middle of the site. This shaft would be high to be able to harvest more wind. We first developed a circular shaft but found it would be too bland and looked like it had no consideration to the site or our design concept. From here we then attempted to create a more fluid and grown organically form but conclude that we would scrap the idea of a shaft all together as it simplicity did not flow with our design. This did not go to waste though; from here we used these iterations to develop our final form which consists of a combination of the first wall like iterations and the central shaft. The idea of height was also integrated into this form to produce a wall like structure that varies in height in reference to wind dominant positions and importance of views.

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C.1

102

Design Iterations

Initial Layout proposals that where latered evloved into more dynamic and site responsive forms (refer to next spread). The new refinements are intended to be create a more interactive experience for the users and lure them to spend time at the site.

C r i t e r i a

S e l e c t i o n :

Have sufficient surface to increase energy generation

At a resonable height that is not to tall but not too short to create dynamic sculptural walls

Construction on site made easier through the development of panels that can be broken down

Bigger holes as height increases

Incoprotate funnel, exterior face and turbine in one cell system

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L a y o u t : R e l a t i o n s h i p

Here are various layout possibilities which we established in order to produce wind from the prevailing wind direction. As it is known it becomes very windy at the site thus we want to strategically position our forms in a way that will deflect wind away from the recreational area. The separation of the recreational region is made clear by the varying contour heights and the manner we worked the terrain to generate a differentiating region of lower ground. The forms will be positioned on the raised up terrain to have more height for framing views and for gaining faster wind speeds. Our final iteration is a layout that seems similar to a maze, as it guides users through the site while permitting them to make a decision on which route to take. The forms are positioned in a manner that make their surface area greatest on the dominant wind facing directions and are angled towards particular views. The forms vary in height and this is for the purpose of creating the

w i t h

s i t e

areas by which views will be framed.

A new site providing awareness for a need of sustainable measures, while promoting recreational activities. Recreational area to host carnivals, have a picnic or enjoy the architecture etc.

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C.1

Site Conditions Wind

Conducting analysis of the site determined dominant wind directions. The diagram below shows the new revised layout with the wall like forms placed in a maze like arrangement to direct users through the site to experience the many different views we have chosen to frame. The orientation and height of the forms is determined by dominant wind. Tallest forms are found on the south eat section of the site and on the west the forms are quite low to accommodate for specific views.

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The new envisaged layout is designed to create a division of space and the walls a barrier for wind to the recreational space. The diagram above shows how exposure to wind will be low in the recreational area and high where the walls are.

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C.1

Design Concept

Finalised Concept

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Here we steered away from the pavilion form to the wall like form we have developed. The wall forms will be made up of exterior facers that will be tapper in towards the middle of the funneled circular opening where the turbine will be placed. These new look faces add quality to the aesthetic of the proposal and also helps funnel wind in to the turbine. The funnel will have an interior face on the inside of each form that will act as a support and a jointing method for the cells. This will also help cover up the secondary structure holding the cells together. In conjunction with the funnels the turbines will create an interesting light effect which show how wind moves through the turbine. This relates to our concept of making the invisible, visible in a sense and also using this to raise awareness of measures the city of Copenhagen has taken to implementing sustainable living. The turbines will be constructed of aluminum as it is light weight and also to reflect light. The layout has been refined so that the users can experience the views that we watch to use to raise awareness of environmental impact. The views will show raising sea levels, turbines, industrialization, pollution and factories. By framing both the good and the bad views we find that the lighting effects will be enhanced. As the turbines rotate users will be able to see the views differently and decide whether they find this proposal interesting.

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C.1

Pseudo Code

opened funnels Base curves

â&#x20AC;&#x2DC;losoeâ&#x20AC;&#x2122; lofted surfaces

pattern and form

funnels w/ turbine panels

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frame views

big openings

higher in structure= more energy

small openings

lower in structure= more interactive with users

F I N A L O U T C O M E

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C.1

Pseudo Code

Extract data from lists to create circles

BASE CURVES INCREASE CONTROL POINTS

BASE SURFACE

HEXAGONAL CELLS

Scale G

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Apply a Domain

Connect to Graph Mapper and vary heights accordingly

Circles

Loft Ext. Face Scale Geometry Again to create Interior face Loft Int. Face

Geometry Loft funnel Control funnel size with attractor

Find intersection for plane inside funnel

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C.1

Construction Process

OFF SITE Fabrication of plywood panels and funnels

Terrain fixes: excavation

Fabrication of angle frames

Equals One Cell

Fabrication of metal turbine panels

Panels are to be labelled and when assembled cells need to be labelled.

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ON SITE

Our final refinements where chosen so that we could create a cell system for our sculptural walls to reduce on site construction and also to get a high degree of precision using digital fabrication methods. Our design requires high degrees of precision as the plywood sheeting needs to meet flush with its corresponding member and be chamfered to a particular angle to allow for the recessed exterior faces.

Individual cells transported by truck to site

Interior plywood face connected to funnel to hide wirng & internal structure

Final Construction of one sculptural wall

Cells connected to each other by an internal structure

Wiring for turbines connected to grid central grid point

Each wall will be documented cell order of construction using computer organising systems as there are many cells to be connected.

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C.2

Tectonic Elements

The main construction joint and steel frame will be hidden behind the exterior face and the interior face to make the proposal look simply and elegant and appear self-supporting. This will create a sense of mystery and users will wonder how the proposal can stand up and how the turbines are housed. Wiring will be hidden in between the faces to minimize risk of harm to users and damage to the electrical components. The main construction detail material will be timber as we want the materials to be local and environmentally friendly.

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The exterior face of the funneled cells will be made up of separate plywood panels the will be supported by a secondary steel frame inside of each funnel. The turbine will need a â&#x20AC;&#x2DC;Câ&#x20AC;&#x2122; channel ring that in order to secure the components of the turbine to. The paneled will be made of pre-fabricated plywood sheets that will ready to be connected to each other by finger joints.

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C.2

Prototypes 1:20

In the images above are prototypes that proved to be unsuccessful. The first three images show testing of the chosen jointing method (finger jointing). This is done without any digital cutting machinery. From this attempt we realized that the finger jointing has potential to work but needs precision to making the joints work. Next this same jointing method was tested at the Fab Lab on the laser cutter.

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This prototype came out much more precise than doing it by hand and was much easier and efficient to build. The jointing worked well and had a strong hold. By prototyping this particular joint we want to see if it would alter the shape of our hexagonal cells and it did not which was what we were hoping for.

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C.2

120

Tectonic Elements

The above figure us a detail of how individual plywood panels will join together by interlocking using finger joints. The depth of the finger joints will need to be the same as the thickness of the material in order to work successfully. For our prototypes this was 3mm and at 1:1 this is 20mm. This created a slight issue with the sizing of the funnel, as it was a bit off.

This figure shows the exploded view of the construction assembly of 3 cells. The exterior face will connect to the steel sub-frame. Next the turbine will be installed and then the steel frame is secured to the funnel. From this the three cells will then be bolted to the steel sub-frame which will then be hidden in when the interior face is connected to the bottom of the funnel (steel frame).

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C.2

Turbine Mechanism Ball bearing

Note turbine panel material will be aluminum so the panel is reflective and light weight to spin freely.

Steel Ring

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Ball bearing Washer

Bolt

The turbine is a custom a built turbine that is why a detail is included; A â&#x20AC;&#x2DC;Câ&#x20AC;&#x2122; channel ring will sit in the circular opening of the exterior face. The purpose of this is to secure the components that connect the turbine together to the cell. This will allow the panel of the turbine to spin freely. Bolts will be used to secure the most components.

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C.2

Construction Model

From prototyping our funneled cells we found that material thickness and laser cutter limitations of not been able to chamfer the edges of the panels to cause difficulties in assembling the cell. At a 1:1 scale this would not be an issue as the material thickness would be correct and appropriate machinery can be used to fabricate the panels as they are intended to be to make everything flush.

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C.3

126

Final Model After the labeling system was completed we then unrolled all the surfaces and put them into the laser cutter template and set them out to the correct guidelines. This process is time consuming but a much better outcome is achieved. Most of the geometry would be near impossible for to cut by hand so this is a much better method of fabricating the model.

In Rhino we labeled the different surfaces into detailed names. We also colour coded them to make the fabrication process clear and simple. This type of organization is fundamental for real life construction of our proposal as it will help clarify the complex components in the design and how everything goes together.

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C.3

128

Fabrication Process

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C.3

130

Final Model Construction Detail

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C.3

Final Model-Site Model

SCALE 1:500

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C.3

134

Final Model Site Model

SCALE 1:500

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136

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C.3

138

Final Model

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C.3

140

Final Model

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C.3

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Final Model

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C.4A

D D I B R I E F

P R O J E C T D E S C R I P T I O N

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T I O N A L L A G I F R E Q U I R E M E N T S The design project we are proposing is a series of curvilinear wall-like structures that are made up of hexagonal funneled cells that join to each other using a steel frame. The idea driving these forms is that a custom paneled turbine will be placed in the circular cell opening by which will generate energy and also function as a viewing slot for users to enjoy views from scenery around the site and surrounding context.

like wind and will be faced to the most dominant wind directed areas of the site. The forms will be on raised land. The reason for this is to emphasize their existence by guiding users to the proposal, give a greater ability to capture wind and also to create a space on the site for other recreational purposes and events.

The concept behind this is to communicate the movement of becoming more environmentally friendly and sustainable. Thus the views will be directed at objects that impact the environment in a negative and positive way such as surrounding factories, ships and wind turbines.

Also we will be creating a controlled randomized formation of the forms to make users explore the proposal in a manner where they will need to make some decisions on what to experience. This will be a message that will transcend the idea of sustainability and that it is up to us humans to take the correct steps towards a more sustainable future.

This will also be emphasized in our material selection. Secondary to this the funneled cells will convey our concept of making the invisible, visible as the paneled turbine will create lighting effects that will emphasize the movement of wind. This message will also be emphasized in the layout of our proposal. The forms will be positioned in a pattern that flows

In terms of material colour the majority of the structure will be Okoume, so this means it will be a timber finish. Elements such as the turbine panel will be a aluminum to reflect light and add to the lighting effects. The ring around the turbine will be finished in a rustic paint so that it blends in with the overall colour composition of the proposal.

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C.4A

D D I B R I E

C H O S E N T E C H N O L O G Y Figure 24

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T I O N A L L A G I F R E Q U I R E M E N T S

The mode that will be used to generate energy will be wind and the technology that will be used to capture energy from nature will be a wind turbine system. As our design proposal requires the turbines to spin in a particular axis of rotation we chose a system that is reciprocal and rotates on a horizontal axis. The reason for this is that our turbines will need to accommodate the function of generating energy and also framing views for users. Thus we will be making a custom panel turbine system that will be based upon the Broadstar AeroCam wind turbine. This turbine system is aerodynamic and has cut blade profiles which track the path of the wind as it rotates.32 The micro-turbine system also offers more power and selection of locality than conventional turbines. This innovation is designed to run at smooth wind speeds from 4-80 mph and thus means that it will produce a insignificant volume of noise. This will also benefit our proposal as the reduction in noise and rotational speeds will enhance the framing of views and users will be able to have a more profound quality of experience.33

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C.4A

D D I B R I E

P=(1/2) x air density x Power coefficient x Area of turbine x wind speed^3

This calculation is an estimate and not exact as it is very hard to determine an accurate figure due to different variables needed to do so such as direction of winds and velocity at specific times of the day. Hence the turbines may produce different figures at those specific times. Also the size of the turbine influences the result and so average was used.

The largest amount of energy generated will be during the winter and will decrease by the time summer comes along due to weaker wind currents.

The Second diagram displays an average taken for per annum of a single turbine and the amount of energy that would be produced on average. Roughly, one turbine would harvest 2kWh, and roughly 1GW in a year; this would deliver adequate energy on average for 2 people according to the Danish energy savings. And approx. the entire project would harvest around 80GW during the course of the year. 148

e y e .

l .

T I O N A L L A G I F R E Q U I R E M E N T S

The table above shows the values from the formula per month. All calculations were done using the mean velocity value, 3 calculations were made per month, each with a different area value. This is because it is the value that is most prone to change in our design. An average was taken from all the results to govern a rough value of how much energy is generated per year.

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C.4A

D D I B R I E

Energy generated per month JAN

DEC

OCT

MAR

SEP

APR M

AU JUN

JUL

Danish Energy Savings:

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-1 000 kWh realistic for one person

-Number ATM is 1 340 kWh per person

T I O N A L L A G I F R E Q U I R E M E N T S Average energy all year around JAN

DEC

OCT

MAR

SEP

APR

JUN

AU JUL

Average energy per year:

-per turbine: 1 GW

-as a whole: 80 GW

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C.4

A D D I B R I E

M A T E R I A L I T Y

Figure 24-25

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T I O N A L L A G I F R E Q U I R E M E N T S OKOUME HARDWOOD PLYWOOD In our deliberations in respects to material choice, we concentrated on attaining a firm level of durability and sustainability. These are two key considerations that we would like to give emphasis to in our proposal as the city of Copenhagen focuses on creating a more sustainable city with zero carbon emissions. In our analysis of various timber selections for our proposal we selected Okoume veneer hardwood plywood as the most suitable material selection for our funneled cells. The timber products company produces timber that is attractive and versatile. The products selected reflect good environmentally friendly practice in terms of manufacturing. The timber products company coat their products in RhinoCoat which helps the company reduce emissions, enhance quality and improve the manufacturing efficiency. Also the selected timber is certified by the SFI (Sustainable Forestry Initiative) and the FSC (Forest Stewardship Council) which satisfies our objective of communicating the message of sustainability and environmental care through our proposal. Furthermore the Okoume hardwood plywood selected is cost effective, light-weight and strong. 34 This will benefit our design as it will make it constructible and will also require less structural support as the loads will be minimized by having less weight on the structure. The material thickness for the Okoume hardwood plywood will be 20mm and sheet sizes will vary as each cells are different in dimension. This thickness was chosen as it will give us the strength needed to hold up the design and also still be able to angle the funnels and cells.

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Figure 26

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COLD-ROLLED

STEEL

Other materials required for our proposal include cold-rolled steel. This will be used to construct the secondary supporting structure. Cold-rolled steel is the best option for this as it permits our multiangle frames to be tailored to the requirements for our funneled cells to maintain their current look. Also cold-rolled steel is much lighter in weight than many other types and strong at the same time. Similarly cold-rolled steel has a reduced waste on materials and can easily be reworked. This is important to our design purpose as it will help us promote a sustainable movement in the way structures are designed and built. The material thickness will be roughly 10mm and the face depth of the steel will be 100mm to be sufficient in maintaining structural integrity while not compromising spacing between cells. Also cold-rolled steel will be used for the ring system needed for our panel turbine which will be at a thickness of 5mm.35

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C.4A

D D I B R I E

E N V I R O N M E N T A L I M P A C T S T A T E M E N T Environmentally Friendly Materials Low Embodied Energy Provide awareness and educate users Material wastaged reduced through use of digital fabriaction methods

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T I O N A L L A G I F R E Q U I R E M E N T S

Environmental

Impact:

Our proposal integrates seamlessly exciting and creative technologies, making the most of energy generation on the site. Our proposal does not require any energy to run any of the systems found on site and all energy it produces is done through wind power. The materials we have selected had close consideration on environmental impact and sustainability. This was crucial for us as the materials will be used to help us amplify the importance of being sustainable and environmentally friendly. Our material selected products are both recycled and reusable materials that carry a low embodied energy and are pre-fabricated in a warehouse minimizing the amount of wastage produced by a material. Material selection was also based on companies that are local to the city of Copenhagen and also products that are certified by environmental and sustainable initiatives and councils. Having selected local materials we bid to reduce transport energy to the site. The section of the site that our proposal is positioned on will be raised with a gradual slope. This will help us minimize the need of paths as the land will guide the users to and through the proposal. Hence the result will be less materials being used and especially on site work being conducted. This overall, together with our technology selection will be a bid in thriving for zero carbon emissions and a more sustainable environment for all.

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C.5F I N D

Chamfered edges to allow for flush finish

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A L P R E S E N T A T I O N V E L O P M E N T

The feedback received from presentation was beneficial and

our final constructive.

We were told to consider refining our tectonic construction detail due to the difficulties we faced due to not chamfering the edges of the exterior panel faces. This limitation was imposed due to using the laser cutter and material thickness for the scale the model was built at. To address this we created a chamfered edge detail in Rhino of how the faces would connect to meet flush. Secondly we were advised to show a more gradual change of how the circle and turbines increase in diameter as the height of the wall-like structures increases. To respond to this we have incorporated diagrams and imagers in section C.1. of the variance. Lastly we were advised to convey the experience users would feel at our proposal in a manner by which we show what the highlights and key features of our design. This was done by generating better renders and by incorporating areas on the site for recreational use and relaxation. Another small aspect we resolved was the angle of the funnels to allow users to receive more direct views and to reduce any possible areas that the turbine is hitting the inside of the funnel.

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C.5F I N D

Objective

From our groups constant reviewing of the brief to guide our design process, we found that it is important respond directly to the brief via parametric design. In the beginning of the subject I found this hard to do as my knowledge in grasshopper was limited. As I practiced more in the program I understood what could be achieved using the grasshopper. This was further strengthen by the technical help sessions my group attended provided by the subject and also the tech support in level 7. As a result from all this practice on the program we were able to develop a proposal that functions parametrically in terms of site analysis and energy generation. Objective

This objective was most evident during the reverse engineering stage where a vast amount of time was spent understanding the many possibilities available through grasshopper. Through trial and error and advice from tech help I began comprehending the components abilities and when and where I can use a certain component. This helped us very much in part C of the design process

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where we thought recessing the face of our funnel cells would be a simple alteration but instead required us to understand how to match the data structures using the parametric viewer and grafting outputs. Objective 3. During the end of the Part B and most of Part C lots of prototypes and models were made. This model making stage was very beneficial in developing skills in Rhino and grasshopper. I would say I developed my skills better in Rhino from this as getting a file ready for printing could sometime prove difficult. Especially when you need to understand how to unroll a model in a certain way so that it works effectively and making the fabrication stage easier. Objective

My understanding of the relationship between architecture and air was developed when our group decided to make the visualization of wind an emphasis in our design. This is to be able to physically see wind. We found that it was possible to show wind through lighting effects make by our rotating panel turbine. Objective

I found that although our ideas and

A L P R E S E N T A T I O N V E L O P M E N T proposal were solid, we always had trouble selling them as we focused too much on speculating information rather than stop and explain the bigger picture about our proposal. Such, why are you drawn to the site? How will visitors use the space? And how our energy generation system works. I found that for me in particular I struggled to get my point across especially in Part A. After listening to other groups and receiving feedback I began to focus more on this and found I improved this by the end of the semester. Objective

Throughout the semester precedent was used to gather ideas to inspire design outcomes. The best example of technical and design analysis of a contemporary project would have to be of the ICD Pavilion as it sparked ideas of how we could develop our jointing methods and thus decided to use the finger jointing method. Objective

as I progressed with my definition. This was improved by watching the leaders of tech help and how they structure their definitions so that they are clear. During tech help I was taught to understand data structures and when they are needed to do a specific task and why. Objective

Towards the end of Part B I developed a few habits of the way I did things in grasshopper. I think this was evident in my group members as well. For instance using graph mapper and the various graph types found within the component to change the sizes of the circle turbines and openings. Another example would be the use of number sliders and their advantages in using them to control certain aspects of the definition was another repertoire utilized.

At the beginning of my workings with grasshopper I would often find myself confused as I would get to a stage where I could not read my definition clearly anymore due to it being very messy. This would create issues in my data structures 161

C.6L E A

A N D

Recessed Exterior Face

The exterior face of the funneled cells was an element that was under constant refinement and came about from progressive design iterations. The solution was to recess the face. Our expanding knowledge of grasshopper permitted us to grasp how we could use the intersection menu to achieve the recessed face. A brep intersection was found using the mid-point of the funnels for the section plane and then the original circles were moved to the new recessed plane and lofted between them. The idea behind this was to use the cell as a funnel to gather the wind in before it reaches the turbine and to give it more speed. At the beginning I was not particularly excited about using grasshopper but now I am quite interested in the possibilities that grasshopper allows as I comfortable in exploring new ideas and designs as I have built more than the fundamental skills needed to explore endless possibilities.

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R N I N G

O B J E C T I V E S O U R C O M E S

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Notes 32-33 Mike Chino, “Broadstar’s AeroCam Breaks the Wind-Watt Barrier,” Energy (blog), June 19, 2008, http://inhabitat.com/broadstar-aerocam-breaks-wind-watt-barrier/. 34 “Harwood Plywood,” Timber products, last modified 5 June 2014, http://www. timberproducts.com/Products/Hardwood_Plywood/ 35 “Cold-Rolled Steel,” Tata Steel Europe, last modified 5 June 2014, http://www. tatasteeleurope.com/showproductsection?PRODUCT_ID=1&PRODUCT_TYPE_ ID=2&DISPLAY_IPAD_PAGE=NO

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Figure References Figure 23: Broadstarâ&#x20AC;&#x2122;s AeroCam Breaks the Wind-Watt Barrier, image, accessed on 5 June, 2014, http://inhabitat.com/broadstar-aerocam-breaks-wind-watt-barrier/. Figure 24-25: Okoume Timber substrate, image, accessed on 5 June 2014, http://www. timberproducts.com/Products/Hardwood_Plywood/ Okoume (Aucoumea klaineana), image, accessed on 5 June 2014, http://www. wood-database.com/lumber-identification/hardwoods/okoume/ Figure 26: Cold-Rolled Steel, photograph, accessed on 5 June 2014, www.damafs.com

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