Ng xeyiing 596296 journal by Xeyiing Ng

Studio Air Journal

Xeyiing Ng 596296

CONTENTS Part A Conceptualisation Introduction

4 6

Design Futuring

Computational Design

Composition to Generation

Precedents Review Precedents Review Precedents Review

A4 Conclusion A5

Learning Outcomes

Part B Criteria Design

26 28

Research Field

Case Study 1.0

Precedents Review

Matrix

Selected Outcomes

Precedents Review

Case Study 2.0

Reverse Engineering Project Analysis

Technique: Development

Matrix

Design Potential

Technique: Proposal

B5 B7

Technique: Prototypes

Learning Objectives and Outcomes

Part C Detailed Design

Design Progress

Tectonic Structures

Construction Process

Design Concept

Final Design

Defintion Workflow

Tectonic Elements

Prototypes C3

Final Model

102

Project Description

110

Estimated Energy Generation

114

LAGI Brief Requirements

108

Technology & Materiality

112

Learning Objectives & Outcomes

116

Bibliography

120

Part A Conceptualisation 5

INTRODUCTION

I reckon, even Microsoft Office is a digital design tool, although a relatively simple (and uncooperative) one. In that case, I started using digital design tools at the age of 7 (that is a very long time to still be inexperienced). As the years went by, I eventually picked up with the more sophisticated ones. With the experience accumulated from

happy

designing studios (

times), summer internship and

random

playtime,

the following list ranks my technical knowledge.

1. Microsoft Office 2. AutoCAD 3. Rhinoceros 4. Sketchup 5. InDesign 6. Illustrator 7. Photoshop 8. Grasshopper

almost) anything about it;

1 = Yes, ask me (

8 = Say what?

As far as I have experienced, digital design has always been associated with computerization. It is the use of computers to speed up work, increase efficiency in communication and accuracy in design. The designers’ imagination modeled into a controlled virtual environment, tested, modified and then brought to reality. This is what I know about digital architecture. The idea of parametric design, computation, is therefore relatively new. How far can the algorithms take us and how much (or less) does the

human have to be involved?

“Module 4 Virtual Environments,” Xeyiing Ng, University of Melbourne, 5 November 2013, <http://issuu.com/ xeyiing/docs/596296_xeyiingng_mod4>.

Likes blank paper. Blank paper helps me work. If has lines, then not blank paper. If not blank, cannot work. Also, eats food. Might have ate yours. Please check. - Xeyiing

A1 Design Futuring 8

“The remaking of design as a key force of redirection toward sustainability in order to move… to ‘the development of the sustainment’.”1 Living in a time where the future of the world is in the hands of sustainability, every field of knowledge aims to contribute towards the continuance of life. The field of designing, whether or not plays the key role, only time can tell. Having said that, being in the field of designing, it is our responsibility to do our very best and I start here (if I haven’t already)…

Tony Fry, Design Futuring (New York: Berg, 2009), 10.

PRECEDENT REVIEW

LAGI 2012 Competition Third Place Winner -

Pivot Designers Ben Smith and Vee Hu, Atlanta, USA

The Pivot captures wind energy through its’ canopy and generates clean electrical energy. Although still in the experimental stage, the structure shows that to harness wind energy for electricity, space consuming and noise polluting windmills are not the only option. A relatively thin and quiet piece of technology could well replace them. Successfully developing the technology, coastal areas could be easily utilized for the generation of clean electricity. The Pivot seeks to address the pressuring problem of the rising of sea level and the gradual sinking of landfill. Built at the fine line between water and land, the structure replaces lost land terrain for the use of land inhabitants without compromising conditions of the water creatures beneath it.

Lighting up at dawn and twilight, the Pivot acts as a public art that engages with its visitors by transferring kinetic energy produced by the humans to the structure. Through the accumulation of energy from the humans and the flow of the river, the structures moves buoyantly above water. Such interaction seeks to further increase the human’s awareness of the global issue of rising sea levels. As humans actively engage themselves in the contribution towards a sustainable environment, it inspires humans to not only be a part of the clean energy movement but also increases their awareness towards such global issues. Tick-marks are also made visible to the visitors on the structure’s wooden piers to highlight the issue.2 To further enhance the design, the Pivot immersed in the water could utilise the river flow to generate electricity. Piezoelectric sensors detect change in pressure and as the water moves, the relative change of water pressure is proportional to the height change caused by the wave. Waves also continue to roll even after the wind seize, hence has a higher degree of utilization.

“LAGI Pivot,” Smith B, Hu V, Society for Cultural Exchange, 27 March 2014, <http://landartgenerator.org/ LAGI-2012/BV333332-3/>.

The lighting of the Pivot at dawn and twilight.

PRECEDENT REVIEW

LAGI 2012 Competition Entry -

Lightscape Designers Benjamin Emerton, Georgie Pratten and Matthew Fredrickson, Australia

Lightscape harness the energy of the wind and the kinetic energy of humans to generate electricity. It utilizes the technology of piezoelectric sensors which are small and relatively efficient. Made to look as if part of nature, the technology could be easily transferred to other public spaces involving high human interaction or plain fields with strong and constant wind. Aside from the main contribution in the production of clean energy, lightscape also serves as a public art. When the design, here made to look like long grass moves with the wind or with humans walking past, the grass generates light.

The design however requires extensive groundwork as it requires a cover of a large enough area to generate electricity. This would not only have a high cost but it would also affect the local flora and fauna as the installation would destroy their habitat. The maintenance of the design could potentially be problematic. With so many individual structures, unless digitally linked and recorded, it would be impossible to find the faulty ones. Besides, long grasses do not always appeal to people. Like bushes that are too thick, nobody really dares to wade it, what more have fun in it?

The most interesting concept of the lightscape is itsâ&#x20AC;&#x2122; utilization of humans to enhance the generation of energy. This would perhaps serve as a greater motivation of humans to interact with the design, knowing that they are contributing to the betterment of the environment.3

â&#x20AC;&#x153;LAGI Lightscape,â&#x20AC;? Emerton B, Pratten G, Fredrickson M, Society for Cultural Exchange, 27 March 2014, <http://landartgenerator.org/LAGI-2012/01DLB510/>. 3

Lightscape powered by wind and human touch.

A2 Computational Design 14

Digital Architecture? “Use a Computer.” Computers are super analytical engines that follows lines of reasoning to reach a logical conclusion. The use of computers in the architectural design process is hence achieved by first structuring the reasoning lines according to various design restrictions, desirable effects and other factors. Realistic data can then be input into the program to obtain result that meets the many criteria and goals set. By modifying the program to perhaps include other effects would lead to further iterations of the solution. As such, the solutions can then be tested with again realistic data and refined without compromising by accident (or not) the previously set design criteria. Also, with computational design, the rules the led to the results has never been more clearly defined and understandable.4 With the 3D documentation of the design, it allows precise construction and manufacturing. Effective communication between the designer and the builders is hence easily achieved. This would also imply that the construction industry now requires less ‘skilled’ workers in terms of art since most of the computational design outcomes is more efficiently produced by machines. As the designers no longer predict the form and ‘forces’ the function to fit in, computational design allows a wide range of opportunity and innovation in terms of the physical form of a design. This coincides with Sullivan’s famous quote of “form follows function”. Realistic data and requirements have to be first coded into the program for a solution with a form to be generated. The form is therefore always functional and according to the needs of the situation.

Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, (Cambridge, MA: MIT Press), 5-25.

PRECEDENT REVIEW

Computational Design Precedent -

Barotic Interiors Designers Christoph Hermann, Alexander Karaivanov, Daniel Reist

Interior spaces in building are often a collage of simple and unrelated elements. Unsatisfied with the situation, the designers of Barotic Interiors thought interior spaces should be of a coherent formal organisation. Using computational design techniques – parametric modelling, the designers explored dynamic systems with the potential of incorporating infinite amount of interior conditions without losing the overall coherency. They translated architectural elements such as stairs into dynamical inputs which allows different situations such as velocities and influences of flow in field to be easily describe. A vector filed is then created to provide a system which gives gradual differentiation between elements and systematically correlates the elements using conventional collage principles. By then controlling the line output from tangent to normal, the shift from texture to structure is achieved. Various architectural elements are hence generated in one parametric design system and continues to appear as one coherent design.

The project utilizes the computational design tools – parametric modelling to create solutions for the set of parameters present. Such computational design tools allows easy coordination of different elements and great control over the design intent. Having said that, humans still play a major role in the design process. We have to decide the parameters that would provide the best condition for the outcome. It is also our role to decide what is the best representation method of our inputs, in this case, the designers used vectors. The designers may not know what form the outcome might take, but would know the majority of its characteristics, save for unexpected results from the generation.

“Barotic Interiors II,” Christoph Hermann, Procedural Architecture and Design, 27 March 2014, < http://www. christoph-hermann.com/parametric-architectures/emergent-design-barotic-interiors-2/ >. 5

Interior view of Light Wall

PRECEDENT REVIEW

Computational Design Precedent -

Ka - Care Designers ecoLogical Studio, Carlo Ratti Associati, Atkins, Atmos Studio, Accenture, Agence Ter

The Ka-Care, designed to guide the growth and evolution of a new-born city in Saudi Arabia is a project developed entirely by computational tools. Information such as landscape morphology, water proximity, solar radiation and wind direction were extracted from the site and analysed to produce a series of maps that shows meshes of plots with different degrees of ability to host the new city. The data generated together with other technological conditions and economical reasons are then input into the virtual space defined by the algorithm to produce a parametric design. The result is a simulation of possible growth pattern within the city. A city which is therefore strategically located, well-connected, energy efficient and generally environmentally sustainable.6

The Ka-Care Project is fairly similar to the LAGI competition. The thought process used in the project can be applied in the LAGI design. This project fully utilizes computational tools as it defines parameters of the site and allows results to be generated from the inputs. By extracting and analysing the relevant information on site (especially renewable energy generation information), the data can then be input into the algorithmic definition to generate the design. The LAGI design would however experience greater constrains. Unlike in Saudi Arabia where the project is situated in a spacious bare land, the LAGI site is surrounded by industrial buildings and coastal areas.

Progressive expansion of the new city, Ka-Care

â&#x20AC;&#x153;Ka-Care,â&#x20AC;? ecoLogical Studio, ecoLogical Studio, 10 January 2011,<http://www.ecologicstudio.com/v2/proj ect.php?idcat=3&idsubcat=4&idproj=121>. 18

The rendering of Ka-Care

A3 Composition to Generation 20

“Generation of unexpected results.” In generating architecture, it contrasts greatly with composition as its final form is often the least of concern. Designers concerned with generation are concerned with the principles guiding the design. Without a pre-conceptualised form restricting the needs and function of the building, the efficiency of the design is greatly increased. Recently, generation made a big fuss when it was associated with computers. However, generation was never the product of computers or the ability of humans to script computer programmes. The generation of art does not always require the use computers as I will demonstrate in my precedents. Such designs are rare as the principles and data involved can be overwhelming and humans have been known for their tendency to cause human errors.

The danger lies in the fact that parameters can be easily modified. In complex modelling, a change in an early feature could very well cause the failure in a later design feature. Computation designers must then be equipped with algorithmic thinking skills. Designers need to understand the results of the generating code, know how to modify the code to explore with new options and speculate on further design potentials. Besides, composed of repeating and similar units, minor changes are hard to identify or recognize. With the constantly evolving technology, the celebration of skills could cause designers to indulge in the chase of ‘catching up’ with technology. Therefore instead of using computation as an integrated art form, the skills become an isolated craft. It also has the potential of obscuring and diverting the real design objectives.7

The use of computers have hence ‘leveled up’ the status of generated design in the architectural design environment – computation. Due to benefits of computerization, designers of the 21st century are generally well-equipped with such skills. Well versed with the capabilities of computers, the rising of computation, essentially the shift from computerization towards computation excited designers (most of them anyway).

Brady Peters, “Computation Works - The Building of Algorithmic Thought,” Architectural Design, 2013, 8-15.

PRECEDENT REVIEW

Composition to Generation Precedent -

Sagrada Familia Designer Antonio Gaudi

Gaudi, an architecture visionary, developed structures inspired by the principles of nature. His work of the Sandbags Model for the shape of the columns and arches at La Sagrada Familia was a generative design stemming purely from the quote “form follows function”. In his model, Gaudi hung strings with a small bag of sand tied to their ends off the ceiling. He then tied the strings to each other to combine their individual strengths into one. By visualizing the arches upside-down, Gaudi allowed gravity to form the shape of the arches. The structure resulting from the model is hence off a sound construction.8 The design utilized the principles of nature to guide its form. His design explored the opportunities of architectural concepts to arrive with a sound and efficient form. The rules and principles of a design have never been clearer, as if defined by an algorithm. Although only guided by simple principles, the Sandbags Model is essentially a parametric design. The relatively simple

principles used in his design led to the vision and construction of his masterpiece, the La Sagrada Familia. Dead before his masterpiece was completed, left unfinished and without complete plans for the work to continue, aspiration to complete his work seemed impossible. The determination to finish Gaudi’s masterpiece was brought closer to realization with computational tools. By applying the principles from the Sandbag Model, forms were experimented with parametric design tools. Being a halfway project of such gigantic scale, it is crucial that the design team account for every possible outcome for a single mistake could lead to disastrous consequences. The benefit of computation in this project is hence its ability to provide feedback and reflect changes in the building and its structure performance with every modification of form. Given the complexities of form, the use of computation in the modelling process allows accurate, time-saving and relatively easy construction of the elements.9

“Gaudi’s Sand Bag Models,” Tito Ballesteros, Tito Ballestero, 17 September 2011, <http://titoslessonblog. blogspot.com.au/2011/09/gaudis-sand-bags.html>. 8

Sagrada Familia currently under construction.

“Sagrada Familia: Conceived and Projected in 3D,” 333 Three D Systems Circle, January 2012, <http://www. zcorp.com/documents/393_Sagrada%20Familia%20Final.pdf>.

PRECEDENT REVIEW

Composition to Generation Precedent -

Wave Sculpture Designers Reuben Margolin

Inspired by the movements of nature, the artist Reuben Margolin creates kinetic sculptures that recreates the complex movements of nature. As the sculpture is of a dynamic nature, the generation of art in this design is not the final form of the sculpture but its kinetic movement patterns. By analysing the principles behind the movements of nature, the artist generates fluid motion by connecting parts and pieces together which work simultaneously in a chain reaction. The sculpture is essentially made of repeating units of connected pieces that allows movement at their joints. The synchronization of the pulley systems is then the final piece to the art. The sculpture is connected to the pulleys via strings.10

The parameters that define the kinetic movement patterns is hence the pulley systems. Adjusted to fit the principles behind the movement of nature, the pulleys work together to transform the input kinetic energy into the sculpture’s kinetic energy (output). Like any parametric design, a change in the parameters (pulley systems) would be updated in the output of the sculpture’s movement. The well-defined principles of nature (parameters) of the generative design allows the perfect imitation of the movement of nature. The production of such an artwork is only possible through generation. The interactive movement of the sculpture is an interesting concept for the LAGI competition design. Using similar concepts, the design could interact with renewable energy sources or humans to generate movement in the design.

“Reuben Heyday Margolin,” Reuben Heyday Margolin, Reuben Margolin, January 2005, <http://www.re ubenmargolin.com/>. 10

Square waves controlled by pulley systems above.

PRECEDENT REVIEW

Composition to Generation Precedent -

Indigo Tower Designer 10 Design Studio

The Indigo Tower is a housing tower in Hong Kong unlike any others The design not only seeks to provide shelter for humans but more importantly to purify air of its’ surrounding. The Indigo Tower therefore requires a structure that adheres to specific principles such as the creation of positive and negative spaces for cross ventilation, maximizing surface areas, high velocities across selected areas and etc. to achieve and maximise its’ goals. Due to the complexity of the situation and the amount of data involved, computation design was adopted. Using computational tools, the architects modeled and compiled various data before inserting them into a simulation matrix to further analysed the data as a whole. The architects then studied the interaction between different elements which then creates a dialogue between the form and the efficiency of the design.11

Computation in this project is therefore the tool which generates and explores the architectural spaces and concepts. The ability to produce a building performance simulation provided a greater opportunity for the architects to understand the complex situation. Being able to analyse the decisions made during the design process, the simulation tool allows for more responsive and realistic designs, fostering a closer relationship between the designers and users. The computational tools also provide a better method of representation. Communication of design is hence efficient and accurate. The project is a step towards ‘designing to sustain’. It utilizes realistic data to produce the most efficient structure. It analyses the energy source and details specific functions that the design should harvest such as cross ventilation for every unit, wind velocities across façade directing the energy to turn turbines and etc. For the LAGI design, the renewable energy source should be analysed and targeted as such to maximise the efficiency of the structure.

Ted Givens, “10 Design Beyond Neutrality,” Architectural Design, 8 November 2011, 112-117. 26

Decomposition of Indigo Towers into its separate elements.

A4 Conclusion 28

“My intention for the LAGI competition is to incorporate the HumanMachine relationship into the design. ” Heading down the path of ‘designing to sustain’, computation can be seen as the thing to lead designing in that direction. Computation as the generation tool will lead our design future. With its’ various advantages of efficiency and accuracy, complex realistic situation can be dealt with. Having said that, computation still requires the innovative thinking and management of humans. It is a process of utilizing computation to help humans work better for at the end of the day, computers are still humans’ invention. My intention for the LAGI competition is to incorporate the human-machine relationship into the design. To harvest renewable energy sources from the surrounding would be the main energy generation but the involvement of humans should further enhance its’ generation. The project then serves to educate humans that to sustain the world, we cannot solely rely on the advancement of technology and that humans too have to play a part whether by turning off that unused tap, donating a coin or the invention of the ‘world sustainability machine’. It is important that we humans realise our role in the world. It is through the increase in awareness leading to the halting of the current unsustainable actions and the prevention of future arising ones that the world might have a chance.

A5 Learning Outcomes 30

Exciting days ahead I now know the difference between computational design and the boring job an â&#x20AC;&#x2DC;autoCAD monkeyâ&#x20AC;&#x2122; (a role which I may or may not have taken up) does. Given the opportunity to explore works of others in computational design has led to a new personal insight. Inclined towards a bottom-up and functional design approach, computation broadens the capability of a designer to do as such. Having design on both ends, composition and generation, computation could have benefited both by providing greater opportunity for exploration and functional use of decoration. Instead of arbitrary explanations that only exist and functions within my head, computational tools could have led to more concrete and solid proofs and justification.

Part B Criteria Design 33

B1 Research Field 34

Conceptual design is the creation and exploration of new ideas. Conceptual design is a type of art which gives precedence to hypothetical function. It is not the same as a general design as a conceptual design does not necessarily have to be functional. Its’ purpose is to illustrate a design that shows an idea that may potentially be functional. 12 Conceptual design composed by the designer, whether computerised or hand drawn are limited to a certain extent by the imagination of the designer. Generated conceptual designs via parametric tools are far more extensive where the form is not limited but requires a thorough understanding of the parameters. Designers are however more likely to lose track of the evolution process and could ‘forget’ how a form was initially generated. Not limited by the realistic function of the world, conceptual design allows the designers to go beyond and to wherever their imagination takes them. Essentially, a designer can make no error in it. This often leads to unexpected form generation and could potentially expand future design possibilities.

The conceptual designs visualised in the minds of the designers or on the computer screens are unrealistic. This could lead to various fabrication concerns. To even produce a prototype, the designers often have to revise the design and insert real world context into it. This process often requires alteration to the design, resulting in a lost in certain aspects. On the other hand, keeping fabrication in mind enables a feasible design but at the same time limits the design exploration. 13 Then again, who knows how technology is going to evolve? Like the modernist of the past that dreamt of cities of skyscrapers and automobiles, couldn’t realised it at that time, but the idea carried on and look what we have now. The conceptual designs hence unleash the potential of the future, of the things we could do and how it would benefit us all.

12 Wikipedia, 2014. Conceptual Design. [Online] Available at: http://en.wikipedia.org/wiki/Conceptual_design [Accessed 4 May 2014]. 13 Davis, D., 2014. Introduction to Parametric Modelling. [Sound Recording] (University of Melbourne).

MATERIAL SYSTEM REVIEW

Sectioning Precedent -

Bang Restaurant Designers Office dA

Sectioning is often used in profiling 3D curvilinear surfaces where the sections follows the line of the edges of the surface geometry. Producing a continuous surface which mimics the curvature of the design is extremely difficult in large scale and are often very expensive. Instead, the use of sectioning accurately projects the curve profile and is technically more feasible as the 3D surface is deconstructed into 2D surfaces. A system of connections is then required to compile the 2D surfaces together in sequence and of designated spacing. Depending on the design intent, the connections can be shown or hidden away. The process also enables precise production using digital fabrication. Through sectioning, both the surface and the structure of the geometry are produced.

With the help of parametric design tools, the Bang Restaurantâ&#x20AC;&#x2122;s ceiling profile is firstly digitally mapped as a continuous surface and then sectioned perpendicularly. No visible connection is seen between the sections, the ceiling profiles are made to look as if they hang off individually. The sectioning brings about the effect of lightness and spaciousness which is not possible if a 3D geometry is hung off the ceiling. Having a continuous 3D surface would overcrowd the space. 14

Arch Daily, 2009. BanQ / Office dA. [Online] Available at: http://www.archdaily.com/42581/banq-office-da/ [Accessed 4 May 2014]. 36

Interior ceiling profile of Bang Restaurant.

B2 Case Study 1.0 38

To generate that which best expresses movement.

MATRIX Definition 1

Definition 2

Surface Manipulation

Refer to Xeyiing Ngâ&#x20AC;&#x2122;s sketchbook for grasshopper definition details of the various iterations.

Section Extrusion

Arc

Point Charges

SELECTED OUTCOMES Successful Iterations Our group selection criterion is ‘Form that best expresses movement’. In selecting wind and wave energy as the renewable energy source that our group will tap into, the ability for the design to move and to express itself during the generation of electricity interest us the most. The visibility of the generation of electricity by the public as a form of green energy celebration is hope to further inspire and educate the public in sustaining our world. The selected outcomes undergo dynamic changes in their forms. Such exaggeration is seen as a positive aspect in attracting the attention of the public to the site. Besides the expression of movement, the selected iterations have a good balance between fabrication possibilities and its geometrical complication to express movement via its form. Hence during the process of producing the iterations, the grasshopper definition was pushed to generate results that would vary significantly from the previous versions in expressing movement.

Design Potential The selected iterations that are thought to successfully fit our group’s selection criterion could also be applied in various architectural applications. Scaled to the proper size and perhaps with the correct technology, the iterations could be applied to building facades to not only provide shade, produce a moving pattern but also generates electricity. The iterations however best reminds one of an artistic ‘playground’ with forms as such interacting with the people around it. From the matrix, the iterations generally possess qualities of movement, the expression not of speed but of the gentle and undulating movement often found in nature. Thus, the form has the ability to inducing a calm and soothing presence to the space it occupies.

Selected outcomes from the Case Study 1.0 Matrix. 42

Final Version The final version as shown is selected with the generation of wind energy in mind. This iteration shows the greatest potential of harnessing wind energy due to the wind tunnel form it takes. As it is sectioned in one direction, it is speculated that this iteration will display a coherent and smooth moving effect as the wind passes through. Due to its relatively simple sectioning, this version can be easily fabricated and supported via simple structures.

Final version selected from the Case Study 1.0 Matrix. 43

B3 Case Study 2.0 44

â&#x20AC;&#x153;Reverse engineering is the process of discovering... through analysis... â&#x20AC;? 15

Wikipedia, 2014. Reverse Engineering. [Online] Available at: http://en.wikipedia.org/wiki/Reverse_engineering [Accessed 4 May 2014]. 15

INTRODUCTION

Selected Project -

The Sequential Wall Designers Gramazio & Kohler, Zurich

The sequential wall is a generative project where the functional requirements of an external timber wall are integrated into the generative parameters. The project hence seeks to create a mutually dependent relationship between the formal and the functional characteristics of a wall. This is evidently shown in the down-sloping wooden slates. Not only do they express the design element of the wave, they also serve to shed water away from the structural part of the faรงade. The gap introduced between the faรงade and the structure enhances the insulation properties of the wall.

Besides the integration of function and design, the project is also a demonstration of the use of computer-controlled production tools. Connecting the digital generation and fabrication immediately links the design with the making. The designer therefore has full control of the construction process. This however requires the designer to also integrate physical requirements, material conditions and assembly logic into the parametric design process. 16

Gramazio & Kohler, 2008. The Sequential Wall, ETH Zurich. [Online] Available at: http://www.dfab.arch.ethz. ch/web/e/lehre/148.html [Accessed 4 May 2014]. 46 16

Wave profile of the sequential wall project.

REVERSE-ENGINEERING Divides surface into grid points Cull every second point Creates square around selected points

Extrude squares into sticks

Rotate sticks 45 degrees from surface

Insert expression of a sine wave

Modifies expression, creating displacement of sine wave Modifies expression, increasing range of sine wave in X-axis

Modifies expression, discovers constant, 72, leads to the alternating rotation of rows

Modifies expression, to incorporate sine and cosine waves

Bounds rotation of sticks between 90 degrees and 45 degrees

Refer to Xeyiing Ngâ&#x20AC;&#x2122;s Sketchbook for the full grasshopper algorithm.

PROJECT ANALYSIS Project Outcome The parameters for the design were straightforward and was easily understood. Once the logic of the parameters were worked out, the pattern across the faรงade was just a mathematical play. The outcome of the reverse-engineering project produced a fairly similar wave pattern with the Sequential Wall project. Our project also manage to limit the rotation of the sticks between 90 degrees and 45 degrees like the design so that the faรงade sheds water away from its structure. Despite the limitation of rotation, the parametric definition of ours managed to create intersection between alternative rows. The ratio of the spacing between the rows and columns were successfully implemented in our project. Our reverse-engineered project however did not take into account the structure of the design. Our project is hence not a realistic or buildable one. The structure also forms part of the faรงade and hence our project lacks the full effect of the design.

Further Exploration Besides relying on mathematical expression to form the surface pattern, the project could use image samplers, real-time web-cam and various other plugins to generate the pattern. Instead of random waves creating patterns on the surface, the project could also incorporate specific images or text into the faรงade pattern. This could in turn be an educational tool of the LAGI design for its visitors. The design could also encourage further engagement by allowing the visitors to generate their own message and pattern across the faรงade. The project could be further developed to allow the fixed and stationary sticks to be adjusted and moved which then creates a chain reaction towards the rest of the structure. This could then be installed with energy generators to harness energy from wind or humans to produce clean energy in the LAGI design.

Wave profile of the sequential wall project.

Front view of reverse-engineered project of the sequential wall.

B4 Technique : Development 52

To generate that which best expresses energy generation and encourges human interaction. From Case Study 1.0, our groupâ&#x20AC;&#x2122;s selection criterion was only â&#x20AC;&#x2DC;form that best expressed movementâ&#x20AC;?. Moving into Case Study 2.0 and further understanding the brief requirements of producing an interactive public art that generates clean electricity, our selection criteria has be improved to consist: 1. That which harnesses wind and/or wave energy to generate electricity; 2. That which is pragmatic and fabrication possible; 3. That which interacts with humans to further generate greater amount of electricity; 4. That which expresses and celebrates the generation of clean energy. The requirements of the brief for LAGI 2014 are summarized by our group as such: 1.Produce a public art installation that enhances the community, increases livability, stimulates local economic development and challenges the mind of visitors on broad ideas : ecological systems, energy & resource generation and consumption, human habitation & development; 2. Large scale clean energy generation that stores, transforms and transmits to grid, does not impact negatively on surroundings and is pragmatic and constructible. 17

Expanding on the selection criteria for Case Study 1.0, the aesthetic effects that our group aimed to achieve can be summarized as: 1. Visual stimulation via the undulating movement of the sticks in the wind and/or water and the design is to be distributed across the site to create a sense of journey to its visitors, revealing the view of the harbor at the end; 2. Aesthetic display, the design aims to take the form of an open structure, one that does not impose its presence on site; 3. Audio stimulation to encourage human interaction with the design on site, sounds that resembles that of a wind chime is to be produced with the touch of humans, and although without, the movement of the wind and/or wave would generate similar sound, the ability to control what is played would perhaps interest humans to participate in the generation of clean energy.

Ferry, R. & Monian, E., 2014. Land Art Generatro Initiative - Design Guidelines. [Online] Available at: https:// app.lms.unimelb.edu.au/bbcswebdav/courses/ABPL30048_2014_SM1/LAGI- 2014DesignGuidelines.pdf [Accessed 28 April 2014].

MATRIX Species 1

Species 2

Refer to Xeyiing Ngâ&#x20AC;&#x2122;s sketchbook for grasshopper definitions of the various iterations. 54

Species 3

Species 4

Species 5

MATRIX Species 6

Species 7

Species 8

Refer to Xeyiing Ngâ&#x20AC;&#x2122;s sketchbook for grasshopper definitions of the various iterations.

Species 10 Species 9

DESIGN POTENTIAL Analysing the selected iterations against our group selection criteria, brief requirements and aesthetic qualities, it can said that: Iteration 1 and 2 The varying height of sticks/panels could potentially harness more energy as it captures wave/wind energy of different strength and location. It also allow perhaps shorter sticks to capture stronger winds but the longer sticks, due to greater length and mass, to be pushed and pulled by humans hence encouraging interaction. Ho`wever, the clear vary in height sacrifices the undulating pattern of the movement of the sticks. Iteration 3 The removal of sticks from various spots allows humans to walk into the design. This iteration targets specifically the harnessing of wave energy. The random removal of sticks however affects the expression of the wave patterned across the design. Iteration 4 The top and bottom separation seen in this iteration inspired a continuous design from the wave to wind structure. Using sticks as the main pivoting component to generate both wind and wave energy, the sticks in the water could slowly move away and upwards from the waterfront towards the inland to harness wind energy from up above. Nevertheless, complications such as â&#x20AC;&#x2DC;what would the sticks that sits in between that is not high enough to harness wind energy or low enough for the water do?â&#x20AC;&#x2122; have to be resolved for the idea to work. Besides, the best geometrical shape for capturing waves is not necessarily the best for wind.

Selected iterations 1,2,3 and 4 (from top left to bottom right) from the Case Study 2.0 Matrix.

B5 Technique : Prototype 60

“Design isn’t just how it looks, Design is how it works .”18

Howells, L., 2011. A prototype is worth a thousand words. [Online] Available at: http://boagworld.com/ design/a-prototype-is-worth-a-thousand-words/ [Accessed 4 May 2014].

PROTOTYPES Prototype 1 - Water Model

Top Plate

Sticks Hinges

Bottom Plate Supports

Assembly diagram of the water model. 62

Physcial built-up of the water model.

PROTOTYPES Fabricating the Digital into the Physical World Fabricating the physical prototypes revealed the difficulties of replicating a digital condition in the real world. The difficulties are as listed: 1. Complications of the working mechanism of the water model a. In the digital model, the sticks moved in a synchronized manner in a relation where all the sticks are connected each other in a system as dictated by the algorithm b. However physically, the sticks are individual elements that have no relation to the next as we have failed to take note of the assumed relation in the digital model. This affects the desired effect of the wave pattern moving across the design significantly. Also, without the sticks moving in relation, sticks between rows tend to hit each other and is therefore an inefficient energy generating system. c. Modifications could be made to connect the individual sticks so that they act in relation to each other.

2. Complications in ensuring the design assume the intended positions and orientations a. In the digital model, the sticks are limited by the input parameters of grasshopper b. Physically, although the issue was accounted for by creating a platform with delimiting cutouts for the sticks, the prototype had trouble fitting into both the top and bottom plates. This is understood to be due to the unaccounted friction, flexibility of material and â&#x20AC;&#x2DC;glue spaceâ&#x20AC;&#x2122; in the physical model. The prototype originally has two plates for its platform had to be reduced to one to allow all the sticks into the platform. c. Modifications can be made to devise a system of flexible restrictions such as individual barriers below the platform that limits the maximum rotation of the platform and the minimum angle of the sticks.

Digital model of the wind model. 64

Prototype 2 - Wind Model

Physcial built-up of the wind model. 65

PROTOTYPES Performance Testing In testing the performance of the working mechanism, prototypes of two different scales were built. In the large scale prototype with only one stick, the model demonstrated its ability to respond to environmental forces (ie. wind and waves). Rotating on the spring mechanism the stick is attached to, the stickâ&#x20AC;&#x2122;s maximum and minimum rotation angle is preserved during the working of the forces.

higher resistance in the sticks therefore leading to an inefficient system (Water Model 2). b. Wind Energy Model i. The movement of panels decreases with its position in relation to the front of the model. ii. The meant panels at the back will not generate as much electricity as expected unless the site experiences great winds

However, in the small scale prototype where rows and columns of sticks were embedded into the platform, the same working mechanism proved to be problematic.

2. Physics (Friction and gravity) a. Wave Energy Model i. Due to the lack of restriction in the orientation and position of the sticks, the sticks favour the position of gravity over the intended position. ii. Friction between the sticks and platform is not accounted for and hence does not rotate properly iii. Modifications could be made to allow greater space between the platform and the sticks b. Wind Energy Model i. Relying on swaying motion of the panels to generate electricity, the panels in our prototype only produce minor movements in the wind due to the great friction present at the joints ii. Better connection that minimizes friction between the joint of the panels and the structure has to be design for a more efficient system.

1. The environmental forces are not equally distributed across the elements a. Wave Energy Model i. Due to the unconnected sticks, the design hence failed to display the desired effect of movement ii. This means sticks at certain portion of the platform if obstructed by element in the front would be redundant and not generate electricity iii. Further modifications to the shape and the height of the sticks were made but further complications were faced. The change in shape of the sticks proved to capture forces better but the elongation of the sticks further back to the model increases the possibility of. the sticks hitting each other and also generates

Modified version of the water model (Water Model 2) which lead to further complications.

Prototype 3 - Spring Mechanism

Detail of spring mechanism. 67

B6 Technique : Proposal 68

Dynamic is the new [energy] generation.

PROPOSAL What? In this proposal, we present two designs for the LAGI 2014 competition. Each of the design harvests a different renewable energy source, one being wind energy and the other wave/tidal power. In the Wind Model, the energy generation mechanism utilizes wind panels. The wind panels are designed to provide maximum surface area to exposed sufficient amount of the panels to the oncoming wind forces. Panels have although presented problems with friction and when populated in rows have successfully shown to move in the direction of the wind forces which then relies of the gravity to resume its original position. The back and fro motion is the key to the energy generation. In terms of materiality, conceptually, the material required for the panels are to be light weighted and durable. Most importantly, in conjunction with the LAGI brief and â&#x20AC;&#x153;Design Futuringâ&#x20AC;?,

the materials used should be environmental friendly and hence possibly recycled materials. The design is hence not only a physical stand to create renewable energy but also a physical representation of a world that is heading in the direction of sustenance. To further elaborate, such materials must also be easily obtained and fabricated locally. If conditions permit, the historical and contextual reference to the siteâ&#x20AC;&#x2122;s nature of being part of a port district could also expressed through the use of materials such as wharf timber. For the Water Model, two energy generation methods were proposed. The first is the use of the tidal energy. Relying on the fluctuation of water height between high and low tide, the sticks embedded in their platform will be placed in a dam where water would be stored during high tide and slowly released during low tide. The movements of the sticks hence

rely on the draw of the water. Upon further research and experimentation, it is realized that such method would not result in a generation of energy because unlike the wave/wind, the tidal draw will move water without much fluctuation hence the sticks would only move once and maintain its position throughout the rest of the process. The second is the use of wave energy. This method relies of the current of the ocean and the waves generated by the passing ferries. The fluctuation in the wave energy will then cause a back and forth movement in the sticks, activating the spring mechanism. In terms of materiality, conceptually, the material used for the water model such encompass all the environmental friendly qualities of the wind model and should further be durable in water. Due to the inconvenience of being underwater, both the materials and the mechanism have to be off low maintenance.

Render of the application of both models on site. 71

PROPOSAL Where? In distributing the wind-energy-harvesting-panels on site, a sense of journey guiding the visitors from the start of the site to end to reveal the view of the harbor is incorporated. Energy generation wise, the following factors are taken into account: • Placed to face prevailing wind forces • From the ‘Observed Wind Speed and Direction in Denmark’ document by the Danish Meteorological Institute, such prevailing wind is from the Westerly directions, Easterly wind is less frequent but can at times be quite strong • Panels situated are not to be delimited to one direction, they are to be placed on multiple angles to take advantage of all wind speeds and directions

Capturing Predominate direction of wind forces about site

Structure dependent upon wind directions

Refshaleøen, Copenhagen 2014 LAGI - Site plan

Capturing wind forces

When wind is non-existent, human interaction?

Placement of wind model on site, taking the prevailing wind directions into account.

The wave model is placed right after the end, the harbour view, of the site in the water to obtain the maximum forces from the natural waves and those generated by the ferries.

Placement of wave model on site and the working of the tidal power generation. 73

PROPOSAL Why? Among the various features of the designs, the spring mechanism is thought to be the most innovative feature. The spring mechanism is adapted from a previous project that was part of the previous LAGI competition. Within the mechanism which stretches and compresses like a spring is a stack of piezoelectric ceramic discs. Between the discs are electrodes. Each disc is then connected to each other from top to bottom by a cable. When mechanism is stretched or compressed due to the forces of the wind/wave, the stack of piezoelectric discs are forced into compression, thus generating a current though the electrodes. 19

The other feature of the design is its aesthetic quality that produces a smooth and gentle wave pattern across it. This aesthetic feature is a symbolic representation of the forces at work that is generating clean electricity. The subtle sounds of the wind chime also serves to provide a soothing and calming effect among the busy industrial site. Utilising the wind and wave energy is thought to be the best options among other renewable energy sources because such sources rely on movement. With movement, the structure becomes and interesting piece of artwork. The dynamic movement is hence an attraction point that provokes interest in human and encourages the interaction of humans with the structure

Why Not? Having said that, both the wind and wave model have major drawbacks in the site application. With the wave model, ideally, if the material checklist can be fulfilled, the design would work. Realistically, such material probably does not exist and the application of the wave model on site would present costly maintenance problems that could render the energy generation redundant. Also, due to the tight site, the wave current passing through the site is not strong and would hardly generate much energy. The tidal wave generation method as mentioned above has also proved unfeasible. The wave model present problems far greater than we can cope and our group have therefore decided to only focus on harnessing the wind energy.

The wind model on the other hand has similar materiality problems. To achieve a low friction, light weight and durable paneling system would probably require materials such as those employed in aeroplanes and would not only be expensive to construct but also against the sustainable policy of the brief. Furthermore, wind systems are known to work better at greater heights. To however cater for human interaction, the system has to be of a human scale and could result in inefficient energy generation for the amount of embodied energy invested in the structure. A solution to such drawback could be to design a structure of varying heights to cater for both humans and energy generation. Human safety has to also be taken into account as the rigid panels at human height could hurt visitors.

Upgrade in progress...

Working of the spring mechanism attached to the rigid sticks.

Wave Propagation Technology applied in the past LAGI competition that utilises piezoelectric disc to generate electricity.

Herrman, J., 2010. A Wind Farm Without Turbines. [Online] Available at: http://www.smartplanet.com/blog/ thinking-tech/a-wind-farm-without-turbines/ [Accessed 4 May 2014].

B7 Learning Objectives & Outcomes 76

Grasshopper in the Real World.

LEARNING OUTCOMES Intrim Presentation Feedback From the feedback during the review, the positive attribute of our design is its potential to attract visitors to site via the aesthetic quality of the undulating movement of the sticks. This aspect could be further improved by further elaborating the aesthetic quality to educate the visitors on environmental sustainability and energy generation. Aspects that require improvement are on the specific details in the generation of electricity and site application considerations. In terms of energy generation, due to the complications generated from the wave model and our lack of specific example, our energy production was not convincing. Specific example and the specific working mechanism have thus been provided in the B6 Technique Proposal section. Regarding the application of design on site currently lack innovation and does not fully utilize the site. As suggested in the feedback, it is thought that the wave model will encourage further human interaction if a canal is cut through the site. Our group however disagrees with the suggestion as it will result in environmental degradation of the site, more so when the wave model has shown to be more problematic than efficient in generating electricity. Besides, the tight site will not bring much water into the canal.

To further improve our current design to better meet the requirements of the brief, our design could be extended to incorporate the idea of educating the visitors on green energy and environmental sustainability more directly. This could perhaps be done by installing a large scale model detailing the specific energy generation technology of the design on site. Indicators could also be included into the design to display the amount of energy generated on site. More importantly, the design should take into account the effective generation of electricity at all times. This can be done by understanding the wind forces on site and integrating such information into the strength and resistance of the spring mechanism in the design. The shape, length, number and distribution of sticks have to be further tested to obtain the optimum design. Besides that, the structure of the design which has not been accounted for should allow easy maintenance and ensure public safety.

In response, our group hence proposes to focus only on the wind model. The wind model should be energy-generation efficient, expressed sculpturally and at the same time create a sense of an experiential journey moving from one end of the site to the other. In order for such an effect, the population and distribution of sticks on site would ensure that the wave pattern across the design is maintained; the orientation of the sticks is optimized; and human interaction with the design is allowed, taking into account human safety. The structure of the wind model has to also be further designed to not be in conflict with the aesthetic effect and at the same time strong enough to withstand strong winds.

Studio Air Learning Objectives Objective 1 This is evidently shown in our approach towards LAGI 2014â&#x20AC;&#x2122;s brief by the use of parametric tools to produce a performance-oriented design that harness renewable energy sources to generate electricity. Objective 2 The ability to generate a variety of design possibilities is developed through the producing iterations for the matrixes in Section B4 and B2. It is however evident there are plenty of room for improvement in using algorithmic definitions and parametric modelling to further explore the possibility of the design to generate forms that are further off from the original Objective 3 Having understood the basics of Rhino Modelling, the experimentation and exploration introduced has enable further development and learning in 3D media. In order for physical fabrication in Section B5 Prototyping, the digital model has to be understood thoroughly to allow adjustments to be made digitally and to ensure physical conditions are accounted for to allow logical and easy assembly.

Objective 7 The understanding of such is developed through experimentations in grasshopper. It is evident from my sketchbook that such understanding is required for the logical reasoning behind the built definition to obtain full control of grasshopper. I dare not say I have obtained full control but I would like to think that I have better understood the concept to better use grasshopper. Objective 8 As shown in the sketchbook, it is sometimes impossible to understand why grasshopper fails to produce the desired effect when logically speaking, the definition flows. This lack of understanding can be rectified by experimenting extensively with the component to fully understand its function. Experimentation with various components could also further oneâ&#x20AC;&#x2122;s understanding, starting the logical reasoning to generate a desired effect as shown in the algorithmic definition for the matrix in Section B4. This is however very time consuming and perhaps one of its disadvantages.

Objective 4 The understanding of the relation between the digital and the physical world is evident throughout Part B wherever digital modelling is required but especially in Section B5 Prototyping. (See Objective 3) Objective 5 Making a case for proposal. To support our groupâ&#x20AC;&#x2122;s design direction, specific examples were provided in Section B6 Proposal. Shortcomings and limitations were also and addressed and discussed in Sections B5, B6 and B7, to allow for better design solutions. Objective 6 Design analysis of contemporary architectural project is best shown in Part A and Section B3. Moving down the progressive sections, I better understood the purposes of analysis precedents and could therefore better present the ideas from the precedent to further support my argument and design direction.

Part C Detailed Design 81

C1 Design Concept 82

â&#x20AC;&#x153;Practice safe [engaging] design: Use a concept.â&#x20AC;?20

Vrontikis, P. (2009, April 29). Design Was Here. Retrieved June 5, 2014, from http://designwashere.com/80inspiring-quotes-about-design/

DESIGN DEVELOPMENT N

Wind Panels & Wave Sticks The previous proposal in Part B shows limitation in the designâ&#x20AC;&#x2122;s ability to efficiently harness wave and wind energy. It also lacks site-unique experiential which possibly creates a boring on site experience. Predominant Wind

Certain aspects from the previous proposal is however useful for the further development of the design. The interchangeable use of the panels as structure and wind harnessing elements allows a seamless and continuous design between energy generation and supports. On-Site Human Experience = Wind Harnessing Potential =

Cave-Like Wind Tunnel To create a design of greater experiential potential, a cave-like wind tunnel is introduced to create an undulating landscaped environment on site. Beneath the landscape, the wave sticks are hung off structures to create a stalactite cave environment. The varying options below explores the various possibilities for the realization of the design concept. Wind Harnessing

Structure

Wind Harnessing

Structure

Wind Opening Exterior Profile Interior Profile

Natural Ground Excavated Ground Wind Shelter

Foundation

Wind Shelter

Foundation

Mushroom Columns To optimize the wind energy harnessing potential, sticks are used instead of panels for their ability to capture wind in all directions. Openings of greater dimensions are introduced in the dominant wind directions inlet and smaller ones on the outlet to facilitate a wind tunnel effect within the cave. Due to the deep site, the design incorporates wind openings at the top of the structure to capture wind of higher speed into the deep site areas. The site arrangement is designed solely on this factor which led to structural design of the mushroom columns. The mushroom columns although provides a sound structure inhibits the formation of a continuous undulating curve along the surface. On-Site Human Experience = Wind Harnessing Potential =

Predominant Wind

Pavilion Structure Adopting a different structural framing system of portal frames. The wind openings concept at the top is applied to the framing. The organic form of the undulating landscape is left behind due to the inefficient structural systems catering for the curvatures. The cladding on the frames also meant the structure had to be stronger to resist the uplift of winds. Instead a straight forward portal frame system is arranged in a curve to optimize the area that captures the dominant wind. Both plans however do not provide interesting experiences on site. The compartmentalized linear arrangements does not take into account other site factors such as human access, views from the site and views on to site. On-Site Human Experience = Wind Harnessing Potential =

Predominant Wind

DESIGN DEVELOPMENT Energy Generation Technology

The design of the energy generating technology utilizes the nanotechnology of piezoelectric sensors. The design evolved

Approach 1 Technology from the wave panels and wind sticks relied on the attachment of a stack of piezoelectric sensors to the structure and the moving elements. The design restricts the movement of the sticks to one direction and hence does not flexibly adapt to the different wind direction on site. The amount of piezoelectric sensors that can be incorporated is also limited.

Energy Output =

Refer to Section B5 for physical prototype.

Wind Harnessing Potential =

Approach 2 To increase the amount of sensors in the design to increase the amount of energy generated, sensors are incorporated directly into a flexible panel with a fixed joint to the structure. The panel will bend with the wind but is however once again limited in the direction. Due to the planar and great surface area of the panel, the panels do not spill wind. Without the back and forth swaying of the panel, only a limited amount of energy will be generated by the design as the energy generation relies on the vibration (continuous bending and stretching) of the sensors.

Refer to Section C2 for physical prototype. Energy Output = Wind Harnessing Potential =

d with the energy efficiency, structural system, site orientation and arrangement and the aesthetic functions. .

Approach 3 A long stack of sensors housed in a flexible tube and then attached to a square hollow section. Energy is generated when wind pushes the square sticks causing a bending in the stack of sensors. The sticks are more efficient in spilling the wind and hence sways back and forth with a constant wind force in comparison to the large panels. Through experimentation, it is however observed that bending in the long sensor stack occurs largely only at the point of intersection. The rest of the sensors in the stick hence generate little of no energy. Energy Output =

Refer to Section C2 for physical prototype.

Wind Harnessing Potential =

Approach 4 Adopting the attachment of a square stick for its ability to efficiently move in the wind, a new technique is developed. Attaching the stick to a thinner rod, the rod is then attached to stacks of perpendicular sensors which are then attached on the other end to a housing. Moving the stick will cause a stretching and bending of the piezo stacks. Freeing the stack of sensors from the primary structure, a flexible joint is designed to then allow the stick to capture wind from all directions. As the efficiency of energy generation decreases with length of the stack (why large scale piezoelectric generating systems are not yet feasible), applying multiple shorter stacks in this design is believed to be a far more efficient and feasible system.

Refer to Section C2 for physical prototype.

Energy Output = Wind Harnessing Potential =

FINAL DESIGN Wind Cradle Combining the successful elements of the previous iterations, the final design is a wind harnessing structure that sits as an art installation towards off site viewers. On site, the design is really an immersive journey of the witnessing of energy generation. With the structure now a series of open portal frames and the wind harnessing sticks of flexible joints, the design captures wind from all directions without having to resist the uplifting forces of the wind. Hence, the plan does not solely focus on the predominant wind direction but is design to capture wind from all direction. This increases the frequency of the on-site energy generation.

The site arrangement is further improved by incorporating site factors concerning human access and views in the final plan. Immersed in the energy gener ation process, visitors are slowly guided towards various viewing points of the site, of the mermaid across and views of the city. Besides, the site is cut and filled to create a landscape of undulating movements for both the wind energy generation and the visitorsâ&#x20AC;&#x2122; experiential quality. Excavated grounds aim to channel wind into the structure creating a slight wind tunnel effect to speed up the movement of wind through the series of frames. High points on site serve to provide overarching views across the waters and the city and to capture wind of a greater speed at higher altitudes.

On-Site Human Experience = Wind Harnessing Potential =

N Transmission to Grid

Points of entr y

Prevailing wind directions & force

Electrical Storage & Transformer Electrical Transmission

TECTONIC SYSTEM

Portal Frame Joint

Stick to Portal Frame Joint

DESIGN DEFINITION Grasshopper Definition w 1

Walkway 1

w 1

Wind Direction

w f2

Wind Direction

vy f1

Walkway

Walkway Edge 1

d Direction

Walkway Edge 2

Divide curve into x units & offset points into y distance

Divide curve into x units & offset points into y distance l

Move points up to height of frames, f1 : p s l1. Wave pattern - Graph mapper 2. Height = Human height, z + Sticks extrusion height,sv m p

Using grasshopper, the efficiency of the design process and the design is increased. By setting parameters of design limitations, such as the height of frames to accommodate humanâ&#x20AC;&#x2122;s walking underneath, wind opening space with wind speed and structure height, etc. the design not only generates a functional and interesting form, it also reduces the need for the designer to spend time correcting meticulous details.

p Move points up to height of frames, f2 : 3. Additional height = z + v + wind capturing height, w

z Refer to Xeyiing Ngâ&#x20AC;&#x2122;s sketchbook for the full grasshopper definition.

y Divides horizontal line of frame into a units of points. w 1

Create squares from points

1 Walkway Connect all points & extrude to form frames Wind Direction

2 f2

Extrude sticks to length, l : 1. Wave pattern extrusion, p - mimics wave patterned y surface profile 2. Condition - if p exceeds f, then return fixed height f1 - z

Walkway

rection

Split sticks , l to stationary, s & moving, m parts : 1. Condition - if f1 - l <= 2200, then return s = 1000; else return s = 500

m s

l p

p To produce a clear and understandable workflow, the definition is structured and organized into three major groups: the structural frames, the sticks and the metal box housing. By grouping and labelling them according to their functions, it made going back to the definition much easier to understand. 93

CONSTRUCTION PROCESS Off-Site Fabrication Fabrication of Timber Framework, Platforms & Sticks Elements

Steel Casing

Installation of Piezoelectric Stacks

Site Works

Site Excavation, Levelling & Installation of Retaining Walls

Installation of Footing systems

Installation of Timber Platforms

Landscaping

Paving of Concrete Walkways 94

On-Site Installation Assembly & Erection of Portal Frames

Electrical Works

Installation of Rods & Steel Casing to Portal Frames

Installation of Sticks to Rods

C2 Tectonic Elements 96

â&#x20AC;&#x153;...the activity that raises this construction to an art form.â&#x20AC;?21

Maulden, R. (1986). Tectonics in architecture : from the physical to the meta-physical. Retrieved from DPage@MIT: http://dspace.mit.edu/handle/1721.1/78804.

PROTOTYPING Prototype 1

The prototyping process was mainly concerned with the joints between the metal support for the piezoelectric stacks and the primary structure. A secondary metal plate is introduced to house the piezoelectric stacks. The sticks are then connected to flexible joints on the portal frame. Although unable to test the structure is real steel, it is speculated that when required to span across such long distances with various notching on it, the steel plate will bend. The metal plate housing the piezoelectric stacks that vibrates in the wind requires a rigid structure to hold the stacks in place for energy generation. Besides, this initial structure does not account for the incorporation of electrical wiring and joints between the portal frame members. Digital model of prototype 1 98

Prototype 2 Due to the radical change in concept from the wave sticks and wind panels before, further testing of the energy generation technology was required. The physical prototype specifically tested the bending and stretching of the piezoelectric stacks; and the wind forces against different surface types. Specifics of technology is explained in Section C1. Brought out into the wind, both piezoelectric stacks have about the same degree of bending. The design of the sticks however had varying results. The technology with the box attached appears to have the ability to spill wind. Therefore both technologies were placed facing strong winds of constants speed, the box attached stick vibrates (sways back and forth) whereas the flat panel stays stationary is the bending position. Utilising the stretching and bending of the piezoelectric, the box attached stick is hence a better solution.

Physical model of prototype 2 99

PROTOTYPING Prototype 3 A different system is hence designed to house the piezoelectric stacks. Individual rigid steel boxes for each sticks is used. The steel box is bolted to the portal frame and hollow to allow electrical conduits to run within a waterproof enclosure. The flexible joints between the sticks and the portal frame is reused. Within the design, some sticks are intentionally lengthen to allow visitors to engage with the site. This however has the potential of hurting visitors during extremely windy days. The steel metal box hence also act as a rotation limiting factor to prevent extreme movements in the longer sticks. Designing the primary structure of the portal frame, built of solid timber, the vertical members are notched to allow the horizontal members to be easily slotted in and then bolted in place. To incorporate the electrical conduits, the horizontal members are also notched to encapsulate a metal box within which houses the electrical conduits.

Detail of portal frames joints

Detail of piezoelectric generators mechanism

Digital model of piezoelectric generators mechanism. 100

Physical model of prototype 3 101

C3 Final Model 102

103

SITE MODEL

Detail of site model

Walkway 1

Walkway 2

Unrolled and organized frames using grasshopper

Walkway 3

Walkw

104

way 4

Walkway 5

Physical model of site arrangement

105

DETAIL MODEL

Manually unrolled and organised surfaces for fabrication The final site model consisted of 400 individual portal frames. To fabricate would require unrolling of all the individual frames which would have been a terrible process to label and arranged manually. Instead, using grasshopper, the frames were easily unrolled as the individual frames were neatly organized and labelled. Grasshopper is here not used as a parameter design tool but instead a tool to ease the design process of a complicated design only possible through parametric design.

In comparison to the site model, the detail model is manually unrolled for fabrication. The result is a confusing layout of surfaces which can only be understood by the person who did the work. In contrast, the labelled and organized layout of grasshopper allows almost anyone with a brief understanding of the project to assemble the model. However, the manual unrolling of the model is a highly controlled process. It allows efficient layout of elements to minimize wastage of materials. One not easily achieved through grasshopper without compromising the clear organization.

106

Physical detail model on scale of 1:50

107

C4 LAGI Brief Requirements 108

â&#x20AC;?People ignore design that ignores people.â&#x20AC;?22

Chimero, F. (2009, April 29). Retrieved from Design Was Here: http://designwashere.com/80-inspiringquotes-about-design/ 22

109

PROJECT DESCRIPTION Wind Cradle

Environmental Impact

The wind cradle is an experiential landscape installation which generates electricity from wind energy. An array of sticks hung of a series of frames sways in the wind pushing the piezoelectric mechanism behind, converting the kinetic energy into electrical energy. Observing the swaying of the sticks in the wind, visitors are encouraged to interact with the sticks to further increase energy generation. The walkways and platforms on the undulating landscape also guide visitors through an immersive journey to carefully framed views on site, a journey as if through a modern picturesque garden that power houses.

The design aims to harness renewable wind energy to provide clean electrical energy for the people of Copenhagen reducing the demand of energy generation from the power station, reducing carbon emission. The positive impact towards the environment is however a long term scheme. The initial installation on site will negatively impact on the environment but this situation is aimed to be offset by the clean energy generation over time. Even as such, various procedures have been taken to minimize the initial impact. The site is designed as an undulating landscape and hence the relatively flat existing site has to be modified. The cut and fill technique is employed to avoid any input or output of earth from the site. All materials used is designed and specified to be obtained from recycled sources. This then reduces the embodied energy of the design.

110

Besides, through the clear display of energy generation, visitors are brought to a greater awareness for the need of clean energy and their capability to contribute to the production of such energy. All changes start from individuals, the design hence aims to encourage a greater green awareness among itsâ&#x20AC;&#x2122; visitors and from here spread the message that everybody can contribute to a better future.

111

TECHNOLOGY & MATERIALITY Energy Generation Technology

The Wind Cradle harnesses wind energy via the stretching and compressing of piezoelectric generators. The stacks of piezoelectric generators are attached to a metal box and a rod. Connected to a stick of a larger surface area, the swaying of the rod due to the wind causes the stacks to stretch and compress and thus generating electricity. As the efficiency of energy generation decreases with length of the stack (why large scale piezoelectric generating systems are not yet feasible), applying multiple shorter stacks in this design is believed to be a far more efficient and feasible system. The connection between the rod and the primary structure is designed to allow a 360 degrees rotation to capture wind from all direction

Solid Timber Portal Frame Steel Hinge Connection Steel Casing Piezoelectric discs

Hollow Bamboo Sticks Concrete Paving

112

113

ESTIMATED ENERGY GENERATION Maximum Power Output (W/s) 1 Piezo Sensor

0.00723 1 Rod = 67 Sensors

0.473 1 Stick = 24 Rods

15.15 1 Frame = 18 Sticks

272.6 1 Site = 400 Frames

109056 Piezoelectric Energy Harvesting Kit. (2011). Retrieved from Piezo Systems. Inc.: http://www.piezo.com/prodproto4EHkit.html 114

Copenhagen Household Energy Consumption

365 DAYS = 1340 kWh24 LAGI Site Energy Generation

365 DAYS = 960,000 kWh

713

Copenhagenerâ&#x20AC;&#x2122;s energy consumption. (2012, January 20). Retrieved from City of Copenhagen: http://subsite.kk.dk/sitecore/content/Subsites/CityOfCopenhagen/SubsiteFrontpage/LivingInCopenhagen/ClimateAndEnvironment/CopenhagensGreenAccounts/EnergyAndCO2/Consumption.aspx 23

115

C5 Learning Objectives & Outcomes 116

â&#x20AC;&#x153;Computers are to design as microwaves are to cooking.â&#x20AC;?25

Glaser, M. (2009, April 29). Design Was Here. Retrieved from http://designwashere.com/80-inspiringquotes-about-design/

117

LEARNING OUTCOMES Final Presentation Feedback

Studio Air Learning Objectives

Addressing the feedback from the presentation, further images and drawings have been produce to better express the design intent (sketches and diagrams explaining design exploration in Section C1), details (connection details in Section C1 of structure and C2 of sticks) and experience of the proposal (new renders depicting the experience of walking under the structure in Section C4).

This list adds on to the list compiled in Part B.

Extending the design intent to the surrounding, the experiential qualities of the design is further enhance by positioning bamboo on the undulating landscape. The bamboo forest can then contribute to the fabrication of the hollow sticks to replace wear and tear. It also acts as a symbolic gesture of the utilization of renewable resources to provide for the world we inhabit.

Objective 2 The ability to generate a variety of design possibilities for a given situation is shown Section C1 where various solutions were provided for the energy generating technology, structural framing and site arrangement. Objective 3 Further development of skills in the digital media is shown in the renders produced for the site model, digital prototyping and the diagrams produced for Section C1. Grasshopper was not only utilized to generate the form but also to ease the physical model fabrication process as shown in Section C3. Objective 4 Physical models produced for Section C2 and C3 investigates the relationship of the design with the physical world. Especially the model in Section C2 where the technology relying on natural forces to function is tested. Objective 5 Section C1 and C4 should show that rigorous and persuasive arguments were made for the design. Objective 8 New application of computational design is utilized in Section C3 to ease the physical model fabrication process. However, in Section C1, the grasshopper definition is seen to require limitations after limitations to generate a working design which could easily cause confusion especially when referred to days after.

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Reflection “Computers are to design as microwaves are to cooking.”25 It is funny how I have such different response to the above statement now than at the start of the semester. This is I guess mostly because of the hours spent in front of the computer trying to figure out how grasshopper will do what I want it to do and getting too frustrated and hence decides to make brownies without an oven at 3 in the morning – use the microwave! Before, the statement would have just meant using computers to design (i.e. parametric tools) is as if making omelets with the microwave, it’s not bad but just not quite good and also troublesome. Which I not only interpret but agree with. Humans are the main design drivers, it is cheating to get the computers to do the design. Writing it now, I realize how naïve my understanding was. Like microwaved brownies, pulling it out of the microwave, I expected the quick-fix brownie to be like the omelet. One bite into it and I’ve changed my mind, unlike the oven baked brownies, this one had a molten center. Moving from

food, I guess my take on computational design is that it is true that some parts of computational design is not in control of the designer but does it really matter? If architecture is to provide for humans, and parametric tools allow for such process to be efficiently and quickly carried out - performance-driven design, designers should learn to utilize it. There is in fact plenty of room in computational design to insert the designer’s voice and style. Although, our project is not entirely performancedriven, it has sufficiently shown me the potential of computational design. The generated forms from parameters bring surprises, sometimes pleasant, sometimes not, surprises like molten brownie is definitely good. Surprises often lead to new discovery, it is then the designer’s job to analyze and understand, to further investigate and develop the design. Perhaps not all design is for the computers just like not all food is good with the microwave, hopefully with time and experience, one learns to differentiate and therefore applies appropriately. Not the microwave or the computer is magic.

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