Yeoh huili 560651 finaljournal by Yeoh Hui Li

. A I R.

HUI LI YEOH

SEM 1/2014 TUTOR: FINN & VICTOR

04 ABOUT HUILI

PART B B1. Research Field.... B2. Case Study 1.0.... B3. Case Study 2.0.... B4. Technique: Develop B5. Technique: Prototy B6. Technique: Proposa B7. Learning Objective Outcomes.......... References............

PART A A1. Design Futuring...........08 A2. Design Computing..........14 A3. Compositional/Generation..20 A4. Conclusion................26 A5. Learning Outcomes.........27 References....................28

PART C C1. Design Concept............88 C2. Tectonic Elements........112 C3. Final Model..............120 C4. Additional LAGI Brief Requirements................132 C5. Learning Objectives and Outcomes.................134

CONTENT S

.........32 .........36 .........42 pment....50 ype......56 al.......62 es and .........82 .........84

ABOUT HUILI

The beginning My passion in creative design started at a very young age where I love to express ideas through drawings. The advancement in information technology opened me to the fancy world beyond my small home town in Malaysia, that I realized arts is not only at the tip of the brushes and how beautiful it looks like, but the conveyance of ideology through it. Since then, I was indulged in poster design and photography to explore the powerful tool in saying the most words in mere single image. Architectural design only came to my mind when I had to make decision on my tertiary education. I am an avid reader of all kinds of stuff and I came across this saying that

â&#x20AC;&#x153;Architecture is the highest level of artsâ&#x20AC;? when I was reading a design-related book. At the age of 17, I dreamt of pursuing a great career and architect for me is an awesome profession.

Why architecture? As I digging in more and more about architecture, my passion grows steeply. Architecture is not a blind dream anymore but one thing that I really want to do for life. I like the idea of architecture is able to speak in the most convincing way: experience, and its close mutual relationship with human. It can be done in every possibility, combining the idea of sociology, science, mathematics and many others. I believe great architecture can change life to the better..

Related Computer Skills I am a fan of humble architecture, to adopt simplicity and geometricism is my design principle. However, I am keen to explore my interest across all kinds of architecture.

Photoshop

InDesign

Lightroom

Illustrator

AutoCad

SketchUp

Rhinoceros

Grasshopper

Going digital Computerization of design is the new trend. Experience with using Rhinoceros in Virtual Environment exposed me to a new way of design thinking with computers. With the program, possibility of different geometry forms is limitless. This is an eye-opener for my future architectural movement. Studio Air will be an opportunity to develop a mature design thinking and computational design skill. I am excited to learn from this studio and looking forward to see our design outcome.

Filling up the tank..

P A R T a conceptualisation

“

The mother art is architecture. Without an ar chitecture of our own we have no soul of our own civilisation. Frank Lloyd Wright

”

DEsign Futuring

The debate for the definition of architecture has never ceased. Architecture is ambiguous and multi-disciplinary. It is everywhere in our lives and influences are enormous. Architecture has a mutual relationship to the way human lives. Architectural space is designed to suit human’s lives, while in another way, it manipulates our five senses and the sequence of living. A great architecture shouldn’t be about personal pride or interest, rather it has to consider everyday needs of people and uses knowledge of behavioral, environmental, and social sciences to create an practical environment. This is true as architecture should be considerate and sensitive to suit every possible aspects of human lives. Architecture as a discourse needs to be targeted at larger audience and be responsible for its existence in natural environment. The statements of statues and taste, repositories of wealth and symbols of security1 should be the sub-outcome but not the design brief.

Sustainability is the trend A successful architecture is the works of society, a nation’s effort rather than the inspired flash of a man of genius.2 However, in my opinion, the greatest architecture is the work for future. Sustainability is the new trend. It is convenient to

overlook the adverse ffects of buildings to the environment. effects of buildings to the environment. Appearance is always the first thing that comes into eyes, thus some architects tend to sacrifice sustainability to give way to aesthetic. Design becomes increasingly trivialized and reduced to mere appearance and style. 3This problem could be disastrous if it persists.

“Currently, the earth’s renewable resources are being used up at a rate 25 per cent faster than they can be renewed, and the ecological human footprint has tripled since 1961. 4”

Architecture as agent of change If nothing is done, future of world will be at risk. It is critical to slow the rate of defuturing, which is the process that harms the environment.5 Being part of the agents of change, the new modern architecture needs to be low in embodied energy and creates no harm to the environment. This includes efficient land management, exploration of renewable materials, passive energy, generation of energy and many others. If architecture before the 20th century was referencing to social, cultural, economic and political issues, then the new architecture is supplemented by engineering discipline and algorithmic form. The latter will be discussed at later section.

Scott Nelson, Essay: The Future of Building, Biomimicry and Architecture (2013), <http://www.naturalwalls.com/2013/03/01/essay-the-future-of-building-biomimicry-and-architecture/> [accessed 24 March 2014] 2 Victor Hugo, The Hunchback of Notre-Dame in Good Reads, < http://www.goodreads.com/quotes/tag/architecture> [accessed from 24 March 2014] 3 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg,2008), p. 11. 4 Tony Fry, p.4. 5 Tony Fry, p. 10. 6 Robert Ferry & Elizabeth Monoian, Design Guidelines, (Copenhagen: Land Art Generator Initiative, 2014), p.8. 7 Winston Churchill, in Good Reads, <http://www.goodreads.com/quotes/tag/architecture?page=2> [accessed 24 March 2014]

In this trend, does aesthetic aspect going to be satisfied? Not necessary, although energy generation plant is facing issues from public for the reason of destroying natural landscape. This is the time to change people’s perception about energy generation.

the chance to learn the skill of parametric design which is a necessity to survive in architecture field as well as a bonus in other designing fields.

Shift in design approach

The literature feature of architecture is diminished and gives way to new definition of design. It is an undeniable fact that computerization is leading the way. This change is another small wave of futurist movement which is welcomed. Historical buildings from a few centuries ago still are very much appreciated and preserved. From my perspective, the wide acceptance is indirectly due to globalization, where diversity is cherished. We are at the best time of the world where we take credits from history but still looking forward to the future.

Besides the shift in functional aspect of architecture, the design approach has experienced change as well. There is a shift from drawing to scripting and the related shift from static components to parametrically conceived generative components.6This is the adaptation of architecture to the unprecedented development of digital technology, or should say, to accommodate the demand of increasing population. Computerization and automation started to replace human hands. Building components are prefabricated in computer and mass-produced in factory. Architectural design is heavily relied on computer to generate forms. Studio air is “design futuring”. The design brief for Studio Air, based on the competition of Land Art Generator Initiatives, is to create an energy-generating sculpture that is beautiful. The purpose of the sculpture is not only literal, which is energy generation, but most importantly, is to educate and gradually receive acceptance from public. On the other hand, we get

The Best Time of the World

“ We shape our buildings; thereafter they shape us.” -Winston Churchill7

ImaI/

Katsutoshi Sasaki + Associates, Aichi, Japan 2013 [ 01 ]

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[ 03 ] Back in 18th century, building is built in over-large scale with excessive decorative details to express the owner’s social status and wealth or the power of the authority. Mansions and villas are so huge that human feels so minuscule.

Personalizing Space Nowadays, the situation is reversed. There are still cases like huge homes for small family but it is getting rare. Japanese architecture for houses, for example, is an art for the human living. The house is scaled differently for different functions according to human size and activities. This principle of modularity is a key to create a comfortable experience as if human and house are one. The original site of this modern residential house is narrow and long. It is designed to personalize the rooms to the occupants. The height and lighting of each room is adjusted to the number of users and the function of room. Balancing of scale and light gives distinct character to each room. On the other hand, public spaces of the house is not restricted to any function but designed to adapt to different occasions. For instance, inner garden can be dining or guest room. This approach of designing is holding the concept of humanism. In the design process, architects will research on the track of daily activities and dimension of space to suit every individual in the house.

Efficient organization fo space This concept is a solution to new living in metropolitan cities. The increase in world population causes come cities to be overcrowded such as in Tokyo and Hong Kong. A common apartment unit in Hong Kong is 32 metre square. Architecture of the interior spaces enables the occupants to live “spaciously” without having to cramp everything in small spaces. Personalizing space is a delicate skill in architecture. Multidisciplinary knowledge is essential for being able to design ideally for different users. In the design for energy-generating sculpture, space is also an issue. There is a limited space with one side surrounded by building(XX), which blocks the wind from the direction. Moreover, the sculpture cannot be built higher than(XX) when wind speed is stronger and more constant at greater height. Again, site analysis is important. In addition, as our design concept includes public interaction with the sculpture, the scale of the sculpture needs to be scaled to suit the average height of people in XX. Amongst this, adaptation to children scale should be the main concern as education is the major objective of the sculpture.

“ Being an architect isn’t only about construction, it’s about creating wide space with small space.” -Yannick Heywang8

Yannick Heywang, The Hunchback of Notre-Dame in Good Reads( 2014), < http://www.goodreads.com/quotes/tag/architecture> [accessed from 24 March 2014] 9 Most Unusual Homes in the World, Yahoo Finance, <http://ca.finance.yahoo.com/photos/most-unusual-homes-in-the-world-slideshow/hong-kong-architect-gary-chang-rests-in-a-hammock-inside-his-32-square-metre-apartment-in-hong-kong-photo--770037856.html> [accessed from 24 March 2014] 8

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Building at extreme altitude, landscape and weather is a big challenge. The building needs to be relatively adaptive to the surrounding environment. This mountain hut for the Swiss Alpine Club is situated in the Val d’anniviers, in the heart of the Valaisan alps. It provides temporary stay for the mountain climbers at the starting point for the journey. This new hut is built to cope with constant increase in guest numbers and to improve the levels of comfort. The challenge of the design and construction includes sustain-ability, insulation, energy usage, safety and environmental protection. As a tourist destination, its humble and simple appearance with glazed façade gives uninterrupted, plunging magnificent view.

Self-sustaining The building is self-sustainable by collecting solar energy from large south façade. Windows are strategically installed to obtain maximum passive solar energy. Openings are small to reduce heat loss and provide optimum natural ventilation. For storing passive solar energy, windows on south wall are larger. Material wise, structural frame is made up of wood instead of steel to reduce transportation cost. In my opinion, this is model of building of the future, which depicts high adaptability. The design is based on practicality and efficient energy use but does not sacrifice its aesthetic 10

value. In the near future, climate change and energy use will be a big issue. The technology used is not new but it cleverly addresses the issue of extreme environment with minimum cost. From this building, I learnt that architecture is flexible. Similar to the concept that Fry mentioned in his article “Design Futuring”, architecture is not for the interest of individuals10 ; building is not necessary built to the interest of the building to stand out from the environment. This is not beauty.

Harmonious to teh environment In the architectural design process, respect for the landscape should always be a major concern, especially for tourist destination or somewhere where space is not a limitation. For example, the excavation for underground building space should only be done if it’s necessary. To hide the rest of the building levels underground for the reason of minimize the disruption to natural landscape is a superficial architecture as the environment is harmed in a more severe way. In the context of Studio Air design project, the design will consider this adaptive principle to create a sculpture that is harmonious to the environment. Site context is very prominent in this mountain hut, as well as in the sculpture design, as its fundamental energy generating concept is based on wind, which is dependent on site weather and surrounding buildings conditions. This hut serves as a model for further exploration of architecture.

Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg,2008), p.10.

New Mountain Hut At Tracuit / Savioz Fabrizzi Architects Ayer, Switzerland, 2013

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A 2 DEsign computing

The vast advancement of technology has brought along convenience to everyday life. Computer, particularly, is a sophisticated technology that imitates human brain in a much efficient manner. It is getting ubiquitous, or should say, a necessity tool in the industry.

Computerization The introduction of Computer-aided Design(CAD) generates a big leap in the process of creation, modification, analysis, or optimization of a design.11 In architecture, the term “computerization” is coined to describe entities or processes that are already conceptualized in the designer’s mind are entered, manipulated, or stored on a computer system.12 The design process is an active one, with computer acting only as a tool to represent ideas. Its usage brings benefit to the users. This method fosters better communication of ideas as ideas are presented in the standard and organized way. Drawings are drawn, edited and reproduced faster and precisely.

New comers: computation Computation, on the other hand, is new to the industry. In this case, computer involves in the design process. Computational thinking is the thought processes involved in formu

lating problems and their solutions so that the solutions are represented in a form that can be effectively carried out by an information-processing agent.13 The core concepts including parametric design and generative design techniques, digitization and digital fabrication techniques.14 The highly complex, curvilinear form geometries and structures gives new architectonic possibilities. In fact, technology has changed the design approach adopted by the industry. Design has shifted from “making of form” to “finding of form”15 , which is an active process of intelligent design that propose design solutions for appraisal and further development by human designers.16 Designers are scripting parameters instead of making shape, where parameters will be used to set a framework and analysis relationships between different data.

Increasing need of computational design In the near future, computer will overtake in more of the design process. It is not necessary a bad move. More and more abstract structures will be experimented. It widens the range of conceivable and achievable geometry, breaking the traditional look of architecture of squares and rectangles. More data can be incorporated in problem solving such as site anal

11 Narayan K. Lalit, ‘Computer Aided Design and Manufacturing’ ( New Delhi: Prentice Hall of India, 2008), p. 3, < http://books.google.com.au/books?id=zX divq93WIUC&printsec=frontcover&redir_esc=y#v=onepage&q&f=false>[accessed 26th March 2014] 12 Kostas Terzidis, Algorithmic Architecture (Boston, MA: Elsevier, 2006), p. xi 13 Jan Cuny, Larry Snyder, and Jeannette M. Wing, Demystifying Computational Thinking for Non-Computer Scientists ( work in progress: 2010) 14 Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3-62 15 Branko Kolarevic, pp. 3-62. 16 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25. 17 Branko Kolarevic, pp. 3-62. 18 Kostas Terzidis, p. xi

ysis, material flexibility and structural performance analysis. This encourages evidence- and performance-oriented design, which counteracts the crisis of superficial design and encourage the exploration of variable possibilities. Algorithmic procedures helps to create green building with more ease by emulating nature.

theory. Computation brings a new era of experimentation. It is neither formalism nor rationalism but traceable creativity. 18 With this phenomena, the skill of computation is sought-after to meet the needs of a new design era.

The process of drafting, documentation and presentation are altered by computerization. At recent years, model making is replaced by prefabricated machine cut, similar in the construction field where building components are prefabricated to precise dimensions. Mass-customization is made possible with affordable cost. Variety, in other words, no longer compromises the efficiency and economy of production. 17 Digital data is produced instead of drawings, enabling better communication and coordination between more parties, thus increases the efficiency of design and construction.

A digital era Computation initiates algorithmic design where intelligent creativity is the key to new architecture

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[ In the new age of architecture, building is sophisticatedly designed to the best of human lives as well as to the environment. Its façade, especially, is designed to response to the surrounding environment, balancing the interior atmosphere to external environment. The increasing awareness of depleting energy resources has made passive design technologies the new trend. It can be achieved by computation and computerization. The Al Bahar tower in Abu Dhabi is another award-winning building in Dubai, adding to its collection of modernist and sustainable buildings.

Challenge of extreme climate The hot and dry weather of Dubai is a challenge to environmental design. Solar heat and sunlight will be both an advantage and disadvantage. To response to this environmental issue, the building façade is built to response to the sunlight conditions. The façade emulates the traditional Islamic lattice shading device, the “mashrabiya”. The façade

panels are designed using parametric approach to response to sun exposure and changing incidence angles at different times of the year.

Dynamic Facade The façade is an independent frame two meters from the building skin, acting as curtain wall. The façade is made up of dynamic triangles, computer-controlled to change according to optimal solar and light conditions. Each triangle is coated with fiberglass and programmed to response to the movement of the sun in order to reduce solar gain and glare. Each unit of triangle comprises a series of panels stretched PTFE (polytetrafluoroethylene) driven by linear actuator to control opening, which is pre-programmed in a sequence that is calculated to avoid direct sunlight. This can only be done with the aids of parametric design tool. It is estimated that this technology will reduce solar gain by more than 50 per cent, reducing the reliance on energy-

Al bahar towers/ aedas abu dhabi, dubai, 2012

[ 09 ] consuming air-conditioning.

geometries possibilities.

On the other hand, the whole vertical strip of mashrabiya will move with the so that the other areas where the sun is not shinning in directly can receive natural lighting. Besides that, the shading feature of the faรงade allows the flexibility of the choice of glass finishing. Less tinted glass is used to let in better view. At night, all the screens will close, a complete pattern of triangles will be shown. This integrated with internal artificial light to form part of the scenic night view

Al Bahar tower demonstrates a large scale dynamic responsive structure which can be applied to the idea of energy-generating sculpture. Different from this building that avoid the emission of energy, the sculpture will be designed to receive the as much energy as possible. Since the concept of generation is wind, the vibration components can be designed to face prevalent wind direction at different times of the day. Alternatively, the distribution area of vibration components, which in our imagination are small light-weight object, can be designed to spread accordingly to wind velocity; the stronger the wind, the higher the number of components. In Grasshopper plug-ins in Rhinoceros, the distribution of components can be manipulated easily and response precisely to the input data of, say, wind direction.

Responsive architecture as problem solution Architectural design has become way easier with digitallydriven process and tools. Mathematical equations are preformulated in the algorithmic programs to provide analysis and solutions to problems. Architecture as a problem-solving tool, can now response to larger scope of the issue of relationship of human and environment more effectively than before. Not only in performance aspect, faรงade and structural design is achieved high accuracy and various

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Louisiana State Museum & the sports hall of fame/ trahana architects Natchitoches, United States, 2013

Among the architectural projects that uses computational design approach, Louisiana State Museum is an excellent example. Its form demonstrates seamless spaces which traditional design method can never achieved. At the same time, the museum is also the Sports Hall of Fame. To express the dialogue between history and sports, it is designed to incorporated the two contrasting value in one whole building, using different approaches. Sports is interpreted as a component of the cultural history rather than as independent themes.19 To express this, the architectural representation of ‘sports’ is contained within the skin of ‘history’.

Seamless interior surface Architectural design is a tool to explore interconnections between the two themes. To visualize this idea, the undulating interior exhibit spaces flow visually and physically together, sculpted out of 1,000 digitally milled cast stone panels which seamlessly integrate all building components.20 This dynamic flow reflects the ancient river’s fluvial geomorphology. The white panels serve as screens for film exhibit with illumination from skylight above. Rather than separating the exhibition spaces in two distinct levels, the curving structural volume allows the galleries to gently flow into each other.21 It gives a continuous architectural walking experience from outside to inside, further merging the design context.

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The historical representation of the building is inspired by the riverfront setting and the 17th century bousillage found in the region. The exterior envelope is made up of pleated copper panels that form louvres, which is a huge contrast with the sinuous entry and foyer within, highlighting the dialogue between the urban and natural environment. 22

Role of parametric design The flow of spaces in the building is extraordinary. The CNC programming system has enabled the fabrication of highly-precise curvature, as well as the joints, which is the biggest challenge for seamless surface. Computational design, especially parametric design, undoubtedly, has transformed the perception of public towards building which is traditionally consisted of edged geometries. Architecture as design language is successful to convey the message of fostering communication between the two previously independent collections. Indeed, this example shows a good example of architectural representation aided by modern technology. The objective of our sculptural design for Land Art Generative Initiative is to convey message to the public that energy-generation plant can be beautiful. The flowing organic seamless design form is suitable for conveying our message and softens the urban landscape around the given site. However, it might not suitable as the shape of the energy-collecting components, as the lack of edge makes wind to flow through them instead of giving force to turn the component, if say, we will have wind blades.

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Trahana Architects, ‘Louisiana State Museum’ , <http://www.trahanarchitects.com/158624/1645131/featured-work/louisiana-state-museum> [accessed 27th March 2014] 20 ArchDaily, ‘Louisiana State Museum and Sports Hall of Fame / Trahan Architects’ . <http://www.archdaily.com/?p=428122> [accessed 28th March 2014] 21 Dezeen, ‘Louisiana State Museum and Sports Hall of Fame / Trahan Architects’ , <http://www.dezeen.com/2013/10/20/louisiana-state-museum-andsports-hall-of-fame-by-trahan-architects/> [accessed 28th March 2014] 22 Trahana Architects. 19

A 3 composition/generation

The emergence of computation has transformed the discourse of architecture to a brand new era. The impact is inevitable and has brought more good than harm. Architecture, in just few decades ago in 1970s, is still mainly practiced with traditional design approaches of hand sketches and drawings. In 1980s, computer-aided design programs has reduced the need of manual drafting and thus changed the internal organization of architecture firms.23 If 3D modelling helped architects to visualize their ideas and promote better communication, generative design involves directly in the design process, that architect does not necessary have the form visualized in head. Recent years, generative design has emerged as the sought after design approach in architecture, forming the new modernist in the field. So, what is this powerful tool?

“Generative design is a morphogenetic process usiing algorithms structured as non-linear systems for endless unique and unrepeatable results performed by an idea-code, as in Nature” - Celestibo Soddu24 As defined by Soddu, it emulates the morphogenesis process in nature, like those in the cell growth and cellular differentia-

tion. In this case, parameters drive geometry. Different from the pen-and-paper design, generative design is practiced by setting a set of rules, with or without knowing the end result of the form. It differentiates the parametric Building Information Modelling(BIM) is that they contains within themselves greater design possibilities. 25 It involves the creation and modification of rules that interacts to generate the final design autonomously. The design process becomes meta-design where the final product is the result of the emergent properties of the interacting system. 26 The concept of design thinking is totally changed.

Chances of accidental design In my opinion, it reduces the control of architect on the finished product, which is indirectly killing imagination, at least for now. The ease of manipulating design in any stages before construction by changing a few parameters encourages too many chances of accidental design. The novelty quality of design will increase due to generative design approach, although it does not entirely come from the architect’s mind, but with integration of digital morphogenesis. Another issue is, any person that knows the operation of the programs can create a complex form. However, even if this was true, it is not a major concern as the end users would not

K. Lalit Narayan, Computer Aided Design and Manufacturing (New Delhi: Prentice Hall of India, 2008). p. 3. Celestibo Soddu, Quotes, <http://www.argenia.it/papers.html> [Accessed 26th March 2014] 25 Sivam Krish, ‘End of CAD Part II’, Generative Design, <http://generativedesign.wordpress.com/>, [Accessed 26th March 2014] 26 Dorin, A., ‘Aesthetic Fitness and Artificial Evolution for the Selection of Imagery from the Mythical Infinite Library’ in Kelemen, J. & P. Sosík (eds), Advances in Artificial Life, Proceedings of the 6th European Conference on Artificial Life, vol. LNAI2159, (Springer-Verlag:Prague, 2001) , pp. 659-668. 27 McCormack, J., Dorin, A. and Innocent, T. , ‘Generative Design: a paradigm for design research’ in Redmond, J. et. al. (eds) Proceedings of Futureground, (Design Research Society :Melbourne, 2004), p. 3. 28 Daan Willems and Ole Werner, An Introduction to Genrative Design, (Lecture Note, Eindhoven University of Technology), < http://www.ds.arch.tue. nl/7at79/publicaties/ffd_wk4_generative.pdf>, [Accessed 26th March 2014] 23 24

affected by it. I see this as a transformation of the concept of designing, which will involve more and more digital tools.28

Benefits Nevertheless, the digital approach to design brings relatively more benefits than drawbacks to the industry. The ability of generative design to generate complexity, or commonly referred to database amplification, whereby components of a given complexity generate aggregates of far greater behaviour or structural complexity27 , has benefited most design industries. These includes electronic music and algorithmic composition, computer graphics and animation, demo scene and vj culture, fine arts, product design and architecture design. Computer programming becomes an important part of the architectural discourse. Scripting liberates the designer by automating their routine and repetitive design activities, gives them more time to spend on ideation. 29 From commercial aspect, it is welcomed as with digital fabrication technologies, construction time is shortened and new file-to-factory protocols can be taken advantage of.30 Time is money. This eventually fastens urbanization in some countries. With digital fabrication, more variety of new forms can be realized in physical world.

La Sagrada Familia, Barcelona For instance, Antoni Faudi’s La Sagrada Familia in Barcelona will be facing a much easier solution with the aid of computation. It is considered as “the most extraordinary personal interpretation of Gothic Architecture in the entire world history” .31 The notable examples include his innovative leaning columns that seems structurally unbuildable at his time and the extremely detailed and ornamental building skin. That was back in 1883. Today, after 131 years, it remains one of the most extraordinary construction projects.32 The building is not finished due to war, funding and construction technology issues. Most of the ornaments on the façade are repetitive, meaning that the facade can be generated parametrically and prefabricated with computational programs. This example proves that generative design technology increases the possibility to achieve highly complicated geometries. I believe that in the near future, 3D printing can be realized on structural materials with factoryscale machinery. Nowadays, scripting, as in computation, is integral to designer’s skill rather than a technical speciality.33 It should be widely accepted in the practice and use it as a stepping stone to greater achievement in architecture.

Mark Burry, Scripting Cultures: Architectural Design and Programming (Architectural Design: UK, 2011), Introduction, < http://au.wiley.com/WileyCDA/WileyTitle/productCd-0470746424.html>, [Accessed 26th March 2014] 30 Mark Burry, Introduction. 31 Rainer Zerbst, ‘Gaudí — a Life Devoted to Architecture.’, (Cologne: Benedikt Taschen Verlag GmbH and Co. KG., 1988), pp. 190–215 32 Mack Burry, Gaudí Unseen: Completing the Sagrada Família , <http://mcburry.net/gaudi-unseen/>, [Accessed 26th March 2014] 33 Mark Burry, Introduction. 29

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digital grotesque/

Micheal Hansmeyer & benjamin dillenburger zurich, 2013

This is the age of digitalized architecture. The popularity computation has transformed architecture like never befor changing the way this industry is operated, especially on th design approach.

Nature has always been the major influence on the form architecture. Before the emergence of generative design, th emulation of nature is superficial, which is restricted on th copy of the form. However, generative design is now takin inspiration from the natureâ&#x20AC;&#x2122;s morphogenesis process to crea a series of repetiting form.

The Digital Grotesqueâ&#x20AC;&#x2122;s exhibition is fundamentally usin generative design method to create a fully immersive, human scale architectural object with an astonishing level of mocr detail. The geometry consists of 260 millions of individu facets 3D-printed at a resolution of a tenth of millimeter, a contain in a 3.2-meter high, 16 square meter room.

Both the achievement in digital design and fabrication a proved to break the limitation of computational architectur It bridges the gap between virtual design and realized ou come in the physical world. In this project, with the conce of repetitive folding of a basic form, they designed a rule the computer to have the form generated automatically. Th use the information contained in the forms to create contr the folding and increase variety, for example, radius, length Michael Hansmeyer- Unimaginable Shapes, (Ted Talks, 2012), <http://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes/transcript>, [Accessed 26th March 2014] 35 Interview with Michael Hansmeyer, interviewed by Lawrence Lek, <http://www.thewhitereview.org/interviews/interview-with-michael-hansmeyer/>, [Accessed 27th March 2014] 36 Michael Hansmeyer, Digital Grotesque, <http://www.michael-hansmeyer.com/projects/digital_grotesque_info.html?screenSize=1&color=1>, [Accessed 27th March 2014] 34

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planarity of surfaces and curvature. They were establishing a relationship between a property of a surface, i.e, a set of rules. What they are designing is not the form, but the process. Thus, once the rule is set, the process can be carried out digitally over and over again. 34

Design with no constraints According to Hansmeyer, his process can be explain using the metaphor of origami, where folds takes you from a flattened surface to a shape, like a swan. In the virtual world, “you free yourself from the physical constraints of origami; and by bringing the geometry into the computer, you free yourself completely as surfaces can intersect, stretch, shrink and so on. All this wouldn’t be possible if you were in the physical world.” 35 Indeed, the ability to generate form quickly with large possibilities is a huge advantage brought by generative design. This project also overcomes fabrication challenges by using additive manufacturing technology to a real architectural scale. It is made of sandstone, which is a conventional construction material of high strength. This technique allows the fabrication of large scale elements with high resolution and accuracy at a competitive price and in a short period of time.36 The biggest advantage other than having to create highly-detailed components is its self-supporting feature, which can then be used in construction industry.

Hansmeyer’s former project, the “Columns” had also intended to transform generative pattern into structural object, which can be eventually use to support loads.

Dependency in artificial minds This project envisages the future of architectural movement into the completely digital age. However, this inseparable relationship between human and computer still holds risk in there. This dependency in artificial minds will degrade the development of creative thinking in the form of hand making, such as wood-crafting, hand drawing, origami and many more. Computer programs bring too much convenience and ‘presets’ to the users, which directly kills creativity. People’s value of aesthetic will change. Nevertheless, cultural value needs to be preserved and sustainable design should be given focus instead. The pursue of fanciful form should not be overriding the fundamental value of building space that is building for the sake of the users. The Digital Grotesque project demonstrates a design method for ornamental components, which is suitable to apply in the Studio Air’s sculpture design. This could be the precedents for us to fulfill the aesthetic requirements.

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Advanced Architecture Lab- Digital Fabrication Method, Representation & Assembly Logic/ The City University of New York’s City Tech’s Fuse Lab New york, 2014 Similar with the Digital Grotesque project, this precedent is an example of computational design that leads to astonishing fabrication outcome. The interesting part about this project is the exploration of architectural building materials to the fine arts quality.

Exploration of material quality It is a project of the The City University of New York(CUNY)’s City Tech’s Fuse Lab conducted by Brian Ringley. Instead, it is actually a university subject on the areas of computation, fabrication, Building Information Modelling(BIM) and building performance analysis.36 Throughout the course, students will apply 3D modelling and parametric skill as well as exploration of material quality. They are required to reproduce pattern from the Rococo, the French rocaille and coquilles(stone and shells respectively) from Baltic Birch Plywood using computer numerical control(CNC) milling technology.

Subtractive technique of cutting The brief proposes that any given moment along the material will have a direct relationship between cutting depth, material performance and material aesthetic.37 Plywood, unlike steel, concrete or sand, has natural ring patterns on its surface and every single faces are different. The understanding of the material strength and pattern is thus very important. This sensibility can be practiced and used to enhance existing performance benchmark when dealing with architectural design of daylighting, ventilation, drainage, acoustics, etc. It can be achieved by subtractive techniques like those of Rococo sculptors, using material composites, fluted end mills, and G-code. 38

I am truly amazed by the delicate sculpting technique that is so sensitive that it blends in elegantly with the natural wood pattern. Material is the core of the building and with whatever design approach it uses, material performance will still stand out. This indicates the careful choice of material and sensibility towards its application. The advancement of computational design and fabrication technology causes chaos about the complexity of form that human cannot achieve previously. In this case, technology reduces the constraints of materials retains the hand-craft novelty of sculptor while realizes it in a more cost-effective and time-saving way.

Balance of both digital and traditional craft Digitally-driven design needs might be precise but may feel sterile and distant from human body. Traditional design still needs to be preserved. A unique hybrid of both digital and hand craft quality could merge connection accuracies with subtle but sensual divergences between repeating modules. 39 There should be an equilibrium in architecture to prevent overwhelming response to digitally-driven architecture, which could lead to adverse effect. For application of the concept in our design, sensibility to the treatment of material should be taken care of. Materiality and form need to be looking beautiful together. Wood, although light and naturally decorative, is not resistant to weathering. We might like a design that is generated parametrically but incorporate the activities of elements from nature, for instance, grass and leafs which move with the winds. I hope we can produce something that is new, breaking of from the form of traditional wind blades.

Brian Ringley, Dig Shop#1 : Flip Milling, 2013, <http://www.arch.rpi.edu/2014/02/digshop-s14-ringley/>, [Accessed 27th March 2014] Advanced Architecture Lab- Digital Fabrication Method, Representation & Assembly Logic, (Subject Outline, CUNY: 2014), < http://homepages. uc.edu/~ringlebt/>, [Accessed 27th March 2014]

36 37

38 The Edge: Brian Ringley, Embracing Design Technology., Novedge, 2013, <http://blog.novedge.com/2013/06/the-edge-brian-ringley.html>, [Accessed 27th March 2014] 39 Joseph Choma, Project contested Boundaries: Digital Fabrication+Handcraft, MIT Architecture, <http://www.architecture.mit.edu/computation/project/contested-boundaries-digital-fabrication-hand-craft>, [Accessed 27th March 2014]

A 4 conclusion

In a nutshell, digitally-driven design process especially computational design is leading the architectural industry and brings enhancement to current design technology. Basically, the emergence of this kind of generative design widens the choice of design possibilities as well as shortens the overall project time of an architectural project. It should be welcomed and accepted by architects as a necessity but not an extra skill in the design process. My intended design idea is using wind belt to generate electricity. The source of wind doesn not neccesary comes from natural wind, but can be any kind of air vibration. I chose this method as I think the flow of wind is an elegant movement itself, and so it will be potential to capture its movement and develop it into a beautiful sculpture. This responsiveness that can be seen is something I wish to have in my design as for me, this sensitivity is crucial for every kind of architecture to truly interact with the environment. Computational approach will be helping a lot in the design process and hopefully the design outcome will be fit well to the purpose.

Besides, I will iinclude components of interactive structure in the sculpture, so to encourage the public to learn about sustainability when playing the â&#x20AC;&#x153;structuresâ&#x20AC;?. Through experience, education purpose will be better achieved. As the purpose of building the sculpture is to increase public awareness about renewable energy, it is significant to deisgn in this way. The Copenhagen residents will be benefited by this sculpture, as an art piece that decorates the city as well as a monument for the important of renewable energy. This is especially important for younger generation as they are the future. The government will also gain advantage when the area might become a tourist destination. Moreover, my team and the rest of Studio Air students are going to learn a lot of design theory and computational skill in this process. This will be an exciting journey of designing.

A 5 Learning Outcome At the beginning of the semester, I am not quite sure about the importance of computational design. I know that the architectural industry ahs transformed a lot due to the emergence of software technology but have no idea about the method to execute it. This module provided me a fundamental understanding of computational design and its impact to architectural revolution. Both computerization and computational softwares are not a piece of cake for me and its learning process takes a lot of patience. After the end of this module, I have truly understand the benefit and importance of gaining the skills as a prospect for my possibily future career in architectural industry. Skills regarding architectural documentation and designing programs will help me to produce quality presentation drawings and design and I guess that is what being an architect is about.

references Advanced Architecture Lab- Digital Fabrication Method, Representation & Assembly Logic, (Subject Outline, CUNY: 2014), < http://homepages.uc.edu/~ringlebt/>, [Accessed 27th March 2014] ArchDaily, ‘Louisiana State Museum and Sports Hall of Fame / Trahan Architects’ . <http://www.archdaily. com/?p=428122> [accessed 28th March 2014] Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3-62 Brian Ringley, Dig Shop#1 : Flip Milling, 2013, <http://www.arch.rpi.edu/2014/02/digshop-s14-ringley/>, [Accessed 27th March 2014] Celestibo Soddu, Quotes, <http://www.argenia.it/papers.html> [Accessed 26th March 2014] Daan Willems and Ole Werner, An Introduction to Genrative Design, (Lecture Note, Eindhoven University of Technology), < http://www.ds.arch.tue.nl/7at79/publicaties/ffd_wk4_generative.pdf>, [Accessed 26th March 2014] Dezeen, ‘Louisiana State Museum and Sports Hall of Fame / Trahan Architects’ , <http://www.dezeen.com/2013/10/20/ louisiana-state-museum-and-sports-hall-of-fame-by-trahan-architects/> [accessed 28th March 2014] Dorin, A., ‘Aesthetic Fitness and Artificial Evolution for the Selection of Imagery from the Mythical Infinite Library’ in Kelemen, J. & P. Sosík (eds), Advances in Artificial Life, Proceedings of the 6th European Conference on Artificial Life, vol. LNAI2159, (Springer-Verlag:Prague, 2001) , pp. 659-668. Interview with Michael Hansmeyer, interviewed by Lawrence Lek, <http://www.thewhitereview.org/interviews/interview-with-michael-hansmeyer/>, [Accessed 27th March 2014] Jan Cuny, Larry Snyder, and Jeannette M. Wing, Demystifying Computational Thinking for Non-Computer Scientists ( work in progress: 2010) Joseph Choma, Project contested Boundaries: Digital Fabrication+Handcraft, MIT Architecture, <http://www.architecture.mit.edu/computation/project/contested-boundaries-digital-fabrication-hand-craft>, [Accessed 27th March 2014] K. Lalit Narayan, Computer Aided Design and Manufacturing (New Delhi: Prentice Hall of India, 2008). p. 3. Kostas Terzidis, Algorithmic Architecture (Boston, MA: Elsevier, 2006), p. xi Michael Hansmeyer- Unimaginable Shapes, (Ted Talks, 2012), <http://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes/transcript>, [Accessed 26th March 2014] Michael Hansmeyer, Digital Grotesque, <http://www.michael-hansmeyer.com/projects/digital_grotesque_info. html?screenSize=1&color=1>, [Accessed 27th March 2014] McCormack, J., Dorin, A. and Innocent, T. , ‘Generative Design: a paradigm for design research’ in Redmond, J. et. al. (eds) Proceedings of Futureground, (Design Research Society :Melbourne, 2004), p. 3. Mark Burry, Scripting Cultures: Architectural Design and Programming (Architectural Design: UK, 2011), Introduction, < http://au.wiley.com/WileyCDA/WileyTitle/productCd-0470746424.html>, [Accessed 26th March 2014] Mack Burry, Gaudí Unseen: Completing the Sagrada Família , <http://mcburry.net/gaudi-unseen/>, [Accessed 26th March 2014] Most Unusual Homes in the World, Yahoo Finance, <http://ca.finance.yahoo.com/photos/most-unusual-homes-inthe-world-slideshow/hong-kong-architect-gary-chang-rests-in-a-hammock-inside-his-32-square-metre-apartmentin-hong-kong-photo--770037856.html> [accessed from 24 March 2014] Narayan K. Lalit, ‘Computer Aided Design and Manufacturing’ ( New Delhi: Prentice Hall of India, 2008), p. 3, < http://books.google.com.au/books?id=zXdivq93WIUC&printsec=frontcover&redir_esc=y#v=onepage&q&f=false>[a ccessed 26th March 2014] Rainer Zerbst, ‘Gaudí — a Life Devoted to Architecture.’, (Cologne: Benedikt Taschen Verlag GmbH and Co. KG., 1988), pp. 190–215 Robert Ferry & Elizabeth Monoian, Design Guidelines, (Copenhagen: Land Art Generator Initiative, 2014), p.8. Sivam Krish, ‘End of CAD Part II’, Generative Design, <http://generativedesign.wordpress.com/>, [Accessed 26th March 2014]

The Edge: Brian Ringley, Embracing Design Technology., Novedge, 2013, <http://blog.novedge.com/2013/06/the-edgebrian-ringley.html>, [Accessed 27th March 2014] Trahana Architects, ‘Louisiana State Museum’ , <http://www.trahanarchitects.com/158624/1645131/featured-work/ louisiana-state-museum> [accessed 27th March 2014] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg,2008), p.10. <http://www.naturalwalls.com/2013/03/01/essay-the-future-of-building-biomimicry-and-architecture/> [accessed 24 March 2014] Victor Hugo, The Hunchback of Notre-Dame in Good Reads, < http://www.goodreads.com/quotes/tag/architecture> [accessed from 24 March 2014] Winston Churchill, in Good Reads, <http://www.goodreads.com/quotes/tag/architecture?page=2> [accessed 24 March 2014] Yannick Heywang, The Hunchback of Notre-Dame in Good Reads( 2014), < http://www.goodreads.com/quotes/tag/ architecture> [accessed from 24 March 2014] Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25.

image sources 1 http://www.archdaily.com/488701/imai-katsutoshi-sasaki-associates/ 2 http://www.archdaily.com/488701/imai-katsutoshi-sasaki-associates/ 3 http://www.archdaily.com/488701/imai-katsutoshi-sasaki-associates/ 4 www.archdaily.com/479983/new-mountain-hut-at-tracuit-savioz-fabrizzi-architectes/ 5 www.archdaily.com/479983/new-mountain-hut-at-tracuit-savioz-fabrizzi-architectes/ 6 www.archdaily.com/479983/new-mountain-hut-at-tracuit-savioz-fabrizzi-architectes 7 www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/ 8 www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/ 9 www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/ 10 www.archdaily.com/428122/louisana-state-museum-and-sports-hall-of-fame-trahan-architects/ 11 www.archdaily.com/428122/louisana-state-museum-and-sports-hall-of-fame-trahan-architects/ 12 www.archdaily.com/428122/louisana-state-museum-and-sports-hall-of-fame-trahan-architects/

P A R T b criteria design

“

The most innovative designers consciously reject the standard option box and cultivate an appe tite for thinking wrong. Marty Neumeier

”

RESEARCH FIELDs pat terning

[ 16 ] [ 17 ] [ 18 ]

[ 19 ]

Parametric design as a recent trend of architectural design approach has imposed many challenges when it comes to realization. The forms created might be beyond imagination. Turning digital design on computer to real building is a long and tedious process. It has to be realized by a material system accompanied by digital technologies to represent and precisely fabricate artifacts of almost any complexity.1 Practices with cross-disciplinary expertise are emerging to enable the design and construction of new formal complexities and tectonic intricacies. 2 The possibility of material capacity is brought to a new high. Structural system can be parametrically designed to use unconventional materials to fabricate. It could be a challenge as well as a design opportunity, considering the mutability of materials. As discussed in Part A, our groupâ&#x20AC;&#x2122;s design direction is wind energy. It requires an element that captures movement, which is something that is dynamic and responsive to the movement of wind. We have decided to explore the material system of â&#x20AC;&#x153;patterningâ&#x20AC;?, considering its possibility to have the sculpture parts to move. Patterning is a system that is designed in an repetitive or predicted manner, mostly consisted of paneling small parts to an overall structure. Patterning design is good in its ability to translate curvature by controlling the size of each components. It broadens the possibility to generate curve surfaces, especially ones that could respond to the properties of wind, i.e, free-flowing form. We like the idea that a surface can be parametrically designed to have variable patterns. Patterning is used at many places since the start of architectural history. Brick arrangement is patterning. Some stained glass window motif is patterning. Complexity of the patterns can be created through parametric design easily. Examples of projects that have applied patterning system will be discussed further.

Branko Kolarevic & Kevin R. Klinger , Material Effects(New York: Routledge, 2008), p.7 Branki Kolaveric, p.9

1 2

aqua tower/

C hic ago, 2000 Studio Gang Archite cts Standing at a 82-storey height, it is one of the few skyscrapers which accommodate community on its façade. The design is inspired by the striated limestone outcroppings usually seen in the Great Lakes area. The floor seems to stack on top of each other on a flat plane arranged according to the shape of the limestone cropping, with curtain wall throughout the wall perimeter.

[ 20 ]

We were impressed by this building as the façade is not only aesthetically looking-good but functional. The extra curvature of the floor plane is extended out to form the balcony both to extend views and maximize solar shading. 3 It inspired us to a form that incorporates functional and aesthetic value in one, which meets the requirement of high efficiency.

AU Offic e& Exhibition Space/ Shanghai, 2010 Archi Union Archite cts Inc

Parametric processes have been used here to superimpose the contours and definition of silk undulating in the wind – a sign of its past. The wall consists of concrete blocks, angled to create an interesting texture and varying amounts of light. The wall consists of bricks angled accordingly to form a curve wall, like silk undulating in the wind. 4The degree of smoothness of the wall is depending on the size of the modular bricks, the smaller it is, the smoother the curvature. The hollow brick creates a varying density of light penetration when looking from different angles.

[ 21 ] 3 4

The seemingly “changing” façade and texture due to its hollow core and three-dimensional arrangement inspired us about the importance of choice of shape of components and its delicate arrangement. The difficulty when it comes to panel it in real life will be a concern regarding the practicality of our design. Besides, the multi-directional brick will be a good reference for channeling wind from varied direction.

ArchDaily, “Aqua Tower / Studio Gang Architects”, <http://www.archdaily.com/?p=42694>, [Accessed 02 May 2014] ArchDaily, “AU Office and Exhibition Space / Archi Union Architects Inc,” <http://www.archdaily.com/?p=82251>, [Accessed 03 May 2014]

MoMa PS1 finaList: Reef/

Young Archite cts Program, 2007 Iwamoto S cott

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ICD/ITKE Research Pavilion Stuttgar t, 2011 University of Stuttgar t

[ 23 ]

This installation exhibits the atmospheric, cloudy floating organism and those of the deep-sea floor shell animals with the aid of parametric patterning tools. 5The “clouds” are semitransparent sheets with hole that fixed to the rib of the curved surface. The lightness of “cloud” is depicted through the kitelike structure as if the sheets are floating on the air. In contrast, wooden material is used to create the patches of deep sea organism to express its sense of weight. The contrast of materials used creates a promising deep-sea environment. The experience is enhanced when the installation is wrapping us around to give the sense of enclosure anfull indulgence. As education is the major objective of our project, interaction will be a priority in design consideration. This inspired us to look carefully at the choice of materials and scale to create the interactive environment at the right scale.

This project explores the biological principles of the sea urchin’s plate skeleton morphology by means of novel computer based design and simulation methods. 6 It is interesting as in its high degree of adaptability and performance of the polygonal wooden plates, connected to each other by finger joints. Three plate edges are joint together at one point, which allows the transmission of normal and shear forces but no bending moments between the joint, resulting in a flexible deformable structure. 7 Form finding and structural design are closely interlinked. The method of connection of joint can be a good reference to be applied in our project. In this pavilion, cell sizes are not constant to allow adaptation to local curvature and orient themselves according to mechanical stress. However, finger joint can only move in one direction. Depending on our design, the joint might be modified to move in at least 2D direction, or fix at one point to form rigid joint. The joint of the pavilion is created within the panel itself, meaning there is not connecting component like screws, making it a simple and smooth surface which is what we want to achieve.

MoMA, “PS1 Finalist 2007- REEF- IwamotoScott”, < http://www.moma.org/interactives/exhibitions/yap/2007_iwamotoscott>, [Accessed 03 May 2014] Dezeen, “ ICD/ITKE Research Pavilion at the University of Stuttgart,” < http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-ofstuttgart/>, [Accessed 03 May 2014] 7 Dezeen. 5 6

Analysis

functional

intensity of light

• • •

Incorporate aesthetic and functional Joint movement Create human interaction for all walks of life

material/experience

joint/flexibility

Aspects

Potential challenges

CASE STUDY 1.0 de young museum Sanfranciso, 2005 Herz og & de Meuron

The new M. H. de Young museum is a replacement for the original building that was demolished in 2000 due to earthquarke. The intersting part of this museum is the exterior facade. The copper facade is perforated and textured to replicate the shadow made by light filtering thorugh tree canopy. When most of the architects want the building to be persistently looking good and maintain its original glory, Herzog & de Meuron intentionally chose copper for its changable quality through oxidation. Through time, the facade will turn green, blending into its natural surroundings.

[ 24 ]

The perforations are variably-sized circles mapping the intensity of the light. It is parametrically designed by an engineering and fabricating company A. Zahner Architectural Metals, working closely to create the facade concept. The analysis of this case study started with understanding the Grasshopper script given. The original copper sheet design is consisted of indentations and perforations with patterns varied throughout the building surface. The case study gave us the opportunity to explore different parameters to create surprisingly varying results. Each rows of iterations are created by changing one parameter at a time.

[ 25 ]

[ 26 ]

matrix 1.0

[1] surface edge

[2] perforation shape

[3] intensity

[4] arrangement

[5] image sampling

[6] indentation/3D perforation

selection criteria • structural feasibility Structural system is the uttermost important aspect to realize our sculpture.

brief response • Create a scupture that generates electricity while still appealing aesthetically to public. Efficency and function need to be well integrated as one to address the brief.

• interative & educational Interactive is an efficient approach to education. The sculpture should be interactive with the users and provoking enough to educate people about the importance of energy generation.

Cross-species We went on to try on altering several species at a time to create cross-species results. Nevertheless, we found that iterations with single specie are generally more interesting compared to a cross-species outcome. By manipulating only one specie, the design is bold and its visual impact is strong.

The gradient of intensity is successfully depicted in this iteration. The dots are distributed gracefully , like a patch slowly dissolves into the surface. This is similar with the original texture of deYoung museum, incorporating indentation and perforation in one.

Overall pattern is well intergrated. some dots are kept constant in size while other are variably size in gradient. Pattern is fitted more nicely in square or rectangular then any other shapes,which may shift focus to other point.

Four most interesting iterations

Pattern is simply created using variably sized circles, The gradient in size creates a sense of 3D curvature on the surface. However, circles are overlapping in the middle which couldnâ&#x20AC;&#x2122;t be fabricated before re-adjust it. In this case, simplicity creates string visual impact.

This is created using image sampling method. The setting is adjusted so that the size of circle is distinctly different to clearly show the outline of the image. Combining indentation and perforation, this simple pattern can be a potential pattern to depict specific image on surface.

B 3 CASE STUDY 2.0

japanese pavilion Hannover, G ermany, 2000 Shiger u Ban & R ap Kapp er

Designed by the Japanese architect Shigeru Ban with German architect and pioneer in lightweight architecture Otto Frei, The pavilion is a great leap in the field of paper architecture. It is a great achievement in materials and structural performance in architecture. The pavilion is consisted of three layers of “tunnel”; which are, inner paper tube structure, additonal supporting timber frame of ladder arches and a roof membrane. The theme of the expo is “environment”, thus the goal was to produce it using recycled or reuse materials and produce as little industrial waste as possible. Ban proposed the use of lengthy paper tubing without joints to cut down the high cost of wooden joints.8 The other goal was to use low tech method with fabric or metal tape. This added challenges to the construction. The original idea was having just the paper tube as the structural system. However, in order to gain legal approval in Germany, a wooden structure is added.9 This compromise in design actually added further reinforcement to the long side of tubes.

Selection of Grid How could paper tubing span 72m long? The weakness point is at the lateral strain of the long side of tube. To solve this problem, instead of construct a simple arch of smooth tunnel, a grid shell of three-dimensional curved lines with indentations in the height and width is constructed to increase the lateral strain.

Additonal support system Otto Frei suggested a fixed timber frame of ladder arches and intersecting rafters which increase the rigidity of the paper-tube grid shell which allows the roof membrane to be attached on.

Roof membrane The idea of using PVC opposed the goal of the project as it will emit dioxins when burned. A water resistant and fire retardant paper roofing is used instead10, which also exhibits light-penetrating properties.

Louvres Paper honey-combs in the shape of equilateral triangles are attached to opening as louvres for ventilation.

Joint The paper tubing is held together simply by tape. Diagonal metal bracing is inserted to tension the paper grid while allowing it to move in three-dimensions. We were inpressed by the construction method of the pavilion which is simple and low tech. The perfect curvature is amazingly stunning when the major materials is paper, which is influenced by Japanese Architecture. In fact, paper architecture is approved by minister of construction in Japan as a new structural method in Japan. 11This proved the feasibility of paper to achieve curvature while self-supporting.

8 ShigeruBan Architects, “Japan Pavilion, Expo 2000 Hannover.” < http://www.shigerubanarchitects.com/works/2000_japan-pavilion-hannover-expo/index. html>, [Accessed on 03 May 2014] 9 DesignBoom, “Japan Pavilion, Expo 2000,” < http://www.designboom.com/history/ban_expo.html>, [Accesssed on 03 May 2014] 10 DesignBoom. 11 DesignBoom.

Reduced design creditability Ban insisted on any addiitonal structural system is unneccessary12. This is still an unknown. Aesthetically, the creditability of the design is reduced with the addition of other parts of structural system. The complexity of layers where all the layers have different structural pattern made the design looks distracted.

Forced curvature Besides, the curvature of the paper tube is not pre-designed and well calculated to integrated to the tunnel shape. It was laid out flat on a temporary scaffold which used to push the grid into its final shape over 3 weeks. 13 In short, it is forced to curve to desired degree. The architectural value of the paper tube thus is mostly on the use of a feasibile material instead of a good construction considerations and method. The ladder-like arches acting as main supporting structural system, meaning the paper tube might be relying partially on it. The pavilion is stunningly beautiful, which is something we try to achieve in our sculpture. The structural part of the pavilion might be parametrically designed to create a system that could truly self supporting. Nevertheless. the three layers of systems are still a good inspiration to start our project.

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12 ShigeruBan Architects, “Japan Pavilion, Expo 2000 Hannover.” < http://www.shigerubanarchitects.com/works/2000_japan-pavilion-hannover-expo/index. html>, [Accessed on 03 May 2014] 13 DesignBoom, “Japan Pavilion, Expo 2000,” < http://www.designboom.com/history/ban_expo.html>, [Accesssed on 03 May 2014]

FORM

INNER FRAME

CENTRE STRUCTURE

OUTER PANELS

reverse engineering [1] basic geometry This will be the starting surface for all the other systems.

[2] inner frame (paper tubing) The lines are created by piping the lineworks that are created by joining different selections of points on surface.

[3] centre structure (timber frame of ladder arches) Provide lateral support to the other systems. Created easily by using the waffle grid script.

[4] outer panel (roof membrane surface) Surface panels created are depending on the number of edge points, which is affected by the lineworks.

final result

Parametric design process

curve

loft

divide surface

list item

line

piping+cap

loft

divide surface

list item

line

surface from 4 points

Inner Frame

curve

Outer panel

curve

loft

line

divide surface

waffle system +notches

Centre waffle structure divide surface (two sets of points will be joined in different directions)

Whatâ&#x20AC;&#x2122;s next? Our parametric reproduce of the Japan Pavilion is close to the original design with slight changes. The approach of having three layers designed separately is demonstrated in this case study. With the paper tubing system and supporting arches remain the same as the original design, we play with the roof membrane layer to add complexity to the surface. The paper roof membrane is only serving as water resistant and fire proof purpose, putting the context into our wind energy sculpture, the surface panels will be the rotating panels. For our sculpture design, we want to have an integration of layers. A hybrid system will be our goal, combining rib structure and panels as well as patterning from Case Study 1.0 to the final

design. This, hopefully, will be an ONE system having a strong visual impact and a suitable level of simplicity. This pavilion is a significant building in architecture. One of the challenges is to move away from its shape to think independently regarding our own design. The tunnel shape will definitely be omitted and a new solution will be explored. On the other hand, the joint system is its weakness thus carefull consideration will be taken when designing joints. We envisioned a more flexible joint that could integrate well with the panel system. After this Case Study, we started to have a clearer idea on how to realize our design.

Revision on selection criteria

• structural feasibility brief response • • interative & educational

+ design flexibility (hybrid) • The final sculpture should be a hybrid of different systems, instead of many individual systems.

technique: development a [1]

[2]

[3]

[4]

development 1.0 a

e [5]

[6]

[7]

[8]

[9]

[10]

The interesting ribbon-like patterned structure. The linework shows dynamicism and formality. I imagine the ribbon structure is a blade wind turbine and the frame is the supporting system. It is of high potential to be realized into a energy genrating system.

An integration of frame and 3D surface, this structure can be the supporting system that holds the wind turbine. Patterning can be applied at large scale, with solid and hollow surfaces as negative and positive point.

Four most interesting iterations

This example is a 2D perforated panel which holes placed randomly across the surface. Similar with , smaller holes are used. The size of holes control the accuracy and blurring of the pattern.

Triangulation is always better. Triangles when acting as frame is generally stronger and stiffer then four edges frame unless a diagonal bracing in used. This iteration can also be a potential patterned structure of the final design.

e e e revision for selection criteria

• structural feasibility brief response • • interative & educational

design flexibility (hybrid) •

n n -

Iterations at this stage have high design potential due to structural feasibility that slowly shown when going through design process. As discussed before, we want to have a hybrid system that integrates panel, joint and frame structure system. The iteration rows [1] and [2] show the manipulation of base form by changing the body of the original tunnel idea. Iteration rows [3] to [10] are basically patterned structures that integrate frame and panels, with some exceptions. Rows [7] and [8] show solely panels. Meanwhile, rows [5] and [6] have potential to develop further into final design as they have a solid rigid grid framing.

Perforations Pattern [1] image sampling

[2] shape of perforations

[3] point of attarction/ intensity

This time we tried on a simplier pattern, which will then be realized onto the wind turbine panel. Since the beginning, we see the gradual change in size of the perforations as interesting part that we could adopt into our final design. This arrangement of gradient exhibits intensity of light when shinning through the panel.

development 2.0

technique: prototypes a

aThisThick Paper | Flexibility of joints. joint method enables eachtriangle frame to adjust its angle of edges freely. The frame is able to expand and contract. Besides, the angle between triangular frames can also be changing freely.

b Thick Paper | Flexibility of joints. Explore a system without joint components. This is similar to the ICT/ITKE Research Pavilion in University of Stuttgart, which has

a finger cut on the edge of panel itself. In this prototype, the frame is cut to intersect each other which allow movement between frame.

c Balsa Wood | Flexibility of joints.

Using a similar method as [b], but this time balsa wood is lengthen to extend the whole length of structure. This prototype replicates the paper tubing system of the Japan Pavilion. The frame can also be expanded and contracted.

d Plastic tube | Flexibility of material. Explore a material that can be bend easily. According to the shape of pavilion, the plastic is able to span the width, providing that a resisting load is applied on the point of anchorment in the ground. The weakness is, if it can be bent easily, means it is too firmsy to support other weight(in this case, panel).

e Cardboard | Overall structure with fixed joint.

Triangular frames connecting to form shelter. Explore the scale relationship between user with sculpture.

fX-type Acetate | Panel vertical axis panel. The axis is made of paper tube, with a fixed joint to the panels. It could collect wind from different directions.

gH-typeAcetate | Panel vertical axis panel. Similar with [f], but the starting torque is very low, whichneed more wind to initiate movement. h Ivory Card | Blade Wind turbine with three blades. Working in a similar way as [f], the airplane-wing-like curvature appplies Bernoulli’s principle which increase the speed of wiind passing by the blade.

iWindAcetate | Panel turbine with three blades. Experiment with wind shows that turbine unit with three blades spins faster than a four-blade unit. This is due to less drag created by wind resistance. 14

jAnother Cardboard | Panel three-blade panel with a different axis joint. It does not need any connector but wind force will slowly weaken the joint. 14

Curiocity, “Wind Turbine Blades,” < http://www.explorecuriocity.org/Content.aspx?contentid=193>, [Accessed on 04 May 2014]

Building model in Rhinoceros

Fabrication Diagram

Wood & Ivory Card | Panel Assuming the frame is fixed, this panel examines the rotation of panel that is attached to the frame. Rhinoceros tool is used to building the model digitally and laser cut to 1:1 scale components. Resulting model is precise and rigid, thus the rotation is smooth. This might be adapted to the actual panel that we will use in the sculpture. Holes on the panel is a test for patterning on panel. Test shows that ivory card is still too heavy to rotate by natural movement. Only one hole is cut as it will reduce the torque of the rotation.

Prototype

Close-ups

Wood | Panel A much improved version of [k]. This is a laser cut model imitating the Savonius wind turbine. The rotation on this panel is smooth. However, the wooden strips used to keep the card in shape is too heavy to detect slight air movement. Besides, the joint on the edge is a fixed joint, meaning that the adjacent panel will be in plane with it, which opposed to the concept of having curved surface structure. These two points need to be improved to achieve our design goal.

Prototype Making Process

Paper strips > Folding & Cutting > Intersecting

Cut holes > Pre-curved the card > Fit the card into a cut line on the wooden strips > Glue it on

Performance Test

Joint | Compressing > Stretching

Structure | Lighting conditions: Direct light from side | Diffused light from top Panel | Panel Rotation Experiment <https://vimeo.com/93277811>

revision for selection criteria

• structural feasibility brief response • • interative & educational

design flexibility (hybrid) • • potential for further development It should be a starting point and role model for any other futher development of its kind.

+ form follows function • Overall form will be designed to collect strong effect of wind.

During the process, one of the selection criteria, the structural feasibility is our main concern. Our prototypes are done in stages. The earlier ones are used to have a visualization of the design practicality. They are the tools for exploration from idea to real model and to the next prototypes. This process is important to settle down the overpowering imagination especially when designing with Grasshopper which produces limitless iterations, where only a few could be realized. Materiality is another important aspect. Prototyping gets us to discover the potential of materials when it is used in different ways. For this stage, exploration of materials is still lacking and needs further study and experiement to find a suitable material to fabricate into different components.

Prototype [k] and [l] are ones that might be put into our final design due to its feasibility and stability. Laser cutting method will again be used due to its high accuracy. This includes the cutting of panel and perforations as well. Ivory card, is still too heavy to be turned by slight wind movement, a lighter material will be used to replace it. Form follows function. Despite being aesthetically good, which is objective and easier to achieve, function will be a higher concern for our next stage. The next step to be taken after this will be to think of a feasible form that could collect more wind to turn the turbine, while still provide great experience to the users.

technique: proposal

angin

A design proposal for Land Art Generative Iniatitive 2014, Copenhagen

lity i b i s a re fe u t c u rid) ...Str b y h ( ility b i x e gn fl i s e D . .. ergy e n s e n g o resp ratin f e e n i r e g B ... ion, t c n u f lows l o f m ...For ional t a c u ed & e v i ents t c m a r p e o t l eve ...In d r e h furt r o f l ntia .. .Pote x

a i r ite

design concepts

[ 28 ]

[ 29 ]

Savonius Wind Turbines

[ 30 ]

tECHNOLOGY

We decided to use Savonius wind turbine as our main component for energy generator. It is a type of vertical axis wind turbine. Vertical axis wind turbine Athough a horizontal axis wind turbine is more common, vertical axis one is chosen. The operational technique is based on drag. The wind is captured in the indention of the turbine, which causes the turbine to spin. On the other side, the air is foiled into the indention. This process repeats to spin the turbine. 14 Less limitation It could accept wind from all directions thus the placement position of it is not a concern, thus reducing the limitation on design. Environment wise, it is relatively quiet and harms no birds or people. Functions at low speed Its advantages over other turbines is its reputation for functionality at a lower speed as low s 11 mph. 15This kind of turbine generator and gearbox can be placed lower to the ground, 16 which is convenient for human interaction. Maintainenece is easy as no climbing tall is needed to reach the blades. Most importantly, it is very simple and can be recreated by any reasonably handy person. Cost is low as any waste materials can be used to fabricate it, such as plastic bottle cut into half. This fits the selection criteira of feasibility, educational purpose and potential for further development. 14 Background Research and Benchmarking, “Analysis of Streamlines,” <http://www.personal.psu.edu/mgs5117/project_2_page_4.html>, [Accessed on 03 May 2014] 15 Erik Andrus, The Savonius Rotor: A Durable Low TRech Approach to Wind Power (USA: University of Vermont, 2008), p.3 16 Conserve Energy Future, “Vertical Axis Wind Turbines,” <http://www.conserve-energy-future.com/VerticalAxisWindTurbines.php>, [Accessed on 03 May 2014]

[ 32 ]

experience

[ 33 ]

Tic Tac Toe Playgrounds Interactive Moving Panels

The major aim for this poject is to be an educational tool to raise awareness of the importance of energy generation as well as emphasize its approachability. Tic Tac Toe playground is our main inspiration for the concept. This is what we want to achieve. Scale Scale of the sculpture is important. Normally, public sculpture is built by adult for adult. This sculpture will take into account a scale suitable for the use of children who are the main target user. Change peopleâ&#x20AC;&#x2122;s mind The traditional wind mill is usually located at desserted area and built to tall height. The image has been instilled in the peopleâ&#x20AC;&#x2122;s minds that wind turbine is polluting the natural landscape. With this sculpture, we hope to give the impression that energy generator can be approachable and beautiful. Fun learning for children Tic Tac toe is located close to neighbourhood and became a toy for the children. It is interactive, fun an simple. To recreate this experience, the rotating component should be looking good to attract them.

[ 35 ]

[ 37 ]

[ 34 ]

[ 36 ]

[ 38 ]

de Young Museum by Herzog & de Meuron

[ 39 ]

pat terning

In the final design, the idea of patterning in Herzog & de Meuronâ&#x20AC;&#x2122;s de Young museum is applied. We omitted indentation and printed pattern as the former looks unpleasing and the latter is purely for aesthetic purpose. Light pattern & channeling wind In this stage, we have the wind panel perforated to control the penetration of light, especially when seen from the inside of the sculpture. It also helps in channelling the wind to the holes and increase its speed according to Venturi effect.17 This gives more wind force to the panel beside it. To have or not to have At first, we are struggling with whether to have the perforations on panel or not to have. This is in consideration that wind might just passing through the holes, reducing the effective surface area to collect wind. Further Development Due to time constraint, this section of the design is not developed into a promising outcome. For further development, we might be considered looking at pattern at larger scale, which may be treated the sculpture as a whole surface. The downside is that this will cause each panel to be fabricated separately, which is not cost-efficient. Further development will be made easy by parametric design tool when each panel is a division point of the surface. Nevertheless, a compromise will have to be made to find the best balance between the two. 17

Wolfram Demonstration Project, â&#x20AC;&#x153;Venturi Effect,â&#x20AC;? < http://demonstrations.wolfram.com/TheVenturiEffect/>, [Accessed on 03 May 2014]

[ 40 ]

[ 41 ]

structure

[ 42 ]

Japan Pavilion , Hannover by Shigeru Ban& Ray Kapper

Japan Pavilion is the main reference for the final design. It is a starting point for our design approach, in which we are having a hybrid system incorporating the layers of systems into one. A Hybrid Throughout the design process, we explore structure, joint and panel system. To get the three systems integrated into one is a considerable big challenge, especially when playing with curved surface. Treating the large surface as small unit components The weakness of Japan Pavilion is avoided by not having the materials forcing into curvature. This indirectly meant that we will split structure into small components surface and focus on the joints between each unit. The success of the wind panel prototypes made us decided to take the panel as starting point. We then design a form that is responsive to the site. By incorporating the panel system into the form, a final structure is created.

Panel system + Form = Final structure

[ 44 ]

[ 43 ]

[ 46 [] 31

[ 45 ]

“8”-House, Copenhagen by BIG Architects

]

geometry

The form finding process is crucial as the first point of attraction to the public. A responsive form The study of site context keeps us on track to produce a responsive design and avoid designing it into an alien that awkwardly placed on the site. Parametric design approach is used to explore a responsive form to both site and wind conditions. This example from BIG architects gave us an insight to a responsive form. We have always admired the design from this firm as being efficient in responsive form making. This example is a mixed-use building incorporating apartments block stacked together to form a “8” building. The original rectangular form is pinched at the centre to form an “8” to allow access across the building which leads to a local attraction on the other side. One edge of the “8” form is drag down to create a sloping site which could be accessed by bicycle, which is a popular transport method in Copenhagen. Every change they made is supported by good reasoning and responsive to site and cultural aspects. Potential space in created by closed curve Despite its responsiveness to the site, the “8” form inspired us to look at closed curve, by which the hollow space in the middle is a potential area for public interaction. Our process of form finding is recorded as matrix in the following page.

form finding 1

[1] Series of tunnels Sine curves of different curvature are lofted. Hierarchy of height is created. The outcome is hill-like, acting like funnel placed horizontally. Experience in the tunnel is gradually changing. [2] Closed geometry Ring of closed tunnels formed. A smooth curve is to ensure wind flows unobstrusively through the tunnel.

[3] Experiment: panel on surface

The frame of wind turbines are morphed into the surface. The triangular frame fits nicely into the surface. Size changes gradually across the length, represent a constant change of wind.

[4] Experiment: Splitting

Splitting the closed circle to open up tunnel and create space between them. By cutting a section off, a entrance space is created. This swirling curve will be efficient to channel wind as well.

We were struggling much to move away from the tunnel shape of Japan Pavilion. This is because a tunnel shape provides a good reasoning for channelling the wind into the interior. Design process is initiated by a sine curve further derived from the semi-circle opening of the pavilion. If the curve is treated as tunnel, the space below the curve will have different air pressure, thus creating a space of varing intensity of wind. The space above the curve with its bumpy path, create space with different wind velocity according to Bernoulliâ&#x20AC;&#x2122;s principle.

We then started to develop it at different orientation and position. Still, a replication of tunnel shape is a no-no. Iteration [4]b gives a sense of space into the form, which we began to see it becoming a functional space with human interaction. The â&#x20AC;&#x153;experience pathwayâ&#x20AC;? we called it, begins and ends at the same point, with a little round space in the middle, which could be information centre. The form is then again further developed.

ace p s al om on d fr i t c in fun or w l a f nti ing e t n Po pe st + O coa the

form finding 2 a

[ 5 ] flowL “flower” Opening of flower

[ 6 ] flowL “flower” with twisting Twist! Proposed design!

We decided to move away from our sine curve method, which produced regular curve around the form. We were having difficulty trying to further develop it. Then, we discovered a magnetic field lines method that could create spiral form by point attractions. A total of three attaction points are used.

[ 6]e is chosen as our final form as the swirling of lines into the points is very interesting, creating different usable space and intersecting of paths. The The swirling direction emulates the flow of wind when entering the channel, which are visualize as visually provoking lines.

physical model Scale 1:200

3D Printing Limitation: Maximum size- a 170mm box Minimum thickness- 2mm These are the steps that get it ready for 3D print: 1. Duplicate the edges of the panels 2. Pipe the edge lines 3. Scaling 4. Cut into four sections, then cap holes. 5. Converting in “Magic” to make it a ‘watertight’ model for printing. 6. 9-hours printing. One of the benefit of using this is to easily transfer a digital model into 3D physical model. The model produced is precise and looks exactly like the one designed digitally. However, the 3d print result is terrible. The linework on the back of the model is losing its details and the linework is rough. This might be due to an unsuitable type of 3d print technology. Our model is fabricated using dripped plaster, which can be reasoned for the messy linework on the back of model. Another technolgy by FabLab, powder bed and inkjet head printing might be a more suitable solution for our model.

design proposal

Little Mermaid

Opening facing toward Little Mermaid sculptu towards the river. X

Patterned Structure abcd a

b The pattern of the structure is based on the actual wind turbines.

a Outer surface wall- triangular wind turbine b Center shell tunnel -triangular wind turbine c Shelter - rectangular wind turbine d Information centre - plain wall with 2D grid on surface Triangular frame has a more interesting pattern than a rectangular one. The shelther is made into rectangular grid frame to create a different experience.

Entrance of wind

ds the ure and

Information centre A sculpture inside a sculpture. Also acting as a wind block to avoid wind from flowing in at this side of the opening. This is to prevent wind from concentrating at the middle of the panel and mess up the wind flow. Lighting effect Users will experience flicking of lighting condition especially in morning and evening when the sun is low. These time periods estimated to be peak visiting hour as its outside working hours. When the wind panel is not rotating, the perforations on it will be looking like light dots all along the structure wall surface.

c River channels the wind Buildings beside the river channel wind along the river. River breeze, when getting in the opening entrance, will be channelled along the swirl. A second wave of wind As both the interior and exterior paths are surrounded by wall of wind turbines, the wind panels will generate a second wave of wind, further enhance the experience of walking along the path. The users get to see the effect of wind energy turning into a provoking visual impact.

Material Preliminary idea was using wood as the structural frame and thin card as wind panel. However, the material system still need to be further studied to find the best sustainable solution.

Learning objectives & outcomes

Feedback

The feedback given by the crit panels and tutors are guideline for us to further develop our design. Generally, the interim presentation went smoothly and the feedback was rather positive.

Re-think:

Does it have to be spiral? Spiral shape is desirable compared to shape with edges which may inhibit the flow of wind along walking path. Nevertheless, it doesn’t have to be an almost closed curve. The curvature may be adjusted to open up more area for human-human interaction and other activities. Since the site is a coastal area, more space should be created for people to sit and rest while enjoying the view of riverside. This is right as our design process was mainly focused on wind responsiveness. With reference to the “8”-house by BIG Architects, the form needs to be adjusted to attract the users to come here as a recreational park instead of a single sculpture. This will involve an exploration on landscaping. Any potential for changing the topography of site? The site is land-filled thus excavation might not be suitable, although LAGI guidelines mentioned that there are no design restrictions on foundation depth or type.18 This means that we could consider digging underground or have it elevated to create different experience. The position of the information centre The position of the information centre is rather awkward. We were thinking the information centre should be located at

point where users first see before the entrance, but not at the end of path. Its position will be more well considered at next stage of design.

Direction of design proposal

After considering the feedbacks, we will retain the current design and focus on improving it. Form finding process needs to be strengthen to find the best solution. The efficiency of the wind turbine, which has received much less attention before this, will be further studied. The wind turbine panel, being the most successful outcome of this stage, still need refinement on the joint system to fit the curvature of the wall. There are still a lot to do for Part C and I will keep myself open to any suggestions so that it will response best to the requirements of the brief. We should looking at exporing the potential of parametric design tool to assist us in thinking out of the box. As the process progresses, we are restricting ourselves on the feasibility of design. This results in narrowing design possibility. There is good and bad in that sense. We maybe already fell into conventional design thinking. Therefore, after this, we should give us another chance to explore further possibilities before settle down into final design proposal.

Learning Objectives and Outcomes

Extended from the objectives of other design studios, Studio Air aims at developing students’ ability to generate a variety of design possibilities by using visual programming, algorithmic design and parametric modelling. We are expecting to learning three-dimensional media skills and make the case

Land Art Generator Initiative 2014, “Design Guidelines,” < http://landartgenerator.org/designcomp/>, [Accessed on 03 April 2014]

for proposals. Until this stage, I find myself improve a lot in using parametric modelling tool, but still, I am at the elementary level. Research outside studio time is crucial to grip better understanding of the tool. Learning is most effective when I am solving the design problem of the proposal.

wing fields and more fascinating architectural works will be coming up. Other than learning practical and conceptual skill, working in groups is a great learning platform as well and helps foster an architectâ&#x20AC;&#x2122;s spirit in myself.

The design process gives us insight to the benefits and disadvantages of computerization design approach, and how well could I use it to maximize its advantages. New technolgy is not always necessary to conduct simple task. Rhino and Grasshopper are a good pair of tools, that they work well and one shouldnâ&#x20AC;&#x2122;t be overpowering the other to achieve most efficient working process. This subject also targets at developing studentsâ&#x20AC;&#x2122; analytic and critical thinking skill on conceptual, technical and design aspects of comtemporary architetural projects. We are learning from the precedents. I found this process fun and eye-opening. I am able to see the design process behind an architetcural piece, learn from it and practice it. Besides, there are too much examples to convince me that parametric design tool is the fast-growing new trend and it is unavoidable. Anaysis from Part A served a good foundation for Part B by providing thought-provoking examples on parametric technology. For instance, the Digital Grotesque by Micheal Hansmeyer is an amazing masterpiece on fabrication.* Algorithmic design and parametric modelling are still gro-

references ArchDaily, “Aqua Tower / Studio Gang Architects”, <http://www.archdaily.com/?p=42694>, [Accessed 02 May 2014] ArchDaily, “AU Office and Exhibition Space / Archi Union Architects Inc,” <http://www.archdaily. com/?p=82251>, [Accessed 03 May 2014] Background Research and Benchmarking, “Analysis of Streamlines,” <http://www.personal.psu.edu/mgs5117/ project_2_page_4.html>, [Accessed on 03 May 2014] Branko Kolarevic & Kevin R. Klinger , Material Effects(New York: Routledge, 2008), p.7 Conserve Energy Future, “Vertical Axis Wind Turbines,” <http://www.conserve-energy-future.com/VerticalAxisWindTurbines.php>, [Accessed on 03 May 2014] Curiocity, “Wind Turbine Blades,” < http://www.explorecuriocity.org/Content.aspx?contentid=193>, [Accessed on 04 May 2014] DesignBoom, “Japan Pavilion, Expo 2000,” < http://www.designboom.com/history/ban_expo.html>, [Accesssed on 03 May 2014] Dezeen, “ ICD/ITKE Research Pavilion at the University of Stuttgart,” < http://www.dezeen.com/2011/10/31/ icditke-research-pavilion-at-the-university- of-stuttgart/>, [Accessed 03 May 2014] Erik Andrus, The Savonius Rotor: A Durable Low TRech Approach to Wind Power (USA: University of Vermont, 2008), p.3 Wolfram Demonstration Project, “Venturi Effect,” < http://demonstrations.wolfram.com/TheVenturiEffect/>, [Accessed on 03 May 2014] MoMA, “PS1 Finalist 2007- REEF- IwamotoScott”, < http://www.moma.org/interactives/exhibitions/yap/2007_ iwamotoscott>, [Accessed 03 May 2014] ShigeruBan Architects, “Japan Pavilion, Expo 2000 Hannover.” < http://www.shigerubanarchitects.com/ works/2000_japan-pavilion-hannover-expo/index.html>, [Accessed on 03 May 2014] DesignBoom, “Japan Pavilion, Expo 2000,” < http://www.designboom.com/history/ban_expo.html>, [Accesssed on 03 May 2014]

image sources 16 http://www.bdcnetwork.com/chicago%E2%80%99s-aqua-tower-wins-international-design-award 17 http://ellizoe.wordpress.com/2010/10/20/au-office-and-exhibition-space-in-shanghai-by-archi-union-3architects-incan-unconventional-wall-structure/ 18 http://arttattler.com/architectureyoungarchitects.html 19 http://barkitecturemag.com/2011/11/08/trendspotting-kinky-fractals/ 20 http://en.wikipedia.org/wiki/Aqua_(skyscraper) 21 http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/ 22 http://www.flickriver.com/photos/isar/sets/72157600023967187/ 23 http://jacobwahler.blogspot.com.au/2011/08/photo-journal-san-francisco.html 24 http://www.nytimes.com/imagepages/2004/08/08/arts/08IOVI.ready.html 25 http://www.observer-reporter.com/article/20130824/LIFESTYLES/130829678/-1/LIFESTYLES 26 http://greathighway.blogspot.com.au/2012/06/cardboard-to-cradle-after-hype-of-being.html 27 http://www.iaergpr.com/projects-2/savonius-wind-turbine/ 28 http://www.motherearthnews.com/renewable-energy/homemade-wind-turbine-zmaz75mazgoe.aspx 29 http://zone4info.com/articles/395/how-to-build-your-own-wind-turbine 30 http://www.123rf.com/photo_10985023_tic-tac-toe-winning-crosses-and-zeros-isolated-on-white-background.html 31 http://www.spioutdoorplay.com/about-us/ 32 http://www.panoramio.com/photo/90490776 33 https://www.pinterest.com/pin/192810427770823062/ 34 http://www.galinsky.com/buildings/deyoung/ 35 https://slowpainting.wordpress.com/2007/04/30/jacques-herzog-and-pierre-de-meurons-de-young-museum/ 36 http://therepublicofless.wordpress.com/2010/07/20/herzog-demeuron/ 37 http://www.flickr.com/photos/downtownblue/2297072147/ 38 http://zenandtheartoftravel.com/2012/05/25/san-francisco-de-young-museum/ 39 http://detail-online.com/inspiration/japanese-pavilion-at-the-expo-in-hanover-106867.html 40 http://www.designboom.com/history/ban_expo.html 41 http://greathighway.blogspot.com.au/2012/06/cardboard-to-cradle-after-hype-of-being.html 41 http://humanscribbles.blogspot.com.au/2011/02/metamorphosis.html 43 http://www.dezeen.com/2010/10/22/8-house-by-big-2/ 44 http://www.dezeen.com/2010/10/22/8-house-by-big-2/ 45 http://www.designboom.com/architecture/big-architects-8-house-under-construction/ 46 http://www.dezeen.com/2010/10/22/8-house-by-big-2/

P A R T c detailed design

â&#x20AC;&#x153;

In pure architecture the smallest detail should have a meaning or serve a purpose. Augustus W. N Pugin

â&#x20AC;?

design concept

Evolve After the interim presentation, my group started to prepare for the competition entry. This has pushed us to finalise the design as early as possible. We had focused on conceptual design, technology and energy efficiency to address the brief requirements. After that, we moved on to fine tune the design by picking up and adjusting the mistakes and the things that we missed. Below are the summary of feedback, which will be the list of adjustments before fabrication part came in.

Positioning

After the entry submission, feedback from tutors enables us to further develop our design to completion. Positioning of the four parts of the sculpture is an important concern to maximize the wind capture, view direction as well as users pathway.

Spatial function

Considering the scale of the sculpture which is huge and pavilion-like, it becomes a multifunction sculpture which could possibly be both renewable energy information centre and recreation parks in one. We went back to reshape the form and re-position them to suit different functions of each of the form.

Landscaping

Feedback from interim presentation, that is, the landscaping

potential, has been reconsidered and taken to complete the design as a whole design package. This is to ensure the sculpture blend in with the landscape and make the whole site more lively.

Technology

An alternative technology system is introduced in the sculpture to solve the limitation of wind energy generation on the site. The fluctuation of wind velocity, direction and magnitude made the collection of energy inefficient.

Challenges

To enhance the spatial experience around the sculpture, its scale with be pavilion-like. Moreover, since we are using wind energy as power source, the sculpture needs to reach certain height to collect more air vibration. This imposes challenges to the structural system, which will need to span a long length, both cantilever and the arch structure. This challenge is addressed on detailed joint design and fabrication part.

A sculpture, a symbol, an idea

We envisage to create the site to a symbol of celebration of renewable energy as well as a new local attraction and meeting point for the Copenhagen community.

process diagram 1

Three tension points

NE- View: The Little Mermaid sculpture SW- Prevailing wind N- Denser building cluster which blocks the wind and is an unpleasant view.

Circulation

Estimated circulation of pedestrians. Pathways will normal span diagonally from the denser part of the area to the vertex that opens to the river. The intersection points of the pathways is determined as the central point.

Form finding

Generate fieldlines of the final form from position of the tension points

Landscaping

Flow of the wind continues after the sculpture and creates relevant undulation on the landscape.

spatial function

1 4 2

CLOSED PANELS OPENED PANELS

1 Storage of energy generator 2 Pavilion & Exhibition Space 3 Information centre 4 Outdoor activity space

Position of functional panels

At the bottom level of each of sculpture, the panels are closed and have no energy generation function. This is to avoid wastage as at this level there will be little wind to move the panels. However, at the pavilion and information centre, which are the two major community learning space, one side of the panels will be functional for a close-up view of the energy system to the public.

process diagram in grasshopper STAGE 1: PROCESS IN GRASSHOPPER

1 TENSION POINTS

2 CHOOSE CHARGE LOCATION: AT TIP OF LINE TOWARDS OUTSIDE

3 CREATE CIRCLE FROM CHARGE 4 SPLI LOCATION

STAGE 2: ADJUSTMENTS TO FIELDLINES

1 LINE FROM TENSION POINTS 1 CREATE GROUND USABLE SPACE BY 4 DIVIDEAND CURVE CUTTING AWAY INDENTED TIP

2 CHARGE LOCATION: AT THE TIP OF TENSION LINES REMOVE2D FIELDLINES 52 CREATE VECTOR TO CREATE OPENING FIELD LINES

3 C

(THE CIRCLE-LINE IN 3&4 IS THE ZOOM IN OF THE TIP) STAGE 3: ACTUALIZATION

LOFT + DIVIDE SURFACE INTO TRIGRID

1 MAIN STRUCTURE UT AWAY TO FORM USABLE SPACE

2 MINOR STRUCTURAL FRAME DELETING LINES-OPEN UP

ARRA

3 JOINTS

IT CURVE INTO X LENGTH

5 CREATE 2D FIELDLINES FROM POINTS

6 USE SINE GRAPH TO CREATE A VARIATION OF 3D CURVE

3 CREATE CIRCLE AT THE CHARGE POSITION

TO CENTRAL 6DRAG USE SINE GRAPHPOINT TO CREATE 3D CURVE

4 PANELS ANGE BACK TO ITS SPIRAL FORM

4 REPEAT PREVIOUS STEPS TO CREATE AN ELONGATED A SHELTER PIECE TO BUILDING CLUSTER AT NORTH

COMBINED DETAILS CREATE A5SHELTER-LIKE PIECE TOWARDS THE BUILDING SIDE

landscaping

lANDSCAPE

Create mild undulation on the ground

The original site topography is flat and dull. It is consisted of mainly landfill and some parts in reused building materials. The grass is unmanaged and grown in patches. Surrounded by scattered buildings of different sizes, the place looks messy. Without managing it, it would become an ugly sight for the riverside. To live up the place, we blended in the sculpture to the surrounding environment with mild undulating landscape shaped to emulate the flow of wind that continues from the sculpture. The whole site is made use to create a vibrant recreational park and local meeting point. Besides, the undulation will create spatial space functions to create playful use of the land. The scale is set such that people can lay or sit on the grass comfortably. A mild undulation is chosen for the sake of complimenting the sculpture instead of overpowering it. This is also to ensure the cost and energy consumed is kept low. Green vegetation is planted as final cover.

Iterations for landscaping Parametric Process 1 (A series of ) Range of numbers 2 Extract sine value of the numbers 3 Create points on sine curve 4 Join points to curve 5 Create patch surface from curves.

energy system piezoelectric

A piezoelectric wind energy system is proposed to be a more effective mode of energy system than wind energy in this context. The wind panel previously proposed will be an oscillating flap that vibrates in response to wind. It will also bring an aesthetic element to the site by its gentle moving waves that depicts a visual map of the wind energy. This is better than savonius wind turbine in terms of weight and flexibility. It harvests kinetic energy from wind-induced vibration due to non-linear fluid flow instead of a directional wind. This ensures it could produce energy once there is wind movement or even a slight vibration.

Each unit system will be consisting of a oscillating flap, a piezoelectric transducer and an energy convertor. The wastage in renewable energy system might lost in travel of energy through wiring system. Considering this, we incorporate the energy system into the design by having a joint at each intersection of the structure to that stores the energy convertor. Wiring system will be hidden in the tube cover for safety and aesthetic reason.

The energy collected from the panels during the day will be partly used to power the organic LED light bulb attached to the hexagonal joint. This means that even during nightfall the sculpture can be seen from distance as a representation of beautiful renewable energy sculpture.

FLEXIBLE PIN JOINT - ACCOMMODATE VARIED ANGLE

DETAIL JOINT- HOLLOW CENTRE TO HOLD LIGHT BULB

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ENERGY TRANSDUCER THAT WILL HOLD THE PIEZO FLAP

FUNCTION DIAGRAM piezoelectric

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PANELS PANELS

PIEZOELECTRIC PIEZOELECTRIC SYSTEM SYSTEM

ENERGY ENERGY CONVERSION CONVERSION + TRANSMITION + TRANSMITION

AC to DC AC to DC substationsubstation transformer transformertransmitiontransmition to grid to grid

Energy harvesting process

The collection and conversion of energy occured at different points of the sculpture as shown on the diagram above. Electric current harvested will be used to provide electricity to households.

flaps in motion video still images

â&#x20AC;&#x153;Dancingâ&#x20AC;? of panels to the wind

The piezo-panel will be vibrating to the rhythm of the wind movement depending on weather conditions, subtle or vigorious at different times. The panels collectively form a visual showcase of the wind movement.

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envisaged construction process

source out material

prefabricate component

assemble structure on site

process material

assemble individual components on ground

Fixing of piezoelectric system

We envisaged the components of the sculpture will be made up of small prefabricated parts that can be transported easily to the site. Considering the size of the sculpture, footing will be poured and thus set the fundamental element of the sculpture. After that, the structural system which would be consisted of arch components will be assembled on ground before erected to its final position. Piezoelectric system will be fixed last and weather-sealed to ensure safety of users.

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Final Positioning

The sculpture will be positioned near to the river side to maximize wind capture and view towards the opposite shore. All the four different parts of the sculpture are positioned accoding to the tension point, with the center space as the intersection of the pathways.

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renderS

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renderS

landscaping

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PAVILION- EXHIBITION SPACE AND COMMUNITY AREA

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VIEW FROM THE CENTRE OF SCULPTURES

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NIGHT VIEW- WITH LIGHT SPOTS FROM HEXAGONAL JOINT

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tectonic elements

core construction element 1 : 1 detail joint

from left) Polypropylene sheet, 20mm PVC pipes, 90o elbow joint, vent T joint, 45o elbow joint, pasteboard as cover.

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The core construction element will be consisted of repeated unit of piezopanels, cylindrical tubes containing transducer and hexagonal joints. The size of the joint will be the same throughout the sculpture. However, tubes will be varied in length depending on the curvature degree of the sculpture. At first, we considered about 3D print the joint. However, the joint detail is not much unique for 3D printing worth. We sought to get actual exsiting hollow cylindrical materials to fabricate the joint. The many choices of PVC joints and its size and hollow properties fit the purpose. By painting it in silver, we get a close look of the actual texture of the sculpture. We are quite satisfied with the flexibility of the rotating junction joints. However, the connections of the tubes are not rigid as one joint is consisted of many parts. The buildability of the model needs to be further improved whereby the detail joint should be built as one single unit while retaining the flexibility of junctions.

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prototype 1 : 20 model 1. piezoelectric panel

3. joint

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2. tube representation

4. cleat plates

A 1:20 model would be large enough to show all the components and to test the stability of the sculpture. Spanning 1.2 metre in width, this was a real challenge for the workability of the structural system. We laser cut four types of components, piezo-panel, a crossshape representational of tubes, detail joint and an additional structural component as main structural support when we realized that the original structure is not self-supporting.

Inspired from the finger joint system from the ICD/ITKE Research Pavilion in University of Stuttgart(refer page 32), we made a finger joint strip that formed an alternating arch system(red lines from the diagram below) that spans across the tunnel. The finger joint can be bend in any degree, thus can be used to form an arch. However, before we could build the model, the finger joint system failed as the joint cannot stay in the desired bending position thus collapse. The weakness is at the finger joint.

First attempt: adding structural arch at alternate.

We went on to card cut continuous structural strip, which has only one connecting joint in the centre. The strips repeat every longitudinal lines instead of alternate lines. The strips then slotted in to the ground and stabilized by cleat plates at both sides. In fact, cleat plates form the most important support in this model. The cross-shaped â&#x20AC;&#x153;tubeâ&#x20AC;? could not fix properly to the structural strips due to its cross end. It is highly dependent on the use of glue. The end model is rickety and looks shabby. This 1:20 construction have clearly shown the weakness of the joint system, which we will resolve later on. Collectively, the structural failure of this model is due to: (a) joint system (b) choice of material of structural system

Cleat plate at the bottom of the structural arch. This becomes the main support point of this model.

Second attempt: Card cut of half-arch.

Cross-shaped tube is highly dependent on glue to fix to the structural system. No joint exists.

Collapse of the structure. The structural system is too weak to hold up firmly.

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prototype photographs

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ENVISAGED STRUCTURAL SYSTEM

After the previous prototype, we realized the important of a strong and rigid structural framing as well as the support from the ground, We then designed an actual structural system with I-beam and pile footing. It will be repeated in four-strip intervals.

I-beam

The structural arch will be consisting of various length of I-beams following the curvature of sculpture. They will be connected by cleat plates on the face and welding at the web.

Pile footing

Four anchor bolts will be used to secure the beams to the ground.

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final model

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“

Painting is so poetic, while sculpture is more logi cal and scientific and makes you worry about gravity. Damien Hirst

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refinement: PARAMETRIC JOINT parameter diagram b

A c

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d Parametric design tool enables any changes in material choice to be adapted easily. Various components of the joint system can be adjusted to fit any dimensional changes. Take fore example, structural engineer would like the pin joint material to change from 6mm screw to 9mm screw, which will affect the fabrication of the joint cover unit for a different size of holes on it. This adjustment can be done in Grasshopper easily without hassle. Visualisation of the joint with light bulb placed in the middle.

eDITABLE PARAMETERS A b c d e f

Size of overall joint Radius of the opening of joint Radius of pin joints Material thickness Size of hexagonal cover Degree of rotation of component A and B respectively

assembly schematics This refined joint system allows movement of â&#x20AC;&#x153;tubeâ&#x20AC;? (which then holds the piezo-panels) in all four directions up to 180o for each side. Hexagonal cover: Will be the meeting points to conceal wires as well as to accomodate the light bulb. Component A: Can be rotated horizontally to suit different degree of joint connection Component B: Can be rotated vertically to suit different degree of joint connection It is designed in small interlocking parts so that no glue is needed to assemble them together.

Joint component A

Joint component B

Hexagonal cover

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refinement: final model 1: 50 structural 1. main structural arch

3. main structural arch(Parts)

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2. panels

The model deemed to be successful after learning from the mistakes from prototype. The structural system is made of MDF which is more rigid. This time, although still maintaining the finger joint, the direction of placing is different. The strips are now placed vertically and the flimsy joint problem is solved. At the top side of the structural arch unit, the panel is slotted in to the finger joint and thus no glue is needed at this point. The dimension of the triangle panel is changed to a more mild proportions, close to an equilateral triangle. The triangles will then look less sharp. Slot is created on the ground to represent the footing system. Like the function of a pile footing, this slot locks the arch to its position and let it transfers the load of sculpture to the ground.

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final model 1: 50 joint

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Joints within joint

The resulting model fabricated by laser cut of MDF is very pleasing. The movable parts of the system are made possible by cylindrical pin passing through the holes on the components. The hole on the hexagonal joint is left to accommodate lighting system.

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design statements

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AIRnergy is a synergetic pedagogy that fosters a dialogue between wind energy generation and the community of Copenhagen and the greater world.

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design concept AIRnergy emulates the movement of wind through the meticulously structured form that not only captures wind energy but also generates new spectacles and vantage points along the infamous KĂ¸benhavns Havn and its neighbouring structures. RefshaleĂ¸en is a rich complex of creative entrepreneurships, warehouses, and cultural and recreational venues. The design site is grounded within a dilapidated reclaimed land. AIRnergy celebrates the weakness of the site with the potential of harvesting renewable energy through the flow of wind. Alongside the community of Copenhagen, AIRnergy will move towards a new era of Carbon Neutral concept.

It is inherent that this Land Art Generator is a system that rises from the glory of Copenhagen. 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 which gave AIRnergy its form. The detail of the structure is reminiscent of the industrial identity of the landscape and its origins. AIRnergy is a micro-sensitive emergent system that reflects the shift to a sustainable energy generation.

experience A journey through AIRnergy will break the social stigma against the grim aesthetics and lack of efficiency of renewable energy generators. The division of spatial programs encourages the intricacy of energy generation, the human context of joyous kinfolk, building activities, education and a display of technology. Through the articulation of different spatial qualities, three main functions will be executed; View, Play, Learn.

>VIEW The monstrous aesthetic provides a striking contrast to the fluid overall form. The structure creates an intricately populated windsensitive piezoelectric panels. The form is dynamic with the motion of wind as it passes through the site. This intensifies the intricate details of energy generation and results in safe, carbon neutral and eco-friendly energy generation. Through the structure, technology and sub-components, the fluid display of motion and natural flow illustrates a tangible harvesting of wind energy.

>PLAY The form of AIRnergy exhibits a playful organisation of spaces. It provides a cheerful experience and juxtaposition between revealed and concealed spaces, creating a subtle interlocking relationship between the interior and exterior environment. With the dynamics of the piezoelectric flaps, a cheeky hide-and-seek playground setting is shaped, which hence structures a platform for creative interaction between fellow visitors and the landscape. The visual qualities are a reflection that AIRnergy is an extension of a landscape that captures wind energy and funnels it through the geometry of the design. It is not only an energy generator but also a public space, creating a future landmark and escapade for the people of Copenhagen.

>LEARN The educational structures comprise of a pavilion, workshop and exhibition space. In the exhibition space, the power-generating machine of the system is framed like a jewel, symbolising the appreciation of the beauty of renewable energy. This space can be used as an exhibition space for further revolutionary or conventional pieces of renewable energy systems and to host other renewable energy or community-based programs. The workshop space provides a platform to learn and there will be a public workshop where visitors are able to fabricate their own piezoelectric panels. A CNC machine and other industry standard facilities will be retrofitted into the space to allow guests to gain first-hand experience on manufacturing their own panel design onsite. AIRnergy is a breakaway from the austere perception towards renewable energy systems which in fact has a fresh breath away from the otherwise chaos, machine-like dystopia.

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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). 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 wavelike 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 harvest device comprises, in one embodiment(each the 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.

environmental impact statement 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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learning objectives & outcomes presentation feedback There were positive and negative comments from the final presentation. The good part is that our design concept is well resolved and graphically well presented. This might be due to the extra time we have spent preparing for the competition, which we had to prepare three presentation boards of A1 with convincing rendered images.

Solution for structural problem

On the other hand, we received critique regarding the structural issue of the sculpture. The rickety prototype clearly showed the weaknesses of the structure. It was not up to presentation standard and has badly resolved joint system. This applies to the 1:1 detail joint as well. According to the crit panels, these models are not up to the standard of our presentation.

Aspect ratio of triangle panels

Another suggestion is regarding the aspect ratio of the panels, where the shape of the triangles looked distorted with the long end of vertixes poking out. After the final crit, we decided to further develop the structural system, focusing on utilising the parametric tool to create a parametric joint, which could suit any adjustments to the design. We felt the necessity to make another physical model as a refinement of the presented models. Here, I put the refined model in the final model section while presented ones as prototypes.

further development Our team has decided to produce two physical models in scale of 1:2 and 1:50 as refinement. Joint system is resolved and the aspect ratio problem is fixed(more details in latter part of section C3).

nodes on the panel surface, any air vibration could be detected directly from wind source without having to transfer to the joint by panel movement. This will be more effective as energy is lost when used to move the panel.

As a strategy to increase the efficiency of the piezoelectric system, we came up with the alternative to place piezo-nodes on the panel surface, which could be designed as surface patterning at the same time. We looked back to the patterning algorithm that was discussed earlier in this journal, and wrote a new script for tracing the pathway of electron on the surface, which then used for patterning purpose.

The result patterning will look like this:

For cost-effective reason, the nodes will be in the same pattern so that they can be fabricated in bulk to reduce cost. With piezo

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Tracing a single random pathway of electrons on surface.

Make circles at the turning points of path.

learning objectives & outcomes Within the course of Studio Air, I have experienced a rewardiing learning process not only restricted to aspects of digital architecture but in larger scope covering almost every aspect of architecture.

Learning Objective 1

During this process, I have developed a better skill in interrogating brief and formation of design concepts. Different from other studios, the brief requirements of LAGI is adhered to the energy efficiency of the technology, and thus I had done considerable amount of background research.I realized designing closely to the brief and research data is much easier and direct to form a strong argument. The strategy adopted by my team is good in that we focus the set the priority clearly and solve the basic design problem before venture into creative design process.

Learning Objective 2 & 3

A comprehensive package of designing skills are utilised in this studio. My computerization skills have improved a lot, especially due to the experience of entering competition for the first time, which pushed me to strive beyond my comfort zone. Besides, we have tried all sorts of digital fabrication techniques, ranges from card cutter to 3D printing and CNC routing. I am truly impressed by the beauty of this fabrication and this opens up possibilities for further exploration in the future.

Learning Objective 4

Moreover, I began to see the powerful positive changes computational techniques could bring to architecture. The responsiveness and flexibility of parametric design tools is useful in every way of architectural design, which I could apply on my future studios.

Objective 5

document the design process, which is important for the writing of proposal. Critical thinking wise, I still have a large room for improvement for forming persuasive argument, especially when writing design statement. This perhaps is the main thing lacking from this learning package, where I shifted my focus to algorithmic design and graphic representation. It is no less an important architectural skill to brush up after this semester.

Learning Objective 6

Learning from masters is always more useful than I thought. From Part A of the journal, I have practiced to analysis conceptual, technical and design techniques of various relevent architectural project. Inspiration research as a starting point of design helps me to form a better understanding to parametric design, especially this field is still new to me.

Learning Objective 7 & 8

Struggling at first, I have developed a fundamental understanding of the parametric tool. At the beginning of the learning process, I depended a lot on online forum to search for direct answer to algorithmic problem. Design has made its compromises to suit my limited skills. After familiarize with the tools, I am able to design parametrically to suit my design intent. Moreover, with online discussion platform, the software itself is expanding its ability to suit a large scope of design requirements. The most gratifying part of this studio is it has changed my perspective towards parametric design. In the past, I used to reject digital architecture for its seemingly lack of sense of human and perhaps mainly because of my poor skill in digital design. The use of softwares seemed to me brings more troubles than helping as I was controlled and restricted by the lack of knowledge in this field. This studio indeed gives me confident to explore the new realms of design. I anticipate its application in my future studio works.

This journal-based studio program fosters the habit to clearly

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When an architect is asked what his best building is, he usually answers, "The next one." Emilio Ambasz

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