Chen rong 584445 fianl journal by Rong Chen

Air

RONG CHEN

DESIGN STUDIO AIR RONG CHEN 584445 2014 / SEMESTER 1 TUTOR: BRAD & PHILIP

Contents

PART A

PART B

Introduction 6-7

B.1 Research Field

A.1 Design Futuring 9 A.2 Design Computation 14 A.3 Composition/Generation 22

B.2 Case Study 1.0

A.4 Conclusion 28 A.5 Learning Outcomes 29

B.5 Technique: Prototype

A.6 Appendix 30

B.7

B.8 Appendix

References 31

Reference

B.3 Case Study 2.0

B.4 Technique: Develop

B.6 Technique: Proposal Learning Objectives

PART C

C.1 Design Concept 91

C.2 Tectonic Elements 106

C.3 Final Models 114

pment 61

es 70

C.4 LAGI Brief Requirements

137

C.5 Learning Objectives and Outcomes 154

l 80 and Outcomes

Reference 156

Introduction

My name is Rong Chen (Renee), a third-year architecture student at the University of Melbourne. I come from China, and have been in Australia for six years. I am interested in architecture as it is a course that involves comprehensions of various fields, such as arts and technologies, enables me to develop holistic design skills. My first experience with digital design tool was Rhino in the Virtual Environment. The lantern model is the realisation of the abstractive idea of expressing the natural process of mimosa pudica. From ideation to fabrication, the process was challenging for me, but it was surprized to see my concept transformed into a real product. However, I have limited skills on CAD and Sketch Up. It was difficult for me to learn the computer software as I never ever used design software before I studied in Uni. I think the air studio provides a great opportunity for learning the software and innovation designs, and it will be useful for my design career path.

Part A Conceptualisation

A.1 DESIGN FUTURING LOOP 2012 Land Art Generator Initiative Entry Artist Team: AMIR KRIPPER, MICHAEL GROGAN, CHRISTOPHER LI, KRISTEN BARROW, ALENA PARUNINA Artist Location: Boston, USA

This project proposal is designed for the Fresh-

the site, rather than a single landmark. Further-

kills Park, which aims to dissolve the traditional

more, as every built construction has impacts

boundaries between landscape, architecture,

on environment, Loop uniquely designed the

public art and renewable energy infrastruc-

circular planters that are able to collect the rain

ture.

water which filtered and returned to the creek, significantly mitigate the effects of water runoff.

This building can be treated as a design for the future, as it generates renewable energy by

Loop is an excellent example of design which

mounting a system of flexible solar panels on

integrate sustainability, nature, and design

construction. In fact, this installation can gen-

into a whole one. Visitors not only enjoy the

erate around 1.20 MW of power which can

leisure time in the park, but also inspired af-

provide electricity to more than 1,200 homes

ter discovering the installation and engag-

annually. Aesthetically and functionally de-

ing with the amazing views, the journey be-

sign a sustainable architecture where installa-

comes a transformative experience for visitors.

tion corresponds to the unique topography of 10

Figure 1 Loop ELevation

Moreover, this proposal established as a learning facility which provides visitors great opportunities to interact with state of the art technology and renewable energy while discovering a new built environment.3 They can be educated about the process of clean energy, and be conscious of benefits of sustainability. Overall, the Loop is a unique sustainable, athletic, functional and educational design, engaging the public in the reinvented FreshKills Park in an unprecedented way.

A.1 DESIGN FUTURING PIEZOELECTRIC GENERATORS

Figure 3 Havested Energy

Piezoelectric generator is one of the kinetic

being embedded in walkways to recover the

energy harvesting. The mechanical strain har-

â&#x20AC;&#x153;people energyâ&#x20AC;? of footsteps, and one of the

vested by this technology, which comes from

great examples is the Pavegen systems paved

human motion, low-frequency seismic vibra-

in a London sidewalk.5

tions, and acoustic noise, can be converted into electric current or voltage. However, the

The energy harvested by the Pavegen tile can

amount of produced power is small, ideally

immediately power off-grid applications, and

supply for low-energy electronics, such as pe-

have ability to send wireless data using the en-

destrian lighting, way-finding solutions and ad-

ergy from footsteps and can be interred with

vertising signage or be stored in a battery.

API as a key technology for smart cities. Recy-

clable materials are used for majority of the As an emerging technology, the use of piezo-

flooring unit, 100% recycled rubber utilized for

electric materials to harvest power has already

the top layer, and slab base is constructed

become popular. Piezo elements are

Figure 4 Pavegen Tile

Figure 5 London Sidewalk

from over 80% recycled materials.6 It has ability to withstand harsh outdoor locations with high footfall, and waterproof to efficiently operate in both interior and exterior. The technology is interactive as it offers the tangible way for people to engage with renewable energy generation and to provide live data on footfall wherever tiles are. Even piezoelectric generator has limitations on energy production, and requires certain amount of movement, it greater benefits for the nature as environmental friendly technology, and sustainable for future generations. 13

A.2 DESIGN Computation

With the evolution of the digital technologies

In the use for the design process, computa-

in architecture, computation as a computer

tional techniques help represent the design

based design tool has changed the design

graphically and numerically, fabricate and

methods in an efficient way, and the compu-

construct the resulting, and capable to mod-

tational design as a process supports design

el the structure of material system, provid-

exploration rather than design confirmation.

ing powerful paradigm for material design.7 These breakthroughs provide architects the knowledge and expertise to discover differentiating potential of topological and parametric algorithmic thinking and the tectonic creativity innovation of digital materiality. Furthermore, it allowed more people to become involved in the design process, integrate process in a holistic manner to the realisation of the design. 8

A.2 DESIGN Computation Spanish Pavilion

Figure 6 Exploration of Structure and Material

The Spanish Pavilion was constructed in 2010

The 3D models were also used as a system of

for the World Expo in Shanghai, and demol-

communication between the architecture,

ished after the event. The abstract idea of

engineer and the manufactures in the work-

this pavilion is an expression of the climate of

shop. It enables the explorations of the struc-

Spain on architecture. It is characterised by

tural expression, by this process, the archi-

the highly complex curvature form, and the

tects and engineer simplified the structure by

utilization of the wicker materials.

adapting variable curve that was produced to a limited number of different curves, which

Digital in architecture support the emergence

reducing the complexity of fabricating the

of certain distinctive geometric preferences

elements. 3D model graphically presents the

and aesthetic effects.9 The unique complex

design idea and efficiently formulates a spe-

geometry of the pavilion was manipulated

cific solution through manipulating the pre-

using the Rhino software, but computational

set parametric, allows the complex form to

techniques not only create the desired ge-

be achieved with readily available materials

ometry surface, also help in finding solutions

and a streamlined assembly process at mini-

for design where the challenge of structure

mal cost, instead of the traditional trail-and-

was solved by experimentation of structures

error methods.11

to find a metal system that meet the complex geometry. Furthermore, the ability to model the materials system provides architects opportunities to determine various materials densities and orientations of the panel along 15

Figure 7 Spanish Pavilion

Figure 8 Research Pavilion

A.2 DESIGN Computation Research Pavillion 2012 by ICD/ITKE

The Institute for Computation Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) at the University of Stuttgart have completed the pavilion that is entirely robotically fabricated from carbon and glass fibre composites in November 2012.12 The inspiration of the project comes from the exoskeleton of the lobster, as a source been analysed in greater detail for differentiation of local materials in order to explore a new composite construction paradigm in architecture by simulate method. By utilizing the computational techniques, architects are capable to transfer the biomimetic design principles to the design of a robotically fabricated shell structure based on a fibre composite system.13

Figure 9 Model of Researcj Pavilion in Matrix Principle

A.2 DESIGN Computation Research Pavillion 2012 by ICD/ITKE

Architects directly coupling of geometry

geometry through evaluating process in

and finite element simulations into compu-

computations, reduces the likelihood errors.

tational models allowed the generation and

If the project communicates in traditional

comparative analysis of numerous variations.

pen-and-paper ways, the complexity of ge-

The ability to model the structure of mate-

ometry is less efficient to present, as there are

rial system as tectonic systems in computing

concerns with time consumption, difficulties

enables the determination of fibre orienta-

of obtaining accurate measurements of ma-

tion, fibre arrangement, stiffness and layer

terial hence lack of performance preview,

arrangement, integrating the material and

which results in reducing the variability of

structure design in the process, thus complex-

design options. Thus the synergy of modes of

ity of interaction of form, material, structure

computational and material design, digital

and fabrication could be distinctively com-

simulation, and robotic fabrication provides

municated to the architects and engineers.

opportunity for exploration of the completely new architectural possibilities, and lead to

In this way, architects are able to explore

development of highly efficient structure with

possibilities of using the shell structure as

minimal use of materials.

computation conceptualises how the structure will work, and preciously analysis material properties through parametric values, as a way in achieving the spatial arrangement of the carbon and glass fibres, as well as assisting in realization and assurance structure functionality in a productive 3D simulation. The computational design process optimized the material and form generation regarding to the biomimetic principle, and ensures architectâ&#x20AC;&#x2122;s creation met the desired

Computational techniques enable the creation and modulation of differentiation of the element of a design, it advanced environment for interactive digital generation and performance simulation. It is beneficial for designers to acquire new knowledge of computational techniques which necessitates a design strategy to be developed at the initial phase of the design process. In the LAGI project, by utilizing of computation, performance of energy installation will be obtained which helps evaluating the sustainability of the design project.

Figure 10 Fibre Orientation

Figure 11 Fibre Orientation

A.3 Composition/Generation

Composition is defined as the rules or process

The emerging computational techniques in

of the architecture. It is the organization of the

nowadays has shifted the architecture from the

whole out of its parts, by this process, an ordered

composition to generation. Computation has

expression is created by architects. Throughout

brought along a new process to architecture,

the history, the perfect composition architec-

as it augments the intellect of the designer and

ture is characterised by the idea of “balance

increases capability to solve complex problems

and contrast” with establishments of primary

through the ‘sketching by algorithm’.16 In the

and secondary focal points and arrangement

generation process, the understanding results

of climax. However, the composition only forms

of generating codes and scripting enabling ar-

a traditional architecture that designed based

chitect to write and modify of algorithms that

on the order rules, without any design innova-

relate to element placement and configura-

tions in geometries, presentation, and architec-

tion, which generating the exploration of archi-

tural elements.

tectural spaces and concepts.

Parametric modelling software like Rhino and Grasshopper, develop the computational simulation method that generates the performance of feedback, offers architects an analysed performance regarding to the material, tectonics and parameters of production machinery in their design drawings, hence providing new design options for architectural decision during the design process. Nevertheless, the generation approach has shortcomings in problem of overly complex forms, which is doubted with its practicality regarding to the limitation of current construction technology.15

Figure 12 Shellstar Pavillion

A.3 Composition/Generation Shellstar Pavilion Location: Hong Kong

Shellstar pavilion is designed as a social hub

Form-Finding

and centre for the art and design festival held

By utilizing parametric programs, Grasshop-

by Detour in Hong Kong in December 2012.

per and the physics, the self-organized form

The design goal of the project is to achieve

is emerged based on the creation of thrust

the maximized spatial performance while

surfaces that are aligned with the structural

minimizing structure and material in a tempo-

vectors, it allow for minimal structure depths.

rary, inexpensive, and efficient method.

The generation approach in this stage allows

designer to quickly explore different variThe design process was completed in six

ables of structure design in a holistic com-

weeks and fully working within a paramet-

prehensive representations, and investigate

ric modelling environment that provides the

the results efficiently to single out the appli-

quick development for design. Three parts of

cable scheme.

design process can be divided by advanced digital modelling techniques:

form-finding,

Surface optimization

surface optimization and fabrication plan-

The structure is composed of 1500 individ-

ning.

ual cells, in order to achieve the complex geometry, the custom Python script is used to optimize each cell as planar as possible, which greatly simplifying fabrication. Even though the generation approach limited in directly generating the buildable non-planar cells, the parametric modelling adapted as problem solving tool to deal with material property, enable the feasibility of the design before realization. Fabrication Planning The orientation of shell was analysed, and then unfolded flat and prepared for fabrication with labels on each individual material pieces. The generative approach enables the design outcome successfully constructed. 18

Figure 14 Design Process in Computation

Figure 13 Shellstar Pavillion Realisation25

Guangzhou Opera House By : Zaha Hadid Location: Guangzhou, China

The Opera House is located in Guangzhou, China. The design evolved from the concepts of a natural landscape and the fascinating interplay between architecture and nature, engaging with the principle of erosion, geology and topography. The utilizing of Rhino program generates the outer crystalline, and inner complex and fluid surfaces inside the auditorium generated in Maya. The organic forms are achieved through logarithm, splines, blobs, NURBs, and particles on organized by scripts of the dynamic systems of parametric design, which implies that parametric tool gives the possibilities of curves. 19

Figure 15 Guangzhou Operation House

Furthermore, development in Maya as NURB

Overall, in the generation process, param-

surfaces of the auditorium geometry repre-

eters are interconnected as a system. The

sents the different mathematical species,

parametric design creates systematic, adap-

the parametric tool allows final material be

tive variation, continuous differentiation, and

cast precisely based on its unique paramet-

dynamic figuration from different scales that

ric data. In this way, the parametric design

from urbanism to the furniture.

makes the fabrication easier as all material prefabricated in factory and construction on site. Moreover, the generative approach leads to the formation of the continuous, seamless surfaces due to the parametrical design in early stage.20

A.4 Conclusion

Nowadays, architecture is not only defined

Regarding to the proposal for the LAGI (Land

as a building or form, it also expresses the re-

Art Generator Initiative) Competition, the

sponses to the environment regarding to the

computation is useful in determining the

current facing issues, and the design goal

performance of energy generating strategy

of architecture puts more emphasis on the

through algorithmic exploration of param-

long-term development and the sustainable

eters, as well as tests the feasibility of the

future.

fabrication. Furthermore, utilization of Rhino and Grasshopper in the design process helps

With the advanced development of com-

in optimizing the structure and material, thus

putations, architects and designers gained

make the sustainable proposal of an land-

new design approach to find a suitable and

mark for energy-saving achievable.

efficient outcome, as the computer lets architects predict, model and simulate the encounter between architecture and the environment. The generative approach expands possibilities for architect to explore complex geometry in a productive way that traditional pen-and â&#x20AC;&#x201C;paper method cannot apply, hence encourages innovations in architecture.

A.5 Learning Outcomes

Over the past few weeks, through the read-

Also, the weekly Grasshopper exercises al-

ings and research on precedents, it broad-

lowed me to gain the understanding of the

ens my new views in architectural design. At

parametric design, it not only a geometry

the very beginning, my thoughts were limited

design tool, it also benefits the architectural

by the traditional composition architecture

industry in design performance. I expect that

and thought that the design of architecture

use of this parametric modelling program will

only generates the interesting forms. By look-

significantly contribute to the proposal of the

ing at the precedents that involves the com-

LAGI project.

putational design, I realized the architectural design is currently shifted to a high level of approach with computation, and concerning more on the sustainable solution in regards to posted environmental challenges.

A.6 Appendix

Computational design is very important for designers, it help designer to generate ideas and develop models. When I doing the exercise, I realize that doing parametric design is not only a study for design but also a study for computer program. I get lots of surprise from the computer since it always provides amazing outcomes.

References Brady, Peter, Computation Works: The Building of Algorithmic Thought, Architectural Design, 2013. Rivaka, Oxman and Oxman, Robert. Theories of the Digital in Architecture, London: New York: Routledge, 2014 1.Kaylay, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge, MA: MIT Press, 2004. 2.”Loop,” Land Art Generator Initiative, Last Modified 2012, http://landartgenerator.org/LAGI-2012/ LP360012/ 3. ”Loop,” Land Art Generator Initiative, Last Modified 2012, http://landartgenerator.org/LAGI-2012/ LP360012/ 4. “Pavegen system” Pavegen system, Last Modified 2014, http://www.pavegen.com/technology 5.“Pavegen system” Pavegen system, Last Modified 2014, http://www.pavegen.com/technology 6. “Pavegen system” Pavegen system, Last Modified 2014, http://www.pavegen.com/technology 9. Oxman, Rivka and Oxman, Robert. Theories of the Digital in Architecture, (London; New York: Routledge,2014), 6 10. “Spanish Pavilion for Shanghai World Expo 2010,” World Buildings Directory Online Database, Last Modified 2010, http://www.worldbuildingsdirectory.com/project.cfm?id=2681 11. Rivka and Robert, Theories of the Digital in Architecture, 6 12. “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, Last Modified 2012, http://www.achimmenges.net/?p=5561 13. “Research Pavilion 2012 By ICD/ITKE,” A As Architecture, Last Modified 2013, http://www.aasarchitecture.com/2013/05/Research-Pavilion-2012-ICD-ITKE.html 14. “Research Pavilion 2012 By ICD/ITKE,” A As Architecture, Last Modified 2013, http://www.aasarchitecture.com/2013/05/Research-Pavilion-2012-ICD-ITKE.html 15. Peters, Brady, Computation Works: The Building of Algorithmic Though,(Architectural Design,2013), 12. 16. Brady, Computation Works, 10. 17. “Shellstar,” MATSYS, Last Modified 28 April,2011, http://matsysdesign.com/2013/02/27/shellstarpavilion/ 18. “Shellstar,” MATSYS, Last Modified 28 April,2011, http://matsysdesign.com/2013/02/27/shellstarpavilion/ 19. “Guangzhou Opera House,” Architect Magazine, Last Modified 28 April,2011, http://www.architectmagazine.com/cultural-projects/guangzhou-opera-house.aspx 20.”Guangzhou Opera House,” Architect Magazine, Last Modified 28 April,2011, http://www.architectmagazine.com/cultural-projects/guangzhou-opera-house.aspx

Image References Figure 1 AMIR KRIIPPER, Loop Elevation, 2012, http://landartgenerator.org/LAGI-2012/LP360012/, (accessed March 26, 2014) Figure 2 AMIR KRIIPPER, Loop Elevation, 2012, http://landartgenerator.org/LAGI-2012/LP360012/, (accessed March 26, 2014) Figure 3 “Pavegen system” Pavegen system, 2014, http://www.pavegen.com/,(accessed March 26, 2014) Figure 4 “Pavegen system” Pavegen system, 2014, http://www.pavegen.com/,(accessed March 26, 2014) Figure 5 “Pavegen system” Pavegen system, 2014, http://www.pavegen.com/,(accessed March 26, 2014) Figure 6 “Spanish Pavilion for 2010 Expo Shanghai,” World Buildings Directory Online Database, 2009, http://www.worldbuildingsdirectory.com/project.cfm?id=1737, (accessed March 26, 2014) Figure 7 “Spanish Pavilion for 2010 Expo Shanghai,” World Buildings Directory Online Database, 2009, http://www.worldbuildingsdirectory.com/project.cfm?id=1737, (accessed March 26, 2014) Figure 8 “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, http://www.achimmenges.net/?p=5561 (accessed March 26, 2014) Figure 9 “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, http://www.achimmenges.net/?p=5561 (accessed March 26, 2014) Figure 10 “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, http://www.achimmenges.net/?p=5561 (accessed March 26, 2014) Figure 11 “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, http://www.achimmenges.net/?p=5561 (accessed March 26, 2014) Figure 12 Shellstar Pavillion, 2012, http://www.arch2o.com/shellstar-pavilion-matsys/ , (accessed March 26, 2014) Figure 13 Shellstar Pavillion, 2012, http://www.arch2o.com/shellstar-pavilion-matsys/ , (accessed March 26, 2014) Figure 14 Shellstar Pavillion, 2012, http://www.arch2o.com/shellstar-pavilion-matsys/ , (accessed March 26, 2014) Figure 15 “Guangzhou Opera House,” Architect Magazine, 2011, http://www.architectmagazine.com/ cultural-projects/guangzhou-opera-house.aspx

Part B Criteria Design

B.1 Research Field Material System - Biomimicry

Biomimicry is literally from the Greek â&#x20AC;&#x2DC;biosâ&#x20AC;&#x2122;

As a part of biomimicry study, biomimetic ar-

that meaning life, and mimesis, imitation, it is

chitecture design is seeking solutions for sus-

a new principle that offers design, science,

tainability in nature not only by replicating

and industry a new way of accessing na-

the natural forms, but also by understanding

tureâ&#x20AC;&#x2122;s intelligence in order to solve human

the rules governing those forms by looking at

challenges by taking imitation from nature.

nature as model, which means taking inspi-

ration from natural forms, process, systems, Biomimicry provide a wealth source of inspi-

and strategies, and then apply it to the man-

ration as well as unleashing a new breeding

made in order to optimise the design solu-

ground for sustainable research and devel-

tions; as measure, by utilizing an ecological

opment, as nature has refined itself over last

standard to assist development of human in-

millions of years, this process has demonstrat-

novations while judging the sustainability of

ed successful solutions to many of the prob-

the solution; as mentor, values nature that

lems that we are facing nowadays, as well

humans can learn from instead of extracting

as has revealed the survival strategy of the

from it.3

ecosystem which has singled out the fittest organisms.2 Therefore, it provides opportuni-

Furthermore, along with the arrival of acces-

ties that transferring natural theories to design

sible computer technologies, biomimetic ar-

innovations which lead to a more advanced

chitecture become popular. It facilitates the

technology for solutions, as well as offers

design and construction of complex forms

enormous potential to transform our build-

that were almost unachievable in the past

ings, products and system.

due to constrains of physical fabricating process. Integration of biologically inspired process in computational design opens opportunities of new ways of designing approach, utilize natural process as an algorithmic process. A wide variety of biomimetic projects are in development, in testing, or in use now.

Times Eureka Pavilion, 2011 Architect: Nex Architecture Location: London, UK

Figure 1

Times Eureka Pavilion is a typical example of

patterns of capillaries.5 Moreover, the pavil-

architecture imitating the patterns of biologi-

ion mimics water transfer found in plant bi-

cal structure in a scientific approach, dem-

ology, rain water literally runs off the glazed

onstrating humanities symbiotic relationship

roof cells into the main recessed capillaries

with natural ecosystems.

and down the walls to the ground.

The design concept of Times Eureka Pavilion

Furthermore, the structure was generating

was inspired by looking closely at the cellular

by utilizing computer to algorithm plan of the

structure of plans and their process of growth

garden that was grown by capillary branch-

to inform the design’s development. It fo-

ing and subsequent cellular division. And the

cused on the ‘bio-mimicry’ of leaf capillaries

patterns of biological structure were con-

being embedded in the walls, the supporting

trolled by a Voronoi diagram in grasshop-

structure of pavilion was formed by the mod-

per. Level of satisfaction of architectural and

ular structural grid that imitates the growing

structural needs was estimated following

Figure 2

Figure 3

completion of the 3D modelling, as well as specialist timber fabricator undertook detailed analysis.

Airspace Tokyo Architect: Faulders Studio with Proces 2, Studio M Location: Ota-ku, Tokyo, Japan

Airspace Tokyo is a representative example

The facade contains four over laying layers

of biomimetic architecture that imitating na-

of the porous, open-celled meshwork that

ture to solve the problem through innovating

changes densities as it moves across the fa-

a new type of facade.

cade, responding to internal program and providing shading and reflection of excess

Inspiration of airspace facade solution was

light away from the building. Moreover, the

informed via old facade that was wrapped

different unique patterns of each layers skin

by dense vegetation. It artificially blends with

were generated with parametric software,

the nature as performing like artificial vege-

and fabrication consideration was integrat-

tation that has similar attributes to the green

ed in the process. In order to ensure the cellu-

strip. This project not only imitates the organic

lar mesh to visually float, the panels that using

pattern for aesthetic purpose, but also takes

composite metal panel material are affixed

inspirations via the nature process of the cap-

by a matrix of thin stainless steel rods which is

illaries actions in forming operations of the

threaded from top to bottom, assembled in

facade, including refracted sunlight along

an aesthetical way as the supporting struc-

its metallic surface; channel rainwater away

ture seems invisible.7

from exterior walkways.6 As a result, airspace Tokyo derived an architectural system from process of capillaries has shifted to a new atmospheric space of protection to building, as biomimicry provides opportunity for designer to innovate a creative structure with similar qualities as the previous facade, engage and with nature rather than beating the nature.

Figure 4 Airspace Tyoko

Figure 5 Exterior Skin 41

B.2 Case Study 1.0 Aranda Lasch - The Morning Line Architect: Matthew Ritchie with Aranda Lasch and Arup AGU

Figure 6 T The morning line is an experimental project

Based on a radical cosmological theory, the

that explores the interdisciplinary interplays

morning line takes the form of an open cel-

between arts, architecture, mathematics,

lular structure that simultaneously generating

cosmology, music.

itself and falling apart rather than an enclosure, and further utilizing the fractal cycles

The initial idea of collaborators team aims to

through computation to create a truncated

develop a semiasographic architecture that

tetrahedron module with fractals are fol-

refers to a non-linear architectural language

lowing a repetitive definition which can be

based on fractal geometry and parametric

scaled up and down.9 By harnessing the ad-

design, which directly expresses its content

vantages of the parametric design, collabo-

through its visual structure, and considered

rators team pushes the definition to its limits to

as challenges to architectural convention.

experiencing the multiple architectural forms

that resulted from changes of parameters, to test the boundary of definition.

The Morning Line However, there is no final form as there is no

The morning line project is used as a starting

single way in or out, an interactive film de-

point to explore the possibilities of biomim-

scribes the evolution of the universe as a

icry in computational design, through under-

story without beginning or end, only move-

standing of the algorithm process in grass-

ment around multiple centers. The outcome

hopper, it enables capability of exploration

is an impressive 8 metre high, 20 metre long

with variation of changes, the following pag-

black coated aluminium pavilion integrates

es demonstrate the matrix table of explora-

the music and sounds culture within it, recog-

tion of definition.

nized as a new type of instrument as well as an interactive performance space.10

Figure 7 The Morning Line

Figure 8 The Morning Line

B.2 Case Study 1.0 Matrix Table 1

Three Sides

Cluster 0.333

Cluster 0.1

Cluster 0.2

Cluster 0.4

Cluster 0.5

Cluster 0.6

Four Sides

Five Sides

Six Sides

Seven Sides

Eight Sides

Nine Sides

Ten Sides

B.2 Case Study 1.0 Iteration Table 2

Matrix table 1 explores the variations with different functions and cluster parameters. Based on the original functions that used in definition, the limitation of geometry outcome was pentagon, apply with different mathematical functions, numerous geometry form will be achieved. Also as number if sides increase, the height decreases. Maximum value of cluster is 0.6 for tetrahedron, as long as factor greater than 0.6, the geometry no longer exists, and greater the parameter, more complex the fractals appear. Matrix table 2 explores radius parameters and component options. There is no limitation of radius and height, thus the scale of polygons can be infinitely increased. The unexpected outcome was achieved by simplified and flatten the parameters, which alternates the points order resulted in new ways of connections. The selection criteria is based on consideration of interesting and aesthetic form that attracts visitors while relevant and connect to the site at Copenhagen, as well as take potentiality of structure to maximise the ability to harvest wind energy. The selected four iterations are considered the most successful than others, because they are all have interesting features and showed potentials of development in architectures or landscape installations.

B.2 Case Study 1.0 Successful Outcomes

Selection A

Selection B

Fractals formed a symmetrical pattern while

The form of this iteration shows the possibility

remain the overall shape of a pyramid, it fea-

of side numbers of geometry. It is no longer

tures the 3D patterning effect rather than flat

definable from the original tetrahedron as no

2D pattern that usually applied on wall or floor.

sharp corners on the bottom, demonstrate

It demonstrates the potentiality of fractals ap-

possibility of curvy form rather than linear-line

plication in other objects, pavilion or architec-

shape. High density of fractals not only results

ture for aesthetic effect.

in an interesting fragmentation pattern, but also further expresses the biomimicry system of natural process through the structure itself.

Selection C

Selection D

This Is an abstract concept rather than an

Demonstrate an indefinable form that looks

intact geometry, as it basically a series of

like imitation of the universe, the ends of the

fragmented pieces organised in a pentagon

protruding suggest a sense of deterioration

form. The floating sense of fractals is opposite

of natural process. Demonstrate potential

to the original static feeling of selection A and

adoptability for generating basic pavilion

B, if integrate it to the site environment, it will

form or sculpture.

blind into the nature, and offers a different experiences of free structure of the project.

B.3 Case Study 2.0 CLJ02 - ZA11 Pavilion Designers: Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan, 2011 Location: Cluj, Romania

The ZA11 pavilion is designed for the 2011

efficient in according to each line length in

ZA11 Speaking Architecture event in Cluj, Ro-

a hexagonal grid as short as it can possibly

mania. This design boats strong representa-

be, which means a large area to be filled

tional power in order to fulfil the main goal

with fewest number of hexagons. This struc-

- attracting passers-by to the event, and al-

ture provide possibility for design team to

lowing for the sheltering of the different

construct a particular geometrical configu-

planned events.

ration that requires less materials while gain adequate strength under compression. 11

Creative exploration was constrained due to the harsh requirements of short time period,

In addition, the realization of this unusual

limited budget, specified materials and tools,

spectacular form was realized possible by

which resulted in limited approaches. Deep

parametric design techniques, from geom-

hexagonal structure is adopted in the final

etry generation to piece labelling, assembly

design to solve the problem by mimic natural

and actual fabrication, process was con-

structure. As the hexagonal structure is

trolled in computational design tools, which

reduces time consumes in comparison to traditional design way, hence meet the harsh time requirement. As a result, a free-form ring is formed based on hexagonal structure. Design team combines the biomimicry principle into the computational design process enables themselves to achieve the goal with limit material and time, thus the project is successful in meeting design intent.

B.3 Case Study 2.0 Reverse-Engineering

II.

Set one base curve and one ref-

Loft the curves to get the base

erence point in rhino.

surface. Commit closed loft

Scale and move the curve to

option to ensure the surface is

create multiple curves.

closed

III.

IV.

Apply the hexagon cells to the

Utilizing reference point as centre to

surface

scale the surface that achieved in II Form an inner surface

B.3 Case Study 2.0 Reverse-Engineering

Set both surface to graft option

Debrep the loft surface to obtain

Loft the corresponding lines of

individual surfaces

hexagon on the inner and outer

Apply the pattern to the surfaces

surfaces

Delete the duplicate surfaces Refine the Model

B.3 Case Study 2.0 Algorithim Diagram

Curve

DeBrep

Move/Scale Curve Curve

Loft

Hexagonal Cells

Scale

Hexagonal Cells

Curve Point

Lof

Scale Area Explode

Joint Line

List Item

Scale

Line Line

Line

Joint

Area

Point

Line

Solid Difference

B.3 Case Study 2.0

The combined outcome of different process

However, the ZA11 pavilion design process

for each parts in grasshopper has enabled

achieved it by using a referencing point to

a final definition, creating a successful out-

extrude line from surface to a certain length

come in reverse-engineering project of the

rather than using the inner surface, the origi-

ZA11 pavilion.

nal design process is much complicated than definition that we created.

The outcome reproduces the overall ring form with deep hexagonal structure that em-

The next step would be to incorporate differ-

ployed by the ZA11 pavilion, and both has

ent forms, patterns to the definition, as well

the similar triangular pattern that is hollow on

as changing the different inputs to test the

each individual pieces of the surface. Even

capability of definition. The existing alforithm

though the appearances are similar, the de-

could be developed further to achieve a

sign process was obviously different. In the

more creative definition.

process of our outcome, in order to achieve the horizontal surfaces between edges of hexagon, an scaled inner surface is used to line the corresponding

points of hexagon

corners, then loft the surface.

B.4 Technique Development

Using the reversed engineering project as the

Matrix table 2 â&#x20AC;&#x201C; Six basic shapes are selected

starting point, in this section, the definition is

from matrix table 1, then recreate the defini-

further developed with variations of basic

tion of pattern section in grasshopper to ex-

shape, the patterns attach to the surface,

plore the options of patterning, for instance

and the lofting panels options to extend and

line different point on two curves by using

alter its functionality.

divide curve command, to produce more outcomes.

Matrix table 1 â&#x20AC;&#x201C; the basic shapes that created in matrix table 1 are inspired by the form and

Matrix table 3 â&#x20AC;&#x201C; based on table 2, six hybrids

structure of a specific animal or insect, such

iterations are selected based on its potenti-

as caterpillar, peacock, tree trunk, beehive.

ality for further development, and they are

The rest two shapes are generated through

most varying from the original. Through alter-

analysing the wind direction at site, pull and

ing the parameters, it freely changing the

push the curve to generate the shape that

geometry, and shift it to a more dynamic

resulted by effects of wind pressure. By using

form rather than just utilizing one script.

the Lunchbox plug-in, loft panel is tested with options of hexagon, triangle, rectangle, diamond and stegger shapes.

Matrix Table 1

Matrix Table 2

Matrix Table 3

B.4 Technique: Development

I. This iteration generates the most interesting dynamic form that based on wind direction of the LAGI site. The wind mainly comes from the south-west direction, the windward side of the shape is curvier than the leeward side, the whole shape is shifted toward to the leeward direction by pressure. Imitating the wind movement and express it through the structure, has patentability to be developed with tensile materials, and suitable for installation of wind energy generation.

II. The basic form of this iteration is also inspired by wind, compared to selection I, it is more static, but the hollow core under the structure skin will direct the wind passage rather than let wind pass over the structure skin. This idea has possibility to offer people with an interesting experience while the structure likely to be a pavilion. It has high potentiality to harvest the wind energy.

III. This iteration takes the shape that is inspired by the height of the surrounding buildings as well as wind movement. The scatter locations of posts would create an interesting circulation for visitors. Feasibility of simple structure, and able to harvest the piezoelectricity from visitorsâ&#x20AC;&#x2122;s engagement with site.

IV. The simple form of iteration looks like imitating the bamboo growing process which is in sections. The outcome is interesting as it has least members in comparison to other iterations. Its surfaces potential for harvesting solar energy.

B.5 Technique: Prototype Prototype 1

The digital model in rhino was unrolled and labelled in order for fabrication process, which significantly reduce time consumes in comparing to the hand-craft. Then it can be print out in multiple options of materials.

For prototype 1, the selected successful out-

As shown in the picture above, plywood has

come II in B.4, plywood, an eco-friendly ma-

possibility to achieve the curve structure and

terial was utilized to explore the stability of

offers not only elegant but also organic feel-

structure and appearance of the design. As

ings about the design. However, the thick-

plywood is light in weight but has high uniform

ness of the material is a serious concerns in

strength and freedom from shrinking, swelling

fabrication process, unlike paperwork, as

and warping, it is beneficial for outdoor instal-

differs the thickness, the structure is altered,

lation. Moreover, it has capability for fabrica-

which may lead to a collapse outcome.

tion of curved surfaces which provide opportunities for more creative form generation.

B.5 Technique: Prototype Prototype 1 - Connector

Based on previous research on ZA11 pavilion, a common connector type for assembling wood construction in small scale architecture is wood panel connector. It fixed multiple panels together and provides strength to the overall structure in conventional way, as it is easy for remove in the future. As testing outcome of prototype one, it could be seen that the connector provides rigidity to structure as it hold each individual pieces right at their position.

B.5 Technique: Prototype Prototype 2

Prototype 2, the selected successful outcome III, is aiming to gain the understanding of overall form of the design. The balsa wood was utilized, it was lighter and much softer than the plywood, easy to cut and shape, idealised for small scale projects. It is conceived as sustainable material as its carbon neutral qualities ensure an environmentally friendly solution that can help promote Copenhagen as a â&#x20AC;&#x153;Green Cityâ&#x20AC;?. This prototype demonstrates an interesting ground area that zoned by the density of the posts, but the design concept is too simply to be recognised as solution for the brief, it still has large potentiality to be developed further.

B.5 Technique: Prototype Prototype 3

The purpose of prototype 3, the selected successful outcome I, is to test the material performance with the structure. It utilises the Perspex material, an acrylic plastic material, which has similar qualities to glass with regards to transparency, but itâ&#x20AC;&#x2122;s twice as durable and more lightweight than glass with similar thickness. It is conceived as eco-friendly material as Perspex is reusable. This prototype demonstrate that Perspex form the hexagonal structure of design, the transparent feature of material results in a beauty of cleanness. The connector between individual pieces of Perspex is an important consideration. As in prototype, in order to form hexagonal cell, steel wires was utilized to fix the position of pieces of Perspex, but it failed to make stable structure, instead, resulted in a loose and flexible structure. 77

B.5 Technique: Prototype Prototype 3

B.6 Technique: Proposal

Based on the LAGI brief, it is not only impor-

electricity resulting from pressure, as certain

tant to create an attractive energy saving

materials have ability to generate current

design, but also necessary to invite users to

when subjected to mechanical stress or vi-

the design and interact and engage with

bration. Therefore, when wind moving across

in the design by themselves, through expe-

the piezoelectricity materials that installed

riencing the energy regeneration to raise the

on the structure skin, wind pressure resulting

awareness. The team attempts to design an

electricity through the material.

aesthetic pavilion which will attract and provide them with an opportunity to get to know

Furthermore, as the basic shape of design

the sustainable energy.

is generated by wind direction, combine the system into the design will maximise the

Regarding to the Copenhagen site, its windy

performance of the energy regenerating

weather suggests a good condition for the

whereby the designed structure is respond-

Pizoelectricity system. Piezoelectricity is the

ing to the wind movement, piezoelectric ma-

electric charge that accumulated in certain

terial will vibrate frequently. Moreover, the

solid materials in response to applied me-

harvested electricity could be used for light-

chanical strees. . It literally means

ing, visitors can see the lights up when there is wind crossing, which will interest visitors to

know the system behind it.

Moreover, the piezoelectric generators is easily obtainable and economic to construct and maintain, there is no require of battery power, the installation is small and can be designed in an invisible way in structure which aesthetically installed and effective in generating electricity, this proposed system is feasible and efficient, providing a sustainable solution to Copenhagen. The combination of irregular form and innovative technology will form a more sustainable architecture design for Copenhagen and promote it to a â&#x20AC;&#x153;Green Cityâ&#x20AC;?

B.6 Technique: Proposal

B.7 Learning Outcomes And Objective

Through the last few weeks, based on re-

Moreover, case study 2.0 pushes me to a

searches into precedents, biomimicry tech-

higher level in understanding the logic algo-

nology is now combined into computational

rithm behind the definition through reversing

design techniques to achieve design intents.

the project. Parametric design depends on

It is clear that by understanding the nature

defining relationship, focus more on the logic

process in the ecosystem will generate a new

behind the design. It is a complex thinking

way of thinking in architecture, as well as

process, nonetheless, we developed a defi-

gain the sustainable solution from the nature.

nition which we could use as foundation for the development of LAGI project.

In addition to the research, the case study 1.0 provides the introduction to the algorithmic

Based on the feedbacks from Part B interim

Grasshopper definition. By experiment with al-

presentation, we unify the energy generating

ternating parameters and changing options

system to the piezoelectricity that can gen-

to push the definition to its limits, I understand

erate electricity once wind move acrossing

that parametric design has high flexibility of

the structure, rather than previous unclear

alternating changes to the digital model in a

proposal with two different energy generat-

conventional way, and it offers architects nu-

ing system. Furthermore, the idea of energy

merous design options in generating design

technology should become the main focus

concept as it enable a new set of controls to

of our design intent when moving towards

overlay the basic controls.

part C, as well as develop the definition further as there are still potentials.

B.8 Appendix

Based on learning grasshopper from the online tutorials for laster few weeks, I become more familiar with the computational technique. It developed both my thinking and skills, the most successful outcome was the reverse engineering, but outcomes from weekly practices were the basic skills that we fundamentally begin with. Those patterns generated in grasshopper and as well as the seroussi pavilion reverse project are considered as best outcomes as they are helpful in tracing the natural forms and process.

Reference 1. “What do you mean by the term biomimicry”, BIomimicry Institue, accessed on 17 April 2014, http://www.biomimicryinstitute.org/about-us/what-do-you-mean-by-the-term-biomimicry.html 2. “Biomimicry”, Designboom, accessed on 24 April, 2014, http://www.designboom.com/contemporary/biomimicry.html 3. “What is Biomimicry”, accessed on 25 April, 2014 http://www.biomimicryinstitute.org/about-us/what-is-biomimicry.html 4. “Time Eureka Pavilion –Cellular Structure Insipired By Plants”, Lidija Grozdanic, accessed on 28 April 2014, http://www.evolo.us/architecture/times-eureka-pavilion-cellular-structure-inspired-byplants-nex-marcus-barnett/ 5.“Time Eureka Pavilion//Nex Archiecture, Marcus Barneett”, AFFLANTE, accessed on 30 April 2014 http://afflante.com/28753-times-eureka-pavilion-nex-architecture-marcus-barnett/ 6. “Airspace Tokyo”, Wallpaper, accessed on 28 April 2014 http://www.wallpaper.com/architecture/airspace-tokyo/1778 7.“Airspace Tokyo”, accessed on 29April 2014 http://travelwithfrankgehry.blogspot.com.au/2010/03/airspace-tokyo-by-faulders-studio.html 8.“The Morning Line Launches in Istanbul” Accessed 28 March 2014, http://artpulsemagazine.com/the-morning-linelaunches-in-istanbul

9. “The Morning Line, Vienna 2012” TBA21. Accessed 27

March 27 2014.

http://www.tba21.org/pavilions/49/page_2?category=pavilions 10.“Aranda / Lasch” Nick Clarke, Accessed 28 March 2014. http://www.iconeye.com/read-previous-issues/icon-066-%7Cdecember-2008/aranda/lasch 10. “ZA11 Pavilion/Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan,”Megan Jell. Last modified 5 July 2011. http:// www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/ 11. “ZA11 Pavilion/Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan,” Accessed on 29 March 2014, http://www. arch2o.com/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/ “Advantages of Plywood”, accessed on 2 April 2014, http://fennerschool-associated.anu.edu.au/fpt/plywood/advply. html “Balsa Wood Advantages”, Steve Johnson, accessed on 24 April 2014 http://www.ehow.com/list_6727312_balsa-wood-advantages.html “Perspex glassware: its advantages and disadvantages”, accessed on 29 April, 2014. http://www.perspexadvantages. sitew.org/#Perspex.A

“Piezoelecticity“, accessed on 3 May 2014, http://whatis.techtarget.com/definition/piezoelectricity.

Image Reference

Figure 1 “Time Eureka Pavilion//Nex Archiecture, Marcus Barneett”, AFFLANTE, accessed on 30 April 2014, http://afflante.com/28753-times-eureka-pavilion-nex-architecture-marcus-barnett/ Figure 2 “Time Eureka Pavilion//Nex Archiecture, Marcus Barneett”, AFFLANTE, accessed on 30 April 2014, http://afflante.com/28753-times-eureka-pavilion-nex-architecture-marcus-barnett/ Figure 3 “Time Eureka Pavilion//Nex Archiecture, Marcus Barneett”, AFFLANTE, accessed on 30 April 2014, http://afflante.com/28753-times-eureka-pavilion-nex-architecture-marcus-barnett/ Figure 4 “Airspace Tokyo”, Wallpaper, accessed on 28 April 2014 http://www.wallpaper.com/architecture/airspace-tokyo/1778 Figure 5 “Airspace Tokyo”, Wallpaper, accessed on 28 April 2014 http://www.wallpaper.com/architecture/airspace-tokyo/1778 Figure 6 “The Morning Line, Vienna 2012” TBA21. Accessed 27 March 27 2014. http://www.tba21.org/pavilions/49/page_2?category=pavilions Figure 7“The Morning Line, Vienna 2012” TBA21. Accessed 27 March 27 2014. http://www.tba21.org/pavilions/49/page_2?category=pavilions Figure 8“The Morning Line, Vienna 2012” TBA21. Accessed 27 March 27 2014. http://www.tba21.org/pavilions/49/page_2?category=pavilions Figure 9“ZA11 Pavilion/Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan,”Megan Jell. Last modified 5 July 2011. http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/ FIgure 10“ZA11 Pavilion/Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan,”Megan Jell. Last modified 5 July 2011. http://www.archdaily.com/147948/ za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/

Part C Detailed Design

C.1 Design Concept Interim Presentation Review

Based on the feedback from interim presen-

In choosing this direction with considerations

tation, main field that we need to improve

of unique windy site condition, one of the

on further are unification of proposals, as we

proposal, which designed to create an inter-

posed two very dissimilar proposals which

esting ground area that zoned by the density

makes our design lack of concentration,

of the posts, is discarded. Thus, we not only

hence lead to unclear energy generation

redevelop the design form but also modify

system design specification.

the panels on the surface that respond to the wind condition, in order to integrate the de-

In response to feedbacks, our group redirect

sign concept with energy generating system

the proposal to a different approach. Unify

in a functional and aesthetical way that is

the energy generating system from the wind

suitable for the brief.

turbines to the more specific system - vibrowind piezoelectric generator that harvesting

In addition, in order to facilitate the interac-

energy from the wind through mechanism vi-

tion between visitors and the project, a imi-

brating structure, which is an emerging alter-

tated piezoelectric energy facilities will be in-

native to conventional rotary wind turbines.

stalled in the inner ground area for childrens

As it requires less installation spaces and more

to play with, in this way, visitors will be inspired

flexible in installation, provides more opportu-

to know the adapoted energy generation

nities in changes made for design.

system.

C.1 Design Concept Refine Forms

Figure 1

Figure 2

Design continues with the previous idea of

express wind movement through the struc-

Using site boundary as the starting curve (fig-

ture, overall design form is redeveloped and

ure 1), as wind comes from different direc-

emerged based on reference to the ana-

tions exerting various loads on the site, the

lysed the wind load diagrams of different

wind force pushes the curve bend inward in

months on Copenhagen.

different levels and directions, as shown in the above figures, which eventually results in a dynamic curved ring shape after a series of bending (figure 5).

Figure 3

Figure 4

Figure 5

However, as the design concept of the project is to create an area that attracts people to come and interact with the architecture, hence we changed the previous simple pavilion installation to a more attractive proposal, which is to create a maze on site that would interest and inspire people to walk around and feel the site. Therefore another two inner layers are generated and integrated with outer layer to form the maze (Figure 6). Figure 6

C.1 Design Concept Site Analysis

Wind Direction

Circulation

A brief site analysis has determined the dominant wind passage is from the south-western direction due to it surrounded by ocean, which suggests that the most curved part of maze should place toward the direction which corresponds to the initial design idea, as the highest wind load the greatest inward bending. Furthermore, the ferry station is also located at south-western side, hence maze pavilion will act as an attracting point for passengers. Main circulation is around the north-eastern corner as well as south-eastern side, which assume that the access point to the maze would be located at the north eastern corner.

C.1 Design Concept Wind Analysis

In order to optimize the facade height and panelling surface where vibro- wind piezoelectric generators installed in the hollow area, the wind load impacts on structure is analysed by using grasshopper, which helps in defining heights for three facades as higher the facade, higher the wind load impacts on, hence creating height difference between facades. As shown in the diagrams, red section is the highest wind load area and hence this sectional facade relatively higher than rest in order to access maximum wind, white section is the second highest wind load area, blue section is the least even none wind load impacts on therefore the inner layer is at lowest height. More importantly the analysed wind diagrams help in determining influence level of winds on different area of facade, in terms of efficiency of generating piezoelectricity through exposure to wind. In comparison with Part B, the panelling surface were applied to entire surface of the structure, instead, the panelling on facade are gradually changed in dimensions and disappeared in some areas due to wind load condition, which mimic the duplicating and transforming process of cells to fit to the surrounding environments.

C.1 Design Concept Panel Modification

Therefore, five kinds of panels that on the di-

In Part B, the diamond grid command in

amond shape are applied. Red panels that

lunchbox plug in was used to generate the

has largest hollow core are placed in the red

basic diamond pattern on the facade. How-

area where most piezoelectric generators are

ever, the panels at the bending area are over-

installed to maximize energy generating, and

lapped and disconnected. So as to solve this

orange is the second largest, yellow panel is

issue, grasshopper definition was modified by

the next, green panel has smallest hole, and

changing surface into a mesh surface, using

blue panel is a basic diamond panel applied

weaverbird command to divide the mesh,

in blue sections and for area that is close to

and then rebuild mesh surface to surface to

users for safety reason.

achieve the diamond shape surface, which avoids the awkward bending panel shapes and discontinuity. Furthermore, grasshopper definition for extruded panels was refined instead of previous flat hollow core panels by using centroid command to scale the cores.

Generally, the design outcome is panelling facade which assembled by individual pieces of panel, which requires a structure frame to support the facade. Grasshopper technique was extended to produce a steel structural frame by scale the all curves of each panel, then using pipe to the scaled curves. This technique ensures the each steel bar at the corresponding position to the panels that it supports.

C.1 Design Concept Work Flow Diagram

1. Create surface with diamond panels 1.1 Mesh the surface with U value of 4 and V value of 80 1.2 Use the Weaverbird Midedge subdivi-

4. Energy generators 4.1 Create a group of parallel lines in the parallelogram 3.3 by dividing and lining corresponding points on it.

sion command to create lines of diamond

4.2 Pipe 4.1.

pattern on the surface.

4.3 Find the points that the cantilevers of the

1.3 Rebuild the diamond surfaces with the lines obtained in step 1.2.

energy generators should be located on by dividing 4.1 by the spacing of each generators.

2. Steel Frame

4.4 Move the points by the vector defined

2.1 Offset the lines obtained in step 1.2.

by the points of the centre of 3.3 and the

2.2 Use pipe component to create the steel

centre of 3.1.

frame.

4.5 Line up the two groups of points obtained in 4.4.

3. Panels 3.1 Scale down the border of the surface to get a concentric parallelogram of the border. 3.2 Loft the original border and 3.1. 3.3 Use the centre point of the general shape to scale 3.1. 3.4 Loft 3.1 and 3.3.

100

4.6 Pipe 4.5. 4.7 Draw a rectangular at the end pointing outward of 4.5 and offset it to create a box.

1. Create a diamond panel

2. Use the area centroid as the cen- 3. Loft the original and scaled tre to scale the boder of the surface border

4. Use the area centroid to

5. Use the centre point of the

6. Loft the scaled border in step 3

scale the border

general shape to scale the scaled

and the scaled border in step 5 101

border obtained in step 3

C.1 Design Concept Work Flow Diagram

Curve

Loft

Mesh

Midege Subdi (Weaverbir

Loft Curve

Use surface

Loft Curve

Use surface Joint (Panel)

102

vision rd)

Explode

4 Point Surface ( Basic Facade Diamond Shape) Brep Edges

Curve

e centroid as the centre point to scale

103

C.1 Design Concept Construction Process Diagram

Before the Construction on Site The first step towards construction is the prefabrication phase in the factory where the steel bars and plywood panels are cut into pieces and labelled with reference numbers. These individual pieces then transported to site. Site preparation will be done at the same time, prior to the assblem process.

1. Define the position of inner layer, steel fram

then assembled and stabilized by connecto between the ground and the frame.

4. Plywood panels bolted accordingly to th

steel frame by fixing plates, and hinges used fo

panel to panel connection to allow adjustmen

and then fixed to correct final position. Insta piezoelectric system to the structure. 104

2. Construct second layer steel frame, main vi-

3. Bolting outer layer steel frame and energy

ors

bration structure of virbo-wind piezoelectric is

generator vibration structure.

assembled at the same time as they form a integrated system.

5. Placement of scattered diamond shaped

6. Install chairs on the inner ground area, as well

pathway pavement on ground.

as the imitated piezoelectric energy facilities.

all

105

C.2 Tectonic Elements Detail Model

Steel frame is the main structure support to the plywood panel facade, and integrated with the vinro-wind piezoelectric system. Hence the main construction core elements focus on the joints between plywood panel and steel frame, as well as piezoelectricity system connections.

106

7 9

Figure 1 & 2 illustrates the steel connector that

Figure 5 shows the panel to panel connector,

stabilizes the frame on the ground by fixing

where a hinge connector (Figure 6) is used

plates and bolts. Figure 3 & 4 demonstrate a

to allow the adjustment for panels during as-

steel to steel connector, fixed four steel bars

semble process and fixed to final position af-

at their intersections, due to the curved ring

ter defined correct position. Figure 7 shows a

shapes of the design, connectors for steel

panel to steel bar connection, angled fixing

bars are various at different bending area,

plate (Figure 8) is adapted for stabilisation.

which requires specific prefabrication for the

Figure 9 illustrates how the piezoelectricity

connector.

system placed in the hollow panel, plastic

mounts are used as connections for the steel cantilever and the steel structure. 107

C.2 Tectonic Elements Detail Model 1:10

108

109

C.2 Tectonic Elements Detail Model 1:10

A partial section of facade was selected to fabricate a prototype model at 1:10 scales. This model allowed experiments on connection in reality with materiality and fixing systems for the diamond panel and frame. The outcome shows that the angled fixing plate and hinge perform well in providing rigidity to the structure with bolts and nails.

110

However, the prototype also shows that even hinge is adjustable before permanently fixed to final position, it still has potentiality in leaving a gap between two panels, in terms of panels are not fixed in exact position that they supposed to be, which lead to failure in connecting panels, this might due to low skilled labour issue. Therefore, the process will require skilled labours to participate in the construction process to ensure the construction quality.

111

C.2 Tectonic Elements Detail Model - Energy Generator

The energy generator system was made to test the connections of the system, and performance under the low wind activity.

112

As a result, it shows that even the mount stabilize the cantilever to the main structure, it still allow movement of cantilever. Regards to the performance, we the blower to mimic the wind activity, and the testing indicates that the piezoelectric system vibrates under the weak wind activity, even vibrate in a low frequency, it demonstrates the possibility of harvesting energy through 24 hours, unlike the solar energy installation which restrained by the solar condition. 113

C.3 Site Model Scale 1:1000

114

A final site model at scale of 1:1000 depicts the way in which the design proposal interacts with the site environment, it mainly demonstrates the overall form and placement of the design.

115

C.3 Site Model Scale 1:1000

116

117

C.3 Prototype 2 Scale 1 : 200

118

A prototype of the design was constructed at 1: 200 scale. This model emphasises on the shape of the basic panels and distribution pattern of the panels over the facade, providing an general idea of how the project looks like.

119

C.3 Prototype 2 Scale 1 : 200

120

121

C.3 Prototype 3 Construction Process

A prototype of a corner of the design was constructed at 1: 50 scale. This model focuses on the detailed panel design for the facade surface, gaining feelings of panel dimensions. Based on this model, we decided to make our final model at 1:100 scale as this prototype shows that 1:50 scale is too large.

122

123

C.3 Final Model Prototype 1 : 50

124

125

C.3 Final Model Scale 1: 100

126

127

C.3 Final Model Scale 1: 100

128

129

C.3 Final Model Scale 1: 100

130

131

C.3 Final Model Scale 1: 100

132

133

C.3 Final Model Scale 1: 100

134

135

136

C.4 LAGI Brief Requirement Concept

The LAGI brief was about creating a design and construction of public art installations with the added benefits of clean energy generation that contributes to society and environment. Our design concept is not only to design a sustainable project integrated with energy generator, but also create an area for people to rest and experience the site by walking through our project. According to the extremely changeable weather in Danish where lies on path of westerlies, an area characterized by fronts, extra tropical cyclones and unsettled weather, hence we decide to

Furthermore, the infrastructure of project pro-

integrate with the vibro-wind piezoelectric-

vides sustainable energy to the city by har-

ity with our project, and the design is inspired

nessing the presence of wind as a source to

and developed based on the wind activity of

generate electricity, which expands the fu-

different months and wind direction on Com-

ture possibilities by using renewable source.

penhagen. The finalized structure formed a

This designed project, acts as a landmark

maze to engage people to interact with the

and expression of Copenhagenâ&#x20AC;&#x2122;s environ-

project more, rather than a simple installa-

mental awareness and reminder that the in-

tion.

volvement is vital to city future.

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C.4 LAGI Brief Requirement

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C.4 LAGI Brief Requirement Technology

Piezoelectric will be installed in the hollow core of panels, the main support structure is integrated with the steel frame behind, as shown on left. And most of energy generators planned to install in the higher parts of facade where high wind activity most likely to take on then the lower panels, as well as avoid safety issues. Vibro â&#x20AC;&#x201C; wind piezoelectricity is an eco-friendly energy technique that harvesting energy from the wind through mechanism vibrating structure, which is an emerging alternative to conventional rotary wind turbines. It is the ideal technology for the project as it requires less installation spaces and more flexible in installation position, also the form and panels are designed according to the analyzed wind activity, hence optimize the wind harvesting capability. In addition, it is comparable to solar energy, since wind may be available for 24 hours on a daily basis, and it can vibrate at low wind velocity of 2m/s.

The Diagram at the bottom left illustrates the way in which energy is created using the vibro-wind piezoelectric technology. It comprises a blunt body which is usually made from ceramic and aluminum, connected to the oscillator that comprises a steel cantilever and piezoelectric bender at rare. When wind cross the facade surface, light blunt body will oscillate which produces the kinetic energy by the oscillator movement, piezoelectric transducer which installed in the bender coverts kinetic energy into electricity, then transfer to the site storage. 141

C.4 LAGI Brief Requirement Material Dimension List

Total area – approx. 3000 square meter Highest point of the model – 10m high Lowest point of the model – 3m high Diamond panel size – Largest diamond size 300cm (W) x 260cm (H) -- Smallest diamond size 200cm (W) x 180cm (H) Plywood thickness – 2cm

Steel frame bars diameter – 10cm Bolts diameter [connects the steel frame to the ground] – 1.5cm Steel frame connector diameter – 13cm

Plastic mount size –6cm (l) x 3cm (W) Blunt Body size – 5cm (L) x 5cm (W) x 7.5cm (H) Steel grid (to hold up structure) – 10cm (part of the steel frame) Feeler gage & steel bar -- 24cm (L) x 5cm (W) x 0.009cm (T) [2cm will be insert into the e rear face of Blunt Body ] PZT Bender (piezoelectricity bender) -- 18cm (L) x 5cm (W) x 0.55cm (T) DuraAct Patch transducer – 6.1cm (L) x 3.5cm (W) x 0.05cm (T) 142

C.4 LAGI Brief Requirement Energy Estimation

Based on the flow of wind power (P) past an area (A) normal to the flow velocity (V) is proportional to the density of air (r) as given by Equation: P/A = (r V3)/2 With the density of air (r) of 1.225kg/m3, wind velocity at 10 m/s, the wind power density is approximately 600W/m2, in accordance to research, it possible to convert 30% of this power into structural vibration energy with a wind density (P/A) of 180W/m2. 30% of the structural vibration will convert into electrical energy, hence the figure of merit would be wind density power of 54W/m2. As frontal area of blunt body equals to 0.05 x 0.07 = 0.0035 m2, and approximately 8553 generators will be installed, total wind crossing area is 8553 x 0.0035 = 30 m2. Therefore, generated electricity power will be 14191.2 kWh per year, which given by W = Pt = 54 x 30 x 24 x 365. The average annual energy consumption of a standard household is 5000 kWh, hence generated power will support approximately 3 households per year.

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C.4 LAGI Brief Requirement Environmental Impact

The materiality of pavilion is the locally sourced durable plywood with embodied energy of 10.4 MJ/kg and steel that has embodied energy of 38 MJ/kg. Both materials not only have relatively low embodied The Pavilion carries little environmental impact once it constructed. Since the Wind Vibro Piezo-electricity is an eco-friendly project, it sustainably generates clean energy without any unrenewable resource to operate, hence avoid generating pollution to the environment which caused by using fossil or nuclear fuels, as well as helps in the control of global warming. In addition, the system minimizes the noise impact as it offers a low- impact, nearly silent alternative, and provides a safer alternative to bird and bat-unfriendly turbines, eliminates concerns about noise and animal safety raised by traditional wind turbines.

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energy and low maintenance required, but also contain a significant amount of recycled content, main components of the project, the timber faรงade and steel structure will be fully recycled from demolition once the life cycle of the project ends. Furthermore, the project is designed to be prefabricated and specified material size list avoids using additional materials as fillers, locally sourced materials chosen reduce need for transportation. Therefore, this pavilion project has low environmental impact as it significantly minimizing the subsequent impact on the natural environment, reducing the greenhouse emission and embodied energy.

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Digital Redenring of Final Model Interior Experience

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Digital Redenring of Final Model

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C.5 Learning Objectives and Outcomes

During the whole semesterâ&#x20AC;&#x2122;s study across var-

Moreover, feedbacks from tutors and guests

ious fields, I do enjoy and learn a lot from part

were important in refining the designs. In re-

A to Part C. Looking the learning objectives

sponse to the feedback from the final presen-

outlined in the reader, I feel my group and

tation, our group remake the final model in

myself have certainly addressed points.

order to show the well presented deisgn, and modify the grasshopper definition to avoid

The final LAGI Competition design shows we

panels connection failed at the awkward

have interrogated the brief and created an

bends. For the integrity of the energy genera-

interesting design by integrating the design

tor installation with the structural frame, our

proposal with the sustainable technology.

group redevelop the grasshopper definition

During the design process, I have learnt how

to ensure the integrity of the elements.

to use precedents to develop our own idea. Also, in this session, I realize both the advan-

Through the studies on parametric tools, I

tages and disadvantages of digital tool. It is

have developed skills on reverse a definition

obvious that grasshopper is a useful tool in

in order to create another definition, using

creating complex forms and mesh surface,

parametric tool to analysis and generate the

and even can be used for sun path analysis

design in an efficient way, as well as realize a

and wind force testing. By analysis the out-

digital model into a physical model. In addi-

come of the wind force test, we formed our

tion, I realize that a well presented document

dynamic curved form. However, there are

is important in competitions. I believe the skills

many restrictions with using the algorithm,

I have gained in this studio will be beneficial

sometimes material behaviour and fabrica-

for my future study and carrier.

tion process could not be embedded with the logic of the algorithm.

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Reference “Wind Density Calculation”, accessed on 7 June 2014, http://www.ocgi.okstate.edu/owpi/educoutreach/library/lesson1_windenergycalc.pdf “Vibro-wind Energy Technology for Architectural Application”, accessed on 7 June 2014 http://www.windtech-international.com/articles/vibro-wind-energy-technology-for-architecturalapplications “Shape Optimization of a blunt body Vibro-wind galloping oscillator”, accessed on 7 June 2014. http://audiophile.tam.cornell.edu/randpdf/kluger-moon-rand.pdf “Piezoelecticity“, accessed on 7 June 2014 http://whatis.techtarget.com/definition/piezoelectricity “Household usage and bills”, accessed on 7 June 2014. http://www.switchon.vic.gov.au/how-can-i-take-charge-of-my-power-bill/compare-household-usage-and-bills “Small-Scale Wind Power Panels” , accessed on 7 June 2014. http://www.switchon.vic.gov.au/how-can-i-take-charge-of-my-power-bill/compare-household-usage-and-bills

Image Reference

Urban Gallery, “Piezoelectricity detail diagram” http://urban-gallery.net/scib/?page_id=4166

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