ARCHITECTURAL DESIGN
STUDIO
AIR
XIAO JUIN LOW : 581652 ABPL 30048 2014 SEM 1 S T U D I O : 1 4 TUTORS: FINN & VICTOR 1
MY NAME IS ..
JUIN LOW
I moved to study in Melbourne from Malaysia in 2010. I’m currently in my 3rd year of the Bachelor of Environments degree majoring in Architecture. I came into this course with little to no understanding of design programs and digital softwares. However, I have always had a strong passion for art such as drawing, painting and sculpting. My interest in architecture grew from this passion for art and general interest in the design field as I began to explore the works of different artist, sculptors and architects. Ever since I was young, I had always admired the complexity and beauty of architecture. However, the concept of digital architecture has been a foreign concept to me.
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I see Studio : Air as an opportunity to further hone my skills in digital design and parametric modeling such as Rhino but also to take on a new software skill : Grasshopper. Designing for the Land Art Generator Initiative (LAGI) competition in Copenhagen will also be a new and exciting experience as I begin to explore the idea of designing for a cleaner and greener future through the integration of a renewable energy project.
INTRODUCTION
It was during the Virtual Environment subject in first year that I had my first encounter with parametric design and digital fabrication. My journey throughout that semester had been a steep learning curve for me. It was a fun yet challenging process of moving away from working with pen and paper to using digital programs. The aim of the subject was to design a NURBS model via the Rhinoceros software along with plug-ins such as Grasshopper. The wearable lantern that I designed was based on the natural process of the folding of tectonic plates, with various aspects of the design representing the movement of the plates. At that time, my limitations in knowledge and practice of the possibilities of Rhino limited my ability to truly communicate my idea of the converging tectonic plates, but through my engagement with the prototype and by manipulating it in the physical world, I was able to successfully recreate this idea.
With the development of technology in this digital age, there has been an expansion in the digital world in terms of the tools and ‘language’ used which has allowed for new methods of approaching architecture. Virtual Environments helped me gain a better understanding of digital designing and the ‘language’ used in the design world.
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PART
A
C O N C E P T U A L I S AT I O N
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DESIGN AS A CHANGE AGENT In the past few centuries, there has been an increasing concern about the effects of humankind on the natural environment. In our endeavours to sustain our lives in the short term, we have in turn act in destructive ways towards the things we fundamentally depend on. Because of our negligence, we are experiencing pollution in every form, depletion of many of our energy resources, great amount of waste and of course climate change and its effects. Such a longstanding and growing problem needs to be countered, but to do this means having to radically change how we humans think about the way we act and occupy the world.
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How can this be done? Well, design can be one of the key change agents. Design has shaped many aspects of our world. From the chair we sit on, to the house we live in, to the park around the corner, conscious thought was put into the detailing, design and performance of all of it. Design is powerful and it has the ability to bring change to the environment around us. But in order for this to happen, there must first be change in the foundation of design in terms of how designers view design and the consequences of what is brought into being by design.
A.1
In “Design Futuring: Sustainability, Ethics and New Practice”, Tony Fry explores this idea by calling for a complete reconceptualisation of the practice of design. The idea of sustainment is a process of making time in the face of “defuturing”.1 Fry believes that only when we are able to transform design practice as it currently stands then will we be able to create a new form of living, one that is “sustain-able” (note the difference to sustainable, which Fry notes as being a somewhat abstract term that has lost much meaning).2 The idea of ‘Design Futuring’ has two roles: one to slow down the rate of defuturing and the other to redirect us towards more sustainable modes of living. This brings a few questions to mind : Can designers go beyond net-zero energy targets to create an architecture that actually produces rather than consumes energy? Can architecture help meet the energy needs of the building, the community, and the world beyond?
DESIGN FUTURING
There are two ways in which architecture can have a redirective role towards a sustainable future. Firstly, it is through spatial designing that encourages active participation, reflection, community building and social networking. Secondly, architecture as the creator of habitat, by creating a space that is adaptive and forms a connection between man-made world and the natural environment, in a beneficial way which results in a positive state of exchange and creation.3 With this in mind, designers and architects should aim to refocus their profession by utilizing the potentials of design to transition towards a more sustainable future. This brings me to my precedents of discussion, which have in some ways designed in efforts to embrace the idea of sustainability.
Tony Fry, Design Futuring, Sustainability, Ethics and New Practice (Oxford UK : Berg Publishers, 2009) Chapters 3 Aidan Rowe, ‘Design Futuring: Sustainability, Ethics and New Practice by Tony Fry’, Berg, December 2008 <http://www.adm.heacademy.ac.uk/news/subject-centre-news/design-futuringsustainability-ethics-and-new-practice/ > [accessed 11th March 2014] 3 Tony Fry, Design Futuring, Sustainability, Ethics and New Practice (Oxford UK : Berg Publishers, 2009) Chapters 3 1 2
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The industrialization of the world has led to many great structures, innovations, techlogical advances and powerful economies. Unfortunately, this has led to a great appetite for energy of all forms. The ramifications of this such as global warming, pollution etc. is proving to be extremely detrimental to the future of our planet. However, with the help of technological advances and innovations, a variety of measures and techniques have helped in the design and development of structures that make positive contribution to the environment around them. A clear example would be the 10 MW Tower in Al Quoz, Dubai. At first glance, the greatest feature that stands out from the 10 MW Tower would be the giant wind turbine at the top of the structure. Just by looking at the turbine, one could already make an educated guess about the function, design intent and â&#x20AC;&#x2DC;greenâ&#x20AC;&#x2122; ideas behind the building. The building is as much of an aesthetic energy power plant as it is a functional and habitable skyscraper. The first 3 floors of the tower will include stores and restaurants, while the upper levels will include office spaces and possibly homes. The tower starts to taper off towards the top, culminating a roof garden and of course, the large wind turbine.
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The design and architecture of the 10MW Tower is based upon renewable integrated systems. The three energy producing systems are: a horizontal axis 5MW wind turbine at the top of the building , a 2MW solar updraft system which helps to passively cool the building and a 3MW concentrating solar power armature (induced by a magnetic field).1 Other green features include the roof garden at the top which irrigation comes from the condensate of the buildingâ&#x20AC;&#x2122;s air handling units. Based on the data collected, horizontal axis wind turbine is capable of operating for 1600 hours per year and the 2 solar systems can operate for 2400 hours per year. This adds up to a yearly output of clean energy of 20,000 MWh. With an estimated embodied energy of the building is 360,000 MWh, the energy that is generated yearly would be able to neutralize its negative environmental impacts in less than 20 years.2 This is the first skyscraper that is able to achieve such results over such a short time span, hence making it an inspiration to other skyscraper projects in terms of the ways of thinking about how energy can be generated through architecture.
10 MW TOWER AL QUOZ, DUBAI
The 10MW Tower is a major contribution to the site of Al Quoz for a few reasons. The first being that the energy generated from it contributes to a large amount of power to the surrounding neighborhood and hence is of much value and will be appreciated in the long run. Beside that, the building on the site is also important from a conceptual and planning view. Currently, the Al Quoz neighborhood has a mix of utilitarian and vernacular aesthetic, and does not have any skyscrapers or large buildings. The bold placement of the tower in such a location – mixed with manufacturing buildings and other urbanesque designs – creates a stimulating discourse of duality and also establishes a hierarchical relationship. I see The 10MW Tower as not only an example of how a building could incorporate sustainability ideals, but also how a building could make a bold statement and impact on its site. This is the kind of statement that I wish to bring to the site at Copenhagen.
Paolo, ’10 MW Tower: the World’s First Zero Impact Skyscraper’ in Sustainable Architecture <http://www.livegreenblog.com/sustainable-architecture/10-mw-tower-theworld%E2%80%99s-first-zero-impact-skyscraper-6310/> [accessed 12th March 2014] 2 ‘10 MW Dubai Skyscraper makes more renewable energy than it needs’, Inhabitat <http://inhabitat.com/10-mw-skyscraper-generates-renewable-energy-from-the-windand-sun/10mw-tower-3/?extend=1> [accessed 12th March 2014] 1
Image source: www.popsci.com/ futureofgreenarchitecture
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Truly sustainable architecture can be defined as the creation of building which only consumes renewable resources throughout the entire building process from design, construction and operation. However, a completely sustainable building is extremely difficult to achieve and examples of such buildings are very rare. There are however buildings and installations that aim to achieve high levels of energy performance by generating their own energy. The ever-growing population and economy in China has led to the need for more advanced infrastructure and manufacturing which has raised the contentious issue of the sustainability and future of this great country. One of the solutions to address this problem is through architecture. The Pearl River Tower in Guang Zhou, China is an example of a building that is designed to be self-sustaining in attempts to reduce the buildingâ&#x20AC;&#x2122;s dependency on the cityâ&#x20AC;&#x2122;s electrical grid. The Pearl River tower deisgned by Skidmore, Owings and Merrill, integrates the use of the most advanced sustainable technology, passive solar and wind systems and interesting, complex structural techniques to produce a near zero energy building that is as beautiful as it is green.
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Image source: http://www.topboxdesign. com/wp-content/uploads/2011/01/PearlRiver-Tower-design-Exterior-2.jpg
Image source:http://www.livegreenblog.com/
PEARL RIVER TOWER GUANGZHOU, CHINA The building’s aerodynamic form was developed through the study of solar and wind patterns around the site. It was designed in order to optimize the sun path by using the sun energy to its advantage. They are integrated with photovoltaic panels on the building’s exterior roof which provides energy to power the perforated metal window blinds, which tracks the Sun path and open and closes to control the amount of heat entering the building. The curved shape of the building which features a funnel style that breaks in the façade directs wind to a pair of openings on the mechanical floors where integrated wind turbines generate the energy for the building. The entire building is also clothed with a double-glazed skin which helps trap heat that will rise to the heat exchangers where it can be absorbed and stored to be used in both energy generation and other heating processes within the building.1 The conception and design of this building heavily relied on the analysis of the site, wind patterns and sun paths. In my opinion, these are vital information to integrate into any design as it is these renewable resources such as wind and solar power that can provide a great amount of energy that can possibly sustain the entire building itself.
Image source: http://www.metalica.com.br/arquitetura/pearl-river-tower
Together, all the different integrated designs and green features of a building can help it achieve significant energy savings and reduce the building’s overall dependency on the city’s infrastructure. Architecture has the ability to strive for buildings that are environmentally and socially beneficial. This gives a lot of power and responsibility to the architect, thus it is vital for designers and architects to continue looking for new design methods that will help us in our architectural direction towards designing for the future.
Roger E. Frechette III, P.E., Leed AP and Russell Gilchrist, Seeking Zero Energy, American Society of Civil Engineers (January 2009) pp. 38-47
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BIQ, ALGAE POWERED BUILDING HAMBURG, GERMANY
Image source: www.dezeen.com
Image source: www.gizmag.com
In the subject Environmental Building Systems last year, we learnt about the how emergent technology could be used to create sustainable and innovative structure which produces energy. We were introduced to the concept of using living microorganisms such as algae to produce electrical energy. The BIQ building in Hamburg, Germany by Splitterwerk Architects and Arup engineering is one the world’s first building to be powered partly by algae.
For many years, algae-powered buildings have been conceptualized, but not built, up until now. The benefits of algae has been shown to extend beyond biomass fuel, but also to detect pollution and carbon dioxideabsorption. This highly innovative system is interesting and feasible, making it an inspiration for other buildings aiming for sustainability.
This was executed via a “bio-adaptive” glass paneled façade which generates energy and provide shading. Utilizing information about the sun patterns on the site, the glass panels were placed on the sun facing southeast and southwest sides of the building. Between the double glazed glass façade are live microalgae that are supplied with liquid nutrients and carbon dioxide through a water circuit. When exposed to sunlight, these microalgae growing in the glass louvres would photosynthesize, generating renewable energy that can be converted to electrical energy for the usage of the building’s inhabitants. The algae’s growth also provide more shade for the building. 1
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“To use bio-chemical processes for adaptive shading is a really innovative and sustainable solution, so it is great to see it being tested in a real-life scenario”
- Jan Wurm, research leader at Arup.
Donna Taylor, ‘“Algae-powered” building opens in Germany’, IBA Hamburg, April 17th 2013 < http://www.gizmag.com/algae-powered-building/27118/> [accessed 12th March 2014]
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Image source: www.dezeen.com
S W I N G b y M O R A D AVA G A GUIMARÃES, PORTUGAL
Nowadays, a lot more designers are aware of the need to design for the future. Many innovative concepts, buildings and installations have been built to promote a cleaner and greener future. One of my favourite installation that does this is the Swing by Moradavage in Portugal. The Swing(s) are erected outside the brass walls of the International Centre for the Arts Jose de Guimaraes. It is an interactive installation that generates electricity to power lighting under the floor when people play on the swing. As each swing moves back and forth, the bicycle chain attached to it turns a dynamo to activate the light below. The mechanical parts are concealed by wooden pallets, giving it an “old style look and low-tech kind of feel”, making it look like an ordinary swingset you would find in a park. Since swingsets are normally designed for children, this project not only aims to generate clean energy, but also to remind people about the future of the users on the swing – the children. The Swing installation demonstrates that sometimes it doesn’t take highly advanced technology and engineering to solve complex problems. I believe this installation was successful in showing users the possibilities of making a difference through simple innovations inspired by everyday objects. The simple idea of generating electricity through playing not only educates children on the importance of conserving energy, but also inspires them to be creative in designing for the future. Although the installation was only a temporary one, it did leave a great impact on users and other designers to continue creating such designs in the future. This interactive installation poses the possibilities of carrying on this idea to neighbourhood parks to generate electricity in the future. I would like to bring this idea of using simple technology and structures to create a significant impact / message on the Copenhagen site for the LAGI competition.
"Based on the principle of swinging to produce electricity, Swing is also an ode to the rich industrial heritage of Guimarães, reflected in its mechanical devices and sounds evocative of the ones once produced in the factories of the city," 13 - Moradavaga
W I N D B E LT S
R E N E WA B L E E N E R G Y T E C H N O L O G Y
Image source: http://landartgenerator.org/ read/energyimages/Wind_Windbelt.jpg
Today, perhaps more than ever, architects need to call themselves to a future that reengages the forces of nature to inform design and foster an ecology-based future. In response to the design brief for the LAGI competition, my studio group and I have decided to base the renewable energy generating aspect of our design on the concept of Windbelts. The Windbelt technology was invented and patented by Shawn Fayne, an inventor working in Haiti who saw the need to design a small-scale wind power to produce energy for third world countries.1 Seeing as the conventional wind turbine were too expensive and hard to maintain, Frayne decided to study the effects of vibrations caused by the wind which led to the collapse of Washington’s Tacoma Narrows Bridge by 1940. This led him to discover that the vibrations known as “aeroelastic flutter” caused by wind movements can also be a useful mechanism to create energy, which led him to the invention of the Windbelt.
The Windbelt’s key component is a taut membrane of mylar-coated taffeta, which vibrates as wind flows over it. On each end of the Windbelt system are a pair of magnets which follows the movement of the belt. The motion is collected by small kinetic energy generation devices (slators/coils) which induces a current to flow. 2 The energy generated is alternating current (AC) which can then be converted to a direct current (DC) through a rectifier. Windbelt maximises its power output at different sizes, from the pocket-sized Microbelt to the larger Windcell developed by Humdinger. 3 The medium sized Windcells are designed to provide power to lighting, wifi nodes or any device that requires 0.1kWh to 1kWh of energy per month. Recently, advancements in technology has allowed for the development of Windcell Panels which are designed for larger installations, targeting applications with 5kWh or higher energy demand per month. 4 The variations of Windbelts available and how they can be aesthetically incorporated into a structure should be considered when thinking about the final design for studio.
Logan Ward, ‘Windbelt, Cheap Generator Alternative, Set to Power Third World’, Popular Mechanics, October 2007, <http://www.popularmechanics.com/science/energy/solarwind/4224763>[accessed 25th March 2014] Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’, Land Art Generator Initiative, Copenhagen, 2014. pp 31 3, 4 ‘Windbelt Innovation’, Humdinger Wind Energy, 2010 <http://www.humdingerwind.com/#/wi_overview/> [accessed 25th March 2014] 1
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Image source: http://humancer.com/ uploaded_images/windbelt-777477.JPG
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Image source:http://www.fbg.h-da.de/ typo3temp/pics/5a6a74bb69.jpg
â&#x20AC;&#x153; The Humdinger team believes this new version of the Windbelt technology will allow cities to finally capture urban air flows over buildings and under bridges on a large scale of 10 kilowatts on up to 100 megawatts of grid-tied per installation. â&#x20AC;? - Shawn Fayne Image source: http://www.worldchanging. com/archives/010063.html
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A.2
Science philosopher Jacob Bronowski highlighted the notion that design is the epitome of intelligent behavior: it is the single most important ability that distinguishes humans from other animals.1 Architectural design relies on humansâ&#x20AC;&#x2122; ability to be both analytical and creative in order to produce solutions to pragmatic problems. However, as humans, we have limits. This is where computers and technology come into the picture. The digital age introduces a new architectural discourse concerning the role of computation in the architectural design process. As architecture continues to develop and become more complex, what is needed is a simple, integrated process to help designers understand and communicate the complexity. Computers, a profound and miraculous product of the digital age are intelligent and highly capable engines that are able to follow a line of instructions to produce logical results. While computers have the ability to follow instructions precisely, they are incapable of creating new instructions or come up creative designs the way humans are able to. 1 The ability to communicate ideas through simple sketching was, and still is, a vital tool for architects, designers and engineers.
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DESIGN C O M P U TAT I O N
However, over the last decade, the introduction of parametric design, supported by the development of several Computer Aided Design (CAD) softwares such as Rhino and Grasshopper, have become the preferred design environment. The invention of such programs have led to the production of highly complex geometries and design outcomes. The introduction of CAD programs has not only shifted the design process but also transformed the way architects and designers think about new forms and design logic. Computational methods in this day and age have enabled the representation and fabrication of unpredictable structures which can be easily transformed to suit its context as well as allow for the creation of highly complex and dynamic forms. The advancement in design computation has also led to the development of integration softwares for energy and structural calculations which will be useful when designing towards sustainability for the future as explored in A1.2
Kalay, Yehuda E. (2004). Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) pp. 16 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge) pp. 5
SWISS RE
30 ST MARY AXE, LONDON Parametric modeling, originally developed in the aerospace and automotive industries for designing complex curved forms, had a fundamental role in the design of the Swiss Re building by Foster Associates and Arup, completed in 2003.
Image source: http://www.epab.bme.hu/oktatas/2009-2010-2/v-CA-B-Ms/FreeForm/Examples/SwissRe.pdf
Image source: http://www.architectureweek.com/2005/0504/tools_1-1.html
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The Swiss Re tower has a circular plan that widens as it rises from the ground and begins to taper at the top towards its apex. This shape decreases the bulkiness of its appearance and responds to the demands of the small site. The aerodynamic form of the tower, designed using parametric modeling allows wind to flow around its surface, thus minimizing the level of wind loads acting upon the structure, enabling the use of more efficient structure. The natural air movement facilitated by the vents which harvest wind by sucking it into the building through stack ventilation helps facilitate natural ventilation within the building, thus reducing the cost of air conditioning. 1Operable windows and exterior blinds make it easier to control light admittance into the building, creating a conducive office environment. This complex structure required the collaborative design between the architect and engineer. The software used by the team to explore the different design options for this building was Bentley System, a parametric modeling tool. The use of parametric 3D computer modeling allows for curved surfaces such as the façade for the Swiss Re to be “rationalized” into flat panels as a way to deconstruct/ simplify the structure and building components of highly complex geometric forms, so that they can be built more easily, economically and efficiently.The computer system is able to store the design information and allow the architects/engineers to continue making iterations of the design until the best possible outcome is achieved. Many of the detailed design condition of this building could be achieved by setting up fixed mathematical relationships between a number of geometric parameters that defines the building shape.2 The parametric approach and scripting interface was successful in aiding the designers to efficiently and accurately generate complex geometric models which in the past would take a long time to generate manually.
Fosters and Partners, ‘Modeling the Swiss Re Tower’, Architecture Week, May 2005 < http://www.architectureweek.com/2005/0504/tools_1-1.html> [accessed 17th March 2014] Munro, ‘Swiss Re’s Building, London’ Stalbyggnadsprojekt 2004 < http://www.epab.bme.hu/oktatas/2009-2010-2/v-CA-B-Ms/FreeForm/Examples/SwissRe.pdf> [accessed 17th March 2014]
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Image source: http://cargocollective.com/madhinchy/Tall-Order-The-newarchitecture-of-Michael-Hansmeyer
Michael Hansmeyer is an architect and programmer from Zurich who explores the use of algorithms and computation to generate architectural structures. In his project Subdivided Columns – A New Order 2010, Hansmeyer created an algorithm to explore how subdivision can define the column order with a complex system of ornamentation. The result of this was a full scale, 2.7m high doric columns created using a layer of 1mm cardboard sheets, where each sheet was cut using a laser.1 The sheets are then stacked and held together by poles that run through a common core and manufactured via a digital printer.
“If one changes the parameters of the algorithm, then suddenly you create shapes that are not just rounded but display entirely different characteristics,” - Hansmeyer2
1,3,4 Madeleine Hinchy, ‘Tall Order: The new architecture of Michael Hansmeyer’, Cargo Collective, December 2011 < http://cargocollective.com/madhinchy/Tall-Order-The-new-architecture-of-MichaelHansmeyer> [accessed 18th March 2014] 2 Jasmine, ‘Complex Cardboard Columns Through Computational Architecture’, Strictly Paper, April 2011 <http://strictlypaper.com/blog/2011/04/complex-cardboard-columns-through-computationalarchitecture/> [accessed 18th March 2014]
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Through this project and the use of computation/ technology, Hansmeyer effectively designs a process that produces a column rather than design a column directly. A process which is commonly used in the design world today. Hansmeyer would first input data about the proportions of the columns shaft, capital and base, then manipulates it through algorithmic variations.3 Designing using a mathematical formula allows Hansmeyer to run the process several times with different parameters to create endless permutations of columns. The creation of columns with this high level of complexity and volume would not have been possible without design computation. Although the column has a complex structure, its generative process is actually rather simple. While at present these columns remain as exhibition, it is possible that these forms could be translated into even greater and more complex structures that could be used within contemporary architecture. 4 This project is a key example which highlights the shift computer programming is creating in architecture, with the architect assuming the role of the creator of design processes that generate forms rather than the forms itself. This is important to keep in mind when creating the algorithms in Grasshopper and Rhino for the design project for the LAGI competition.
SUBDIVIDED C O L U M N S A NEW ORDER 2010
HANSMEYER
Image source: http://strictlypaper.com/blog/2011/04/complex-cardboardcolumns-through-computational-architecture/ Image source: http://strictlypaper.com/blog/2011/04/complex-cardboardcolumns-through-computational-architecture/
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Image source: http://www.danielcoll.net/Portfolio/strip-morphologies
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Image source: http://www.danielcoll.net/Portfolio/strip-morphologies
Image source: http://www.danielcoll.net/Portfolio/strip-morphologies
STRIP MORPHOLOGY
D A N I E L C O L L
Image source: http://www.danielcoll.net/Portfolio/strip-morphologies
The strip morphology is a parametrically derived strip system. The project focuses on the development of a multifunctional material system with the capacity to provide for different spatial arrangements and help modulate an environment. 1 The project demonstrates how computation can be utilized in the design process to create complex material systems. The materials used for this project are steel strips cut out from sheet material. The material is bended and twisted to create a geometric form that can be systematically studied. The derived geometric form is then used to define a set of parametric elements that can be manipulated to determine the configuration of the material. Three strips were combined into a basic component for the digital and material system. These components were then aligned using a set of control points (U/V control points) to provide a geometric setup for the development of a large system. 2
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This setup gives designer great control over the system as they are able implement changes easily and effectively. For example, the designer could easily alter the size of each strip by changing the parameters without having to create a new set of definitions from scratch. Besides that, the ability to create digital simulations of the strips allows for greater analysis and comparisons of the different ways the system can be articulated towards its performative capacities.3 In this way, a material system can be devised for further improvement to allow for an even more economic design process. This idea of using material systems to define algorithms in parametric computational softwares can be effective in producing a form that desires to achieve sustainable and energy efficient outcomes such as for the LAGI competition.
Daniel Coll, â&#x20AC;&#x153;Strip Morphologiesâ&#x20AC;?, Prof. Archim Menges, Capevila Architectural Association, London (2004), < http://www.achimmenges.net/?p=4436 > [accessed 27th March 2014]
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The difference between ‘computation’ and ‘computerisation’ is explored in Peters’ writing on “Computation Works – The Building of Algorithmic Thought.” Computerisation is the use of computers as a virtual drafting board (architecture that is enabled), while Computation allows designers to ‘extend their abilities to deal with highly complex situations’ (architecture that is driven by computer technology). 1 As oppose to the traditional approach of design through composition, computation has allowed for a new method of design through generation. The concept of creating design processes that generates form rather than the form itself explored in Part A.2 can be said to be generative design. Generative design, according to Celestin Soddu works in imitation of nature, performing ideas as codes able to generate endless variations. Essentially, generative design method takes on a bottom-up approach which utilizes scripting language to generate a myriad of forms. The design process can begin as a small part of a larger whole which is then governed by changing parameters.
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Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press)
A.3
One of the greatest benefits of using generative systems in design is the ability to establish a system that runs iteratively. The idea of using a system to create multiple outcomes can be linked to the concepts of puzzle making versus problem solving explored in Yehuda Kalay’s book - “Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design.” These two paradigms of design arise when moving from one phase of the design process to another.2 The first paradigm of the architectural design process is ‘problem solving’ which occurs when solutions are generated and tested until a solution is found. The end design goal in this case is known. On the other hand, ‘puzzle making’ is the paradigm of putting together different parts to create a coherent whole. ‘Puzzle making’ is inherent in every design computation process. 3 The end goal is not known. In ‘problem solving’, by adding constraints until all but a few or one solution remains, reduces the possibility of more creative designs.
COMPOSITION / G E N E R AT I O N
The result of the ‘puzzle making’ paradigm is unpredictable. The expectation of the goal and solution is unknown. The development of computation tools have allowed designers to come up with more responsive designs as they explore different options through design simulations. These ‘puzzle making’ solutions help architects to predict and model the encounter between architecture and the public, hence enabling the creation of more dynamic and responsive architecture. To be able to appreciate the full function of computation design tools, designers should understand its weakness and its strengths. While these tools aid in the process of generating new form, it is important for architects to understand that they, the architect, are still the main driving force behind the overall design solution. I believe that the combination of the paradigms ‘problem solving’ and ‘puzzle-making’ can be used collectively through generative design to create a complex and dynamic form for the LAGI competition in Copenhagen which is highly functional and responds to the context and brief.
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Image source: http://www.fosterandpartners.com/projects/smithsonian-institution/
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Image source: http://www.fosterandpartners.com/projects/smithsonian-institution/
THE SMITHSONIAN INSTITUTION F O S T E R + PA R T N E R S
Image source: http://www.bradypeters.com/smithsonian.html
The Smithsonian Institution occupies the former United States Patent Building. It is now designated a National Historic Landmark which was rescued from demolition by President Eisenhower in 1958.1 The enclosure of the building’s grand central courtyard was inspired by the desire to create an outdoor experience of the Smithsonian galleries.2 The geometry of the interesting roof structure was generated using a computer program written by Brady Peters, who worked alongside Foster + Partners. Structurally, the roof is composed of 3 interconnected vaults that flow into one another. Double glazed panels are set in between a diagrid of fins, clad with acoustic material, which together forms a rigid and complex looking shell that is supported by 8 columns. The computer program designed by Peters was used to explore different design options for the roof structure. The program was designed in such a way that it could be easily used to control and manipulate the complex geometry. Much like the weekly algorithmic sketches done for studio, scripting was used in this project as a sketching tool to test new ideas. Design contraints such as edge beam location, dome height, length of strips were all encoded within a system of associated geometries. These set-out geometries were used to control the parameters of the generative script. 3
According to Peters, these were some of the benefits of using scripting as a generative design approach4: 1. The ability to simultaneously generate multiple iterations within a single model. By using these set-out geometry alone as input, the program was able to generate around 120,000 elements in 15 seconds, with 415 different modes generated over six months. 2. Scripting allowed for independent development of the roof configuration and each individual component could be dealt with separately. 3. The use of the computer program gave precise control over the values and connections within the roof system.
1, 2, ‘Smithsonian Institution, Washington DC, USA 2004 - 2007’, Foster + Partners <http://www. fosterandpartners.com/projects/smithsonian-institution/> [accessed 23rd March 2014] 3, 4 Brady Peters, ‘Smithsonian Institution, Washington DC, USA 2004 - 2007’ <http://www.bradypeters. com/smithsonian.html> [accessed 23rd March 2014]
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Image source: http://www.achimmenges.
The parametric models as explored in Part A.2 becomes the interface for design evolution in terms of generative designs. The AA Component Membrane is a performancedriven tensile membrane design that functions as a canopy for the roof terrace of the Architectural Association in London. The canopy was built in order to provide shading and shelter that will withstand high wind pressure on the low-load bearing terrace. In order to achieve this structure, the canopy was developed using a programming software known as Generative Components which is associated to parametric modeling. 1 The underlying logic of parametric design can be understood in this case as an alternative design method, in which the “geometric rigour of parametric modelling can be deployed to integrate manufacturing constraints, assembly logics and material characteristics in the definition of simple components, and then to proliferate the components into larger systems and assemblies.” 2The design uses a component-based membrane system which consists of several groups of components which are joined together to create a larger structure.
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The hierarchy of parametric relationships within the software along with the control mechanisms allowed for quick adjustments in the design to be made in response to environmental, engineering and design input.3 As a result, a change in 1 parameter in the program can be adjusted and influence the system as a whole, providing greater efficiency for the design process. The ability to control the design allows the deisign team to determine the efficiency of the structure and explore environmental variations such as sun-shading, wind / rain protection and airflow.4 They were then tested using specific simulation software. Once the testing was complete, all the data extracted from the parametric model was then used for the fabrication of the actual roof canopy structure. In this project, the Generative Components software enabled the team to direct their creativity through parametric modeling and innovative materials and assemblies to deliver an inspired design.
Archi Menges, ‘AA Component Membrane’, EmTech < http://www.achimmenges.net/?p=4445> [accessed 27th March 2014] ‘AA Membrane Canopy, 2007’, Membrane Space <http://www.membranespaces.net/?page_id=806> [accessed 27th March 2014] 1, 3
2, 4
AA COMPONENT MEMBRANE EMTECH 2007
Image source: http://www.achimmenges.
Image source: http://www.achimmenges.
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K I N E T I C WA L L , BRISBANE AIRPORT NED KAHN
Image source: http://www.archdaily.com/69219/uap-ned-kahn-to-create-kineticartwork-for-brisbane-airport/
While building on the concept of generating wind energy for the LAGI design competition, I stumbled upon a couple of relevant precedents that incorporates wind movement in architectural designs. Artist/Designer Ned Kahn, known for his environmentally driven installation designed the Kinetic Wall façade for the parking garage at Brisbane Airport. The façade is covered with 117,000 suspended aluminium panels which are bolted to a steel substructure. Hinged at a single side, the individual panels will fluctuate with the movement of the wind. This movement reveals a complex pattern on the facade which creates the impression of ‘waves in a field of metallic grass’.1 The result of this constantly change in movements are intricate patterns of light and shadow that are projected onto the walls and floors as sunlight passes through the kinetic membrane.
This is reminiscent of the way light filters through the foliage of trees. Besides the interesting patterns, the artwork also brings environmental benefits such as provide ventilation and shade for the interior of the parking garage. In this installation and many of other works, Kahn seeks to test and influence how his designs can react with the natural environment, offering the observer an everchanging art form. Similarly, my group would like to bring this idea of incorporating nature into our design. Through the use of parametric modeling, we will be able to create a structure that not only generates renewable wind energy, but also expresses an aesthetic based on the beauty and movements of wind patterns.
1
Parvinder Marwaha, ‘Brisbane Airport Kinetic Parking Garage Façade by Ned Kahn and
UAP’, September 2012 <http://www.frameweb.com/news/brisbane-airport-kinetic-parkinggarage facade-by-ned-kahn-and-uap> [accessed 23rd March 2014]
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Image source: http://www.designboom.com/technology/ mecanoo-architects-tu-delft-unveil-a-windmill-without-movingblades/brisbane-airport/
Our group’s idea of assembling together several panels of windcells to form a structure will help generate energy on the site, however, the noise produced as a result of the aeroelastic flutter may affect the experience of the design. This potential issue led me to discover another wind energy generating system known as the EWICON designed by Mecanoo architects. EWICON’s design addresses a couple of issues, namely the complaint that traditional wind turbine requires too much maintenance and creates nuisance due to noise or shadows. Unlike the windbelt which generates energy via the process of aeroelastic flutter or the traditional wind turbines that require movable parts, the EWICON generates electricity through the movement of charged water droplets. It has no moving parts at all as the structure is a steel frame that holds a series of horizontal, insulated tubes. Within the tubes, charged droplets are formed. When the wind blows, the water droplets get picked up and carried along the tubes, causing the voltage of the device to change and creates an electric field.1
Image source: http://www.designboom.com/technology/ mecanoo-architects-tu-delft-unveil-a-windmill-without-movingblades/brisbane-airport/
EWICON MECANOO
The potential energy generated from the movement is collected and transferred to the electricity grid. Energy output would be dependent not only on the wind speed, but also the number of droplets, the amount of charge placed on the droplets, and the strength of the electric field.2 One of the main benefits of the EWICON is its simple design that can be changed to a variety of sizes and shapes. Since the system does not emit noise, it has the potential to be adapted to urban places which traditional wind turbines and even windbelts would never work. By using generative design, one could easily integrate these EWICONS into architectural designs and create interesting geometric patterns by manipulating the structure through parametric modeling. This could potentially be the basis of my group’s design for a renewable energy generating structure.
1
Jonathan Fincher, ‘EWICON bladeless wind turbine generates electricity using charged water droplets’,
Gizmag Environment, April 2013 < http://www.gizmag.com/ewicon-bladeless-wind-turbine/26907/> [accessed 23rd March 2014] 2
Jonathan Fincher, ‘EWICON bladeless wind turbine generates electricity using charged water droplets’,
Gizmag Environment, April 2013 < http://www.gizmag.com/ewicon-bladeless-wind-turbine/26907/> [accessed 23rd March 2014]
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A.4
CONCLUSION
Architecture is not simply a building or form that provides shelter or function, it is also a medium for expression of political, social and economical culture. In this day and age, advancement in technology has aided architecture to reach new heights that were previously unconceivable. Through the use of parametric design via computation and technology, architects and designers have gained a new approach to creating more innovative and dynamic designs. Design computation is not solely about the tools itself, but the creative application of them. Even designs with a great degree of complexity can be handled with the help of simulations and simple algorithmic functions.
In this digital information age, building, designing and technological systems are becoming more and more dynamic, making it possible for buildings to respond and connect with its environment and people. Today, perhaps more than ever, architects need to call themselves to a future that reengages the environment to inform design and foster an ecology-based future. This is a vital aspect in designing towards a sustainable future that can support humankind in generations to come. The Land Art Generator Initiative competition offers a great opportunity to engage with dynamic and sustainable architecture and more specifically with parametric design. The use of parametric modeling and scripting for the design competition will enable the creation a myriad of creative designs/opportunities, highlighting the capabilities of computation and its position as the forefront of design and architecture.
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In this day and age, architects are called to integrate both the art and science of an architecture of renewable energy as means to enable our society to embody a new ecological ethos that brings hope for future generations. The aim of my group’s design for the Land Art Generator Initiative competition would be to create a project that demonstrates the capability of architecture to create a discourse through the sustainable forms generated via architectural computation, as well as stimulate contemplation and awareness regarding sustainable designs. I believe that in doing so, the project will be able to represent the ideals of a sustainable future, challenge the fundamental thoughts of design and contribute to the architectural discourse.
“Architecture is ‘re-membering’—putting back together our collective dreams....The building should tell a story about place and people and be a pathway to understanding ourselves within nature.”
—Sim Van der Ryn, Design for Life
A.5
Just three weeks ago, I came into this subject with close to no knowledge of parametric design. However, through the studio discussions, readings, algorithmic sketch practices, I feel like I am slowly gaining a greater understanding of the concept of computational and sustainable design. The transition from the conventional pen and paper sketchbook method that I am familiar with, to the idea of designing in the virtual realm is still a concept that I am learning to familiarize myself with. Architecture is a critical means of integrating sustainability into our daily lives and actions; it can help us practice new ways of dwelling on this earth. The concepts of design futuring was interesting to consider in terms of designing a renewable energy generating structure in response to the brief for the LAGI competition. The greatest lesson learnt from the exploration of some of the precedents in Part A is that they have a vision of a future that solves ecological problems with design integrity and beauty as well as provide solutions to living more respectfully within its local ecosystems.
L E A R N I N G OUTCOMES
One of the most important things Iâ&#x20AC;&#x2122;ve learnt over the past few weeks is the benefit of using a generative system in design. Some of the precedents such as Hansmeyerâ&#x20AC;&#x2122;s column works have really opened my eyes to the possibilities of design computation in creating complex forms through such simple means. My studio group and I have plan on using these new methods and design concepts to explore an architectural response that will be able to generate wind energy via windbelts that will not only contribute to an architectural discourse but also stimulate contemplation and raise awareness regarding sustainable designs. The level of complexity aimed to achieve for this brief will highlight the creative capabilities and feasibility of using computational design tools to achieve a desired outcome.
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A.6
A L G O R I T H M I C SKETCHES
Through using the softwares Rhinoceros and Grasshopper plug-in, I was able to gain handson experience in the world of computation and parametric design. The weekly tutorial videos, the studio sessions as well as researching other relevant materials, has allowed me to gain a deeper understanding of the complexities and benefits of using computational software. The use of grasshopper as a plug in program allowed for a powerful and easy way to explore and experiment with variations in design parameters. However, I found that my limited knowledge of the software at this stage hindered my ability to fully execute the design ideas I had in mind.
These are the examples of some of the more successful algorithmic explorations I’ve done over the past few weeks. Figure 1 and 2 – A study of iterations showing how a series of arrayed lofted curves can generate a scale-like pattern. The lofted forms were easily manipulated by simply altering the curve points. Figure 3 – Another experiment with creating a patterned / scaly surface. Exploration of the repetition of a chosen geometric pattern across a lofted surface formed by the application of a bounding box on a divided surface. Figure 4 – Using the 3D Voronoi option to create generic cubes with geometric patterns. The components of the cubes could easily be removed to create an interesting form that is reminiscent of some building’s facade. Figure 5, 6 and 7 – An exploration of using intersecting curves to form a low-lying shelter structure. The images shows the complexity of the form created through simple parametric commands. Figure 8 and 9 – A patterning algorithm, useful for creating patterns efficiently. Using lists as a method of organizing commands on grasshopper. This resulted in some interesting outcomes with a variation of spiral forms. The power with working with algorithmic scripts through Grasshopper is the ability to revisit and create iterations of previous explorations as well as the ability to produce and replicate models efficiently.
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Fig. 1
Fig. 2
Fig. 3
Fig. 4
Fig. 5
Fig. 6
Fig. 8
Fig. 7
Fig. 9
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PART A
REFERENCES
‘10 MW Dubai Skyscraper makes more renewable energy than it needs’, Inhabitat <http://inhabitat.com/10-mwskyscraper-generates-renewable-energy-from-the-wind-and-sun/10mw-tower-3/?extend=1> [accessed 12th March 2014] AA Membrane Canopy, 2007’, Membrane Space <http://www.membranespaces.net/?page_id=806> [accessed 27th March 2014] Aidan Rowe, ‘Design Futuring: Sustainability, Ethics and New Practice by Tony Fry’, Berg, December 2008 <http:// www.adm.heacademy.ac.uk/news/subject-centre-news/design-futuring-sustainability-ethics-and-new-practice/ > [accessed 11th March 2014] Archi Menges, ‘AA Component Membrane’, EmTech < http://www.achimmenges.net/?p=4445> [accessed 27th March 2014] Brady Peters, ‘Smithsonian Institution, Washington DC, USA 2004 - 2007’ <http://www.bradypeters.com/ smithsonian.html> [accessed 23rd March 2014] Daniel Coll, “Strip Morphologies”, Prof. Archim Menges, Capevila Architectural Association, London (2004), < http:// www.achimmenges.net/?p=4436 > [accessed 27th March 2014] Donna Taylor, ‘“Algae-powered” building opens in Germany’, IBA Hamburg, April 17th 2013 < http://www.gizmag. com/algae-powered-building/27118/> [accessed 12th March 2014] Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’, Land Art Generator Initiative, Copenhagen, 2014. pp 31 Fosters and Partners, ‘Modeling the Swiss Re Tower’, Architecture Week, May 2005 < http://www.architectureweek. com/2005/0504/tools_1-1.html> [accessed 17th March 2014] Jasmine, ‘Complex Cardboard Columns Through Computational Architecture’, Strictly Paper, April 2011 <http:// strictlypaper.com/blog/2011/04/complex-cardboard-columns-through-computational-architecture/> [accessed 18th March 2014] Jonathan Fincher, ‘EWICON bladeless wind turbine generates electricity using charged water droplets’, Gizmag Environment, April 2013 < http://www.gizmag.com/ewicon-bladeless-wind-turbine/26907/> [accessed 23rd March 2014] Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) pp. 16 Logan Ward, ‘Windbelt, Cheap Generator Alternative, Set to Power Third World’, Popular Mechanics, October 2007, <http://www.popularmechanics.com/science/energy/solar-wind/4224763>[accessed 25th March 2014]
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Madeleine Hinchy, ‘Tall Order: The new architecture of Michael Hansmeyer’, Cargo Collective, December 2011 < http://cargocollective.com/madhinchy/Tall-Order-The-new-architecture-of-Michael-Hansmeyer> [accessed 18th March 2014] Munro, ‘Swiss Re’s Building, London’ Stalbyggnadsprojekt 2004 < http://www.epab.bme.hu/oktatas/2009-20102/v-CA-B-Ms/FreeForm/Examples/SwissRe.pdf> [accessed 17th March 2014] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge) pp. 5 Paolo, ’10 MW Tower: the World’s First Zero Impact Skyscraper’ in Sustainable Architecture <http://www. livegreenblog.com/sustainable-architecture/10-mw-tower-the-world%E2%80%99s-first-zero-impactskyscraper-6310/> [accessed 12th March 2014] Parvinder Marwaha, ‘Brisbane Airport Kinetic Parking Garage Façade by Ned Kahn and UAP’, September 2012 <http://www.frameweb.com/news/brisbane-airport-kinetic-parking-garage facade-by-ned-kahn-and-uap> [accessed 23rd March 2014] Peters, Brady. Computation Works: The Building of Algorithmic Thought, Architectural Design (2013), 83, 2, pp. 0815 Roger E. Frechette III, P.E., Leed AP and Russell Gilchrist, Seeking Zero Energy, American Society of Civil Engineers (January 2009) pp. 38-47 ‘Smithsonian Institution, Washington DC, USA 2004 - 2007’, Foster + Partners <http://www.fosterandpartners.com/projects/smithsonian-institution/> [accessed 23rd March 2014] Tony Fry, Design Futuring, Sustainability, Ethics and New Practice (Oxford UK : Berg Publishers, 2009) Chapters 3
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