Nicolaou polyvios 582821 parta pages by Polyvios Nicolaou

S T U D I O

A I R

SEMESTER ONE-JOURNAL

P O L Y V I O S N I C O L A O U 5 8 2 8 2 1

Brad

Elias

S E M E S T E R

Philip O N E

Belesky 2 0 1 4

Part A

Conceptualisation

Introduction

Previous Work

A.1. Design Futuring

8-11

A.2. Design Computation

12-17

A.3. Composition/ Generation

18-25

A.4. Conclusion

A.5. Learning Outcomes

A.6. Appendix-Algorithmic Sketches

28-29

Bibliography

30-33

I N T R O D U C T I O N Hi Iâ&#x20AC;&#x2122;m Polyvios,

y interest in architecture began from a young age. As a young boy my brother and I use to take great joy drawing houses for our toys cars. As I grew older I was exposed to the construction side of houses, which made me grow a passion for how a house comes together from design to construction. In my high school years I use to spend hours on end designing houses and cars on computer programs such as sketchup. As I was graduating high school I kept contemplating on what field of study I wanted to go in and the only thing that interest me was design and construction, so I thought that architecture was the perfect combination of the two. Now I am in the 3rd year of my Bachelor of environments degree and I must say itâ&#x20AC;&#x2122;s had its ups and downs. My knowledge of digital architecture began before commencing university but at a very basic level. After completing Virtual Environments I gained knowledge in Rhino but again at a basic level. I recently undertook an intensive workshop in Rhino which I acquired invaluable knowledge from and has made me feel more confident with the program. Currently I have not done much when it comes to parametric design but I am excited and at the same time nervous to learn about it and develop my skills in Studio Air.

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S S

A.1

D F

S U

I R

N G

A.1

Past Competition Entries 99 Red Balloons

9 Red Balloons offers an interesting design proposal for the site of FreshKills Park as it provides an experience that evokes a message of loss and mistakes of the past. Design futuring argues that design needs to change in order to be sustainable and ways of doing this is through educating people.1 â&#x20AC;&#x153;When we were small in number and our technological means of appropriating resources were very limited, the impacts of our actions were low.â&#x20AC;?2 Now this is not the case, there are more people on this planet than it can currently sustain and our actions from past unsustainable technological advancements have impacted our planet greatly. 99 Red Balloons not only generates renewable energy through a photovoltaic solar system integrated in the balloons but it also educates people.3

and reappear in the sky. The balloons create a radiant red canopy above and the mass of the balloons begin to enclose the visitor with shadow. A network of walkways specifically designed to not disturb any wildlife or ecology guide visitors through the site. The installation challenges visitors to reflect upon the pressure of previous uses of site and the impact a single human being let alone billions of people can have on an environment. This is accomplished through the interaction of people with installation. When one walks along the path a neighbouring balloon is activated causing a clearing in the canopy and sunlight to penetrate beneath.4

there are ways to redeem for our actions and that beautiful things can be achieved from the waste accumulated by society on the site. The balloons provoke awareness of the past and hope for the future as they offer inspiration for design of architecture that can harness energy in different ways.5 99 Red balloons is an inspiring example of how an installation can be meaningful in the sense that they offer hope and redemption for the future and also achieving minimal impact on the environment by producing energy from the balloons and positioning them in such a way that the land is not impacted.

This installation I believe contributes to the pattern of thinking about how thinking about we design is integral in moving towards a sustainable As visitors make their way way of living. It offers a through the park balloons fade metaphorical message that

A.1

Energy Generation Kinetic Energy and Piezoelectric

iezoelectric is electricity is generated through mechanical pressure. This includes human movement such as walking and jumping. The process works by pressure being applied to an object, a positive charge is produced on the compressed side and a negative on the expanded side. Electrical current flows across the material once the pressure is released from the object.6

Piezoelectric generators work with human movement such as the motion of walking. The piezoelectric process is produced by the vibrations of a single footstep. Flooring designed with piezoelectric elements capture transform pressure/vibrations produced by footsteps into electrical power. This is then converted to an electrical charge by piezo materials such as crystals or ceramics then stored and used as a power source. An example of this technology in the built environment is the piezoelectric pads in the flooring of the ticket gates at a Tokyo Railway station. The East Japan Company (JR East) installed these pads as an experiment and they are now used in the station to power lighting and automatic ticket gates.7

panels bend to transform mechanical forces into electrical current. Additionally piezoelectric transducers harvest energy from the bridge in between the paneled structure. Mechanical forces from cyclists, people and cars are transformed and harvested into electricity. What I particularly find interesting about the design is that the reflective panels allow for a force that is invisible to become visible in time and space and in doing so energy is generated.8 Seeing this project has excited and inspired me at the same time as it made me aware of the opportunities that can be explored and that what you think may be impossible actually can be possible. By looking into this technology further I think will be a good starting point to develop ideas for the LAGI 2014 design brief. The very fact that energy is produce through mechanical movement such as walking is very intriguing to me as energy can be produced through a simple movement which we all do unconsciously everyday of our lives. Thus I feel that this form of energy generation will allow me to explore a vast range of possibilities which will not only be aesthetically pleasing but also provide energy for homes and other types of infrastructure.

S C E N E - S E N O R :

IMAGE 03: How a Piezoelectric he 2012 LAGI completion winning entry harvesting system works in a train â&#x20AC;&#x2DC;Scene-Sensorâ&#x20AC;&#x2122; is a good example of how station ticket gate piezoelectric technology can be used in architecture in innovative and exciting ways. The idea behind this design is that their proposal will harness energy from ecological and social flows. The whole structure is placed across the main creek of the site to achieve optimum wind flow. The structure is composed of two planes, a grid of panels and framework for the panels to respond to wind flow by bending. Each panel is made of reflective metallic mesh, interwoven with piezoelectric wires. As the wind blows the

A.2

â&#x20AC;&#x153;

Design Computation

Parametric design calls for the rejection of fixed solutions and for an exploration of infinitely variable potentialities.

â&#x20AC;?

Computers have undoubtedly become a popular necessity in our every day lives. Computers allow for reduce time and effort of tasks. Computer aided design software (CAD) has allowed to designers to increase precision in architectural drawings and also easy of making alterations. This has increased productivity and efficiency for designers but it has not further enhanced the design process as they just allow designers to digitally communicate information that has already been predefined in the designerâ&#x20AC;&#x2122;s mind.9 This can be termed computerisation. On the other hand, Computation has allowed designers to go beyond their abilities during the design and construction process and engage in design that is high in complexity. This has opened up new possibilities for architects to explore tectonic, conceptual and formal aspects of design. Emphasis of design has now shifted towards finding of form as opposed to making of form.10 Computation has enabled for a way to track all goals and constraints a design solution must satisfy. Furthermore, a designer can determine which solutions best respond to the problems imposed by the goals and constraints which can then be compared against other solutions. This benefit may also propose design solutions for consideration which can be further developed by the designer. 11 Design is a process we engage in when the current situation is different from some desired situation, and when the actions needed to transform the former into the latter are not immediately obvious.12 To find these actions a problem needs to be analysed in order to set goals and when met will solve the problem. This will make clear the constraints stopping you from meeting these goals. Actions that are intended to accomplish the goals will then need to be planed. Thus, there needs to be some way of evaluating the potential of, each goal accomplishing action. This is a complex process that causes designers to waste a lot of time searching for unsuccessful solutions.13 Therefore, computation in architecture allows architects to steer their efforts towards successful solutions. Computation has allowed architects to produce and visualise complex designs that otherwise a human would not be able to determine. This also has combined the process of design with the process of construction as it becomes inherent through the use of the digital in architecture. Historically architects were also the master builders of their designs which resulted in well resolved architectures. This reconnection with construction has produced a somewhat Vitruvian effect were the designer is able to follow a set of guiding principles in order to achieve great solutions. 14 Tools such as Grasshopper when used during the design process will enable me to tackle challenges beyond my own ability and will allow me to propose solutions that are well resolved, and have been approached in a holistic sense from form generation, to materials, to construction. It will be this methodology of combing design and fabrication into one entity that will allow me to produce an innovative design for the RefshaleĂ¸en island of Copenhagen. 13

Project ZED (1995), Future Systems A type of architecture that is also emerging is that of performance based architecture (performative architecture). Instead of form being the means driving a design, building performance is the guiding design principle. Future Systems used computational fluid dynamics (CFD) software in a motivating way in its design of a multi-use building located in London, Project ZED. The building is supposed to be self-sufficient using minimal energy. Inclusion of louvers with photovoltaic cells and a large wind turbine placed in a huge void in the center of the building was one of many ways of how this was achieved. The form of the building was determined using CFD analysis to determining optimal performance of the envelope. This derived the curved form of the facade which was designed to channel wind towards the turbine at the center and minimize the impact around the perimeter of the building.15

geometries and constructional systems.16 Kristina Shea stated that, â&#x20AC;&#x153;Generating new forms while also having instantaneous feedback on their performance from different perspectives (space usage, structural, thermal, lighting, fabrication, etc.) would not only spark imagination in terms of deriving new forms, but guide it towards forms that reflect rather than contradict real design constraints.â&#x20AC;?17

Performative architecture enhances forms generation and combines aspects such as construction to be approached in a holistic way. Thus Project ZED represents the innovative solutions that can be produced through computational design. I will attempt to implement this generative design technique through algorithmic analysis to generate form in regards to performance for my design proposal. As result of what I have found it has The generative design process of form making inspired me to respond to the LAGI project through performance based strategies is brief with a solution of form generation that possible through setting parameters for will optimise efficiency of energy generation. design possibility using algorithms. Thus parametric design makes it possible to evaluate how a design concept can be modified to improve performance through easily creating different iterations of 06

A.2

ICD/ITKE, 2010 Pavilion Menges, Achim

This is a research project by Achim Menges at University of Stuttgart which focuses on the computational design methods to broaden the understanding of materiality in architecture in regards to form. This is demonstrated through physical behaviour and material characteristics and these drive and inform computational generation.18 With robotically manufactured planar birch plywood strips the structure of the pavilion is entirely based on its elastic bending behaviour. The result is a bending active structure which is entirely due to the material characteristics of the plywood. Computational design models were thus used to embed relevant material behavioural characteristics into parametric principles allowing for the structure to be analysed for relevant geometric information and to be fabricated robotically. The pavilion was tested and evaluated through prototyping of computational models and fabrication test runs.19

08 16

Architects are now shifting away from designing specific shapes for building and towards principles prearranged as an order of parametric equations allowing for generation and varied iterations of specific instances of the design in time as needed.20 This enables architects to generate form by allowing things like material characteristics and performance based analysis to drive the process. Thus computational modelling allows architects to understand how form can be generated through such means while providing ways to evaluate and easily change parts of a design. This can be done through testing of components through prototyping or by comparing various solutions. This has inspired me to look at how I can generate form through the potentials of materiality that can produce renewable energy for my 2014 LAGI project design proposal.

10 17

A.3

Composition/ Generation

Traditionally architects used composition as a tool to express design intentions. Composition, hence, is like a recipe if you like which provides one with rules and instructions of how to organise elements to achieve a desired design intention and aesthetic, i.e. a whole. It is all about understanding conventions of composition and applying them, thus restricting architects to a set of rules to follow. Through the centuries different expressions of architecture were developed that were not dictated by constraining rules but were more flexible in the sense that form and function started to have a more direct link.22

for further development.”24 When comparing compositional approaches to digitally generative ones, composition allows for predictability of designs and reduced complexities but generation opens up new territories of explorations such a as formal, conceptual and tectonic ones. This illustrates a clear morphology focused on emergent and adaptive properties of form. It is about finding form through a generative process instead of making form through a compositional one. Thus, variable replaces stable and multiplicity replaces singularity.25

In recent times a shift has occurred in architecture, one that has moved away from compositional strategies to one of a generative approach. Generation in architecture especially digitally-generative approaches have departed from previous norms and traditions of architectural design. Digital generative processes such as digital morphogenesis generate forms from calculations by chosen generated computational methods. They are not drawn or designed with conventional understandings.23 “Instead of modelling an external form, designers articulate an internal generative logic, which then produces, in an automatic fashion, a range of possibilities from which the designer could choose an appropriate formal proposition

Algorithmic

thinking:

Digital generation allows for not only new ideas to be explored but also for forms/ designs to be altered many times through information processed by a computer model to find the best possible solution. Thus, the designer’s capability to solve complex problems is increased. This is enabled through algorithms.26 An algorithm is an unambiguous, precise, list of steps for doing a particular task.27 When using algorithms in computation they need to be written in a specific language, referred to as scripting or a code in order to be understood by the computer.28 “Algorithmic thinking means taking on an interpretive role to

understand the results of the generating code, knowing how to modify the code to explore new options, and speculating on further design potentials.”29 Parametric modelling is based on algorithms with specific parameters of explicit functions and independent variables.30 Parametric modelling has enabled architects to produce an infinite number of possible design solutions which they can assess and evaluate in order to determine the best one. Forms are generated with a high level of detail and alterations can be made through the efficient and precise nature of manipulating the parameters and constraints of the algorithm. This has enabled flexibility in design process for designers to explore whatever they desire, but the problem they need to overcome is knowing how to generate the algorithm for it. Although the benefits are advantageous in the design process it is difficult language to communicate with others let alone learn. Hence, the designer of the algorithmic definition is the only person who has the knowledge and understanding to manipulate parameters.31

A.3

Khan Shatyr Entertainment Foster & Partners (2006-2008)

Located in Astana, Kazakhstan, Khan Shatyr Entertainment Centre is a civic, cultural and social venue. Temperatures in Astana are highly variable, in winter they can drop to -35 degrees Celsius and rise over 35 degrees in summer. Thus, the design of the building allows for a comfortable environment all year around.32 A cable net structure rises to 150 metres which is supported by a tubularsteel tripod structure, clad with a threelayer ETFT envelope which allows daylight and encloses the building from the extreme weather.33 The enclosure forms were designed using parametric design tools. A computer program was written in order to simulate the structural forces of the cable net structure.34 Different form options were evaluated and analysed using a form-finding algorithm that generated quick design options. This algorithm was then used for the parametric model that was used to develop and define the final building form. 35

Brady Peters wrote a custom computer program in order to make it easy to output data from CAD software to a rapid prototyping machine. This machine was used as a design tool in the Foster +Partners office, as forms iterations could not be physically modelled due to the forms being very complex with thousands of elements. These prototyping models allowed for a way to communicate in meetings and also test how things go together.36 The Khan Shatyr Entertainment Centre is a good example of how generation can enhance the architectural design process by giving architects the liberty of flexibility in the design process. Thus, generation has enabled architects to come up with algorithms which have a finite number of parameters in which an increased number of possible solutions can be generated. Also alterations can be made to solutions through parametric modelling software such as Grasshopper with high precision/accuracy and efficiency.37 13

12 22

t Centre

A.3

Foyn-Johanson House By Harrison & White 2011

The Foyn-Johanson house situated in Northcote, Victoria proposed a challenge for the architects Harrison and White. The challenge was to maintain but also integrate a relationship between the living space and natural amenities of the site. Consideration of utilising sunlight to the garden was another key issue due the limited space of the site. In context of parametric design this house demonstrates the advantages parametric modelling has in resolving complex design issues.38 The process of design for the house involved the use of a parametric solar technique developed by the architect Marcus White called ‘Subtracto-Sun’. It is used for the preservation of solar amenity of public spaces.39 White explains his parametric subtractive solar technique as the following: “Subtracto Sun utilises parametrically linked variables of digital sun systems (time and location), and real-time boolean operations. The technique creates permissible development envelopes by subtracting a solid negative ‘shadow’ object derived from angles of the sun during a given period.”40 For the Foyn-Johanson House, he created a customised model for the residential scale project which allowed him to sculpt and generate the envelope and overall form ensuring maximum solar access.41 The knowledge White had in understanding

scripts allowed him to customise the parametric model for the relevance of the specified site. It was problematic to communicate the design of the building to the builder as it may have been easy to draw on the computer but not so easy to build. The fact that the builder’s father worked previously in the ship building industry meant that he was able to read straight Cartesian coordinates to set out string-lines for construction.42 This is currently one of the downturns of generation using parametric modelling as it is hard to communicate to others. This house serves as a great example of how parametric design and modelling does not automatically have to result in blobs. Generation using parametric modelling, algorithmic thinking and scripting cultures may be a language that is hard to understand for most people is something that is certainly holding this branch of architecture back. However, the increased complexities of designs and the parameters and constraints imposed by design problems may result in a shift in architectural discourse which allows for a certain type of logic to be found. This example has inspired me due to the fact that such techniques can be used for various scaled projects in assessing and coming up with the best synthesised holistic solution to parameters and constraints we impose for a design problem. Therefore I will use parametrically modelling (Grasshopper) to find a form and solution that is optimal in meeting all the constraints imposed by the brief, the site etc. for the 2014 LAGI competition.

A.4

Conclusion

It is now evident to me that parametric design is an innovative and exciting approach to design, which allows architects to explore opportunities that they previously thought, could not be explored. I intend to utilise this approach of design as a way to enhance my design process and explore other ways of thinking about designing architecture. The primary focus of my intended design approach will be to generate a design that is responsive to the site of RefshaleĂ¸en, Copenhagen and representative of architecture that is not only aesthetically pleasing but a reminder of what can be achieved with parametric design. Therefore, I intend to produce a design that educates people of the benefits of sustainable architecture and also the damage that can be done with designs that do not address this. How I intend to pursue this is to make it innovative through the research of context, typography and conditions of the site, using this as a means to generate form through analysis of potential energy generation sources such as wind, human movement and hydrology and how all this can be incorporated with a selected energy harvesting system. Data and calculations of potential energy generation from different sources will be analysed. I will use this data and data of the site to generate a form that is performative and environmentally responsive. I believe it is importance to design in this way, not only because the LAGI brief constrains us to but because the architecture we design now and in future will impact the 26

environment immensely. It is essential that we design architecture that is environmentally friendly but also gives back to the environment by producing energy. This is only made possible through algorithmic thinking and parametric modelling as it allows for calculation and analysis of different forms and how they react to the site and constraints of the project to reach an optimal solution. This not only improves efficiency and productivity during the design process but allows for prototyping of various solutions for testing of materials and refinement of form. Through the precedents I researched I was inspired by the way parametric modelling can be used to generate performance based architecture through analysis of wind and solar conditions and how this analysis can form the parameters for models to generate optimal form. All the precedents projects researched used parametric design in unique ways which demonstrated the infinite number of possible solutions to connect architecture with its users and the environment.

A.5

Learning Outcomes

Before commencing Studio Air my understanding of architectural computing was one of my own biases. In viewing it as a way to efficiently model and produce drawings of designs already refined on paper. I disliked the forms parametric design is stereotyped with as I saw them as a new type of an aesthetic that was emerging. The first few weeks of Studio Air have been integral in my learning curve of architectural design. I was forced to broaden my knowledge and skills of critical thinking which resulted in me overcoming my preconceived ideas about the theory of architectural computing. Previously I was unaware of the innovative possibilities that can be achieved through computational design and generative approaches. I now understand that architecture produced through computation is not achievable without algorithmic design. The advantages of algorithmically thinking and parametric design were made evident to me through analysing precedents and especially through the technical component of the course. The weekly videos and algorithmically task acted as practical examples of algorithmically thinking and parametric design and how quickly different design outcomes can be achieved. By using Grasshopper I know I am starting to understand how components are used. This has increased my curiosity to learn the program as by understanding what components can do, I will then be able to acquire knowledge of when to use them to produce a desired solution.

I think that if I knew the knowledge I have learnt in the past few weeks for previous studio subjects, especially ones like Virtual environments, I would of been able to produce explored design solutions that could only be explored parametrically. The benefits of speed and efficiency would have enabled me to produce designs that were well refined through prototyping of various solutions. Overall , I think that what I have learnt through the theory of architectural computing has changed my perspective of architecture. I know understand that architecture is purely not just about function and aesthetics appeal and I now address it beyond this. I hope that this will influence me during my adventures of designing parametrically to achieve innovative designs.

A.6

Appendix: Algorithmic Sketches Weekly algorithmic task set by our tutors together with my own research extended on the material in the video tutorials. By doing the weekly task I was able to put into practice the various new components taught in the tutorials each week and by doing extra research I was able to familiarise myself with things I did not understand. Through a lot of trial and error based learning I explored the possibilities of parametric modelling and made links to possible ways of generating some the building forms of precedents researched. This help me put into context, through working with algorithms, the complexity of the designs of each precedents analysed and how such complexities need to be approached through parametric design.

Figure 01 16

Copenhagen Wind Rose Diagram 28

The week 2 algorithmic task (figure 1) is a good example of how using data relating to site context and conditions can generate the form of a building. Representing generative design as talked about earlier, the form of the lofted surfaces resulted from points and curves generated from wind flow data of the RefshaleĂ¸en, Copenhagen site. After completing this task I realised how

performance based forms are generated and is mostly generated through algorithmic thinking. This initial attempt has sparked an opportunity that I would like to explore further in order to generate form that is environmentally responsive to the site and also interesting. Figure 2 is an experiment using a geodesic component in order to produce a gridshell pattern through some curves. This enhanced my understanding of scripting using grasshopper and just how I could replicate projects just like the Matsy project in the video tutorial. This process of learning grasshopper exposed prospects of architectural design that are broadening through computational design. The algorithmic tasks have proven to be very productive, although frustrating at times in understanding how to use grasshopper and the concepts of this subjectâ&#x20AC;&#x2122;s content forming the basis of my coming design process.

Figure 02 29

Notes: 1 “2012 Fourth Place Mention 99 Red Balloons,” Scott Rosin, et al., Land Art Generator Initiative, last modified 2012, http://landartgenerator.org/LAGI-2012/99009900/ 2 “2012 Fourth Place Mention 99 Red Balloons,” Scott Rosin, et al., Land Art Generator Initiative, last modified 2012, http://landartgenerator.org/LAGI-2012/99009900/ 3 “2012 Fourth Place Mention 99 Red Balloons,” Scott Rosin, et al., Land Art Generator Initiative, last modified 2012, http://landartgenerator.org/LAGI-2012/99009900/ 4 “2012 Fourth Place Mention 99 Red Balloons,” Scott Rosin, et al., Land Art Generator Initiative, last modified 2012, http://landartgenerator.org/LAGI-2012/99009900/ 5 “2012 Fourth Place Mention 99 Red Balloons,” Scott Rosin, et al., Land Art Generator Initiative, last modified 2012, http://landartgenerator.org/LAGI-2012/99009900/ 6 “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 7 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 8 “2012 First Place Award Winner Scene-Sensor // Crossing Social and Ecological Flows,” James Murray and Shota Vashakmadze, Land Art Generator Initiative, last modified 2012, http://landartgenerator.org/LAGI2012/AP347043/ 9 Yehuda E. Kalay, Architecture’s new media: principles, theories, and methods of computer-aided design (Cambridge, Mass, Mass.: MIT Press, 2004), 2. 10 Branko, Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), 13. 11 Kalay, Architecture’s new media, 3. 12 Kolarevic, Architecture in the Digital, 5. 13 Kolarevic, Architecture in the Digital, 5-6. 14 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London: New York: Routledge, 2014), 1-2. 15 Kolarevic, Architecture in the Digital, 24-25. 16 B. Kolarevic and A. Malkawi, eds., Performative Architecture (New York: Spon Press, 2005), 196. 17 Kolarevic et al., Performative Architecture, 199. 18 “ICD/ITKE Research Pavilion 2010,” Universität Stuttgart, last modified 19 March 2014, http://icd.uni-stuttgart. de/?p=4458 19 “ICD/ITKE Research Pavilion 2010,” Universität Stuttgart, last modified 19 March 2014 http://icd.uni-stuttgart. de/?p=4458 20 Kolarevic, Architecture in the Digital, 18 21 Kolarevic, Architecture in the Digital, 18

22 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

Notes: 23 Kolarevic, Architecture in the Digital, 13. 24 Kolarevic, Architecture in the Digital, 13. 25 Kolarevic, Architecture in the Digital, 13. 26 Peters, Brady, “Computation Works: The Building of Algorithmic Thought,” Architectural Design, issue83, vol.2, 2013, 10. 27 R. A. Wilson, and F. C. Keil, “Definition of ‘Algorithm,” in The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999), 11. 28 Brady, “Computation Works,” 10. 29 Brady, “Computation Works,” 10. 30 İpek G. Dino, “Creative Design Exploration By Parametric Generative Systems In Architecture,” METU Journal of the Faculty of Architecture, 29, no.1 (2012): 208, doi: 10.4305/METU.JFA.2012.1.12. 31 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/ 32 “Khan Shatyr Entertainment Centre Astana, Kazakhstan, 2006-2008 Foster + Partners,” Brady Peters, Brady Peters, viewed on 25 March 2014, http://www.bradypeters.com/khan-shatyr-centre.html 33 “Projects / Khan Shatyr Entertainment Centre Astana, Kazakhstan 2006-2010,” Foster + Partners, Foster + Partners, viewed on 25 March 2014, http://www.fosterandpartners.com/projects/khan-shatyr-entertainmentcentre/ 34 “Khan Shatyr Entertainment Centre Astana, Kazakhstan, 2006-2008 Foster + Partners,” Brady Peters, Brady Peters, viewed on 25 March 2014, http://www.bradypeters.com/khan-shatyr-centre.html 35 Brady, “Computation Works,” 10. 36 “Khan Shatyr Entertainment Centre Astana, Kazakhstan, 2006-2008 Foster + Partners,” Brady Peters, Brady Peters, viewed on 25 March 2014, http://www.bradypeters.com/khan-shatyr-centre.html 37 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/ 38 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/ 39 “MUSSE Melbourne University Staff/Student E-news,” Marcus White, The University of Melbourne, last modified 11 August 2011, http://musse.unimelb.edu.au/august-11-67/marcus-white 40 Marcus White, “The Future Australian City: Implementing The Rhetoric Using 3D Spatial Scanning and ‘Defragmented’ Digital Design Techniques,” Harrison and White Pty Ltd and RMIT University Melbourne / Spatial Information Architecture Laboratory Melbourne, Australia, (2011) http://www.haw.com.au/wah/MWhite_ HealthyCities2010-Rhetoric.pdf 41 MUSSE Melbourne University Staff/Student E-news,” Marcus White, The University of Melbourne, last modified 11 August 2011, http://musse.unimelb.edu.au/august-11-67/marcus-white 42 MUSSE Melbourne University Staff/Student E-news,” Marcus White, The University of Melbourne, last modified 11 August 2011, http://musse.unimelb.edu.au/august-11-67/marcus-white

Bibliography Brady, Peters. “Computation Works: The Building of Algorithmic Thought.” Architectural Design, issue83, vol.2, 2013, 10. Dino, İpek G. “Creative Design Exploration By Parametric Generative Systems In Architecture.” METU Journal of the Faculty of Architecture 29, no.1 (2012): 208, doi: 10.4305/METU. JFA.2012.1.12. Hutson, Andrew. “The discipline of architectural composition: the elephant in the room.” CONNECTED 2010 (2010): 1-2, http://connected2010.eproceedings.com.au/papers/p319.pdf Kalay, Yehuda E. Architecture's new media: principles, theories, and methods of computer-aided design. Cambridge, Mass, Mass.: MIT Press, 2004. Kolarevic, Branko. Architecture in the Digital Age: Design and Manufacturing. New York; London: Spon Press, 2003. Kolarevic, B., and Malkawi, A., eds. Performative Architecture. New York: Spon Press, 2005. Oxman, Rivka and Oxman, Robert. Theories of the Digital in Architecture. London: New York: Routledge, 2014. Scholer , Christopher. et al., “A sustainable approach to clean energy generation in airport terminals.” Piezoelectric Harvesting, (2009). http://emerald.ts.odu.edu/Apps/FAAUDCA.nsf/ Second%20Place%20Environmental.pdf?OpenFileResource White, Marcus. “The Future Australian City: Implementing The Rhetoric Using 3D Spatial Scanning and ‘Defragmented’ Digital Design Techniques.” Harrison and White Pty Ltd and RMIT University Melbourne / Spatial Information Architecture Laboratory Melbourne, Australia, (2011). http://www.haw.com.au/wah/MWhite_HealthyCities2010-Rhetoric.pdf Wilson, R. A. and Keil, F. C. “Definition of ‘Algorithm.” In The MIT Encyclopedia of the Cognitive Sciences, 11. London: MIT Press, 1999

Image References 01-02 99 Red Balloons, 2012, computer generated, http://landartgenerator.org/LAGI2012/99009900/ (accessed on the 10th March, 2014) 03 Author n/a, â&#x20AC;&#x153;Tokyo Train Station and how it generates electricity through piezoelectrics installed at the ticket area. Courtesy Japan Railways Groupâ&#x20AC;?, in A sustainable approach to clean energy generation in airport terminal, Scholer , Christopher. et al., 6 (accessed on the 10th March, 2014) 04-05 Scene-Sensor, 2012, computer generated, http://landartgenerator.org/LAGI-2012/ AP347043/ (accessed on the 10th March, 2014) 06 Artist n/a, Project Zed, photograph, http://www.techniker.co.uk/projects/detail. cfm?iProject_id=121 (accessed on the 17th March, 2014) 07 Artist n/a, Project Zed Data Analysis, photograph, http://www.techniker.co.uk/ projects/detail.cfm?iProject_id=121&sMedia=image&iMedia_id=935 (accessed on the 17th March, 2014) 08-10 artist n/a, ICD/ITKE Research Pavilion 2010, photograph, http://icd.uni-stuttgart. de/?p=4458 (accessed on the 17th March, 2014) 11-14 Foster + Partners, Khan Shatyr Entertainment Centre, photograph, http://www. fosterandpartners.com/projects/khan-shatyr-entertainment-centre/ (accessed on the 25th March, 2014) 15 Ben Hoskins, Foyn-Johanson House, Northcote, photograph, http://musse.unimelb.edu. au/august-11-67/marcus-white, (accessed on the 25th March, 2014) 16 Copenhagen, January Windrose Diagram, 2013, http://mesonet.agron.iastate.edu/sites/ windrose.phtml?station=EKRK&network=DK_ASOS (accessed on the 20th March, 2014) 33

Part B

Criteria Design

B.1. Research Fields

36-41

B.2. Case Study 1.0

42-51

B.3. Case Study 2.0

52-61

B.4. Technique Development

62-71

B.5. Technique: Prototypes

72-83

B.6. Technique Proposal

84-91

B.7. Learning Objectives and Outcomes

92-93

B.8. Appendix Algorithmic Sketches

94-95

Bibliography

96-99

B.1

RESEARCH FEILD

BIOMIMICRY IN ARCHITECTURE

What is bio-mimicry? Bio-mimicry is more than just the direct imitation of natural forms. Bio-mimicry in regards to architecture is design inspired by nature and its accompanying processes and functions. Architecture is working closely together with other professions in order to learn about the way nature resolves complex problems both at a micro and macro scale. Bio-mimicry provides designers with models of absolute perfection through understanding the processes nature performs in order to survive. It not only considered the product of nature but as well as it function, as nature is over 3.8 billion years old which means that it is doing something right if it has lasted thing long. Thus why designers are using bio-mimicry as their field of study and nature as their university of infinite resources.43 What does Architecture?

bio-mimicry

offer

for

Architects always need to resolve new 36

problems every day when it comes to design. These problems are usually unique to a project due to context, site conditions etc. problems for structure, material performance, form for optimal use of site and light, heating and cooling and countless more. As architecture has progressed in history it has always been about providing shelter that protects us from what threatens us, i.e. external conditions. As architecture has evolved, buildings have become more innovative in addressing external threats. As we are now moving towards a sustainable future in order to cope with climate change, architecture is one of the many things that need to change. We need to find ways of reducing and producing energy and ways of constructing buildings that don’t take from nature but give back to it. The way to move forward is by letting nature’s ways inform our technologies.44 Maibritt Pedersen Zari explains that there are different levels of mimicry. Past biomimetic technologies have mimic nature at the organism, behaviour or ecosystem level. The organism level refers specifically to an organism like an animal or plant and may involve mimicking one aspect of the organism. The second level refers to interpreting an aspect of how an organism behaves in a bigger context. The last level refers to imitating an entire ecosystem and the principles that allow them to successfully function. These levels allow designs to take different inspirations from nature. For example in all levels, a design may be biomimetic because of the materials it is made out of, what it looks like (form), how it works (process), its function-what it is capable of doing and how it is constructed.45

utilise all waste energy into ways of reuse just like nature does. The ways things work in an ecosystem is that, the waste from one organism becomes the nutrients for something else, hence why he argues that architecture and its building need to be inspired by nature in order to work like an ecosystem.46 Overall the opportunities that bio-mimicry has to offer to design are enormous. Biomimicry does not only provide solutions to one particular problem but at the same time it refines other elements further optimising a design. Opportunities that are made possible through studying nature are: • Efficiency for every aspect of a building (hence bio-mimicry is closely related to performative aspects of architecture) • New solutions to design problems. • A sustainable approach to design for the survival of our cities. Some limitations however could be that great amounts of knowledge are needed to fully understand complex processes of nature and how to convert these processes into design opportunities. Therefore architects and designers need to work closely with a lot of different people with varying disciplinary backgrounds at the beginning of the design process in order to avoid literal imitations of nature’s forms. Fabrication can be made easier through such study but it can also be made difficult in finding new ways of producing certain design proposals.

Michael Pawlyn explains that building needs 37

B.1

RESEARCH FEILD Waterloo International Terminal

The Waterloo International Terminal by Nicolas Grimshaw & Partners is one of the earsliest examples to use parametric modelling in architecture effectively. The model for this project was designed in an I_EMS. The parametric model was not constrained by the need for the train tracks to curve, thus fitting it to specific location can be postponed.47 Another way parametric modelling was used in this project was through the study of the Pangolin. The Pangolin gave the architects the solution to for the terminal to be able to respond to air pressure changes as trains pass through the terminal. The structure consists of glass panel fixings which respond by moving to varied air pressures.

These panels mimic the arrangement the flexible scales of the Pangolin.48 Although this resulted in a great solution to the problem, projects like these only mimic the organism and not how it contributes to the broader context. An implication of mimicking some aspects of nature reduces the potential for designs to incorporate bio-mimicry into architecture as a whole rather than technologies that are added onto architecture. This particularly due to designers limited knowledge of biology and collaboration with biologists etc. at the early stages of the design process.49

Image 17

B.1

RESEARCH FEILD

2011 ICD/ITKE Research Pavilion

This method of imitating aspects of nature and organisms can easily be integrated in computational design and form generation. The 2011 ICD/ ITKE Research Pavilion explored the sea urchin’s biological principles of it’s plate skeleton morphology by use of innovative computer-based design and fabrication methods for its implementation. A particular achievement from this project was in the opportunity of implementing these bionic principles and structural performance qualities to a range of different geometries which is only possible through computational design. The fact that the complex morphology of the pavilion was built with very thin sheets of 6.5mm plywood demonstrates this.50 This project we believe is a good example of how bio-mimicry can be used to inform our design outcome for Image 18

the LAGI brief as it does not mimic the form of the sea urchin but actually uses its underlying biological principles to generate a form. This project is a great example of what we want to explore in our design journey for the LAGI competition. That is how to generate a form that can allow for optimal energy generation performance through inspiration of nature’s process as opposed to direct copying of forms. We also gained inspiration from this project as it also used bio-mimicry to determine cell sizes through computational design which enabled for easy of manufacturing of panels for precise fabrication. Biomimicry did not only provided solutions for structural and material performance resulting in efficient use of materials but it also created an aesthetic, that of nature.

Image 19

Image 20

B.2

CASE STUDY 1.O VoltaDom Skylar Tibbits

Created for the 150th Anniversary Celebration and Fast Arts Festival for MIT, VoltaDom is an installation that occupies the corridor between two buildings on the MIT campus. This project is one of SJETâ&#x20AC;&#x2122;s, (founded by Sklyar Tibbits in 2007) recent experiments in computational design. The multidisciplinary research team revisited a historically paramount structural elementthe vault. Hundreds of vaults line the concrete and glass corridor which are indicative of the vaulted ceilings of historical cathedrals. Through this project they attempted to find its modern equivalent through different assembly and fabrication techniques. Creating spectacular views form inside and outside, this reference allows one to appreciate the installation both as a sculpture and a research in materiality and digital fabrication.51 A thickened surface that is provided by the vaults and by the spectrum of the oculi allow for the hallway to be penetrated with views

and light. The architectural notion, Surface panel is attempted to be expanded by this project, by retaining relative easy in assembly and fabrication but also increasing the depth of a doubly-curved vaulted surface. What makes this possible is the transformation of complex curved vaults to developable strips. This allows for the simply rolling a strip of material during the assembly process.52 The VoltaDom is a motivating example but I am also unable to see how it uses biomimicry in anyway. It is motivating how it regenerates traditional architectural vaults in a contemporary way through computational design and suggests that progressions in geometric opportunities can be found through use of parametric design tools such as grasshopper. In regards to bio-mimicry I cannot see any direct relevance but I am guessing that it may be to the mimicking of oculi. In this respect I do not think it is a good example of bio-mimicry or even an example of it.

Image 21-22

B . 2 CASE P=5

P=10

P=15

S=0

S=5

S=10

R=0.10

R=0.5

R=0.75

H=-0.5

H=-0.8

H=-1.5

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

STUDY 1.O - MATRIX 1

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

P=27.0 S=8.00 R=0.65 H=8.29

P=20

P=35

P O I N T S

S=20

R=1.0

R=2.0

H=-3.0

H=-10.0

S=15

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

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

RADIUS

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

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

Result With Second Definition

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

True True False False

False False True True

Cylinder cull base & cone cull height

B.2

CASE STUDY 1.0 MATRIX 2

Umax=1

True False True False

Sphere cull base & cone cull height

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 CHANGING

OTHER EXPERIMENTS

THE

BOUNDARY

CURVE

Using a polygon with all values the same as the orginal values.

Here I experimented with the trigonometry Sine and Tangent components. Using Sine as the X coordinate and Tangent as the Y coordinate.

Same using

as Sine

above but and Cosine.

With this iteration I looked at the defining curve of the voltadom and tried replicating it in Rhino as a referenced boundary curve.

This iteration is the result of using Sine for the X coordinate with no other trig computed for the Y coordinate.

Here I tried making a curve for the cones to follow along but it was not as successful as I would have liked.

B.2

CASE STUDY 1.0 Iteration

Iteration

1: Populate Geometry Component

Iteration 2: Height Manipulation 2 Cones 50

and

My focus with iteration 1 was to get a better understanding of the whole definition for the Voltadom. Here I experimented with the populate geometry component and using a series of half rings as a geometric input instead of a boundary curve. I tried this component using both definitions but I was more interested by the result of the 2nd definition as it repeated the conical form in varied scales. This can be used for the LAGI potential design as there is an opportunity to create interlocking spaces of the same form and geometry but with varying degrees of scale.

Iteration 2 involved me trying to achieve more control over the two cone geometric inputs and thus resulted in separating the two in order to give each cone different height ratios. I gave the first cone a positive height value and the second a negative. I also tried this with spheres and cylinders but I was most happy with this iteration as it gave me the opportunity to create the inverse height of various geometries. This could be used in the design of the LAGI design proposal as a way of producing both negative and positive geometric forms for different parts of the site. Site conditions could thus inform the varied height of panels and where they should face to achieve optimal energy generation.

Iteration

and

This iteration was the result of trying to interlock the two conical shapes and then trying to create voids where they intersect. I also played around with a culling pattern for the base and height of the cones. This result can be very useful in the design of the energy generating panels for the LAGI project. The culled cones with varied heights can be used to channel to wind to the culled base panels. This could potentially create optimised energy generation by understanding the outcomes of different forms. Iteration

Iteration 4 explored the idea of manipulation of the defining curve and how it alters the form. This can potentially be useful for our LAGI competition entry as we may be able to use site condition such as wind flows to determine the defining curve for a set of surfaces in order to capture as much wind force as possible. Also with using repeated interlocking geometries like cones a patterning affect is created along the structure.

Culling

Pattern

Iteration 4: Manipulating Boundry Curve

B.3

CASE STUDY 2.0 The

Times

The Eureka Pavilion is a temporary exhibition space which is intended to demonstrate the symbolic relationship of humanities with natural ecosystems.53 The pavilion design brief was to reflect the benefits of plants to society in commercial, medicinal and industrial uses pointing out that we cannot survive without them. 54 NEX principal Alan Dempsey explains that they extended the design concepts of the garden by thoroughly analyzing the cellular structure of plants and the natural growth processes to enlighten the development of the design. Computer algorithms were used to design the final structure which mimics growing patterns of leafs. This allows visitors to view the patterns of cellular structure at a larger scale.55 Bio-mimicry of leaf capillaries embedded in the walls of the pavilion was the focus

Eureka

Pavilion

during the development of the design. These capillaries direct rain water from the glass covered roof down into the soil of the garden. The basic shape is formed by the supporting structural geometry of the primary timber capillaries, with secondary timber cassettes that house the cladding.56 The pavilionâ&#x20AC;&#x2122;s contextual qualities which illustrate patterns of biological structures, allows visitors to experience a meaningful connection to the natural surroundings.57 I think this project has been successful in reflecting humanities symbolic relationship with natural ecosystems to a certain extent. It reflects the importance of plants for our survival and additional benefits through the selection of plant species for the pavilionâ&#x20AC;&#x2122;s garden but I do not think the structure reflects this notion. The structure is more successful at illustrating the natural growth of a leaf at a larger scale through the

capillary formation. This reflects more the structural benefits of the capillaries of a leaf and to some degree how they collect water to allow for growth. Nonetheless it is still an interesting design and the idea of connecting mankind with nature is something that can be applied to our design intent for the LAGI competition to not only produce an optimum energy generating proposal but also one that is meaningful and has symbolic meaning to the visitors.

Image 23-28 53

B.3

Reverse Engineering The

Times

Eureka

Pavilion

Populate BOX Explode

Offset pattern

Find the faces Individual box faces

Voronoi pattern

Reverse Engineer Diagram

Structure

Loft

Extrude

Offset

Boundary surface Voronoi curves

Boundary surface

Intersect voronoi

Extrude

B.3

Reverse Engineering The

Times

Eureka

Pavilion

Step One

Step Two

Our first attempt at trying to reverse engineer the pavilion was about creating a flat pack version of the cube. We found this was very difficult for us to do so we decided to try and create one face instead. To create one face a rectangle was defined and populated with points in which a voronoi pattern was fitted through.

The voronoi pattern was then offset to create the second voronoi curves. The first and second voronoi curves were then used to loft between in order to create a surface. This surface was then extruded to create the main structure.

Step Three Just like step two, this step involved offsetting the curves again to a different distance in order to create the details of the main structure.

Step Four The following step was to find the mid-point 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 was extruded. In order to create the voronoi pattern inside of these cells, the difference between the two surfaces needed to be found.

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

Reverse Engineering The

Times

Eureka

Pavilion

Second Attempt Our first attempt taught us a lot about how to make the definition more parametric in order to allow us to explore further possiblities for B.4.

Step Five We decided to construct a cube as the base shape for our reversed engineered pavilion . We then exploded the cube to find its faces which we then used to populate individually with points. Just like our first attempt we went on to put a voronoi pattern through these points.

Step Six We then offset the voronoi on each face. But in order to do this correctly we needed to evaluate the faces and find the normals of each to ensure that all the faces offset in the correction direction.

Step Seven This step involved the same process of stet 3 & 4 from our first attempt, but again we had to evaluate each face to find the normals to make sure the offset and extrude was in the correct direction for each face.

B.3

Reverse Engineering The

Times

Eureka

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

Pavilion

Similarities and Differences: Our reversed engineered pavilion is quite similar to the original in how it uses three offsetted voronoi patterns. There is a primary and secondary structure just like the original. The differences are that the orginal uses a specific number of points to make sure the voronoi patterns line up on each face and also it has openings to allow for access. Using what we learnt from our reverse engineering of the Eureka Pavilion, we will try to apply some aspects of it to our own form and technique. We aim to explore what we can do with definition by moving away from the cube form as we find it is limiting in terms of progressing to new iterations. Thus we do not want to focus on the form of the pavilion but the actual voronoi pattern and how we can manipulate this to create extruded cells etc. We will also like to incoporate the data we obtained in part A which relates to the yearly wind averages of Copenhagen into our grasshopper definition by using the kangaroo plugin. This we hope will allow us to produce iterations that are significant to the site and form.

B.4

Technique Development P r e c e d e n t s

Image 29 Shadow Pavilion (2009) Michigan, USA PLY Architecture

S h a d o w

P a v i l i o n

The Shadow Pavilion is located at Matthaei Botanical Gardens, Michigan. PLY Architecture developed the design through software modelling to determine shadow patterns, efficiency of material, geometric binding and assembly for fabrication. The pavilion is self-supporting due to the more than one hundred aluminium cones of varied sizes acting as the structural support and forming the overall form of the pavilion. What is particularly interesting and we would like to explore in our design process is the way the pavilionâ&#x20AC;&#x2122;s interior funnels light, sound and water to create a micro-environment.58 â&#x20AC;&#x153;A type of biomimicry for the senses, the pavilion becomes a gesture of how 62

geometry and simple forms can come together to create complex environments that connect intimately with the larger world.â&#x20AC;?59 We will gain some inspiration from this project to influence our technique development in creating a proposal that not only generates electricity but also enhances the users experience.

The 2012 LAGI completion winning entry ‘Scene-Sensor’ is a good example of how piezoelectric technology can be used in architecture in innovative and exciting ways. The idea behind this design is that their proposal will harness energy from ecological and social flows. The whole structure is placed across the main creek of the site to achieve optimum wind flow. The structure is composed of two planes, a grid of panels and framework for the panels to respond to wind flow by bending. Each panel is made of reflective metallic mesh, interwoven with piezoelectric wires. As the wind blows the panels bend to transform mechanical forces into electrical current. Additionally piezoelectric transducers harvest energy from the bridge in between the paneled structure. Mechanical forces from cyclists, people and cars are transformed and harvested into electricity.60 What we particularly find interesting about the design is that the reflective panels allow for a force that is invisible to become visible in real time and space and in doing so energy is generated. “The field of pixels, when seen as a resolute screen, become an index of the intermittent wind flows changing in real time. The motions of the field not only reveal the shifting winds, but also map fluctuations in the screen’s collection of energy. “61

Image 30

S c e n e

S e n s o r 63

B.4

Technique Development M a t r i x

O n e

RC size

Offset 01

Offset 02

rectangle size

RC size Offset 01

U value

V value

Offset

structure change

U value

map to surface

diagrid

hexagonal

bra

Points

Offset 01

Offset 02

RC size

Offset 01

Offset 02

value

U value

value

V value

ffset

Offset

aced grid

hexagonal 2

Points

Offset 01

Offset 02

B.4

Technique Development M a t r i x

T w o

-Y

Speed

form finding wind direction

+z Speed

Points

Offset 01

Points

Offset 01

Offset 02

form finding wind direction

map to surface

Offset 02

-Y

-Y +z

Speed

-Y

+X -Y

Speed

Points

Offset 01

Offset 01(-)

Offset 02

-Y

Speed

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

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

Points (UV)

Scale 01

Scale 02

Move (-Z)

Points (UV)

Scale 01

Scale 02

Move (-Z)

Scale 01

varied size, height funnel (cull pattern)

Scale 01 Scale 02 Move (-Z)

cull

true,flase

cullno

Scale 01

Move (+Z) Move (-Z)

cull Scale 01 Scale 02 +PM Offset

varied size, height funnel (continued)

Points (UV)

Points (UV) Scale 02

Points (UV)

none

Scale 0

Scale 02

-PM Offset

-PM Offse

cull Scale 01 Scale 02 -PM Offset

none

Points (UV)

Scale 01

Scale 02

Move (-Z)

Move (+Z)

Points (UV)

Scale 01

Scale 02

Move (-Z)

cull

Scale 01

Scale 02

+PM Offset

-PM Offset

one

cull Scale 01 Scale 02 -PM Offset

true,flase,false

M a t r i x T h r e e

Points (UV)

cull

Note: Different loft option used not much variation.

none

Scale 01 Scale 02 -PM Offset

B.4

Technique Development S e l e c t e d

F o u r

We chose to take the idea of having panels inside of this frame structure as we found this could potentially drive us towards an idea of producing energy and meeting the requirements of the brief. The architectural quality that is desirable from this option or at least that we want to explore further is having elements that, such as these panels function in harmony with all elements to fulfil a clear purpose. Which is of producing a sufficient amount of energy through an innovative design but the means/mechanism for generating energy is not just slapped on to the design but actually integrated as a unified whole. These panels could be clad with piezoelectric material allowing for mechanical pressure from wind to be captured and converted into electrical current. Where panels face and the angle could be informed by the dominant wind direction of the size and as the brief requires energy production to be a significant part of the entry, the sizes of panels will need to be determined in order to produce a reasonable amount of energy.

We chose this iteration as we were inspired by the idea of how the Shadow pavilion funnels light and sound to influence usersâ&#x20AC;&#x2122; experience. We think that these funnels created by the voronoiâ&#x20AC;&#x2122;s could create an interesting play on light and sound as it is funnelled through. This could also act as a way to inform users of how energy is been produced as the sound of wind passing through will express this. These funnels could possibly be clad with piezoelectric material again allowing the wind to apply mechanical forces on to these. The inputs in the definition for producing these could be altered to vary size of openings and depth of the funnels to make sure that wind actually gets guided through these funnels. We will unroll these funnels into strips and send them to the fablab to test how these can be connected together into unified whole and the effects of light and wind. 70

This iteration is the result of having a 3 piece cell system. We find this iteration particularly interesting due to its smooth flowing form and also the size of openings seem to better for framing views. We will prototype this iteration to test if this 3 piece cell system can act as a form, structure and overall design. The potential for meeting the brief is by using the funnels to create electricity through piezoelectric mechanisms. Again as stated previously the cell sizes and scale in terms of height can be informed by the site and dominant wind direction/amplitude. We particularly liked the idea of having funnels pointing out to the sky in this iteration as it is like the funnels are sucking wind and light into the structure. We are not sure if the small openings of the funnels will decrease and diminish the amount of energy generation. The idea of pointing out to the sky is interesting and is something we want to extract from this iteration but we would like to explore in a different way possibly with different heights of the form as opposed to one space. Image 31

This last iteration was chosen for its form. We derived this from applying a wind vector using kangaroo in grasshopper and then applying different wind amplitudes and gravitational force. The dominant wind direction is the north and south west which was found from previous research. After achieving a form we thought was suitable we tweak it by looking at the yearly average wind rose diagram of Copenhagen to have greater surface are towards the west to increase energy generation.

Copenhagen Wind Rose Diagram 71

B.5

Technique: Prototypes D i g i t a l

P r o t o t y p e s

Using a culling pattern and through extracting certain items from lists we were able to vary where funnel openings would be placed. Such inputs can be informed by the site, from wind direction and views. This also adds a quality of light penetrating the space as the form is interrupted by the these openings. Potential to produce energy can be through the piezoelectric material for the funnel and for a rotating panel inside. Pushing our first prototype further we decided to vary the heights of the funnels as this is beneficial because wind speeds are greater up higher into the sky. Thus certain parts of the design can possibly reach higher up to increase the energy potential. This also creates an interesting aesthetic but also could possibly inform the users of how the funnels generate energy at different rates.

These last two digital prototypes are the result of a hexagonal structure with funneled openings. A quality of this iteration could be the potential for users to see the funnels moving and vibrating from the winds mechanical forces. This can be made possible if we come up with a structural frame that allows for the funnels to be firmly secured on the bottom part of the frame but the funnels will be free to move at the bottom as there will be no frame to restrict it. This could again inform the users of how energy is been produced but will have to be prototype in order to determine if our assumptions are possible.

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 73

B.5

Technique: Prototypes P h y s i c a l

P r o t o t y p e s

We decided to make several protoypes to test different features of our future design; such as structure and form, wind and light, orientation and size of openings, height, material etc. The first prototype is made up of funneled cells which was made in grasshopper by mapping a voronoi pattern to a surface and then offseting that surface and lofting between the two. The second prototype is made up of 3 hexagons, one hexagon is offset and placed inside another to create a funnel and the third as the cap to close the cell. The third prototype is a detailed physical mode of the hexagonal frame, the funnel and pannel and how all these elements connect to each other.

prototype 1

prototype 2

prototype 3 75

P r o t o t y p e

O n e

The intent of this prototype is to test if we can construct an overall form and structure from individual unrolled funneled cells. This model was unrolled and sent to the fablab, which we then fabricate each cell individually, and then using the digital model we determined which funnels connect to each other. We were quite happy with the assembly process as it made it fairly easy to construct. This prototype was used to test if wind is guided through the funnels and how it is guided. After applying artificial wind from a hair dryer, pointing towards the funnels, we found that the wind was being guided towards a central point. We found this to be particularly interesting and also unexpected. We particularly thought this could be of benefit as the wind could be guided and directed towards, possibly a central piezoelectric platform which could turn intensified mechanical forces into electrical energy. Of course this is just an idea and will have to be tested further Model Making Process

but we did note that the idea of directing wind to particular points is something we want to explore further. The form of this prototype although it looks interesting was not exactly the same as the grasshopper model. Due to using Ivory card the cells naturally took a line of curvature. In the grasshopper model the form was flat at the bottom but due to lack of stability from the Ivory card and the lack compressive force the overall form was deformed. This was not necessarily undesirable as we found it had an interesting aesthetic quality. This test taught us that we can possibly create funnels that are put together to create an overall for and structure but we need to think about using a sturdier material or possibly how it is connected to the ground.

P r o t o t y p e

T w o

Again this digital model was unrolled and sent to the fablab for fabrication. Just like prototype one we tested an assembly process that would not need a separate structural frame. This consisted in having 3 pieces connected to each other to create a cell which was then connected to other cells to create a unified whole. In doing so we hoped to create cells that were easily constructible and quite strong. This 3 piece assembly system was not quite a success as it was very hard to connect the inside hexagonal piece to the top face. We think this may of been due to scale of but we were happy about the fact that each cell was very strong and when connected to all the other cells we found that our test of not having a structural frame worked. We did use black card for the interior of the cells but this was more as a representation of piezoelectric material. It would have been good to test this approach using different selections of material to further test structural performance and light effects. By using a black card the lighting effects were made more visible thus we Model Making Process

think that a darker coloured material may be of choice for the interior of the cell to achieve the varied lighting effects we are looking for. We also used these cells as a test of scale and size of openings and how views could be framed. We realised that certain views that we want to frame, for example the wind turbines will be obstructed by the surrounding buildings. This caused us to think about how we could rise the height these celled structure reach and how we will need to readdress structure. We believe that reach greater heights will allow for greater energy production but we are not sure about a pavilion space. Instead as we were building this prototype we decided to put the cells together differently to that of the digital model and found that this lead us towards a more modular design which also can potentially allow for greater heights to be achieved. This idea of modularity can also allow us to orientate cells in particular directions according to the dominant wind direction of the site.

P r o t o t y p e

T h r e e

By prototyping a detailed model of one of the funnels we understood a lot about the hexagonal celled frame and realised that we need to refine the way the structure will be built possibly using steel instead of timber. We also experimented with the presence of wind how would the panel rotate if wind loads are applied to it. It was a successful experimentation, but the design needs more refinment. The main thing we found while prototyping was the importance of getting the details corrected in grasshopper in order for the panel to rotate freely. Due to the fact that the hexagons are not regular hexagons the panel shape is mirrored as it rotates creating friction on the funnels. We will continue to refine this in order to create symmetrical hexagons that rotate freely.

wind from the hair dryer together with a spot light created. To us it was sort of like we the light was making the wind in a sense visible through the different shadows created. We were also happy with our choice of placing the panel in the center of the funnel in order to conceal it and also to allow to rotate as oppose to placing at the end and having a flapping panel. With think that a rotating panel is much more interesting as we found the lighting effects were more interesting.

One big problem we need to address is the way the frame will be constructed if we choose to have one. The plywood frame prooved to be unsuccessful and as can be seen in the photos below, our first attempt needed extra bracing to keep it together. The frame was hard to construct due to the angles of the hexagon in the x,y and z direction. Thus we will experiment with different material as we continue to develop Also the connection of the panel to the this. funnel is something that we want to work on as we found in our prototype that a great All of these experimentation can be seen in amount of wind is needed to make it spin. the photo sequence showing the different shadows on the ground, created by the We were quite happy with the effect the rotating internal panel. Model Making Process

T i m e

l a p s e

D i a g r a m

How The Funnel And Panel Works

B.6 D e s i g n

Technique: Proposal D e s i g n

C o n c e p t

Making the invisible, visible!! We decided that we not only wanted to use wind to generate energy but to also explore how we could make something that is invisible in a sense visible. Through working with our iterations we arrived to the idea of guiding the wind through funnelled openings which will be clad with piezoelectric material, in which a centred panel is found. The funnels and panels will not only generate electricity through transforming the windâ&#x20AC;&#x2122;s mechanical forces into electrical current which will then be harvested and transmitted to a grid connection point, but will also express the idea of visualising something that is not usually visible. Innovation in our design will be shown through revealing to the users the different wind flows as each panel will rotate differently but it will also influencing their internal experience through the different lighting effects created by the rotating panels. This not only emphasises the dynamic movement of wind but also reveals the different rates of energy generation of each panel. Some we will emphasise in our interim presentation. Our proposal will also provide the city of Copenhagen with an aesthetically pleasing design that harvest wind and is not like wind turbines which are rarely designed for cities as they are loud, affect views, and buildings tend to block the winds 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. P o t e n t i a l

D r a w b a c k s :

The height of our design will most likely limit the amount of energy that can be produced . By keeping it lower to the ground we are limiting the possiblities also to frame views such as the wind turbines which are obstructed by adjacent buildings. To overcome these issues we will research what is optimal hieght to generate energy using wind and also the size and depth of openings. Another draw back is that our proposal is one big pavilion which although has some interesting qualities, it is limiting us on to how we can use the site. Thus we want to experiment with making the design a more modular one that can be placed in various positions on the site to frame different views and reach varied heights. Thus allowing for users to interact across the entire site enhancing their experience.

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.

B.6

Technique: Proposal S i t e

a n d

C o n t e x t

Using context of the site the funnel openings will be arranged to frame certain views, such as the wind turbines, the ships that pass through (impacts of industrialisation ), the water (raising sea levels), etc. to raise awareness about the emphasis the city of Copenhagen is putting on sustainability but also to express the effects of climate change and its dynamism which is not always visible. Some funnel openings will be smaller and some bigger to emphasise the importance of the views we are framing but we are still refining this idea. The idea of making wind visible and showing its dynamism will be a metaphor for this idea. Site positioning: We chose to position our design towards the west of the site with the greatest surface area facing in this direction as well as this is where the dominant wind comes from. Also we are able to frame certain views from here that are not obstructed by the surrounding buildings.We are not statisfied with the positioning and is why we will be looking into it further. E n e r g y G e n e r a t i o n : Piezoelectric is electricity is generated through mechanical pressure. This includes human movement such as walking and jumping. The process works by pressure being applied to an object, a positive charge is produced on the compressed side and a negative on the expanded side. Electrical current flows across the material once the pressure is released from the object.62 This is converted to an electrical charge by piezo materials such as crystals or ceramics then stored and used as a power source.63

B.6

Technique: Proposal D e s i g n

C o n c e p t

B.7

Learning Objectives & Outcomes

Reflecting back on Architecture Studio Air so far has revealed to me the steep learning curve I have progressed to. I have developed immensely the way I approach design and think about it. Simultaneously the course introduced a number of different learning objectives for the learning experience of students which certainly my achieved learning outcomes relate to. The approach taken thus far for learning objective 1, interrogating the design brief, has been recent and is evident in B4 where a technique development started as we needed to analyses the LAGI brief in order to understand design constraints and opportunities. By doing so I understood how software such as Grasshopper can be used to address requirements of the brief, (one major requirement-energy generation) and in doing achieve well thought through 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. The beginning of this was develop in the manipulation of the VoltaDom project and taken further in the manipulation of our reversed engineered Eureka pavilion. This satisfies objective 2. In doing so objective 3 was achieved by what was learnt from objective 2. By choosing 4 iterations to push and develop further for digital and physical fabrication I developed skills not only in Rhino and grasshopper but also in various other plug-ins for grasshopper such as kangaroo, lunchbox, weaver bird, paneling tool, SL and many more. Although my knowledge in these are still fairly basic I was able to 92

produced digital prototypes, which by using the above mentioned plug-ins were made fabricatable. I also gained skills in programs such as photoshop and illustrator which were used to develop analytical diagrams for explaining design concepts. The prototyping and site applications phases of B5 and B6 have exemplified the intent of objective 4 where our grouped understood the importance of height in generating energy in response to the brief. The intent of objective 4 is still being applied and is something that will influence me in part C through an evident design proposal. Just as I have gained some very useful skills in digital media and parametric modelling programs, I have also improve my analytical through the various research and exploration of precedents conducted in part A and part B. Furthermore the analysis of precedents in B1, 2 and 3 have made me understand how computation is highly beneficial in design and how the design outcomes of each precedents was not achievable without computation. This lead me to understand projects better in terms of design sequence and fabrication which in turn influenced the design ideas produced in B4 on wards. Such explorations made through the weekly algorithmic tasks and the design progression has enhanced my knowledge in computational design and the deeper role computation has in contemporary design. My design approach has been challenged but strengthened at the same time to explore a range of different possibilities.

After the interim presentation we received valuable feedback for improving our design proposal for part C. We were advised to reconsider positioning out design in a more relevant way. To do this we will explore in detail the wind forces and distributions across the site in order to gain knowledge about how we can position our proposal in the best way for optimized energy generation. We also want to address the idea of moving away from a pavilion and more towards a modular design systems that are strategically placed to achieve the above but also to achieve a more meaningful interaction between site and users. This is to further develop our idea of providing awareness of the measures Copenhagen is taking to strive towards sustainability and a carbon neutral environment.

altering height we will not only increase energy potential but will be able to stick with our idea of awareness allowing us to frame views easier as but also allow users to have a different interaction at each module.

Furthermore we were told to consider how the panels are integrated into the funneled cells and directed to the wind. To achieve this we will complete research on various piezoelectric mechanical systems and materials but also, how big panels and openings need to be to produce sufficient amount of energy to power multiple homes. Thus we will do calculations using different panel sizes etc. and use grasshopper to adjust our model to our newly specified sizes but also to determine positioning and angles of openings and panels. Furthermore by making our design modular we will be able to address height issues. We will conduct more research on how high our design should reach to maximize energy production but to also not exceed the restrictions of the brief. By 93

B.8

AppendixAlgorithmic Sketches

Various key principles have been introduced and experimented with thus far in the weekly videos and have given my group and myself the basis to push our design proposal. Many hours were spent apart from watching the video tutorials in order to further develop my knowledge in using additional plug-ins for grasshopper such as kangaroo, lunch box, weaver bird, sl, panelling tools and many more. By learning the fundamentals I was then able to use these as a key understandings for driving sketches like the voronoi map to surface example on the left to something more meaningful to the brief and site of the LAGI competition. Such Arbitrary sketches were then used to develope a design concept, hence pushing it further towards a design proposal. By starting to understand lists somewhat, I was able to manipulate lists in our technique development definition in order to achieve certain results.

The kangaroo plug-in was explored further from what was taught in the videos and was used to simulate wind forces that would possibly be acting on the LAGI site. Starting by setting it up a wind vector with an amplitude, simple iterations were produced which then developed into iterations more meaningful to the site. Using a flat surface a form was developed and tested as to how it responds to the wind force applied. Using a wind rose diagram a more relevant flat surface was developed and a north westernly wind direction was applied to this to developed a form that used site conditions as its developmental parameters. In doing so thing like taught in the video tutorials like manipulating lists etc. were used to develop custom design intentions as can be seen in the below iteration. I have realized though that I can use kangaroo to push our design to its limits to have a better connection to site in terms of positioning and layout. This physics simulation plug-in thus will be used for further development in part C to determine how material, panels and the form behave to varied wind speeds. Such explorations will enable a greater understanding and more in depth design thought process for further development in part C.

B.9

Notes

43 “What is Biomimicry?”, Biomimicry Institute, accessed 7 April 2014, http:// biomimicryinstitute.org/about-us/what-is-biomimicry.html 44 Ibid, 45 Maibritt Pedersen Zari, “Biomimetic approaches to architectural design for increased sustainability”, (paper presented at the New Zealand Sustainable Building Conference, Auckland, New Zealand, November 14-16, 2007), paper number 033, 3-4 http://www.cmnzl.co.nz/assets/sm/2256/61/033-PEDERSENZARI.pdf 46 Michael Pawlyn, “Using nature’s genius in architecture” Filmed November 2010, TEDSalon London 2010, 13.46, http://www.ted.com/talks/michael_pawlyn_ using_nature_s_genius_in_architecture#t-244045 47 Robert F Woodbury, ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, (London; New York: Routledge, 2014) 167-168 https:// app.lms.unimelb.edu.au/bbcswebdav/pid-4282760-dt-content-rid-13635185_2/ courses/ABPL30048_2014_SM1/Woodbury%20-%20How%20Designers%20Use%20 Parameters%20_2014_.pdf 48 Zari, Biomimetic approaches to architectural design, 5 http://www.cmnzl. co.nz/assets/sm/2256/61/033-PEDERSENZARI.pdf 49

Ibid, 5

50 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/ 51 “VoltaDom Installation / Skylar Tibbits + SJET”, Lidija Grozdanic, evolo, accessed on 7 April 2014, http://www.evolo.us/architecture/voltadom-installation-skylartibbits-sjet/ 52 Ibid 53 “Times Eureka Pavilion – Cellular structure inspired by plants / NEX + Marcus Barnett”, Lidija Grozdanic, evolo, accessed on 11 April 2014, http://www.evolo.us/ architecture/times-eureka-pavilion-cellular-structure-inspired-by-plants-nex-marcusbarnett/ 96

54 “The Times Eureka Pavilion by NEX and Marcus Barnett”, bustler, accessed on 12 April 2014, http://www.bustler.net/index.php/article/the_times_eureka_pavilion_by_nex_and_marcus_ barnett/ 55 Ibid 56 Ibid 57 Grozdanic, “Times Eureka Pavilion – Cellular structure http://www.evolo.us/architecture/ times-eureka-pavilion-cellular-structure-inspired-by-plants-nex-marcus-barnett/ 58 Milcher, “Shadow Pavilion Informed by Biomimicry / Ply Architecture”, 2011, http://www. evolo.us/architecture/shadow-pavilion-informed-by-biomimicry-ply-architecture/ 59 Ibid 60 “2012 First Place Award Winner Scene-Sensor // Crossing Social and Ecological Flows,” James Murray and Shota Vashakmadze, Land Art Generator Initiative, last modified 2012, http:// landartgenerator.org/LAGI-2012/AP347043/ 61 Ibid 62 “Can house music solve the energy crisis?,” Maria Trimarchi, Discovery Communications, last modified 28 July 2011, http://science.howstuffworks.com/environmental/green-science/house-musicenergy-crisis1.htm 63 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

B.9

Bibliography

Frearson, Amy, “ICD/ITKE Research Pavilion at the University of Stuttgart”, Dezeen magazine, October 31, 2011, http://www.dezeen.com/2011/10/31/icditke-researchpavilion-at-the-university-of-stuttgart/ Pawlyn, Michael, “Using nature’s genius in architecture” Filmed November 2010, TEDSalon London 2010, 13.46, http://www.ted.com/talks/michael_pawlyn_using_ nature_s_genius_in_architecture#t-244045 Scene-Sensor, 2012, computer generated, http://landartgenerator.org/LAGI-2012/ AP347043/ (accessed on the 25 April, 2014) “The Times Eureka Pavilion by NEX and Marcus Barnett”, bustler, accessed on 12 April 2014, http://www.bustler.net/index.php/article/the_times_eureka_pavilion_by_ nex_and_marcus_barnett/ “Times Eureka Pavilion – Cellular structure inspired by plants / NEX + Marcus Barnett”, Lidija Grozdanic, evolo, accessed on 11 April 2014, http://www.evolo. us/architecture/times-eureka-pavilion-cellular-structure-inspired-by-plants-nexmarcus-barnett/ “VoltaDom Installation / Skylar Tibbits + SJET”, Lidija Grozdanic, evolo, accessed on 7 April 2014, http://www.evolo.us/architecture/voltadom-installation-skylar-tibbitssjet/ Woodbury, Robert F, “How Designers Use Parameters”, in Theories of the Digital in Architecture, (London; New York: Routledge, 2014) https://app.lms.unimelb.edu.au/ bbcswebdav/pid-4282760-dt-content-rid-13635185_2/courses/ABPL30048_2014_ SM1/Woodbury%20-%20How%20Designers%20Use%20Parameters%20_2014_.pdf “What is Biomimicry?”, Biomimicry Institute, accessed on 7 April 2014, http:// biomimicryinstitute.org/about-us/what-is-biomimicry.html Zari, Maibritt Pedersen, “Biomimetic approaches to architectural design for increased sustainability”, (paper presented at the New Zealand Sustainable Building Conference, Auckland, New Zealand, November 14-16, 2007), paper number 033,

Image References Image 17: Grimshaw Architects, International Terminal Waterloo, photograph, accessed on 7 April 2014, http://grimshaw-architects.com/project/international-terminalwaterloo/ Image 18-20: 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/ Image 21-22: 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/ Image 23-28: "Times Eureka Pavilion / Nex Architecture" 12 Jun 2011, photograph, ArchDaily, accessed on 21 April 2014. http://www.archdaily.com/?p=142509 Image 29: "Shadow Pavilion / PLY Architecture" 20 Dec 2011, photograph, ArchDaily, accessed 7 April 2014. http://www.archdaily.com/?p=192699 Image 30: Scene-Sensor, 2012, computer generated, http://landartgenerator.org/LAGI-2012/ AP347043/ (accessed on the 25th April, 2014) Image 31: Copenhagen, January Windrose Diagram, 2013, http://mesonet.agron.iastate. edu/sites/windrose.phtml?station=EKRK&network=DK_ASOS (accessed on the 30th April, 2014) 99

Part C

Detailed Design

100

C.1. Design Concept

102-121

C.2. Tectonic Elements

122-133

C.3. Final Model

134-153

C.4. Additional LAGI Brief Requirements

154-163

C.5. Learning Objectives and Outcomes

164-169

C.6. Appendix Algorithmic Sketches

170-175

Bibliography

176-177

101

C.1

Design Concept

LAGI COMPETITION 2014

102

Concept Review Following on from the feedback we received from our studio leaders in our interim presentation and from many design consultations we gathered that a number of areas in our proposal required to be resolved and other areas better refined.

also want to create a recreational area that is integrated with the whole design proposal so that users can also come to the site to relax and spend time with families taking in the views from the site and embracing our sculptural installations.

One of the key issues with our proposal was our pavilion type approach which only used up a significantly small part of the site making it not unique or meaningful. This meant that users would lack any engagement with the site. Another issue with this was how the panel and funnel system can be applicable to cover greater surface area of the site so that our design proposal generates more energy from wind harvesting and how it would respond better to our design intent in terms of views, paths of movement. In response to this we decided to move away from a pavilion to a more fluid and interactive structure/form. This we hope will give us flexibility to make several varying structures that are influenced by dominant wind and views. By doing so we hope to resolve the issue of implementing the funnels and turbine panels across more of the site to increase energy production. In terms of been more engaging with the brief and satisfying it better we decided that we would make our proposal more of a sculptural piece that will be artistically pleasing and will lure people to the site. We want to create an experience where users are made aware of sustainability measures Copenhagen is taking/emphasizing by visualizing energy production through a source which is usually invisible, i.e. wind. We

103

C.1

Design Iterations 2

104

Moving away from the pavilion like form we started to develop a wall like and more fluid form. This new form uses the same concept and cell like system as the pavilion type but allows us to implement it across the entire site with better integration of views we want to frame. We started off with hexagonal funneled cells with a hidden turbine inside and then we moved towards hexagonal cells and funnels with a circular aperture to resolve issues we had with earlier pro totyping of the turbine. We were quite happy with this shift as it created a new composition to our sculptural piece. The circle and the hexagon work well in creating tension against the elements of our structure that create a contrast that is aesthetically pleasing. As we continued to refine our form and design technique we decided that we could make the design of these walls respond better to the site. Through parametric design we used grasshopper to vary the size of the circular openings and turbines. We set up a domain to which turbine diameter would vary between 50 cm to 2000cm and using a graph mapper component we played around with different graph types in order to make the circular openings and turbines grow bigger as the height of the wall increases but where the wall starts to tapper in the holes would get smaller to shelter users. We wanted the holes

to get increase in size as height increased so that the turbines respond and produce greater energy as wind speed increase. The openings also increase in size where we want to frame specific views. We developed different iterations that depict this and then we thought about how the turbine would be integrated with the funnel in a better way so that we could stay true to the idea of using wind to not only as a way to generate energy but also as a way to show users how energy is been produced through the dynamic lighting effects that will be created as the turbines spin. Iterations 4-8 are the turbines placed inside the funnels with and without an exterior facade. Iterations 8 and 12 is are just turbines and funnels which we were thinking of having an exposed structural system that the turbines could be secured to. Iterations 9-11 are the turbines placed flush with the exterior face openings. We did not like these as we realized there would be no point of the funnel and we did not like the idea of having a separate securing system for the turbines as it would overcomplicate the design and most likely make it look cluttered.

105

C.1

106

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.

After the interim presentation we consider how we could generate a great amount of energy and we thought about having a central shaft that would be place in the center of the site that would reach very high heights in order to harvest as much wind as possible. First we came up with a circular shaft but we later thought it was too bland and boring and looked liked it had no particular purpose on site. We then attempted to make it more fluid and grown organically but decided that we would scrap this idea of a central shaft as it showed a discontinuity from the other wall structures. In turn we used these iterations to develop our final altering form which is a combination of the first wall like iterations and the central shaft. The reaching higher heights idea was integrated with our first iterations to produce a wall like structure that would vary in height according to wind dominant positions and views.

107

C.1

108

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

109

110

L a y o u t : R e l a t i o n s h i p These are different layout options which we developed in order to harvest wind from the dominant wind direction. As it is know it gets very wind at the site thus we wanted to strategically place our wall like forms in a such a way that we deflect wind away from a recreational area for picnicâ&#x20AC;&#x2122;s and for embracement of the site, views and our architectural sculptures. The separation of the recreational space is made clear through the different contour heights and the way we manipulated the terrain to create a differentiating area of lower ground. The sculptural walls will be place on the raised up terrain to reach higher heights in order to frame views that are obstructed otherwise by surrounding buildings and to also harvest stronger wind speeds. I final iteration is a maze like layout that guides users through the site but also allows them to choose which route to take. The sculptural walls are placed in such a way that their surface area is greatest towards

w i t h

s i t e

the dominant wind and orientated towards specific views. The walls vary in height and at the lower peaks they are specifically for framing views as opposed to the taller ones which are for energy generation.

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

111

C.1

Site Conditions Wind

Analysis of the site determined dominant wind directions. The diagram below is the new revised layout with the sculptural walls positioned in a maze like layout to guide users through the site to experience different views we want to frame. The dominate winds determined orientation of the walls and also heights. Walls are tallest in the South east and west of the site with some not very high to accompany specific vies.

112

Low Exposure to wind

High Exposure to wind

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.

113

C.1

Design Concept

Finalised Concept

The Final concept is a refinement of our proposal for Part B. We moved away from the pavilion like structure towards a sculptural wall. These walls will be made up of an exterior face that is recessed in towards the middle of a funneled opening at which a turbine is placed. The recessed exterior face adds to the aesthetic of the wall but also funnels wind to the turbine to some degree. The funnel is clad with an interior face to hide the underlying structural system holding the funnels together. Together

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the funnels and turbines will be create interesting light effects which will illustrate energy generation of the turbines. Our concept is that we want to raise awareness of the sustainability measures Copenhagen as a city is taking and implementing. Thus we want to make the source of energy production visible. The spinning rotation of the turbine together with the funnel will allow users to visualize this invisible force making wind in a sense visible. The turbines

ill be made out of aluminum to reflect light and further emphasise the effects. This funnel cell system can be applied to any form using different base curves and plug into our definition. The layout has been revised so that the users experience different views that we believe will raise awareness of sustainability. These views will be of the water (raising see levels), the turbines further a way, the ships passing by (industrialization), the factories and their pollution. These views so both the unsustainable things taking place around the site still but also the attempts to move towards a zero carbon future. We hope by framing both the good and the bad that awareness on the effects of unsustainable ways will be realised. Our design will give users different perspectives on these views as they will witness them differently every time the turbine rotates. The

terrain

the

site

has

been

manipulated so that as stated above a new recreational space is created for hosting events, picnicâ&#x20AC;&#x2122;s with the family and for people to enjoy the outdoors. This new terrain will also help us reach higher heights with the walls to frame views better and to harvest stronger wind speeds. The layout of the sculptural walls have been placed strategically to appear as a maze at first but will also guide users through the site. There is a central decision point where users decide whether they want to stay in the recreational park area or continue on wondering around the walls. Overall the walls are designed to be sculptural so users are lured to the site due to fascination but once on site will want to stay as it will be relaxing and educational at the same time.

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C.1

Pseudo Code Overall Technique

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 Grasshopper Definition

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 core construction joint and steel frame will be hide behind the exterior face and the interior face to make the sculptural wall appear self supporting. This is an architectural intention that we think will provide interests and fascination to the users as to how such a tall structure stands and houses turbines. Wires will be hidden in between he faces to keep any electrical current away from the users. Timber was chosen as the core construction material as we want to use sustainable local materials further emphasizing our design concept but also because it wood is not a conductor of electricity.

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The exterior face will be made up of separate plywood panels that will be supported by steel angle frame structure inside of each funnel. The turbine will consist of a C channel ring that will further secure the exterior face panels and also act as a securing mechanism for the turbine and the metal tube that will allow it to spin. Refer to turbine construction detail. The funnels will be made of prefabricated plywood sheets that will be cut to size and connected to each other using finger joints (dove and tail joints). Another steel frame will secure the interior face panels to the funnels and the sculptural wall is complete.

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Parametric Detailing 2011 ICD/ITKE Research Pavilion

Image 32-35

We looked at the 2011 ICD/ITKE Research Pavilion as precedents to see how our funnels could be constructed. The cells of this pavilion are constructed using dove and tail joints or another common name finger joints. Using computation the finger joints were detailed for each of the panels and are then digitally fabricated using a CNC router.64 Digital frabrication allows for precision and accuaracy meaning that the cell panels will finish with a flush finish.

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C.2

Prototypes 1:20

Above are prototypes that were unsuccesful. The top 3 photos show a testing o

without using any digital fabrication machinary. From this we realised that precesio

this joining system to work. We then tested another prototype using the fab la

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The laser cutter allowed for a lot higher precision than by doing it by hand and was much more effecient. The finger joint worked very well and was very strong. By prototyping this joint we were happy to see that it would work creating our hexagonal funnel.

of finger jointing

on is key to getting

ab laser cutter.

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C.2

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Tectonic Elements

Above is a detail of how individual plywood panels will come together and interlock using finger joints. The finger joints depth need to be the thickness of the material and in the case of prototyping is 3mm but at 1:1 20mm. This caused some problems as the funnel angles would be a little off.

Below is an exploded view of the construction process of 3 cells. The exterior face will be connected to the steel frame. The turbine will be installed next and then the steel frame secured to the funnel. The 3 cells will then be bolted to the core steel structure which will be hidden by the interior face. The interior face is connected to a steel frame that is attached to the bottom side of the funnel.

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C.2

Turbine Mechanism Ball bearing

Note turbine panels will be made out aluminum so they are reflective and light weight to spin freely.

Steel Ring

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Ball bearing Washer

Bolt The turbine is custom built so a detail is appropriate. A C channel ring will sit in the circular opening of the exterior face. This ring will be used to secure the a metal pipe that will thread through the turbine panel and allow it to spin freely. The metal pipe will be secured using bolts on both ends of the ring and the ball bearing will allow the secured pipe to rotate. 131

C.2

Construction Model

Through prototyping we found that due to material thickness and the limitations of the laser cutter of not been able to chamfer the edges of the panels we struggles to get the exterior face to finish flush. At a scale of 1:1 and using the correct material thickness and machines there should be no problem.

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C.3

Fabrication Process Using Rhino we labelled the different surfaces into specific names and colour coded them to help us with the fabrication process. This is fundamental for our design as on site builders will need to follow documented drawings that show specifically which cell connects to another and what face. Thus a colour coding system with meaningful labels will be used to do so

After devising a labeling system we then unrolled all the surfaces and used the laser cutter template for Rhino 5 to set our unrolled pieces for cutting. This process may take long to set up and finish but is much more precise and with cutting accuracy and a lot more efficient when it comes to cutting by hand which is impossible to nearly with all the angles and circular openings. Digital fabrication is cost effective and time efficient.

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C.3

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Fabrication Process

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C.3

138

Final Model Construction Detail

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C.3

Final Model-Site Model

SCALE 1:500

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141

C.3

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Final Model Site Model

SCALE 1:500

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C.3

Final Model

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C.3

Final Model

Interior Shot and experience when sitting and looking at views.

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View from recreational area back onto sculptural walls.

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C.3

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Final Model

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C.3

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Final Model

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C.4

Additional LAGI Brief Requirements

Project Description Our proposal consists of a series of thoughtfully laid out sculptural walls that are made up of hexagonal funneled cells that join to each other and secured by a steel frame. The idea driving these forms is that a custom paneled turbine will be placed in the circular opening recessed in the exterior face of the cells by which energy will be generated. The turbines not only serve to generate energy but also to add different perspectives on views that we want to frame to raise awareness about sustainability. These views will depict negative and positive impacts on the environment such as surrounding factories, rising sea levels, ships and wind turbines. Together the funnels and turbines will be create interesting light effects which will illustrate energy generation of the turbines. Our concept is that we want to raise awareness of the sustainability measures Copenhagen as a city is taking and implementing. Thus we want to make the source of energy production visible. The spinning rotation of the turbine together with the funnel will allow users to visualize this invisible force making wind in a sense visible. The turbines will be made out of aluminum to reflect light and further emphasize the effects. This

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message will also be emphasized in the layout of our proposal. The forms will be positioned in a pattern that flows like wind and will be faced to the most dominant wind directed areas of the site. On raised land the sculptural walls will sit for the reason being, to emphasize their existence by luring users to the site, to harvest greater wind speeds and also to create a space on the site for recreational purposes and events. Our layout is also designed so that its formation allows users to make decisions on what area to explore next. This idea will transcend the move towards sustainability and that is our decision/responsibility as humans to take the correct steps towards a more sustainable future. The majority of the structure will be a timber finish. Elements such as the turbine panel will be an aluminum finish to reflect light and further emphasize 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 sculptural walls.

Technology Used Image 36

The means of generating energy will be through capturing and harvesting wind. Our selected technology is a wind turbine system. Due to our design concept of making the invisible visible through the lighting effects created by the turbines, they will need to have a specific axis of rotation. For this we chose a Reciprocal turbine system that rotates on a horizontal axis as opposed to pin rotation point. Our turbines that will be integrated in the design will work like the chosen system but will be custom made and based on the Broadstar AeroCam micro-wind turbine. This turbine system is aerodynamic and has cut blade profiles which track the path of the wind as it rotates.65 This system is more powerful and can be placed in many places as opposed to conventional turbines. Such a system is designed to run at smooth wind speeds from 4-80 mph and thus means that it will produce insignificant noise. This is was a preferable feature as it will also benefit our proposal as the reduction in noise and rotational speeds will allow to have a more relaxing experience to take in the architecture and views or without been distracted by noise when using the recreational park area.66

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C.4

Energy Generation

Energy generated per month JAN B FE

NO V

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

Average energy all year around JAN

DEC

B FE

OCT

MAR

SEP

APR M

JUN

AU JUL

Average energy per year:

-per turbine: 1 GW

-as a whole: 80 GW

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C.4

Energy Generation

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

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Table shows the formula values per month and how they were used in the formula. All the calculations were done using the mean velocity value, and three calculations per month were made, each with a different area value, because it is the value most prone to change in the design. An average was then taken with all these results to determine a very rough value that would be the energy generated per year.

This calculation is an estimate and not exact as it is very hard to determine an accuarate amount of how much energy will be generated due to different variables needed to do so. These include direction of winds and velocity at specific times of the day. This means that the turbines may produce different amounts to those calculated at different times. The scale of the turbines also influences the overall result thus a rough average was used. The diagram indicated the average amount of energy produced by a turbine per month. From this worked out that the largest amount of energy generated will take place during winter, and its values will decrease in summer because wind currents are not very strong. The Second diagram shows an average taken of the whole year of a single turbine and the vast amount of energy that would be produced on average. Roughly, on average, one turbine would produce 2kWh, and roughly 1GW in a year; this would provide enough energy on average for 2 people according to the Danish energy savings. And approx. the whole design would produce around 80GW throughout the year. 159

C.4

Material List Environmentally Friendly Materials

Okoume Veneer Hardwood Plywood Image 37

Image 38

For the selection of a plywood material we chose Okoume veneer Hardwood plywood. In respect to material choice for the majority of the design a timber product will be used. Thus we wanted something that is durable but also sustainable in order to further emphasize awareness of sustainability. The key focus of our proposal is about sustainability awareness and moving towards a city with zero carbon emissions. The selected plywood is versatile and attractive but above is environmentally friendly in terms of manufacturing. The company that makes this product coats it in Rhino Coat a special coating that reduces emissions, enhances quality and improves manufacturing efficiency. This product was selected also due to it been approved and certified by the SFI (Sustainable Forestry Initiative) and the FSC (Forest Stewardship Council).67 In terms of material performance this plywood is light weight, cost effective and strong. This will benefit us for construction and transportation as we will require less structural support due to reduction in loads as a result of minimized weight of the material. The material thickness selected is a 20mm with sheet sizes varying as each cell is different in dimension. This thickness was chosen as it provides sufficient strength for the sculptural wall but also allows the funnels and cells to be angled. 160

Image 39

Cold Rolled Steel

Image 40 The structural component of our sculptural wall will be made out of coldrolled steel. Cold rolled steel is the best option for this as it permits our multi-angle frames to be tailored to the requirements for our funneled cells to maintain their current look. Again this material is much lighter in weight than many other types but still very strong. As the Okoume veneer plywood, cold-rolled steel has a reduction of material wastage and can easily be reworked. Again materials are selected due to them be sustainable and that they meet our requirements in staying true to our design intent to promote sustainable built future designs. 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.68

161

C.4

Environmental Impact Statement

Environmentally Friendly Materials Lower Embodied Energy Provide awareness and educate users Material wastaged reduced through use of digital fabriaction merhods

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Environmental Impact: The city of Copenhagen is striving towards a zero carbon future, hence our proposal will integrate innovative technologies into the design to make the most of generating energy on site from wind. The sculptural walls do not require any energy to run but in turn provide sufficient amount of energy to power lights on site. Our design concept will help provide awareness to users which thus result on a positive impact upon the environment. Material selections are all approved and certified by sustainable organizations with very little carbon emissions, locally found and easily reused and recyclable. They all have low embodied energy and through using digital fabrication methods, cells are prefabricated off site in a factory, thus further minimizing embodied energy and material wastage. 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.5

Final Presentation Development

Feedback for our final presentation was mostly about showing more variance of how the circle and turbines increase in size as height increases and producing diagrams to show this. To address this we incorporated new diagrams and images in parts C.1. The second consideration was with the refinement of our tectonic construction detail and how we had difficulties due to limitations of not chamfering the edges of the exterior face panels. This was limitation imposed on us due to using the laser cutter and due to material thicknesses. To address this we were advised by our tutors not rebuild the model but to detail the chamfered edges in rhino. Please see the detail of how the exterior face panels are chamfered in different angles according to direction recesses inwards to. Lastly we were told to better convey the experience users would feel whilst at these sculptural walls and on site which was addressed by developing better renders and by incorporating areas for recreation and relaxation that better resembled life of the Copenhagen City. We also revised the angle of the funnels to allow users to get mor direct views but also to reduce any possible friction of the turbine hitting the inside of the funnel. Thus a more regular angle is used for the funnel instead.

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Chamfered edges to allow for flush finish

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C.5

Learning Objectives and Ourcomes

Objective 1. “Interrogating a brief” Through our groups design process and constantly reviewing the brief we were able to realize the importance of responding to the brief directly using parametric design. At first this was very difficult as my knowledge in grasshopper was very basic. As I progressed I gained a better understanding on what was possible with grasshopper and how to go about doing it. Going to the tech help session and to tech support in level 7, print room, 757 Swanston Street was very beneficial in helping develop the my skills. As a result we developed a proposal that changes funnel and turbine sizes parametrically through grass hopper. This responded to the energy generation part of the brief and also the sculptural. Objective 2. Developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration; This was most evident in Part B during the reverse engineering stage where we spent a lot of hours understanding grasshopper and the possibilities of producing multiple iterations very quickly. Through doing so I slowly learnt what components are needed to do what and how to match up data structures and trees. This was very useful in part C where we needed to recess the turbine and exterior face into the funnel. It seemed simple but without understanding how to

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match the data structures using parameter viewer and grafting outputs this would have been very difficult. Objective 3. Developing Skills in various 3dimensional media Through the prototyping and fabrication stages I was able to apply new and develop skills not only Grasshopper but in Rhino as well in order to prepare our construction detail for fabrication using the fab lab laser cutting template. Objective 4. Developing “an understanding of relationships between architecture and air” Through coming up with a design concept and responding with an innovative response to the brief a relationship with architecture and air was made. By choosing to emphasize the visualization of wind in our design through the rotating turbines and light affects this was made apparent. Objective 5. Developing “the ability to make a case for proposals” This was sometimes difficult as I would focus a lot on small things in a proposal and not on the overall picture of how everything relates to each other. Thus I would make sweeping arguments that were not backed up. This was evident in part A. Now I have learnt to look at the overall picture first and then go into the refinement stage latter. Objective 6. Develop capabilities for

conceptual, technical and design analyses of contemporary architectural projects; Through analyzing precedents in Part A for various topics I gained a key skill of been selective of precedents which were innovative but useful to me in giving me new ideas, resolving issues or finding ways forward. In parts B and C precedents was used to inspire myself with ways of doing what we intended. This is evident with our dove and tail jointing system.

familiar with certain ways of doing things in grasshopper. This was more to do with using graph mapper and different graph types to manipulate the sizes of the circle openings and turbines. Also by understanding how to make things more parametric by having set number sliders that control certain things was another common way I designed using grasshopper. We set a domain for the size of turbine radius but also attractor points that could be moved in rhino or in grasshopper to alter the depth of funnels.

Objective 7. Develop foundational understandings of computational geometry, data structures and types of programming; When using Grasshopper I would often get very messy with components and use them incorrect fashions. Thus my data structures would slowly mismatch as I went on with a definition. This was one key difficulty in my reverse engineering attempts. Through watching my tutors and going to tech help sessions I was taught how to understand what data structures are needed to do particular things and why. The staff in the print room were very helpful in providing me with further assistance and understanding on how to do this and also how to clean up my definitions so they work faster. Objective 8. Begin developing a personalized repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application. Our design proposal lead me to become 167

C.5

Learning Objectives and Ourcomes

1. Design Futuring - What is the innovative idea of your project? The innovative idea behind our project is the way we chose to make visible the energy genertating source wind through the actual turbine system itself. 2. Design Computation - how does computing define your project? Through using grasshopper computation is defined in many aspects of our design as it helped us with the evolution of it to the final proposal. 3. Composition/Generation - what did you find through your computer experiment? I found that through computer experimentation with grasshopper I am able to see how parametric design opens up a whole new world of possibilites in design and the way designs can be optimised using tools such as grasshopper. 4. Parametrics - what in your project was only achievable through parametric modelling? The varrying sizes of our circular openings and turbine sizes was only achievable using grasshopper and the fact that our definition is applicable to any base curves input into it.

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5. Materiality/Patterning - how do you integrate energy, materials and geometry into a performing pattern?

Through choosing sustainable materials that have good perfomance in strength we have combined plywood with steel to construct a sculptural wall. The plywood funnels and faces need to be seperated into panels in order to construct the geometry of the walls. 6. Fabrication - how do you use computation to automate specification, scheduling, manufacturing and assembly of your model? We used computation to develop a labeliing system that allows for reference during construction. The use of digital fabrication methods will add a high degree of precesion for each which is a highly needed element in making the walls successful durng construction. 7. Data Management - what are the particular advantages of your digital data workflow? Particular advantages are that it is more efficient way of producing itterations thus allowing for design proposals to be better resolved and refined.

Through out the semester I have been continuously challenged to learn new things. This have influenced my design process and skills very heavily in a positive way. At the beginning of the semester I had very little knowledge on how to use grasshopper but ask I persisted through the weeks and went to technical help sessions, talk to tutors and staff from tech help I gained a lot more confidence and am now able to use grasshopper to do a lot of new things. I feel that I have learnt a lot about parametric design this semester but for design in general and the possibilities out there to explore. Studio Air has been a tough subject but overall a very good one as I have learnt so much in so little time. Thanks for the Semester Polyvios Nicolaou

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C.6

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Appendix-Algorithmic Sketches

Recessed Exterior Face

The recessed exterior face towards the interior of the funnel was a progressive design solution the was derived from multiple iterations. Our improving knowledge of grasshopper and the video tutorials revistied allowed us to understand how we could use the intersection menu to achieve this. Using the funnels a brep intersection was found using the mid point of the funnel for the section plane. We then moved the original circles to the new recessed plane and lofted btween them. It is interesting how the form developed from a flat exterior to this more aesthetically pleasing angled recession. The idea behind this was to funnel the wind before it reach the turbine to increase its speed. Grasshopper has grown on me these pass 12 weeks and I am now much more comfortable using it than when I first started. I am know past the basics of lofting curves and at the level of starting to understand date structures and trees. This was a step forward in progressing our design concept and proposal.

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C.6

Appendix-Algorithmic Sketches

Graph Mapper Circle Size Varying Size Varying sizes of the circular openings was a very important component to our design as it is this innovation that makes in parametric in the sense that the size of the openings increase as height increases but also by choosing the correct graph type and manipulating exactly how we wanted, we also had openings where they were bigger towards the bottom for the purpose of framing views. By taking the corner points of the hexagonal cell the list was organised such that we could fit a 3 point circle in between each cell. Using a domain to control smallest size of circles and largest we connected it to a graph mapper to develop the varying opening sizes. These are iterations using various graph types such as parabola, perlin, x2 biezier and guasian to develop different patterns. We then used the domain we set up to remap the values to those sizes.

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First attempts at having varying sizes were with the use of an attractor point but we were not happy with the outcomes as it was to centered to that one point. We also tried using a line attractor but again the circles were flowing the line to closely. This would have not been possible with out the use of grasshopper which is how our design is parametric.

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C.6

Appendix-Algorithmic Sketches Custom Turbines By manipulating lists and shifting them a custom turbine was producing and combined to the varying radius definition. We did not stick with the turbine on the left because we felt it was too industrial and would compromise our design concept and intentions. Using the circle openings the circle edge of each opening was offsetted and then used to make a boundary surface. We then experimented with using different ways of creating an axis for rotation and found the best way was by using 2 points to construct a vector and then using this vector as the rotation axis. By appylying a roate component we were able to simulate manually the turbines rotating how we wanted them but changing the number slider for the angle in radians. This was very useful as it help us visualise how the turbines would work, in terms of wind and light.

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C.7

Notes

64 Amy, Frearson, “ICD/ITKE Research Pavilion at the University of Stuttgart”, Dezeen magazine, October 31, 2011, http://www.dezeen.com/2011/10/31/icditke-research-pavilionat-the-university-of-stuttgart/ 65-66 Mike Chino, “Broadstar’s AeroCam Breaks the Wind-Watt Barrier,” Energy (blog), June 19, 2008, http://inhabitat.com/broadstar-aerocam-breaks-wind-watt-barrier/. 67 “Harwood Plywood,” Timber products, last modified 5 June 2014, http://www. timberproducts.com/Products/Hardwood_Plywood/ 68 “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

C.7

Bibliography

Frearson, Amy, “ICD/ITKE Research Pavilion at the University of Stuttgart”, Dezeen magazine, October 31, 2011, http://www.dezeen.com/2011/10/31/icditke-researchpavilion-at-the-university-of-stuttgart/ “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 “Harwood Plywood,” Timber products, last modified 5 June 2014, http://www. timberproducts.com/Products/Hardwood_Plywood/ Mike Chino, “Broadstar’s AeroCam Breaks the Wind-Watt Barrier,” Energy (blog), June 19, 2008, http://inhabitat.com/broadstar-aerocam-breaks-wind-watt-barrier/.

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Image References Image 32-35: ICD/ITKE Research Pavilion at the University of Stuttgart, 2011, photograph, accessed on 5th June 2014, http://www.dezeen.com/2011/10/31/icditkeresearch-pavilion-at-the-university-of-stuttgart/ Image 36: 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/. Image 37-38: 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/ Image 39-40: Cold-Rolled Steel, photograph, accessed on 5 June 2014, www.damafs.com

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O F

M E L B O U R N E