2014 Land Art Generator Initiative
DESIGN JOURNAL ABPL30048 Architectural Design Studio Air Yifei Xenia Xie Student No. 523385
ABOUT ME
I’m Xenia Xie, a third year architecture student. In the past experience of architecture study, I found myself interested making things real and work well. Therefore I did extra study in structure and construction. I had little knowledge in digital design through virtual environment which is a first year subject in university. It was very challenge to use pure digital tools to finalize a design. I’m both excited and nervous to check out the final outcome of this project.
CONTENTS A.1. DESIGN FUTURING
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A.2. DESIGN COMPUTATION
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A.3. DESIGN COMPOSITION
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A.4. COMCLUSION A.5. LEARNING OUTCOME
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B.1. RESEARCH FIELD B.2. CASE STUDY 1.0 B.3. CASE STUDY 2.0 B.4. TECHNIQUE DEVELOPMENT B.5. TECHNIQUE PROTOTYPES B.6. TECHNIQUE PROPOSAL B.7. LEARNING OBJECTIVE B.8. APPENDIX
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C.1. DESIGN CONCEPT C.2. TECTONIC ELEMENTS C.3. FINAL MODEL C.4. ADDITIONAL LAGI BRIEF REQUIREMENT C.5. LEARNING OUTCOME
48 60 74 78 83
2012 LAGI Second Place: Fresh Hills 2012 LAGI Entrance: Solar Baths Renewable Energy Generation Hyphae Table Lamp Nympha Cultural Center, Bucharest The New LACMA Campus Dubai Opera House
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Part A
CONCEPTUALISATION
A.1. DESIGN FUTURING
2012 LAGI Second Place: Fresh Hills
Artist Team: Matthew Rosenberg Land Art Generator Initiative (LAGI) is aiming to incorporate site-specific public artwork with large scale clean energy generator. Before starting this year's design, I searched for previous competition entrances, especially those award winning works.
LAGI 2012 was hold on site within the former Fresh Kills Landfill in New York City. Freshkills Park contains various habitats for wildlife and vegetation. Winning projects all communicated their artwork with the site well and used the site's natural power to benefit the design. The Second Place was taken by the design named Fresh Hills. I like this one the most because it fits the national park's natural topography and uses mound elements as the main form of the artwork. The artists raised up the landscape level not only to create the artificial turbine farm, but to increase the wind energy potential. It intended to create harmonious and direct relationship between energy and the land. The 6
wide surface of the artificial landscape directs the airflow towards the turbine. In the central hub of the other side of each mound, there is a low pressure system taking advantage of the airflow. Therefore, visitors enter any of the central hub like standing at the eye of storm. The hub then become guiding point for visitor to gather, play, explore and depart. As more people visit the hub, more energy will be generated. Material usage is also been concerned. Native bamboo is used to form the main mound structure. It reduced the post production embodied energy of the structure by using local material to reduce the need for transportation and manufacturing. This project is very site-specific and is able to link the visitors to the project with multifunctional usage. This project did not create a magnificent sculpture to assert the artist's personal fancy, but seek the common denominator and bring their work close to the heart of the design brief.
A.1. DESIGN FUTURING
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A.1. DESIGN FUTURING
2012 LAGI Entrance: Solar Baths
Artist Team: Ian Mackay, Steve Muza The other project I had a close look is the Solar Baths. This project used solar pond as the basic building block of the landfill. Four large ponds of salt water capture and store heat radiating from both the sun and the land on the southern of the North mound. Each pond is connected with a tall solar chimney which extracts the heat and converts it to electric energy. Various smaller ponds use the heat to create hot springs. The Solar Baths acted as man-made volcano. When sun radiation is received, the salt ponds would bring hot springs bathing culture to Freshkills Park.
It is an interesting idea to create artificial hot springs in the site of Freshhill National Park. However, there were still many problems unsolved and it was not as site-specific as award winning works. 8
Firstly, natural hot spring occurs when floating
water absorb the geothermal energy from the earth’s crust. Artificial hot spring faced problem of changing water in the bath. Even though the project proposal expressed the electricity production in detail and claimed that the Solar Baths can produce about 15kW of electricity on a continuous basis and can be self-support, it still required large amount of embody energy when constructing the project. Solar panels and other modern materials need to be brought to the site. Large construction was required which tended to damage the nature site. Four of the tall solar chimneys could be seen far away from the site. The designer suggested the chimneys would attract visitors to the site. However, the factory like chimneys looked discordant and did not fit the natural appearance of the site.
A.1. DESIGN FUTURING
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A.1. DESIGN FUTURING
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A.1. DESIGN FUTURING
Renewable Energy Generation
- Hybrid Hydro-Wind System on a Spanish Island Unlike LAGI 2012’s natural site, this year, the competition is hold on the city site of Copenhagen. Therefore, it becomes appropriate to use modern techniques and materials. I was interested in solar energy generations because the panel allows large span and the various combination in forms. Solar power is using solar thermal technology along with natural gas to generate electricity. 90% of the electricity is produced by sunlight. Sun shines into the glass panel which involves 94% reflective. The mirror automatically track the sun throughout the day. As I further searched about Copenhagen’s climate, I found June as the sunniest month of the year with an average of 8 hours of sunshine a day while there are less than two hours per day in November and only one and a half per day from December to February. The extreme change in sunshine conditions limit the usage of solar energy generator as it will largely depend on the season. As the site is located at the Copenhagen harbor, wind power may be another considerable renewable energy. The site also allows conventional hydroelectricity to complement wind power. When the wind is blowing strongly, nearby hydroelectric plants can temporarily hold back the water
loss of energy and uses no more water. Precedent is found on a Spanish Island where nearly 65% of the inhabitants’ electricity demand is met by hybrid hydro-wind system. The project is required to inject as much wind energy into the grid as possible to reduce diesel consumption. Wind energy itself is not tend to satisfy the demand as it is impossible for the wind power to be maintain all the time. Hydroelectric pumped storage is therefore used to absorb excess wind energy generated over demand, store and supply it back to the system when wind generation is below demand. It required hydro turbines to offer enough spinning reserve to respond to wind fluctuations and keep minimum hydropower to maintain the necessary spinning reserve as low as possible. The final production maximizes the wind generation capacity to supply electricity demand and minimizes primary energy losses by using Pelton turbine which acts as synchronous compensator.
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A.2. DESIGN COMPUTATION
Hyphae Table Lamp
Artist Team: Nervous System As computer technology developed, design thinking and processes in architecture has been shifted. Computational design has been involved in architecture for more than five decades. The traditional crafting methods has moved towards computational processes. And now, not only as drawing machines, computer has been used as information processsor in recent years. Information and performance are associated towards programmatic, economic and environmental aspects. Instead of having a idea in mind then solve the problems to satisfy the demand, computational design allows designer to focus on the principles and generated different ideas. Designer are more like to form free shaped forms rather than combinations of geometries. Hyphae Lamp was found as precedent using computational design in real production. The
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Hyphae lamp is a series of organic table lamps. It is defined to be organic as it was inspired by the veins in leaves. Instead of copying the exact appearance of leave veins, the designer created the simulation which mimics the growth principles of leave veins. The lamps are grown in custom design software the Nervous System created. Starting from an initial surface and a few root points, hierachical network was grown. The lamp’s structure emerges through an iterative process as the roots grow into an auxin filled environment . Just as no two leaves are the same, no two Hyphae Lamps are the same. Each one of the lamp is printed by 3D-printer and artifacts constructed of rhizome-like networks. Unlike most of the computational design objects which are hard to be manufactured, the Hyphae lamps has been produced and is ready for purchase.
A.2. DESIGN COMPUTATION
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A.2. DESIGN COMPUTATION
Nympha Cultural Center, Bucharest Architect: Upgrade Studio Computational design has also been used in architectural projects. Nympha Cultural Center is a great example for this. Upgrade Studio suggested that each city has grown their own genetic characteristics in the urban tissue just like different people contains different genetic information. The development in architecture seems to neglect the unique identity of each city and starts to fit globalized new buildings to any place around the world. The Upgrade Studio claimed it could harm the cultural expression. Therefore, the Nympha Cultural Center was designed in relate to the urban tissue of Bucharest. The research of the studio used software based on mathematical models and algorithms to analyze the urban tissue in terms of dynamics and functionalities. This research determined that hybrid architecture could use to reanimate the urban tissue. The Nympha Cultural Center is an architectural hybrid mix of architectural functions being needed in the Bucharest
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urban tissue. It involves a morphogenetic reaction to the state of complexity of the environment. The final design is inspired by the virculatory system ofthe leafs and the butterfly chrysalis as a reactive skin which protects the interior. The form of the cultural center is generated by computational design according to the parameters measured in wind, sun, temperature, circulations, structure, functional spaces urban attractors and accessibility. The building is aiming to operate as a living organism. The network of veins merged into the body of the building acts as the structural element in the cladding. It collects rainwater and send it underground. Solar energy and light that penetrates inside the building are captured by the vein system as well. This system storing the water at medium temperature underground. There is no need for cooling and heating system as the vein system already provide the function.
A.2. DESIGN COMPUTATION
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A.3. DESIGN COMPOSITION
The New LACMA Campus Composition of Line and Surface Architect: Fernando Herrera
Composition is all terms of art can be seen as the organization of visual elements in artwork. The core of composition design is to arrange lines, surface, color, texture, color, space and form as a harmonious whole work to achieve certain purpose. In architecture, composition design should not only create a aesthetic appearance, but also satisfied the functional demand of users and visitors. As the primary element to communicate the building’s facade appearance and special arrangement, surface become especially important in architecture. Surface and surface decorations become essential aspect as it forms the internal and external walls, ceilings and floors. We rely on surfaces to constituted a building. 16
However, surfaces are initially composition of lines. People tend to forget line’s original beauty. Fernando Herrera’s project for the new LACMA Campus challenged surface’s importance and is intend to reveal the aesthetics of line. The production of accumulated lines addresses the campus typology within the urban fabric. Ceilings are formed by gathering of lines which direct spots of sunlight into the building interior. As there are always gaps in between lines, Fernando creates building openness. Different spaces were formed by the density of the lines rather than the familiar wall separation. The line is presented as a vernacular spawn from surface.
A.3. DESIGN COMPOSITION
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A.3. DESIGN COMPOSITION
Dubai Opera House Architect: Zaha Hadid
Other than the composition of lines and surfaces which formed the building space, architecture can also be considered as the functional composition of space and mass that arranged in a way to form art itself. Zaha Hadid’s compositional design for the Dubai Opera House well demonstrated the fluid art form in building mass and space. All facilities are incorporated within the single striking structure. There are two peaks in the overall form which correspond to the opera house and the playhouse relatively. The fly towers are nested under the peaks. The Dubai Opear House creates
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smooth slopes down to connect the landscape. The winding form reflects the mountain and sand dunes of Dubai. The surrounding landscape gathered the mass and forms up to the main building. The building seem to emerge from under shell with the harmonious smooth mass format. While the silver white metal modern appearance distinct the building form the landscape.
A.3. DESIGN COMPOSITION
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A.4. CONCLUSION
In previous experience, I’ve always looked at the design brief, knowing roughly about what the outcome would be. I’d normally have my design in steps. First, to have the general format of the building. Then solve the existing questions such as the materials, light performances and circulations. The final outcome will be similar to what I had in mind at the beginning.
organic format. Each lamp results in a different solution. Although computer technology is never my favorite, I’m looking forward to find out the outcome. It is excited to be uncertain.
However, this design subject, with computational composition design, challenged my processes of designing. Throughout the first 3 week study, I had viewed a range of different projects. They introduced me a more free and complex design method. Starting with a general principle rather than a fixed format and then developed using computational design may lead to a very distinctive outcome compare to that we have got at the beginning. Just like the Hyphae table lamp, every lamp start with similar base and a few root point. Figure out the pattern of how veins grow and let it maintain the
A.5. LEARNING OUTCOME
So far, the study of algorithmic design via Rhino and Grasshopper, reading through provided articles and the precedents opened up mine mind. Design in general should be a developing process, not only problem solving, but also testing various possibilities. Computer techniques are always my weak point in doing the course. However, the video did help a lot in understanding the technical processes. Grasshopper, especially, might help generate a better solution in the first year’s Virtual Environment. This new technology to me also
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provides a new approach towards architectural design. Testing in different forms and layouts increase the potential of the future design.
PART A REFERENCE LIST A.1. DESIGN FUTURING 1. LAGI, “2012 Second Place Award Winner - Fresh Hill”, 2012, Accessed on 19 March, 2014, <http:// landartgenerator.org/LAGI-2012/8Y8B8U8R/> 2. LAGI, “Solar Baths at Freshkils Park”, 2012, Accessed on 20 March, 2014, <http:// landartgenerator.org/LAGI-2012/lt388df2/> 3. The World’s #1 Renewable Energy Network for News, Information & Companies, “Creating a Hybrid Hydro-Wind System on a Spanish Island”, 2012, Accessed on 25 March, 2014, <http://www. renewableenergyworld.com/rea/news/article/2012/10/creating-a-hybrid-hydro-wind-system-on-aspanish-island> 4. LAGI, “The Land Art Generator Initiative 2012 Design Brief”, 2012, Accessed on 19 March 2014, <http://landartgenerator.org/2012/LAGI2012DesignGuidelines.pdf>
A.2. DESIGN COMPUTATION 5. Nervous System, “Hyphae Lamps - An Infinite Series of Lighting Designs”, 2011, Accessed on 24 March, 2014, <http://n-e-r-v-o-u-s.com/blog/?p=1701> 6. Architizer, “NYMPHA Cultural Center, Bucharest”, Accessed on 23 March, 2014, <http://architizer. com/projects/nympha-cultural-center-bucharest/> 7. Menges Achim, “Material Resourcefulness - Activating Material Information in Computational Design”, Architectural Design, 82, 2 (2012): 34-43
A.3. DESIGN COMPOSITION 8. EVoB, “New LACMA Campus Explores Designing a Surfaceless Sturcture”, 2012, Accessed on 17 March, 2014, <http://www.evolo.us/architecture/new-lacma-campus-explores-designing-asurfaceless-structure/> 9. E-Architecture, “Dubai Opear House”, 2014, Accessed on 27 March, 2014, <http://www.earchitect.co.uk/dubai/dubai-opera-house>
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Part B CRITERIA DESIGN
B.1. RESEARCH FIELD
STRIPS / FOLDING Parametrics has been involved in more and more disciplines including architecture. It provides a range of possibilities with given variables. With this technique, we are no longer focusing on the design of form and shape, but â&#x20AC;&#x153;a set of principles encoded as sequence of parametric equations1â&#x20AC;?. Our group chose folding technique as our start point as we thought it presents a powerful and playful method in making various outcomes. Although folding expresses the possibilities of curve arrangements, it demonstrates special relationships with the intension of curvy lines. Internal and external spaces are created by the dense and scale of folded strips. Spaces formed by strip folding technique are capable to adapt site nature with factors such as lighting, views and circulation.
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B.2. CASE STUDY 1.0
SEROUSSI PAVILION BIOTHING | Repository of Computation Design
BASIC CURVE 24
ORIGINAL DEFINITION
Biothing focuses on the generative potential of computational systems for design2. It is a growing self modifying patterns of vectors based on electromagnetic fields (EMF) The logic in developing patterns are written on plan and later lifted up via structural micro arching sections through different frequencies of sine function3. This helps analyze the self organizing and adaptive system which is able to be modified in various scales.
INCREASING POINT DENSE
NEGATIVE VALUE FO THE FIELD LINE
OR
B.2. CASE STUDY 1.0 As a pavilion, it is necessary to create an enclosed shelter space. While the use of strips makes the boundary between internal and external area blur. Curvilinear strips not only state the form of the pavilion structure, but also act functional, as wall, ceiling and openings. The unclear definition between indoor and outdoor space allows the designer to bring natural elements into the built structure.
CHANGE IN GRAPH MAPPER
POSITIVE MULTIPLICATION
However, as a computational design project, Biothing Pavilion seems to concentrate on the digital development and have less consideration towards actual site construction. It is a good starting point for leaning parametric design but further attention need to pay on physical development of the structure.
SPIN FORCE
OTHER DEVELOPMENTS 25
B.3. CASE STUDY 2.0
HPPERBODY MSC2 Evolutionary Pattern DeepFormations
Through Case Study 1, weâ&#x20AC;&#x2122;ve got the basic understanding of parametric design by using grasshopper as the main tool. This second case study is aiming for a further development in grasshopper technique. Our group selected Hyperbody MSc2 as our second case study project. It is a student project coordinated by Marco Verde. The studio focused on form finding strategies based on the topics of growth, time, mutation, evolution and branching4. As a student project, it has limit in construction
REVERSE ENGINEERING DIAGRAM
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STRAIGHT LINES REPRESENT THE SPINE STURCTURE DIVIDE LINES INTO SMALLER SECTIONS
SHIFT POINT LINKS SPINE STRUCTURE BY LINES
MID POINTS REPRESENT POINTS WHER
FLAT SURFACE CR FORMING WAL
B.3. CASE STUDY 2.0 details and does not refer to real site content. While because of the same reason, we found the project capable for further development. This design has clear spine structures to form a bridge shaped pavilion. Triangular pattern is used as the main connection in between each spines. Two triangles meet between two spines to form wall and ceiling. It creates space not only with the solid structure but also shading and lighting. Additional triangles are also present at the edge of the structure for no functional usage but aesthetic purposes. Pattern varies in terms of size and dense along
spine structure to create aesthetic appearance. As mentioned before, the project is lack in construction details. No joints are seen in the image but nice artificial connection between each triangular pattern. It is almost impossible in real life situation. However, the relatively free spine structure provides potential in progressing form finding strategies which satisfied their studio requirement.
ON LINKAGES LINES RE TWO TRIANGLES MEET
ADDITIONAL TRIANGLES AS ORNAMENTS
REATE BY THREE POINTS LL STRUCTURE
COMPLETED STRUCTURE
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B.3. CASE STUDY 2.0 FURTHER EXPERIMENT - GRAPH MAPPER
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B.3. CASE STUDY 2.0 REVERSE ENGINEERING PROCESSES
1. CURVE LINE REPRESENT SPINE STRUCTURE
4. EDGE OF ORNAMENTAL TRIANGLES
2. WALL STRUCTURE AND BOUNDARYS
5. ROOF STRUCTURE AND ORNAMENT
3. APPLY FOR TRIANGLAR PANELS
6. ADDITIONAL TRIANGLES AS ORNAMENT
FINAL OUTCOME 29
B.4. TECHINIQUE DEVELOPMENT MATRIX DIAGRAM
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B.4. TECHNIQUE DEVELOPMENT
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B.4. TECHINIQUE DEVELOPMENT SELECTION OF FOUR ITERATIONS FOR FURTHER DEVELOPMENT
Panels interlocked with each other along curvy line. This iteration may seem simply and a bit plain, but has large potential to be de developed to a great outcome. Shape, size, position, everything is able to alter which gives great possibilities.
This iteration provides a landscaping sculpture outcome. Curve wall has potential in creating circulation. There is no clear definition between indoor and outdoor area. Spaces are formed by lighting and shading. Natural environment will be easily accessed. 32
B.4. TECHNIQUE DEVELOPMENT
This is a spine structure we grabbed from case study 2. The spine provides structural ability in forming a tower sculpture. It is flexible in form. Panels on the spine is able to rotate and creating wavey pattern.
This is also a landscaping outcome. Everything emerged from the lower ground and a tower structure existed at the central place.
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B.4. TECHINIQUE PROTOTYPE ONE - FORM FINDING As our grasshopper iterations focus on both spine and pattern structure, two prototypes are set to consider both direction. We also pay attention to the design function and its ability of generating energy.
The first prototype is focusing on how different shapes of pattern can be applied to the spine in order to create certain functional usage. We intend to involve human interaction with the design.
ACHIEVEMENT This experiment in physical model only represents a small section of our design proposal. It approved the possibilities in changing curve structures.
LIMITATION The exact size of each panel has not been figured out in order to allow people interaction. Each panle is able to rotate therefore the appearance of the design may be changed due to the wind or human action.
PROTOTYPE - DEGITAL STEPS
PROTOTYPE - PHYSICAL MODEL
PROTENTIAL IN CREATING OPENING 34
WALL SYSTEM WITH VARIOUS PANEL POSITION
B.4. TECHNIQUE PROTOTYPE
POSSIBLE TO CHANGE PANEL FORM FORMING PAVILION STRUCTURE
CHANGE IN POSITION CREATING MORE INTERESTING SHAPE 35
B.5. TECHINIQUE DEVELOPMENT TWO - CONSTRUCTION DETAIL The second prototype considers design construability especially when combine with energy generators. We examined two ways to log the panels together. Interlocking system provides fixed structure. It is able to form curvilinear form when locking joints are set to the correct angle. Only solar panels can applied to it if want to generate energy. However, Copenhagen only contain 2 hours daylight during winter time, solar energy is not appropriate for the site. Interlocking system will then no more considered for energy generation. It may be used to form the base of our design as it provides fixed and solid structure. Central wire system has potential to generate kinetic energy as the panels are possible to rotate along the wire. As a flat and open harbor region, wind energy is most used in Copenhagen. When wind blows, panels rotate quickly. However, we want to maintain the design structure of the sculpture, rotation of the panels must be limit to certain angle. Vibrations therefore be applied instead of spinning wind energy.
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INTERLOCKING
CENTRAL WIRE
APPLY PANELS TO CENTRAL WIRE
FIXED JOINTS IN BETWEEN EACH PANEL
N
B.5. TECHNIQUE DEVELOPMENT
ROTATE PANELS
TWO FIXED PIECES NEXT TO THE JOINTS TO LIMIT ROTATION
PHYSICAL MODEL
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B.6. PROPOSAL OVERALL Our group is aiming to design a site responsible landscaping sculpture to generate kinetic energy.
STEPS In order to create a site responsible design, we will first need to consider the site data, such as wind direction, ocean waves and noise volume. We will use degital techniques like grasshopper and kangaroo to generate collected data and form the initial curve of final design. Each line will be extruded and form the wall system.
WALL
Assumptions of circulations need to be counted for the second step. As a landscaping sculpture, fully closed structure will not be included in the design. We intent to create path ways which direct visitors to move around and lead the experiences when visiting the sculpture.
WALL CIRCULATION
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B.6. PROPOSAL
The existing grass land will be maintained as natural elements surrounding the sculpture. Walls will be lifted up at each point where the circulation curve existed. It not only forms openings but also creates more puzzle like space.
WALL CIRCULATION LOGIC
Final outcome of our landscaping sculpture will be generated by various curvy wall system which is formed by the spine structure and vibrating panels. It generates kinetic energy not only by wind force but also people siting on or playing with the panel. It is not just a aesthetic structure, but with real functions in order to attract people to site.
WALL CIRCULATION LOGIC OUTCOME
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B.6. PROPOSAL LIMITATION IN GENERATING CURVE As said in out proposal, the design is fully relied on the site data. All of our curves are made by arbitrary data at this stage. It is very likey to get interesting curvy structure based on real site data, but we also face the danger in getting vapid results.
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UNSOLVED SCALE We intent to make the whole structure approachable by visitors which will need extra consideration of the overall scale of our final ourcome and of each panel size. All panels are in the same size and shapes at this stage for easy fabrecation, however, this may need to change in order to provide a more efficient result for energy generator.
B.6. PROPOSAL SELECTION OF ENERGY TYPE We decided to use piezoelectric cell as our main technique to generate energy. The generator is based on work done in moving something. To generate piezoelectric power will involve massive force moving through a very small distance. It have been used most for transformers in magnetic transformers5. This technique matched our design with extra two pieces of joints to limit each panelâ&#x20AC;&#x2122;s movement within a small distance. The cell itself is small enough to be coded on panels.
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B.7. LEARNING OBJECTIVES AND OUTCOMES
Learning though criteria design, I further developed parametric technique via studying grasshopper. With this technique, Iâ&#x20AC;&#x2122;m allowed to step out of form creation, and pay more attention to design logic which I have never tried before. At this stage, our group focus linking the required ability in generating energy with all other functional usage that a sculpture could contain. It must include site responsibility, landscaping format, gathering space and resting area. In the prototype experiments, we used same sized panel to test the constructability of our digital model. This exercise starts to make us consider about material selection in real life construction. There are two main elements in the design, spine, panel. As the whole design is based on curvilinear structure, material for spine section need to be flexible enough to produce the curvy outcome. While at the same time, it needs to be strong in order to hold the structural form and support all load transference. The panel needs to be light in weight in order to vibrate more frequently when wind hits it. Panel system acts as wall which lead the movement and create space while each piece of panel has its own functional usage. Some of the panels need to be solid and hard to form seats,
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some need to be light and thin which allows people to touch and play with, some may just be ornaments that make the whole structure consistent in layout and others generate energy. In other words, we will need to be careful with the design of panels in the next stage in order to achieve all functional usage and maintain the aesthetic appearance. Our proposal represents the core of our design intent, however, the physical prototypes did not reflects all of our inputs. In the next stage, we will be focusing a bit more on the energy generation system and testing out different techniques via physical models. After the presentation, we realized that not every piece of the panel needs to generate energy, so size, scale and shapes of panel can all be varied along the curvy structure. We have not yet decided the final effect of the sculpture. This will be developed after a bit more research on energy generation.
B.8. APPENDIX - ALGORITHMIC SKETCHES
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B.8. APPENDIX - ALGORITHMIC SKETCHES
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B.8. APPENDIX - ALGORITHMIC SKETCHES
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PART B REFERENCE LIST B.1. RESEARCH FIELD 1. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) pp. 17-19
B.2. CAST STUDY 1.0 2. "Biothing - a transdisciplinary lobratory founded by Alisa Andrasek", Daily Tonic, Accessed on 1 May, 2014, <http://www.dailytonic.com/biothing-a-transdisciplinary-lobratory-founded-by-alisaandrasek/> 3. "Seroussi Pavilion/Paris//2007", Biothing, Accessed on 1 May, 2014, <http://www.biothing. org/?p=24>
B.3. CAST STUDY 2.0 4. "Evolutionary Pattern Deep-formations", Matthijs La Roi, Assessed on 29 April, 2014, <http:// www.matthijslaroi.nl/>
B.6. PROPOSAL 5. "Can piezoelectric concept be used to generate electricity on a large scale", Physics Forums, Accessed on 4 May, 2014, <http://www.physicsforums.com/showthread.php?t=373327>
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Part C Detail Design
C.1. DESIGN CONCEPT Our initial proposal for this project is to design a landscaped sculptural which will emerge from the ground and span across the site. We intended to attract visitors by creating fancy format, involving activities and containing educational significance in using renewable energy sources. As required in the brief, the sculptural needs to be site specific and is able to generate energy for self functioning and energy storage.
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CRITICSE PART B
REDEFINE SPINE
Learning from the case study in Part B, we picked up the central ideas of spine and curve. According to the feedback from the presentation, we need to explore the relationship between computational process and human experience. Using algorithmic logic not only in the process of generating curve, but also in addressing the layout of spine structure. We need to better combine the aesthetic and experiential qualities in algorithmic language.
SITE ANALYSIS
EXPER
C.1. DESIGN CONCEPT Part C will focus on the project in a more detail way. Design will be finalized by the end of this part of journal. The final design is intended to reflect the environment around the site, including wind, sun path, water wave etc. With the complexity inherited from the outer environment which is selected by us, we will be able to further process the algorithmic logic.
RIMENT
SPACIAL RELATION
FINAL CURVE
PART C2
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C.1. DESIGN CONCEPT The Spine Component Central Core - Make up the shape of spine
We used grasshopper to generated the definition for the spine. It allows us to control each component of the spine to achieve the design intent from chaos to order and at the same time, maintains a consistent aesthetic quality.
- Represented by curve in further site analysis
Fin Structures - Controled by algorithmic logic - Help finxing fins - Determine finsâ&#x20AC;&#x2122; degree of freedom when flipping with the wind
Fins or Panels - Controlled by algorithmic logic - Generate energy when influenced
Ordered Form
Free in Fin Scale
by wind or other force what provide pressure
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CRITICSE PART B
REDEFINE SPINE
SITE ANALYSIS
EXPER
RIMENT
C.1. DESIGN CONCEPT
Order to Chaos
Sturcture Amplifying
Chaos to Order
When generating the layout of the whole design, each spine will be represented by a curve to get a easier and faster computatioinal process.
SPACIAL RELATION
FINAL CURVE
PART C2
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C.1. DESIGN CONCEPT Wind
Due to the harbor location, wind force on site is significant. 22% of Copenhagenâ&#x20AC;&#x2122;s energy source is wind force1, therefore, for our design of energy generator, wind force will as well be the main factor. It is a relatively open site where no high rise buildings located around. It will be very easy to detect wind force on site.
Other Weathering Factors
As discussed in Part B, piezoelectric cell is sensitive enough to detect not only strong winds, but also rain, snow and water wave. Therefore, even if the main energy source will be wind, other weathering factors will be considered to generate more energy. Especially rain force, as there are over 10 rainy days each month2.
Daylight
Copenhagen has quite a extreme condition with daylight. There are over 18 hours during summer but down to even less than 5 hours during winter. Therefore, solar panel will not be considered to be the main energy source on site as the condition of it is not stable during the year. However, as a result of long daylight hour in summer, shading will be essential on site when generating the format.
View
Taking advantage from the Little Mermaid sculpture, the design will be considered to focus on the further edge boundary to the west to gain maximum impact across the site.
Water-taxi Terminal
The water-tax terminal is located on the southern edge of the site. Therefore, a path lead to the terminal may be included in the design.
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CRITICSE PART B
REDEFINE SPINE
SITE ANALYSIS
EXPER
RIMENT
C.1. DESIGN CONCEPT
SPACIAL RELATION
FINAL CURVE
PART C2
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C.1. DESIGN CONCEPT
Experiment 1 - Tunnel
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Experiment 2 - Parabola
Height 100m Length Ratio 1:2:12 Level 3 1500m Level 2 270m Level 1 125m Fin Size Ratio 3:3:2
Height 80m Length Ratio 8:7:5 Level 3 500m Level 2 700m Level 1 800m Fin Size Ratio 1:2:3
- The tunnel is too high for a pure steel structure - The heaviness of structure fails to achieve the design intent of order and simplicity on top - The overall form is too obvious - The arch structure can be carried on but it is way oversize at the moment
- This outcome has a balanced structure in both length and fin size ratio - The form is is clear emerged form the ground which suits the idea of landscape but lost the sense of chaos at ground level - 80m is still too high for a sculpture structure
CRITICSE PART B
REDEFINE SPINE
SITE ANALYSIS
EXPER
C.1. DESIGN CONCEPT
Experiment 3 - Pavillion
Experiment 4 - Singles
Height 20m Length Ratio 1:3:9 Level 3 900m Level 2 323m Level 1 128m Fin Size Ratio 1:2:3
Height 8m Length Ratio 3:1:3 Level 3 60m Level 2 20m Level 1 60m Fin Size Ratio 3:3:2
- This structure maintains the balance of fin size but enlarges the ratio for top level length which may be able to generate more energy - 20m is a reasonable height for the structure - It forms a good spacial relationship between internal and external area - Overall structure is good and responsable but this does not meet the design intent
- 8m is not high enough to capture adequate wind for energy generation - Structurally hard to achieve in real life due to the strong wind on site - Provides a possibilities to have multiple structure rather than a continuous one to span the site
Further Explore - Rabbit
results are too complex. The twine curves produced by rabbit fail in fitting the spine structure with fins. Therefore, abstract curves are used from this point ahead.
As we are aiming to create a interactive site response, spacial relationship and circulation in site become essential and need to be further discussed. Rabbit is first used as it allows to focus on site context and is able to generate curve structure. However, all
RIMENT
SPACIAL RELATION
FINAL CURVE
PART C2
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C.1. DESIGN CONCEPT
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As discussed in site analysis, taking advantage form the Little Mermaid and the water-taxi terminal, the highlighted southwest part of the site become the most emphasized space. A fancy view across harbor from the Little Mermaid will attract visitor to site.
Pathways leading visitors from the main structure and water-taxi termi
Push and pull nodes are used to form gathering space with more dinamic curve.
Change of dinamic in curves allow to external and creates semi-closed seating area.
CRITICSE PART B
REDEFINE SPINE
SITE ANALYSIS
EXPER
C.1. DESIGN CONCEPT
e wide access on east side to the inal.
ws smooth transform from internal d space on site with shading and
RIMENT
Any structure blocks the pathway will be lifted up according to the algorithmic logic.
East side of the site is mainly open forming a welcoming sense to the visitors.
SPACIAL RELATION
FINAL CURVE
PART C2
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C.1. DESIGN CONCEPT
Site View
View from East Entrance
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CRITICSE PART B
REDEFINE SPINE
SITE ANALYSIS
EXPER
RIMENT
C.1. DESIGN CONCEPT
FInal Curve Plan
FInal Curve Section
SPACIAL RELATION
FINAL CURVE
PART C2
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C.2. TECTONIC ELEMENTS
Curve layout has been finalized. Each curve represents a spine structure which includes the central core, fin and fin structure. It has been discussed that each elements of spine can be controlled by computational logic. With the perivious experiments in spine, complexity to siplicity form bottom up best suits the design intent from chaos to order. This spine structure will be further explored in detail in terms of its function, energy system, structure and constructibility.
Level 0 - FOOTING
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FINAL SPINE
LEVEL FUNCTION
ENERGY SYSTEM
PROT
TOTYPE
C.2. TECTONIC ELEMENTS
Level 3 - ENERGY
Level 2 - TRANSITION
Level 1 - BASE
JOINTS
STRUCTURE
PART C3
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C.2. TECTONIC ELEMENTS Level 0 - Footing
The final design is about 20m in height. Central core will be the main structure for land transforming. Therefore, deep strong footing system will be required on site to hold the structure in place. Two possible methods are considered
Elements from bottom up in footing system: - base squre mesh steel reinforcement - central footing reinforcement - self leveling mortat - base plate - wild in position - central core
This structure require a large base plate dealing with the toppling foece due to the self weight of the steel structure above and wind force on site.
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FINAL SPINE
LEVEL FUNCTION
ENERGY SYSTEM
PROT
TOTYPE
C.2. TECTONIC ELEMENTS
Elements from bottom up in footing system: - base squre mesh steel reinforcement - central footing reinforcement - intersecting steel reinforcement - central core
This structure require a hard work with intersecting steel reinforcement, but it may be stronger in structure. No final desition made for footing selection as engineering will need to be involved.
JOINTS
STRUCTURE
PART C3
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C.2. TECTONIC ELEMENTS Level 1 - Base
The base level is where the structure starts to stand and frame seats. Panels will be made by wicker which will be comfortable to sit on. And from this level above, the energy generation system will be applied. The system will be sensitive to detect various ranges of force due to both human interpretation and weathering.
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FINAL SPINE
LEVEL FUNCTION
ENERGY SYSTEM
PROT
TOTYPE
C.2. TECTONIC ELEMENTS Level 2 - Transition
The middle section is where all the transitions occur. The fnis become semi transparent, framing the layers beyond, visually complicating the experience. The fin structures will be able to act as columns at this level to provide extra support for the structure as the image shows.
JOINTS
STRUCTURE
PART C3
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C.2. TECTONIC ELEMENTS Level 3 - Energy
The top level is where most energy will be generated due to the wind.
Piezoelectricity is used to transform wind and kinetic energy to electric power. Piezoelectricity is the electric charge accumulates in solid materials in response to applied mechanical stress. There are two ways to generate power by piezoelectricity: 1. Pressure In order to create energy, force will be required to squeeze the piezoelectic panel. This system converts movements into electricity and will last for over 100 years3. 2. Vibration A piezoelectric element is attached on host structure and a charging circuit is connected to the piezoelectric elements. The piezoelectric elements convert the vibration energy of the host structure into electrical energy. Electrical energy is stored in the storage buffer later.4
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FINAL SPINE
LEVEL FUNCTION
ENERGY SYSTEM
PROT
TOTYPE
C.2. TECTONIC ELEMENTS Our design will involve both way in order to maximize the energy generated.
Piezoelectricity cells will be coated on the panel. When the wind hits the panel, there will be pressure present on panel so generate energy. At the same time, panels can be vibrated due to the wind and hit the fixed side joint pieces where springs located. According to the research paper, there will be 1.14MW power generated by wind with 10.5mph velocity on a device sized 235mm x 25mm5. 10.5mph = 16.905km/h < 18km/h wind velocity on site 235mm x 25mm = 0.005875m2 Energy made per square meter = 1.14 / 0.005875 = 194MW Therefore, at least 194MW power will be produced on site per square meter piezoelectric cell.
Sample piezoelectric cell with about 1.5cm diameter
JOINTS
STRUCTURE
PART C3
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C.2. TECTONIC ELEMENTS
Prototype 1
Review Part B rotation quality of fin structure. Fins are required to rotate together which will need large amount of force to achieve.
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FINAL SPINE
LEVEL FUNCTION
Prototype 2
Separates out the fin into smaller segments and connect numbers of them as a unit. Each fin is able to rotate by itself. If applied, visitor may be able to play with the fin unit. However, structurally, it is very hard to build in real life and aesthetically it is too busy.
ENERGY SYSTEM
PROT
C.2. TECTONIC ELEMENTS
Prototype 3
Small fins clipped on central core structure. Each is able to rotate. It seems too small at scale in order to capture the wind. The fin structure is a little bit too loose as well.
TOTYPE
JOINTS
Prototype 4
The fin is well protected by fin structures. Tightly fixed to the central core. Edge side of the fin is free to rotate. The clean structure well meets the deesign intent of order on tope and is aesthetically well accept.
STRUCTURE
PART C3
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C.2. TECTONIC ELEMENTS
As shown on the picture of prototype, it is almost impossible to bend the central core structure to form curve appearance. Therefore, in order to make the structure possible to be build in real life, various tests are down. The first idea is to weld on site as welding is a type of strong connection between two structure. However, it is too labour consumed. Our design is 20m above ground with no existing high rise structure beside, therefore welding is also dangerous. The second and final solution is to design a joint. Rotatable joints will be applied between each fin structure. When it reaches the correct position, it will be bolted tightly.
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FINAL SPINE
LEVEL FUNCTION
ENERGY SYSTEM
PROT
TOTYPE
C.2. TECTONIC ELEMENTS
JOINTS
STRUCTURE
PART C3
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C.2. TECTONIC ELEMENTS To further test the constructability, we use millipede to do some structure analysis. Blue line = ideal curve Red line = real construction
CHS around diameter 200mm is reasonable, and is enough to roughly meet the design, the bottom is okay but it completely fails at the top.
CHS of 700mm is required to actually hold this up free standing, but thatâ&#x20AC;&#x2122;s unreasonable to build . Introducing more support fixes this, but is ungraceful.
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FINAL SPINE
LEVEL FUNCTION
ENERGY SYSTEM
PROT
OTOTYPE
C.2. TECTONIC ELEMENTS
Column and secondary support system can be involved to reduce the size of central core structure. However, it may conflict with existing site response.
One way that would work is if we reorganized the curves in the design so that they overlap directly and support eachother, this works again with the 200 CHS. At this point, it is not fully resolved.
JOINTS
STRUCTURE
PART C3
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C.3. FINAL MODEL
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C.3. FINAL MODEL
1:5 Detail Model 75
C.3. FINAL MODEL 1:1000 Site Model
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C.3. FINAL MODEL
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C.4. ADDITIONAL LAGI BRIEF REQUIREMENT Our design, named RYGSOJLEN is a landscape energy generation system formed by algorithmic logic which reflects the complex system of surrounding environment and human interaction. The design is aiming to create a landmark gathering place for the site which includes open space as playground, semi-closed space with shading and enclosed space as gathering place. Main structure is located on the northwest side of the site in order to take advantage from across the harbor. Clear pathway is formed on the north side of the site which lead visitors to existing water taxi terminal and has the potential to function as a platform. Comparing to the ground level, top level of the design has a much simple appearance which will allow visitors to visualize the wind. With consistent aesthetic appearance, the design is derived from chaos at ground level to order at top level. Piezoelectric cells are applied on every to maximize the energy generated. The visible cells are aiming to attract more human interaction.
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C.4. ADDITIONAL LAGI BRIEF REQUIREMENT
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C.4. ADDITIONAL LAGI BRIEF REQUIREMENT Technology: Piezoelectric Cells Emergy Generartion Calculation6
P = 1/2 x C x A x d x v3
where, P is the power generate C is the efficiency coefficient = 63.5% A is the area = 601.235 m2 d is the air density = 1.225kg/m3 v is the wind speed = 5m/s Thus, P = 0.5 x 0.635 x 601.235 x 1.225 x 53 = 29230W = 29kW 29 x 24 x 365 = 247776kWh per year Copenhagen residential consumption is about 1340kWh per year7 247776 / 1340 = 185
So our design is about to generate energy which support about 185 houses Note: only level 3 is involved in the calculation
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C.4. ADDITIONAL LAGI BRIEF REQUIREMENT Material List Over all structure
200X7 CHS 250X150X5RHS
Energy Generator
1.5cm diameter cell 200/m2 Recycled PVC as fabricated cladding
Base Level Transition Level Top Level
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Different size white wicker Semi-translucent waterproof membrane Translusent waterproof membrane
C.5. LEARNING OUTCOME Unlike other studio project, studio air required computational design from the very beginning of the course. Comparing to traditional design process, parametric design maximizes the potential of the idea with large number of iterations. You never know what will be the final outcome before the computer generates range of different possibilities. By critic different iterations, we are pushed to the next level. We developed our ability not only in computational skill, but also in critical thinking. The LAGI project required not only fancy form creating, but also logic thinking when doing algorithmic language and energy estimation process. From emerging landscape sculpture to complex system of environment and human interaction, our design has delivered from simple curvy line to forming chaos quality. This project also pushes us to work as a group.
Communication skill also becomes important during the semester. We put our best effort, however, there are still limitation in the design. The first one will be the unresolved structure. Overlapping curves may help reduce the size of central core, it will also result in more complex curve outcome. The structure testing will need to be considered at a earlier stage if we have a second chance. Material of the design is not fully considered to match the design intent of chaos, especially at the base level. At this stage, whiteness is occupying large area of the sculpture surface. More researches could be done to better achieve the chaos quality.
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PART C REFERENCE LIST C.1. DESIGN CONCEPT 1. City of Copenhagen, "Copenhagen: Solutions for Sustainable Cities," 2011, <www.kk.dk/alima> 2. World Weather and Climate Information, " Average Weather in Copenhagen, Denmark," 2013, <http://www.weather-and-climate.com/average-monthly-Rainfall-TemperatureSunshine,copenhagen,Denmark>
C.2. TECTONIC ELEMENTS
3. Mechanical Engineering, "The Power of Foot Steps into Energy," 2011, Accessed on 7 May, 2014, <http://www.mechanicalengineeringblog.com/1598-the-power-of-foot-steps-into-energyelectricity-produced-by-the-piezo-electricity-theory-ge-new-piezo-electric-charging/> 4. Intech Open Science, "Self-Powered Electronics for Piezoelectric Energy Harvesting Devices," 2012, Accessed on 7 May, 2014, <http://www.intechopen.com/books/small-scale-energyharvesting/self-powered-electronics-for-piezoelectric-energy-harvesting-devices> 5.Jayant Sirohi and Rohan Mahadik, "Harvesting Wind Energy Using a Galloping Piezoelectric Beam," ASME Digital Collection, 2011, Accessed on 8 May, 2014, <http://vibrationacoustics. asmedigitalcollection.asme.org/article.aspx?articleid=1471644>
C.4. ADDITIONAL LAGI BRIEF REQUIREMENT 6. The Royal Academy of Engineering, "Wind Turbine Power Calculation," 2011, Accessed on 29 May, 2014, <http://www.raeng.org.uk/education/diploma/maths/pdf/exemplars_advanced/23_ Wind_Turbine.pdf> 7. City of Cupenhagen, "Copenhagener's Energy Consumption," 2014, Accessed on 29 May, 2014, <http://subsite.kk.dk/sitecore/content/Subsites/CityOfCopenhagen/SubsiteFrontpage/ LivingInCopenhagen/ClimateAndEnvironment/CopenhagensGreenAccounts/EnergyAndCO2/ Consumption.aspx> 8. Henry A. Sodano and Daniel J. Inman, â&#x20AC;&#x153;Estimation of Electric Charge output fro Piezoelectri Energy Harvesting,â&#x20AC;? 2004, Accessed on 29 May, 2014, <https://institutes.lanl.gov/ei/pdf_files/ Strain2004.pdf>
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