2014 S1 Jesse Osadczuk by Studio Air

ARCHITECTURAL ∙ DESIGN ∙ STUDIO

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( PL E AS E

K I L L )

â&#x2C6;&#x2122;

A self-indulgent literary piece of shit

AN ABSENT-MINDED 19 YEAR-OLD BORN AND RAISED IN JAPAN, STUDYING ARCHITECTURE AT THE UNIVERSITY OF MELBOURNE. MY IDEAL FUTURE ENTAILS BEING AN ARCHITECT, ENVISIONING AND REALIZING CREATIONS THAT ADD SOMETHING OF ACTUAL VALUE TO THE SOCIOLOGICAL AND ENVIRONMENTAL PARADIGM. SIMILARLY, SOMETHING IN THE DESIGN REALM SUCH AS DESIGNING HACKNEYED PIECES OF FURNITURE FOR A NORWEGIAN LIFESTYLE STORE OR HORRIFIC STREET ART INSTALLATIONS. IF NONE OF THAT PANS OUT, I SURRENDER MYSELF TO THE LIFE OF A FOOD CRITIC. WHY DO I LOVE ARCHITECTURE? NOT FOR THE JOB PROSPECTS OR PAY SALARY. ART IS OFTEN CREATED OUT OF A NEED TO COMMUNICATE THE ARTISTS’ INTENT IN AN ABSTRACTION OF THEIR EMOTION, THAT MUCH IS CLEAR; A PAINTING IS HUNG IN AN ART GALLERY. THE OPENING GALA. PEOPLE VISIT. PEOPLE STARE. DAYS, WEEKS PASS. THE PAINTING IS TAKEN DOWN, RE-HUNG ELSEWHERE OR STORED AWAY NEVER TO BE SEEN AGAIN. ARCHITECTURE OFTEN ARRISES OUT OF A NEED TO SERVE A PRACTICAL PURPOSE, TO SERVE A PEOPLE. ART IN ARCHITECTURE IS FAR MORE SUBTLE; NOT VYING FOR ATTENTION, BUT INSTEAD IT IS THE PAINTED BACKDROP TO THE LIVES AND STORIES THAT THE INHABITERS CREATE WITHIN ITS WALLS. TO SAY I AM UNEXPERIENCED WITH RHINO, NOT TO MENTION GRASSHOPPER WOULD BE A SEVERE UNDERSTATEMENT. ALTHOUGH RHINO (COUPLED WITH PANELLING TOOLS) IN THE DAY OF VIRTUAL ENVIRONMENTS SEEMED ENTICING WITH ITS MALLEABLE, PARAMETRIC NURB PLAY-DOUGH PUTTY, ITS CONVOLUTED PROGRAMMING LANGUAGE AND GRASSHOPPER’S SKEUOMORPHIC ‘BATTERY-CIRCUIT’ U.I. DOES MORE TO CONFUSE THAN CLARIFY. THERE IS NO DOUBTING THE COUNTLESS MISTAKES AND SLEEPLESS NIGHTS THAT ARE TO COME.

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_0.00: CONTENTS

Numerical Values & Painful Page Titles 6 8 9 10

A.1.01: Ilkka Halso, Norway A.1.02: Algae Power Generation, Germany A.1.03: Pavegen Systems, United Kingdom A.1.04: Kengo Kuma, Japan

62 65 66

C1.01: “Are We There Yet?” C1.02: “Almost.” C1.03: Being Carted Around

67 69 70

C:2.01 God Help Us C2.02: Cheers to You, William Rankine C2.03: Saline Explorations

13 14 15 16

A2.01: What is Parameric Design? A2.02: Japanese Parametricism/Timber A2.03: From the Digital... A2.04: ...To the Analogue

72 74 76 78

C3.01: Epistemology C3.02: Site Map [1] C3.03: Site Map [2] C3.04: Section

19 21 23 24 26

A3.01: Emergent Design, Austria A3.02: Parametric Design, Austria A3.03:Growth Austria A3.04: Generative Design, Austria A3.05: deReductionism, Switzerland

80 81

C4.01: Already Done C4.02: In The Ideal World

A4:01: Conclusion∙ A5.01 Learning Outcomes

C5.01: Finish Line

A6.01: Parametric Sketches

C6.01: The End.

A6.02: End of Part A

33 34 35 36

B1.01: Tesselation + Art B1.02: Descent into Madness B1.03: “Bouncey Bouncey” B1.04: Very Very Ugly

38 41 42 43 44

B1.01[2]: Kangaroo Prior Joey Conception B1.02[2]: Catenary Thrust(ing) B1.03[2]: Gaudí & Otto, Master & Grasshopper B2.01[2]: K. Frankenstain’s Monster B2.02[2]: Faradays Junk

46 48 50 54 56 59

B3.01: Reverse Engineering B4.01: Solar Reflections B4.02: Iterative Matrix B5.01: Ontology B6.01: Certain Sensitivities B7.01: Salt & 山本基

B8.01: End of Part B

PART :

A1: Design Futuring

A.1.01: Ilkka Halso, Norway A.1.02: Algae Power Generation, Germany A.1.03: Pavegen Systems, United Kingdom A.1.04: Kengo Kuma, Japan

6 8 9 10

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RESTORATION UNTITLED 3, 2000

EVOLUTIONS OF A TREE, VERSION 2.1, 2006

HOUSE WITH A GARDEN: UNIQUE OPPORTUNITY, 2010

RESTORATION 11, 2005

A1.01: ILKKA HALSO, NORWAY

“Tree Works, Evolution of a Tree, House with a Garden: Unique Op.” etc. [2000 -]

EVOLUTION OF A TREE VERSION 2.1 [INSIDE], 2010

Evolution Of Tree, version 2.1 Inside, 2006

140 cm x 300 cm triptych, edition 6 In a series of interactive art installations, Finnish “I show ironic visions of man’s relation to 70 cm x 150 cm, one piece ,edition 10 artist Ilkka Halso investigates the relationships nature and his confidence in technology in between architecture, technology and solving problems caused by his own activities. nature, through both photorealistic renderings I built fictive restoration sites. Scaffolding is as well as physical collages set in natural covering objects of nature instead of houses environments. In these works, Halso wraps and man-made objects. Trees, boulders, rock and ‘shields’ growths such as tree, foliage faces and fields are under repair.” and flora in scaffolding, iron-frame and mesh structures in order to ‘protect’ and - Ilkka Halso conserve these natural elements, as well as paradoxically and knowingly exploiting them Halso’s works helps us ourselves question for her art piece; through this, the very notion the practices in today’s so called ‘sustainable’ of nature is commodified and transfigured into architecture. Whilst the building during its some sort of spectacle to be viewed by the operation may indeed utilize various renewable general public from very close. The traditional and sustainable energy sources/practices, architectural language of scaffolding, often times the embodied energy of the transitional structures used to construct or building itself, from conceptualization to the final refurbish man-made structures, the clash construction of the design amount to something of metal against wood engages a surreal that is in no way sustainable. Through the discourse where man’s paradoxical attempts material’s composition (e.g. concrete, timber) at preservation are of the very things that he is to its transport, construction equipment and so currently in the process of destroying. on, the promise of stainability is rarely met.

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A1.02: ALGAE POWER GENERATION, GERMANY “BIQ” by Splitterwerk Architects, Hamburg [2013]

ALGAE IN BIOREACTIVE LOUVERS IN BIQ, HAMBURG, 2013

Whilst the hubristic nature of science facilitates the ecologically damaging production of electrical energy for man’s pleasure, it also allows for sustainable and innovative forms of energy production. One such form of emergent energy production is the utilization of living micro-organisms such as is the use of algae, fungi and various other bio-organisms for the creation of electrical energy for human consumption. The BIQ building, a collaboration between Splitterwerk Architects, Strategic Science Consult of Germany, ARUP and Colt International is a real-life example of the potential that such systems have to offer. To create the façade which contain the bioreactive constituents (pictured above), the building was

covered in numerous louvers which enclose the algae. These louvers help to increase the survival and growth rates of the algae contained inside, whilst also providing a shading system for the building, increasing passive thermal performance and decreasing the need for electrical energy. The bio-reactors within each panel trap the heat created by the enclosed algae, which is finally converted to electrical energy for the usage of the building’s inhabitants. Such systems are interesting not only because of the radical technical mechanisms involved, but also because of the viability of using living organisms for the production of electricity for human consumption, and any ethical or moral questions that may be attached to such a proposal and it’s future within design.

A1.03: HUMAN KINETIC ENERGY, UNITED KINGDOM

(Untitled) Pavegen Systems installed into modular dancefloor, U.K. [2000â&#x20AC;&#x2122;s]

PEOPLE DANCING ON A DANCEFLOOR EMBEDDED WITH MANY PAVEGEN TILES

Humans are not only consumers of energy, but surprisingly generators of energy as well; importantly, kinetic. Pavegenâ&#x20AC;&#x2122;s are loaded with magnetic copper/neodymium coils, and when stepped on, this change in magnetic flux is utilized to induce a magnetic current; this is then stored as electrical energy ready for use in such applications such as lighting, wayfinding signage, wireless communications (public wifi) and charging of personal electronics. As these plates themselves contain no interior moving parts, they require no specialized maintenance. As forms of energy (and mass) are interchangeable, these plates store transferred kinetic energy as electrical energy. As this energy source explicitly requires pedestrians to step on these pads to produce and store electrical energy, they are often placed in public already with high levels of

foot-traffic, namely urban environments; areas with Pavegen systems already installed include turnstiles/corridors of Parisian metro stations, school corridors and offices. More casual/fun applications include impermanent, mass installations such as the numerous Pavegen tiles at the finishing line of the 2013 Schneider Paris marathon, to dance floors such as the one pictured above. In terms of energy output, Pavegen tiles do not produce high enough quantities of electricity to satisfy the energy desires of highly-populated urban environments; for smaller applications, most importantly lighting and wireless communication in a LandArtGenerator project however, conversion systems of human kinetic energy to tangible electrical energy systems like this one appear promising.

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A1.04: KENGO KUMA (隈研吾), JAPAN

Starbucks, Dazaifu & “Asakusa Cultural Tourist Info. Centre”, Osaka [2012]

Kengo Kuma (隈研吾), born 1954 is a renown Japanese architect, widely respected for his continuous usage of quintessentially ‘Japanese’ ideology and material selection, paired with new parametric design techniques and modern construction methods. Recipient of the 2009 Architectural Institute of Japan Award and the ‘Officier de L’Ordre des Arts et des Lettres’ from France, Kuma never seeks to undervalue the Japanese concepts of lightness and transparency, but does not fear in expanding his mechanisms of composition whilst retaining these traditional values.

The Asakusa Culture Tourist Information Center is an information building is located near the outer gate to ancient Buddhist temple Sensō-ji, built in the sixth century shortly after Buddihsm’s introduction to Japan through the Korean peninsula, and is the oldest of its kind in Tokyo. Horizontal slices divide the structure into its eight constituent stories, where the exterior sloped roofs of the levels sandwiched in the middle relate to either sloped ceilings in the interior as well as a tiered floor of a multi-purpose hall. Much of the building is clad with timber panelling, utilizing both Japanese vernacular and modern techniques. There are two balconies on the upper floors. Most likely, Kuma and his associate architects would have utilized a combination of a parametrically driven design program such as Grasshopper + Rhino, in conjunction with outputted data from some form of building performance analysis software to predict hot spots human usage of the building, in order to map out the louvering program to offer the best combination of both thermal performance and public visibility.

Kuma has adopted a more delicate, more considerate palette of materials as of late. After the 2011 Japanese tsunami, Kuma turned heavily towards timber for its ‘humble’, yet environmentally ‘considerate’ quality. His usage of the latest computational software in contrast, yet in harmony with his ingrained sense of Japanese simplicity and elegance with his material selection, repetitive forms and simple louvered panelling is particularly inspiring.

ENTRANCE TO STARBUCKS CAFÉ IN DAZAIFU TENMAN-GŪ, 2012

One of the latest works by Kengo Kuma and Associates is a Starbucks Café located, stangely enough, on the ascent to a Shinto shrine of Dazaifu Tenman-gū, Omotesando in Osaka. This shrine was established in 919 A.D., dedicate to “the God for Examination,”. It recieves an excess of two million visitors per year who wish themselves success in their academia.

groups of two. Again, this could of only really been resolved with the utilization of parametric software such as Grasshopper; defining the form of the structural components which bind the members together, Kuma and his team could allow the computer to quickly replicate and resolve the complex, and numerous constituents.

The building consists of 2,000 stick-like parts in the sizes of 1.3m – 4m length and 6cm when looked at section. The total combined length of the sticks reached that of 4.4km. Kuma and his fellow associates with a similar weaving pattern of timber for earlier works such as the Chidori and GC Prostho Museum Research Centre; with this Starbucks project however they decided to go with a diagonal interlacing pattern for a greater sense of directionality and fluidity. Kuma faced a particular problem with this design in that, in his previous works at Chidori and GC, there were three members which had to join together at one intersecting point, where as four timber members needed to be joined at diagonal intersections in this particular design proposal. Kuma finally resolved this particular technical problem by slightly altering the positions of the fulcrums, dividing the four timber members into two

Deconstruction: One problem I foresee with this particular project by Kuma and his associates is that the interior timber structure feels more of an art installation than the actual architecture itself; affixed to an outer frame, it plays no structural role, and when viewed in isolation from the exterior, is invisible. However, this is a particular issue that is address by his later work on the SurryHills cake shop (examined in A2.02: Japanese Parametricism/Timber, page 14).

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PART :

A2: Design Computation 13 14 15 16

A2.01: What is Parameric Design? A2.02: Japanese Parametricism/Timber A2.03: From the Digital... A2.04: ...To the Analogue

A2.01: WHAT IS PARAMETRIC DESIGN?

Drawing from “Dermoid” by SIAL (RMIT), Melbourne [2010]

VIEWERS WALK THROUGH THE DERMOID INSTALLATION BY SIAL, 2010

Before embarking on a parametrically-driven design path, it is important to clarify exactly what ‘parametric’ is in the very first place to ensure understanding of the terminology early on. Parametrically-driven design is akin to the use of a spreadsheet to calculate values and outcomes through complex mathematical formulae. Though these parameters and algorithms are often applied to numerical values, in the context of design, they are instead applied to geometric functions. Flicking through past-student work, I was especially drawn to a precedent in Bradley Elias’ journal; ‘Dermoid’ by Sial (2010).

Constructed from numerous ‘bent reciprocal timber elements’, a modular parametric model used to modulate such timber elements over a doubly curved surface. This presented a unique challenge as the timber elements were to be be fabricated all at the exact same length. A Daniel Davis of the design team solved this by defining a specific number of points, before utilizing a swarming algorithm in Grasshopper to push these points away from each other. This allowed an ideal distance between where these timber members of equal lengths would be joined. This particular precedent helped both define parametric design in my head whilst also reaffirming its benefits.

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A2.02: JAPANESE PARAMETRICISM/TIMBER

SunnyHills Cake Shop by Kengo Kuma, Minami-Aoyama [2014]

EXTERIOR OF SUNNYHILLS CAKE SHOP, 2014

Kengo Kuma and Associates were asked by the Japanese cake brand SunnyHills to come up with a shop design that mirrors the careful preparation of the company’s trademark pineapple cake (cakes popular throughout Japan, Taiwan and much of Asia). As such, Kuma developed a volume modelled on an artisancrafted bamboo basket. Over 5000 metres of these decidedly ‘Kuma’ timber members were utilized to construct the precise 3D grid that encase the building around the outer walls and ceiling of this three-storey building. Some pieces were cut shorter than others, revealing multiple layers and reducing the overall linearity; a complex form arrises out of the repetition of simple constituents. Decidedly, this design would of no doubt taken usage of a parametrically-driven program. The sheer number of the timber elements involved would of meant any incremental change to the underlying walls and ceiling would of meant a huge undertaking of painstakingly recalculating and readjusting each and every one of these members by ‘hand’. With a explicit-history based program such as Grasshopper, this would be easily avoided.

GLULAM: Glued laminated timber, or glulam, is a type of timber product comprising multiple layers of dimensioned timber bonded together with durable, moisture-resistant and most importantly, eco-friendly structural adhesives. Because of its composition, large glulam members can be manufactured from a scrap timber and smaller plantations. Glulam has a significantly lower embodied energy than reinforced concrete or steel, and though slightly higher than solid timber, offers higher tensile and load-bearing strength and highly customized/complex shapes. As such, such a material could offer itself as particularly useful for a parametric/computationally driven design due to its relative plasticity, as well as it’s ecological benefits. As such, pools of concentration fixated around “material performance”, and “sectioning”.

A2.03: FROM THE DIGITAL... “Footbridge Café” (Proposal) by Laurent Saint-Val, Amsterdam [2013] Due to a series of destructive fires in the 1500’s, the use of timber as an architectural material was banned within Amsterdam and as such, only two wooden structures exist. Architect Laurent Saint-Val sought to address this with his proposal for a new footbridge, constructed out of both typical bridge-building materials such as steel and aluminum, as well as atypical timber members. Each wooden member spans along the length of the bridge.

Sinuous curves hark of timber gone Zaha. Similarly, Saint-Val clearly held a preconception of the form he wished his footbridge to take, and as such, computer software was merely used as a digital realm in which he could sculpt and mold his vision into three dimensional NURB surfaces or polygons represented by 0’s and 1’s. Parametric design’s input would have been limited to the task of quickly replicating and ordering structural components to support the timber and give rigidity.

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A2.04: ... TO THE ANALOGUE

“Catenary Pottery Printer” by gt2P, Chile [2013]

THE POTTERY PRINTER AND FINAL RESULTS, 2013

Whilst computationally-driven parametric design is becoming the increasing standard in both supplementing as well as creating the physical form of architecture, remaining in the digital ethos often limits a sense of organic-sensibility. As such, Chilean studio, Great Things to People (gt2P) have fabricated a analogue pottery printer ; where digital parametric design would generate forms depending on the behaviour of a computer algorithm in response to a set of data, their system generates forms depending on the behaviour of the textile in response to a set of physical conditions. “This is part of an exploration on how to create standard machines that generate non-standard results, mixing analogue numerical control with traditional material and techniques; parametric design is not necessarily a digital computation methodology.”

By altering the set of variables such as the position and number of anchor points for the fabric, stretchiness of the textile selected, the weight and amount of liquid slip, or drying times and viscosity of the type of clay, the resulting numbers of pottery are both quick and endless. According to Guillermo Parada, “This project gives us a new scope - more parametric, less digital - allowing us to speak about parametric design without computers and digital fabrication laboratories which generates dialogues from academic contexts to communities of artisans”. gt2P’s work indeed helps reaffirm that parametric design is not in anyway limited or inextricably linked to digital design, and this is a critical distinction to make.

PART :

A3: Composition/Generation A3.01: Emergent Design, Austria A3.02: Parametric Design, Austria A3.03:Growth Austria A3.04: Generative Design, Austria A3.05: deReductionism, Switzerland

19 21 23 24 26

A4:01: Conclusionâ&#x2C6;&#x2122; A5.01 Learning Outcomes

A6.01: Parametric Sketches

A6.02: End of Part A

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Emergence is the pattern of growth where unexpected and highly complex patterns arise from simple seeds to complicated offspring, i.e. 1+1>2. In many ways, a large scope of design discipline can be considered to be ‘emergent’; with two steps back for every step forward, the design goes through multiple iterations and refining stages to be, bit-by-bit, uncovered. When thought of in relation to computational architecture however, ‘emergence’ is often used most often in reference to digital emulations of biomimicry and evolution. After inputting a few starting algorithms and parameters, the design is left to the mercy of the computer which then utilizes these algorithms to replicate certain geometries to come to a final, often very-complex results.

A3.01: EMERGENT DESIGN, AUSTRIA

“Barotic Interiors II” by Christoph Hermann, University of Applied Arts, Vienna [2011]

3D-PRINTED CONCEPTUAL MODELS OF HERMANN’S BAROTIC INTERIORS II, 2011

In the second installation of his Barotic Interior works, Christoph Hermann of the University of Applied Arts in Vienna, Austria, gives emergence to design that create a high level of qualitative differentiation and intensity in respect to the part-to-part and part-to-whole relationships. Through the use of parametric controls he explores dynamic systems, in seeing its potential of embedding an infinite amount of interior conditions without losing the overall coherency. “By translating architectural elements into dynamic inputs a vector field results providing a system which differentiates gradually and correlates systematically surmounting conventional collage techniques. StreamlineMethod is used to visualize these vector data”.

By controlling the line output: Hermann was able to control the tangent-to-normal, and a fluent parametric architecture shift from texture to structure is achieved. Thus various architectonic elements such as structural (stairs, façade, floor slabs etc.) as well as textural embelishments appear as one emergent design system. What is particularly admirable about Hermann’s work is the way in which he treats computational tools as just that; tools which supplement his architecture, even giving emergence to forms and hierarchy he did not consider, but never letting the computer sacrifice the design for the sake of purely computational aesthetics. He is still very much in charge.

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HERMANN’S BAROTIC INTERIORS EXEMPLIFY PARAMETRIC ‘SECTIONING’ TECHNIQUES

A3.02: PARAMETRIC DESIGN, AUSTRIA

“Barotic Interiors I” by Christoph Hermann, University of Applied Arts, Vienna [2011]

3D-PRINTED CONCEPTUAL MODELS OF HERMANN’S BAROTIC INTERIORS I, 2011

Barotic Interiors is the first installation by Christoph Hermann and his peers at the University of Applied Arts in Vienna, and it shows. In the eyes of Hermann, the interior design of modern architecture has been reduced down to a collage of simple and unrelated elements. Furthermore, he believes that these forms cannot in anyway compete with their historical counterparts in terms of their richness, coherency and precision of formal organization. Certainly in terms of ornamentation and the evidently high level of craftsmanship, modern interior architecture often fails to grab the attention of the user as compared to their generally showy façades. Whilst these high sinuous, organic forms and the complex algorithms that had to be computed for their creation are

no doubt, very impressive, there is a obvious lack of translation of these forms to architecture, or even consideration for human habitation. Hermann’s work dominates much of the A3 section of this journal, and for good reason; not only do Hermann’s works help supplement definitions of parametric, emergent and generative systems, but it is particularly interesting to note the undulations within his work. Some of his works definitely toe the line between art installation and architecture; whilst art is in no doubt important to the human psyche, often these works have very little regard for the comfort of human habitation. The amalgamation of these computationally-relevant systems within the definitions of habitable architecture.

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OVERHEAD VIEW

INTERIOR VIEW

â&#x20AC;&#x153;Supplementary: each new species deals with new micro-behavior, coping with different tasks. These behaviors counteract the linear process of evolution and have the ability to re-generate and develop in another direction: For instance out of an enclosed cell a stair-like micro-behavior evolves. This structure in turn develops a new microbehavior and therefore closes the evolution circuitâ&#x20AC;? - Christoph Hermann

A3.03: GROWTH, AUSTRIA

“Mutant Museum” by Christoph Hermann, University of Applied Arts, Vienna [2007]

EXTERIOR VIEW OF MUTANT MUSEUM DESIGN PROPOSAL, 2007

Growth patterns are especially relevant to the realm of emergent design. In the Mutant Museum by Hermann, new approaches were adopted, using growth and evolution as a technique for generating new architectural languages, whilst simultaneously offering the advantage of pertaining the legibility of particular areas with its specific characteristics, sensations, spontaneity, and atmospheres within the integrity of the whole. In order to cultivate this architectural form, they created a digital representation of a cellular system, which evolves out of a basic cell. Through a process of merging and adopting these singular cells are combined to create systems of high complexity and dependency. This method presents the potential to evolve towards two directions; either exposed or enclosed surfaces.

What is of particular interest in this particular proposal are the constrictions that would of no doubt been enforced both on Hermann by the project brief, as well as on Hermann by himself. Clearly an addition to an existing building serving the purpose of a museum, a particular challenge that would of no doubt faced Hermann and his peers would be the preservation of the integrity of the old without diminishing the new. Surprisingly, the immediate contrast between the classically-styled building with the new structure, sinuously siphoning off the existing building, helps elevate the two remarkably different architectural languages to more than the sum of their parts. In this sense, this junction is the very representation of emergent architecture’s theorem itself: the result is more than the sum of the two constituents. 1+ 1 IS greater than 2.

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A3.04: GENERATIVE DESIGN, AUSTRIA

“Proto Towers” by Christoph Hermann, University of Applied Arts, Vienna [2011]

LEFT VIEW

FRONT VIEW

Generative architecture often revolves around the concept of iterative design, and the way that through each generation, “genetic” weaknesses in particular design outcomes are identified, with these outcomes being eliminated, with the remaining interactions put through the same process until an ideally fully-responsive outcome is attained. In the same way, this particular architectural precedent adequately titled ‘Proto Towers’ by, once again, Christoph Hermann, aims to generate inherently adaptive generative designs that intelligently vary general topological schemata across a wide range of parametrically specifiable siteconditions within set briefs. These generative designs are comparable to the relatively small number of common ancestors that underlie the inexhaustibly variegated manifold

RIGHT VIEW

of species that have evolved ever since, each within a complementary environmental niche, all stemming from these evolutionary common ancestors; as such, generative architecture could be rightly coined to fall under the Darwinian “evolutionary design”. On the basis of these primary ancestors, Hermann’s proto towers are conceived in advance of any specific site information in that the underlying parameters are there; all that need be inputted are the specific site conditions. Therefore the project demonstrates aspects of methodological development of architectural means by way of parametric modelling. It deals with the fundamental subsystems (structural skeleton, floors slabs, building core, atriums/voids and façade systems) of a typical large scale building, focusing on a generic structure. These proto towers is differentiated along the length of the

PARAMETRIC ATRIUM

CONCEPTUAL OCCUPATION, 2011

vertical axisâ&#x20AC;&#x2122; as well as along their defined circumference and other implemented subsystems, then, in a complex correlation of those premises emerges a single parametric model. This emergent design process of generating varied structural systems reflects the multiple inter-articulations, the individual adoptively and the multi functionality required by various briefs. This multi-layered complexity within a high degree of lawful differentiation constitutes the overall tectonic expression of these various parametric towers. In the same respect, we should not be frightening to create various self-inflicted conditions for the LandArtGenerator, as truly parametric expressions will yield numerous generative outcomes because of these conditions.

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A3.05: deREDUCTIONISM, SWITZERLAND

“Digital Grotesque” by Michael Hansmeyer and Benjamin Dillenburger, Zurich [2013]

CLEANING THE GROTESQUE

OPULENT GROTESQUE

Within the realm of digital architecture, there has recently been a collective interest in the idea of creating digital representations of biological processes. In the Digital Grotesque project by Michael Hansmeyer and Benjamin Dillenburger, algorithms are exploited to create complex forms that appear at once to be highly synthetic and highly organic. In the words of Hansmeyer, their particular design process “strikes a delicate balance between the expected and the unexpected, between control and relinquishment”. Their algorithms are deterministic as they do not incorporate “randomness”, but their end results are not necessarily entirely foreseeable. Instead, they still yield the power to surprise. The resulting architecture does not lend itself to a visual reductionism. Rather, the processes can devise truly surprising topographies and topologies that go far beyond what one could have traditionally conceived.

DETAILED GROTESQUE

It creates a dichotomy between chaos and order, natural and artificial, neither entirely foreign nor entirely familiar. Any references to nature or existing styles are not integrated into the design process, but are evoked only as associations in the eye of the beholder. Hansmeyer and Dillenburger’s project is less concerned with functionality, but rather the expressive formal potentials of digital technologies. In a contrasting tone, our proposal has a requirement to embody a certain sense of functionality (providing electrical energy to the city of København) whilst still retaining an air of delicacy and artistic intent, through the use of digital idea generation and fabrication to delight and surprise the people of the city.

â&#x20AC;&#x153;We aim to create an architecture that defies classification and reductionism. We explore unseen levels of resolution and topological complexity in architecture by developing compositional strategies based on purely geometric processesâ&#x20AC;? - Michael Hansmeyer

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A4:01: CONCLUSION ∙ A5.01 LEARNING OUTCOMES Derived Discourse and Reflection

The compendium of discourse in regards to architecture signifies a monumental paradigm shift that has been taking place over the last few years. In the last couple of decades, architecture has moved from a discipline limited by the mental capacity of architects themselves (in physically recalling and documenting, by-hand, their design intent) to the discipline of computers; only with computers was architecture freed from the limited representations of the analogue and transcended to the limitless ethos of 1’s and 0’s. Beyond the early days, dominated by such practises as Gehry’s in the 90’s, digital architecture has moved on from the computerised (read: Guggenheim, Bilbao) to the computated; computers are no longer merely the digital representations of pre-existing tools, but entirely new ones altogether. Computers are no longer simply offerers of digital model making, prodded and sculpted as an architect sees fit, but instead, can give emergence to designs never possible with the human hand nor mind. Parametric design breaks complex geometry down into a manageable set of algorithmic components; every part of the physical design being contained in a network of interlocking parameters, small iterative changes in these parameters easily and quickly generate endless quantities of designs, making architecture more readily responsive to both context and ecological/environmental conditions. Generative design sought to exploit the fundamental laws of nature; by breaking down patterns of growth within bio-organisms into computable lines of code, structures arose out of indefinitely small seeds. Hubris is giving way to a more considered outlook on the certain sensitivies that architects of the now must employ; in relevance to context and ecology, and new technologies that breath life into established material mainstays. Much like these emergent systems of design within architecture, architecture itself as a profession and as a discourse in still rapidly evolving. As such, there are already seeds of possibility planted. Adopting a certain sensitivity to the site and the brief remains especially paramount as does the careful consideration of materiality and material performance; we can utilise technology from the conceptualisation, abstraction and generation of a design to the assessment of building performance, all the way through to final fabrication. Timber (such as glulam) gives a certain humanistic aesthetic that is not only often contextually and ecologically more aware, but it’s pliability and organicity could be coupled well with certain emergent architectural systems as well as electrical energy-systems. Material performance as well as construction should be carefully considered to minimise or completely eliminate the embodied energy of such a proposal. Only through an unrelenting focus on the details can we hope to achieve an innovative design that is not employs an architectural program that is truly new, but gives affirmation to a structure that touches on the symbiosis between the humanistic, the tactile, the analogue, and the mechanical, the computational, the digital. In regards to improving a past design, a parametric and generative skill set would of not only vastly streamlined both idea generation and the final modelling process, but would of assisted in attaining more dynamic and better detailed architectural outcomes. First year’s palate of digital tools primarily revolved around Rhino; however, my skill-set was very much limited to panelling tools and creating cumbersome models with no perceivable thickness out of 3 and 4-point surfaces; it was a very rudimentary and infantile design process, but truthfully, the graphical lexicon of Grasshopper daunted me. Revit 2014 and the Rhino plug-in VisualARQ were utilised in second year for their relatively intuitive UI, as well as preset 3D geometry of common architectural components such as walls, doors, beams, columns etc. Whilst streamlining relatively simple and straight-forward architectural elements, trying to set up a parametric façade system (consisting of a double skin-system with adjustable louvers) was, in short, a nightmare. It entailed creating multiple ‘families’ within Revit, a cumbersome process of defining elevations of the component, and then referencing them within a data-entry like spreadsheet, not only having to input the parameters but define their algorithms and reference them to each other algorithmic definition beforehand. To make things worse, families were often contained with families within families and so on; a curtain wall pattern family nestled within a family of connector frames within a family of connector rods within a family of glass panel frames etc. etc. In the end, I had to abandon the façade system I had originally envisioned as it simply failed to work. Whilst its graphic-based UI is initially off-putting, Grasshoppers system of components connected with ‘wires’ proves to be considerably more usable than primarily text-based UI’s. Grasshopper and Rhino may have proved to be a substantially more capable tool-set for generating facading systems like the one that failed to work in Revit. Whilst the sheer number of components, often confusingly-termed can be befuddling, knowledge of its workings (and quirks) can only improve with continued usage. Leveraging Grasshopper within Rhino would be most appropriate for a truly response, emergent design. Utilising another Rhino plug-in such as VisualARQ gives accurate representations of set architectural components such as doors and floor slabs, and, as it resides within the Rhinoceros suite, VisualARQ has provided software to integrate straight into Grasshopper. Finally, completing the integrated suite with a professional-grade renderer for Rhino such as V-Ray would help bring emergence to the best proposal possible.

A6.01: ALGORITHMIC SKETCHES

Selections from Ongoing Algorithmic Sketchbook (2014)

PYRAMID

TUBE

PANELLED GEOMETRY

0.50

Z-FACTOR (HEIGHT)

0.35

Y-FACTOR (LENGTH)

Z-FACTOR (HEIGHT)

0.81

Y-FACTOR (LENGTH)

CONE

TUBE

PANELLED GEOMETRY

0.45

PANELLED GEOMETRY

0.72

Z-FACTOR (HEIGHT)

0.91

Y-FACTOR (LENGTH)

PANELLED GEOMETRY

0.76

Z-FACTOR (HEIGHT)

0.40

Y-FACTOR (LENGTH)

exLAB 2.04

KNOBBLY THING

PANELLED GEOMETRY

0.33

Z-FACTOR (HEIGHT)

0.84

Y-FACTOR (LENGTH)

exLAB 2.08

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A6.02: END OF PART A

Bibilography: A Compendium of References in Order of Use

Electronic references: ∙ Mariabruna Fabrizi, The Paradox of Nature Preservation: Works by Ilkka Halso (2014) <http://socks-studio. com/2014/03/04/the-paradox-of-nature-preservation-works-by-ilkka-halso/> [accessed 7 March 2014]. ∙ Matt Hickman, Algae-powered apartment complex blooms in Hamb (2013) <http://www.mnn.com/your-home/remodeling-design/blogs/algae-powered-apartment-complex-blooms-in-hamburg> [accessed 8 March 2014]. ∙ Pavegen Systems, Technology | Pavegen (2014) <http://www.pavegen.com/technology> [accessed 6 March 2014]. ∙ Amy Frearson, Asakusa Culture Tourist Information Center by Kengo Kuma and Associates (2012) <http://www.dezeen. com/2012/06/25/asakusa-culture-tourist-information-center-by-kengo-kuma-associates/> [accessed 8 March 2014]. ∙ Amy Frearson, Starbucks Coffee at Dazaifu Tenman-gū by Kengo Kuma and Associates (2012) <http://www.dezeen. com/2012/02/23/starbucks-coffee-at-dazaifu-tenman-gu-by-kengo-kuma-and-associates/> [accessed 8 March 2014]. ∙ Daniel Davis, Dermoid (2011) <http://www.danieldavis.com/dermoid/> [accessed 7 March 2014]. ∙ Amy Frearson, SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice (2014) <http://www. dezeen.com/2012/02/23/starbucks-coffee-at-dazaifu-tenman-gu-by-kengo-kuma-and-associates/> [accessed 10 March 2014]. ∙ Rose Etherington, Catenary Pottery Printer using analogue parametric design by gt2P (2013) <http://www.dezeen. com/2013/11/04/catenary-pottery-printer-analog-parametric-design-gt2p/> [accessed 14 March 2014]. ∙ Christoph Hermann, Barotic Interiors I: Parametric Design (2011) <http://www.christoph-hermann.com/generativedesign/parametric-design-barotic-interiors-l/> [accessed 21 March 2014]. ∙ Christoph Hermann, Barotic Interiors II: Emergent Design (2011) <http://www.christoph-hermann.com/parametricarchitectures/emergent-design-barotic-interiors-2/> [accessed 21 March 2014]. ∙ Christoph Hermann, Mutant Museum: Growth (2007) <http://www.christoph-hermann.com/parametric-architectures/ digital-growth-evolution-mutant-musuem/> [accessed 21 March 2014]. ∙ Christoph Hermann, Proto Towers: Generative Design (2011) <http://www.christoph-hermann.com/generative-design/generative-design-proto-towers/> [accessed 21 March 2014]. ∙ Michael Hansmeyer and Benjamin Dillenburger, Digital Grotesque (2013) <http://www.digital-grotesque.com> [accessed 23 March 2014].

Literary references: ∙ Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (United Kingdom: Berg Publishers, 2008), p. 1 - 16. ∙ Robert Ferry & Elizabeth Monoian, Design Guidelines: Land Art Generator Initiative (Copenhagen: Society for Cultural Exchange, 2014), p. 1 - 10. ∙ Rivka & Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge Books, 2014), p. 1 - 10. ∙ Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Massachusetts: MIT Press, 2004), p. 5 - 25. ∙ Xavier De Kestelier & Brady Peters, Computation Works: The Building of Algorithmic Thought (Chichester, United Kingdom: John Wiley & Sons, 2013), p. 8 - 15.

PART :

Criteria Design

B1.01: Tesselation + Art B1.02: Descent into Madness B1.03: “Bouncey Bouncey” B1.04: Very Very Ugly

33 34 35 36

B1.01[2]: Kangaroo Prior Joey Conception B1.02[2]: Catenary Thrust(ing) [2] B1.03 : Gaudí & Otto, Master & Grasshopper B2.01[2]: K. Frankenstain’s Monster B2.02[2]: Faradays Junk

38 41 42 43 44

B3.01: Reverse Engineering B4.01: Solar Reflections B4.02: Iterative Matrix B5.01: Ontology B6.01: Certain Sensitivities B7.01: Salt & 山本基

46 48 50 54 56 59

B8.01: End of Part B

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â&#x20AC;&#x153;In the end, Vouissor Cloud attempts to defamiliarise both structure and the wood material to create conflicted readings of normative architectural typologies.â&#x20AC;? - IwamotoScott

B1.01: TESSELATION + ART

â&#x20AC;&#x153;Voussoir Cloudâ&#x20AC;? by IwamotoScott (collaboration with Buro Happold), California [2008]

TAKING PHOTOGRAPHS WITHIN THE COMPLETED VOUSSOIR CLOUD

Tesselation is the division of a surface by creating respective divisions and their planes, then using one or more geometric shapes, called tiles, with no overlaps and no gaps to generate an appropriation of the original surface out of these constituent geometries. Tesselation within the context of the computer and digital graphics generally entails the division of polygons/polysurfaces into tesselated meshes for real-time rendering. Voussoir Cloud (2008) is an architectural installation by American architects IwamotoScott in collaboration with Buro Happold. The installation is constructed using paperthin wood laminates, scored with a laser cutter and folded along the curved seam into wedges, much in the way of how many Virtual Environments models are constructed.

Voussoirs is the French term for the wedge shaped masonry blocks that make up a load-bearing arch. These are redefined in Voussoir Cloud through the use of a system consisting of three-dimensional modules created by folding the paper thin wood laminate along these lasered curved seams. The curvature produces a form that relies on the internal surface tension to hold its shape and allows for a structural porosity within the constraints of sheet material. Tesselation is subverted out of the C.G.I. realm into this purposeful parametric art installation. Tesselation allows for the creation of suggestive, flowing forms like this out of many individual flat surfaces; it is a highly viable module of digital design as the flat surfaces allow for a simplification of the fabrication process (card/laser cutting vs. 3D printing). This accessibility legitimizes computational design.

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B2.01: DESCENT INTO MADNESS

Trashing the Grasshopper Definition for IwamotoScott’s Voussoir Cloud

0.50 0.35

PANELLED GEOMETRY CLIPPED PYRAMID Z-FACTOR (HEIGHT) Y-FACTOR (LENGTH)

VORONOI

0.71 0.35

0.35

Y-FACTOR (LENGTH)

0.35

TRIANGULATION

METABALL

PANELLED GEOMETRY CLIPPED PYRAMID Z-FACTOR (HEIGHT) Y-FACTOR (LENGTH)

VORONOI

0.32

METABALL

PANELLED GEOMETRY Z-FACTOR (HEIGHT)

VORONOI

0.50

TRIANGULATION

METABALL

PANELLED GEOMETRY CLIPPED PYRAMID Z-FACTOR (HEIGHT) Y-FACTOR (LENGTH)

VORONOI

TRIANGULATION

METABALL

0.65 0.25

PANELLED GEOMETRY CUSTOM FIN Z-FACTOR (HEIGHT) Y-FACTOR (LENGTH)

VORONOI

1.00 0.30

0.47

Y-FACTOR (LENGTH)

0.35

TRIANGULATION METABALL

PANELLED GEOMETRY Z-FACTOR (HEIGHT) Y-FACTOR (LENGTH)

VORONOI

0.67

METABALL

PANELLED GEOMETRY Z-FACTOR (HEIGHT)

VORONOI

0.10

TRIANGULATION

TRIANGULATION METABALL

PANELLED GEOMETRY CLIPPED PYRAMID Z-FACTOR (HEIGHT) Y-FACTOR (LENGTH)

VORONOI

TRIANGULATION

METABALL

B2.02: “BOUNCEY BOUNCEY”

Manipulation of Kangaroo Components within Vouissoir Cloud

0.50 350 15

0.50 150 4

0.50 350 15

0.50 350 25

PANELLED GEOMETRY Z-FACTOR (HEIGHT) STIFFNESS MAGNITUDE (F)

PANELLED GEOMETRY DELAUNAY TRIANGLES Z-FACTOR (HEIGHT) STIFFNESS MAGNITUDE (F)

PANELLED GEOMETRY DELAUNAY + RIBS Z-FACTOR (HEIGHT) STIFFNESS MAGNITUDE (F)

0.50 250 19

0.01 70 50

0.39 0 50

0.50 200 35

PANELLED GEOMETRY DELAUNAY + RIBS Z-FACTOR (HEIGHT) STIFFNESS MAGNITUDE (F)

PANELLED GEOMETRY DELAUNAY TRIANGLES Z-FACTOR (HEIGHT) STIFFNESS MAGNITUDE (F)

PANELLED GEOMETRY DELAUNAY + RIBS Z-FACTOR (HEIGHT) STIFFNESS MAGNITUDE (F)

[35]

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B2.03: VERY VERY UGLY

Aesthetically unappealing results of our own definition

0.50 0.00

0.50 0.35

PANELLED GEOMETRY Z-FACTOR (HEIGHT) CULL FACTOR

PANELLED GEOMETRY DELAUNAY TRIANGLES Z-FACTOR (HEIGHT) CULL FACTOR

PANELLED GEOMETRY CUSTOM Z-FACTOR (HEIGHT) CULL FACTOR

0.05 8.89

0.50 0.26

0.50 0.35

0.60 0.55

PANELLED GEOMETRY CIRCLE Z-FACTOR (HEIGHT) SIZE (CIRCLES)

PANELLED GEOMETRY TUBE Z-FACTOR (HEIGHT) CULL FACTOR

PANELLED GEOMETRY TUBE Z-FACTOR (HEIGHT) EXTRUSION

OH DEAR. It was only after we had presented these iterations that we learned we had completely failed to understand the purpose of Kangaroo within Grashopper + Rhino. As such, we present to you now a do-over of B1.01 etc.

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B1.01[2]: KANGAROO PRIOR JOEY CONCEPTION

Hanging Chain Experiments by Antoni Gaudí i Cornet, (circa 1900’s)

With our misunderstanding of the role of Kangaroo within Grasshopper, we were recommended to not only familiarise ourselves better with Kangaroo, but also with precedents and set theory behind IwamotoScott’s Voussoir Cloud. There was one problem; whilst these catenary forms that these weighted ropes formed (catenary being a scaled, rotated graph produced by the function of a hyperbolic cosine) produced a form that was working in pure tension, Gaudí required a curve for his vaults that acted in pure compression to maximise material performance. In a stroke of ingenuity, he took a photograph of his hanging chains and turned it upside down, then realizing that these catenary curves formed by the chains would do just that. With this, he hung many of these hanging chain ‘installations’ within his architectural works, such as at the Sagrada

Familia, to accurately approximate the geometries need for his catenary thrust vaults. Similarly, IwamotoScott programmed unary forces acting upwards, akin to Gaudí rotating his photograph upsidedown to generate a compressive-based structure; this in turn maximizes the wood-laminate’s material performance and allows for the curved form, producing the form that relies on internal surface tension to hold its shape and allows for the structural porosity within the constraints of sheet material, as stated. With Kangaroo all of this information that helped maximise structural performance and influences on structural and artistic form were done within the digital environment; unlike Gaudí, IwamotoScott and his team did not have to hang weighted chains everywhere within sight.

As provided in the sparse literature provided by McNeel and Associates, Kangaroo is â&#x20AC;&#x153;a Live Physics engine for interactive simulation, optimization and form-finding directly within Grasshopper.â&#x20AC;? Kangaroo provides a virtual environment to experiment with different material properties and external forces (unary forces (defines operators in boolean algebra, trinary algebra, arithmetic and set theory) also known as monadic or a singulary forces, as well as shear, spring and wind forces) to help inform both structural design as well as creating a backward flow of data to assist in informing the design. Utilizing the Kangaroo component within Grasshopper usually entails designating fixed points and acting points of certain forces, setting timer components and using the resultant geometry to further the overall schema.

[39]

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Gaudí’s breakthrough discorvery has not failed to diminish in the repercussions it carries within the designing field even now almost a century later. Inspired by Gaudí’s ingenious method to create the perfect curve for his vaults, Anglo-Dutch design duo Glithero created an art installation consisting of hung loops of beaded chain over a shallow pool of water in for champagne house PerrierJouët. The cellars of Perrier-Jouët produced a particular challenge, but in more ways than one, a particularly adept opportunity. The dampness of the environment induced still puddles on the cellar floor; the reflected vault ceilings brought about the memory of Gaudí reflecting his hanging chains, and thus the form & composition arose very quickly. Amusingly, the whole cellar was flooded to properly reflect the final installation. Similarly, a proposal for Refshaleõen should be derived out of not just certain site contexts that are important to the brief, but incite joy.

“He (Gaudí) used this image, he mirrored it with a mirror underneath and used it as the basis for his structural, sort of fundamentals of the Sagrada Familia. That’s a really interesting thing, it’s also almost like a tool that creates curves, and in this time, in this day and age you probably have a computer to fill this function. What’s really charming of course, is that he managed to do it so analogue. - Sarah van Gameren, Glithero This quote from Van Gameren perfectly sums up the importance of analogue parametric methods , exemplified from early 20th century examples as iconic as Gaudí’s chains to the modern-day likes of gt2P’s Pottery Printer. It reiterates the very fact that parametric design is not in anyway limited to digital design, and this is the critical distinction to make. Computer programs such as Grasshopper/Kangaroo make it easier, but it is in noway the only way.

B1.02[2]: CATENARY THRUST(ING)

“Lost Time” by Glithero for Perrier-Jouëtin, Miami [2012]

SUCH REFLECTION

MUCH CLOSE-UP

SUCH OBSCURED

PAGE

[41] LOST WORLDS INSTALLATION REFLECT OF STILL BODIES OF WATER

B1.03[2]: GAUDĺ & OTTO, MASTER & GRASSHOPPER “Shellstar Pavilion” by MATSYS, Hong Kong [2013]

UNDER THE CANOPY

EXTERIOR VIEW

“The form emerged out of a digital form-finding process based on the classic techniques developed by Antonio Guadí and Frei Otto, among others. Using Grasshopper and the physics engine Kangaroo, the form self-organizes into the catenary-like thrust surfaces that are aligned with the structural vectors and allow for minimal structural depths.” - MATSYS

Shellstar is a lightweight temporary pavilion that maximizes usable space whilst minimizing structural and material elements. There are some coincidental parallels between what we want to address within Refshaleõen and what MATSYS achieved in the empty lot within the Wan Chai district of Hong Kong; the design emerged out of a desire to create a spatial vortex whereby visitors would feel drawn into the pavilion center and subsequently drawn back out into the larger festival site. Similarly, there is a need for our design to intergrate naturally into the natural topography to draw patrons into Refshaleõen, and then for the form to to suggest links from the immediate site context to the larger context of energy generation & consumption within København. MATSYS design generation process also helped clarify the purpose of Kangaroo.

MATSYS had to ensure their model was fully parametric so that it could be quickly developed and iterated with a total of 6 weeks design, fabrication, and assembly. Using Grasshopper paired with Kangaroo, MATSYS’ form selforganized itself into catenary-like surfaces that aligned with structural framing that allowed for minimal structural depths. Nearly 1500 individual cells were programmed to allow for some flexing to take on the global curvature of the form. However, the cells cannot be too non-planar as this would of made it too difficult to cut from flat-materials. Using a custom Python script (something we have not undertaken ourselves just yet), each cell was programmed to eliminate any interior seams as well as being as planar as possible to greatly simplify fabrication.The cells were finally scripted to lie flat, labelled, lasered out and put together by hand.

B2.01[2]: K. FRANKENSTEIN’S MONSTER

The broken spawns of Kayla’s creation (I didn’t have a hand in it I swear)

0.50 350 15

0.50 150 4

0.50 350 15

0.50 350 25

PANELLED GEOMETRY DELAUNAY TRIANGLES Z-FACTOR (HEIGHT) STIFFNESS MAGNITUDE (F)

PANELLED GEOMETRY DELAUNAY + EXTRUSION Z-FACTOR (HEIGHT) STIFFNESS MAGNITUDE (F)

0.50 250 19

0.01 70 50

0.39 0 50

0.50 200 35

PANELLED GEOMETRY DELAUNAY + EXTRUSION Z-FACTOR (HEIGHT) STIFFNESS MAGNITUDE (F)

PANELLED GEOMETRY INCOMPREHENSIBLE Z-FACTOR (HEIGHT) STIFFNESS MAGNITUDE (F)

PANELLED GEOMETRY DELAUNAY + EXTRUSION Z-FACTOR (HEIGHT) STIFFNESS MAGNITUDE (F)

PANELLED GEOMETRY INCOMPREHENSIBLE Z-FACTOR (HEIGHT) STIFFNESS MAGNITUDE (F)

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B2.02[2]: FARADAY’S JUNK

Point Charges, Spin Force and Phalic Results

0.42 -0.81 0.28

0.42 -0.67 0.36

0.52 -0.67 0.28

0.52 -0.79 0.28

POINT POSITION INITIAL REPELLENT STRENGTH ATTRACTOR STRENGTH SPIN FORCE

POINT POSITION CHANGED REPELLENT STRENGTH ATTRACTOR STRENGTH

0.42 -0.81 0.28

0.42 -0.81

POINT POSITION CHANGED REPELLENT STRENGTH ATTRACTOR STRENGTH SPIN FORCE

POINT POSITION CHANGED REPELLENT STRENGTH ATTRACTOR STRENGTH

SPIN FORCE

BOUNDING BOX WITHIN FIELD LINES

POINT POSITION CHANGED REPELLENT STRENGTH

POINT POSITION AS BEFORE/FINAL REPELLENT STRENGTH

ATTRACTOR STRENGTH

0.42 -0.81

ATTRACTOR STRENGTH

SPIN FORCE

BOUNDING BOX WITHIN FIELD LINES

POINT POSITION CHANGED REPELLENT STRENGTH

GEOMETRY PIPING REPELLENT STRENGTH

ATTRACTOR STRENGTH SPIN FORCE

0.42 -0.81

ATTRACTOR STRENGTH BOUNDING BOX WITHIN FIELD LINES

Âś OH. We did many iterations, some relating to tessellation and some not, however deemed these two the most appropriate out of the species we explored for our doover. For B2.01, we were well underway on recreating POLYP.lux by SOFTlab until we got stuck for 7 hours. Whoops.

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B3.01: REVERSE ENGINEERING

“Paper Chandelier” by Cristina Parreño Architecture and MIT, Madrid [2013]

“Light filters down from above, creating surprising effects of lightness where depth would lead one to expect darkness and viceversa. The tubes are themselves not longer, instead the lengths of cables which fix the white paper tubes to the above wire mesh structure are cut at varying lengths. The result, this unique topography..” - Matt Scott of ArcH2O

STEP ONE: WIRE MESH

STEP TWO: CABLES

The grid-like structure in which the cabling is attached to. In terms of digital modelling to physical fabrication, it would be dependant on what material one would be utilizing to give structural integrity to the cabling and paper cones hanging underneath. If constructed out of say, timber, these would likely need to be modified to lock into each respective member, then flattened and labelled if needed whether they ran in the u or v direction. The regular spacing, though boring, makes for very easy & straightforward fabrication.

STEP THREE: PAPER TUBES

The cables that hang down from the grid-like structure to attach to the paper tubes at various heights. These were calculated by attaching the SDivide points of Srf2 down to the midpoints of the top capped end of the paper tubes. These would not need be flattened either, as they are representative of rope or cabling. Instead, the lengths of these individual line params would be calculated via the ‘Curve Length’ component, then the outgoing values within a panel used to cut the cables to their proper lengths.

The network of paper tubes. Due to their identical raidus, diameters, circumference and height, these would be easily cut out by hand i.e. flattening, laying out and labelling would likely be a waste of time for such simple, repetetive geometry. We added mathematical components plus a panel upstream of the radial parameter to calculate the circumference of the tubes; even if the radius of the tubing is changed, the circumference (and therefore the width of the paper) would be instantly recalculated.

= PSEUDO CODE: 1. Create two surfaces in Rhino; one approximating positioning of paper tubes (Srf1), one of the structure the strings will be attached to (Srf2); reference them in two separate containers 2. Divide surface(s) 3. Create grid on Srf2 using ‘u’ and ‘v’ values from SDivide. Extrude up in z-direction 4. Create lines (cable lengths)from Srf1’s SDivide point params to Srf2’s 5. Create lines of equal length from Srf1 division points down z-axis 6. Create flat-capped pipes around these 7. Bake!

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B4.01: SOLAR REFLECTIONS

Reflecting Pool (Barcelona Pavilion) by Mies van der Rohe, Barcelona [1929] ∙ Solar Ponds

To derive an appropriate proposal for Refshaleõen, a similarly strong conceptual basis was need to properly justify what systems one would use to incite a strong response, and why. Whilst Paper Chandelier proved to be a useful precedent to reverse engineer for B3.0, there really was no other direction we could push the definition to come up with dynamic, responsive, and unexpected designs. After much deliberation, the driving idea of ‘reflection’ was selected to drive our design proposal. Particularly significant about reflection was in which it could be thought of in two senses; the first being reflection in the same vein as mirroring. Gaudí mirrored his hanging chains, particularly innovative forms acting in pure tension, to generate the forms necessary for his vaults would be experiencing purely

compressive forces; similarly Glithero was inspired to create their own hanging chains through reflected images on the condensate-pools of water on the cellar floor. As a result, we chose to utilize catenary vaults as one of our primary networks in which to derive the overall forms for our iterative designs. In the other vein, reflection was reduced down to the purposeful action of deliberate consideration. This notion is abstracted through the use of magnetic field lines; the organic, sinuous, sometimes chaotic nature of the resulting geometries draws parallels to the complex, multifaceted qualities of its context; the position of these points are derived as a dialogue between the site topology and our design, with a dual solar pond/reflecting pool adding

SOLAR POND, ATACAMA DESERT

another layer to our underlying concept. The solar pond was chosen on the basis of our research (the energy generation compendium published by LAGI), with its understated and appropriate nature for the site context, both immediate and wider. Ideally, the justification for the use of these two systems (catenary networks and magnetic field lines) as well as the usage of a solar pond as our energy generator is relatively clear, abstaining from over-complexity or plain bullshit. As such, the iterative matrix in the coming pages is more of a developmental and explorative exposition of our own definition using mentioned systems rather than a continuation of our definition for Paper Chandelier, and should be viewed as such.

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B4.02: ITERATIVE MATRIX

Birth to Death (Springs Snapping) ∙ Unary Forces (Split Lists vs. Point Attractors) ∙ More

[51]

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Repellents R. Force: 0.55 Attractors A. Force: -0.55

] ]

Point Charges Spin Force Point Charges Spin Force

Circle CNR (1) Radius: 1.25 XY Plane

]

] ]

Merge Fields

Circle CNR (2) Radius: 2.00 XY Plane

]

Divide Slider: 30

]

Field Lines Accuracy: 0.1

Trim Circle Radius: 2.00 XY Plane

Reparametization Insert List Multiple Curve Intersect Shatter

]

Att. Point Targets

[

]

Vector Amplitude

[

Unary Forces End Points

]

] Kangaroo Unary+ Spring Forces Anchor Points Toggle On/Off Timer: 50ms

Curve End Points Shattered Curves

Rebuild Curves Curve Length Integer Divide: 3.00 Maximum: 1

A (VASTLY) SIMPLIFIED DEFINITION

Cull Zero Length Springs Curve Length Larger Than: 0.005 Cull Pattern

]

] ]

Spring Forces Connection Points Stiffness: 2000.00 Damping: 10.0 Plasticity: 0.0

Points Out

]

Interpolate Curves

Pipes Radius: 0.5 Spheres Radius: 0.5

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B5.01: ONTOLOGY

Selected Prototypes Exploring Function & Tectonic Expression

EXPRESSED TECTONICS #1

3D PRINT (POWDER) #1

CONCEALED TECTONICS #1

3D PRINT (POWDER) #2

CONCEALED TECTONICS #2 These 3D Printed models were ostensibly hard to prepare. Firstly, the digital model created by Grasshopper had to comply with certain tolerances enforced by the printer; no members could be thinner than a diameter of 2mm as when the model was vacuum-cleaned and filtrated, the whole structure would collapse. Seams and gaps had to be eliminated parametrically via the creation of spheres at end points of individual pipe segments. Naked-edges had to be eliminated, the form simplified from a NURBS object to a tessellated mesh then welded and joined together. Finally a base platform created before exported as a stereolithographic file (STL). This was diagnosed and optimized through specialised stereolithography software before being printed, cured for 24 hours, infiltrated with a aluminum/ ceramic epoxy and finalized. Due to the computationally heavy nature of the form, this was incredibly time-consuming.

PAGE

[55] 3D PRINT (POWDER) #3

B6.01: CERTAIN SENSITIVITIES

Formulating & Refining Our Technique Proposal

For the interim presentation, there will need to be a few key points that need to be reiterated: 路 Firstly, that the chosen form that was 3D printed and shown on site within our diagrammatic sketches is not indicative of our final proposed design, nor a form we are putting forward to the panel as our intended form. Rather, it is merely an indication of what kind of results we can garner with our Grasshopper definition 路 The potentials and limitations of computational design in the context of architecture must be fully disclosed as follows. Computational design, especially in the context of parametric/algorithmic digital design offers many benefits in that it can often times quickly create many iterations of the same core elements so that the user can efficiently come to a final proposal that fully addresses the project brief.

Moreover, it allows designers such as architects to extend their tool set and create responses that are inconceivable with former representational tools such as drawing or analogue model making. However, there are also equally as many drawbacks. Often times the bottlenecks (or limitations) boil down to the computing power (or lack thereof) available to the designer to efficiently change parameters and create various iterations to changing data. When this resource is not available, it results in many frustrations of freezing computers and long loading times. A secondary limitation that can be more easily overcome is the proficiency of the user with the programming language. Whilst Grasshopper attempts to alleviate this somewhat through a graphical technical lexicon

ANALYSE SITE+BRIEF

ESTABLISH POINTS A A R A

R R A

R R

GENERATE FIELD CURVES

GENERATE SITE RESPONSE

A A

BLAH BLAH BLAH

UNARY+SPRING FORCES

PHYSICS SIMULATION

NACL+H20

and certain quirks/shortcomings of the program must be understood to understand its opportunities and limitations. It is all a learning process, but it is easy to feel as bamboozled as the first computer technicians in the photograph above. 路 Give justification for the use of catenary networks & magnetic field lines to generate both our form and structural system: the field lines create an interesting dialogue between the site and our design that will be imposed on the site, whilst the catenary networks help create a structure that experiences purely compressive forces. 路 The notion of reflectivity will need to be reiterated throughout the presentation as it underlies every architectural gesture we make on the site; one of thoughtful deliberation and a certain level of sensitivity.

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“Drawing a labrynth with salt is like following a trace of my memory. Memories seem to change and vanish as time goes by... I always silently follow the trace, that is controlled as well as uncontrolled from the start point after I have completed it.” - 山本基

B7.01: SALT & 山本基

Learning Objectives · “Floating Garden” by Motoi Yamamoto, Tel Aviv [2013]

SALT CRYSTALLIZING

In response to critique by the panel, it is imperative to extrapolate the exact points for the repellent and attractor points, not to mention the point attractor (to define the unary forces) so that we me actually start moving towards a realizable site response. There also needs to be a more direct link between the canopy we are creating over these pools with the solar ponds themselves, to better express the energy generational aspect of it. This needs to be properly expressed through the material and tectonic explorations; currently the disconnect arises between the energy generational aspect (solar ponds) and the timberclad beam and node system. Stanlislav urged us to push our design in more fantastical direction, by creating a bigger emphasis on the solar pond through utilizing the residual product as a material and tectonic substance; salt.

Salt is not only a highly anti-microbial and purifying mineral, but acts as a symbolistic medium in numerous cultures (especially within Japanese culture, of which I the author am very knowledgable about) for purification, catharsis & death (e.g. Motoi Yamamoto’s Salt Works). Thus we could start thinking about creating structure out of salt, for which there is precedent, or using salt as an aggregate in a material to not only exhibit the effects of time and decay but further enhance the sombre ambiance that would hopefully be attributed to our design. This would likely be achieved through harvesting the residual salt from the pond as well as drawing seawater through members and evaporated out through perforations by way of capillary action; this in turn, would leading to the crystallization of salt on the design, adding a sense of fragility.

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B8.01: END OF PART B

Bibilography: A Compendium of References in Order of Use NOTE: DUE TO RESTRICTIONS ENFORCED BY ISSUU REGARDING PAGE FORMATING, ALGORITHMIC SKETCHES ARE CONTAINED IN THE ALGORITHMIC SKETCHBOOK: WEEKS 1 - 8, THANK YOU. Information & Photographic References - Baskin, S. (2011). Gaudi - A Bonus Blog. Camp Champions. Retrieved 11 April 2014, from http://blog.campchampions.com/gaudi - Chalcraft, E. (2012). Lost Time by Glithero for Perrier-Jouët. Dezeen. Retrieved 11 April 2014, from http://www. dezeen.com/2012/12/07/lost-time-by-glithero-for-perrier-jouet/ - Chalcraft, E. (2013). Paper Chandeliers Installation by Cristina Parreño Architecture and MIT. Dezeen. Retrieved 11 April 2014, from http://www.dezeen.com/2013/03/19/paper-chandeliers-installation-by-cristina-parreno-architecture-mit/ - Design Miami,. (2012). Perrier-Jouët’s Commission at Design Miami. Design Miami/Design Log. Retrieved 11 April 2014, from http://www.designmiami.com/designlog/miami-shows/miami-show-information/perrier-jouets-commissionat-design-miami-2012 - Inga-Gallery,. (2014). ‫ | ףצה ןגה‬floating garden | Inga Gallery of Contemporary Art | ‫תיושכע תונמאל הירלג עגניע‬. Inga-Gallery. Retrieved 2 May 2014, from http://www.inga-gallery.com/exhibition/%D7%94%D7%92%D7%9F%D7%94%D7%A6%D7%A3-floating-garden - Kudless, A. (2012). Shellstar Pavilion. MATSYS. Retrieved 11 April 2014, from http://matsysdesign.com/2013/02/27/ shellstar-pavilion/ - Scott, I. (2014). VOUSSOIR CLOUD. IwamotoScott Architecture. Retrieved 9 April 2014, from http://www.iwamotoscott.com/VOUSSOIR-CLOUD - Shah, D. (2012). World’s first real-time digital computer and electronic navigation system are commemorated in Boston. FarEastGizmos. Retrieved 27 April 2014, from http://fareastgizmos.com/computing/worlds-first-real-time-digitalcomputer-and-electronic-navigation-system-are-commemorated-in-boston.php - Thompson, H. (2013). A Cause for Celebration: Glithero’s Lost Time-Telegraph. The Telegraph (UK). Retrieved 5 May 2014, from http://www.telegraph.co.uk/luxury/design/11505/a-cause-for-celebration-studio-glitheros-lost-time.html - Verster, G. (2010). Mies: Barcelona Exterior. Zy-Xin. Retrieved 14 April 2014, from http://zy-xin.blogspot.com. au/2010/02/mies-barcelona-exterior.html - Wikimedia Foundation,. (2014). Solar Pond. Wikipedia. Retrieved 14 April 2014, from http://en.wikipedia.org/wiki/ Solar_pond - Wikimedia Foundations,. (2014). Crystallization. Wikipedia. Retrieved 2 May 2014, from http://en.wikipedia.org/wiki/ Crystallization

PART C:

Detailed Design

C1.01: “Are We There Yet?” C1.02: “Almost.” C1.03: Being Carted Around

62 65 66

C:2.01 God Help Us C2.02: Cheers to You, William Rankine C2.03: Saline Explorations

67 69 70

C3.01: Epistemology C3.02: Site Map [1] C3.03: Site Map [2] C3.04: Section

72 74 76 78

C4.01: Already Done C4.02: In The Ideal World

80 81

C5.01: Finish Line

C6.01: The End.

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C1.01: “ARE WE THERE YET?”

“Crystalline Growth” + “Salt Prints” by Faulders Studio, Orleans [2013]

TOUCHING THE SALT PRINTS

Having created a initial form via the creation of a computational series of algorithmic processes, the next step was to alter our design in order for it to better address the LAGI brief. The interim feedback received from the panel all suggested that the three components of the design, the canopy structure, the tectonic expression and the renewable energy resource, stuck out as being rather disjointed. Hence, we needed to find a way to fully integrate these elements to create a more unified conceptual design. For this final step of our designing process, we sought to unify these three elements via the harvesting of the naturallyoccuring, residue of solar pond energy generation; salt. Often seen as an unavoidable, even detrimental byproduct so often discarded without thought, we sought to exploit

WHERE THE PIECES JOIN TOGETHER

salt in order to move towards a concept that was far more dynamic, more seasonal, a better expression of our rather than being simply a static form placed on the site. Looking at two particular investigations into the material and metaphysical qualities of salt by a French architectural firm, Faulders Studio, helped us come to a decision on what was best way to utilise this byproduct. “Crystalline Growth” being an exploration of real-time salt accretion on a 3D-printed mesh-substrate, “Salt Prints” being a series of interlocking components 3D-printed out of pure salt. Logistically, there simply would not be enough salt to adequately 3D print the entire structure, nor to use as an aggregate in some kind of mixed material. As such, we decided to go with deposition over printed components.

â&#x20AC;&#x153;Taking approximately 60 days to form, the crystalline salt tracks the prescribed overall smooth geometry with a uniform coating. Up close, the crystalline materiality is embedded with out of control surface irregularities and edge deformations: details that are grown into place through the evaporative processes.â&#x20AC;? - Faulders Studio

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INTERMEDIATE STAGE (5 - 15 YEARS) Salt Deposits + Surface Density: Medium

INITIAL STAGE (1 - 5 YEARS) Salt Deposits + Surface Density: Light

MATURE STAGE (15 - 50+ YEARS) Salt Deposits + Surface Density: Heavy

C1.02: “ALMOST.”

“GEOtube Tower” (Proposal for Dubai) by Faulders Studio, Orleans [2009]

THE FAÇADE OF THE GEOTUBE TOWER

After settling that we would deposit the residual salt, rather than use it to produce the entirety of a static structure. GEOtube Tower is Faulders Studio’s current speculative proposal for a skyscraper for Dubai, United Arab Emirates. It slowly aggregates a hardy salt-façade, by pumping salt water to the top of the building before dispersing the liquid through its pipework, utilising only gravitational force. This saline solution is then misted upon meshwork, where it evaporates and leaves behind the salt crystals. This process of evaporation and crystallization is particularly effective in Dubai, due to its context & climate. Over time, the effect of the crystallization serves a dynamic form through the gradual build up of salt crystals over time, transforming the mesh from fully transparent to nearly opaque. With this process applied similarly to our undulating canopy

members, København’s particular meteorological conditions would create its own uniquely contextual salt formation, with rain and wind likely serving to remove loose salt crystals, strengthening the overall salt ‘crust’ over time. When applied to the LAGI brief, this process would create an ever-evolving structure in Refshaleøen that would most definitely alter with changing weather patterns. One would witness the growth of the structure during the summer season, with deterioration of the accumulated saline compounds during frequent wet/windy days. It would graduate from being barely perceivable to creating stalactite-like structures; transcending and shifting between/beyond microscopic and human scales. It would incite a symbiotic relationship between the visitor and the structure, communicating function through an abstract, accumulative process.

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C1.03: BEING CARTED AROUND

Workflow of Design Definition 路 Construction Process 1

Take Polylines Coming Out of Kangaroo

Rebuild as Polylines, Shatter (to make straight)

Find/Confirm End Points of Each Line

RUBBER PIPE

With Those, Model Pipes: Mesh: d=250mm Str. Steel: d=150mm Thickness=10mm Rubber: d=50mm Thickness=5mm

Find Average Plane Between Overlapping End Points

Create 2 Circular Curves on Plane: Offset by 100mm to Create Connection Joint

STRUCTURAL STEEL COPPER MESH

Trim Pipes with Connection Joint to Discard Intersecting Geometries

Repellents R. Force: 0.55 Attractors A. Force: -0.55

] PointSpinCharges Force ] PointSpinCharges Force

Circle CNR (1) Radius: 1.25 XY Plane

]

] ]

Merge Fields

Circle CNR (2) Radius: 2.00 XY Plane

]

Divide Slider: 30

]

Field Lines Accuracy: 0.1

Trim Circle Radius: 2.00 XY Plane

Construction Method: 1. All elements of canopy (pipes, joints and any structural elements) are pre-fabricated off site. 2. Similarly, mechanical components for solar pond are manufactured of site, prefereably in close proximity. 3. Meanwhile, Refshale酶en is excavated for pond, with soils used for landscaping on or off site. 4. Ditch for pond is lined, mechanisms for Rankine engine are transported and installed. Pathways are constructed in-situ. 5. Canopy elements transported and puttogether. 6. Pond is flooded, and site opened!

Model Sprinkler Protrusions at 25cm Intervals, d=5mm

Reparametization Insert List Multiple Curve Intersect Shatter

]

Att. Point Targets

[

] Vector Amplitude [ UnaryEndForces Points ] Kangaroo Unary+ Spring Forces Anchor Points Toggle On/Off Timer: 50ms

Curve End Points Shattered Curves

Rebuild Curves Curve Length Integer Divide: 3.00 Maximum: 1

]

Cull Zero Length Springs Curve Length Larger Than: 0.005 Cull Pattern

]

] ]

Spring Forces Connection Points Stiffness: 2000.00 Damping: 10.0 Plasticity: 0.0

Points Out

]

Interpolate Curves

Pipes Radius: 0.5 Spheres Radius: 0.5

C2.01: GOD HELP US

Detailing Particular Tectonic Elements: Pipework + Joinery

Steel Connection Joint Connecting all pipes together

Copper Mesh

Facilitate growth of salt

Metal-Alloy Pipe

Structural Support

Rubber Tubing

Carry water around and out

Sprinkler Valves

Distribute saline water on mesh

To explore whether our envisioned tectonic system would be even milldly feasible, we decided to construct a 1:5 structural model of two adjoining pipes . This was due to the sheer number of members involved, and the proprietary/ individualistic nature of each pipe & joint. This component of our design generation was definitely an area which was lacking; the structural steel pipework was printed too thick, moreover, there were problems adhering the mesh to the 3D-printed connection joints as the angle of the mesh juncture was not aligned with the angle of the structural joint. In real world production, these mesh edges would be cut according to individual sizing proportions. The mesh in particular was too malleable and did not hold its form well, although we must keep in mind that, to scale, the

mesh would most obviously be more rigid. Though simplistic, one of the pieces of software we utilized to optimise the overall form was Adobe MeshMixer; in it, structural analysis conducted showed that the non-linear forces exerted on long-spanning single members would likely be succeptible to failure (especially without bracing i.e. base plate). Though indicative rather than final, it was useful for us to consider how we (in the furture) would have to go about altering our tectonic system to be actually applicable. Our form already stretched our computers to the limit, thus preventing us from even attempting to apply such complex geometry to each and every member of the form. This of course, is more of a limitation on our behalf, as we have obviously not garnered the computational skills necessary to optimise such a form to be generated on our particular hardware.

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â&#x20AC;&#x153;A solar pond is essentially a body of water, separated into three divisions through various brine saturations. The three layers are defined as the upper convective zone (UCZ), non-convective zone (NCZ), and the lower convective zone (LCZ). In a normal body of water, the penetration of solar radiation creates convective current within the system, resulting in the continual absorption and release of heat energy. This convective nature is suppressed in a solar pond due to the introduction of several salinized layers. The salinity concentration of the LCZ can reach levels of 26% by weight, in contrast to the UCZ layer whereby the salinity levels range from 1-4% salt by weight. The weight of the salt in the LCZ ultimately inhibits the heat energy retained in the water from rising to the surface, increasing the temperature of the LCZ to the temperatures as high as 95 degrees Celsius. Meanwhile, the NCZ, acts as a thermal insulative layer, retaining the heat within the lower most layer of the pond. This stratification has enabled its dual function as a solar collector as well as a thermal storage device. The efficiency of solar ponds vary between 15-25 percent, dependent on its contextual and structural elements... the ponds are coupled with a Rankine Cycle Heat Engine, whereby the heat stored in the bottom most layer of the solar pond, is collected via the circulation of water pipes through the pond. This heat energy is consequently used to vaporize the working fluid, otherwise known as R-134a, in the evaporator. As the working fluid moves from a high pressure to a low pressure, it spins the turbine, whereby the mechanical energy is thus transformed into electrical energy.â&#x20AC;? - kaje. LAGI Entry

SEAWATER INTAKE Pump in fresh seawater from bay Waters naturally stratify

Upper Convective Zone (UCZ) Non Convective Zone (NCZ) Lower Convective Zone (LCZ)

HOT WATER INTAKE Pumps in hot water from LCZ

EVAPO Working Hot wate Water he "Waste"

C2.02: CHEERS TO YOU, WILLIAM RANKINE

An Explanation of Our Chosen Electrical Energy Generation Process

ORATOR g fluid [R-134a] enters heat exchange unit er enters heat exchange unit eats the working fluid to a high-pressure gas water is channelled away for use

CONDENSER Gaseous working fluid [R-134a] enters condenser Cooler waters from bay pumped in Condenses water back down to a liquid "Waste" water pumped up through canopy members and sprayed out onto mesh

RANKINE ENGINE Working fluid [R-134a] enters engine at high-pressue Spins turbine where electrical energy is generated for the grid Gaseous working fluid exits engine

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C2.03: SALINE EXPLORATIONS

An Exploration on the Crystalline Growth Patterns of Salt on Copper Mesh

NaCl2 + H2O [x1] Salt Deposition: Minimal

NaCl2 + H2O [x2] Salt Deposition: Gradual

NaCl2 + H2 Salt Deposit

NaCl2 + H2O [x6] Salt Deposition: Optimal

NaCl2 + H2O [x7] Salt Deposition: Flaking

NaCl2 + H2 Salt Deposit

O [x3] tion: Mild

NaCl2 + H2O [x4] Salt Deposition: Composition

O [x] + Cu 2 O tion: Heavy

NaCl2 + H2O [x9] + Cu 2 O Salt Deposition: Very Heavy

NaCl2 + H2O [x5] Salt Deposition: Moderate

10 NaCl2 + H2O [x10] + Cu 2 O

Salt Deposition: Supersaturated

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C3.01: EPISTEMOLOGY

Our Final “Exhibition Quality” Composite Model

COMPLETED ‘PRESENTATION’ MODEL

LEFT VIEW OF CANOPY

AERIAL VIEW (ABOVE)

RIGHT VIEW OF CANOPY

MODEL DETAILS (LASERED TIMBER)

Our final model was created as a composite of a laserprinted site and 3D-printed canopy model that could be inserted and removed for closer viewing pleasure. There were particular fabrication limitations that were poised to us right before the final presentation; due to abnormally long queues at the FabLab and problems with the 3D printing process, we were almost rendered without a final model for our final presentation. Some quick thinking allowed us to laser-cut our site on time, to yield precise, clean cuts that would not be possible by hand. However, the total print size was limited to 600mm x 300mm, meaning we had to both alter the scale and trim off much of the sides we were originally intentionally intending to cut, in order to give a better sense of scale and place. Structural analysis undertaken in Adobe MeshMaker (a free piece of software distributed by Adobe to assist in the analysis and creation of complex geometries , which are then optimised for fabrication via 3D printing) quickly told us that there structural weaknesses in the members, particular where long-spanning, single members met the ground. As such, we thought it best (in that our structure would not crumble in the neither the delicate additive powder process, vacuuming of excess powder nor infiltration with alu-ceramic epoxy) to add a base plate to allow the canopy structure to be easily dislodged the site. Whether these possible structural problems is transferable to a real-world structure is certainly questionable.

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C3.02: SITE MAP [1]

Form Integration 路 Form Generation This site plan gives an indication of how the form harmonises into the existing site and its surroundings. The canopy almost seems to be strung up from the four corners of the site. However, this was actually the result of the optimization process we undertook at the start of Part C. Indeed our process of optimization was infinitely easier than many other groups who had to conduct technically difficult simulations through programs such as AutoDesk Vasari, i.e. wind optimisation. Due to the relatively flat nature of the site (and therefore uniform solar radiation distribution), plus the certain limitations poised by the different material foundations of the site, we extrapolated the shape of the solar ponds by avoiding as many areas where the foundations were not composed of landfill. The difference in our form generation process from Part B to Part C was that, in Part B, we took the route of establishing an arbitrarily-generated form for the canopy, before dumping a solar pond underneath. In Part C, it was the otherway around: by first establishing the form of our solar pond, we could then place attractor points around the perimeter of the solar pond as a greater dialogue between the canopy and the pond/reflecting pool. The repellent points were manually placed within the perimeter of the pond, then moved around as needed; this was done by hand, largely due to the fact that certain configurations of repellent points generated many intersecting springs, which broke the definition and prevented the Kangaroo component from working. 0m

25m

50m

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C3.03: SITE MAP [2]

Specificities: Site Circulation/Vantage Corners By leaving about a third of the site open, it allowed for the preservation of unassigned urban space for the visitors of Refshleøen. It logistically made sense to form the solar pond closer to the bay for the continual intake of salt water, and create a certain “pull” toward the jetty overlooking the bay. The paths were not derived out of any computationallyreliant process, rather simply through our architectural intent. By channelling users from both the water taxi station, as well as the two eastern corners of the site (next to the road), we could then draw them to a central point underneath the canopy, this reflected as being the highest point of the underlating canopy vaults. Then, we could “push” them out onto the extended jetty, creating contemplative vantage points which looked out over the bay to the rest of København, especially the Little Mermaid statue opposite. This jetty could be used to house a wide variety of functions and events, or simply to create a contemplative area overlooking the sea. It is of course arguable that this approach for extrapolating the circulation paths was arbitary, or arguably not demonstrative of any computer-run optimization process. However, we felt that it was important in making a threshold where the computer would generate the geometries for us, and where we would do that ourselves; the computer, for us, was the tool in which we could express OUR architectural, humanistic intent. The slab for the paths, as well as the railings and glass panels for the balustrades were derived from parametric processes. 0m

25m

50m

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C3.04: SECTION

Sectional View of the Canopy Structure and Underlying Pond

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C4.01: ALREADY DONE

Additional LAGI Brief Requirements From the initial stages of conceptualisation, technology took a crucial role in the generation of form. Much like how the intent of the design required a contemplative and engaging mindset towards the awareness of renewable energy resources, a similar approach was adopted in the generation of architectural form. Exploring the potentialities of parametric design, a definition was created utilising the computer three-dimensional generating program Rhinoceros and its plug-in, Grasshopper. This generated a canopy-like structure, which utilised a network of magnetic field lines to generate the underlying geometry. Coupled with catenary vaults, this sort to create a purely compressive structure. The notion of reflection and reflectivity were integral to the chosen renewable energy source as well as to the characteristic elements of the form. Our concept centred around the desire to create a serene and contemplative environment, showcasing the potential of renewable energy as being integrated and seamless, rather than acting in an imposing manner, as is often depicted. This notion of reflection was reiterated both metaphorical and literally. By incorporating a solar pond into the design, this created an aesthetically serene environment, whilst simultaneously generating the energy required for the canopy, with additional surplus electricity supplied to the city. To further elaborate on the operational components of this renewable source, a solar pond is essentially a body of water, separated into three divisions through various brine saturations. The three layers are defined as the upper convective zone (UCZ), non-convective zone (NCZ), and the lower convective zone (LCZ). In a normal body of water, the penetration of solar radiation creates convective current within the system, resulting in the continual absorption and release of heat energy. This convective nature is suppressed in a solar pond due to the introduction of several salinized layers. The salinity concentration of the LCZ can reach levels of 26% by weight, in contrast to the UCZ layer whereby the salinity levels range from 1-4% salt by weight. The weight of the salt in the LCZ ultimately inhibits the heat energy retained in the water from rising to the surface, increasing the temperature of the LCZ to the temperatures as high as 95 degrees Celsius. Meanwhile, the NCZ, acts as a

thermal insulative layer, retaining the heat within the lower most layer of the pond. This stratification has enabled its dual function as a solar collector as well as a thermal storage device. The efficiency of solar ponds vary between 15-25 percent, dependent on its contextual and structural elements. Nevertheless, the size of the site and its proximity to water, lends itself to being an ideal renewable energy source without the added acoustic and aesthetic intrusions. In terms of generating electricity, the ponds are often coupled with a Rankine Cycle Heat Engine, whereby the heat stored in the bottom most layer of the solar pond, is collected via the circulation of water pipes through the pond. This heat energy is consequently used to vaporise the working fluid, otherwise known as R-134a, in the evaporator. As the working fluid moves from a high pressure to a low pressure, it spins the turbine, whereby the mechanical energy is thus transformed into electrical energy. Taking into consideration the abundant availability of water, the solar pond can be consistently replenished with seawater. Moreover, the residual hot water from the evaporator can be incorporated as part of the hot water supply for the city of Copenhagen. A supply of water will be required to operate the condenser, which can be similarly drawn from the sea. It is this output of water from the condenser at a temperature of approximately 24 degrees celsius, that will be carried throughout the architectural infrastructure. The water will be pumped to the highest points within the structure and then allowed to flow through the pipes, where multiple sprinklers have been intermittently spaced throughout the structure in order to allow for the spraying of hot water onto the copper mesh. Overtime, the built up of residual evaporated salt on the surrounding mesh, will create a dynamic and consistently evolutional form, moulded and strengthened by the meteorological conditions of Copenhagen.

(Taken from kaje.â&#x20AC;&#x2122;s LAGI Competition Entry)

C4.02: IN THE IDEAL WORLD

Numerical Calculations Concerning Electrical Output · Environmental Impact Statement When you’re dealing with such an expansive ecosystem, such as the ocean, minimal changes in the immediate context can have certain ramifications on the surrounding environment, as well as neighbouring contextual environments. In order to build a solar pond, the body of water and land under the current site, must firstly be partitioned from the ocean. These natural water movements would circulate the salt and heat energy hence, rendering the solar pond inoperative. Moreover, the capacity to stratify the pond into three layers requires an enclosed environment. This may result in the loss of current flora and fauna currently situated under this site. Nevertheless, this loss has been weighed in accordance to the potentiality of the new infrastructure and renewable energy resource. Furthermore, the removal and re-input of seawater to and from the site may also be harmful for sea creatures in the surrounding areas. Hence, precautions would be taken to ensure that sufficient meshing was placed over the underwater piping to ensure the safety of sea life. Moreover, the water utilised as coolant in condenser, may also be harmful to sea life, if immediately introduced back into the sea. This is due to the increase in the water temperature as it absorbs the heat energy in the condenser. This mere hike in temperature may have potentially altering ramifications if not properly addressed. In order to circumvent this potential detriment, this output of water will be utilised as the fluid spraying throughout the structure. Lastly, the salt installation will ultimately lead to increased dry salt exposure on land. This may be blown around by wind conditions, potentially impacting on the surrounding infrastructure. Frequent harvesting of salt for agricultural purposes may be necessarily to reduce significant impact of salt in times of significant climatic conditions.

600+

PEOPLE ‘S ELECTRICITY NEEDS* *Assuming an average annual usage of ~ 1,000 kWh/person (Danish Energy Savings Trust) from a maximum estimated yearly energy output of 665,352 kWh. This does not accound for any transmission loss or the (albeit small) amount of energy expended to pump around water.

2/3rds Approx. 36,000m2 reclaimed for solar ponds Average Annual Insolation in København = 1026.78 kWh/m2 Net Pond Efficiency = 18% 1026.78 x 0.18x0.10 = 18.482 kWh/m2 per year 665,352 kWh per year 1,822.88 kWh per day 75.95 kWh per hour

= 665,352 kWh 1

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C5.01: FINISH LINE

Learning Objectives: What Have Not I Done?

Reflecting on the learning objectives of this semester, I feel as though personally, I applied myself adequately, although not as much as I possibly wish I could of done. The LAGI brief was relatively well interrogated; dissected down into its constituents, as well as applying our constraints and aspirations to generate a better realizable design proposal. However, whilst the overall method of generating a formal model of canopy + electricity generation seemed to be relatively resolved, the tectonic elements of our design feel only half-finished. Furthermore, it would of been ideal to generate more iterations or alter the definition further to derive possible proposals that are even more removed from the one we chose; this of course, is reflective on our limitations within properly utilizing and optimizing the chosen software, and is indicative of the fact that we still have a long

way to go on our computational journey. Whilst there was a fairly heavy reliance on the plethora of architectural discourse that was provided on substantiating our design decisions, it would of been even more beneficial to reference them more regularly (where we did at all), & research some of our own. I feel that now I possess a relatively rudimentary grasp of how computational methods can be utilized as a digital toolset in order to come up with a. more contextually responsive architecture, & b. more humanistically engaging, complex architecture. My skill set is nonetheless, basic, & it will be interesting to see how what methods/programs I will pursue in the future to further my capabilities in the world of digitally aided architectural design.

! COLOUR EXPLOSION Experiential photographs rendered in horrifyingly outlandish colour palettes.

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PANORAMA: WINDY WINTERâ&#x20AC;&#x2122;S DAY Shortly After Construction (No Salt Deposition Evident)

FORM INTERGRATION Indicative of How The Canopy Creates a Undulating Plane

PANORAMA: SUMMER SUNSET After a Period of Warm Weather (Evident Salt Aggregation)

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EXPERIENTIAL SOLITUDE Visitors solitarily meandering underneath the canopy

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C5.01: THE END.

Bibilography: A Compendium of References in Order of Use Information & Photographic References - Faulders Studio, ‘Geotube Tower - Faulders Studio’, Faulders Studio, 2013 <http://faulders-studio.com/GEOTUBETOWER> [accessed 16 June 2014] - Faulders Studio, ‘Materialized: Crystalline Growth’, Faulders Studio, 2013 <http://faulders-studio.com/MATERIALIZEDCRYSTALLINE-GROWTH> [accessed 16 June 2014] - Faulders Studio, ‘Materialized: Salt Prints’, Faulders Studio, 2013 <http://faulders-studio.com/MATERIALIZED-SALTPRINTS> [accessed 16 June 2014] - MethoxyRoxy, ‘Golgi Stained Pyramidal Neuron In The Hippocampus Of An Epileptic Patient. 40 Times Magnification.’, Wikipedia Commons, 2005 <http://commons.wikimedia.org/wiki/File:Pyramidal_hippocampal_neuron_40x.jpg> [accessed 16 June 2014]