Stewart Sophie 584946 FinalJournal by SophieStewart

STUDIOAIR ARCHITECTURAL DESIGN STUDIO SEMESTER ONE 2014 SOPHIE STEWART

ARCHITECTURAL DESIGN STUDIO SEMESTER ONE 2014 SOPHIE STEWART ROSIE GUNZBURG & CAM NEWNHAM

CONTENTS INTRODUCTION 4 PART A: CONCEPTUALISATION 5 DESIGN FUTURING

PRECEDENT:WOODS OF NET

PRECEDENT: SOLAR SHIFT

COMPUTERIZATION

CHINESE UNIVERSITY OF HONG KONG ARENA SHENZEN, 2012

COMPUTATION 12 NATIONAL ART MUSEUM OF CHINA

BEIJING, 2012

RESEARCH PAVILION

DAW / DOUBLE AGENT WHITE

A.4 CONCLUSION

A.5 LEARNING OUTCOMES

A.6 ALGORITHMIC SKETCHES

A.1 REFERENCES

A.2 REFERENCES

A.3 REFERENCES

PART B: CRITERIA DESIGN

INTRODUCTION

Hi, my name is Sophie, a third year Bachelor of Environments student majoring in Architecture. I was born, and grew up in Bendigo, before making the move to Melbourne to pursue my dream to study Architecture.

construction as I have seen first hand the time and passion that goes into designing and constructing timber pieces. The textures and unique grain of every piece of timber ensures that each piece of timber is its own.

From a young age I spent time at display homes of family friend/builder in Bendigo. I always had a keen interest in the design and presentation of these homes. I then came across the career or Architecture when my parents built our family home nearly 10 years ago. I was intrigued a the process, and also love the hands on work of the different trades.

I have gradually been learning a variety of different software packages over my time at university. My Rhino knowledge is drawn from Virtual Environments, and basic models used to present previous studio designs. I spent 6 weeks over the summer working at an Architectural firm in Bendigo, E+ Architecture, were I developed my skills in both Revit and the Adobe package.

I have a strong interest in new design ideas and techniques, as well as passive design techniques used in both residential and commercial buildings. I have a real appreciation for timber

In Studio Air this semester I hope to develop an understanding of computation as a design process, and allow this to influence me in my future designs.

PART A: CONCEPTUALISATION

A.1: DESIGN FUTURING

DESIGN FUTURING 'It has always been recognised that individuals, communities, races and even nations can be fated or made to dissapear but we are now at a point when it can no longer be assumed that we, en masse, have a future'1 1

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice, pp. 1

Designing in the past decades has been directed towards designing against unsustainability. Humans are seen as treating the planet as an infinite resource, which is not the case.

''Design futuring' has to confront two tasks: slowing the rate of defuturing... and redirecting us towards far more sustainable modes of planetary habitation'2.

We as a planet, are using the renewable resources available to us, at a rate of 25 per cent quicker than they are renewed,1 This is a major issue. If we continue on this course, we are going to reach 'total chaos'. it is difficult to pin point the exact point of 'total chaos' however we are aware that it is approaching fast, and if we don't act now this will soon be a reality.

It is our responsibility, as architects to step up, and be the change we need to see in the world. Advancement in technology is a key aspect, in assisting this change in the way society functions. Design needs to lead the way. The educating of society as a whole is a starting point in future proofing our planet from the destructive behavior we display.

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice, pp. 6

A.1: DESIGN FUTURING

Fig. 11 1

PRECEDENT:WOODS OF NET

TArchdaily, 'Woods of Net / Tezuka Architects'

BY TEZUKA ARCHITECTS

Playground Crochet

Woods of Net is a permanent pavilion located at the Hakone Open-Air Museum, Japan. In collaboration with structural engineers TIS & PARTNERS, this pavilion was created for Japanese net artist Toshiko Horiuchi Macadam to create a piece of unique artwork/play equipment. The solid exterior structure is made up entirely of timber, featuring 598 individual timber members. The techniques of joining the timber is derived from old Japanese wooden temples. The work of Toshika Horiuchi Macadam investigate a deeper understanding of weight and tension of materials, two key features of architectural designs1. Through weight and tension, the strength of materials and joining methods is clearly conveyed. A key feature of the Woods of Net Pavilion is the interactive nature of the 1

design for both adults and children alike. This is an aspect which I have researched and explored as it relates to the brief of the Land Art Generator Initiative in Copenhagen. This design in created as a 'playground' for both adults and children alike. It is an escape from reality, and acts as a barrier breakdown between age groups. Therefore it is expected that the pavilion will be appreciated for many years to come, to both new and re-visiting people to the site. Here is where my interest in this project draws from, the connectednes with the users, and the ability to influence how they experience this pavilion. The artist has created something which allows people to have their own unique experiences, this is something I wish to further explore in realton to designing for the LAGI competition

Archdaily, 'Woods of Net / Tezuka Architects' 7.

A.1: DESIGN FUTURING

Fig. 21 1 Flickr, Projectione

PRECEDENT: SOLAR SHIFT BY PROJECTIONiONE

Interactive Light Installation

Solar Shift is a proposal for a new installation by PROJECTiONE LLC, a design/fabrication studio in Indiana. This studio focuses on digital tools, through analog methods such as models. I chose a project by PROJECTiONE as this focus relates closely to that of Studio Air, where we will be using Grasshopper to design and create an installation for the Land Art Generator Initiative in Copenhagen.

response to the different users' actions on site.

The Solar Shift proposal is a submission EVV Arena Art Proposal in Evansville. The proposal focuses on the large outdoor public space of the site, and incorporates sustainable interactive lighting as a feature of the overall design. This proposal attracted my attention as I am interested in creating an installation for the Copenhagen site that will provide an interactive environment to aid in the teaching and awareness of renewable energy resources.

It is inspiring to see a design form derived from a specific diagram, however creating an outcome which does not directly show the diagram in it. This is a possible option to explore when developing the form for the Copenhagen installation.

Through the use of motion sensors, LED lights and photovoltaic panels, the proposed installation will change in

The overall form on the Solar Shift installation is derived from the sun path diagram, to ensure the greatest amount of solar radiation is collected. It is a self-sufficient system which is ideal in educating the public about the use of solar energy1.

An interesting aspect of this design wich could be integrated into the design for the LAGI brief is the notion that the installation responds differently to each individual on the site. This provides for an interesting concept, which would encourgae users to revisit the site, a key aspect fo the LAGI brief 1

Projectione, Evansville Arena Art Proposal

A.1: DESIGN FUTURING

Fig. 31 Flickr, Projectione

A.2: DESIGN COMPUTATION

COMPUTERIZATION According to Terzidis, computerization is the 'act of entering, processing, or storing information in a computer' 1 1

Kosta Terzidis, 'Algorithmic Architecture' (2012) (pp. xi)

Computerization is a process of producing an outcome based on preconceived design ideas to create an imaginable outcome In architecture today, most designs are created using computerization. This involves using the aid of a computer program in order to represent ones ideas in its overall form and outcome. The use of computerization assists designers and architects to produce well developed images and models of the design that can be communicated easily to the relevant trades for construction. Computerization has enable a quicker process of design development and presentation through the use of a variety

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of software such as Autocad and Revit. The software assists architectural firms working in groups on projects to allow continuous work flow. With the introduction of BIM modelling, this form of design is growing in popularity in many architectural firms, and will continue to develop in the future. It is argued however, that computerization merely presents ideas and designs in a visually appealing way, without assisting in the design itself. Architects and designs are restricted by the creativity of the human brain, and the ability to construct forms based on prior knowledge.1 1 Kosta Terzidis, 'Algorithmic Architecture' (2012)

A.2: DESIGN COMPUTATION

CHINESE UNIVERSITY OF HONG KONG ARENA SHENZEN, 2012 TOM WISCOMBE ARCHITECTS

Fig. 41 1

The Chinese University of Hong Kong Arena Sports Complex is design around the idea of a free or loose edge between exterior and interior space. The design merges the two together using shading features to delay the entry into the building.1 This design, although abstract in form, appears to have used computerization techniques in order to represent the ideas. Through the use of abstract geometries 1

Tom Wiscombe, 'Chinese University of Hong Kong Arena'

this form has been created which represents the design intent well. The technique of computerization is commonly used in architecture today, particularly as we move towards a Building Information Modelling (BIM) approach to architecture. This method incorporates preconceived ideas into a computerized form, however this computer aid benefits only the representation of the form, not the realization of the form itself.

Tom Wiscombe, 'Chinese University of Hong Kong Arena'

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A.2: DESIGN COMPUTATION

COMPUTATION

Fig. 51 1

Robert Studart-Smith, 'National Art Museum of China'

Kosta Terzidis, 'Algorithmic Architecture' (2012)

'Computation is the processing of information and interactions between elements which constitute specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complete order, form and structure.'1 The development of technology has had undeniable influence on all aspects of the world today. In particular it has enabled architects to not only represent their ideas and designs digitally, using both two dimensional and three dimensional software, but also to assist in designing arrangements, shapes and forms which had never before been considered1.

Computational design has influenced Architecture in recent times. It has allowed for the creation of unique, algorithmic, complex forms using software such as Grasshopper.

to generate algorithmic designs. Computational design causes shifts in the way the architectural profession is viewed. Many people utilising this form of design argue that 'it has renewed the architect's traditional role as the master building empowered with the understanding and ability to digitally create the material realm'2

Future architecture may develop closer to a dominant use of computation in order

The variety of forms which can be generated using computational techniques is limitless, however lack of knowledge of the programs used to develop these forms can significantly diminish the advantages and potential outcomes of this design technique.

1 Kosta Terzidis, 'Algorithmic Architecture' (2012)

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Oxman and Oxman, 2014, pp. 5

A.2: DESIGN COMPUTATION

NATIONAL ART MUSEUM OF CHINA

BEIJING, 2012

ROBERT STUART-SMITH, ROLAND SNOOKS (KOKKUGIA LTD) + STUDIO ZHU PEI

Fig. 61 1

This proposal was established for a competition for the National Art Museum, China. The competition entries were required to work with the metaphor of the cloud, as well as the typology of podium and object. A swarm-based algorithm was used to create the form of the design, an example of a computational design. This example demonstrates the flexibility, and design options provided through computation. Forms such as this can be produced relatively easily, with no pre conceived idea of how this end product may appear.1 Terzidis believes that a computer is a partner in the design process, rather than an extension of the human minds.

According to Terzidis, computation is the 1

Robert Studart-Smith, 'National Art Museum of China'

'procedure of calculating'2 Computation is the generation from undefined or unclear ideas into a form that can be applied to briefs, and constructed. In the above form algorithmic technology, allows for the design of an abstract form which stretches the creativity and imagination of the average architect. In this case, this form has been applied to a museum setting. The benefits of the computational approach in the instance are the free flowing, complex forms created, which stretch further than that of the human mind. It is evident that it takes great skill and expertise to adopt the computational approach to architecture of today. 2

Kosta Terzidis, 'Algorithmic Architecture' (2012) pp.xi 13.

A.3: DESIGN COMPOSITION/GENERATION

RESEARCH PAVILION ICD AND ITKE, 2012

The Research Pavilion was designed by both students and academics from the University of Stuttgart's Institute for Computational Design (ICD) and Institute of Building Structures and Structural Design (ITKE). The academics and students researched into the layers and load bearing efficiency behind a lobster's exoskeleton. The pavilions spans eight meters with a four millimeter composite shell.1 This pavilion demonstrates a computational technique of designing to form a uniquely fabricated form. The fabrication of this form is the aspect that entices the mind. The structure is fabricated from resinsaturated glass, and carbon fibers which are put into place by a robot. This recent fabrication process has been utilized to create the thin, structure through the wrapping of the fibers. An algorithm is a set of instructions in the form of a code, which can be understood by the computer. This form

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Dezeen, 'Research Pavilion by ICD and ITKE'

of designing, has enhanced the use of computation in the architectural field. Creating multiple design options simply involves altering the algorithmic code, to produce a new result.2 Algorithmic Architecture has allowed the designers to create a more responsive design with increased efficiency, within a shorter time frame. The focus on a natural process to create this unique, computational design creates an aesthetically beautiful composition. The form itself does not necessarily visually represent the natural phenomena, however the concepts behind this have set rules for this design, and have allowed for a complex design, which is visually quite interesting. This provides an insight into how a set of parameters put in place to inform a design can benefit the outcome, and this is a concept I will explore when designing for the LAGI competition. 2

Peters, Brady. (2013) 'Computation Works: The Building of Algorithmic Thought',

A.3: DESIGN COMPOSITION/GENERATION

'Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs'. 1

Peters, Brady. (2013) 'Computation Works:The Building of Algorithmic Thought',

Fig. 71 Dezeen, 'Research Pavilion by ICD and ITKE'

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A.3: DESIGN COMPOSITION/GENERATION

Fig. 81 1 16.

Dezeen, 'Research Pavilion by ICD and ITKE'

A.3: DESIGN COMPOSITION/GENERATION

DAW / DOUBLE AGENT WHITE MARC FORNES & THEVERYMANY

'Double Agent White functions to achieve a maximum degree of morphological freedom, structural continuity, visual interplay, and logistical efficiency within a minimum degree of components, and performative hierarchies'1 1

Theverymany, Atelier Calder

The Double Agent White installation is composed of nine intersecting spheres, forming a continuous surface. The installation is made from aluminum sheets and can be disassembled into its individual components and compacted into a 427cm by 366cm by 274cm crate.1 This project is the sixth installation of a series of prototypical architectures which use parallel agents systems to produce developable fragments for fabrication of double curved surfaces.2 Computational architecture has enabled this fluid form to be created and

fabricated to allow it to be assembled and disassembled as required. Due to the emphasis on computational techniques, as shown in this installation, I question the future of the architecture profession. There is potential for computers to take over the whole design process, and could therefore eventually replace architects altogether. This would allow for economical and efficient designs, however would take away the personal aspect of architectural design, and may be difficult to incorporate client's specific ideas into the design.

1 Architectural Record, 'Marc Fornes/TheVery Many' 2 Theverymany, Atelier Calder

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A.4: CONCLUSION

A.4 CONCLUSION 'When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture'.1 1

Peters, Brady. (2013) 'Computation Works:The Building of Algorithmic Thought', pp. 12

The design approach investigated in this journal involves the direction us as architects need to take to reverse societies destructive behavior of our planet and its renewable resources. Education is the major driving factor of the design. Education is a major step toward a sustainable society. It is the responsibility of a multitude of people in order to create this awareness and educate people on the issues of 'total chaos'. With this in mind, design is a key way in which awareness can be generated. Through the use of algorithmic software, and parametric modelling, uniquely creative installations, beyond the capabilities of the human mind can be generated which will draw the public to these places, indirectly creating this awareness. Another

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key aspect to be incorporated into the design is an element of playfulness and entertainment. In order to get the public's attention and support for the design, it is essential to create a design which allows public use, as a sort of new generation playground. This design approach allows the education of sustainability and renewable resources inadvertently through engaging and entertaining measures. The public can benefit from this in that it will enable the creation of an interactive community place for recreation and pleasure. This will also be the first stage for architects and designers to move forward in pursuing this shift in behavior of society.

A.5: LEARNING OUTCOMES

A.5 LEARNING OUTCOMES Architectural computing was a new concept to me before starting this studio class. I had previously worked with Rhino to create preconceived ideas (computation), however the introduction of Grasshopper has drastically changed the possible outcomes as a result. Algorithms and parametric modelling are still relatively new concepts to me, and I am slowly understanding the basics behind these concepts. After investigating precedents, I am intrigued by the varying types of architecture, from buildings to installations which can be produced through the use of algorithms. After watching the weekly tutorials and attempting to experiment beyond their content, I have realised that I still have a long way to go before I can produce anything close to those forms explored

as precedents in this journal. With this in mind, I am eager and confident that I am gradually learning, and will continue to develop my Grasshopper skills to create an interesting outcome which creates awareness of sustainability and renewable energy types. After being introduced to Grasshopper this year, I have come to the conclusion that this software could have greatly increased the complexity and creativity of my lantern design from Virtual Environments in 2012. I wish to continue with the use of this software throughout my education and career. Who knows, maybe one day I can create something as complex, and exquisite as Michael Hansmayer's 'unimaginable shapes'.1 1

TedTalks, 'Michael Hansmeyer

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A.6. Appendix - Algorithmic Sketches

A.6 ALGORITHMIC SKETCHES The algorithmic sketched produces in part A have helped me develop my understanding of grasshopper as a design software. The tutorials are very helpful in guiding you towards a desirable outcome for that specific technique. I do however, find it difficult to extend beyond the tutorials, likely due to my low level of grasshopper knowledge which is progressing week by week.

These images show morph box patterning being applied to a donut shaped lofted surfaces. The surface has been divided and then deconstructed to form a surface box, which then is linked to create a box morph. This is one of many iterations which can be created using this tool by simply changing the input brep/mesh. The image to the left shows a pentagonal pyramid being applied to the surface.

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A.6. Appendix - Algorithmic Sketches

These spherical shapes show a development of varying both the geometry inputs of the algorithm, and the pipe thicknesses. A variety of star shaped, closed loop shapes and triangular shapes have been used to create these examples. The pipe tool is a simple way in which a completely different form can be created using the same algorithm. This pipe structure could be incorporated into a future design using LED strips inside the tubes to create the interactive installation which is hoped to be achieved.

This simple geometry is formed by offsetting planar curves. Although simple, this form may enable an interactive semi open space to be created for the Copenhagen installation

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A.6. Appendix - Algorithmic Sketches

The above image demonstrates the use of the voronoi tool to create patterns. These patterns can then be projected onto a surface/form. An advantage of this form of patterning, using the cull and jitter components, randomised patterns cam be created which are not symmetrical.

This image shows the use of contouring and laying out the elements of a form. This will be a particularly useful skill in the final stages of this semester when it comes to modelling the final installation design. This is a quick, and relatively simple method of unrolling an object to be submitted to the fablab for printing.

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A.1 REFERENCES Archdaily, 'Woods of Net / Tezuka Architects' <http://www.archdaily. com/39223/woods-of-net-tezuka-architects/p1050761/> [accessed 12/03/14] Archdaily, Woods of Net / Tezuka Architects (Image, Online) http://www.archdaily.com/39223/woods-of-net-tezuka-architects/ p1050761/ Flickr, Projectione (Image, Online) http://www.flickr.com/photos/projectione/5616901204/ Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 116 Projectione, 'EVV Arena Art Proposal' <http://www.projectione.com/evansville-arena-art-proposal/> [accessed 12/03/14]

A.2 REFERENCES Kalay, Yehuda E. (2004). Architecture's New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Kosta Terzidis, 'Algorithmic Architecture' (2012) <http://reader.eblib.com. au.ezp.lib.unimelb.edu.au/(S(3rq0eqjd1tcr1525r00bdn50))/Reader.aspx?p=27029 8&o=102&u=8%2fzZUIPgFd5ZHT%2bxuaXqfw%3d%3d&t=1395820041&h=65CDE5 8918C5C381D1582CA744005D4A7F25E5D5&s=11775254&ut=273&pg=1&r=img &c=-1&pat=n&cms=-1> [12/03/14] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 110 Robert Studart-Smith, 'National Art Museum of China' <http://www.tomwiscombe.com/project_005.html> [accessed 19/03/14] Robert Studart-Smith, National Art Museum of China, (Image, Online) http://www.robertstuart-smith.com/filter/projects Sean Ahlqist and Achim Menges, 'Introduction', in Sean Ahlquist and Achim Menges (eds), Computational Design Thinking (Chichester, UK: John Wiley & Sons) Tom Wiscombe, 'Chinese University of Hong Kong Arena' <http://www.tomwiscombe.com/project_005.html> [accessed 19/03/14] Tom Wiscombe, Chinese University of Hong Kong Arena, (Image, Online) http://www.tomwiscombe.com/project_005.html

A.3 REFERENCES Architectural Record, 'Marc Fornes/TheVeryMany' <http://archrecord.construction.com/features/designvanguard/2013/1312-Marc-Fornes-TheVeryMany-slideshow.asp?slide=2> [accessed 25/03/14] Dezeen, 'Research Pavilion by ICD and ITKE' <http://www.dezeen. com/2013/03/05/research-pavilion-by-icd-and-itke/> [accessed 25/03/14] Dezeen, 'Research Pavilio by ICD and ITKE' (Image, Online) http://www.dezeen.com/2013/03/05/research-pavilion-by-icd-and-itke/ Peters, Brady. (2013) 'Computation Works: The Building of Algorithmic Thought', Architectural Design, 83, 2, pp. 08-15 Ted Talks, 'Michael Hansmeyer' <http://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes#> [accessed 27/03/14] Theverymany, 'Atelier CALDER' <http://theverymany.com/constructs/12-atelier-calder/> [accessed 25/03/14] Theverymany, 'Double Agent White' (Image, Online) http://theverymany.files.wordpress.com/2012/01/dsc_0759_ps_fornes_s.jpg

PART B: CRITERIA DESIGN

CONTENTS LAGI 28 BIOMIMICRY 29 FRACTALS 30 L-SYSTEMS 31 ICD/ITKE RESEARCH PAVILION 2011

TIMES EUREKA PAVILION / NEX Architecture

CASE STUDY 1.0

CASE STUDY 1.0 ITERATIONS

SELECTION CRITERIA

CASE STUDY 2.0

REVERSE ENGINEERING

TECHNIQUE DEVELOPMENT ITERATIONS

SELECTION CRITERIA

FORM DEVELOPMENT

PROTOTYPES

MATERIAL CHOICES

PIEZOELECTRICITY 68 SITE ANALYSIS

PROPOSAL 72 LEARNING OBJECTIVES AND OUTCOMES

ALGORITHMIC SKETCHES

B.1 REFERENCES

B.2 REFERENCES

B.3 REFERENCES

B.6 REFERENCES

LAGI DESIGN COMPETITION The Land Art Generator Design Competition 2014 is based in Refshalevej, Copenhagen1. The brief focuses on the design of an installation (permanent or temporary) that produces renewable energy.

Part B will explore the concepts of Biomimicry and Piezoelectricity, along with relevant case studies in order to demonstrate the development of the proposed design in relation to the LAGI 2014 brief.

1 Land Art Generator, 'The Design Guidelines' (2014)

Fig. 91 1 Land Art Generator, 'The Design Guidelines' (2014)

B1: RESEARCH FIELD

BIOMIMICRY BIOMIMICRY IN ARCHITECTURE

Michael Pawlyn describes biomimicry as looking at nature for its function rather that its form. 'Using biomimetic principles, we can retain the many wonderful things that civilization has developed but rethink the things that have proved to be poorly adapted to the long term'1 1

The Biomimicry Institute, 'What is Biomimicry?' (2014)

Biomimicry in Architecture is the study of unique designs that occur in nature, and applying them to architectural designs. This is a key focus point in architecture today, as we are looking towards a more sustainable future. Animals, plant and organisms have functioned on this earth longer than us humans, and have found out what works and what will survive. Natural selection has resulted in only those organism which function well on earth, to survive. This in itself, is a reason as to why we need to look towards these patterns of nature, in order to gain inspiration for sustainable future designs. Nature has found efficient solutions to issues that face society today, Applying

biomimetic techniques to architecture results in 'innovation inspired by nature.'1 Development in design software has allowed the computational techniques to assist designers in emulating nature to create efficient complex forms beyond human capabilities. Biomimicry has been selected as the key design focus/research field for this design as it is a process of learning from nature in order to edge towards a more sustainable future through design.

The NBS, 'Biomimicry in Architecture' (2014)

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B1: RESEARCH FIELD

FRACTALS 'Fractal geometry is a new language. Once you speak it, you can describe the shape of a cloud as precisely as an architect can describe a house'1 1

John Adam, 'Mathematics in Nature,' (2003) (pp. 336)

A fractal is a repeating pattern which is evident at any scale. They generally begin as a simple geometry, and the more repetitions that occur within the pattern, the more complex the forms become.1 An example of this is shown in the below images of Koch Snowflakes. The simple geometry of the triangle, is transformed by the repetition of the shape, to create the snowflake form. The images below, show the placement of the triangles, and how the rotation can change the perception of the pattern, however the form remains the same.

found in seashells and hurricanes. The fractal tetrahedrons or the sierpinski triangle is another demonstration of the repetition of simple geometric shapes demonstrated at varying scales. This example has been explored in case study 1.0 using an algorithm to create different iterations of interesting forms produced from this algorithm.

There a variety of different types of fractals, including branching and spiral fractals. Examples of these patterns can be seen in nature. For example branching can be seen in river networks and lightening bolts. Spiral patterns can be

Many fractals use recursive definitions or sequences. A recursive definition is 'relating to or involving a program or routine of which a part requires the application of the whole, so that its explicit interpretation requires in general many successive executions'2. This type of algorithm is explored in case study 1.0 to generate a series of varying iterations through the use of recursive definitions.

1 Fractal Foundation, 'What is a Fractal?' (2013)

2 Oxford University Press, 'Definition of recursive in English' (2014)

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Fig.101 1

Wolfram Research, 'Kock Snowflake' (2014)

B1: RESEARCH FIELD

L-SYSTEMS

Fig. 111 1

An l-system is a string (in this case a set of lines) made up of a set of rules. L-systems have an axiom1 or a seed (a starting point) and a set of productions (the rules). This is a repetitive system producing an infinite number of possibilities2. For example: axiom B A AB B A where mean 'is replaced by' Results in: B, A, AB, ABA, ABAAB, ABAABABA, ABAABABAABAAB and ABAABABAABAABABAABABA and so on. L-systems can bee seen in nature, for

1 2

CG Jennings, 'The Tickle Trunk, Lindenmayer Systems' (2011) Morphcode, 'Intro to L-Systems' (2014)

Lee Goddard, ' F[-FF]F[+FF]F' 2014

example plant systems. The use of l-systems allowed us to control and manipulate the design in order to create a design that met the LAGI brief, and was well integrated into the site. L-systems can be experimented within Grasshopper itself, or using a plug in for Grasshopper, Rabbit. Rabbit helps to simulate biological and physical process, such as l-systems.3 Rabbit utilizes an l-system and turtle component to generate both 2D and 3D l-systems4. Both of these will be explored when designing for the LAGI brief, and the most viable tool for our design will be chosen to develop our argument.

3 4

Morphcode, 'Rabbit' (2014) Morphcode, 'Rabbit' (2014)

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B1: RESEARCH FIELD

ICD/ITKE RESEARCH PAVILION 2011 UNIVERSITY OF STUTTGART

The design of the ICD/ITKE Research Pavilion followed the biomimetic course of design. The pavilion focused on "the plate skeleton morphology of the sand dollar, a sub-species of the sea urchin"1. This was a design for a collaboration between the Institution for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) on biological research. Together with students of the University of Stuttgart, this temporary research pavilion was constructed2. Plywood material has been used, connected by finger joints, to create the geometric modular system. Computation software has been used to generate this form, and to develop the connection points, and construction technique adopted by the designers3. 1 Dezeen, 'ICD/ITKE Research Pavilion 2011' (2011) 2 Dezeen, 'ICD/ITKE Research Pavilion 2011' (2011) 3 Dezeen, 'ICD/ITKE Research Pavilion 2011' (2011)

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The use of biomimetic techniques such as voronoi are reflected in this design, and create a visually textural, geometric design form. The use of the plate skeleton has been utilized both in creating the exterior shell form, as well as the cell like forms within the geometries utilized to allow light into the pavilion4. The high load bearing capacity of the structure demonstrates the capabilities of biomimicry, and the benefits of incorporating this into architecture through the use of computer software5. This design has been explored as it reflects the design capabilities of both computational software, and the influence of biomimicry in both nature and architecture in design. 4 Dezeen, 'ICD/ITKE Research Pavilion 2011' (2011) 5 Dezeen, 'ICD/ITKE Research Pavilion 2011' (2011)

B1: RESEARCH FIELD

Fig. 121 1

Archdaily, 'ICD/ITKE Research Pavilion' (2011)

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B1: RESEARCH FIELD

Fig 13.1 1 Archdaily, 'Times Eureka Pavilion' (2011)

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B1: RESEARCH FIELD

TIMES EUREKA PAVILION / NEX Architecture LONDON, UK, 2011

'Plant species chosen for the Eureka Garden reflect their benefits to society including medicinal, commercial and industrial uses underlining the fact we could not survive without them. The pavilion design brief was to reflect the same theme.'1 1

Archdaily, 'Times Eureka Pavilion/NEX Architecture' (2011)

This pavilion was design for the Chelsea Flower Show in the Royal Botanic Gardens, Kew, 20111. The design is influenced by the processes of the formation and growth of plants, and their cellular structure. The design uses computational algorithmic techniques to develop the cellular structure of the pavilion design. In particular this design focused on the biomimicry of leaf capillaries, as reflected in the timber and recycled plastic cells2. 1 NEX Architecture, 'Times Eureka Pavilion' (2014) 2 Archdaily, 'Times Eureka Pavilion/NEX Archi- tecture' (2011) NEX Architecture, 'Times Eureka Pavilion' (2014)

The site for the pavilion is a key aspect in the design, and influenced the thought process and construction process of the structure. This shows the development of biomimicry in architecture, extending this process to a three dimensional form, able to be experienced by visitors to the site3. As mentioned in the quote above, this form of biomimicry has been adapted to many aspects of human life, not merely design. Through the use of computational techniques, and the vonoroi component, this form was designed and constructed to create an interesting pavilion which follows a specific pattern generated by nature. 3

Archdaily, 'Times Eureka Pavilion/NEX Archi- tecture' (2011)

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B2: CASE STUDY 1.0

CASE STUDY 1.0 THE MORNING LINE - ARANDA LASCH

'The Morning Line is as much an instrument as a building, saturated with speakers, using a unique interactive multi-spatial system''1 1

TBA21, 'Matthew Ritchie with Aranda\Lasch and Arup AGU, The Morning Line' (2014)

The Morning Line project was chosen as the algorithm to further explore as it provided a basis for our design, focusing on biomimicry, fractals, and scaling. This allowed us to explore these options further, and also introducing the concept of recursive definitions into the development of the design1.

The Morning Line pavilion explores the concept of recursive fractal forms to generate the complex form from a relatively simple starting point. The overall form of the design takes on an open, cellular-like form, which could be well adapted to both the brief and the site of the LAGI competition. Utilizing this influence of an open form may allow our design to take on the interactive and playful nature that we wish to achieve.

These aspects which our design will focus on were chosen as they related to the LAGI brief. Biomimicry was the chosen research field to explore as it links to the notion nature, and sustainability. Sustainability is a key focus of the design as mentioned in the previous chapter. Biomimicry brings the concept of sustainability, relating to renewable resources to the design. The design intent is to educate the public in Copenhagen to use energy more efficiently, and try to reduce the use of energy, to create positive impacts on the environment and the world.

Speakers have been incorporated into the installation which allows the pavilion to create an individual and unique experience for all users of the site. These speakers convert movement through the site into sound, which is played back to the users2. This demonstrates a well integrated design, which is inviting to users, and can be experienced differently at each visit. This irreplaceable experience is a concept which we wish to pursue when designing for the LAGI brief.

1 TBA21, 'Matthew Ritchie with Aranda\ Lasch and Arup AGU, The Morning Line' (2014)

2 TBA21, 'Matthew Ritchie with Aranda\ Lasch and Arup AGU, The Morning Line' (2014)

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B2: CASE STUDY 1.0

Fig. 141 1

Flickr 'The Morning Line' (2009)

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B2: CASE STUDY 1.0

CASE STUDY 1.0 ITERATIONS SERIES 1

S=4

IB=P

IB=O

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SEGMENTS OF POLYGON (S) INPUT BREP (IB) (P=PENTAGONAL PYRAMID, R=RECTANGLE PRISM, O=OCTAGONAL PYRAMID)

S=5

IB=R

B2: CASE STUDY 1.0

BASE SHAPE RADIUS (R) END POINTS TO GROWTH (G) -RANDOM VALUES (RV) -DOMAIN START VALUES (SV) RADIUS OF BRANCHES (B) -AT START (S) -AT END (E) POPULATE 3D (3D) START POINT (SP)

SERIES 2

R=4.698 G=47(RV), 0.350 (SV) B=1.223 (S) 0.250 (E) 3D=1000 SP=-24

R=22 G=47(RV), 0.350 (SV) B=1.223 (S) 0.250 (E) 3D=1000 SP=-24

SP=1

R=2 G=20(RV), 10(SV) B=2 (S) 2 (E) 3D=20

R=2 G=20(RV), 0.350 (SV) B=1.223 (S) 0.250 (E) 3D=20 SP=1

R=5 G=20(RV), 10(SV) B=2 (S) 2 (E) 3D=20 SP=-20

R=5 G=20(RV), 10(SV) B=7 (S) 5 (E) 3D=20 SP=-20

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B2: CASE STUDY 1.0

SERIES 3

BREP APPLIED (B) EXTRUDE ALONG X-PLANE (X) EXTRUDE ALONG Y-PLANE (Y) EXTRUDE ALONG Z-PLANE (Z) DECONSTRUCT BREPS (DB)

B=TETRAHEDRON

DP X=1

DP Y=4

DP Z=8

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B2: CASE STUDY 1.0

B= OCTAGONAL PRISM PRODUCED IN SERIES 1 Z=8

B= RECTANGULAR PRISM PRODUCED IN SERIES 1 Z=8

DB Y=3 Z=3

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B2: CASE STUDY 1.0

INPUT CURVES (IP) ROTATIONAL ANGLE (RA) SCALE (S)

SERIES 4

IP=ARC CURVES RA=0.5 S=O.5

IP=ANGLE CURVES RA=0.5 S=O.5

IP=ARC CURVES RA=1 S=1

IP=ANGLE CURVES RA=1 S=1

IP=TRIANGULAR CURVES RA=1 S=1 IP=TRIANGULAR CURVES RA=0.5 S=O.5

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B2: CASE STUDY 1.0

IP=BENDY CURVES RA=0.5 S=O.5

IP=BENDY CURVES RA=1 S=1

IP=ZIG-ZAG CURVES RA=1 S=1

IP=ZIG-ZAG CURVES RA=0.5 S=O.5

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B2: CASE STUDY 1.0

SERIES 5

GEOMETRY (G) RADIUS (R) HEIGHT (H)

G-SPHERE R=1 H=1

G-CONE R=3 H=3

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G-CYLINDER R=3 H=1

G-CYLINDER R=3 H=10

B2: CASE STUDY 1.0

SELECTION CRITERIA FORM: The form needs to be adaptable to the idea of a pathway with restricted views of the surroundings. Needs to somewhat reflect forms developed from The Morning Line Pavilion precedent. MATERIALITY: Transparent materials need to be able to be used on the form to allow for light in response to pressure (Piezoelectricity). Ability to adapt a low maintenance durable material to create a self-sufficient public space.

CONTEXT: Respond to site dimensions and restrictions well. Is sympathetic to the surrounding landscape. A form that is not a single solid mass rather a sprawled design, that moves with the pathways of the site, not covering the whole site. PIEZOELECTRICITY & INTERACTIVE NATURE: Ability to respond to user's presence and incorporate piezoelectricity and LED lighting features.

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B2: CASE STUDY 1.0

This iteration was selected as the form reflects those explored in The morning line pavilion. It was selected to further explore and develop as the fractals produced created interesting forms in themselves, and by manipulating the dimensions, the form could be applied to a path or surfaces to create an interesting overall form which could be applied to the LAGI brief.

This iteration appears to be a series of random arc curves to create a 3 dimensional shape. There is in fact an organization behind this form. The recursive algorithm used creates this tree form, where branching is occurring from the end points of each curve. Scaling is a key factor in this algorithm, to create the growth pattern, whereby the larger curves and the main structures, and the smaller curves are the "branches" leading from these main structures. The recursive definition relates to the design intent the group is following, in regards to the education of renewable energy. The thought of multiple options or pathways may be explored, demonstrating the indirect process renewable energy takes. This however will be difficult to create a form for the design from, however it may influence the path the form may take.

46.

B2: CASE STUDY 1.0

This iteration uses curves with multiple bends or changes in direction to inform the tree structure. This shows a more sparse form created through the branches. This may be more flexible when designing for the LAGI brief as it allows a more free forming structure to be generated, This could be applied to the context of the LAGI brief, and a form could possibly follow the lines to create the design.

This iteration involves applying a spherical geometry to the side view of a zig-zag tree form (using the recursive definition). This was explored as it is the basis of what we believe the design could be based on. Possibly leading into applying the tetrahedron or other forms produced through series 1 to create a fractal tree algorithm. This relates to the design intent already discussed of creating a maze like path from a start point to an end point of the form/structure. In relation to the application of Piezoelectricity and an interactive nature of this design, the circular shapes could incorporate the piezoelectric pads, and be used to walk on through the site.

47.

B3: CASE STUDY 2.0

Fig. 151 1 48.

Situ Fabrication, 'Rules of Six' (2008)

B3: CASE STUDY 2.0

CASE STUDY 2.0 RULES OF SIX - ARANDA LASCH

'For us design is about putting in place a process from which you can guarantee surprises.'1 1

The Creators Project, 'Making The Mundane Cosmic: Meet Modular Designers Aranda\Lasch' (2013)

Aranda Lasch produce a variety of different computer generated designs using algorithms and parameters to inform these designs. The Rules of Six design was chosen to explore further in case study 2.0 as it directly relates the biomimicry, and fractals. The geometry used to create the wall art demonstrate the aspects of scaling which is earlier introduced when discussing fractals. The scaling of these forms give the overall work a sense of depth. This design was selected as a link was seen in the composition of the forms, and the recursive definition explored in case study 1.0. This form could be applied to the path of a tree to create an interesting compositon. This will be investigated further, looking closely at the link between the composition created as a result of this, and the LAGI brief.

The use of computational design and recursive algorithms allows the design of an art piece that comprises of complex geometrical forms which build off one another to create the growth pattern which is dependant on input rules to create the complex design seen on the previous page. This project demonstrates the capabilities of applying recursive fractal algorithms in the computational approach in order to create a complex design. This project was explored as we believe that this growth pattern form could be applied to the LAGI brief and site in order to create a design that will address the interactive nature and provide multiple paths for our future design to follow.

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B3: CASE STUDY 2.0

REVERSE ENGINEERING We chose to reverse engineer The Rules of Six project as it explores issues of selfassembly, scaling, fractals and recursive algorithms - all aspects we are interested in, and wanting to incorporate into our final design, using bottom up rules of formation to achieve this. PROCESS: Following the process of using an image sampler to manipulate the pattern of a circle we firstly created our own image, which reflected the overall pattern shown in The Rules of Six. We then created a rectangular surface in Grasshopper, and subdivided this in the in both the u and v direction. The surface we created was then lined into the grasshopper algorithm, basing this on the tones of the image. The previous step of subdividing the surface was then repeated, and then by offsetting this second set of points on an angle, this created the top of points. Hexagonal geometry was then applied to the surface and moved on the z plane. Finally, the top and bottom set of points were grafted and lofted together to create the three dimensional hexagonal geometries seen in the image below. This process allowed us to mimic the

50.

scaling of the hexagonal shapes used in The Rules of Six project based on our input image. This meant that the algorithm was flexible, and could be altered to create unique forms based on our input image. Through experimentation as seen in series 1 of B4: Technique: Development in the following pages, we were able to generate different outcomes by changing components such as the u count, v count, input geometry, and the angle. Some downfalls of this process was that we were unable to achieve as complex of a form as seen in The Rules of Six as we didn't have the ability to easily change the direction of selected or random geometries to create the hexagons protruding through the surface in the opposite direction. It was also difficult to create a flowing surface using this algorithm as it is highly depended on the input shape. We were also unable to duplicate the complexity of The Rules of Six geometry through the use of this algorithm.

B3: CASE STUDY 2.0

WHERE WE WENT FROM HERE? As a result of the exploration of this algorithm, and the outcomes produced by this, as seen in series 1 of B4: Technique: Development, we decided to further explore alternate ways to create complex and unique outcomes using different algorithms. Series 2, 3, 4, 5 and 6 in the pages following this, demonstrate the exploration of the voronoi component and the hexgrid components in Grasshopper to create different outcomes, keeping in mind the issues of self-assembly, scaling, fractals and recursive algorithms.

51.

B4: TECHNIQUE: DEVELOPMENT

TECHNIQUE SERIES 1

DEVELOPMENT

Divide Surface (1): U Count = U1 ITERATIONS V Count = V1 Divide Surface (2): U Count = U2 V Count = V2 Variable y (plugged into expression): Y Scaling factor (in the expression) : SF Unit z factor (in the expression): UF

U1=80 V1=30 U2=100 V2=17 Y= 0.6 SF= 0.1 UF= 0.5

U1=80 V1=30 U2=30 V2=30 Y= 1 SF= 0.1 UF= 0.5

U1=80 V1=30 U2=80 V2=80 Y= 1 SF= 0.5 UF= 0.5

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U1=80 V1= 30 U2=100 V2=100 Y= 0.6 SF= 0.1 UF= 0.5

U1=80 V1= 30 U2=30 V2=30 Y= 1 SF= 1.1 UF= 0.5

U1=80 V1= 30 U2=80 V2=80 Y= 1 SF= 0.5 UF= 1

B4: TECHNIQUE: DEVELOPMENT

U1=80 V1=30 U2=30 V2=100 Y= 0.6 SF= 0.1 UF= 0.5

U1=80 V1= 30 U2=30 V2=30 Y= 0.6 SF= 0.1 UF= 0.5

U1=80 V1=30 U2=30 V2=30 Y= 1 SF= 0.5 UF= 0.5

U1=80 V1= 30 U2=80 V2=80 Y= 1 SF= 0.5 UF= 0.5

U1=80 V1=30 U2=30 V2=80 Y= 1 SF= 0.5 UF= 0.1

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B4: TECHNIQUE: DEVELOPMENT

SERIES 2

rule = R F=F Axiom=AX number of generations= G step length= SL, angle=A BAKED OUTCOME used curves as input curve for hexgrid algorithm domain start value: DS, domain end value: DE Using a hex grid, apply a tree algorithm to the grid and scale based on location to the tree

R = X=F[[X]+X\+F[+FX]-X F=FF Axiom=AX G= 5 SL= 2, A=90 DS: 0.1, DE: 1

Construct domain: start value: 1, end value: 0.3 vb length: 5 vb num: 4

R = X=F[[X]+X\+F[+FX]X-FX F=FF Axiom=AX G= 5 SL= 2, A=90 DS: 0.77, DE: 0.1

R = X=F[[X]+X\+F[+FX]-X F=FF Axiom=AX G= 5 SL= 2, A=90 DS: 1, DE: 0.1

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R = X=F[[X]+X\+F[+FX]X-FX F=FF Axiom=AX G= 4 SL= 2, A=30 DS: 1, DE: 0.1

B4: TECHNIQUE: DEVELOPMENT

R = X=F[[X]+X\+F[+FX]X-FX F=FF Axiom=AX G= 5 SL= 0.9, A=75 DS: 2, DE: 0.1

R = X=F[[X]+X\+F[+FX]X-FX F=FF Axiom=AX G= 5 SL= 2, A=776 DS: 0.09, DE: 0.88

R = X=F[[X]+X\+F[+FX]-X -FX F=FF Axiom=AX G= 5 SL= 2 A=776 DS: 1, DE: 0.1

R = X=F[[X]+X\+F[+FX]X-FX F=FF Axiom=AX G= 4 SL= 4, A=864 DS: 0.86, DE: 0.08

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Rules: X F Rotate +(n)/ -(n) Starting string F or X VB num VB Length

B4: TECHNIQUE: DEVELOPMENT

SERIES 3

X= F-[[X]+X]+F[+FX]-X F= FF +=25 - = -25 Starting String: X

F=F+X-F X=X-F[X+X[F]]+X+F +=45 -=-50 Starting String: X

F=FX X=F+X[F]+[[X]F+X}-X +=25 - = -25 Starting String: X

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F=FF+X X= +=45 =-50 Starting String: X

F=FFX+F X=F-[[X]+X]+F[F[+FX]-X +=25 - = -25 Starting String: F

B4: TECHNIQUE: DEVELOPMENT

F=F+X-F X=F-[[F]+X]+X[+FX}-X +=45 -=-50 Starting String: X

X=F-[[X]+X]+F[+FX]-X F= FF-X +=45 =-50 Starting String: X

F=FFX-FX X=F-[[X+X]+F[F[+FX-X]] +=25 - = -25 Starting String: X

F=FFX X=F-[[X+X]+F[F[+FX-X]] +=25 - = -25 Starting String: X

F=FFX+F X=F-[[X]+X]+F[F[+FX]-X +=25 - = -25 Starting String: X

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B4: TECHNIQUE: DEVELOPMENT

SERIES 4

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B4: TECHNIQUE: DEVELOPMENT

SERIES 5

Used outcome of 2.4 to extrude and cap breps in positive x direction

Used outcome of 2.4 to extrude and cap breps In both negative and positive x directions

Used outcome of 2.7 to extrude and cap breps At 4 heights in x direction

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B4: TECHNIQUE: DEVELOPMENT

SERIES 6 N=12 TTFTF (cull) Z=2

N=40 TTFTF (cull) Z=2

N=100 TTFTF (cull) Z=2

N=20 TTFTF (cull) Z=2

N=60 TTFTF (cull) Z=2

N=100 TFTTF Z=2

N=100 FT Z=2 N=100 Random Reduce R=39 Z=2 N=40 TF Z=2 N=40 Random Reduce R=20 Z=2

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B4: TECHNIQUE: DEVELOPMENT

SELECTION CRITERIA FORM: The form needs to be adaptable to the idea of a pathway with restricted views of the surroundings. Needs to somewhat reflect the hexagonal shape drawn from the Rules of Six precedent. MATERIALITY: Transparent materials need to be able to be used on the form to allow for light in response to pressure (Piezoelectricity). Ability to adapt a low maintenance durable material to create a self-sufficient public space.

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B4: TECHNIQUE: DEVELOPMENT

The above iterations were selected as the most successful based on our selection criteria we generated based on our aims for our design. FORM: The form of the second iteration shows the development of pathways within a form. It would allow for restrictions of views to be created within the design. The form of the third iteration demonstrates the hexagonal form we wish to achieve, the gird also would allow for pathways to easily and successfully be cut into this form. MATERIALITY: Both iterations 2 and 3 would allow for the use of transparent materials by utilizing a framing structure

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to support both the overall structure, and the transparent material. CONTEXT: All of the above iterations would be easily adaptable to the site as it is a relatively flat site, with no obstructing vegetation. Iterations 1 and 4 could be use as maze like pathways layed over the site. These are also more sprawling designs that are sympathetic to the site and do not cover the whole landscape. PIEZOELECTRICITY & INTERACTIVE NATURE: The more solid forms of iterations 2 and 3 would allow the used of lighting and pressure to create the interactive nature we wish to achieve in the design.

B4: TECHNIQUE: DEVELOPMENT

FORM DEVELOPMENT

63.

B5: TECHNIQUE: PROTOTYPES

PROTOTYPES The prototypes used to test the form of the design were helpful in determining a scale for the hexagonal forms in the design. However the prototype didn't produce the final outcome we are hoping for. The digital model will need to be modified in order to achieve the desire pathway through the site. This pathway is to be developed using the l-systems to influence the scaling of the members besides the pathway which manipulate the views from the walkway. Techniques in joining each individual hexagonal form together will need to be further explored to ensure the design provides a continuous pathway across the site. From this prototyping, it is clear that we may need to manipulate the shape of the overall form to integrate it into the site, and provide the desired outcome. The images to the right show the form prototypes of our design at this stage. The photos show the effect of light on the shadowing form, showing that this is something we will need to address when placing the design on the site, to ensure large areas of the site, or pathways are not hidden from natural light. In relation to the selection criteria discussed earlier, this form shows a development of The Rules of Six precedent and the second prototype starts to integrate pathways that are based on l-systems into the design. The second prototype has led us to the conclusion that we need to create more variation in the heights of the truncated forms, with some extruding higher than the average human height, and others extruding to a standard balustrade height to allow users to see the surroundings.

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Prototypes modelled by Sophie

B5: TECHNIQUE: PROTOTYPES

Prototypes modelled by Sophie, Emily and Steph exploring form development of the design.

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B6: TECHNIQUE: PROPOSAL

MATERIAL CHOICES The context of the design was the first thing to consider when thinking about materialization. The design intent is to create an interactive structure that will educate users of sustainability and renewable energy through its interactive nature. Piezoelectricity was the chosen form of renewable energy. This form of energy has been used across the world to produce energy to create electricity for many people. We have chosen to incorporate the use of interactive lighting features in order to create a fun installation for the community of Copenhagen to enjoy. Other design constraints related to the location of the site. This is a coastal location, which is in an industrial area. Therefore the materials chosen needed to perform well in such an area, and be durable, long living and require very little maintenance. The brief of the LAGI competition inspired us to select our materials based on their impact on the environment. The hexagonal form our design has taken is to be constructed out of a steel framing structure, and recycled rubber on the areas which will be walked on, with EFTE (Ethylene tetrafluoroethylene) being used on the surrounding frames to allow for the use of light to reflect the pressure produced when walking along the platform. EFTE was chosen as a construction material as it provides a surface that is transparent, and allows light to be omitted through the material. It is strong, durable and lightweight (weighing 1-3% of a traditional system) which allow for ease of fabrication, and minimal maintenance is required for this material.1 In response to the context, EFTE is not affected by UV light, is nonporous, doesn't discolor, and will withstand the pollutants and dirt produced by the environment. When compared to other transparent materials, 1 Peck, E, Fabric Architecture Mag, 'EFTE Systems' (2014) 66.

EFTE was chosen as it has a carbon footprint of approximately 80 times less than comparable transparent materials/ systems, and it fully recyclable2. EFTE provides a cost effective solution to the requirements, as the lightweight material allows for less structural components to support its weight3. Double Layered EFTE has been chosen as it provides a suitable solution to the climatic conditions of the environment, as it can resist wind loads and snow. It consists of a two layer pneumatic pillow restrained by aluminum extrusions, these are then fastened to the chosen steel framing support structure. Low air pressure inflates the cushions and provides the strength of the material4. The pathway users will walk on needs to be very durable, and able to withstand every day wear and tear. Therefore the choice of recycled rubber is suitable, as it is durable, can cope with heavy loads, and is weather/water resistant. This material choice also supports the LAGI brief as it is a recycled material, composed of 100% recycled tyres. It also provides a non-slip surface, to make a safe and easy to use installation5. The steel support structures will be prefabricated off site and transported to the site, therefore size constraints, in relation to the size of the transport, are introduced into the design constraints. Each section will then be slotted and fixed into place.

Peck, E, Fabric Architecture Mag, 'EFTE Sys tems' (2014)

4 5

Mak Max, 'EFTE' (2010) Envio Rubber, 'Recycled Rubber' (2014) Material Research conducted by Emily Graham

B6: TECHNIQUE: PROPOSAL

Fig. 161 Green Prophet, 'Under Highway Piezoelectric Generators Could Provide Power to Propel Electric Cars' (2010)

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B6: TECHNIQUE: PROPOSAL

PIEZOELECTRICITY As discussed in the previous page, we have chosen to incorporate piezoelectricity to produce energy to power an LED lighting system embedded in the form of our design. Piezoelectricity involves the application of mechanical pressure to produce electricity1. A common form of mechanical pressure used in this situation is the application of pressure by a human, either by walking on or pushing the piezoelectric pad. This form of renewable energy is best applied to areas of high traffic, therefore high/ constant pressure. One footstep can only produce enough energy/electrical current to power a two 60-watt light bulbs for a mere one second.2 This is not nearly enough energy to be able to produce power for a room, building or an entire city. However, if utilized in busy areas such as train stations, shopping malls, or even freeways as will be discussed later, this form of energy can seamlessly provide enough energy to be utilized by large areas. This is were our design proposal comes in. For the LAGI competition, we are aiming to educate the users of the design on how renewable energy works, in particular piezoelectricity, and demonstrate this using a small scale example, where the user steps on a path, where piezoelectric pads are embedded, producing energy to light up the LED lighting embedded in the forms surrounding them. This promotes the possibilities of using pressure to generate renewable energy. 1 2

Science How Stuff Works, 'Can house music solve the energy crisis?' (2011) Science How Stuff Works, 'Can house music solve the energy crisis?' (2011)

Piezoelectricity conducted by Emily Graham

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Piezoelectricity was the chosen source of renewable energy as we feel this form of energy can be well incorporated into the fabric of our cities, and can be used in many different aspects of life. Whereas other forms of renewable energy, such as solar, wind, or water rely heavily of the environment they are placed in. Pressure can be drawn from a variety of situations, and can be adapted to any location around the world. An example of how piezoelectricity can be applied at a larger scale can be seen in the Israel Highway project. This highway in Israel utilizes the weight of vehicles passing over the area of highway embedded with piezoelectric generators to produce energy and send it to the grid3. On the 7th of October 2009, this highway was first tested, and in the 10 meter stretch of highway tested, 2,000 watt-hours of energy was produced4. The company Innowattech Energy Harvesting Systems worked to make this project possible. They have also generated systems to be used under railway tracks, and pedestrian paths. In the future, I believe this technology will become well utilized across many countries, in order to generate 'free energy', and create a more sustainable future. Examples of Innowattech's systems can be seen in the video link: http://youtube/ CfnyJ0_XarI 3 Green Optimistic, 'Israel Highway Equipped With Pilot Piezoelectric Generator System' (2009) 4 Green Optimistic, 'Israel Highway Equipped With Pilot Piezoelectric Generator System' (2009)

B6: TECHNIQUE: PROPOSAL

SITE ANALYSIS

Fig. 171 1 Land Art Generator, 'The Design Guidelines' (2014)

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B6: TECHNIQUE: PROPOSAL

When developing our design for the LAGI competition brief it was integral to address the context of the design by considering various factors of the site. Our first focus was on the access to the site. We looked at the entry and arrival points of the site by the various means of transport. The image below shows both the access from the nearby bus stop at the south east corner of the site. The water taxi terminal is at the south west corner of the site, we wanted to utilize this, and provide access for visitors to access the water taxi from the design and vice versa. To make a more dynamic form that sprawled across the whole site, we decided to incorporate another entry point along the eastern boundary of the site. This will assist in adapting an l-system to the site to base the pathways on. The topography of the site was analyzed and it was discovered that the site is relatively flat1. This influenced the form of our design, as we wanted to create a design that complimented the site, and by adding the various heights to the site this was successfully achieved. The sun was another factor of

1 Land Art Generator, 'The Design Guidelines' (2014)

consideration when designing for the LAGI brief. Copenhagen is in the northern hemisphere, at a latitude of 56 degrees2. We wanted to ensure our design was not domineering on the site, and did not drastically affect the amount of sunlight the natural ground of the site was receiving. Utilizing transparent materials has assisted in creating a design that works well within the site, creating balance between the natural and man made materials. Lastly, the view from the site were integral to where we placed our pathways and the height of the truncated hexagons on the site. The industrial setting of the site is not of particular interest to us, as it does not provide very aesthetically pleasing views, however on the west and southwestern boundary of the site is the water, and this boundary also provides a beautiful view of The Little Mermaid statue and down to the city centre3. As a response to this view, we plan to add a viewing platform to our design which will provide an observation area for visitors to experience the surroundings of the site. 2 Maps of World, ' Denmark Latitude and Longitude Map' (2014) 3 Land Art Generator, 'The Design Guidelines' (2014)

Fig. 181 1 Land Art Generator, 'The Design Guidelines' (2014) 70.

B6: TECHNIQUE: PROPOSAL

Fig. 191 Land Art Generator, 'The Design Guidelines' (2014)

Fig. 201 1 Land Art Generator, 'The Design Guidelines' (2014) Image created by Sophie Stewart

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B6: TECHNIQUE: PROPOSAL

PROPOSAL "Designers who shape the city have a responsibility to design for a sustainable future. Our project is essentially a dynamic and interactive collection of truncated hexagonal members sprawled across the site to form a playground-like public art display. It takes users on an experiential journey through the site that is unique to every user depending on how they traverse through the structure. Through the incorporation of piezoelectric technology allowing the structure to self-generate its own electricity to power an LED lighting display and sustainable building materials our projects aims to challenge the stereotype that building green has aesthetically questionable or diminished outcomes and to elicit contemplation and educate the public about the scope of potential in sustainable design and construction. Principles found in nature are used as solutions to human problems"1 Our design is influenced by the Aranda Lasch project, Rules of Six, as mentioned in B.3 Case Study 2.0. From here, we developed an interest in scaling and l-systems, which we pursued to incorporate into our final design. 1 Stewart, S, Graham, E, Clarke S, Studio Air Interim Presentation Material Research conducted by Emily Graham

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This design is based on 2 l-systems. One which determines the scaling of the truncated hexagons, and the other determines the pathways through the site. These pathways will need to be manipulated slightly to incorporate our site analysis of how people move through the site. Our design also attempts to draw users attention away from the industrial environment of Refshalevej, and instead directing their attention to the beautiful views along the west and southwest boundaries. Double Layered ETFE have been utilized in our final design as stated in the 'Material Choices' page of this chapter, Recycled Rubber and a steel framing system were also elected as construction/material choices for our design. These materials all reiterate the concept of sustainability within design which is a key focus in the LAGI brief. This assists in the educational aspect of the design which is integrative to the proposal. LED lighting, and piezoelectricity have also been utilized as the primary energy generating system within the design. This system is explained earlier in this chapter. This aims at educating users of the design about sustainability and renewable energy, and also provides the interactive nature we wish to achieve in our design.

B6: TECHNIQUE: PROPOSAL

Image created by Steph Clark

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B6: TECHNIQUE: PROPOSAL

Image created by Steph Clark

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B7: LEARNING OBJECTIVES AND OUTCOMES

LEARNING OBJECTIVES AND OUTCOMES FEEDBACK AND DESIGN DIRECTION The feedback received from the interim presentation has been helpful in decided our design direction from here, and how we can better incorporate our ideas into our design, and how we can communicate aspects of the design better. In order to communicate our design more effectively we need to explain more about what the truncated forms are doing on site, how they are manipulating what visitors can experience on site. In particularly, we need to communicate how the pressure produced by people walking on the piezoelectric pads light up the truncated forms surrounding them. We plan to incorporate these aspects in a more wholistic approach. - making it clearer by using videos, images etc. The grid of hexagons we utilize in the design follows a rectangular shape. To create a more interesting, and complex design we will explore more complex shapes grids, possibly by inputting geometry surfaces and apply the hexgrid to this surface or by culling more hexagons to the outer edges to create a more sprawling overall form. It is important in our design to utilize the pathways to manipulate how users traverse through the site, however we also need to make more of the site accessible by these

pathways. An idea of how we can create a more interesting set of pathways is to explore the idea of a maze within the design, and attempt to create pathways which would get people lost within it, and possibly manipulating the LED lighting, to impact when people can see these lights. Following from the Rules of Six precedent, our design needs to adopt the idea of protruding hexagonal truncated forms into the surface/landscape as well as extruding above the ground. This would create a more dynamic design on the site, and manipulate the flat surface of the site. In order to communicate our concepts behind our design more sophisticated diagrammatic representation needs to be used in order to demonstrate the complexity behind the overall design. Utilizing the prototyping technique to explore the structure supporting the truncated forms will help explore our understanding of how this design will be constructed. The images of the design also need to reflect this better, by showing the swollen shapes of the hexagons produced by the EFTE. The final design addition we plan on making to the overall design is incorporating soft landscape and timber into the design throughout the design, including the seating and open areas.

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B7: LEARNING OBJECTIVES AND OUTCOMES

LEARNING OBJECTIVES OF THE STUDIO 1. By following the LAGI brief to develop our design this has put in parameters to constrain our design, and allows us to create an in depth concept to propose. 2. Through the use of parametric modelling, we have been able to easily produce a variety of outcomes, as demonstrated in the iterations which provides an outcome which works well with the brief and the site. By developing selection criteria based on what we want to achieve, it has ensure our final design follows the brief well and incorporates all aspects intended. 3. Through the use of different design methods (Grasshopper, digital modelling in Rhino, 3D papercut prototypes and analytical diagramming) this has allowed us to explore the idea as different scales and perspectives which helps refine the design. 4. The physical 3D prototypes allowed us to explore the practicality of the design, and the construction possibilities. It has been determined that a strong structure will be required to support the EFTE cladding of the hexagonal forms. 5. The interim presentation in particular has pushed us to create an informed and persuasive argument for our design proposal. This has required research into materials and construction as well as prototyping to represent the constructibility and complexity of the design.

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6. Through the exploration of precedents relating to the field of biomimicry and interactive installations, we have analyzed the successful and not so successful aspects of the designs, which has influenced our design considerations. 7. Through the use of parametric modelling tools such as Grasshopper and the Rabbit plug in, Studio Air has been beneficial in developing an understanding of how computational design works and the capabilities of this form of designing in relation to real projects. 8. Studio Air has allowed me to explore the concept of computational design techniques in a manner to which I understand the process of this form of design, and the advantages and shortcomings of this. Computational design allows for efficient design possibilities to be produced, and manipulated based on requirements of the brief, and site information. It allows for designs which can be relatively easily integrated on site through the parameters in the algorithm. To me, it is important that this form of design be further integrated into society in order to lead us towards a more sustainable future, however, It is also important that this form of design be applied to appropriate briefs. Whereby buildings such as emergency services facilities need to ensure that functionality is the primary consideration for design, and not to allow computational design to draw the designers away from the critical performance criteria.