Studio Air_ final journal by Yuki Leung

STUDIO AIR JOURNAL

STUDIO AIR THE UNIVERSITY OF MELBOURNE 2014, SEMESTER 2, TUTOR: PHILIP BELESKY STUDENT NAME:: YUKI LEUNG

STUDIO AIR JOURNAL

Content INTRODUCTION 4 PART A. CONCEPTULISATION 7 A1. DESIGN FUTURING 8 A2. DESIGN COMPUTATION 12 A3. COMPOSITION/ GENERATION 18 A4. CONCLUSION 22 A5. LEARNING OUTCOME 22 A6. APPENDIX- ALGORITHMIC SKETCHES 23 B1. RESEARCH FIELD 29 B3.CASE STUDY 2.0 38 B.4 TECHNIQUE: DEVELOPMENT 43 B.5. TECHNIQUES: PROTOTYPES 46 B.6. TECHNIQUES: PROPOSAL 48 B.7. LEARNING OBJECTIVES AND OUTCOMES 50 B.8. APPENDIX- ALGORITHMIC SKETCHES 51 C1. DESIGN CONCEPT 53 C2. TECTONIC ELEMENTS AND PROTOTYPES 62 C3. FINAL DETAIL MODEL 68 C4. LEARNNG OBJECTIVES AND OUTCOMES 76

TABLE OF CONTENT

INTRODUCTION

ABOUT ME Current position: under graduate student (3rd year) Institution: The University of Melbourne Degree Program: Bachelor of Environments Major: Architecture

CURRENT EXPERIENCE I had been studying Associate of Science in Architectural Studies in the City University of Hong Kong for two years from 2012-2014. This program did not only provided me with the professional architectural knowledge, but also the opportunities to work as internship and to exchange culture and knowledge with other institutions. Five projects, including single family house, kindergarten design, architectural centre, mid- rise residential projectsand high-rise office design were completed with the knowledge on technical, environmental, social and professional aspects during the study in the institution. In 2013, I worked as an assistant architect in a private architectural firm named Ben Yeung & Associates Ltd. as internship. What I have learnt are computer software skills, team working experience and more practically, some building regulations. I joined the Singapore exchange program with the Singapore Polytechnic in the same year that I have broaden my horizon by visiting both the historical buildings and the new buildings design with new and advanced technologies. More recently, I was working in the Campus Development and Facilities Office in the City University of Hong Kong from June to July 2014 to help with some building maintenance and interior design for improving the campus. All these experiences prepared me to work in the architectural field.

4 INTRODUTION

KNOWLEDGE I was equipped with computer software skills such as Autodesk Auto CAD, Revit Architecture, Google Sketch up, Rinoceros5.0, Photoshop, Adobe Illustrator and Adobe InDesign while studying in Hong Kong. After continuous practising, these software are used effectively. Nevertheless, this is my first time trying to use Grasshopper as a major graphics production tool since I have no experience in digital programs or techniques in the past. However, I am currently using Grasshopper to produce some sketches by learning some basics commands or algorithmic (Fig.1- Fig.3) which I have found it interesting and challenging to produce innovative and dynamic graphics. Before this studio, I have no idea about what is digital Architecture theory. When talking about “digital”, what comes to my mind is “computer” or “programming” and “new technologies”. After putting efforts in exploring and searching on the Internet and from books, I have found that digital architecture is actually using computer modelling, programming, simulation and imaging to create both virtual forms and physical structures which may not involve the use of actual materials such as brick, stone, glass, and steel. It relies on “sets of numbers stored in electromagnetic format” used to create representations and simulations that correspond to material performance and to map out built artifacts.

Digital architecture does not just represent “ideated space” but also creates places for human interaction that do not resemble physical architectural spaces [1] . EXPECTATION Though I will study the Bachelor of Environments for only one year, I am eager to gain and learn more in architecture. Apart from knowledge, techniques are important so I hope that my skills in using digital programs like Grasshopper will be improved by practicing and finally create a great piece of architecture by utilising this tool. Nevertheless, the design and learning process is far more important than the final outcome so I would like to record my design process in this Journal in a more organised FGmanner and to be more creative and innovative in designing. The process might be tough, but I would try my best in overcoming all the difficulties and complete the course with a sense of satisfactory and success. Last but not least, I am expecting to apply what I have learnt in the course in future design.

Fig.1

Fig.2

1.Daniela B., David F. (1997). Designing digital space: An Architect’s guide to Virtual Reality, New York: John Wiley & Sons, Inc.

Fig.3 INTODUCTION 5

“Conceptualization begins to determine WHAT is to be built and HOW it will be built.” [1]

- Oxman, Rivka

RIGHT: Parametric light refraction system Image credit: julian fahrenkamp, http://www.julianfahrenkamp.de

1. Oxman, Rivka. “Digital Architecture As a Challenge for Design Pedagogy: Theory, Knowledge, Models and Medium.” Design Studies 29, no. 2 (2008): 99-120.

CONCEPTUALISATION

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PART A. CONCEPTULISATION Part A is a convincing argument justifying the value of a computational approach to the design challenge. It is the theoretical background and researh.

CONCEPTUALISATION 7

A1. DESIGN FUTURING

“Above all, architecture ough Rich

ARCHITECTURE AS A DISCOURSE

Recently, architecture is regarded as a design practice that contributes ideas to the ongoing disciplinary discourse and culture. People who involved in the discourse are finding the meaning of architecture. This debate intends to be grounded on a morality base which finding a sense of “sincerity“ and “appropriateness“ [1]. It is argued that architecture is not only about form but also something that can shape the community or even the world [2]. Architecture is to build the vison to our community which involves great interaction with the people aound and influences their pattern of life. ITHE SSUE OF DEFUTURING At the same time, the issue of defuturing has emergef and been discussing vigourously. Human have come to a critical monment in our existence that we may diappar at the same time. Global warming and the diminishing of available resources are the signs, Since it is claimed that in the discourse that architecture is being an important factor in planning our future by directing what the people think. Therefore, architecture has been assigned a role in addressing problems of defuturing. On the one hand, it has to slow down the rate of defuturing; On the other hand, it should redirect the human towards a more sustainable living pattern [3].Thus, architecture should be well designed to not only solve the immediate problems

1. NeilLeach. (1997). Rethinking Architecture: A reader in Cultural Theory. London: Routledge 2. Stanislav, R. (2014).Design & Computation [PowerPoint slides]. Retrieved from the University of Melbourne Studio Air LMS: https://app.lms.unimelb.edu.au/bbcswebdav 3. Tony F. (2008). Design Futuring Sustainablility, Ethics and New Practice. Oxford: Berg.

Background: Buildings can cause adverse effects on environment Image credit::http://4.bp.blogspot.com

Middle: Example of sustainable design- Garden by the Bay Image credit: http://www.knowledgepicture.com

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ht to be seen as a discourse.â&#x20AC;? hard Williams

but prevent adverse consequences beyond the horizon of immediate concerns. CONTRIBUTION OF ARCHITECTURE Architectural buildings can contribute to human life and their living environment negatively or positively. One famous eample of positive contribution to our environment is Garden by the Bay in Singapore. Do we want a future like what is displaying in the background or do we want a beautiful and clean environment like what the Garden by the Bay displaying? What will be the fate of our future ogenerations? It all depends on the action we are taking now. In In this fast- changing world, change has to be by design rather than chance, design has to be in the front-line of transformative action since designing a better future could solve problems beyond immediate concerns. Nertherless, for design to be able to perform this, the sum of all design practices, including architecture, themselves have to be redesigned [4]. CASE STUDIES Two precedents were chosen from the Land Art Generator Initiative, which aims to advance the successful implementation of sustainable design solutions by integrating art and interdisciplinary creative processes into the conception of renewable energy infrastructure [5] to demonstrate how architecture can be influential in designing for future.

4. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice. Oxford: Berg 5. Ferry, R. & Elizabeth M. (2014). Design Guidelinesâ&#x20AC;&#x2122; Land Art Generator Initiative. Copenhagen. Retrieved from http://landartgenerator.org/designcomp/downloads/LAGI-2014DesignGuidelines.pdf

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CASE STUDY 01 CLOUD ECOLOGIES Artist Team: Lydia Kallipoliti, Katie Okamoto, Ezio Blasetti, Andreas Theodoridis, Stella Nikolakaki Artist Location: Brooklyn, USA

BACKGROUND INFORMATION The idea of Cloud Ecologies is a constellation of ten programmed outdoor ground pavilions and eleven air balloon clusters dispersed throughout the North and East Mounds of Freshkills Park. The ground topography of pavilions functions as the anchor point for the air topography the balloon clouds which harvest energy through motion and module collisions caused by high-altitude winds. The selection of ground and air sites was based on the potency of solar radiation and wind intensity throughout the park of Freshkills [1] and therefore the project has contributed to both the site and the inhabitants. ANALYSIS ON DESIGN In my opinion, it might contribute to the field of ideas, technical work, patterns of living and ways of thinking. In field of ideas, this project takes the advantages of the characteristics of cloud to create the balloons which gives the attractive appearance of the pavilion while having an environmental function. In field of technical work, it makes use of the nature to generate power. It harvests energy in two parts, one is high-altitude winds(Fig.2) and another is thermal chimneys (Fig.1). A cloud of balloons is used to absorb energy into piezoelectric cables through constant wind movement and the constellation of pavilions (Fig 3) absorbs solar energy and converts it into airflow, generating electricity through the piezoelectric cables [1] In terms of patterns of living, the ground system and the air system work reciprocally not only to generate energy, but also to create islands of life –human and animal 10

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(Fig.4). The heat fosters the rehabilitation of Freshkill’s depleted ecosystems. In terms of way of thinking, it advocates the relationship between human and the nature environments. The unity of weather patterns, ecosystem and human inhabitant is realized not only as a pragmatic solution to Staten Island’s growing energy needs, but also as an immersive re-experiencing and re-imagining of our natural habitat. In New York City’s fastest growing borough, the populations of people and native species can come to the same place to thrive [1]. SHORT CONCLUSION Although this is not a ‘built’ projects, I believe that this project might be important in increasing the awareness of considering the relationship between human and his surroundings, including both plants and animal worlds. I really appreciated the effort of the designers in creating a green and harmonious living environment and the theory was engaged. This may inspired other projects in the future and cause changes in the world.

1 4.Land Art Generator Initiative. (2012). Cloud Ecologies. Retrieved from http://landartgenerator.org/LAGI-2012/33la11ka/

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Fig。1 Ground thermal topography.

Fig。2. Wind topography.

Fig。3. Pavailion providing shelter for humans.

Fig。4. Create an island of life.

Images credit: Land Art Generator Initiative. (2012). Cloud Ecologies. Retrieved from http://landartgenerator.org/LAGI-2012/33la11ka/

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Fig。3. Unique membrance skin

Fig。3.clusters of ellipsoids

Fig。3. Section showing the centre of ellipsoid.

Fig。3. Distinct light effects at night.

Images credit: Land Art Generator Initiative. (2012). Cloud Ecologies. Retrieved from http://landartgenerator.org/LAGI-2012/33la11ka/

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CASE STUDY 02 AIR SEMBLIES Artist Team: Thomas Wong, Jean Choi Artist Location: Hong Kong

BACKGROUND INFORMATION Air-semblies is a site-specific installation which uses natural day light, wind movement and air as a resource to create new sustainable and recreational ecologies for visitors both maximizing the experience of Freshkills with a minimum environmental impact. Instead of using gridded organization of the landfill caps, this is a system organized clustering in a way to utilize the specific conditions of the site. ANALYSIS ON DESIGN From my point of view, this project is creative yet a sustainable and green project. It is creative in the sense that it create an unexpected and fresh experience to the inhabitants. The skin materials are special to create an interesting effect. Air and helium are encapsulated within clusters of partly transparent, partly opaque ETFE ellipsoids.(Fig.3) When one looks above, the visitor sees a swirl of integrated photovoltaics, at his feet the swirls become a dramatic impression of both light and shadow created by energy generators. At night, the residual energy is used to dimly light the periphery of the photovoltaic panels becoming a night installation [1] (Fig 3). Besides, the membrane of the skin are integrated with unique thin film photovoltaics that are used to create distinct light effects and experiences for visitors who travel through the system of ellipsoids . I also think this is innovative because it has considerations about the underground which architects seldom take into considerations. There are

installation penetrates the ground and all assemblies preserve the integrity and preservation of the landfill caps. At the center of each ellipsoid (Fig.2), a central concrete base can weigh down the air and helium structures, to house the apparatus that stores the energy generated by the thin film photovoltaics, and to disperse the energy to a power grid [1] This is- a sustainable and green design that it utilize new materials and technologies to maintain the building itself automatically. For example, it has a unique thin film PV by SolarNext called PV Flexibles which use a photovoltaic film that is encapsulated in transparent fluoropolymer foils which offer more durability and create a selfcleaning surface. Besides, it make use of air movement to harvest kinetic energy to generate further power [1]. CONCLUSION Same as the previous case study, this is an unbuilt project, nevertheless, I believe that the project will continue being appreciated since the Clusters can provide both a dramatic appreciation for the visual effects and at the same time create unique social interactions. Air held within the ellipsoids are visually expressed and offer a metric which creates a visual mass for visitors to but also generates an art piece which recognizes sustainability as a pragmatic energy generator. I reckon that the designers can expand future possibilities in generating experiential conditions and creating new ecologies for social interaction and recreation.

1. Land Art Generator Initiative. (2012). Air Assemblies. Retrieved from http://landartgenerator.org/LAGI-2012/0a0aa0a0/

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A2. DESIGN COMPUTATION WHY COMPUTATIONAL APPROACH? In recent decades, there is a significant change in the designing process of the architectural industry due to the emergence of new technologies and the rapid advancement in computing. Computers has become an inevitable and necessary tool for design processes. Architecture is experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs [1]. Usually, algorithmic thinking and parametric modelling are applied. So what is design computation? As mentioned by Jan C., Jan C., Larry S., and Jeannette M. W., “Computational thinking is the thought processes involved in formulating problems and their solutions so that the solutions are represented in a form that can be effectively carried out by an information-processing agent.” [2] I hold a belief that this evolution of design processes emerges is due to the huge benefits and convenience that it brings to us. Therefore, it gains popularity rapidly in these few decades. In this part, the advantages of engaging with contemporary computational design techniques will be firstly discussed followed by two relevant precedent projects to support my views.

HOW COMPUTATION BENEFITS ARCHITECTURAL DESIGN? First and foremost, it allows a faster and more accurate way of design and rendering. Computer, by their nature, are superb analytical engines [3]. They can follow a line of reasoning to its logical conclusion by following a set of instructions when programmed correctly. They can do calculations and do that quickly and repeatedly without arithmetical mistakes. With the aid of computer software, dimensions of drawings become more precise and renderings could be done much easier and much more realistic when compared with conventional drawings. Second of all, it provides a medium for facilitating the design process which provides unique opportunities and innovations to the design process. It is an amazing tool which assists for designs with complexity. Drawings and scale models allow architects to experiment with alter the design solutions and test them for form and function before they are being built. They get more people to become involved in the design process while at the same time let the architects to develop more intricate designs [4] Designers can create their own forms. Of course, the forms

1. Stanislav, R. (2014).Design & Computation [PowerPoint slides]. Retrieved from the University of Melbourne Studio Air

3. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories,

LMS: https://app.lms.unimelb.edu.au/bbcswebdav

and Methods of Computer-Aided Design. Cambridge: MIT Press

2. Jan C., Jan C., Larry S., and Jeannette M. W. (2010). “Demystifying

4 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories,

Computational Thinking for Non-Computer Scientists,” work in progress,

and Methods of Computer-Aided Design. Cambridge: MIT Press

Fig. 1 A design of a foldable tent is using parametric approach to produce various options for design. image credit: http://www.achimmenges.net/

CONCEPTUALISATION

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Fig. 2. Another trying of parametric approach exmple image credit: http://www.achimmenges.net/

are “their own” only to some extent, since the “abstract form” is predefined by functions and interaction programmed. In other words, you can only customize the form, if you play with programed interaction. (Fig. 2) What is more, the computational way of working augments the designer’s intellect and allows us to capture not only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a buildings formation. Computational thinking for scientists, engineers, and other professionals further means being able to apply new computational methods to their problems, reformulate problems to be amenable to computational strategies, discover new “science” through analysis of large data, ask new questions that were not thought of or dared to ask because of scale, easily addressed computationally, explain problems and solutions in computational terms. [5] CAN COMPUTERIZATION REPLACE HUMAN CREATIVITY? To be brief, computation approach is the trend with design and construction industry nowadays. While computers can follow instructions precisely and faultlessly and brings enormous beneficial effects on architectural design, computers are incapable of making up new instructions. After all, computers are not human, they lack creative abilities or intuition and can never be completely used to replace the design process and creativity of human brains.

5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge: MIT Press

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CASE STUDY 01 SWISS RE TOWER Project Name: Swiss Re Headquarters Fig1. Slender apperarance

Construction year: 2004

image credit: http://www.earchitect.co.uk/

Architect(s): Foster and Partners Project Category: High Rise Office Address: 30 St Mary Axe, London, United Kingdom

BACKGROUND INFORMATION Generated by a radial plan (Fig.3), with a circular perimeter, the building widens in profile as it rises and tapers towards its apex. This distinctive form responds to the constraints of the site: the building appears more slender than a rectangular block of equivalent size (Fig.1) ; reflections are reduced and transparency is improved; and the slimming of its profile towards the base maximises the public realm at ground level. Environmentally, its profile reduces the amount of wind deflected to the ground compared with a rectilinear tower of similar size, helping to maintain pedestrian comfort at street level, and creates external pressure differentials that are exploited to drive a unique system of natural ventilation. IMPORTANCE OF COMPUTATION TO THE DESIGN The design, procurement and fabrication processes were integrated through the use by the design team of 3-D modelling of the steel frame and a parametric approach to the design, enabling complexity (Fig.2) to be managed with reduced risk and greater economy.

Fig2. Variation of structural modelling image credit: http://www.theprovingground.org/

CONCEPTUALISATION

The project shows the ability of structural steel to enable radical architectural ideas to be realized. The 3D model proved to be indispensable in the communication. The structural engineer made the initial coordination model with center lines and sizing, the contractor and subcontractors used it for detailing and interfaces with cladding and MEP services [1].

Computation gave rise to the fundamental characteristic of the Swiss Re building with the use of a consistent unifying system combined with a constantly varying geometry vertically through the building. This type of geometry is particularly suited to a parametric design approach: many of the detailed design conditions can be investigated by setting up fixed mathematical relationships between a relatively limited numbers of geometric parameters defining the building shape.

1 . Nyheter OM S. (2004). Swiss Reâ&#x20AC;&#x2122;s Building, London. Retrieved from http://www.epab.bme.hu/oktatas/2009-20102/v-CA-B-Ms/FreeForm/Examples/SwissRe.pdf

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Fig3. Variation of floor plans image credit: http://static.urbarama.com/

This approach was used to drive optimization studies, to build up data bases of various design conditions allowing rationalization of structural components and details, and to generate 3D model geometry for analysis, co-ordination and structural design.[2] Apart from the design geometry, it is usefu for structural studies. AIt helped analysis of the relationship between perimeter column setting out and the facetted cladding geometry which allowed the team to home in rapidly on the optimum geometry for the diagrid (Fig. 4). A full Xsteel model, incorporating centreline geometry and sizes for all structural elements was created by Arup during the detailed design phase. This ability to exchange data in 3D enhanced the level of confidence within the team that the detailed co-ordination was accurate and provided a firm basis to develop the rest of the design documentation.

which provided all steel subcontract tenderers with comprehensive material list reports, ensuring a common basis for logistical planning and pricing. This alone represents a significant saving in effort for a building in which there is very little repetition of beam lengths. The 3D model was subsequently adopted and developed by the steel subcontractor to generate fabrication information.

Compution also asisted the construction process 2. Nyheter OM S. (2004). Swiss Reâ&#x20AC;&#x2122;s Building, London. Retrieved from http://www. epab.bme.hu/oktatas/2009-2010-2/v-CA-B-Ms/FreeForm/Examples/SwissRe.pdf

Fig4. Steel structure of external facade image credit: http://www. ivarhagendoorn.com/

CONCEPTUALISATION 17

CASE STUDY 02 GUGGENHEIM MUSEUM BILBAO Project Name: Guggenheim Museum Construction year: 1937 Architect(s): Frank Gehry Project Category: Art Museum Address: 1071 Fifth Avenue at 89th Street, Manhattan, New York City

BACKGOUND INFORMATION The Guggenheim Museum Bilbao building represents a magnificent example of the most groundbreaking 20th-century architecture. Museum represents an architectural landmark of audacious configuration and innovating design, providing a seductive backdrop for the art exhibited in it. For the outer skin of the building, he chose titanium sheets which provides a rough and organic effect, adding to the material’s color changes depending on the weather and light conditions. The other two materials used in the building, limestone and glass, harmonize perfectly, achieving an architectural design with a great visual impact that has now become a real icon of the city throughout the world [1].

IMPORTANCE OF COMPUTAION TO THE DESIGN Due to the mathematical complexity of Gehry’s design, he decided to work with an advanced software called CATIA, initially conceived for the aerospace industry, to translate

1. The Guggenheim museum Bilbao.(n.d.). Guggenheim museum. Retrieved from http://www.guggenheim-bilbao.es/en/the-building/the-construction/

CONCEPTUALISATION

his concept to the structure and to help construction. The unveiling this building has inspired a lot of great architects using computation approach, for examples, the complex geometry of Herzog & de Meuron’s Beijing National Stadium or in the precarious cantilevering of Zaha Hadid’s MAXXI National Museum in Rome. If it seems there’s some immensely complicated system being used to engineer these gravity-defying arcs, ramps, and curves, that’s because there was computer to asist them in designing these complex geomety. But that technology, known as parametric modeling, can do much more than facilitate the fantastic creations of Gehry and Hadid alike. Increasingly, parametric design is being used not just to make buildings more visually compelling but to precisely tune nearly every aspect of their performance, from acoustics to energy efficiency. It’s not as sexy an application, but it will become far more valuable to architecture and the way we live and work.[2]

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Fig。 3-4 External 3D facade

i mage credit: http://www.theprovingground.org/

Fig。 4-5 Interior view from他和museum i mage credit: http://albertis-window.com/

Fig。 5-6 AutoCAD renderings i mage credit: http://3d-pictures.picphotos.net/

CONCEPTUALISATION 19

A3. COMPOSITION/ GENERATION

SHIFT FROM COMPOSITION TO TO GENERATION

CRITICISM OF GENERATION APPROACH

In recent years, architectural literature and practice reacted to the shift from composition to generation, include the topics of algorithmic thinking, parametric modelling and scripting cultures. There are several theoretical implications of the invention of turing machines. The question is, If physics exists if there is a precise set of rules, even probabilistic rules, to model nature, the universal machine can simulate anything in nature Including intelligence?

In the design process of generation approach, designers are only relying on some preset rules to generate possible outcomes and choose what they think are the best solutions without theie original ideas and creativity. Also, sometimes these outcomes do not consider the interaction with the surrounding environments Therefore, the use of computer might obstruct the development of the designer’s creativity. In comparison to composition approach, which can be seen as a process of creating an architectural form from conceptualised ideas, is a rational composition of placing elements together to form a coherent whole [2] , this approach focuses on the visual expression and orgination of own ideas more than the generation approach. There are always two sides of a coin, While computer brings faster and more complex opportunities for the generation approach, it may at the same time obstruct the origination of design ideas.

ADVANTAGES AND SHORTCOMINGS “Generation” refers to a process that designers are relying on computer programs for generating an architectural form by setting simple rules. [1] This is an top- down design approach which often use parametric modelling in designing. In contemporary projects designers usually take natural process as the primary rule for generation as the components in the nature consists of a high level of details and complexity. The nature can be regarded as a great architecture admired by many architects. But human must rely on the computers using algorithmic programs to finish their complex design within a short period of time. Computers help them to create a variety of forms based on the calculation rules, for instance, curvature and intersection of distorted surface can be produced. These outcomes are innovative and inspiring to designers.

1. 12.

Gwyllim J. (2014). Composition/ Generation. [PowerPoint

slides]. Retreived from the University of Melbourne Studio Air LMS: https://app.lms.unimelb.edu.au/bbcswebdav/

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BRIEF SUMMARY To sum up, generation benefits the industry through helping designers to create a complex structure with high level of details. Also, through combining the use of computation, million outcomes that are unpredictable by human can be created. Nonetheless generation approach is not without any drawbacks. In the foloowing, two precedents using the generation approach using parametric modelling will be discussed

2. Ibid

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CASE STUDY 01 DRGON SKIN PAVILLION Project Name: Dragon Skin Pavilion Architects: Emmi Keskisarja, Pekka Tynkkynen, Kristof Crolla and Sebastien Delagrange Location: Hong Kong SAR, China Year:2012 Fig 1. Overall structure of the pavillion image credit: http://www.arch2o.com/

BACKGROUND INFORMATION The pavilion is composed of 163 mould-bent plywood â&#x20AC;&#x2DC;scalesâ&#x20AC;&#x2122; which through CNC-milling, according to a computer master-model, are all fitted together to form this arching structure.[1] IMPORTANCE OF PARAMETRIC MODELLING TO THE DESIGN Althiugh this pavillion is just a small architecture at an exhibition, it is a dood demostration of spatial, tactile and material possibilities in architecture since nowadays there is a revolution in digital fabrication

and maufacturing technology. These fabrication methods are referenced to parametric modelling. It is also the process od utilising algorithmic tools. With the aid of parametric modelling , not only architects but also students can build more complexform of architecture, which is demonstrated here as many pointed arches. Designing interesing shapes of architecture and the ustilixation of technologies are much more easier. Althogh this is an small project created by university students, it keeps bring out ideas what computation and parametric modelling mean to us in each process of transformation.

1. http://www.arch2o.com/dragon-skin-pavilionstudents-of-tampere-university-of-technology/

Fig.2-7 shows the details of the skins using parametric modellng. images credit to: http:// www.arch2o.com Name: Dragon Skin Pavilion Fig 2. Details of the dragon skin image credit: http://www.arch2o.com/

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CASE STUDY 02 The Self-Assembly Line

Project Name: The Self-Assembly Line Architect(s): Skylar Tibbits and Arthur Olson Year: 2012

A discrete set of modules are activated by stochastic rotation from a larger container/structure that forces the interaction between units. The unit geometry and attraction mechanisms ensure the units will come into contact with one another and auto-align into locally-correct configurations. Overtime, as more units come into contact, break away, and reconnect, larger, furniture scale elements emerge. [1]. IMPORTANCE IN PARAMETRIC DESIGN The design idea is come from the nature that the underlying mechanisms promote self-assembly and the generation of structural complexity from are fundamental to our understanding of living systems. Through experiencing the dynamics of such mechanisms provides the conceptual scaffolding for understanding scientific ideas that range from thermodynamics to evolution.

natural phenomena as a hybrid system. With scientific research and design speculation the designers are not restricted to the exact specifications of the biological realm or the limitation of the design world. With the aid of computers, patterns emerge from within the interaction of the parts and unknown formations/hierarchies are developed through explicit programmability and simple energy input. Also, given different sets of unit geometries and attraction polarities various structures could be achieved. By changing the external conditions, the geometry of the unit, the attraction of the units and the number of units supplied, the desired global configuration can be programmed [2]

It aims to fuse the worlds of design, computation and biology through a process of scaling up. While implementing the known structure of molecular systems, this installation also proposes the implementation of design/engineering to

1 Architectdaily.(2012.). The self-assembly lines. Retrieved from http:// www.archdaily.com/216336/the-self-assembly-line-skylar-tibbits

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2 Architectdaily.(2012.). The self-assembly lines. Retrieved from http:// www.archdaily.com/216336/the-self-assembly-line-skylar-tibbits

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Fig.2

Fig.3

Fig.2-3 shows the design detatailings of the selfassembly line.

Fig.4

Fig.5

Fig- shows the parametric modelling of the design. imafe credit:: http://www.archdaily.com/

imafe credit:: http://www.archdaily.com/

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A4. CONCLUSION

To make a brief summary of Part A, digital computation is getting more important in architectural design and this will be a continuous design direction and trend in the future. Through several case studies, it was found that there are many positive sides of engaging with contemporary computational design techniques and there are conceptual changes in architectural literature and practice reacting to the shift from composition to generation. After the deep understanding of the fundamental theories, my intended design approach will be parameic approach using different options of gemoetries. It is it innovative the geometry could have a large variation in outcomes. It is significant to design in this way as computer softwares is benefitial in helping my design process.

A5. LEARNING OUTCOME After 4 weeks of study, my understanding in learning about the theory and practice of architectural computing was developed from the beginning of the semester. Starting from zero, now I grasp the main idea and importance of digital architecture by searching for different sources from the Internet, books and lectures. The experience in learning is quite hard and challenging yet fun and worth it. I would use my new knowledge to improve the past designs by altering the geometry in a more innovative way with the aid of computer software like grasshopper.

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A6. APPENDIX- ALGORITHMIC SKETCHES

I selected these sketches because they diplayed some interesting characteristics. Iwill extend them in the future.

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BIBILOGRAPHY 1. Daniela B., David F. (1997). Designing digital space: An Architect’s guide to Virtual Reality, New York: John Wiley & Sons, Inc. 2.

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

3. Ferry, R. & Elizabeth M. (2014). Design Guidelines’ Land Art Generator Initiative. Copenhagen. Retrieved from http://landartgenerator.org/designcomp/downloads/LAGI-2014DesignGuidelines.pdf 4. Land Art Generator Initiative. (2012). Cloud Ecologies. Retrieved from http://landartgenerator.org/LAGI-2012/33la11ka/ 5. Land Art Generator Initiative. (2012). Air Assemblies. Retrieved from http://landartgenerator.org/LAGI-2012/0a0aa0a0/ 6. Stanislav, R. (2014).Design & Computation [PowerPoint slides]. Retrieved from the University of Melbourne Studio Air LMS: https://app.lms.unimelb.edu.au/bbcswebdav 7. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge: MIT Press 8. Nyheter OM S. (2004). Swiss Re’s Building, London. Retrieved from http://www. epab.bme.hu/oktatas/2009-2010-2/v-CA-B-Ms/FreeForm/Examples/SwissRe.pdf 9. The Guggenheim museum Bilbao.(n.d.). Guggenheim museum. Retrieved from http://www.guggenheim-bilbao.es/en/the-building/the-construction/ 10.

Oxman, Rivka and Robert O. (2014). Theories of the Digital in Architecture. New York: Routledge

11. , Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 pdf 12. Gwyllim J. (2014). Composition/ Generation. [PowerPoint slides]. Retreived from the University of Melbourne Studio Air LMS: https://app.lms.unimelb.edu.au/bbcswebdav/ 13. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 pdf 14. Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’’, Land Art Generator Initiative, Copenhagen, 2014. 15. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 pdf

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IMAGE CREDITS ttp://thomasdiewald.com/blog/wp-content/uploads/2011/08/diewald_gray_P1020772_1.jpg\ http://landartgenerator.org/LAGI-2012/33la11ka/ http://michalpiasecki.com/2008/10/19/rose-window-a-3d-parametric-model-in-processing/ http://www.epab.bme.hu/oktatas/2009-2010-2/v-CA-B-Ms/FreeForm/Examples/SwissRe.pdf http://www.guggenheim-bilbao.es/en/the-building/the-construction/

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PART B. CRITERIA DESIGN 28

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B1. RESEARCH FIELD INTEREST OF FIELD - GEOMETRY Take a look at modern architecture and it can be realized that the last decades have produced an increasing number of buildings with exotic shapes. In earlier times the design of buildings has been influenced by mathematical ideas regarding, for instance, symmetry. Both historical and modern developments show that mathematics can play an important role, ranging from appropriate descriptions of designs to guiding the designerâ&#x20AC;&#x2122;s intuition [1]. Geometry is of particular interest and this has been an interesting field in mathematics calculations. Different types of Geometries incudes ruled surfaces, paraboloids, minimal surfaces (See Fig.1), geodesics, relaxation and general form finding, Booleans. These forms can hardly be produced in large scale building without the aid of computation. WHAT ARE THE OPPORTUNITIES OF GEOMETRIC COMPUTING? Modern architecture takes advantage of the greatly increasing design possibilities, yet architects are not just a new group of CAD users. Scale and construction technologies pose new challenges to engineering and design. It is convinced that such challenges can be met more effectively with a solid understanding of geometry. Minimal surfaces have special properties because they are used as models in several different fields. It is apparent that the least area property was used in architecture for light roof constructions, form-finding models for tents, nets and air halls and which led to a new trend in architecture. In my design, I would like to apply this type of geometry which is important in generating more curvy and innovative structures. Techniques involving geometric computation has a higher opportunity in creating comtemporary and aesthetically attractive buildings. WHAT ARE THE FABRICATION CONCERNS? Buildings designed with minimal surface may face more challenging fabrcation problems since the techniques for fabricating new computational generated buildings are still developing in the modern era. Comparing with tradditional concreate spalling or steel construction methods, new and innovative technology may be required to connect the curvy elements instead of connecting vertical and horizontal elements. On the other hand, more innovative materials may be used in concerning environmental issues. 1. Hans Sterk, 2005â&#x20AC;&#x201C;2008, Geometry in architecture and building. Retrieved from http://www.win.tue.nl/~sterk/Bouwkunde/hoofdstuk1.pdf

Fig. 1. Example of minimal surface: Catenoids Image source: http://www.geom.uiuc.edu/ CRITERIA DESIGN

PRESCEDENT 01 VOLTDOM Project Name: The Voltdom Architect(s): Skylar Tibbits Year: 2013 Location: building 56 & 66 on MITâ&#x20AC;&#x2122;s campus

BACKGROUND INFORMATION It was designed for MITâ&#x20AC;&#x2122;s 150th Anniversary Celebration & FAST Arts Festival (Festival of Arts, Science and Technology). The project is one of the recent experiments in computational design of .skaylae Tibbits. This installation resembles a cell group that will multiply and grow in a relationship of interdependence between cells, to build a solid border. The project reviews historical structural element - the vault and tried to find its mordern equivalent through various assembly and fabrication techniques. This allows us to appreciate the installation both as a sculpture and a research in materiality and digital fabrication[1]. FABRICATION METHOD This installation fills the space of the MIT concrete and glass hallway with hundreds of vaults. It expands the architectural notion we have of panel surface, increasing the depth of a doubly curved vaulted surface, while maintaining the relative ease of manufacture and assembly. The assembly of this complex surface has to do with the processing of single strips of material bent and assembled to achieve the effect of the vaults. The set demonstrates the relative ease that an installation has to change, modify and shape space. COMPUTATIONAL CONCEPT This installation is make use of the voroni concept with the aid of rhinoceros and grasshopper. This can be made by creating a series of cones and then trim cones to form voroni. Then, find the intersection with a plane and trim cones to create oculus. Surfaces are then developed and fabricated. This structure can also be regarded as an example of minimal surface.

1. Voltdom,SJET, Retriveved from http://sjet.us/MIT_VOLTADOM.html, Retrieved 24th Aug 2014

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Fig. 1 Voltdom image credit:http://www.arch2o.com/

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PRESCEDENT 02 GREEN VOID

Architects: LAVA Location: Sydney, Australia Project year: 2008 Project Team: Chris Bosse, Tobias Wallisser, Alexander Rieck

DIGITAL WORKFLOW The project is famous on the application of a structure in the traditional sense. The space is filled with a 3-dimensional lightweight-sculpture, solely based on minimal surface tension, freely stretching between wall and ceiling and floor. It optimized minimal surface design and computer numeric code fabrication technology allows the sculpture to reveal a new dimension in sustainable design practice. FABRICATION The main focus of fabrivcation is the material. The sculpture materials consist of a double stretch, 2 way woven fabric that is mechanically attached to specially designed aluminum track profiles. Each profile is suspended from above, and to the side, on 2mm stainless steel cabling [1] The light construction weight, easy fabrication and short installation time allows it to be transported all over the world, while at the same time achieving maximum visual impact in the large atrium space. This material is also fully reusable. EXPLORATION Started with the algorithm which produced the 3D form of the design, I explored with the how mesh relaxation works using Grasshopper and Kangaroo. At first, I changes the curves shapes in the rhinoceros the make geomety of tubes. Later, the study is further explored with the use of exoskeleton in Kangaroo within the design and experiment with different shapes and geometries. Through changing different parameters such as size and radius of nodes, number of lines and thickness, different outcomes are produced. The curves are then extracted. Then, I tested out different mesh which later on being manipulated through moving control points of the model in Rhino. Through changing the flexibility (goal length) within the Kangaroo Springs definition, I was able to explore how curves can move within the geometry itself.

1. ArchDaily, Green Void, Retreived from http://www.archdaily.com/10233/green-void-lava, Retrieved 20th Aug 2014

Fig. 1 Green Void image credit:http://cubeme.com/

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B2.CASE STUDY 1.0 SPECIES 1: CIRCULAR TUBES

Thickness of tubes (+) Distance between nodes (-) SPECIES 2 RECTANGULAR TUBES

Thickness of tubes (+) Distance between nodes (-)

SPECIES 3: IRREGULAR TUBES

Thickness of tubes (+) Distance between nodes (-) 32

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Thickness of tubes (-) Distance between nodes (+)

Thickness of tubes (-) Distance between nodes (+) CRITERIA DESIGN

SPECIES 4 EXOSELETON

Size of nodes (+) Number of sides (+)

Thickness of sides (+) Number of sides (-)

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SPECIES 5: EXOSKELETON - DIFFERENT GEOMETY

Size of nodes (+) Number of lines (-)

Global Length (+) Size of nodes (-)

Global Length (+) Size of nodes ((+)

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BEST OUTCOMES

Through the explorations of forming different geometry using Grasshopper and Kangaroo Physics, the final two outcomes displayed the idea of minimal surface formed by tensile forces and look most attractive aesthically. These outcomes are very different from each other although they uses the same definitions in grasshopper because the variations in parameters are quite large and the variations in forms can be extra-ordinary. I have selected these two outcomes to be the interesting ones because they are volumetric that spaces can be form within them to create interesting experience for the occupants of a building. Throughout the progress of creating geometric variation, I am trying to achieve forms that can demonstrate the idea of tensile and minimal surface which can also provide spaces within them. My selection criteria is that it can be aligned with the brief which is to create a landmark that interacts with visitors which can create a continuous path which is an important element when it comes to exploration within a structure. These outcomes can be explored further with the use of materials, constructibility and the overall circulation within the geometry. I believe these outcomes can portray not only the visual impact, but psychological sense in people, showing affections of emotion, mood and action. The different knowledge needed to expand the potential within design is one of the many advantages of parametric design process. Woodbury stated that a great community can be created within the design process itself with different disciplines contributing to the design.[1]

1 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170 pdf

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B3.CASE STUDY 2.0 Taichung Metropolitan Opera House Location: Taichung, Taiwan Architect: Toyo Ito Company building: Lee Ming Construction Area: 620,000 square feet End construction: 2015

Taichung Metropolitan Opera House , Oistat Image credt: http://www.oistat.org/Item/Show. asp?m=1&d=1368

GEOMETRY The Sound Cave is both a horizontally and vertically continuous network. This design is based on a few simple geometrics rules. The membrane between two surfaces is divided into alternating zones which is separated by a curvilinear membrane. The underlying geometric grid is transformed while maintaining its integrity [1]. CONSTRUCTION TECHNIQUE rather than constructing doubly curved formwork that is expensive and time consuming on site, the temporary structure in the void creates faceted surfaces that best-fit the finished surface. between the temporary steel work,expanded metal mesh is expanded metal mesh spans between the temporary steel work to act as faceted formwork. 150 mm thick concrete can be shot at one time. the surface layer of 25 mm is shot separately without large aggregate to achieve smooth surface finish.[2] ANALYSIS ON DESIGN INTENT The building is characteristic of its unique design concepts such as the sound cave, the original arc Wall structure system and the special construction techniques, etc. I believe that Toyo Ito has these design intents to follow the new architectural trend in parametric design and the rising importance of the concept on sustainability in building system. I believe that these original innovations are successful in the architectural trend which has drawn the attention of architectural made Taichung Metropolitan Opera House the focus

1. Toyo Ito: Taichung Metropolitan Opera, Designboom Architecture, Retrieved from http://www.designboom.com/architecture/toyo-ito-taichung-metropolitan-opera/ 2. Taichung Metropolitan Opera House, Arcspace, Retrieved from http://www.arcspace.com/features/toyo-ito--associates/taichung-metropolitan-opera-house/

“Architecture has to follow the diversity of society, and has to reflect that a simple square or cube can’t contain that diversity” Toyo Ito Image credit: http://blog.aprils.jp/

CRITERIA DESIGN

In the following parts, this project is being reverse engineered to make a definition of the building so that the definition can be further used for exploration of geometry and generate different out comes. At first, I think of creating a basic form of the building, which is a catenoid, and combing the catenoids together to form the whole building. However, this process has been done half as I found difficulty in creating a catenoid. I have also think of another method - to use voroni pattern. Then, I successfully generated this form of building. After the reverse engineering the process, different outcomes are generated by using the 3D voroni skeleton structure. The parameters of the scale of volume, size of opening and the distance of points are being tested. Since this building is aslo an example of minimal surface, I tried to develop another technique which is using the iso-surfacing and minimizing to test against the level of relaxation and the thickness of lines. More interesting patterns are generated.

Elevations Image source: http://static.flickr.com/

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REVERSE ENGINEERING PROCESS

1. Define a box volume

2. Create points inside the box volume

3. Connect the points to create 3D voroni pattern.

4. Explode the cells and scale the volume of the cells.

5. Create points of the exploded cells.

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6. Scale the area of the exploded cells.

7. Create points of the exploded area.

8. Connect all the end points of the volume and the surface area.

9. Create mesh between the points

10.

10. Smooth the surface by using WeaverBird.

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FINAL OUTCOMES

The final results imitates quite closely to Tthe original project. The main component of the geometry and form produced purely based on tensile strength is achieved. Also, volume underneath the structure is driven from the outcome which was one of the features of the original structure. The idea of a continuous dynamic form is also created using one form of surface. However, the structure fails to deliver the smooth transition showing its flexibility and curvature. Also, the structure is not symmetrical as the original design. The interior structure of my result is more complicated than the original one. Nevertheless, this more complicated structure allow me to further explore more interesting outcomes of matrix. It can be developed further in terms of complexity or minimalism. I will try different options of the formation of more complex and more simple ones for comparison.

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B.4 TECHNIQUE: DEVELOPMENT SPECIES 1: ISOSURFACING AND MINIMISING

Thickness (+) Nmber of sides (-)

Level of relaxation (+) Nmber of lines (constant)

Level of relaxation (+) Number of lines (+)

Level of relexation (+) Number of lines (-)

Number of lines (+) Thickness (constant) 42

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SPECIES 2: 3D VORRONI SKELETON

Series A

Scale of volume (+)

Series B Scale of area (-)

Series C

Scale of volume (-) Scale of are a (-)

Series D

Scale of volume (-)

Series E

Changed volume shape Scale of volume (-) CRITERIA DESIGN

SELECTION CRETERIA

Adopted from the species of voroni pattern,I would choose the series C because these outcomes are the most developed one among the iterationsin terms of size, complexity and the dynamism that I want to achieve in my design. This gives me an opportunity to develop further in usersâ&#x20AC;&#x2122; circulation, type of functions and its energy generation system. This series provides me with a better use of space and look better aesthetically. Also, this series has a higher potential of developing the prototype skills. Comparing with the other series, The form will be too complex and the space of the inside volume may not be utilize easily due to the irregularity. For exmaple, Series B has to rouned shape that the interior may not be used easily and the volume of Series E is too elongated that is not sitable for our site with a large area with linitation on building height. Comparing the apperarence of the outcomes, series A has thiner connecting lines with triangular shape which might be a better option for developing the protypes, nevertheless, I think the pattern of connecting the volume is more interesting for series C Among the outcomes of this series, I would like to develop the prototype of the second option. This dynamic and complex portotype can provide a more interactive movements within the the structure. This prototype can also acts as a structural element itself that can potentially hold tension membrane developed. On the other hand, the more rounded ball-like volume is more preferred to a long and narrow volume to become the form of the building. Therefore, I would like to choose the fifth option in series C as the development for the building form.

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B.5. TECHNIQUES: PROTOTYPES 1. MODEL MAKING PROCESS

Hand- making

Laser cut

2. TESTING OF PATTERNS

Pattern1

Pattern2

I chose pattern two because this allows more flexibily in forming the building geometry.

3. TESTING OF MATERIAL

Aluminum Metal

Polystyrene

I would like to apply the building material like polystyrene as the major material of my design because of the light-weight and water- proofing properties of this material. Also, this material is more transparrent for creating different lighting effects of my design. In real scale, I need to find a suitable material the resembles the properties of polystyrene. Metal is not preferred as they are heavy and absorbs heat. Aluminium sheets and the rigidity of the structure is much improved although it was harder to work with. A laser cut template was needed to be formed before cutting the aluminium panels by hand. This has less precision and somepanels did not match properly as compared to the first prototype. Even though the penetration issue is fixed in this prototype, due to the process of handmaking, the joining of panels still lack in accuracy.

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4. TESING OF PHYICAL FORCES

Bending

Stretching

Compessing

However, use of polysterence faces problems of lack of rigidity as the flexibility to change its shape is high. The lack of rigidity implies a better material option other than polysterene. Furthermore, bolted joints may not be the best options when it comes to having loads acting on the surface panel. This causes shearing in the bolts when movement occurs on the panels which can cause deformation.

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B.6. TECHNIQUES: PROPOSAL Having to analyse the brief and site context, sunlight, entrances, wind and views are taken into consideration into generating the proposed form of my design. I chose to focus on movements and interaction between user, site and our design as the main drive to generate the aesthetics and energy generation of the design. Copenhagen used to be a fishing village and water is perhaps the most abundant resources. Also, the site is located near the sea with a water taxi terminal. Therefore, Iâ&#x20AC;&#x2122;d like to create a water path in the landscape connecting to the water taxi terminal. In summer, teens can swims along the water path while in winter, teens can enjoy sports on the ice surface such as skating and ice hockey, which is famous in Comprehagen. In response to the solar condition of the site, solar panels are installed on the top surface of the roof facing the south to capture the most sunlight and provide electricity for the lightings in reading areas and multi-media activities. Computational design approach has been used to test for solar responses to locate the most suitable areas for installing the solar panels.

CRITERIA DESIGN

The programme I am considering for the site is a public Youth Center which provides both academic and amenity spaces for the development of the teenagers.The target is age between 6 to 20. The major reason that I considered this target I because there are many students or adolescents studying in the place and they might need a large area for studying and exercising. I want to create an energetic, enthusiastic and delightful mood so different colors will be applied in my design. The use of computational design is important to the theme to create innovative and interesting spaces for different kinds of activities and initiate the creativities of adolescents in terms of aesthetic of the building. With the computational technique I have chosen to explore, it creates a dynamic and interactive outcome that can form curiosity and interest in people. My building is composed of two parts. The internal spaces are generated by a basic geometry of voroni. The second part is the roof part generated by using lofing and integrating with the landscape for covering the internal areas. In terms of fabrication and assembly, the basic geometry was firstly tested with different types of materials such as paper and transparent material, and metals to obtain the best result. In real-scale, I think itâ&#x20AC;&#x2122;s better to use transparent with the water-proofing property for preventing water from cracking the building. Different prototypes are used to evaluate future performance and the algorithmic techniques. In terms of the form of building, I would like to create four volumes with different sizes with water running through between them. Each volume is used for different function, one for academic, one for multi-purpose, one for water activities and one for sports. I will apply the technique developed from the previous matrix of outcomes to create the form and the landscape structure of the whole site.

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B.7. LEARNING OBJECTIVES AND OUTCOMES

In order to be successful in creating innovative design instead of just generating random forms, a certain motive needs to be considered before that. The biggest issue that I have encountered is that did not know the drive to generating our form. I got a bit lost in the midst of just exploring with the tools and not considering the architectural elements of our design during the earlier process. This problem has led me to analyse the context and the brief of the project closely which have influenced in our designing process and really see how computational design can help generate outcomes that were not expected of. However, design proposal has failed to include a solid argument in the field of energy generation because I did not fully consider the factors needed for it to be successful. This consequently affected the solidity of my design intent as well. Factors such as number of users, functionality of space, types of movements and the main typology of the design are not well-considered of. Thus, this I will make improvements in several directions and steps that I must consider the next stage. The list below shows how our technique could be extended to further produce a structure that meet the requirements of the brief: First of all, the consideration of energy use. Who produces the most energy through movements? How many needed to produce the amount of energy needed? How about the use of water?

Secondly, the size of structure. I have to consider how to occupy the area the design site. Do I need to design a mass structure or smaller structures with different functions across the site? Thirdly, the toypology of design. Since the main attraction of my design is water theme, the typology affects how I can generate areas for the water activities in the landscape. Last but not least, the energy generation.How am I going to use solar energy? How is that informative and innovative to attract users? Do I need to consider any other alternatives? I need to make further research and collect data to support my argument. The learning process of this stage has helped me not be afraid to criticize limitations and shortcomings of a design proposal. It is an important way to learn from the past and adopt new ways and technique to help develop a better proposal. The process of rediscovering can help to develop my understanding towards the mordern computational design. It is a process with plenty of explorations and experiments to try to achieve the best outcome possible. Furthermore, the understanding of virtual and reality environment is explored throughout the design process. Physical fabrication has informed in the type of algorithm I chose and understand how things come together as a whole. Joint, material behaviour and its quality are important aspects that can further help to develop the use of techniques for the final project.

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B.8. APPENDIX- ALGORITHMIC SKETCHES

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BIBILOGRAPHY Hans Sterk, 2005–2008, Geometry in architecture and building. Retrieved from http://www.win.tue.nl/~sterk/Bouwkunde/hoofdstuk1.pdf Green Void. Retrieved from http://www.sydneycustomshouse.com.au/news/ documents/GreenVoidArchitectureAustraliap25-MayJun09.pdf Green Void http://www.archdaily.com/10233/green-void-lava/ Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170 pdf

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Fig. C1. Perspective view of final design

PART C DETAILED DESIGN 52

PROJECT PROPOSAL

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C.1 DESIGN CONCEPT The idea of swimming in Copenhagenâ&#x20AC;&#x2122;s harbor would have been out of the question fifteen years ago. Close to 100 overflow channels fed wastewater into the harbor making the water heavily polluted. Therefore it is important to provide an area with clean water for water activities. Reflect upon the feedback from interim presentation. I have made the following changes to my design proposal and conceptual idea. 1. The brief Similar to my previous idea, I wish to design a waterthemed space where users can interact with and form a sense of rediscovery and curiosity towards the environment. In order to echo with the water theme, water features will be placed on the landscape for users to experience the fantasy of water within the site. Aligning with the vision of Copenhagen, my design aims to improve the space quality of the harbors which led to my idea of reconverting an unused industrial land to an attractive harbor landmark as a harbor bath as well as spaces for water activities. 2. Energy generation technique I have chosen to reconsider the energy generation technique, changing to a method that is more consistent compared to piezoelectric. The use of solar pond is chosen because firstly, it can be directly seen by the users and the use that it can proposed to our design intent of a community space. Despite of its simple system, this technique does not get utilized very often but potentially is able to bring further interest in users through its use not only as an energy production system but heating as well.

3. Form generation While maintaining my research field of 3D voronoi, the form of my design is altered to improve the efficiency of the energy generation technique through analyzing the physical constraints of the site. With the help of computational tools, I was able to analyze the way my form perform on site in relation to the energy generation technique. Furthermore, the scale and types of geometry formed within the design is also considered to improve the relationship between the users and design. The use of algorithm has allow me to change and alter the form easily by culling the geometry I wanted for my design. Fluidity and creativity are ideas I wished to portray through the complex and dynamic form of the design. Usable space and relationship between the site and the building is what I looked for through the iteration process. 4. Fabrication Though the prototype developed in part B was not applied to my design, I began to focus on the technicality of the fabrication method in terms of rigidity and structurally. I explored in ways to strengthen the building by creating steel columns and studied the joints of the columns and can how it can be fabricated in real world construction. Nevertheless, the extra support of steel columns was found to be unnecessary. Computation has allowed me to continuously change the elements of my prototypes when I encounter any issues during physical fabrication. Computation has also broaden my knowledge in the use of 3D printing and has helped me to realize my form physically.

PROJECT PROPOSAL

C1.1 Form formation

Fig. C2. Form formation of t 54

PROJECT PROPOSAL

the design

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I was looking for a form that best suit the site and the performance of the building. Therefore, I tried with different options of geometry by using the â&#x20AC;&#x153;cull patternâ&#x20AC;&#x153; After changing my definition, I started to create more iterations that find a balance between the characteristics I wanted to have to create a dynamic design. To make it clearer, the items below are the elements I searched for while generating these outcomes: 1) Structural columns 2) Minimized tubular forms 3) Cantilevered structure 4) Merge of form with ground 5) Size of the volume for accommodating 7) Arches/Pavilion 8) Area enough to have solar ponds covering half the site The final selected one is culled in a S-shaped tubular geometry since this type of geometry can provide a better circulation method and enhance the connectivity between the users and the building itself through the easy dynamic flow. Besides, the larger volumn of the void inside the 3D voronoi pattern can be utilised more easily than the smaller ones and this geometry fufilled most of the listed items above.

Fig. C3. Final outcome of form of design PROJECT PROPOSAL

C1.2. Site work

Fig. C4. Site veiw of the model and site planning

To include my concept of having water features in my design, I have chosen to use solar pond as the energy generation technique. Solar pond is pool of saltwater that comes with different salinity which acts as a largescale solar thermal energy collector with integral heat storage for supplying thermal energy which can be converted into electricity. The pond naturally divides itself according to the saltiness of the water (saltiest being the most bottom layer to least salty being the top layer). This gradient formed by the pond allows the top layer to act as an absorbent medium while the bottom layer as a storage zone which is the part where energy is being extracted from. In the summer it is expected that solar pond will reach temperatures of above 80 °C. This heat will be available through the night as well as the day. In winter, the pond will still be able to supply useful heat because the temperature of the lower layer will remain some 30 °C above that at the surface.[1]

Through the use of Organic Rankine Cycle, electricity is generated based on a turbine driven by heated lowboling-point fluid formed into pressurized vapour. In order to prevent fluctuation in temperature which can affect the efficiency of the system, factors such as height, shape and density of structure of the design is carefully altered based on the constraints proposed by the site such as sun and wind. Besides only generating electricity, residual heat is also released during the process and this heat is transferred to water pipes system that runs under the baths.[2] Furthermore, this method is a low-cost energy generation technique because the ponds is constructed with what is often reject brine which considered as a waste product, to build the salinity gradient. Solar ponds uses readily made available materials such as salt an brackish water without the need to waste any other materials to be built. It is also an energy generation technique that does not cause greenhouse gas

1 F.J. Weinberg and B. Doron, ‘Integration of Solar Pond with Water Desalination’, Renewable Energy Systems and Desalination, Vol. 2

PROJECT PROPOSAL

2. J. Srinivasan, ‘Solar pond technology’, Sadhan’, Vol. 18, Part 1(1993), p.39-55.

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Solar pond is pool of saltwater that mes with different salinity which acts as a large-scale solar thermal energy collector with integral heat storage for supplying thermal energy which can be converted into electricity. The pond naturally divides itself according to the saltiness of the water (saltiest being the most bottom layer to least salty being the top layer). This gradient formed by the pond allows the top layer to act as an absorbent medium while the bottom layer as a storage zone which is the part where energy is being extracted from.[1] 1. Besides generating electricity, the residual heat formed from the pond may be used to provide heating for the public pools integrated with our design (Diagram 2). In order to ensure a constant efficiency of this technique, the factors below are considered: 1) The depth and size of the pond To minimize heat losses and linear costs, the pond area should be more than 10,000m2 and should be 2m or more in depth.

Fig. C5. Possible solar pond areas

2) Ponds’ exposure to sun: In order to maintain the efficiency of the system to generate electricity, maximum exposure of sunlight is needed to be obtain by the pond. 3) Ponds’ exposure to wind: To prevent the evaporation and cooling of water surface caused by wind, the density of solid structure across our design in different parts of site is varied. For example, the ponds need to be protected from south-west wind which is the strongest throughout the year.

1 The University of Texas at El Paso, ‘Salinity-Gradient Solar Technology Page’, An Alternative Energy Exhibition, 83-Vol. JI, 431-4381983 <http://wwwold.ece.

Fig. C6. Wind pond areas

utep.edu/research/Energy/Pond/pond. html> [accessed 21st October 2014]

PROJECT PROPOSAL

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Fig. C7. Mechanism of the solar pond system

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SOLAR PANEL SYSTEM

Fig. C8. Solar energy system of a solar panel

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Lacation of solar panels The whole building is covered by panels but not all of them are solar panels. Only the location receiving the most sunlight will be installed with solar panels while the remainly panels are used for generating sifferent colors of lights to create the colo-ur effect of the building. The amount of sunlight that can receive by the building was analysed by using the ladybug plugin. Based on the analysis, the area dsplayed in orange or red colour with an average of 9-hours explosure to the sunlight will be installed with solar panels. There will be a total of 295 solar panels to be installed and 352 lighting panels for providing lighting effects.

Fig. C9. Solar analysis of solar panels

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C2. TECTONIC ELEMENTS AND PROTOYPES Tectonic system There are two main tectonic component for my design, the sprayed concrete system and the solar panel system on top of the building envelope. Sprayed concrete is a method of applying concrete that is without the need for form work. Sprayed concrete is often referred to as dry mix or wet mix. I choose this system instead of using paneling system for the façade due to the problem of water leakage. I choose water-tight concrete as the building envelope also because of its high strength, low permeability and high durability. Concrete also has good adhesion and bond strengths. Material system: sustainable concrete The material I selected for my design is the newest generation of sprayed concrete admixture. It conforms to the international “Responsible Care” standard, which establishes basic principles regarding safety, health and environmental protection. The non-toxic and alkaline-free accelerators have a low pH value. In contrast to older generation accelerators they exhibit a lower risk for people and the environment in transport, storage and use.[1]

1 Gunform International Limited, ‘What is sprayed concrete?’ (2014). <http://www.gunform.com/sprayed_concrete.php> [accessed 21st October 2014]

Fig.C 10. Concrete spraying method Image source: http://1.bp.blogspot.com/

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Decision for extra support To provide extra support and prevent the complicated structure of my design from collapsing, I developed a steel column system using computational method by creating pipes in between the volumes of the 3D voronoi structure. The size of the pipes could be varied in response to the volume of the building scale. The circular shaped steel columns are connected by using a wrapping. In order to demonstrate the structure, a rough physical model was made to demonstrate the

prototype of the steel columns. In the physical model, the sticks are the steels columns while the nodes between the sticks are the connection prototype. Nevertheless, since the sprayed concrete system is generally self-supporting which does not require any extra support, I discarded this steel column structure and use barely the concrete system.

Fig.C 11. Physical model of steel columns structure

Fig.C 12. Computation drawing of columns structure showing the connection joints

Fig.C 13. Computation drawing of the columns by creating pipes

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Solar panels as prototypes The prototype pattern developed in part B was originally used to be applied on the skin of the building structure. However, due to the water-leakage problem, that prototype was discarded and the use of water-tight concrete system was chosen instead of using repeating pattern for the faรงade. In order to maintain the repeating pattern appearance of my design, different patterns of solar panels are used instead of using paneling system. The shapes of solar panels are tested against light and effect. The original pattern of the prototype in developed in part B can also be used as a pattern for the solar panel but the shape is too thin and it is not effective to use this shape as a solar panel. The final outcome of the solar panel pattern was chosen to be the parallelogram in order to maximize the surface area for capturing sunlight and the panels are mounted at a minimum tilt angle of 30 degrees in response to the angle of sunlight for Comprehend. This also allow for proper self-cleaning from normal rain showers.

Fig. 14 parallelogram solar panel pattern

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Fig. 15 Prototype developed i

in part B as solar panel pattern

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Fig. 16 Triangular solar panel pattern

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Since the panel system is discarded, the solar panel system will be the main focus of prototype. In order to develop the prototype more advance, the mounting methods of each solar panel module to the concreate structure was studied. Bolts assembly and racking methods like top-down clamps are the methods available for installing solar panels. The racking methods are not used since it is difficult to install the longitudinal racking track on a curved surface. Therefore, bolts method is used for installing the panels. Makinf reference from the solar installation guide, I have drawn the details of mounting the paralleogram solar panels to the srayed concrete structure as shown in figure . Below is the steps for the prototype for the mounting of panels: 1. Attach a grounding screw assembly at a designated grounding hole location using only stainless steel hardware. Insert an stainless steel screw first through the stainless steel cup washer, and then through the grounding hole. 2. Engage a stainless steel backing nut loosely and the toothed lock washer to the screw. (See figure 9)

3. Tighten the screw and engage the toothed lock washer to the frame. [1] Although the mounting method is the same for all panels, not all the panels on the surface will be used as solar panels. The possible positions for the solar panels are analyzed and the remaining panels will be used as light panels which consume electricity from the solar pond and generate different colors of lights to create color effects on the building surface. The size of each solar panel is also determined according to the scale of the building. Since the building is quite large, the solar panel for the building will be larger than the normal solar panel commonly found for home usage. Each parallelogram is about 5m x 2.5m received by an aluminium frame which is 18.8m tall. They are tilelted at 30 degrees and will be installed at different curvature of surface, depending on the slope of the curved surface.

1. Yingli Green Energy Holding Co. Ltd.,â&#x20AC;&#x2122; YINGLI SOLAR PV MODULES Installation and User Manual, Solar 360, (2011), <http://www. solar360.com.au/files/Yingli%20Solar%20Installation_and_User_ Manual_IEC_EN_201202.pdf> [accessed 21st October 2014]

Fig. 17. 3D drawing of solar panel prototypes

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Fig. 18. Details of a solar panel prototype

2.5 m 5m

1.8 m

Fig. 19. Size of a solar panel prototype PROJECT PROPOSAL

Fig. C20. Final physical model

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C3. FIN

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C3.1 PHYSICAL MODEL 3D printing the form of my model has allowed me to realise the characteristics of my form. Interesting outcomes such as arches, cantilevered structures, merging of the form to land and the use of computation is clearly displayed through the 3D printing. Besides, the use of material and the process of 3D printing is similar to the real material and real construction process. The final model will has a high resemblance to that of the real building of my design, though my design is not implemented in reality. On the other hand, due to the limitations of 3D printing, several problems were encountered when sending my model to the Fablab. First of all, the raw mesh that was generated through grasshopper was not clean and has non-planar joints and floating geometry. Using the ‘Check’ and ‘MeshRepair’ command, I was able to clean up the mesh in order to be accepted for printing. Another issue that I have encountered is the size of my model. The maximum printing area for the 3D print powder was 20x20cm and thus, I had to split my model into two separate parts and printed separately. Gaining feedback from the final presentation, the site context was laser-cut instead of hand-making. The final 3D model has allowed me to realise the dynamism and complexity of my digital model. Different spatial qualities are created through the different intensity of light casting through the panels of different material that wraps the form of the structure. With the help of computational tools, I was able to not only have a design that brings out the design intent but the performance and constructability is also explored. Another element that I could have done to improve the model is to actually incorporate the solar panel pattern onto the model to be printed. This would have helped to show the overall aesthetic characteristic of my final design. However, due to the complexity and expensive cost of 3D printing, the final model of the façade with solar panel fabrication is represented by the digital model.

NAL DETAIL MODEL PROJECT PROPOSAL

Fig C 21. Section of the model

Fig C 22. Close up of the model

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Fig C 23. Close up from high angle

Fig C 24. Close up from low angle

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C3.2. DIGITAL MODEL RENDERINGS

Fig C 25.

Fig C 26.

Fig C 27. Interior rendering 72

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A’

Fig C 28. Section AA’

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ELEVATIONS

Fig. C 29. West elevation without solar panel system i.e. Concrete system

Fig. C 30. East elevation displaying concrete as material

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Fig. C 29. West Elevation with solar panels on top of concrete surface

Fig. C 31. East elevation with solar panels on top of concrete surface

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C5. LEARNING OBJECTIVES AND OUTCOMES This part of the learning process has taught me the importance of keeping a balance between conceptual ideas, technicality and architectural impact when designing. This is one of the crucial understanding when it comes to computational design because it restructures the way I design and my attitude towards how I deliver the creativity I have before. Based on the feedback I received during the final presentation, I have learnt that it is important to constantly relate the steps that I made to support the architectural side of our design. For example, it is important to explain my form generation process not just saying that I tried those options but to include the reasons for the options. The flexibility of computational tools has allowed me to explore not only within the structure and the form of my design but its performance as well. One of the major learning outcomes that I have achieved is learning the benefits of computational design associating with performance-based processes that were not available in the pre-digital era. Plug-ins such as Ladybug and Honeybee have helped me to apply the site context and this has created new opportunities for me to further improve our design. Furthermore, I have also learnt the importance of scale when it comes to computational

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design. Due to the flexibility of computational tools, it is very easy to neglect the relationship between human and the design in terms of scale. This weakness of not being able to design in accurate scale virtually brings out the importance of physical fabrication process. Lastly, gaining from the feedback, it is important to not only be able to present an idea verbally but through visual presentation as well. I agree with the words of critics that improvement is needed in the way we presented our ideas through drawings and renderings (Tried to render acrylic but failed miserably). Elements such as materiality, scale and spatial experiences could have been executed better. Due to the complexity of ideas formed through computational design, it is crucial to present a clear intent of every detailed made throughout the process. Overall, I have gained a thorough understanding towards the benefits of computational design to the built environment. Computational tools act as a platform to create better designs not only in a visual sense but performance wise as well.

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Conclusion This design project has challenged me to explore the impact of computation on architectural design. This exploration is crucial because of the use in technology and the term â&#x20AC;&#x153;digital architectural designâ&#x20AC;? have developed and influenced widely in contemporary architectural discourse and practice. New opportunities and challenges that require new skills formed within the advancement of technologies have triggered a new workflow in the design process. These new methods of designing have changed the conventional way of design and has put upon new considerations into the way I resolve a problem. For example, I was able to explore in how my design would perform in regards to not only aesthetically but in construction and environmentally as well. This emergence of performance based design is one of the most crucial element that brings forward the capabilities of computational design.[5] Although the process of learning digital architectural design approaches is quite demanding and difficult, it has proposed a new way of thinking and has helped me earn new techniques that can be applied in many areas in a design process.The brief given by this course has allowed critical thinking in regards to giving me an opportunity to generate a variety of design possibilities for a given situation. Besides having to design an innovative land art, the brief allows us to go deeper into exploring different energy generation technologies and construction systems within the real industry. The flexibility of algorithmic design has allowed me to explore in many ways to resolve a situation and generate new outcomes.

Furthermore, this design project has challenged me to continuously to extend my knowledge within the world of computational design. Often at times these tools and techniques can bring constraints to creativity because of the lack in experience. This project has helped me build a solid and lasting foundation towards the understanding of digital tools. Grasshopper is not only a flexible toolset that can be easily extended with various plugins but it exposes mathematical, geometrical and computational concepts that are directly applicable to many other situations in the contemporary architecture discourse. As mentioned briefly before, the change in design workflow in this course is one of the elements that is challenging and engaging. Instead of starting with a conceptual design phase (conventionally), we began with conceptual and technical learning which allows us to be familiar with practical implications of parametric modelling through research and tutorials. With these appropriate technical-based starting points and the explorations with different methods, we were then able to integrate a design proposal into a structure that demonstrates the unique capabilities of computation. The overall design process is rewarding and a great learning process. This course has helped me to develop an understanding towards the change in architectural profession with the development of digital architectural design and technology.

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References F.J. Weinberg and B. Doron, ‘Integration of Solar Pond with Water Desalination’, Renewable Energy Systems and Desalination, Vol. 2 J. Srinivasan, ‘Solar pond technology’, Sadhan’, Vol. 18, Part 1(1993), p.39-55. R. Ganesan and C.H. Bing, ‘ Theoretical Analysis of Closed Rankine Cycle Solar Pond Power Generator’, Modern Applied Science, Vol. 2 (2008), p.3-8. R. Peter Fynn and T. H. Short, ‘Salt Gradient Solar Ponds: Research Progress in Ohio and Future Prospects’, 6th International, (1983), Vol. 2, The University of Texas at El Paso, ‘Salinity-Gradient Solar Technology Page’, An Alternative Energy Exhibition, 83-Vol. JI, 431-4381983 <http://wwwold.ece.utep.edu/research/Energy/Pond/pond. html> [accessed 21st October 2014] Copenhagen’s Climate Research, ‘City of Copenhagen’, Copenhagener’s energy consumption, (2012), <http://subsite. kk.dk/sitecore/content/Subsites/CityOfCopenhagen/SubsiteFrontpage/LivingInCopenhagen/ClimateAndEnvironment/ CopenhagensGreenAccounts/EnergyAndCO2/Consumption.aspx> [accessed 21st October 2014] Yingli Green Energy Holding Co. Ltd.,’ YINGLI SOLAR PV MODULES Installation and User Manual, Solar 360, (2011), <http://www.solar360.com.au/files/Yingli%20Solar%20 Installation_and_User_Manual_IEC_EN_201202.pdf> [accessed 21st October 2014] MOTHER EARTH NEWS editors, Israel’s 150kw Solar Pond, MOTHER EARTH NEWS, (1980), <http://www.motherearthnews.com/renewable-energy/solar-pondzmaz80mjzraw.aspx#axzz3Gqa4O2NC> [accessed 21st October 2014] Gunform International Limited, ‘What is sprayed concrete?’ (2014). <http://www. gunform.com/sprayed_concrete.php> [accessed 21st October 2014]

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