Liao rita 605490 journal by Rita Liao

2014 SEM 1 RITA LIAO 605490 STUDIO 3 TUTORS: HASLETT GROUNDS & PHILIP BELESKY

Contents Introduction Part A A.1. A.2. A.3. A.4. A.5. A.6.

Conceptualisation Design Futuring Design Computation Composition / Generation Conclusion Learning Outcomes Appendix - Algorithmic Sketches

Part B B.1. B.2. B.3. B.4. B.5. B.6. B.7. B.8.

Criteria Design Research Field Case Study 1.0 Case Study 2.0 Technique: Development Technique: Prototypes Technique: Proposal Learning Objecives and Outcomes Appendix - Algorithmic Sketches

Part C C.1. C.2. C.3. C.4. C.5.

Detailed Design Design Concept Techtonic Elements Final Model Additional LAGI Brief Requirements Learning Objective and Outcomes

References

Introduction

Hi, my name is Rita and this is my Studio Air journal. My previous experience of digital design has been the use of Rhino and Grasshopper in design and fabrication. Past projects have included the design and making of a wearable paper lantern using the panelling tools plug-in for Rhino, and the creation of a 1:1 scale pavilion with the use of Grasshoppergenerated algorithms. I also work for building consulting firm where I use ArchiCAD and desktop publishing tools. I enjoy all aspects of architecture and hope to learn more about computational design in this studio.

Tumbleweed lantern, 2012

part A: Conceptualisation

A1: Design Futuring

“architecture needs to be thought of less as a set of special material products and rather more as range of social and professional practices that sometimes, but by no means always, lead to buildings.” Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116, p. 108

“LAGI 2014 Copenhagen invites designers from around the world to submit their ideas for what infrastructure art of sustainable cities looks like. The call is to envision public art that generates utility-scale clean energy for the City of Copenhagen.”

precedent #2 Piezoscape LAGI 2012 entry Many of the past LAGI competition entries appear to make the promise that their designs will be of sufficient interest to draw a steady flow of visitors to the site, however it is probably more realistic to predict that most of these projects will raise nothing more than a novelty interest, after which the public interest quickly diminishes. Piezoscape differentiates itself in this aspect by asserting itself as primarily an activity centre which happens to produce energy, rather than a renewable energy generator remade (some more crudely than others) to become more appealing to visitors. From a marketing perspective,

Piezoscape holds great potential to become a significant destination and thereby reach a larger audience with its underlying message of sustainability – one of the great strengths of this project. As suggested by the name, piezoelectricity is the means of energy production employed in this project, whereby mechanical movement is converted to become energy. Sources of energy include wind, sound vibration and human movement. The project is conceived of as a series of six complementary zones, or ‘scapes’: 1. Windfield – a field of kites acting as a wind farm. 2. Playscape – an artificially undulating landscape encourages human activity such as running, jumping, skateboarding and BMXing which compresses piezoelectric components beneath the surface. 3. Raceway – a bike racing track, harvesting energy through the same means as Playscape. 4. Kiteway – a circuit of kite-lined

jogging and bike paths. Kites are attached to a fibreglass stalk that generates energy through bending. 5. Snackscape – a relaxation and ideal lunch spot with view over the waterfront, with piezoelectric trellis which responds to noise vibrations. 6. Soundstage – perhaps the most interesting area of the project, Soundstage is a venue for major events which has the capacity to harvest the sound energy from concerts and the movement energy of people moving and dancing. While it is questionable whether the yield from this mode of harvesting has the ability to outweigh the energy costs of putting together such events, there is no denying the number of visitors it could generate for the site. Additionally, this precinct houses the energy bank, which has a live graphic display of the energy being stored and generated. While it can be questionable to base such a large percentage of the site’s energy production on human activity which is

highly variable and dependant of a large number of externalities, it is nevertheless a project which can be very engaging to the public. By operating at the human scale, it becomes relatable. Its success lies in that it has integrated renewable energy production into what can be described as daily activities, rather than making the public go out of their way to look at some kind of novelty art installation. It has managed to make renewable energy accessible, reinforcing the message that renewable energy isn’t something of the future, but can and should be part of our lives in this very present. Overall, Piezoscape sets a compelling precedent for incorporating energy generation into a landscape for human activity. In order to take this idea further, it would be interesting to test if engagement could be furthered beyond a physical interaction to an intellectual understanding of the project aims, generating ideas which can become embedded into participants’ daily lives.

Fresh Kills LAGI 2012 runner-up 10

The idea behind Fresh Kills is a simple one â&#x20AC;&#x201C; it is conceived as a circular formation of undulating mounds housing a turbine farm. The form is directly generated from that of a wind rose, so that turbines facing directions with stronger winds are correspondingly raised higher to capture more wind energy. This formal simplicity not only generates a single unified scheme, but allows visitors to easily read into the workings of the installation through what they see. It also makes it very simple to apply the universal principle to any given site, given the same expansive area. However, from this same point of view, it falls down in several areas with respect

to the aims of design futuring as articulated by Tony Fry. The installation is shrouded in bamboo, so that while an overall form is discernable, the mechanical functions are hidden from view. This is apparently nothing more than an aesthetic decision, reducing this part of the design to being no more than a superficial kind of design purely about appearance, which Fry criticises as concealing the â&#x20AC;&#x2DC;material nature of objects. An improvement to the design might well be to strip away this covering to fully celebrate the mechanical workings of the apparatus.

renewable least efficient

energy technologies conversion efficiency comparison most efficient

A2: Design Computation “Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. The computational way of working augments the designer’s intellect and allows us to capture not only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a buildings formation.” Peters, Brady (2013). Computation Works: The Building of Algorithmic Thought from Architectural Design (AD) Special Issue Computation Works V83 (2), p. 10

Minimum Tension Urban Future Organisation

A project for a roof canopy for a Sydney CBD apartment terrace, protecting the space from falling debris from neighboursâ&#x20AC;&#x2122; apartments. Parametric design was to create a compressional structure based on Hookeâ&#x20AC;&#x2122;s law, based around site constraints (boundary conditions) as constraints. Created from powder-coated steel, the project exploits the ability to model the structures of material systems as tectonic systems. What is created is a self-supporting structure which distributes loads to supports along the site boundary whilst providing the form for the project. Consequently the form is freed from historical reference, and more organic and a direct response to the performative requirements of the space. The computation process also streamlines the fabrication process, in this case the specification for each triangular panel could be extracted from the computational outcome and sent to the fabricator, integrating design and fabrication.

La Foglia AION Architecture La Foglia is a prototype for a bus shelter. â&#x20AC;&#x2DC;The form develops both in physical and digital realms. The bottom-up development process gradually absorbs functional, structural and environmental inputs through a series of origami models which eventually inform a parametrically-controlled description in Grasshopper for Rhino.â&#x20AC;&#x2122; The Grasshopper model is able to incorporate environmental factors such as sun angle and wind direction into the shell design in order to fulfill the requirement for shelter, whilst incorporating structural performance. into the design

A3: Composition / Generation â&#x20AC;&#x153;When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.â&#x20AC;?

Digital Grotesque Michael Hansmeyer & Benjamin Dillenburger The form of Digital Grotesque is generated entirely by algorithm, where the architect designs not the final outcome but the process by which it is created. Digital Grotesque focuses on geometric processes as the driver for form generation, the result of which are are a matrix of highly intricate and unusual forms which would have been otherwise inconceivable in the mind of the designer. The benefit of this approach is that it marries the strength of human and computer design - combining the problem-solving abilities of the designer and the analytical ability of the computer given a certain data set and parameters. It is such a symbiotic relationship as articulated by Yehuda E. Kalay which has been used in this project. The shortcomings of this approach is that the result of such a process are currently very costly and difficult to build, even with laser cutters and sophisticated 3D printers which are able to directly translate a digital model into physical reality.

ICD/ITKE Research Achim Menges & Jan Knippers

Pavilion

The design for this pavilion structure is based on the research, analysis and abstraction of a biological process, namely the exoskeleton of a lobster. The lobster exoskeleton consists of a soft endocuticle and hard exocuticle which together create a highly adapted and efficient structre where material properties are related to local requirements for load transfer. The result of this investigation is a robotically fabricated structure made of carbon and glass fibre where form, materiality and structre are integrated within the design.

A4: Conclusion

Based on investigations thus far, my intended design approach for LAGI 2014 is to create an installation which is engaging to visitors, allowing both a physical and intellectual engagement with the project. An ideal outcome would allow the public to view and understand the processes behind the design, thereby contributing to the design discourse as well as society at large.

A5: Learning Outcomes

Computational design represents a departure from traditional readings of architecture which has existed from the classical to modern era, a prospect which is simultaneously unsettling and exciting. It challenges the dominant paradigm of referring to historical precedent and instead necessitates a return to first principles of being environmentally responsive - that is, as being first and foremost a solution to a very particular problem, rather than a top-down application of known solutions. This goes back to the idea of design as primarily problem solving, rather than the superficial kind of design as concealment or facade. Thus computational design has the potential to empower designers in using design as a world-shaping tool and reposition themselves from the more and more marginal position they currently hold, with design increasingly being perceived as merely an aesthetic pursuit. It will be interesting to find out what this means for the history of architecture - whether technological developments create a revolutionary shift in architectural thinking and what then becomes of the role of historical precedent. Does it represent a radical re-writing of the language of architecture, and if so, does it do it in a way which makes it more easily understood by those outside of the design profession?

part B: Criteria Design

B1: Research Field

Section B: Criteria Design

Sectioning

Sectioning is based around the concept of repetitions of a single flat material in a layered manner to construct something which can be quite formally complex. The beauty of this system is that fabrication and material systems can be quite simple, although construction and assembly becomes more labour intensive. Some precedents for sectioning are the AA Driftwood Pavilion, Banq Restaurant by Office DA, Burst House by SYSTEM Architects, dECOi by OneMain Street, Digital Weave by Lisa Iwamoto, Melbourneâ&#x20AC;&#x2122;s Webb Bridge by Denton Corker Marshall with artist Robert Owen and the ICD/ ITKE Research Pavilion. The AA Driftwood Panel is a clear precedent as to how beautiful sculptural forms may be produced and built using one single material, plywood, using a single method of assembly. The result is a highly sensuous flowing form which might normally be conceived as not within the realm of possibility by simply using sheets of material. Burst House presents the same principle but applied in a more functional setting. The project is a prefabricated house by SYSTEMarchitects, constructed using a structural system of laser-cut plywood, made possible by a digital workflow that

streamlines the process from design to fabrication. The benefit of such a system is that it returns power of making things to the hands of the architect, rather than a contractor, so that a beautiful execution may be a more accessible outcome. Any concern regarding sloppy detailing is thereby minimised. Wastage is minimised, as the software program is able to lay out pieces in the most efficient manner. The current limitation of such a highly bespoke system is the intense amount of cooperation and concentration required for assembly as each piece of the house is unique, like a big jigsaw puzzle. While not being an example of generative, performance-based design, the system used to create Burst House nevertheless an example of digital fabrication being able to create unusual forms which are more responsive to the environment, in this case a combination of functional requirements and sun angles. Another example, the Banq Restaurant by Office DA may be seen as an in-between of the two aforementioned projects, again using plywood panels to create a fluid sculptural form within the functional space of a high-end restaurant, heightening usersâ&#x20AC;&#x2122;

1. 4.

awareness and emotional response to the space. Overall, the field of sectioning facilitates an innovative method of producing unconventional, non-rectilinear forms. The implications of this might be to extend material thinking and material creativity â&#x20AC;&#x201C; although the precedents examined all use plywood, the same system could be easily applied to any kind of sheet material, allowing designers to exploit different material properties to create new forms not usually associated with a certain material type. Additionally, less material wastage and more importantly the ability for the designer to take control of the entire design/fabrication/construction process make it an interesting direction which to pursue.

5. 1. & 2. Burst House 3. dECOi 4. & 5. Driftwood Pavilion

B2: Case Study 1.0

Banq Restaurant Office DA

Section B: Criteria Design

The Banq Restaurant interior of the Old Penny Savings Bank in Bonston uses sectioning to create a ceiling landscape which reads as a single gesture, concealing all the service elements and giving the restaurant a unique mood whilst keeping precious floor space free for functional use. This precendent forms the basis for our first case study, first changing input parameters and then modifying the definition to create alternate forms of the same family.

Checklist: Create a matrix/table of iterations. Push the definition to its limits. Should have a minimum of 30 iterations. Decide on a Selection Criteria Highlight the 4 most â&#x20AC;&#x2DC;successfulâ&#x20AC;&#x2122; iterations and extrapolate. Speculate upon design potential

Section B: Criteria Design

Family 1

Family 2

Family 3

Family 4

Two methods of generating the Banq precedent were provided. Definition 1 relied on sectioning an input surface and extruding the sections to replicate the Banq form. We felt this method to be less successful as the outcome relied very much on the input geometry which the algorithm did not have control over. Additionally the output is slightly differs from the actual precedent as the resulting panels are curved rather than flat, which would create difficulty in the fabrication process in a practical sense. Definition 2 used a flat input surface which was then subdivided into a grid of points, then offset using an image sampler which is a nice way of being able to have control over the visual effect which follows. The offset points and the original points are then able to be organised into lofted sections. (Refer to Sketchbook for definitions.)

Family 5

Family 6

Species 2

Species 3

Species 4

Section B: Criteria Design

Species 1

Based on our explorations, we picked out four of the most successful iterations based on a selection criteria. Going back to requirements of the brief, we wish to create a structure which is able to harness the power of wind and hydro, doing so not only in a practical but beautiful manner. The structure would need to be able to be fabricated without being unnecessarily complicated, and should enable physical human interaction in order to be mentally stimulating for visitors. In creating our sequences of geometric variation, we wished to achieve forms which could be dynamic - that is, have moving parts like a kinetic sculpture, which would express and celebrate the natural forces which are being harnessed to generate electricity. Our final four iterations were chosen for the ability to satisfy the above qualities, as well as for being what we felt were most suitable in being translated to a dynamic, undulating landscape which then creates an immersive experience for the visitor.

B3: Case Study 2.0

The Sequential Wall:

Section B: Criteria Design

gramazio & kohler

The Sequential Wall is a project where the aim was to produce a wall which could integrate multiple properties in a single form - structural, waterproofing and insulation. The resulting waves are the result of an algorthimic design process based on these properties. It is constructed in an additive process using timber slats cut to a uniform size, thereby reducing wastage and enables ease of production.

Reverse Engineer

Section B: Criteria Design

Process: - Flat surface divided into row of points - Points used to generate squares - Squares extruded to create rods - Rods roated 45 degrees - Alternating rows of rods created - Sine wave added - Sine wave with rotation limited to between 45 and 90 degrees

Section B: Criteria Design

Project Outcome Our reverse engineer technique can be considered a successful one in recreating the formal expression of The Sequential Wall project. We have managed to recreate the way in which a set of rods are rotated in a pattern so that they interlock and create a rippling surface. However, beyond this similarity in appearance, our algorthim is limited in its ability to integrate the logics of our precendent project in that ours does not take into account the construction logic or any other properties such as insulative, water shedding and sturctural functions. In this way the form is not reponsive to a set of external parameters but is a product of what we as designers wished the form to be. In order to take the project forward to relate to the LAGI brief, we would like to see it inforporate movement, thus acting as a device which captures energy in a beautiful way.

Section B: Criteria Design

B4: Technique Development

This series of 50 iterations are forms evolved from the original definition..

Section B: Criteria Design

Reconsidering Selection Criteria - We would like our design to be able to generate electricity by capturing, transmitting and storing wind and wave energy - We would like to create something which is not unnecessarily complicated to fabricate - We would like the project to integrate human interaction in order to satisfy the LAGI requirement of being mentally stimulating to visitors. There may be the potential for people to interact with the structure in such a way that they are able to move parts and generate additional electricity. - We would like our structure to be a celebration of the generation of clean energy

Assessing Outcomes Iteration 1 â&#x20AC;&#x201C; The varying heights of this form could have benefits in for the criteria of energy capture by being responsive to varying wind / wave strengths Iteration 2 â&#x20AC;&#x201C; The creation of this iteration with larger sized panels is more optimized for energy capture though greater surface area. Iteration 3 â&#x20AC;&#x201C; The floor / ceiling condition generated in this iteration creates an immersive experience for the visitor as they move through the structure. It has the potential to incorporate both wind and wave energy capture, so the visitor can experience walking through a structure where clean energy is being produced all around them.

Section B: Criteria Design

B5: Technique Prototypes

Lessons from prototyping Physical fabrication made it clear to us the difficulties of replicating a digital condition in the real world where materiality and physics come into play. In our digital model, the algorithm sets up a relation where all of our rods would move in relation to each other, however there is no way in which this could be possible in the real world without the invention of an additional mechanical system which does this, as the rods are individual elements which behave individually. It is not out of the question that such a system might be created, such as by where each element is connected to its neighbour such that it becomes an interconnected structure. Another problem we encountered was that in the digital model, rod rotation was also controlled by an input parameter. In reality, this requires a physical means, which we accomplished by modifying the decking plate in which the rods are embedded. Physical Testing Our model of a singular rod and spring demonstrated to us that the model would respond to environmental forces as anticipated, rotating on its hinge when pushed, creating tension in the spring and thus generating electricity though embedded piezoelectrics. However an array of the same element repeat will prove to be more problematic as environmental forces would not be distributed evenly across elements, This would affect our ability to achieve the desired effect of creating a visually beautiful wave moment and thus fulfill the criteria of being aesthetically attractive to visitors. Energy production is also jeopardised as some elements would not receive as much direct force as others, being non-optimally located, such as directly behind other components.

plate

rods hinge plate supports

Section B: Criteria Design

B6: Technique Proposal

Algorithmic Technique Design method: - Input flat rectangular surface - Surface is divided into rows of points - Points used to generate undulating series of rods / panels Pros: - Pattern is easily adjusted Cons: - Form may be diffi cult to apply to irregular conditions

Section B: Criteria Design

Prototyping Process: - Wind and hydro elements explored independently Selection criteria: - The ability of design to generate electricity from the conversion of wind and/or wave energy - Fabrication possibility. - The ability of design to interact with humans to further generate greater amount of energy - Celebration of the generation of electricity

Section B: Criteria Design

Energy Integration: Piezoelectricity - Components move with the earthâ&#x20AC;&#x2122;s forces: wind / water - Piezoelectric sensors embedded within the spring trap energy generated by tension / compression - Change in pressure converted to an electrical current - Current is stored on site in batteries or fed into grid

Site Application: Wind

Predominate direction of wind forces about site

Structure dependent upon wind directions

Capturing wind forces

When wind is non-existent, human interaction?

RefshaleĂ¸en, Copenhagen 2014 LAGI - Site plan

Section B: Criteria Design

ONE

52 TWO

THREE

Site Application: Water

THREE

Section B: Criteria Design

Proposal Summary Site Application - We propose to position our wind panels so that they will have face prevailing winds from a westerly direction as documented by the Danish Meterological Institue - Hydro energy rods will be sited in the part of the site adjacent to the water, taking advnatage of tidal movement Innovative qualities - The spring component of our design is a new and innovating method of harnessing natural energy though mechanical strain as elements of our structure are moved

Conceptual and Technical qualities Wind panels - Surface areas is maximised so that there is a larger ares for the wind to act on - Material properties - to be made of a lightweight, durable material, consider use of recycled material to reduce embodied energy; able to be fabricated locally Wave rods - Maximum surface area should be in the direction of prevailing current - Use of tidal energy - relies on the change in water level between high and low tides, high water level is dammed and released slowly, release of water generates

current which acts on the wave rods. Alternately the rods may be exposed to the natural movement of water as generated by natural currents and movement of boats through the water - Material properties: durable in water, low maintenance - Possible use of recycled / reclaimed wharf timber for decking Drawbacks Wind panels - Height of panels: the structure is placed at a lower level to enable for human interaction and engagement, however a higher altitude would be more efficient in

terms of energy capture as wind speeds are higher. Wave rods - A denser population of rods on the site would be more suited to reproducing the mesmerising visual effect we seek,, however this is problematic in terms of energy generation given that each rod does not have sufficient personal space to do its thing - i.e. the rods would ideally be spaced in a way which maximises energy production by being exposed to a direct current and so that it does not interfere with performance of surrounding rods.

part C: Detailed Design

C1: Design Concept

Part C: Detailed Design

Performance Review In response to the interim feedback, we reflected on what needed to be changed in terms of design, concept and technique. While the concept was considered a sound one, the way in which energy production would occur was less than resolved and hence we required a re-thinking of our technology. This change (at micro-level) would then have implications for the overall design and its relation to site (at macro-level).

Technique In terms of technique, a fundamental change was required in terms of moving the entire installation onto land, focusing on wind energy harvesting rather than both wind and wave energy. Wave energy harvesting was deemed infeasible for this particular site as tidal differences are not great enough to use a tidal damming system as we had envisaged, and water movement generated by natural currents as well as those produced by passing ferries and the like would be too unreliable for a steady production of energy. With regards to the wind production segment of our original design, our previous investigations were adequate but not sufficient. We required further thinking of how the actual energy generating mechanism would work and its design, deciding to continue with piezoelectric generation. Design Once we has designed a working component (see C3 for details), we could then go on to think about its distribution over the site according to optimal conditions and performance constraints, in this case a balance between maximising elementsâ&#x20AC;&#x2122; exposure to wind forces with creating a sculpturally interesting experience for the

user as they move through the site. By focusing exclusively on wind harvesting, this also allowed us to exploit the site more freely, - the flat, empty site being a tabula rasa which allows for very unconstrained formal experimentation. The forms generated by our computational design techniques would then be subject to a series of selection pressures ranging from functional to aesthetic - site entry / exit points, desired circulation, generation of interesting moments, wind strength and direction, etc. Concept The conceptual driver of our project would remain the same - inspired by the idea of a cave of stalactites, its immersive, all-encompassing experience would be a built manifesto proposing a new approach to living and to architecture & design in that energy production can be beautiful.

Formal development

Part C: Detailed Design

final structure as proposed, plan view

structural development in section

Beginning with the concept of a cave of sticks which would vibrate with the wind, we investigated to possibility of producing a structure in which the structural and functional (i.e. energy generating) elements could be resolved into a single gesture though different combinations of the same stick element - denser configurations could act as (or at the least, conceal) structure. A sparser deployment could allow wind to move though and generate energy. (See conceptual sketches at right.) However such a structure would be less conducive to the efficient production of energy as the density of sticks requires for to replicate the desired experience and the depth of the structure would prevent large areas from receiving any direct wind force at all. We sought to tackle this problem in various ways (below left), from perforating the canopy structure, to varying canopy height across different sections, to having staggered rows of structure, finally ending up with the form shown on upper left. Rather than a column grid type arrangement, the structure becomes one of portal frames - this reduction in depth allowing for more optimised energy generation and a freer deployment across the site.

load bearing intermediate energy generating

Formal development Arrangement of the potal frames across the site were considered in several variations, the final format the result of a balanced consideration of functional and aesthetic qualities.

Part C: Detailed Design

Points of entr y

Predominant Wind

Prevailing wind directions & force

Computational technique Walkway Edge 1

Divide curve into x units & offset points into y distance

Move points up to height of frames, f1 : 1. Wave pattern - Graph mapper 2. Height = Human height, z + Sticks extrusion height, v

Divides horizontal line of frame into a units of points.

Connect all points & extrude to form frames Walkway Edge 2

Divide curve into x units & offset points into y distance

Move points up to height of frames, f2 : 3. Additional height = z + v + wind capturing height, w

Create squares from points

Extrude sticks to length, l : 1. Wave pattern extrusion, p - mimics wave patterned surface profile 2. Condition - if p exceeds f, then return fixed height f1 - z Split sticks , l to stationary, s & moving, m parts : 1. Condition - if f1 - l <= 2200, then return s = 1000; else return s = 500

w 1

Walkway Wind Direction

Part C: Detailed Design

Wind Direction

Walkway Edge 1

Divide curve into x units & offset points into y distance

Move points up to height of frames, f1 : 1. Wave pattern - Graph mapper 2. Height = Human height, z + Sticks extrusion height, v

Connect all points & extrude to form frames Walkway Edge 2

Divide curve into x units & offset points into y distance

Move points up to height of frames, f2 : 3. Additional height = z + v + wind capturing height, w

Divides horizontal line of frame into a units of points.

Create squares from points

Construction technique

component assembly Components are prefabricated off site, transported to site and then assembled. Site works prior to this include cut and fill, drainage, and construction of walkways and retaining walls.

frame assembly

Component development C2: Tectonic Elements

Looking back on our previous piezoelectric scheme, we sought to address a major drawback in the hinge system which essentially was restricting energy production as it was limited to responding to natural forces in one direction. Perpendicular forces would thus have no effect.

Part C: Detailed Design

Previous system

testing prototype

Several alternatives were explored. The hinged rod was replaced with a rod attached to the main structure via a flexible component with embedded piezoelectric elements. Our testing using a physical prototype demonstrated that this pendulum-type connection was more advantageous over the hinge connection in that it would continue to swing back and forth after being pushed (like a Newtonâ&#x20AC;&#x2122;s cradle) and thereby generate more electricity, whereas the hinge & spring was more inclined to spring back into its original position. The model was then modified to improve the detailing. Version 3 utilises the same principle but now the piezoelectric components are separate from the rod element and instead are located in a separate compartment to receive pressure as the rod rotates. Version 4 further refines the encasement of the piezoelectric component so that each rod has its own box, which has the addition benefit of being able to restrict the degree of rotation of the rod where necessary, such as to prevent interference with neighbouring components or to areas which require human access.

Version 1

Version 2

Version 3

Part C: Detailed Design

Version 4, the resolved version of our joint component, further refines the encasement of the piezoelectric element so that each rod has its own box, which has the addition benefit of being able to restrict the degree of rotation of the rod where necessary, such as to prevent interference with neighbouring components or to areas which require human access.

C3: Final Model

Part C: Detailed Design

The use of algorithmic design allowed us to systematically and rapidly fabricate a model which would have otherwise not been able to be produced without great difficulty, if at all. Using grasshopper, each individual frame could be laid out in the correct order for cutting and then assembly (See next spread).

Part C: Detailed Design

C4: Additional LAGI Brief requirements

Project statement Wind Cradle is an interactive energy generating art installation which creates an immersive experience for the visitor as they traverse through an undulating landscape guided by a series of repeating and evolving frames, or cradles. These individual cradles each contain a number of bamboo pendulum rods which catch the wind, collectively creating a rippling, shimmering effect as the wind moves through the structure. The sculptural form thereby makes visible and augments the power of wind forces as it also generates electricity, thus being a powerful statement on the beauty and potential of renewable energy production. Each rod works by putting pressure on an array of tiny piezoelectric sensors as it swings, generating electricity which is transmitted through the structure and to the grid, powering the equivalent of approximately 700 Copenhagen households each year.

site layout

frame structure

technology detail

Technology Timber rods catch the wind, hinged connection allows 360 degree rotation, whilst steel casing limits the extent each rod may swing. Casing also houses piezoelectric discs and electrical cables. As discs are compressed by the swinging rod, electricity is generated and conveyed to grid by cables.

Timber beam

Bolt connection Hinge connection Electrical cable Steel casing Piezoelectric discs

Timber rod

Transmission to Grid

Electrical Storage & Transformer Electrical Transmission

Energy Estimate

Maximum Power Output (W/s)

Copenhagen Household Energy Consumption

1 Piezo Sensor

0.007 1 Rod = 67 Sensors

365 DAYS = 1340 kWh

0.473

LAGI Site Energy Generation

1 Stick = 24 Rods

15.15 1 Frame = 18 Sticks

272.6 1 Site = 400 Frames

109056

365 DAYS = 960,000 kWh

713

Environmental Impact Statement Our project seeks to enhance the beauty of the LAGI site whilst minimise environmental impact. The aim of this project is that it may promote environmental and social wellbeing at a local level, transforming an otherwise empty site to a space for leisure, recreation and social activity. People who use the site will not only benefit from having access to green space, but also can come to appreciate the art installation as it generates energy for Copenhagen. It is our hope for the installation to be a symbol of a more sustainable future and a celebration of renewable energy. We wish to keep the embodied energy of this project as low as possible though smart choices in material selection and a considered approach to our intervention on site. Hence, whilst being monumental, the structureâ&#x20AC;&#x2122;s footprint only occupies a small portion of the site. Prior to construction there will be earthworks on the site, using a cut and fill technique so that material is not required to be transported on and off site. In keeping as sustainable as possible, our structural timber shall be sourced from reclaimed timber where possible. Rods shall be constructed from bamboo â&#x20AC;&#x201C; a renewable material sourced from plantations. Some components will be manufactured from steel to ensure durability so that the structure may continue to function as intended in years to come.

C5: Learning objectives and Outcomes

1. Interrogating a brief The requirements of the LAGI 2014 brief were constantly referred back to during the design process, particularly at the end of each stage of design, and for evaluating different design outcomes, in particular against the criteria for need to â&#x20AC;&#x2DC;stimulate and challenge the mind of visitors to the siteâ&#x20AC;&#x2122; and for the structureâ&#x20AC;&#x2122;s ability to effectively convert natural forces to usable electricity. Additionally by using computational design we were required in some ways to design our own brief, as the LAGI brief itself is very open, but the techniques we used demanded more specific input parameters and outputs which we had to specify, in line with what we wished to achieve by our project. 2. developing an ability to generate a variety of design possibilities for a given situation The algorithmic design approach allowed us to rapidly generate and explore new design possibilities by something as simple as adjusting an input slider. In this manner formal exploration could occur at a rate not normally possible though analogue design. Furthermore formal outcomes may be categorised into families (see matrices), or different evolutions of the same basic form, so that the fittest forms may be chosen to be further developed based on a series of selection pressures (as specified by developing our own brief). 3. developing skills in 3D media through extensive use of Rhino, Grasshopper, rendering and other plug-ins.

4. developing design though model making The design process as occurring in digital space would not be very useful in itself if not complemented with design testing in physical space, so our journey involved much building as testing of physical prototypes to 1) ensure our structures were buildable, and 2) ensure that they would function as we envisaged. Though making models we were able to further refine our design. 5. developing persuasive arguments though renders, diagrams, words and other presentation techniques in order to convey to others the experiential qualities as well as the logic and functional aspects of our project 6. developing capabilities for conceptual, technical and design analyses of contemporary architectural projects though analyses of relevant precedent projects 7. develop foundational understandings of computational geometry though weekly tasks documented in sketchbook 8. begin developing a personal repertoire of computation techniques through research of precedent projects, learning computational techniques and application to the design project, this studio has been a good introduction to the world of computational design. There are many advantages such as the ability for real time feedback, for the ability to rapidly generate iterations, and being able to design according to a set of performative requirements. This last aspect of being able to generate performance-based design is important

in that it allows the architectural output to be more responsive to a set of conditions such as site, user and function. While computational design has the ability to do all this, one must first have a certain familiarity with this approach to architecture, which may be viewed as one of its drawbacks - in that it will take a large degree of further investment in learning to speak the language of computational design to fully understand and be skilled enough to fully harness its benefits. ‘The limits of my language are the limits of my world,’ Learning the new language of Grasshopper opens up a new world of design possibilities, but it too comes with its own limitations, that is, it is a beginner’s approach to computational design

which in some cases is not as efficient or capable as being able to write code and thereby in a sense speak more directly to the computer. Nevertheless, having this beginner’s skill set will undoubtedly only be beneficial going into the future.

References Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley) pp. 8-71 Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 71 Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 Kalay,Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Kolarevic, Branko (2014). ‘Computing the Performative’, ed. by Rivka Oxman and Robert Oxman, pp. 103–111 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) pp. 3-62 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61. Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170