STUDIO AIR 2014, SEMESTER 2, Philip Belesky Shaorui HU
Table of Contents INTRODUCTION
3
Part A CONCEPTUALISATION A.1 Design Futuring
5-9
A.2 Design Computation
11-15
A.3 Composition vs Generation
17 -21
A.4 Conclusion
22
A.5 Learning Outcomes
23
A.6 Appendix- Algorithmic Sketch
24
A.7 Reference List
25
Part B B.1 Research Field
27-31
B.2 Case Study 1.0
32-35
B.3 Case Study 2.0
36-42
B.4 Matrix
43-47
B.5 Physical & Technique Prototypes
48-53
B.6 Technique Proposal
54-56
B.7 Learning Outcomes
57
B.8 Appendix
58
B.9 Reference List
59
INTRODUCTION
ABOUT MYSELF
My name is Shaorui HU, a student from the Environment Department, and my major is Architecture. I am a third year student, and this is my second semester in the Melbourne University.
I was born in Luoyang, Henan Province in China. I came to Melbourne in 2011 when I was 18 years old, so I have been here for three years already. I like playing sports, such as, basketball, tennis and swim, and I also play guitar with friends sometimes. I am interested in the different architectures around the world, and I like to analysing and finding out the story or background behind them. So I chose Architecture as my major study in Uni. I know it is a hard work, but I trust myself that I can make it. As I know, the ‘Design Studio - Air’ is not a easy subject, especially in using he software like Rhino and Grasshopper, which I used very seldom before, so it is bit challenge to me. But I still have the passion with it. From this subject, I expect to learn the practical skills, like the using of software and also learn how to correctly and comprehensively understand an architecture.
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CONCEPTUALISATION
A.1 DESIGN FUTURING As we can noticed that, in
recent years, our planet is being damaged at different extents, due to the improper human activities. The problems like climate change, the global warming and frequently happened disasters were carried out, which also have a significant influence in the future environment[1]. Facing with such situation, the design of how future would be is vital.
On another hand, according
to Fry Tony, the design refers to the designer and designed objects, images, systems and
things, that shapes the form, operation, appearance and perceptions of the material world we occupy.[2] Since the human beings have caused so many environmental problems, it is about the time to seriously thinking the relationship between creation and destruction.
Dealing with this issue,
people
putted on more and more attention on the renewable resources.[3]Such as, the solar energy, wind power, hydro-power and tidal energy. These are purely environmental-friendly resources, which can be
used without creating any environmental problems. Therefore, it becomes an inevitable and important trend to design projects, incorporating with these renewable resources.
The Land Art Generator
Initiative Competition Entries (also know as ‘LAGI’) is a great platform, on which many architects focus on advancing the successful implementation of sustainable design solutions by integrating the art and interdisciplinary creative process into the idea of renewable energy within architecture discourse.[4]
CONCEPTUALISATION 5
A.1 DESIGN FUTURING LAGI COMPETITION REVIEW -- PRECEDENTS STUDY
Fig 1. Photo of Solar Loop
SOLAR LOOP Artist Team: Paolo Venturella, Alessandro Balducci, Gilberto Bonelli, Rocco Valantines, Mario Emanuele Salini Pietro Bodria Artist Location: Paris, France
The Solar Loop is a generator
designed to absorb the most solar power through exposing more surfaces to the solar rays, to produce the needed energy. So its location is very significant, where is the Fresh Kill’s East Park, as it is the most sunny part of the park during the year. The shape of the generator was inspired by the solar diagrams, with the best angle to deal with sun path during the time. [5]
The designer calculated the sun’s rays as the average of the angles of the winter and the summer solstice. Thus, it has been seen the most efficient solution to cope with the sun path. 6
CONCEPTUALISATION
More than that, the generator was composed by two different surfaces, acting in different functions. The first one is the photovoltaic surface, which is always exposed to the sun with the most per-formative angle. [6]Considering the surrounding natural environment, the second one is the mirrored surface that reflects all the surrounding to multiply the spectacularity of the landscape as a single multiple landmark.
More importantly, the Solar Loop also has the multi-functions, as it is not only a generator to produce energy, but also to produce the living spaces. The social medium/big events can be organised at inside, such as concerts, speeches and sports events. So it uses the landscape very efficiently.[7] And its location makes the site very accessible. In my own point of view, I think this is a smart project, when taking the designing of sustainable energy and functionality into consideration.
Fig 2. Photo of Solar Loop
Fig 3. Perspective of Solar Loop
CONCEPTUALISATION 7
A.1 DESIGN FUTURING LAGI COMPETITION REVIEW -- PRECEDENTS STUDY
Fig 4. Wind Towers on the site
WIND TOWERS the river, where obtaining the lower temperature air flows. Artist Team: Fernando Chavarri Figueiras, Miguel Diaz Medio Artist Location: Madrid, Spain
The autonomous production of energy is a great
The Wind Towers was designed by the idea of generating an
advantage of this system, because the turbines do not require the wind speed in the environment, and the air flow is produced by the sun,[9] due to the temperature difference between inside and outside of the system.
architectural element and, in the mean time, producing the power efficiently and independently. The electric energy is produced by an autonomous system, which only uses the sun and the air. The system aims to make the air flows through the covering by creating the greenhouse effect. So the warm air will rise by convection through the chimney to the top. [8] Moreover, in order to maximise the effect of extraction, there is a great difference in the size of tower, from the bottom to the top, which can create the Venturi effect in the air flow. Then the high air velocity in the top of tower will promote the turbine to generate the energy. Apart from that, the generator is also located strategically in the proximities of 8
CONCEPTUALISATION
Wind Towers was built by using the recycled materials, aims to respect to the environment and achieve the environmental-friendly development. For example, the use of aluminium structure and recycled plastic. The designer considered a lot about the site, like the beaches around the world being composed of sand coral, also have an alarming percentage of plastic, so it becomes significantly important to recycle the materials.[10] And this is what need to be concentrated on when designing an architecture.
Fig 5. Diagram of Wind Towers
Fig 6. Photo of Wind Towers
CONCEPTUALISATION 9
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A.2 DESIGN COMPUTATION
Computation, sometimes, will
be confused by people with computerization, when these two are putted together. Nowadays, the computerization becomes the dominant mode of utilizing computers in architecture. Like the entities or processes that are already conceptualized in the designer’s mind are entered, manipulated, or stored on a computer system. For example, many architect is drafting in the
computer, as it is easier to copy, edit and accurate the drawings. [11]In contrast, the computation or computing, as a computer-based design tool, determining some properties by mathematical or logical methods with a calculation process.
Computational thinking is the
thought processes involved in formulating problems and their solutions, so that, the solutions
are represented in a form that can be effectively carried out by an information-processing agent. [12]More importantly, computation is not only involves the digitalization of entities or processes that already defined in architect’s mind, but also provide more possibilities and opportunities to help designer to have abilities to face with a more complex situation during the computational process.
CONCEPTUALISATION 11
A.2 DESIGN COMPUTATION PRECEDENTS STUDY The ICD/ITKE Research Pavilion is a great example in using the computation design. It is located in the University of Stuttgart, Germany, and was built in 2011. The pavilion was designed by means of novel computerbased design and several simulation methods, and also the computer-controlled manufacturing methods were used for its building implementation. [13]Therefore, the computation-controlled method is an ongoing change both within design and construction industries. As it can work more efficient and accurate, and maximize the possibility in design and construction.
Fig 7. ICD/ITKE. Research Pavilion
Through the computational process, the designer effectively extend the recognized bionic principles and related performance to a range of different geometries. This can be shown by the real project, that the complex morphology was achieved with extremely thin sheets of plywood, about 6.5mm. [14]Therefore, unlike the traditional light-weight projects, which can only be applied to load optimized shapes, this pavilion can be applied to a wide range of custom geometry.
Fig 8. ICD/ITKE. Research Pavilion
Mover, the production of the plates and finger joints of each cell were operated university’s robotic fabric system. The designer set the custom program to provide the basis for automatic generation of the machine code ( known as NC Code), aims to control an industrial seven-axis robot in the computer model.[15] This kind of technology, makes it possible that the economical production of thousands of geometrically different components and finger joints can be made, which are freely arranged in space. In the end, the participants can join the prefabricated module
Fig 10. Diagram of ICD/ITKE. Research Pavilion,
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Fig 9. Diagram of ICD/ITKE. Research Pavilion, 2011
Fig 11. ICD/ITKE. Research Pavilion
Fig 12. ICD/ITKE. Research Pavilion
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A.2 DESIGN COMPUTATION PRECEDENTS STUDY
The Parametric design is another well-known approach to architecture based on the advanced computational design techniques. More specifically, it is a process used to manipulate, regenerate and design the objects based on a set of rules or parameters. [16]It is good at two main concept, the one is repetition, which works best when it is used in parallel with rotation, scaling and movement. And another is mutation, which is about the transformation of different forms.
The project shown on the right, is called Alpenzoo Station, which is located in Innsbruck, Austria, designed by Zaha Hadid. During the design process, the parametric design was used, aims to create the ideal morphology, by incorporating with the surrounding landscape condition.
Fig 13.Perspective of Zaha Hadid Alpenzoo Station
Comparing with the work that generated in the past, there was a very strong allegiance for rigid geometrical figures, however, the new style, like parametric design helps in creating a dynamic system, and it also offers a flexible set of components to manipulate, which is helpful in leading to an infinite amount of variation. [17]For example, the artificial landscape was created by the lightweight roof structure that float on the concrete plinths, soft shapes and contours, which describes the movement and circulation within the project. Fig 14.Zaha Hadid Alpenzoo Station
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CONCEPTUALISATION
Fig 15.Zaha Hadid Alpenzoo Station
CONCEPTUALISATION 15
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A.3 COMPOSITION / GENERATION
Currently, the architecture is
are two different strategies being used by architect to create design. experiencing a shift from the physical drawing to the algorithm Compositional strategy uses the computational technique to create as the method of capturing and communicating designs. Moreover, the architect’s wanted form or function of design, and then the the parametric modelling computation will be used to help technologies make it possible for them to finish up their idea. Using designer to explore their designs a good example from our tutor, and simulate performance, Philip Belesky, designer may use in terms both of physical and traditional CAD computational experiential.[18] Therefore, the technique to start the basic ability of architect is enhanced, shapes of a building, and after like constructing complex models and gaining performance feedback. that, computation technique like Grasshopper might be used to tweak that basic shape, which makes it easier to construct or The composition and generation to optimise its performance.
Generative strategy is more
difficult than composition, as the architect usually doing their design without a specific form in mind, but instead creates certain rules that the computer will use to generate forms. And based on this, the architect may select from the different options which are produced by computer, according to what they looks best. So both of these two strategies use computation, but in different methods. The Generative strategy is usually be used to create a certain part of a design, such as, a facade, rather than designing everything.
CONCEPTUALISATION 17
A.3 COMPOSITION / GENERATION PRECEDENTS STUDY Arum Zaha Hadid Architects, Venice Biennale, 2012
The Arum project was designed by Zaha Hadid Architects for the Venice Biennale in 2012. The theme of Biennale of that year was called ‘Common Ground’, and it means the current architectural culture is relied on a rich historical continuity of diverse ideas rather than the independent talents. [19]The pleated metal structure is derived from the work of German architect Frei Otto, who made a great contribution in paving the way for material-structural form-finding process.
Based on the achievement made by Frei Otto, the designer find out that, the more their design research and work evolved on the basis of algorithmic form generation, the more appreciation they learned from the work of pioneers like Frei Otto had done. More than that, the designers also expanded Frei Otto’s method to include not only the environmental but also structural logics, and they moved from material to computational simulations. [20]
Fig 16. Photo of Arum
In the project of Arum, the computation techniques were introduced by the architect, such as, the parametric modelling, algorithmic thinking and also scripting culture. For example, the algorithmic thinking plays a significant role in helping designers to achieve the shifting from the composition to generation. [21] As the complex structure was explored with the idea that creating the intensive qualities, and the complex spatial form was achieved through establishing the relationship among the architectural systems. Moreover, the parametric modelling was also used by designer, aims to refine and achieve the complex design. Fig 17. Photo of Arum
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Fig 18. Perspective of Arum
Fig 19. Photo of Arum
CONCEPTUALISATION 19
A.3 COMPOSITION / GENERATION PRECEDENTS STUDY FXFOWLE Lounge
FXFOWLE Architects, Miami Basel, 2012
The FXFOWLE Lounge is a temporary architectural
non-repetitive textural pattern, the computational design and fabrication technique were used by the architects. For pavilion, designed by FXFOWLE Architects, led by Sarah instance, the series of scripts were created by the RhinoGerber, at Miami Basel in 2012. The designer points out that script, aims to generate a pattern on a base surface, and then such 24-foot-long pavilion embodies the duality of very highunroll and label each component, then create tabs around tech and sophisticated fabrication, and low-tech material and each component for assembly. All the components were able assembly process. Moreover , the designing of this pavilion ďťż , the designing of this pavilion to be identified through layer controls and colour values.[23] is the first attempt in fully using scripted computational methods for design and fabrication.[22] As in usual, they are working on larger scale projects, where computational and parametric processes are sometimes used in conceptual design phases for form finding and especially for facade studies. And in this designing approach the designers are exploring the potential of different digital tools, platforms and work-flows.
In order to create an organic sculptural form with a
Fig 20 Modelling of FXFOWLE Lounge
Fig 22 Photo of FXFOWLE Lounge 20
CONCEPTUALISATION
Moreover, the designer also introduced algorithmic thinking in the design, as they set up the algorithmic computational system to explore the design, which shows the features of selforganization within a range of scales in nature. In addition, the pavilion designed with technologically-sophisticated scripting software, comprises 180 varying segments,[24] together, take the form of complex structural geometries.
Fig 21 Photo of FXFOWLE Lounge
Fig 23 Photo of FXFOWLE Lounge
Fig 24 Diagram of FXFOWLE Lounge
CONCEPTUALISATION 21
A.4 CONCLUSION The sustainable development
has become a hot topic in recent years, so the efficient using of renewable resources is significant. Referring to the architectural discourse, the developed technology should be effectively token into consideration, during the design and construction process, to make the architectural design achieve the sustainability as well.
their design. And the complex and ideal surfaces can be created by these software. In the mean time, the abilities of architect are also required, which means, they will need to learn and control some of the new strategies and skills that being used in computation. For instance, the parametric modelling, the designer will need to be able to defining the relationship and the logic among each component.
The innovation of computational By contrast, there are also technique makes it a lot easier for architect to manipulate and refine
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CONCEPTUALISATION
some shortcomings of the
computational technique. Like the scripting of the design may degenerate to an isolated craft, rather than integration, if the advantaged computational skills are allowed to obscure and diverts from the real design objectives. In my own point of view, I think people may loss some skills that they used before, such as, sketching and physical model making, as now they are more and more rely on the computing technique. And the computer-based tools also still have some limitations and there are some other uncertain factors that can affect the design performance.
A.5 LEARNING OUTCOMES From the last few weeks
theoretical study, I gained the knowledge about the computational design techniques, like parametric modelling and algorithmic thinking, and I’ve found theses are very helpful in designing process. Moreover, I
noticed that the current designing environment is very tight, the sustainable designing by incorporating with the renewable resources becomes an inevitable trend to the future.
More importantly, the weekly
exercises help me gaining some basic technology and idea, like how Rhino and grasshopper working together and the relationship in-between them, which would be very necessary and significant in the future study.
CONCEPTUALISATION 23
A.6 APPENDIX ALGORITHMIC SKETCHES
These sketches are selected from
recent week exercises, as I think they represent the steps that I have done so far, from point to surface, from simple to complex, And these weekly exercises give me a opportunity to practice these techniques in real, and which also helps me better understanding the articles and research that I’ve done during the week. These sketches also represent the knowledge, like parametric modellings (grasshopper), and algorithmic thinking in the design process, which would play a significant role in the future study. 24
CONCEPTUALISATION
A.7 Reference List 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 3. Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land ArtGenerator Initiative, Copenhagen, 2014. pp 1 - 10 4. Review: Land Art Generator Initiative Competition Entries, 2012 5. Oscar,Wilde(2012). Solar Loop: http://landartgenerator.org/LAGI-2012/w0w855ss/ 6. Oscar,Wilde(2012). Solar Loop: http://landartgenerator.org/LAGI-2012/w0w855ss/ 7. Oscar,Wilde(2012). Solar Loop: http://landartgenerator.org/LAGI-2012/w0w855ss/ 8. Wind Towers(2012): http://landartgenerator.org/LAGI-2012/mf0dc0mf/ 9. Wind Towers(2012): http://landartgenerator.org/LAGI-2012/mf0dc0mf/ 10. Wind Towers(2012): http://landartgenerator.org/LAGI-2012/mf0dc0mf/
11. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 12. Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 13. “ICD | ITKE Research Pavilion 2011 / ICD / ITKE University of Stuttgart” 18 Jan 2012. 14. “ICD | ITKE Research Pavilion 2011 / ICD / ITKE University of Stuttgart” 18 Jan 2012. 15. “ICD | ITKE Research Pavilion 2011 / ICD / ITKE University of Stuttgart” 18 Jan 2012. 16. Cilento, Karen. “Parametricist Manifesto / Patrik Schumacher” 16 Jun 2010. 17. Cilento, Karen.“Parametricist Manifesto / Patrik Schumacher” 16 Jun 2010. 18. 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 19. Rosenfield, Karissa. “Venice Biennale 2012: Arum preview / Zaha Hadid Architects” 20 Aug 2012 20. Rosenfield, Karissa. “Venice Biennale 2012: Arum preview / Zaha Hadid Architects” 20 Aug 2012 21. Rosenfield, Karissa. “Venice Biennale 2012: Arum preview / Zaha Hadid Architects” 20 Aug 2012 22. Furuto, Alison.“FXFOWLE Lounge Installation / FXFOWLE Architects” 15 Dec 2012 23. Furuto, Alison.“FXFOWLE Lounge Installation / FXFOWLE Architects” 15 Dec 2012 24. Furuto, Alison. “FXFOWLE Lounge Installation / FXFOWLE Architects” 15 Dec 2012
IMAGE Figure 1-2: Photo of Solar Loop: http://landartgenerator.org/LAGI-2012/w0w855ss/ Figure 3: Perspective of Solar Loop: http://landartgenerator.org/LAGI-2012/w0w855ss/ Figure 4: Wind Towers on the site: http://landartgenerator.org/LAGI-2012/mf0dc0mf/ Figure 5: Diagram of Wind Towers: http://landartgenerator.org/LAGI-2012/mf0dc0mf/ Figure 6: Photo of Wind Towers: http://landartgenerator.org/LAGI-2012/mf0dc0mf/ Figure 7-12: Photo of ICD/ITKE Research Pavilion: http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/ Figure 13-15: photo of Zaha Hadid Alpenzoo Station: http://www.archdaily.com/64581/parametricist-manifesto-patrik-schumacher/ Figure 16-19: Photo of Arum: http://www.archdaily.com/269061/venice-biennale-2012-arum-zaha-hadid/ Figure 20-24: Photo of FXFOWLE Lounge: http://www.archdaily.com/305573/fxfowle-lounge-installation-fxfowle-architects/ CONCEPTUALISATION 25
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B.1 RESEARCH FIELD -- GEOMETRY Taichung Metropolitan Opera The Taichung Metropolitan Opera is designed by a Japanese Architect, Toyo Ito, and it is located in Taichung City, Taiwan. In this stage, I decide to choose the ‘Geometry’ as my material system, and the opera house is a good precedent study in this field. As it adopts the computational technique during the designing process, to manipulate its structure and surface through optimising the geometry, eventually, meeting the functional requirement.[1]
Geometry method gives more possibilities for us in forming a design, because, it helps in adjusting surface and creating forms. And it is significant in exploring the agenda of the LAGI, that we learned in previous Part A. For instance, the solar energy, a large surface with the right angle should be exposed to the sun, in order to efficiently catch the sunlight radiant and generate the solar power. It means a reasonable design of surface geometry is required. Thus the geometry method is very helpful in finding an appropriate structure to achieve a durable and aesthetic design.
Fig 1: Model of Taichung Metropolitan Opera house
Fig 2: Structural model of Taichung Metropolitan Opera
Fig 3: Structural model of Taichung Metropolitan Opera
Fig 4: Structural model of Taichung Metropolitan Opera CONCEPTUALISATION 27
B.1 RESEARCH FIELD -- GEOMETRY Gridshell
Fig 5: Photo of Gridshell
Location: Smartgeometry 2012, RPI, Troy, New York Size: 11m x 7m x 4m Material: Straight Wood Lath Workshop: Gridshell Digital Tectonics Workshop Instructors: Mark Cabrinha, Andrew Kudless, David Shock
The Gridshell is designed by Gridshell Digital Tectonics workshop in 2012. This project focused on the design and construction of a wooden gridshell through only using the straight wood members bent long geodesic lines on a relaxed surface. [2]In addition, in order to find the possibilities in creating an ideal form, geometry method is used by the designer. They uses parametric tools to develop and analysis the design, aims to
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CONCEPTUALISATION
minimize material waste but maximizing , structures, and material performance. its architectural presence in the space. A lot of research done by the group of a variety of material properties, like the grain orientation and density, and The tools, such as, Grasshopper, their relationship with bending stresses, Kangaroo, and Karamba, were used to member profiles and joinery techniques. integrate the material and geometric Eventually, they decide to use timber parameters, creating the shell form. What’s more, a feedback loop was designed as the material, because it provide a between the parametric geometric model great opportunity to investigate the integration of generative and analytic and a structural model allowing for a smooth work-flow that integrated geometry digital tools with material reality. [3]
Fig 6: Side elevation of Gridshell
Fig 7: Front elevation of Gridshell
Fig 8: Assembly Plan of Gridshell CONCEPTUALISATION 29
B.1 RESEARCH FIELD -- GEOMETRY LAVA -- GREEN VOID
Fig 9. Photo of LAVA -- Green Void
Client: Customs House Sydney, Jennifer Kwok Location: Sydney, Australia; Stuttgart, Germany Partners: Mak Max; Peter Murphy; Toko Size: Height 20m, Volume 3000m3 Status: realized 2008
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CONCEPTUALISATION
Fig 10: Diagram of LAVA -- Green Void
The Green Void installation is designed by LAVA, specifically for the central atrium of Customs House Sydney. It is inspired from nature, the lightweight fabric material, green Lycra, is used for installation. It suspended from a height of almost 20 meters and spanning five levels of the house, so it makes a great visual contrast to the heritage of Customs House. In order to create the ideal effect of this project, the latest fabrication techniques and
Fig 11: Diagram of LAVA -- Green Void
engineering techniques were used to approach the accuracy of generating the pieces for forming the membrane. [4] The geometry of this installation was not explicitly designed, but instead, it was the result of the most efficient connection of different boundaries in three-dimensional space, found in nature in cells, crystals and soap bubbles. The only thing determined by LAVA is the connection points within
the space, while, the rest was a mathematical formula with a minimal surface. In addition, the concept of Green Void was achieved by using flexible material, which follows the forces of gravity, tension and growth, as we can see, it is similar to a spider web or a coral reef.
CONCEPTUALISATION 31
B.2 CASE STUDY 1.0 MATRIX
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CONCEPTUALISATION
CONCEPTUALISATION 33
B.2 CASE STUDY 1.0 MATRIX
These six results are selected from the previous matrix table, as I think these are the most successful outcomes through the process in producing different iterations. My selection criteria is about the work need to show the clear difference and maximum possibility in exploring the geometry by putting in fully new definitions on the original project. And this helps me in forming my design idea in the future, cause I know the possible range that I can achieve in creating the reasonable geometry.
Comparing with the other outcomes, these six having a much clearer characteristics, showing the possible geometric form 34
CONCEPTUALISATION
that I can get. What’s more, when I was creating the sequences of geometric variations, I was trying to achieve a changeable but smooth surface, in order to meet my brief in creating a project with the use of solar energy, which requires an appropriate exterior finishing. The efficient multifunctional spatial forms and smooth and dynamic surface could be made with it. Thus, this could be used to create an effect in generating a humanized project for the public, and in the mean time, using the sustainable energy, solar power, in a good manner.
CONCEPTUALISATION 35
B.3 CASE STUDY 2.0 Allianz Arena Herzog & De Meuron Munich, Germany, 2005 Fig 12:Photo of Allians Arena Stadium
The Allianz Arena is a football stadium in Munich, Bavaria, Germany. It is well know for its exterior of inflated ETFE plastic panels, as it is the first stadium with a fully color-changing exterior in the world. And the Beijing Water Cube stadium is another example which has a color-changing exterior which was built in 2008.
Stadium is designed by Herzog & de Meuron , through using computational technique and incorporating the appropriate material to achieve ideal outcome. The design intent is to create a functional, humanized and visual aesthetic stadium for the public to use. For instance, the roof of the stadium has in-built roller blinds which may be drawn back and forth during games to provide a protection from the sun.[5]
More importantly, this project has a curved geometry, with facade that divided into diamond-shaped cushions behind, and such design idea is really close to my concept about attaching
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CONCEPTUALISATION
the solar panels on the curved smooth surface. Considering the physical structure of this stadium, there are different load bearing systems: cantilevered steel lattice girders form the primary structure of the roof, however, the secondary support structure for the roof and vertical facade, is structurally separated from the primary frame, which is a rhomboid grid of steel girders, with changing field diagonals. This kind of design idea could be further developed in my future design. And also, through exploring the geometry of the Allianz Arena stadium also can help me to improve my brief concept.
The algorithm diagram below is for this project, and referring to this definition in grasshopper I am going to find some possible variations, that I can create new design outcome, and also to try to establish this project without seeing the diagram in the grasshopper.
Fig 13:Photo of Allians Arena Stadium
Curve
Pipe
CONCEPTUALISATION 37
B.3 CASE STUDY 2.0 Allianz Arena --
Parametric Modeling
Step 1:
Step 2:
Step 1: Parametric base curve The shape of the base curve is controlled by four parameters around a centre point. Step 2: Generate Profiles Using the offset and move the definitions to form the profiles of the stadium. Step 3: Creating the surface Using loft and surface definition to get the overall surface of the stadium. 38
CONCEPTUALISATION
Step 3:
Step 6:
Step 5:
Step 4:
Step 4: Diagonal Curves Divide all the curves that created at step 2 and shift the point index. Then connect all the points to form the diagonal curves. Step 5: More Diagonal Curves Dividing the diagonal curves, to form the diamond-shape external surface, get ready to create bubble exterior. Step 6: Final Outcome CONCEPTUALISATION 39
B.3 CASE STUDY 2.0 Allianz Arena Recreation - Grasshopper Vector Lines
Number Slider
Number Slider
Number Slider
Curve Unit Z
Curve Unit Z Curve Unit Z
Move
Area
Scale
Number Slider
Move
Area
Scale
Number Slider Move
Area
Scale
Number Slider Pipe
Number Slider
Number Slider
Number Slider
40
Curve Unit Z
Curve Unit Z Curve Unit Z
Move
Area
Scale
Number Slider
Move
Area
Area
Number Slider
CONCEPTUALISATION
Number Slider Number Slider
Scale
Number Slider
Move
Merge Loft
Scale
Divide Surface Series
Shift List Shift List
Flip Matrix
Polyline Exp
Cull Pattern
Flatten Tree Graft Tree Cull Pattern Curve End Points plode Flip Matrix Cull Pattern Shift List Flatten Tree Graft Tree Cull Pattern
Polyline Number Slider Move Polyline Edge Surface Area Eval Amplitude Merge03 Loft Polyline Surface Closest Polyline Points Merge03 Interpolate Merge03 Polyline Merge03 Polyline
CONCEPTUALISATION 41
B.3 CASE STUDY 2.0 Allianz Arena Stadium & Recreated Model Comparing with the original Allianz Arena Stadium and the recreated parametric model that I made, there are both some similarities and differences. Similarities: -- Both of them have a smooth external surface, with a diamondshaped bubble panel attached on. -- They all have a simple circular geometry. -- The scale of them are pretty big. Differences: -- The diamond-shape panel on both models towards to the different direction.
Fig 14:Photo of Allians Arena Stadium
-- There is no base structure in the recreated model, and the internal structure either.
Considering where to take this definition/ technique in the next step, I am concentrating and thinking the following aspects: 1. Changing the Scale. As we can see, the scale of the model for such stadium is huge, so it is very necessary to scale down its size, especially, when putting the project onto a particular site, so I need to make sure they are fit. 2. I am really like the diamond-shape bubble surface, I may develop it further to meet my brief of using the solar energy. For instance, do some changes of the size and direction of shape, in order to, maximize the utilize of the solar radiant. 3. In my own point of view, the geometry of the model can be further developed into a more dynamic and interesting way, and in the mean time, ensure the designing of surface in different directions all can be efficiently exposed to the sunlight. 42
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B.4 CASE STUDY 2.0 MATRIX CONCEPTUALISATION 43
MATRIX TABLE
44
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CONCEPTUALISATION 45
MATRIX TABLE
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According to my brief, the solar energy resource was chosen for my LAGI project, so I am trying to produce a dynamic and functional architectural form for the public to use, in the mean time, taking the surrounding environment, the position of the site and the local climate into consideration.
The two iterations shown above at left corner, are the most successful ones in my matrix table, as they not only have a interesting geometry, but also have a great potential in creating functional internal spaces, which meets the requirement in my brief. Therefore, based on these, a new outcome is created, shown on the top right, although it is a sketch product, it closely shows the ideal architectural form that I want to produce. And there are three photos showing the physical perspectives, which gives more sense of the outcome.
Fig 16:Perspective of digital model
Fig 15:Perspective of digital model
Fig 17:Perspective of digital model CONCEPTUALISATION 47
B.5 Physical &Technique Prototypes
Physical Prototype for solar panel installation
As I am adopting the solar energy for my LAGI project, so it becomes significant to think how the solar panel can be attached on the external surface to catch the solar radiance and generate energy. Considering about the durability and stability of the structure, I decide to use the most stable triangle
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frame to support the external panel. In the mean time, due to the inspiration gained from my precedent, the Allianz Arena stadium, I am interested with its diamond bubble exterior, so I am going to create the diamond-shape frame by using some triangular to do the physical prototype for the solar panel installation. As it is shown in the image
at the top left. The white baking paper indicates the solar panels, that attached on the inside steel structure shown on the top right. More importantly, the bubble-like panels are very efficient in adopting to every accurate angle based on the structure surface, which can maximise the absorption of solar radiant to generate the solar power.
Technique Prototypes
Prototype 1:
In this prototype, I am looking at how the triangle shape solar panels can be installed on a curved surface. Through the digital modelling process, I found that the triangular units not only have the strength in stability, but also have the flexibility in placement. This gives me more idea of my further design in a much larger scale, taking both aesthetic and practicality into consideration.
Prototype 2:
In this stage, I am attracted and inspired by the RMIT Design Hub, and I am trying to find more possibilities in designing the solar panels when applying on a particular surface. As we know, hub’s external circular panels are controllable, which can be opened up in different orientation at different time. So I created a surface with several solar panels installed on, these circles increase the panel’s area, and also they are controlled by people, which means their orientation can be adjusted during the day, in order to catch as much solar radiant as it can, to store and generate energy. However, this kind of circular geometry shape may result in some of the panels are not be able to receive efficient sunlight at day time.
Prototype 3:
In this prototype, I attempted to creating the solar panels with more variation, and finding more possibilities in creating the form. As it is shown on the left hand side, I created leaf-like panels, which can be orientated to different directions, aims to maximising the solar radiant absorption during the day for the solar system, and achieving the aesthetic effect at the same time.
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Model Making Process
1
2
3 Step 1-3: Assembling the laser cut pieces of the wood material and get the structure.
Step 4-6:
Using thin steel to make a curve suppo to install the bubble surface on the top
Step 7-8:
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These two steps show two different poi In this stage, the baking paper was use in the design, and the panel here is sho in my LAGI design, the solar panel is g cause I found it is very hard to show th
4
5
6
MDF
ort, in order p
ints of view of the bubble like surface. ed which stands for the solar panels own in a rectangular form, however going to be diamond-like shape, hat kind of shape in the model.
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Bending
Fabricating 1
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Distortion 1
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Stretching 1
Fabricating 2
Distortion 2
Distortion
n3
Solar Radiant Test
These diagrams show solar radiant test applied
Stretching 2
Fabricating 3
Distortion 4
on the site. These solar tests are achieved by using the parametric tool, the Ladybug, in grasshopper. It is a practical technique in analysing the solar condition of design in a particular site. This kind of test is really helpful in testing my design, for instance, the generating of spatial form and selection of fabrication technique, when considering the efficiency of the solar radiant absorption on the LAGI site, in Copenhagen. Especially, when I am going to use the solar energy for my project, it becomes significant to give a solar analysis.
Diagrams shown on the right are tested under different conditions, but all based on the form on the top left corner, which is the one I like the most and I am going to use it for my LAGI project. So it can be very clear in showing and doing the comparison among them, and we can see how the spatial form changing affects the solar radiant outcome. Start from this point, I did some stretching and bending, but there is not a very distinguishable change in solar diagram. However, when I change its fabrication type, it is obvious that the diagram is affected significantly, as we can see from the three iterations shown in the middle. Besides, the distortion of the form totally changed the solar diagram, which means choose an appropriate geometry or form is very important.
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B.6 Technique Proposal LANDMARK Refshaleoen, Copenhagen
Fig 18: The site analysis
According to the site analysis that I made above, it is clear that the site is a waiting area, which is opposite to the La Petite Sirene sculpture across river, and it is a outstanding landmark around that area. Therefore, the site becomes like a central point consists of cultural, historical and transport element. So I am going take this kind of background into consideration, when designing the LAGI project.
More importantly, the site is located in a warehouse area, so it becomes necessary to make the design achieving the energy efficiency, aims to making a good and positive leading effect to the neighbourhoods, and expanding the influence in a larger scale. Referring to the characteristics of the site, like its position, its potential of solar energy which has a large discrepancy of daylight during the year, and they are the reason why I am adopting the solar energy system as the energy resource for the project. Fig 19: The orientation of design on the site 54
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Fig 20: Rendered image of design
My design has a dynamic shape formed with smooth curves. As the energy resource of the project is solar power, so I believe that the large surface would achieve the most efficiency in absorbing the solar radiant. The form is generated through the computation process, and analysed by using Ladybug plug-in in the grasshopper, and gain the final outcome that I want. Referring to the sunlight radiant data of the site, the solar power collected by the project is not only enough in affording the lighting usage by itself, but also can provide the extra power for other using purposes, for example, the power can be converted and transferred to the neighbourhood warehouse using.
From the rendered image provided above, the surface of project is installed with diamond-shape bubble like material. The diamond-shape is supported by several triangular structure located at underneath. It is because the triangular has great strength in stability and durability, at the same time, its flexibility offers more possibility in creating the geometry. The reason why I am using bubble-like solar panel rather than flat panels, is because its appropriate angle can effectively receiving the radiant during the day, and also it works better in the aesthetic point of view.
I want to achieve other function of the site as well. I am thinking that it could be better to connect the project with public activity happened on the site. For example, the design can be seen as a approach in leading people flow to the water taxi waiting area, which is just next to the site. To do so, I may project some indicators for passengers to that area. More than that, the project is also acting as a public leisure space for visitors. As the large structure can provide enough shaded area for people to relax.
Apart form the energy collection purpose, CONCEPTUALISATION 55
Fig 21: The project at night.
Fig 22: Perspectives 56
Fig 23: Perspectives CONCEPTUALISATION
B.7 LEARNING OUTCOMES
Through the learning process in
this stage, I get more understanding of how the computation design is working, and get more familiar with the algorithm definition. It becomes more clear to me, about how my design can be started, improved and
finalised incorporating with the design technique.
Moreover, the weekly sketchbook exercise and the clear instruction of journal from our tutor, are really useful which helps me
a lot and keep me on a right track, during the part B learning. I believe the skills that I learned in this stage, like Rhino, Grasshopper and Ladybug plug-in can be very useful in the future further study.
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B.8 APPENDIX ALGORITHMIC SKETCHES
These algorithmic sketches are selected from
the sketch book at the part B stage. During this process, I gained more experience with the computation technique, and I found they are very useful in improving and demonstrating my design idea. The parametric tool, like grasshopper, is not only helpful in generating the spatial form, but also have the function in analysing and testing my work. For example, the ladybug plug-in used in grasshopper helps in analysing the solar radiant of the site, which is very practical.
Moreover, the sketch book exercise helps me
to follow the every step during this part, and helps me a lot in approaching my design.
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B.9 Reference List 1. Taichung Metropolitan Opera, Toyo Ito, Taiwan, 2010. Retrived from http://www.designboom.com/architecture/toyo-ito-taichung-metropolitan-opera/ 2. The Gridshell, Gridshell Digital Tectonics, Troy, New York,2012. Retrived from http://matsysdesign.com/category/projects/sg2012-gridshell/ 3. The Gridshell, Gridshell Digital Tectonics, Troy, New York,2012. Retrived from http://matsysdesign.com/category/projects/sg2012-gridshell/ 4. The Green Void, Peter Murphy, Sydney, Australia,2008. Retrived from http://www.l-a-v-a.net/projects/green-void/ 5. Allianz Arena Stadium, Herzog & De Meuron Munich, Germany,2005. Retrived from https://www.allianz-arena.de/en/
IMAGE Figure 1-4: Taichung Metropolitan Opera, Toyo Ito, Taiwan, 2010. Retrived from http://www.designboom.com/architecture/toyo-ito-taichung-metropolitan-opera/ Figure 5-8: The Gridshell, Gridshell Digital Tectonics, Troy, New York,2012. Retrived from http://matsysdesign.com/category/projects/sg2012-gridshell/ Figure 9-11: The Green Void, Peter Murphy, Sydney, Australia,2008. Retrived from http://www.l-a-v-a.net/projects/green-void/ Figure 12-14: Allianz Arena Stadium, Herzog & De Meuron Munich, Germany,2005. Retrived from https://www.allianz-arena.de/en/
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