Low_XiaoJuin_581652_Journal by XiaoJuin Low

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

special thanks to :

group mates - Mitran, Hui Li, Yan

& tutors - Finn , Victor

CONTENTS INTRODUCTION

PART A : CONCEPTUALISATION

A1 || DESIGN FUTURING A2 || DESIGN COMPUTATION A3 || COMPOSITION / GENERATION A4 || CONCLUSION A5 || LEARNING OUTCOMES A6 || APPENDIX - ALGORITHMIC SKETCHES

8 18 24 32 33 34

PART B: CRITERIA DESIGN B1 || RESEARCH FIELD B2 || CASE STUDY 1.0 B3 || CASE STUDY 2.0 B4 || TECHNIQUE : DEVELOPMENT B5 || TECHNIQUE : PROTOTYPES B6 || TECHNIQUE : PROPOSAL B7 || LEARNING OBJECTIVES AND OUTCOMES B8 || APPENDIX - ALGORITHMIC SKETCHES

38 42 50 58 64 70 82 84

PART C: DETAILED DESIGN C1 || C2 || C3 || C4 || C5 ||

DESIGN CONCEPT TECTONIC ELEMENTS FINAL MODEL LAGI BRIEF REQUIREMENTS LEARNING OBJECTIVES AND OUTCOMES

90 98 108 122 138

MY NAME IS ..

JUIN LOW

I moved to study in Melbourne from Malaysia in 2010. Iâ&#x20AC;&#x2122;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.

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.

PART

C O N C E P T U A L I S AT I O N

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.

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

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.

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

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.

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

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

“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]

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," 15 - 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] 2 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

Image source: http://humancer.com/ uploaded_images/windbelt-777477.JPG

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

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.

1 2

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

1 2

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]

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]

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/

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

1,2,3

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]

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.

2 3

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.

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]

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.

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.

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.

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]

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.

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]

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.

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.

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.

Fig. 1

Fig. 2

Fig. 3

Fig. 4

Fig. 5

Fig. 6

Fig. 8

Fig. 7

Fig. 9

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]

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

PART

CRITERIA DESIGN

39 39

B.1

RESEARCH F I E L D

http://www.zwarts.jansma.nl/attachment/2110

The trend of computational design in this day is grounded on the integration of a series of domains such as fabrication technology, generative algorithm technologies and materials. This not only relies on the ability to deal with digital tools and methods, but also the experience on material systems and prototyping constraints. 1 The concept of parametric modeling as discussed in Part A is a model that designs based on relationships between different elements and components. Focusing on this fundamental concept of parametric modeling, along with the brief for the LAGI competition, myself and 3 other group members have decided on the material system of patterning.

1,2,3

Patterns have been covering architectural surfaces for years and even till today patterns provide a useful device for architectural articulation. Within the context of parametric design, patterning emphasizes a shift in the generative side of the digital paradigm. The benefits of using parametric designs to create patterns is its ability to transform the technique of patterning into a new form of digital articulation by utilizing data-sets to drive different pattern differentiation across a surface. 2 Patterns can be set up through parametric configurations in such a way that the main pattern can be kept even and homogenous while its ‘host body’/ primary surface changes. 3 The manipulations of different components in the algorithmic definition can trigger dramatic shifts in appearance of a surface or space.

Patrik Schumacher, ‘Parametric Patterns’, AD Architectural Design – Patterns of Architecture, Vol 79, No 6 (Nov/Dec 2009) <http://www.patrikschumacher.com/Texts/Parametric%20Patterns.html>

[accessed 3rd April]

http://www.wallpaper.com/images/186_ornament_am030408_f.jpg http://inspirationish.com/wp-content/uploads/adoba_tei_restaurant_detail.jpg

http://figure-ground.com/data/de_young/0018.jpg

http://lostsf.files.wordpress.com/2010/11/deyoung-museum2.jpg

http://static.flickr.com/28/56219889_7eed3f7fb4.jpg

de YOUNG MUSEUM HERZOG & de MEURON

As a group, we started off our research project by exploring other generative design works of other architects/designers that incorporated parametric patterns in their designs. One of them was Herzog & de Meuron’s design for the de Young Museum. The design intent for the façade of this museum was to create a variably perforated screen exterior clad in copper that would mirror the green foliage of trees of the surrounding Golden Gate Park in San Francisco. 1

The effect of material performance can also be seen in this project as the brownish copper cladding is expected to oxidize overtime and take on a greenish tone and an interesting texture that echoes the patterns of the surrounding trees. In exposing the forces of nature as a key changer, the architects not only highlight the beauty of the site, but also responds to the historical background of the de Young and the long standing controversy over the museum’s presence. 4

The architects executed this design idea by first taking a photo of how they envisioned the way light would filter through the perforated systems of holes similar to the way light filters pass the canopy of trees to create interesting shadows.2 The architects worked together with Zahner, an engineering and fabrication company, to generate a system known as the ZIRA™ Process that allows perforations and patterned dimples to be positioned throughout the exterior façade. 3 These patterns could then be easily altered through the variation of size, deepness of dimple indentations, etc. The use of the ZIRA™ Process program allowed the engineers to choose different images of the foliage pattern to model through the algorithmic system and then translate it to the copper plates.

The use of patterning as a material system allows a design to be transformed in a repetitive or predictable manner. One of the issues with patterning is that a primary or base surface / structure must first be designed before the patterns can be translated onto it. Hence, the concept of patterning could possibly only be adapted to enhance the aesthetics of our group’s design for the wind-energy generating system instead of the structural system.

Herzog & De Meuron Basel, ‘de Young Museum’, <http://www.herzogdemeuron.com/index/ projects/complete-works/151-175/173-de-young-museum.html> [accessed 3rd April] ‘M.H. de Young Memorial Museum’, Zahner (2014), <http://www.azahner.com/portfolio/deyoung> [accessed 4th April] 1,2

3,4

The following part will aim to investigate the potential of parametric patterning in architecture through the exploration of different design exercises. Our group explored the de Young Museum algorithm in hopes to explore the techniques used by the architects and engineers that could be relevant to our design. We understood that the given grasshopper definition as a basic 2D grid, that contains points in the form of circular geometry which represented the perforated holes of the faรงade that has been offset within the grid to produce a pattern. This led us to begin our exploration of the 2D grid and the types of patterns that we could produce by altering the parameters on the grasshopper script. What we first found was that the script was divided into different groups of parameters which allowed each group to be manipulated individually. We were quickly able to produce a matrix of the different iteration results after changing numerical inputs and components in the Grasshopper script. The matrix shows the different type of species generated and iterations of that particular species. The first component that we altered in the script was the ones related to the geometric principles of the pattern to create the first two species. By changing the number of segments in a geometry, we were easily able to change the shape of base surface as well as change the shape of the individual holes in the grid.

Next, we altered the parameters related to the radius, spacing and heights of the perforated holes to create different pattern organizations. We also experimented with the idea of layering by duplicating the existing grasshopper script and changing the sampling image to produce a species that possesses a sense of complexity through the combination of two different layers. The next species we explored involved inserting different images into the image sampling parameter that will then be translated to the patterns on the grid. For the last species, we made changes to the mathematical defintions of the script. The types of equations inputted into the script were either linear or nonlinear equations which resulted in a range of 3D outcomes as oppose to the initial 2D form. The different variations of patterns were not only surprisingly easy to generate than expected, but also surprisingly interesting in its form. As outlined in previous parts, parametric design will be the driving design approach for the LAGI competition. However, the aim is not limited to just reiterating conventional design, but also to challenge and stretch parametric boundaries to produce unexpected outcomes. The benefits of using parametric patterning is that it contains a systematic approach in its generation of form in that one or all parameters can be changed in the script to create a form that is unexpected and dynamic.

B.2

BASE GEOMETRY

CASE STUDY

1.0

CHANGING SAMPLING IMAGE

COMBINATION OF LAYERS MATHEMATICAL DEFINITION

SPECIES A

SPECIES B

SPECIES C

SPECIES D

SPECIES E

SPECIES F

SPECIES D (3)

SPECIES D (4)

SPECIES C (2)

SPECIES F (1)

SELECTION CRITERIA After generating a range of species and iterations, a solid selection criterion was determined to pick the most successful outcomes. The chosen iterations will form the basis of further research in the project. Relevance to the brief x Being able to incorporate energy generating systems within the design x Be functional as an interactive community space that will educate the public. Fabrication possibilities x The design of the project should take into consideration the use of different fabrication and construction methods as well as its feasibility. Visual impact through Patterning x Enhancing the visual aesthetics of patterning as a material system within the design as a medium to bring an impact to the site. Flexibility of species type x The ability to adapt to the different visual and functional requirements of the brief which will enable us to further explore characteristics of the chosen species. Potential for further development x Choosing designs that can be continuously improved and reimagined as a way to avoid an outcomeorientated design and restricting ourselves to a set of design systems.

DESIGN POTENTIAL After going through the selection criteria, these 4 outcomes were chosen based on their likelihood of being developed into something that can be brought to the next stage of this project. The 3rd and 4th iteration of Species D were interesting as it showed the possibility of creating a variety of patterns in different axis and sizes through image sampling. These iterations demonstrated how the primary pattern (simple rows of circles) could be easily manipulated to create different visual impacts. The 2nd iteration from Species C was chosen because it shows a combination of complexity in form. This iteration was a result of layering two different types of image samples and altering the density of the holes. The varying intensity of the circular patterns within the grid makes for a dynamic and interesting pattern which could easily be populated to any surface. While the other species showed the possibilities of 2D patterning, species F takes patterning to a 3D realm. The benefit of this species is that the pattern itself could become a structural form. This could potentially give numerous more design options that can be further explored. I believe that through further experimentations and developments in Grasshopper, the team will be able to find a way to incorporate the concept of generating wind energy discussed in previous parts into this three dimensional patterned form.

http://www.world-architects.com/en/shigeruban/projects-3/japan_pavilion_

http://www.designboom.com/history/ban_expo.

B.3

After exploring the concepts of Patterning by looking at the De Young Museum , we found that it was very surface based and lacked in terms of structural forms, sowe decided to move on to explore Structures as a material system. The Japanese Pavilion for Expo 2000 held in Hannover Germany was a grid structure made of recyclable paper tubes. The protection of the environment was the theme of this exhibition which resulted in the development of the main design intent for the realization of the Japanese Pavilion which resulted in a structure whose materials could be recycled when dismantled. 1 The design process began with architect/designer Shigeru Ban’s structural idea of a tunnel arch with paper tubes. In paper tubes, Ban found a material that is cheap, strong, sustainable, and readily available. However, he knew that in order to minimize the cost of having expensive structural joints, he decided to take advantage of one of the characteristics of paper tubes – their ability to be made to any length. This led Ban to propose a grid shell structure without joints to engineer (and earlier pioneer of parametric design) Frei Otto.2

CASE STUDY 2 . 0

To determine the form of the pavilion, they adopted a building method in which paper tubes would be connected in a grid of 3D curves (lattices) instead of a simple arch. The grid would then be elevated or pushed up from below to form the grid shell.3 In the words of Matthijs Toussaint, one of the main characteristics of the structural behavior of a shell is “its large span to thickness ratio. The addition of a grid to a shell structure allows the construction to benefit from the combined action of shell and arches and also adds a level of directionality and control.” 4 In addition to the lattice grid structure, Otto also then proposed a fixed timber frame of ladder arches and intersecting rafters that would be attached to the grid shell to give it strength and also allow for a translucent outer membrane to be attached.5 Besides the structural qualities, the result of the Japanese pavilion exhibits a heightened degree of control over qualitative factors such as materiality and light, a great example of a structure that integrates both computational technology and innovative use of materials.

‘Japan Pavilion EXPO 2000 Hannover’, Shigeru Ban Architects <http://www.world-architects. com/en/shigeruban/projects-3/japan_pavilion_expo_2000_hannover-26529> [accessed 14th April 2014] 3,5 Shigeru Ban, ‘Engineering and Architecture: Building the Japan Pavilion’, pg 8-15 <http:// www.hebel.arch.ethz.ch/wp-content/uploads/2012/08/Shigeru-Ban.pdf> [accessed 14th April 2014] 4 ‘The Grid’, ordinarystudio, < http://ordinarystudio.com/The-Grid> [accessed 14th April 2014] 1,2

Reverse Engineering P r o c e s s

We employed reverse engineering techniques in attempts to reconstruct a definition that generates a model similar to The Japanese Pavilion. From our research of the case study, we concluded that the most important feature of the Japanese Pavilion was the concept of layering one structure on top of another. So, we decided to begin our study by recreating this 3-layer composition. The parametric modeling process began with the modeling of the base form through basic geometry. A sin curve definition was used to create the undulating base shape of the Japanese Pavilion. The next step was to create the first structural layer â&#x20AC;&#x201C; the lattice grid shell structure. This was done by referencing past experience from our algorithmic sketch task of designing a low-lying structure. The diagrid structure was created by intersecting two curves. The density of the grid was achieved by altering the U and V values of the base surface grid. As grid points were manipulated in a repetitive manner, the generated outputs created a range of patterns.

Recreating the second layer led us to generate a waffle grid structure. The waffle grid structure is a rationalized method to create dynamic forms through a combination of grids and ribs that can provide a rigid and strong structure. This method would probably be the easiest to fabricate and assemble, but because of its lack of complexity in form, we were encouraged to move away from such simple methods and explore more complex structural techniques. The final step was to recreate the translucent outer membrane of the pavilion. Initially, we faced the problem of rationalizing a surface to produce planar surfaces. Through further explorations and research, we were finally able to populate the original grid and interpolate a surface to it to create the outer membrane panels. The process of creating different planar surfaces resulted in some very interesting outcomes that showed potential to be further developed.

Inner structure

Inner structure + grid structure

Inner structure + grid structure + outer memberane 53

A matrix was created to show the different iterations made by altering and adding components of the Grasshopper definitions of each layer. The outcomes showed the ability of creating a variety of structure that would be considered in reference to the internal volume and potential experience of users for a land-art design. The final outcomes were quite successful as it imitates quite closely to the original project. One of the greatest difference between our model and the original Japanese Pavilion was that ours failed to include the connection/joints between the 3 structural layers. This is something we could experiment during the prototyping stage. It was important for us to realize that the performance and flexibility of structure became the main component which would determine the form and function of the structure. This would be useful to consider as we move into the next stage when we begin making prototypes to test the feasibility of these created forms. As we continue on in this project, we aim to further adopt several more patterning and structural techniques to generate greater complexity for the structure.

Basic form

Inner structure

Grid structure

Outer structure

B.4

TECHNIQUE : DEVELOPMENT

Similar to what was done in Case Study 1.0, the Grasshopper definitions used for Case Study 2.0 were manipulated to generate a range of outcomes that would evolve away from the original definition. By reverse engineering the Japanese Pavilion, we were able to gain more control over the design, this allowed us to follow on from the techniques and definitions from that exploration to generate a series of iterations through the creation of different structural forms. We were able to combine the explorations of patterning in B.1 as well as the structural grids in B.2 to produce a palette of varied structures to work with. The technique development process will aim to generate potential forms that would be suitable for the LAGI competition design.

We understood from our previous explorations that the Japanese Pavilion had issues with connections/joints, hence we decided on a solution to merge the layers together to form a single complex hybrid layer. In this section, we will study the formal possibilities of combining the layers of varying structural formations with the use of parametric model as a form finding tool.

The technique development stage was tackled through the methods of design discussed by Kalay.1 From the outset of the project, we had a case study to explore different material system, then a precedent (the Japanese Pavilion) on which we based our technical explorations.. The problem-solving approach was adopted in this case to come up with a range of solutions (iterations) that would meet our predetermined selection criteria. The initial stages of the form finding process involved brainstorming on paper and Grasshopper to produce potential design solutions. We started off by creating a base form that would help channel wind movements from specific directions on the site (Set A). We decided to create a tunnel-like form with a big opening that gradually becomes smaller, which follows Bernoulliâ&#x20AC;&#x2122;s principle that when a substance flows horizontally from a region of high pressure to a region of low pressure, a net force is created on the volume, thus accelerating it along the streamline. The idea of the tunnel was chosen not only to improve the efficiency of the wind energy collectors, but also to enhance the experience of users as they walk through the tunnel. With this idea in mind, we came up with a series of forms of varying shapes that could potentially create specific spatial experiences such as the wind tunnel forms where individuals could connect with nature. 1

Kalay, Y. 2004. Architectureâ&#x20AC;&#x2122;s New Media : Principles, Therories and Methods of Computer

Aided Design, (Cambridge, MA: The MIT Press), p.18

The next series of iterations (Set B) were produced by altering the u and v values of the trigrid points. At certain points, the grid exceeds its and the shape becomes irregular, resulting in some interesting forms. The grid forms provide opportunity for application of wind harnessing technologies such as panels within or upon the grid structure. The grid structure could also be easily fabricated through an interlocking system of ribs.

The length of each of the vertices were manipulated by shifting the slider. This affected the position of each point and hence the surface form. Another set of sublist was created to extract the points from the original points, this list was then subjected to culling to form the smaller set of squares. It can be seen that some of these patterns are simply decorative ornaments on the surface of the structure and do not provide any structural functionality.

Set C experimented with structural patterning. The Grasshopper definition for this set allowed us to tessellate a surface with two different panel types dispatched through random sorting. While some of the iterations were successful in producing an interesting patterned structure, others were either too simplistic or chaotic.

Set E experiments with integrating patterning to a structure on a macro scale.

Set D explores how a tessellated surface can be transformed from its original quadrangular pattern to a diagrid pattern. The process began by giving a specific domain by the U and V values to the input surface (curved form). The surface was then divided according to the domain inputs (U and V values) to obtain points across the surface. From these points, 4 lists were created to form the square patterns on the surface and determine the number of vertices for the diagrid.

Set F explores how the panels would be incorporated to a range of forms. This was done through the BoxMorph command on Grasshopper by referencing a chosen form as a BREP to be populated across a surface. The major issue with this technique was that we were unable to reference the panels with the rotating panels. The next step in the process would be to test the rationality and feasibility of some of these design outcomes through the creation of physical prototypes. Through prototyping, we would be better informed on how to further develop the various techniques that will form the basis of our design proposal.

SET A

SET B

SET C

SET D

SET E

SET F

Before coming up with a preliminary digital model on Rhino, we decided to experiment with different types of structural fabrication techniques by building a range of prototypes. We thought that this would be a good way for us to learn about different material performance and at the same time, obtain a greater range of outcomes for comparison and further development. Our proposed technique involves combining structural forms with patterning to form a complex and dynamic structure. Most of the prototypes were made by hand with the aim to explore the structural rigidity of different materials under various designed conditions such as bending, stretching, distortion and tension.

Prototype 1

Prototype 2

B.5

TECHNIQUE : P R O T O T Y P E S

Prototype 1 explored the idea of creating a structural grid through an interlocking system of ribs made of balsa strips. The aim was to test the structural integrity of the material and the possibility of incorporating wind harnessing technology within the structure. What we found was that although the method and material used were able to produce a sturdy structure, its overall form did not reach the level of complexity we were looking to achieve for our final model. The cavity between the grid structure could possibly house energy generating/storing components. Prototype 2 was created to test the bending capacity of the plastic material. Protype 3 experimented with the interrelationships between a single nylon string and a number of different nodes. Many different configurations can be created by moving the strings to different points. The tension of the string influences the overall geometric pattern.

Prototype 3

Prototype 4

Prototype 5

In this series of models, I experimented with the method of using connections and joints to create a patterned structure. Instead of creating components with predetermined connections, I decided to make a basic component out of three bent cards without any extra connections. The triangle shaped component were connected by intersecting the end of each cards to each other. The components were then connected to one another in a systematic way to form a pattern that consist of three shifting layers of the same triangular pattern. For the other model, instead of intersecting the cards with each other, I created a circular component that would act as a joint that would connect each triangle. This resulted in an entirely different patterned structure.

Prototype 6 Prototype 6 shows an exploration of paneling a surface with a triangulated pattern which we explored digitally in Case Study 1.0. The cavity between the individual triangulated panels could possibly house energy generating/storing components.

PRECEDENTS The prototypes were also created to explore possible wind collection systems where rotating panels could be used to generate energy. The motion created by these rotating panels would not only generate usable energy, but also allow the design to engage with the users through a dynamic experience of the movement and play of light and shadow. The experience of walking through a tunnel structure covered with rotating panels further enhances the concepts of the effects of wind movement and energy generation.

www.turbinesinfo.com

Another precedent I looked at when thinking about movable parts in a structure was the RMIT Design Hub by Sean Godsell architects. While this building responds to solar energy instead of wind movements, the technology behind its movable façade is of relevance to my group’s project. This hub has a façade of automated sun shading devices (16,000 sandblasted photovoltaic cells) that turns transparent in the rain and automatically tracks the sun. An internal computer controls this facade by adjusting each cell with rotational motors, according to Melbourne’s daily weather. The glass cells rotates along a single axis, creating interesting shadows throughout the day. 2 The simple circular cell structures of the façade allow the solar panels to be easily replaced as the technology continues to develop.

One of the precedents we looked at when exploring the possibilities of incorporating rotating panels in our design was the Savonius Wind Turbine, a wind harvesting device designed by Finnish engineer S.J. Savonius in 1922. The Savonius Wind Turbine is built by mounting two half-cylinders on a vertical shaft. The device operates on the basis of drag – when one side creates more drag in moving air than the other, it causes the shaft to spin. 1 The advantage of this wind turbine is that it is easily built and it can accept wind from any direction. The electricity from the wind turbine varies with the wind speed ad is collected via a generator that will convert the wind movement into pulses of current or alternating current.

http://www.smh.com.au/entertainment/art-and-design/hub-has-designs-on-rmits-creative-types-

http://blogs.crikey.com.au/theurbanist/2012/02/09/rmit%E2%80%99s-design-hub-revisited-is-greenturning-red/

1 2

Zingman, A..’ Optimization of a Savonius Rotor Vertical-Axis Wind Turbine’ , MIT (2007) http://dspace.mit.edu/bitstream/handle/1721.1/40927/212409044.pdf [accessed 29th April 2014 Sean Godsell Architects, RMIT Design Hub, 2007-2012, http://www.seangodsell.com/rmit-design-hub [accessed 29th April]

One of the biggest issues faced in the prototyping stage was to model a movable structure that would represent the moving blades on a windmill. Through further exploration, we were able to digitally create a simple wind turbine structure similar to the Savonius Wind turbine.The digital model was sent to be laser cut in the FabLab (Prototype 9 &10). A series of joints connecting movable panels were also built (Prototype 7 & 8). A video of these prototypes being tested under wind conditions can be viewed at https://vimeo.com/93277811

Prototype 7

Prototype 8

Prototype 9

B.6

TECHNIQUE : P R O P O S A L

Our group’s research into patterning and structure as a material system combined with parametric modeling techniques has resulted in our design proposal. We wanted to create a design based on the concept of ‘form follows function’, with ‘function’ as the ability to harvest wind energy. This meant having to generate a form that is responsive to the site especially in terms of wind movements. Based on our study of the Japanese Pavilion by Shigeru Ban, we came up with a hybrid form that integrates moving panels (inspired by the Savonius Wind Turbine) into a structural form. With these design directions, we revisited previous design development outcomes and selection criteria to provide us with a more refined solution for our design proposal.

We decided to extrapolate the base form (a sin curve) of the Japanese Pavilion to produce a new and unique form that moves away from the original “tunnel” form. This was done by projecting fieldlines onto point charges on Grasshopper which were influenced by the intensity of the sin curve. The parameters that were altered on the sine curve definition included the frequency, amplitude and period. This resulted in a range of interesting forms as seen in the matrix. This algorithmic technique was further improved by using the Flowl Fieldlines plug-in in Grasshopper. These points were referenced from 3 sin curves of varying intensity and direction. The directions of the curves were determined based on site specific parameters such as the wind movements across the Refshaleøen site and the views that we wanted to capture in our design, eg: the mermaid sculpture on the other side of the island.

Integrating movable panels to the structure

The curves were then lofted to generate the final form. As the physical structure is already resolved, panels can be arranged freely within the structure to meet our design intents, be it to create an aesthetic interest for users through patterning complexity or to meet specific functional needs in response to site conditions, such as harvesting and generating wind energy. The algorithmic technique of using the BoxMorph command explored in Set E of the previously produced matrix was chosen as a method to transform the lofted surface into a structural grid that will house the rotating panels. In the next stage of our design, we intend to push this design effect further by taking advantage of assembly methods by looking at ways to connect the structure and the panels together in a seamless manner.

The technique developed aims to generate an impactful land art that can be used to generate wind energy by channeling wind from prevailing directions across the site, and enhance the experience of walking inside the structure as the wind is directed through the spiral form. We believe through this simplistic design approach, many will see be able to see that parametric modeling and energy generating technology can be used hand in hand as a design approach for the future. We hope that our design will be able to spark an interest to the RefshaleĂ¸en site and generate a discourse surrounding the issues of design for the future in Copenhagen and other cities.

SCAL

100 50 0 100

0 METE RS 200 100

FEET 400

FORM

SITE

STRUCTURE

+ JOINTS

ROTATING PANELS

PROPOSED FINAL FORM

3D Printing the final model 1 Duplicate the edges of the panels on the final model and then pipe them 2 Scale and section the model into smaller parts 3 Convert the sectioned parts in â&#x20AC;&#x2DC;Magicsâ&#x20AC;&#x2122; software to become a watertight model reading for 3D printing 4

Model sent to print for 9 hours

Issues - Incorrect thickness of the pipes - Fails to incorporate moving parts - Looks unrefined and messy

FEEDBACK The feedback received during the interim presentation will be useful in helping the team re-evaluate our design approach and consider different ways of achieving our design idea together with the energy generating technology. These were some of the feedback and suggestions we received regarding our design proposal: • For the next part of the project, we need to consider ways to control our design in terms of what we expect to achieve. This means that we will have to analyse and clarity the specific experiences induced by the form, such as how we want the wind movements to be channeled through the space and what experience that would bring to users. • We were asked to consider setting up a syntax of moving through the form. This means having to decide on what happens inside the centrifugal spiral and the middle/ central point of the structure.

LEARNING OBJECTIVES Objective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies; Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration; Objective 3. developing “skills in various three- dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;

• Instead of limiting ourselves to the spiral form generated via field lines. It was suggested that we could consider a variety of shapes that relates to the wind movement on the site.

Objective 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

• One of the guest critics suggested that it might be interesting to incorporate an area in our form that is sheltered from the wind, so that users may be able to use the space to rest and relax.

Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects;

• We were also asked to consider the type of views that we wanted to achieve through our design form and orientation. • Consider the assembly of the structure - conceal or reveal joints? • Lastly and most importantly, we have to find a way to rationalize our design through prototyping.

Objective 7. develop foundational understandings of computational geometry, data structures and types of programming; Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

B.7

LEARNING OBJECTIVES & O U T C O M E S OUTCOMES

The course of Studio Air so far has allowed me to gain a broader understanding of the basic principles behind digital design as well as acquire some basic skills of parametric modeling. Through group research and explorations of precedents, I have been able to learn different computation and design techniques from designers in the relevant fields. As a group, we have been particularly influenced by the work of Shigeru Ban in his design for the Japanese Pavilion which has led to our developments of different structural forms. One of the key elements in this phase of our design was the prototyping stage. Having made several prototypes in conjunction with our algorithmic explorations, we were able to extend our design possibilities through different structural and patterning techniques (Objective 3 & 4). While we were able to test most of the structural techniques in our prototypes, I feel that each task was performed quite superficially without an exact outcome in mind. This had to do with time limitations as well as technical difficulties. The preliminary models we made will need to be further revised in order for us to choose a single fabrication technique. Things that we would need to consider in the final stage of fabrication would be the effect of materiality and scale in the design.

The different theoretical research tasks and explorations of precedents helped me to achieve learning objective 6 which was to develop capabilities for conceptual, technical and design analyses of contemporary architectural projects. So far the experience of creating a parametric technique to produce a structural form has been challenging but at the same time exciting. Through constant revisitation of past explorations and experiments, we were able to continuously explore different ideas and techniques which led us to where we are at this point. This idea of experimenting and finding new forms was a key tool in helping us determine the flaws and advantages of our design to help us move forward. (Objective 8) Furthermore, being able to critically analyse and revise my own work and groupwork was important in helping us reevaluate our design decisions more critically, providing us with the opportunity to challenge ourselves with new design techniques that can be taken on to the next stage of development in Part C.

In terms of developing skills and foundational understandings in parametric modeling (Objective 3) and computational geometry (Objective 7), my skills have significantly developed since the beginning of this semester, especially in terms of using Grasshopper to generate a range of forms by manipulating different parameters as well as experimenting with digital fabrication. There were times, especially during the reverse engineering stage when the complexity of the Grasshopper software left us confused and discouraged because of our lack of knowledge and experience in using it.

B.8

ALGORITHMIC S K E T C H E S

A crucial part of the development of our group design is the exploration in Grasshopper and other plug-ins such as LunchBox and Kangaroo. The use of these plug-in programs allowed for a powerful and easy way to explore and experiment with variations in design parameters. Through the weekly algorithmic tasks, studio discussions,online tutorials and discussion forums, we were able to gain a better understanding behind the princples of computational design. This was especially important for us when we had to come up with a Grasshopper definition for our design proposal. These following images represent some of the algortihmic explorations Iâ&#x20AC;&#x2122;ve done from Week 5 onwards. In those weeks I have explored date mapping, data trees, manipulating grids, rationalizing surfaces, morphing 2D objects to 3D surface, fractal patterning and many more.

Data Types Manipulating a range of data types through surface frames. Propogating a surface with “hair-like” structures like a cactus.

Field Lines Exploring Grasshopper’s ‘fields’ component to produce a volumetric shape that could function as a sculpture in a public place. This algorithmic technique was useful when we were deciding on a form for our final model.

Rationalising surfaces Subdivision of the surface into triangular planar surfaces.The distribution and strength of the attractor point can be controlled to modify the distribution of the graph mapper in the control panel which creates some interesting results. Being able to rationalize a surface, especially a curved surface is important when considering fabrication possibilities. Folds/flaps can be added to the edges of each surface so that it can be easily assembled once the individual strips are rolled out. 85

Phyllotaxis growth Changing the growth by manipulating the mathematical fomulae of the spiral form. The hairlike structures were created in the same manner as the â&#x20AC;&#x2DC;thornsâ&#x20AC;&#x2122; on the cactus forms

Fractal Patterns Experimenting using a base form and generator curve to create different fractal patterns. These fractal patterns are an extension of the patterning explorations from the first case study.

Tesellate Diagrid Tessellate a surface and smoothly transform tessellations from a quadrangular to a diagrid pattern.It can be seen that some of these patterns were simply decorative ornaments on the surface of the structure and do not provide any structural functionality.

PART B

REFERENCES

Herzog & De Meuron Basel, ‘de Young Museum’, <http://www.herzogdemeuron.com/index/projects/completeworks/151-175/173-de-young-museum.html> [accessed 3rd April] ‘Japan Pavilion EXPO 2000 Hannover’, Shigeru Ban Architects <http://www.world-architects.com/en/shigeruban/ projects-3/japan_pavilion_expo_2000_hannover-26529> [accessed 14th April 2014] Kalay, Y. 2004. Architecture’s New Media : Principles, Therories and Methods of Computer Aided Design, (Cambridge, MA: The MIT Press), p.18 M.H. de Young Memorial Museum’, Zahner (2014), <http://www.azahner.com/portfolio/de-young> [accessed 4th April] Patrik Schumacher, ‘Parametric Patterns’, AD Architectural Design – Patterns of Architecture, Vol 79, No 6 (Nov/Dec 2009) <http://www.patrikschumacher.com/Texts/Parametric%20Patterns.html> [accessed 3rd April] Sean Godsell Architects, ‘RMIT Design Hub’, 2007-2012, http://www.seangodsell.com/rmit-design-hub [accessed 29th April 2014] Shigeru Ban, ‘Engineering and Architecture: Building the Japan Pavilion’, pg 8-15 <http://www.hebel.arch.ethz.ch/ wp-content/uploads/2012/08/Shigeru-Ban.pdf> [accessed 14th April 2014] ‘The Grid’, ordinarystudio, < http://ordinarystudio.com/The-Grid> [accessed 14th April 2014] Zingman, A..’ Optimization of a Savonius Rotor Vertical-Axis Wind Turbine’ , MIT (2007) http://dspace.mit.edu/ bitstream/handle/1721.1/40927/212409044.pdf [accessed 29th April 2014]

PART

D E TA I L E D D E S I G N

C.1

DESIGN C O N C E P T

Following on from our exploration in Part B and the feedback received from the mid-semester presentation, we decided to continue with our design idea based on the concept of “form follows function”, with “function” as the ability to harvest wind energy. Instead of our initial idea of having energy generating rotating panels populated across our form, we have taken the advise from our tutors to move on from these clunky rotating turbines to simple triangular panels that will vibrate under wind conditions and generate energy via a piezoelectric system. One of the main criticisms received during our mid-semester presentation was that our initial design outcomes lacked context and a sense of control in terms of what we wanted to achieve. It was suggested that our design could be further improved by analyzing specific experiences we wanted to create through our form by setting up a syntax of the intended activities and movement across the site. In Part C, we revisited the LAGI brief to scrutinize the relevance of our project and adjusted our design algorithm as a means of addressing the aforementioned issues. This new algorithm incorporates more than the basic site conditions such as wind movement and views, but also includes parameters such as human circulation, neighbouring buildings, site access etc. The historic context of the site was also considered when determining the appropriate footings system for the structure and the aesthetics we wanted to achieve for our final design.

Document provided by Refshaleøen Holding

sonder hoved

inside this area, has been buildings, and the old foundations are probably still in the ground

concrete

earlier, this was a bassin. It has since been filled with materials from the former buildings on the site, that were torn down

landfill

reused buildingmaterials

landfill

contaminated soil cement stabilized gravel

landfill

REFSHALEØEN site conditions

S I T E PA R A M E T E R S

Historical context

Views

Summer winds

Winter winds

DESIGN TECHNIQUE With these new adjustments, we decided to employ the similar technique of creating point charges across the site via the â&#x20AC;&#x2DC;Flowl field linesâ&#x20AC;&#x2122; plug-in to generate a series of curves based on these site parameters. We continued to generate possible forms with the recursion forms in Grasshopper by experimenting with attractor points, mesh manipulation and lofting curves. Through these further manipulation in Grasshopper, we were eventually able to come up with 4 structures designed to sit strategically on site. The positioning of these structures is of fundamental importance to the channeling of wind through the site as well as the experience of users who walk through it.

These were the steps we took in Grasshopper to create our final design forms :

FIELD LINES

LANDSCAPE

1 Determining site parameters

2 Setting point charges

eg: prevailing wind direction, circulation, Point charges were set and populated surrounding buildings, site access, views across the site based on the parameters.

3 Projecting Field Lines Field Lines were projected onto the point charges to generate a base geometry. This was done via the â&#x20AC;&#x2DC;Flowl fieldlinesâ&#x20AC;&#x2122; plugin via Grasshopper. We then introduced other various forces to manipulate the field lines to create a form that has greater control and is more site responsive.

Generating final form

Paneling the structure

Joint systems

These parametrically modeled outcomes highlight the field lines that simultaneously define the base form of the structure. The curves generated from the field attractor lines wrere then lofted to create four separate structures that will become the final form

Triangulated panels that house wind responsive piezoelectric systems were then incorporated into the structure. The size of the panels were determined by altering the UV values of the script.

Hexagonal joints were developed in Grasshopper to allow the connected structural tubes to rotate freely to adjust to the curved form.

7 Landscaping A series of sine and cosine curves were manipulated to create an undulating landscape for the site as a way to further enhance the wind movement across the site

Our groupâ&#x20AC;&#x2122;s main outcomes through our exploration of manipulating fieldlines to create a group of different forms is shown below

REFINED DESIGN CONCEPT

Our design concept aims to generate an impactful landart that has the ability to generate wind energy by channeling wind from prevailing directions across the site and enhance the experience of users as they are directed by wind movement through the spiral form. The relationship between wind movement, human circulation and progression through the site are crucial to the dynamism of our design proposal. The idea of having a wind-informed form was to enhance the experience of users as they walk through the site but also to help increase the efficiency of the form in terms of harvesting wind energy. The idea of movement (wind / people) through the site is one of the key elements of our proposal. The idea of incorporating wind-induced vibrating panels across the form as well as the undulating landscape is based on this principle of the progression and movement of wind and how it can alter the landscape aesthetically and functionally. Our design proposal acts as a remedy for the typical turbine farms that often isolates the landscape and deters communities from engaging with the space. Our proposal introduces a new landart typology that encourages the interaction of the community of Copenhagen as a way to promote a greener future for the city and the greater world. The form is an abstraction of the combined elements of wind, climate, views and the nature of its surroundings. The design captures these influencing factors by projecting tension points across the site and thus generating a network of structural energy lines giving it its final form.

The structures are composed of a grid, a framework for panels to bend and respond to the wind, reacting individually through a flapping movement while at the same time, articulating large scale flows as a field across the form. The panels produce energy by converting the wind vibrations into electricity through piezoelectric components concealed within the structure. The localised patterns of wind motions are captured by the frame of the structureâ&#x20AC;&#x2122;s body, continuously generating energy and mapping the fluctuation of wind movement across the site. As a reponse to the LAGI brief, the basis of our final design will be encapsulated in these 3 main ideas/themes (refer to C.4 ): VIEW PLAY

LEARN

We believe that our design should not only capture the zeitgeist of the time at Copenhagen, but also aim to create a sense of dynamism and movement that represents not only the movement of wind and circulation of people but also the impending change in terms of design futuring in the city of Copenhagen and the greater world. Video showing the effects of wind on the final form: https://vimeo.com/97651585

ENVISAGED CONSTRUCTION PROCESS

The proposed method of construction in Part B drew criticism for being unresolved in terms of the structure and joint/ connection systems. Part C.2 will investigate other possible methods of materialization and fabrication of the final design outcome. Since the form of the Land Art was generated via computational methods, the parameters implemented to generate the forms can easily be changed to LAGI’s discretion and to suit the wind flows. The modeling software also allows for changes to be made in terms of the structure’s size, diameter, material thickness etc. The envisaged constructuction process: The process begins with sourcing out recycled materials such as steel tubes from the warehouses surrounding the Refshaleon site. The materials are then sent to be fabricated in the factory to obtain the right dimensions. The fabricated parts are then transported on site in sizes conducive to transportation by a standard sized truck. By this time, the site would have been cleared and appropriate footings would be in place. The individual panels and main steel structure will then be assembled on site based on the construction and shop drawings. The detailed explanation of the function and construction of the panels is described in C.4 under ‘Technology’. Once the form is erected, the piezoelectric wires can be connected to the main generator ready to supply electricity back to the grid.

The basis for our final form is the repetition of triangular piezoelectric panels incorporated into a series of curved structures. These repeated panels are able to change individually based on their spatial arrangement and the direction of wind flow.

Experiment with different joints

Movable joints

Varying thickness

Due to the curved nature of the structure, a method for construction needed to be devised for the connection of the planar triangular panel elements and the steel tubes. After much consideration and debate over possible joint methods for the steel tubes, we decided that in order to achieve a smooth curved form, a rotating joint system should be added to the hexagonal connectors/ joints to allow the connected tubes to rotate freely to adjust to a suitable position for the curved sections of the structure. These joints were developed in Grasshopper to allow for it to change independently based on the relationship between each tube connection. The advantage of having a fully parametric designed joint is that it can be easily manipulated to suit a range of structural forms and steel tube dimensions. Repetitive joints can also be dealt with in a systematic manner across the structure. After experimenting digitally with a series of different joint types, we decided to build a scaled model of our most successful joint.

C.2

TECTONIC ELEMENT

Exploded construction diagram of joint components

100

101

Another 1:2 scale study model was also produced to test the feasibility of this connection joint and how the piezoelectric panel will be attached to the tubes. The material choice for this model was spray painted PVC pipes and connectors to represent the steel tubes and flexible joints, as well as polypropylene sheets to represent the piezoelectric flap. This model was successful in showing how the tubes would connect to the hexagonal joint and the flexibility of the joint to rotate in any desired direction.

102

103

STRUCTURE OF FINAL FORM The curved nature of the form requires a level of depth in order for it to be structurally feasible and rigid. As we began thinking of possible fabrication methods for our final model, we decided that it was crucial to implement a steel frame arch system to function as the structural element of the design. The drawings shown below illustrates how we envision the construction of the steel support structure and its connection to the steel tubes. The arching steel frame would consist of steel beams welded together to create a vertical platform upon which the connection joints could be attached to. For the next stage in part C3, the use of parametric tools will enable us to easily determine and achieve the desired size and depth of the steel members as well as organize them in proper unrolled components ready to be fabricated.

104

CONNECTION TO THE GROUND One of the important factors of a structurally rigid form is its connection to the ground. We have decided to employ a standard steel column base plate design that will connect the structural members to the ground. Since the Refshaleon site is made up of reclaimed land with poor soil and fill, it was important for us to consider a suitable footing system to ensure the structural integrity of our form, hence a bored pier/pile footing system was chosen for its ability to reach adequate soil bearing capacity to carry the loads of the structure.

Nuts and waster

Base plate Cement grout

Concrete footing

Welded butt plate

Anchor rod

Connection plate

The simple construction method of our final design form is beneficial in many ways, but most importantly, it guarantees a simple, repeated assembly process for inexperienced builders/ community members. Having a simple yet effective connection joint is important to facilitate the possibility for direct community involvement in the construction process as well increase the efficiency of construction therefore lowering the amount of embodied energy of the structure. The overall form is efficient in terms of minimal construction time on site (as most of the tubes and panels can be pre-fabricated), structural rigidity and also economically efficient in terms of its material requirements and labour.

105

LANDSCAPE As mentioned in C1, our refined design proposal also takes into account the landscape of the Refshaleon site. Once again, Grasshopper was used as a tool to create a series of undulating landscapes based on the combination of sine and cosine curves that we experimented with in previous parts. The undulating form helps channel and enhance the wind movement through the site and also brings a new experience for visitors as they meander through the site to get to the main form. These mounds will serve as a â&#x20AC;&#x153;playgroundâ&#x20AC;? for visitors, especially children to carry out activities such as kite flying, cycling etc. The completed digital model of the landscape was then sent to the FabLab to be cut by the CNC router. Since it was our first time using the CNC router, we were very pleased when the final outcome was successful in showing the slight mounds and undulation of the landscape.

106

experimenting with different landscape forms

107

C.3

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FINAL M O D E L

Upon finalising our form for our final design, we decided to produce 2 models, a 1:200 scaled model and a 1:20 scaled model. The 1:500 model will be used to show how the final form sits on the site. It will give an overall view of the spatial relationship between the form and its surrounding context such as the undulating landscape, access points and pathways. The 1:20 scaled model will show the support systems, how the structural elements form the triangulated panels and the structureâ&#x20AC;&#x2122;s connection to the ground.

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3D MODEL As a 1:500 was too intricate to be manually fabricated via laser cutter, we decided to try 3D printing as we have had previous experience with it from creating the prototype models for the interim presentation. The steps taken to fabricate this 3D model was simple. First, we had to separate the model into sections to put them into the 200x200x200mm printer bed dimensions in Rhino. These models were then imported into the Magics software to make the model watertight. This procedure meant that many of the details in the models such as the joint connections were lost as the 3D printer had a set limit of 2mm diameter. At such a scale, it was also impossible to show the moving piezoelectric flaps between the pipes. Since the purpose of this 1:500 model is to display our general form, not having these components in the model is not a critical disadvantage.

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The fabrication and assembly of a 1:20 scale model was made to demonstrate the feastibility of the steel structural system integrated with the tubes and panels. The materials used were 3mm thick MDF boards, 2mm thick box card and 0.6mm thick polypropylene sheets. The fabrication process was done using a laser cutter and card cutter.

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F I N A L M O D E L A S S E M B LY

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MDF boards were laser cut to form panels that would represent the structural steel members. The elements were unrolled as strips in Rhino. However, when we started to put the strips together for the model, we realized that the tooth-like jointing method was not effective in holding the individual members together, resulting in a flimsy and unstable support structure for the model. By the time we realized this mistake, it was already too late for us to send in a revised file to the FabLab to be laser cut onto the MDF boards. The only solution we had left was to use the card cutter to cut the outline of the supporting structure onto a box board. This was clearly not ideal as the box board material does not have the same structural integrity as MDF board. In order to represent the pipes of the form, a series of strips were unrolled and sent to be laser cut and to be later assembled to form a 3D tube structure. The triangular piezo panels were also laid out strategically to fit the paper size to ensure minimal wastage when sent to the laser cutter. The panels were arranged systematically to ensure accuracy and efficiency during the assembly phase. Lastly, hexagonal pieces were sent to be laser cut on MDF boards to represent the connection joints of the structure. When building the 1:20 model, we had great difficulty assembling the parts together. This was probably due to the change of material from MDF to boxboard and the unresolved joint system. We were skeptical at the start of the assembly process, but soon, we were able to see the curvature of the form taking place as we progressed. We were later able to attach the triangulated sheets to the main frame.

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ISSUES WITH PHYSICAL MODEL Both the models were relatively successful in its completion, especially the 3D model, but the level of accuracy in showing the formal and structural characteristics of the form and construction was poor for the 1:20 model. These were some of the issues we faced when building our physical model:

1. The maximum size for the 3D printing bed was 200x200x200mm which meant having to divide our forms into separate parts for printing. These separate parts had to later be glued together which ruined the continuity of the smooth surface. 2. The unresolved joint system in the 1:20 scale meant having to manually glue on every pipe element instead of connecting them as a series of parts with a workable joint. This was unnecessary and took up a lot of time. 3. The MDF boards that were supposed to make up the steel supporting system was poorly designed, therefore an alternative structure had to be devised out of box board. 4. Due to the wrong use of materials for the supporting structure, the elements often buckled, causing the form to collapse. This highlighted to us the importance of proper design consideration and material selection. 5. Having to individually interconnect the boxboards to create pipe structures was very time consuming and unnecessary. In hindsight, it would have probably been more efficient to 3D print both the joints and the pipe elements. Overall, we felt that our 1:20 model did not reach the level of detail and consideration that it should have, especially for a final presentation. This was due to poor planning and time constraints. After the final presentation, we intend on further developing our design digitally to resolve some of these key issues.

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C.4

LAGI COMPETITION

Refshaleøen is a rich complex of creative entrepreneurships, warehouses, and cultural and recreational venues. AIRnergy is a system that rises from the glory of Copenhagen – a city embarking on a journey to a new era of carbon neutral living. AIRnergy aims to create a new vision of energy literacy by embracing both the energy potential and context of the Refshaleøen site.

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The design site is grounded within a dilapidated reclaimed land. AIRnergy celebrates this weakness of the site with the potential of harvesting renewable energy through wind movement. Its form rests lightly on the existing topography and creates definition across the site. AIRnergy acts a remedy for the typical turbine farms that often isolates the landscape and deters communities from engaging with the space. It introduces a new landart typology that encourages the interaction of the community of Copenhagen as a way to promote a greener future for the city and the greater

AIRnergy

The detail of the AIRnergyâ&#x20AC;&#x2122;s structure is reminiscent of the industrial identity of the landscape and its origins. The form of AIRnergy is an abstraction of the combined elements of wind, climate, views and the nature of its surroundings. The design captures these influencing factors by projecting tension points across the site and thus generating a network of structural energy lines which gives AIRnergy its final form. The body of the structure is activated via the movement of wind as it is directed through the site.

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PANELS

PIEZOELECTRIC SYSTEM

ENERGY CONVERSION + TRANSMITION

AC to DC

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substation transformer

transmition to grid

TECHNOLOGY

A windy day causes leaves to flutter and road signs to shake. It is these vibrations that resulted in the proposal of a piezoelectric wind energy generating system (inspired by Vibro-Wind Systems). Large-scale application of piezoelectric components is still in the becoming, but the technology shows great potential. The four structures strategically positioned across the site comprises of a triangulated panel series, each of which houses a kinetic flap/membrane that bends and flutters in response to the prevailing wind. The collection of small vibrating plates are designed to capture wind and generate energy but also to bring an aesthetic element to the site through the wave-like effects created by the moving flaps. These fluctuations not only reveal the shifts in wind movement but also provide a visual map of the panelsâ&#x20AC;&#x2122; collection of wind energy. The basic science behind each of these movable flaps involves wind-induced vibration due to the non-linear fluid flow and vortices around a flexible structure.

The energy harvesting device comprises, in one embodiment (each triangular panel), an oscillating flap, a piezoelectric bender (transducer) and an energy convertor that converts the vibration of the oscillating element into direct current. The piezoelectric sheet benders are attached to the panel and are connected via a hinge that allows for rotation along the vertical axis. In wind conditions, the rotation of the flap about the bearing joint creates a modal flutter response and hence a vibration that is picked up by the piezoelectric benders connected to an energy convertor (full rectifier bridge) concealed within the joints between each triangular panel. The energy collected from the panels throughout the day is stored in a generator and capacitor, during the night, the energy stored will be able to power the organic LED light panels attached to the joints between the triangle panels. The lights emitted from the panels provide a visual reminder even to viewers at a distance of the real-time energy production on site.

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A journey through AIRnergy will aim to break the social stigma against the grim aesthetics and lack of efficiency of renewable energy generators. The concept and experience of this design is encapsulated in the 3 main ideas/themes : VIEW , PLAY and LEARN.

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VIEW The structure incorporates a labyrinth of intricately populated wind-sensitive piezoelectric panels. The visual effects created by the moving flaps are a reflection that AIRnergy is an extension of a landscape that captures wind energy and funnels it through the geometry of the design. LED lights are installed in the joints of each panel causing it to glow softly in the night, a constant reminder of the real-time energy generated on site. Through the structure, technology and sub-components, the fluid display of motion and natural flow illustrates a tangible and logical harvesting of wind energy. AIRnergy engages with visitors didactically by soliciting their contemplation about energy consumption, renewable energy generation and design

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CLOSED PANELS OPENED PANELS

PLAY The form of AIRnergy exhibits a playful organisation of spaces. The opening and closing actions of the panels create an interesting experience of revealed and concealed spaces, highlighting the relationship between the interior and exterior environment. The platform sets up a relationship between the user and the landscape as the panels frame the surrounding context. Activities such as cycling (an important culture in Copenhagen) and kite flying (a wind powered activity) are encouraged to promote community-building activies within the site. In this manner, AIRnergy functions not only as an energy generating landart but also as a public space, creating a prominent future landmark and escapade for the community of Copenhagen.

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LEARN A clear program is set out to divide the spaces/functions of the individual structures. In the exhibition space, the powergenerating machine of the system is framed like a jewel, symbolising the appreciation of the beauty and importance of renewable energy. This space can be used as an exhibition space to display inventions of other renewable energy systems and to host renewable energy or community based programs. The workshop space creates a great opportunity for users to learn about renewable energy systems. A CNC machine and other industry standard facilities can be retrofitted into the space to allow guests to gain first-hand experience in manufacturing their own piezoelectric panel design onsite. Through this learning experience, AIRnergy will be able to educate users to breakaway from their perception of the ineffectiveness of renewable energy systems and instead encourage designers and the community to explore further possibilities of inventing other energy generating landarts forms.

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LEARN

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L I S T O F M AT E R I A L S

The nature of the designed structure means that the materials will be designed and prefabricated off site and then delivered to the site for assembly. These are the list of materials required to build the structure of AIRnergy : 1. Footing system Single bored pile footing below each structural steel support member 2. Structural steel support Galvanised hot-rolled steel I columns bolted and welted 3. Steel Pipes Recycled and processed steel pipes from neighbouring warehouse and factories , 500mm diameter 4. PVDF sheets/membrane (Piezoelectric system) 1200x2400mm based on cnc router printer bed size dimensions, can be altered in accordance to machine capacities. 5. Joints Flexible hexagonal joints of recycled steel that conceal the wires from the piezoelectric systems along with organic LED lights installed within. 6. AIRnergy combined footprint measurement (LxWxH) 120x100x8m

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E N V I R O N M E N TA L I M P A C T S TAT E M E N T

Unlike the commonly used rotary wind turbines which requires a start-up velocity of 9-10m/s, these piezoelectric panel systems can be effective in wind-velocity environments as low as 2-3m/s. This technology is virtually silent, significantly cheaper to build and has lower impact on the surrounding landscape. The relatively low lying composition of the structure does not impose any danger for birds flying in the area. The maximum energy can be attained when the flap and piezoelectric bender are deflecting with 90 degrees phase difference. A 6X6 panel array is estimated to be able to produce an output of up to 50W/m2. If all the panels on each of the four structures are fully operational at a given time, an average of 300,000 kWh/yr will be produced. On a spring day, the energy collected would be enough to power up to a few hundred households. Organic LED lights are installed at the joints between each panel which causes the structure to glow at night. The energy consumption of these LED lights is minimal and the surplus of energy is directed to the electrical grid.

Integrating the ideas of promoting green energy generation, the proposal incorporates existing technologies that maximizes the generation of energy and at the same time minimizes the structureâ&#x20AC;&#x2122;s environmental footprint. The triangular grid framework are made of recycled steel tubes that provide a lightweight structure that holds up the panels and allows for the wires from the piezoelectric system to run through the structure and then to the generator. The various parts of the system can be easily assembled offsite and then brought onto site. The flaps are made of flexible PVDF sheets which are recycled, lightweight, translucent and waterproof to allow for maximum capture of wind under all weather conditions. All the materials used for the installation are recyclable and offer great Energy Pay-Back Time (EPBT). The estimated embodied energy inclusive of the processing, manufacture, transport and assembly of AIRnergy is around 200,000 gigajoules. The embodied energy will be covered in around 5 years depending on the wind conditions.

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F I N A L P R E S E N TAT I O N F E E D B A C K Our final presentation for the LAGI project was well received by the panel of critics. We were commended for the logical flow of our presentation that was supported by a range of well-explained diagrams and rendered images of our final design. However, we also received criticism predominantly about our 1:20 scaled model and the detail of our design in which we can optimize to improve the realistic feasibility of our proposal. While our proposal for the overall form of the project was well received, the primary area of concern raised was in regards to the details of our joints and constructability of the structure. Due to our poorly made 1:20 model, the amount of time focused on resolving the structural composition of our proposed design was not evident. The time spent trying to finalize our design proposal in time for the LAGI competition left us with very little time to properly consider alternative joint connections and construction methods. We were advised to further revise and control our joint and structural system efficiently to better suit the function and form of our project.

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It was suggested to us to further resolve the structural physics of our design, which could be done via Grasshopper plugins such as Kangaroo. The footing system was also unclear in our final model and hence, it was suggested that we consider our structureâ&#x20AC;&#x2122;s relationship to the ground. We have responded to this by incorporating a pile footing system explored in C.2. In terms of the structural aspect of the panels, it was critiqued for its irregularity and warped geometry. We were advised to think how the structure system would change in aperture and to consider the aspect ratio of the panels to suit the pragmatics of the program of the form. This would help create a more rational structural system that is more aesthetic and functional.

C.5

LEARNING OBJECTIVES & O U T C O M E S

Our tutor Finn suggested that we looked at the BMW Welt as a precedent to further explore the idea of creating a controlled system out of random geometry. This complex twisted torque structure advances architectural discourse by redefining the notion of a car showroom. Since the form of the building was so unique, traditional 2D design methods were not enough to fully analyze the design and buildability of the model, so parametric modeling was used to help in the design of this complex facade. Parametric modelling was used to allow for a precise and regulated repetition of panelled glass triangle shapes for this curved form. It is this regularity that we should be aiming to achieve in our design form.

Anastasia Globa, â&#x20AC;&#x2DC;Dynamic Knowledge Repository for Parametric Designâ&#x20AC;&#x2122;, 24th February 2013 <parametric-design.blogspot.com/2013/02/bmw-welt.htm> [accessed 4 June 2014]

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FURTHER DEVELOPMENTS Based on the feedback received during the final presentation our group decided to further develop our design digitally to reconsider and fix some of the aforementioned issues of our model. Taking on the advice from our tutors, we attempted to manipulate the aspect ratio of the panels to suit the shape and program of the form. Our first attempt was done using Kangaroo and involved creating a 2D mesh of similar panel sizes and then pushing and pulling the mesh at certain points to create our desired form. However, the structure failed to hold up the way we wanted it to. The matrix below shows our experimentation with the Kangaroo plug-in. The next option was to manipulate the U and V values of our original algorithm. The script allowed us to freely control the form to make the panel sizes along each row the same size. The outcome was successful.

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failed outcomes in kangarooo

manipulating UV values

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Once we were able to adjust the aspect ratio of our triangulated panels, we decided to rebuild a 1: 50 scale structural model of a section of our final form. In this model, we were not only able to resolve the regularity of the panels but also resolve the issues in terms of the connection between the panels and the structural form. Overall, we were quite pleased with the outcome of our attempts to further develop and resolve the issues we faced in the modeling phase.

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LEARNING OBJECTIVES Twelve weeks ago, we started this project with little to no knowledge of parametric design and what the outcome of this subject would be. Now that we have reached the end of our journey through AIR, I can safely say that we have so much more. This subject has been a steep learning curve for me personally, but the experience and skills honed over the semester has been invaluable. Trying to grasp the concept in Grasshopper was very difficult at first, but after going through the relevant tutorial videos, gaining help from fellow team mates, and personally experimenting with the software, designing with Grasshopper slowly became much easier and more comprehensive.

Throughout the past semester, I feel that my group and I have fulfilled all of the Learning Objectives prescribed in this subject : 1. Interrogating a brief Our group was able to thoroughly investigate the Land Art Generator Initiative brief as a foundation to the development of our project. The idea of incorporating energy generating technology in a land art design that will educate the public was a crucial theme that informed our design ideas and discussions. The brief along with the site parameters were analyzed extensively in order to formulate a site responsive design. 2. Ability to generate a variety of design possibilities for a given situation through parametric modeling Parametric techniques were used as an aid to the creative design process, a tool to help solve the technical issues that cannot be solved without digital softwares and also to help increase the efficiency in the construction process. Throughout the design process, we made matrices to show the different outcomes generated from our design developments in Grasshopper. These matrices were useful in generating outcomes of satisfactory fitness and complexity. 3. Developing skills in various three- dimensional media Throughout the semester, Iâ&#x20AC;&#x2122;ve not only gained invaluable experience through the use of Rhino and Grasshopper, but was also able to experiment with other softwares and plug-ins such as LunchBox, Kangaroo, InDesign, VRAY, photoshop etc.

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4. Developing an understanding of relationships between architecture and air through interrogation of design proposal Our design approach focused on the physical qualities of the air around us and how it can be used to generate energy. The idea of incorporating movable flaps that responds to wind is to create a visual map of the wind movement that is otherwise invisible. The wave-like movement of the flaps not only brings an aesthetic element to the design but also educates the community of the simplicity of energy generation. We believe that our design is able to create a link between the land art and its environmental surroundings. 5. Developing the ability to make a case for proposals via critical thinking Compared to the beginning of the semester, I feel a lot more confident in my ability to communicate a convincing argument that is coherent and relevant to the design brief. It is through the constant documentation of our design process in the journal and in-class presentations that Iâ&#x20AC;&#x2122;ve been able to gain this skill of critical thinking and analysis. As a group, I believe that we were quite successful in communicating our design as a proposal that is unique and innovative and is able to generate a discourse and interest surrounding the city of Copenhagen. Entering our design proposal for the LAGI competition was exiciting for us as we had the opportunity to be part an interesting international design experience. 6. Showing capabilities for conceptual, technical and design analyses of contemporary architectural projects This objective was fulfilled especially in Part A of this project as I was exposed to a whole range of inspiring precedents and readings that exposed me to different arenas for discourse which I hadnâ&#x20AC;&#x2122;t previously known and helped shape my perception of parametric design. The journal has also been a great medium for us to demonstrate our understanding and critical analysis.

7. Develop foundational understandings of computational geometry, data structures and types of programming Through the use of plug-ins like Grasshopper, we were required to design and think via command. Although this requires some time to grasp, the advantages of using such programming tools is well worth the time spent in the familiarizing stage. 8. Developing a personalized repertoire of computational techniques substantiated I was able to gain a larger repertoire of computational techniques as I explored Grasshopper and other relevant plug-ins such as Kangaroo and Lunchbox. This is evident in my algorithmic sketches and design matrices where these computational tools were used to generate outcomes of great complexity.

All in all, this studio has provided me with a great platform to continue in parametric architecture and further reinforce my passion for architecture. I believe that the skills and experience that I have honed over the course of this semester will definitely have a great influence in my future endeavours in this field. I am looking forward to being able to utilize these skills in the other design studios coming my way.

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PART C

REFERENCES

Anastasia Globa, ‘Dynamic Knowledge Repository for Parametric Design’, 24th February 2013 <parametric-design. blogspot.com/2013/02/bmw-welt.htm> [accessed 4 June 2014] Coop Himmelb(l)au, ‘BMW Welt’, <http://www.coop-himmelblau.at/architecture/projects/bmw-welt> [accessed 4 June 2014] Shu-guang Li, Hod Lipson & Francis C. Moon, ‘Flapping Piezo-Leaf Generator for Wind Energy Harvesting’, Cornell Creative Machines Lab, < http://creativemachines.cornell.edu/node/116>

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