vo barry 585236 part a journal

STUDIOAIRBARRY VO 585236JOURNAL

Part A Conceptualisation

A.1 Design Futuring- LAGI Precedent - Atmospherics- LAGI Precedent - Solar Clouds- Energy Technology Research - Integrated Concentrated Solar Facade

A.2 Design Computation- Precedent - Abu Dhabi Performing Arts Centre- Precedent - Research Pavilion

A.3 Composition/Generation- Computation and Generation- Precedent - Kilden Performing Arts Centre- Precedent - Sigmund Freud Pavilion

A.4 Conclusion

A.5 Learning Outcomes

Image References

References

CONTENTS

010507

0913

161721

24

26

27

28

Part B Criteria Design

B.1 Research Field- Sectioning Precedent - One Main Street

B.2 Case Study 1.0- Matrix - Sectioning- Selection Criteria

B.3 Case Study 2.0- Sectioning Precedent - Lignum Pavilion- Reverse-Engineer- Discussion

B.4 Technique: Development- Matrix- Exploration

B.5 Technique: Prototypes- Prototypes

B.6 Technique: Proposal- Proposal

B.7 Learning Objectives and Outcomes

B.8 Appendix - Algorithmic Sketches

Image References

References

Part C Project Proposal

C.1 Design Concept- Design Concept- Design Definition Diagram- Curve Arrangements- Construction Diagram Process

C.2 Tectonic Elements- Tectonic Development- Prototype

C.3 Final Model- Fabrication Process- Final Model

C.4 Additional LAGI Brief Requirements

C.5 Learning Objectives and Outcomes

Image References

References

31

3739

414346

4751

55

60

69

71

73

74

77798187

9293

9597

99

107

109

110

PART A CONCEPTUALISATION

01

ATMOSPHERICS

The tomographic surface of the Atmospherics illuminates radiant particles that produce various atmospheric effects. The design expresses the profound desire of the Crystal Palace to reveal Britain’s technological advancements in the industry and military in the late 19th century through their symbolic act to accommodate the great exhibition. 1

The design creates several states of ambience; “fog creating a wintery dream like state, the otherness of the sensorial lightscape of illuminated dangling filaments, the surface form emerging from meandering topography, the extended patchworks

of the new agrarian landscape that echo the shadows of the sunset, and the resonance of the elongated figure that modifies the atmospheric condition back into a blurred horizon.” 1

The atmospheric effect produced by the ecology is created from four primary cell structures; the solar bubble, water tentacles, altered ecologies and existing ecologies. The cellular types respond to the changes in the environment, in which each radiate its respective atmospheric radiance. 1

Although they use simple energy-generating systems such as photovoltaic and evacuated solar collection systems,

it’s been utilised in a very artistic and aesthetic manner that makes the design of the Atmospherics very elegant and well developed.

MELBOURNE, AUSTRALIA

DESIGNING FUTURING

02DESIGNING FUTURING

The solar ‘bubble’ cell is carefully located on the body of Atmospherics to maximise the production of energy relative to the sun’s path and angle from summer through to winter. It accumulates to a total surface area of 6 acres.

They’ve utilised the evacuated solar collection system in a very interesting way, in which the water collected on the Atmospherics surface with is heated and directed into the ecological cells in the ground through water tentacles. This enhances the saturation levels of the soil as well as raising the temperature of the soil in the subterranean hydronic matrix (150mm depth). In addition, this will positively influence the rate and cycles

of vegetation growth. Consequently, this produces atmospheric effects such as the haze in summer and fog in winter.

The way the artist team has illustrated their design intent of merging the biological, artificial and technological aspects of the landscape to enhance the existing ecologically conditions is really interesting and unique.

Fig 01 - Perspective of Atmospherics in Summer

Fig 02 - Perspective of Atmospherics in Winter

Fig 03 - Water ‘Tentacles’

03

The dominant features of the image on page 1 are the seamless connection between the sky and ground, extended panoramic view and translucent thin line of the horizon. 1

The endless space of fog during the winter months illuminate a soft blue colour over the panorama, which is shown in the picture on page 2. This is achieved by the water tentacles that enhance the fog by altering the rate and cycles of growth of vegetation through an evacuated solar collection system.1

As shown in the picture above, the shifting space of dangling light threads is set seemingly in motion, which

creates a rather divine ambience that leaves viewers in awe. The randomised organisation of light tentacles reminds of the Tree of Souls in the movie Avatar.

DESIGNING FUTURING

04

The image above illustrates the framework of Atmospherics gradually merges with the landscape and creates territories of existing and altered ecologies by extending into the landscape. There is also a sense of warm tranquillity within space due to minimal shading.1

This project has come to my attention due to the elegant form and elegant effects it creates in the landscape. In addition, the creative use of a simple energy generator such as solar energy, which creates atmospheric effects that go beyond that just converting solar energy into electrical energy. In particular, the mist produced in winter

and the haze in summer is a unique idea achieved by solar energy. Furthermore, the light filaments that hang down from teh structure like spaghetti creates a very mystic and sacred space like the Tree of Souls in the movie Avatar.

DESIGNING FUTURING

Fig 04 - Perspective of Atmospherics at night

Fig 05 - Perspective of Atmospherics

05

SOLAR CLOUDSMELBOURNE, AUSTRALIA

The concept of this architecture is exploring the notion of visual connection of the city, in which it summaries it into one word, mirage. Due to the panoramic view of the city skyscrapers and the surrounding nature, the site’s urban organisation offers potential development of the buildings. Solar Cloud is composed of solar and information technology, landscape geometry and the implementation of vision elements within the urban infrastructure. The geometric form of Solar Clouds and the use of curvature glass façade emits different spatial ambience during the day and night, which reflects a sense of an urbanised city. In addition, the form of Solar Clouds’ follows the existing geological formation and creates an abstract reflection of the topography.2

During the day, the reflection of the ground and paths on the Solar Clouds illustrates the changing scenes of the street patterns according to the sun angles. At night, the front façade of Solar Clouds is illuminated with a collective array of

embedded LED lights that mirror the idea of an upside down skyscraper’s lighting. Furthermore, interactive information screens are embedded onto the glass claddings in order to capture the interest of visitors. These visual qualities enhance the spatial sensation and attract potential night activities.2

The organic grid system adds flexibility to Solar Clouds, allowing it to grow in phasing. The solar panels are configured with sun movement sensors as to maximise the gross electricity output. In addition, the open steel structure frames that support the solar panels offer shelter and shaded areas for visitors. During the day, some of the heat generated in the solar fields is absorbed by a thermal storage system. In the evening, the stored heat is then converted into electricity through a turbine system. The number of operational hours at the solar thermal power plant will be increased per year due to these processes.2

DESIGNING FUTURING

06

The core nature of the project is to enlighten the awareness of the environment through tourist information, eco0cultural and recreational programs; however, the project also accommodates various visitor interests such as shopping and recreation. An amphitheatre space is included to allow outdoor events that can cater for several thousands of people.2

Fig 06 - Day view of Solar CloudsFig 07 - Night view of Solar CloudsFig 08 - Aerial View of Solar Clouds

DESIGNING FUTURING

07

The Integrated Concentrating Solar Facade (ICSF) is a building-integrated concentrating photovoltaic system that takes an extra step that the standard PV panels by providing interior space with electrical power, thermal energy, enhanced daylighting, and reduced solar gain. By maximizing the use of solar energy, it reduces the internal energy consumption of the building. It is designeda for box-window curtain wall assemblies within glass facades or glass atrium roof. The system is mounted on a tracking device that is relatively accurate and inexpensive. In addition, it takes advantage of the structural components of the existing façade to minimize the use and cost of materials as well as being able to retrofit and constructed.3

Standard PV cells produce energy by converting direct solar energy to electricity through a series of PV cells. In addition, the remaining solar energy is reflected outwards. In comparison to the ICSF, the developed system reduces the loads of HVAC systems by reducing interior solar gain loads. In addition, the system provides enhanced interior natural lighting, which in turn reduces the need for artificial lighting.3

INTEGRATED CONCENTRATING SOLAR FACADE

DESIGNING FUTURING

08

The planar shape of the lens and closely-packed arrangement ensures maximum electrical power conversion whilst allowing a considerable amount of sunlight. The tracking mechanism is located behind an exterior glass façade that protects it from external forces such as wind loads. A detailed consideration has been placed on the materiality of the solar module to minimize potential problems such as thermal expansion, creep and static friction.4

DESIGNING FUTURING

Fig 09 - ICSF Facade of a buildingFig 10 - ICSF

Fig 11 - Diagram of ICSF

09 DESIGN COMPUTATION

PERFROMING ARTS CENTRESAADIYAT ISLAND, ABU DHABI

Zaha Hadid’s work instantly came to mind when first exploring the notion of computational design due to the elegance and sophistication of her projects that solidifies her architectural identity. The Performing Arts Centre, located on Saadiyat Island, Abu Dhabi, is one of her many projects that illustrate the effective use of computational techniques. The building accommodates five theatres: a music hall, concert hall, opera house, drama theatre and a flexible theatre that holds a seating capacity for 6,300.5

The sculptural gracefulness of the form blossoms from the intersection of pedestrian paths, in which it progressively evolves into a more complex and flourishing organism that

stems out a network of successive spaces. As the building flows toward the water, the architecture grows in terms of intricacy and volume. Multiple layers are generated like an organism where it starts to attach different purposes such as the theatres. Moreover, the theatre spaces that are organised throughout the building face towards the water where it establishes a sense of connection between the space and the nature.5

10DESIGN COMPUTATION

Computing plays an influential role in the design process of this building, in which it reflects the use growth-simulation process that develops the spatial depictions. Due to the capabilities computing holds, it is able transform the form of the building in a complex and elegant manner that illustrates the biological analogy of abstract drawings into an architectural design.

The design and construction industries are continuously evolving due to computational techniques that allow for a more organic and complex form to be produced. It will continue to develop in the future since the knowledge of society is expanding in a way that new technology and

material will assist in expanding the limits of architecture. In addition, there is a large influential effect that computation has on the range of conceivable and achievable geometries where it is able to create parametric designs that other CAD programs cannot. It increases the flexibility of the generation of ideas of the design process as well as the development of it; however, there is also a limitation that affects the aesthetic and structural stability of the design. The structural stability that the materials offer as well as the environment often limits the design potential. Nevertheless, the development of materials and technology will gradually increase the limitation that the structural stability sets on the design.

Fig 12 - Aerial view of Performing Arts Centre

Fig 13 - View of Performing Arts Centre from sea

11

“Computation has a profound impact on a contemporary understanding of architectural form, space and structure. It shifts the way one perceives form, the way in which form is purposed, and the way in which form is produced. The fundamental concepts which underlie computational theory and techniques expose form as a subsidiary component of environment, and environment as a complex web of influences.” 6

Institute of Computational Design

12

Fig 14 - Diagrams of Research Pavilion

13 DESIGN COMPUTATION

RESEARCH PAVILION

The interdisciplinary project of a new pavilion in 2012 was conducted by the Institute for Computational Design and the Institute of Building Structures and Structural Design at the University of Stuttgart. The construction of the pavilion is robotically fabricated from the combination of glass and carbon fiber composites. The researchers from the institutions explored the relationship between bio-mimetic design strategies and new robotic production systems and how both could harmoniously function in an aesthetic manner. This led to an in-depth investigation of materials at a scientific level where new possibilities in architecture may be discovered. The final product of the pavilion illustrates a high performance structure where the shell is four millimeters thick and spans a distance of eight metres.7

The collaboration with biologists enabled the team to study the fiber orientation, thickness and organisation on the exoskeleton of the pavilion, which led to reduced material consumption whilst maximising the efficiency, hierarchy and function integration of the materials. The alliance of computational techniques, biology and technology provides unique opportunities and innovations that create new architectural possibilities for the future. As mentioned previously about how the notion of structural stability can limit computational techniques, this project proves that the limitation can be overcome or moved outwards due to new technology and scientific knowledge.7

This project has come to my attention due to the combination of computational techniques, technology and scientific investigations that produce a very sophisticated design that is constructed of glass and carbon fiber composites. In addition, it is interesting how the design is structurally stable despite the thinness of the structure.

14DESIGN COMPUTATION

Fig 15 - Aerial view of Research Pavilion Fig 16 - Reseach Pavilion

15 COMPOSITION/GENERATION

Fig 17 - Interior view of Sigmund Freud Pavilion

16COMPOSITION/GENERATION

COMPUTATION AND GENERATION

The conceptual stage of composition often includes a series of objectives and constraints such as the functionality, aesthetic, performance, site limitations and budget of a building. A variety of design alternatives need to be developed and evaluated against the conventional criteria in order to respond to these complications. Although this process requires people to delve into world of creativity and imagination, a computational generative approach has become adopted during this stage of the design process so as to address the complexities of the architectural criteria. Parametric modelling has been introduced in the architectural literature and practice where it allows design possibilities to be explored after a model is restrained during the generation stage. In addition, the combination of algorithmic thinking and parametric modelling enables adjustments to a model within an interactive environment, which gives it different characteristics and parameters that change the configuration of the model. 8

Computation in architectural practice allows the ability to produce and explore spaces and concepts through algorithmic modifications that correlates to the organisation, configuration and relationship between elements. Flexibility is an imperative aspect of computation techniques because it must allow for the adaptation of continuous change in parameters of the architectural design. In addition, computation assesses the building performance, in which it incorporates the performance investigation and

understanding of materials, tectonics and limitations of production technologies. By providing performance feedback at various stages of the design process, it broadens and creates new design perspectives that are more responsive to the brief. The generative system featured in computational technology and techniques will continue to shift the definition of the discipline of architecture as well as the boundaries set by it.9

Generative approach consists of four elements, which are the initial conditions and parameters, generative mechanism such as algorithms, generation of variables and components, and the final selection of the generated options. The result of generation is primarily achieved through the designer’s understanding and controlling of computational techniques; therefore, the constraint of computational architecture is limited by the capacity of designer’s perceptual and intellectual abilities in utilising computational techniques. Furthermore, parametric design doesn’t offer limitless flexibility. Although parametric modelling does invite a sense of flexibility and responsiveness to change, the algorithmic principles function in a very definitive manner where each algorithmic code and step are precisely coordinated and executed. Therefore, there is a existing limitation in terms of the parameters within the computational programs.8


KILDEN PERFORMING ARTS CENTRE

Kilden Performing Arts Centre, designed by ALA architects, accommodates a theatre and concert hall in Kristiansand, Norway. The main design intent of the architecture is to produce experiences. This is expressed through the monumental abstract form of the sloping wall of oak wood; it generates a sense of separation of reality from fantasy. The parametric form of the wall invites the visitors to travel from the natural landscape of reality to the imaginative world of performing arts. The wall is made of wedged CNC milled solid planks, which influences the acoustics of the foyer in a way that it is enhanced. In addition, the other black facades add emphasis on the foyer space as well as amplifying the spatial ambience.10

Parametric system was utilised during the detail design of the curved wall in order to enhance the optimization and performance of the form. The wall cantilevers diagonally up towards the waterfront in which the timber façade intersects with the vertical glass façade. The geometry of the façade is series of curved surfaces that span from the ground to the roof. An algorithmic approach was used

during the design stage of the wall due to the budget limit and the ease of manufacturing 305 straight primary wooden beams connected to the steel structural system, 1769 curved secondary wooden crossbeams and 12248 twisted oak cladding boards. The advantage of the use of generation during this design process is that it allows for the oak cladding boards and wooden beams to join seamlessly with high level of precision. In addition, parametric generative systems enable performance evaluation of the beams that need to carry the oak cladding board dead load as well as live loads such as the wind. Parametric modelling was used in order to generate precise mathematical definitions and positioning of the roof beams.10

The reason why I selected this architecture as my precedent was because of the sophisticated form of the wall and the glass façade that creates a separation of spatial experiences: reality and fantasy. This is also very much like the previous precedent, Atmospherics, where it creates several ambience within the environment through innovative and creative use of parametric design and energy generators.

KRISTIANSAND, NORWAY


Fig 18 - Kilden Performing Arts CentreFig 19 - Foyer

Fig 20 - Night ViewFig 21 - Interior View

“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.” 11Brady Peters

20

Fig 22 - Axonometric view of Kilden Performing Arts Centre


SIGMUND FREUD PAVILION

Christoph Hermann designed a pavilion for the Cross Studio – Gehry Technologies Digital Project at University for Sigmund Freud Park, located in the centre of Vienna. A couple of problems arise during this project, one of which is the type of the space at the park where a design needs to be produced without subtracting from the ground due to the park being a main leisure area. The other problem is how to combine the spatial quality of the pavilion and the open space of the park in a harmonious manner. The brief was to parametrically design the configuration of the space in a way that it smoothly blends into the existing variables of the site. In addition, the functionality of the pavilion needs to interact with nature and accommodate different demands other than the typical standard of a pavilion.12

Christoph works with Gehry Technologies’ Digital Project, which allows him to create a shape through an interconnection system based on the environment. The pavilion compliments

the contour of the site as well as having a fluid form that blends in with the landscape. In addition, the design contrasts between open and permeable spaces that add a sense of transition between different complexities of the pavilion.12

Although this pavilion doesn’t contain a strong design intent such as the previous precedent where it talks about the separation between reality and fantasy, I found the parametric form of this pavilion to be very elegant and harmonious with the landscape. It is very similar to my initial form that I plan to explore for the LAGI project where it contains fluid elements that correspond with the surroundings.

SIGMUND FREUD PARK, VIENNA


Fig 23 - Sigmund Freud PavilionFig 24 - Sigmund Freud Pavilion

23

Fig 25 - Sections and Plans of Kilden Performing Arts Centre

24CONCLUSION

CONCLUSION

Architecture has undergone many transitions from the very start of vernacular architecture to the architecture we may know of as today. Throughout the transitional phases, architecture has continued, adopted, discarded, changed, simplified and combined a variety of architectural elements and styles to a point that it becomes more refined or evolved. This will continue to develop non-stop due to the never-ending growth of societies in terms of knowledge and capabilities.

In the current age of digital architecture, computational architecture has become the new transition of the architectural design process in which it shifts from composition to generation; this allows for more generated complex forms that is also known as parametric design. Even though this has evolved architecture to a new level in which more complex forms can be produced, there are still limitations present; however, the discovery of new technology and material enables society to push the architectural boundary further back and allow more new innovation and creativity to blossom. This is evident in the research pavilion project by the Institution of Computational Design where they’ve combined computational techniques and their in-depth study of carbon and glass fiber composites to create a structure that reduces material consumption whilst maintaining the efficiency and structural stability of the pavilion despite having a really thin thickness. Given the fact that they were able to achieve to construct the pavilion with those algorithms at a small scale, in a couple of decades when technology and knowledge has

increased significantly, the same structure such as the pavilion may be achievable at a larger scale.

Parametric modelling has been introduced in the architectural literature and practice where it allows design possibilities to be explored after a model is restrained during the generation stage. In addition, the combination of algorithmic thinking and parametric modelling enables adjustments to a model within an interactive environment, which gives it different characteristics and parameters that change the configuration of the model; therefore, this increases the amount of design options and solutions for a building.

With sustainability becoming more of an issue in today’s society, architecture of this period has grown to an extent in which it can incorporate energy generating systems that are usually quite boring in terms of design, and create something that is more efficient at collecting energy whilst enhancing the aesthetic aspect of the design. The criteria for architecture such as functionality, stability, aesthetic, height etc. is usually difficult to achieve high results in each category as some are required to be sacrificed in order to increases the performance of another category. However, with the increasing knowledge and understanding of new materials, and the more advanced technology is becoming, buildings in the future may be able to accomplish every category of the criteria.

25

Fig 26 - Model of Kilden Performing Arts Centre

26LEARNING OUTCOME

LEARNING OUTCOME

During my first two years doing architecture, I’ve heard many stories about the content of studio air as well as witnessing students concentrating intensely on making models of parametric forms that were incomprehensible. However, after a couple of weeks of studying algorithmic design and computational techniques, I’ve come to understand usefulness of the generative approach of computation in the design process and how complex forms were achieved. Fluid forms that I once thought would be time consuming in creating, were easily generated and altered with algorithmic equations in grasshopper. Using algorithms allow for a greater variety of design options and ideas that look elegant due to the number of algorithmic components available in grasshopper and the connections between them; however, at times the connection between the components in grasshopper can be quite confusing. Now that I’ve learnt the tip of the iceberg on algorithm, I would have had a much easier time at past design studios if I knew how to use grasshopper due to the variety of design possibilities it offers.

In addition, looking for precedents specifically related to computational design has given me more design perspectives and approach that I could undertake for future projects. Furthermore, I’ve always seen energy generators such as solar power and wind power to be very tedious; however, I found the LAGI precedents to be very intriguing because of how energy generators are used in an innovative and creative manner within the design of the building whilst the functionality and aesthetic aspect of the architecture.

27 IMAGE REFERENCES

IMAGE REFERENCES

Fig 01 - 05: Monacella, R. et al., 2012. Land Art Generator Initiative: Atmospherics. Available at: http://landartgenerator.org/

LAGI-2012/axbxxbxa/ [Accessed 12 03 2014].

Fig 06 - 08: Hwang, J. & Kishimoto, H., 2010. Land Art Generator Initiate: Solar Clouds. Available at: http://landartgenerator.

org/LAGI2010/h08j21/# [Accessed 27 03 2014].

Fig 09: Cattermole, T., 2010. Solar glazing chases sun from dawn until dusk. Available at: http://www.gizmag.com/solar-

glazing-concentrates-and-maximises-sun/14067/ [Accessed 13 03 2014].

Fig 10: Center for Architecture Science and Ecology, 2012. Center for Architecture Sceince and Ecology: Integrated

Concentrating Dynamic Solar Facade. Available at: http://www.case.rpi.edu/CASE.html [Accessed 13 03 2014].

Fig 11: Dino, I., 2012. Creative Design Exploration by Parametric Generative Systems in Architecture. Available at: http://jfa.

arch.metu.edu.tr/archive/0258-5316/2012/cilt29/sayi_1/207-224.pdf. [Accessed 26 03 2014].

Fig 12 - 13: Hadid, Z., 2007. Abu Dhabi Performing Arts Centre. Available at: http://www.zaha-hadid.com/architecture/abu-

dhabi-performing-arts-centre/# [Accessed 19 03 2014].

Fig 14 - 16: Institute of Computational Design, 2012. ICD/ITKE Research Pavilion. Available at: http://icd.uni-stuttgart.

de/?p=8807 [Accessed 19 03 2014].

Fig 17: Hermann, C., 2014. Procedural Architecture and Design. Available at: http://www.christoph-hermann.com/

parametric-architectures/parametric-architecture-pavilion/# [Accessed 26 03 2014].

Fig 18 - 21: ALA Architects, 2014. Kilden. Available at: http://www.ala.fi/works/project/88-kilden#gallery-anchor

[Accessed 26 03 2014].

Fig 22 - 26: Hermann, C., 2014. Procedural Architecture and Design. Available at: http://www.christoph-hermann.com/

parametric-architectures/parametric-architecture-pavilion/# [Accessed 26 03 2014].

28REFERENCES

REFERENCES

[1] Monacella, R. et al., 2012. Land Art Generator Initiative: Atmospherics. Available at: http://landartgenerator.org/LAGI-

2012/axbxxbxa/ [Accessed 12 03 2014].

[2] Hwang, J. & Kishimoto, H., 2010. Land Art Generator Initiate: Solar Clouds. Available at: http://landartgenerator.org/

LAGI2010/h08j21/# [Accessed 27 03 2014].

[3] Center for Architecture Science and Ecology, 2012. Center for Architecture Sceince and Ecology: Integrated Concentrating

Dynamic Solar Facade. Available at: http://www.case.rpi.edu/CASE.html [Accessed 13 03 2014].

[4] Dino, I., 2012. Creative Design Exploration by Parametric Generative Systems in Architecture. Available at: http://jfa.arch.

metu.edu.tr/archive/0258-5316/2012/cilt29/sayi_1/207-224.pdf. [Accessed 26 03 2014].

[5] Hadid, Z., 2007. Abu Dhabi Performing Arts Centre. Available at: http://www.zaha-hadid.com/architecture/abu-dhabi-

performing-arts-centre/# [Accessed 19 03 2014].

[6] Institute of Computational Design, 2012. ICD/ITKE Research Pavilion. Available at: http://icd.uni-stuttgart.de/?p=8807

[Accessed 19 03 2014].

[7] Institute of Computational Design, 2012. ICD/ITKE Research Pavilion. Available at: http://icd.uni-stuttgart.de/?p=8807

[Accessed 19 03 2014].

[8] Abdullah, H. & Kamara, J., 2013. Parametric Design Procedures: A New Approach to Generative-Form in the Conceptual

Design Phase. In: C. Anumba & A. Mermari, eds. Building Solutions for Architectural Engineering. United States: American

Society of Civil Engineers.

[9] Peters, B., 2013. Computation Works: The Building of Algorithmic Thought. Architectural Design, 83(2), pp. 08-15.

[10] ALA Architects, 2014. Kilden. Available at: http://www.ala.fi/works/project/88-kilden#gallery-anchor

[Accessed 26 03 2014].

[11] Peters, B., 2013. Computation Works: The Building of Algorithmic Thought. Architectural Design, 83(2), pp. 08-15.

[12] Hermann, C., 2014. Procedural Architecture and Design. Available at: http://www.christoph-hermann.com/parametric-

architectures/parametric-architecture-pavilion/# [Accessed 26 03 2014].

PART B C R I T E R I A D E S I G N

31 RESEARCH FIELD

ONE MAIN STREET

One Main Street is an office renovation that displays computational techniques through its design with the use of a series of plywood. It showcases a planned sequence of produced components, called customised fabrication, which results in a seamless connection between the components as well as the aesthetic quality of the processes. The curvilinear continuity of the plywood is indicative of the term sectioning, which is one of the many research streams in computation design. The project uses a sustainable and carbon-absorbing material and achieves a refined and function element through the employment of low-energy digital tooling.1

A 3-axis numeric command milling machine is used to fabricate the series of sectional elements, which were manufactured from plywood sheets. This is applied to the ceilings, walls, floors and furniture. The functional elements: ventilation grilles, light pockets and door handles, are produced by milling a mass of wood. This type of unitary fabrication allows for an efficient and effective reorganisation of the assemblage components; the versatility of the digital tool is able to execute the architectural design effectively in a way that it allows for such formal complexity of the design. In terms of fabrication concerns, the project had to reorganise the actual milling process for more efficient process speed and economy. In addition, the efficiency and elegance of the cut was part of their concern. They addressed this by developing a series of scripted milling protocols that would analyse the surface geometry and divide it into parts; moreover, it would find the most elegant ‘weeping’ tool paths to gather geometric information and cut the plywood sheets.1

32

Fig 1 - One Main Street OfficeFig 2 - Sectioning element of ceiling

RESEARCH FIELD

33

Fig 3 - Reception Desk ModelFig 4 - Side of a table

Fig 5 - Ceiling inflection

RESEARCH FIELD

34

The surface is manipulated in a functional way in order to perform technically. The bumps of valleys on the floor are designed to hold the glass and the ventilation grilles are draped to the curvature of the ceiling. In areas where airflow is increased, the vents are elongated in order to conform to the flow proportionally by increasing the spacing of the ribs of the ceiling. These attributes were developed parametrically as variable elements that would automatically adapt to the surface conditions.1

The conceptual design implication is mainly derived from the ceiling. The ceiling is lifted over activity spaces, modulates as if it is seeking light and is magnetised by the circulation of people. The series of scripted milling protocols allowed for more design opportunities where finer details can be achieved; this is evident in the smooth and seamless design of the reception desk where it was nuanced parametrically.1

RESEARCH FIELD

“Parametric design depends on defining relationships and the willingness (and ability) of the designer to consider the relationship-definition phase as an integral part of the broader design process.”2Robert Woodbury

Fig 6 - One Main Street

37 CASE STUDY 1.0

MATRIX - SECTIONING

SPECIES

APPLICATION OF MOVEMENT

APPLICATION OF MOVEMENT

U VALUE OF SUBDIVIDE

V VALUE OF SUBDIVIDE

NUMBER OF SEGMENTS OF

H/PFRAME

38CASE STUDY 1.0

39

SELECTION CRITERIA

CASE STUDY 1.039

The selection criteria are divided into three broad aspects: dynamic form, potential spatial development and spatial experience, and the potential to incorporate renewable energy. The selection criteria were kept broad and expansive to avoid limiting our design opportunities and options. All of which has narrowed down the outcomes to four highlighted on the right.

The original specie ended up in our selection due to its organic form and simplistic design, which can be designed in an aesthetic manner. This is evident in the previous precedent, One Main Street, where simple sectioning can result in a really sophisticated design that naturally creates a fluid and natural ambience to the space. Like how the precedent on one of Zaha Hadid’s work portrayed a form that grows in complexity, this original specie can be incorporated into the entrance of the design and later evolves in to a more complex form or space.

The second highlighted outcome illustrates a series of horizontal sections where its height has been restrained. This has resulted in several voids or openings within the structure, which can be used to create a transition of space and/or spatial experience. This adds a dynamic development quality to the design, which in turn attracts the public to circulate the space. The series of valleys and its organic element resembles a canyon where materiality can be manipulated in a way that it may reflect similar spatial experience in nature. The voids

and valleys allow for differing spatial uses or qualities that can be used to manipulate the individual’s experience and progression through the space.

The third specie illustrates a series of vertical sections magnetised towards the centre; it also creates a canopy around the centre where spaces can be developed. This relates back to my reference of the Tree of Souls in Avatar where the space can be designed in a way that it emits an atmospheric ambience. Very much like the previous selected species, it form is organic and fluid, resembling nature. The central black hole effect acts as the heart or core of the design where spaces expand outwards where it starts to progress with more complexity.

Although this specie is similar to the original specie in terms of the movement of the sections, the concave nature of the specie emits different impressions. At a larger scale, the form looks like an abstraction of a skate ramp, which expresses movement and speed; this can be employed in different parts of the design where the curvilinear sections promote different sense of speed or movement. Consequently, circulation of people will be influenced and spaces will correspond to the transition of movement.

INTERESTING FORM- DYNAMIC, INNOVATIVE, SCULPTURAL

POTENTIAL SPATIAL DEVELOPMENT AND SPATIAL EXPERIENCE- VOID VS SOLID, APPROACH, CIRCULATION

POTENTIAL TO INCORPORATE RENEWABLE ENERGY

4040CASE STUDY 1.0

41 CASE STUDY 2.0

LIGNUM PAVILION

Frei+ Saarinen Architekten aimed to enlighten the public about potential applications of wood through the construction and design of the Lignum Pavilion. It utilises wood in a very expressive modern manner where its potential is displayed by the digitalised production process; furthermore, the fabrication process allowed the pavilion to minimise the production cost and expose the strength characteristics of wood.3

“…this small object seems to transpire a certain awareness that the modulation of rhythm is not concerned solely with form in itself, for ‘objects’ begin life as ‘songs’, as dances, as modulations of the body and the world in their constituent relationships.”3 – Alison Furuto

The fluid and organic form of the pavilion is constructed from a series of horizontal layers of timber panels and vertical timber uprights that support the structure. The architectural

promenade elements, such as the elegant nature of the pavilion and the strong sense of horizontality through the series of section partitions, invites visitors to naturally circulate through the interior space. 3

The pavilion is successful in illustrating the potential applications of wood in the construction field by expressing a sense of movement through its design. The intersection between a sequence of horizontal sections and an organic form produces a curvilinear structure that articulates an impression of movement with the aid of strong horizontal elements. This creates an interior space that is dynamic and prone to changes in movement when the interior meets the exterior.

42CASE STUDY 2.0

Fig 7 - Lignum Pavilion EntranceFig 8 - Interior of Lignum Pavilion

Fig 9 - Exterior of Lignum Pavilion

43 CASE STUDY 2.0

REVERSE-ENGINEER

A closed figure 8 curve is generated by a curve tool and is deformed by editing the control points of the curve. The pipe component creates a cylinder that travels along the curve and another pipe component is used but with a larger radius. The form is then trimmed by a boundary box with the use of the solid difference component, which allows two brep sets to be subtracted from each other. The two pipes are also subtracted from each other in order to create a form that includes an interior space. In order to achieve the horizontal sections,

a series of equally-spaced rectangular forms are subtracted from the form. The vertical sections are achieved in the same manner as the horizontal sections where vertical rectangular forms are used instead of the horizontal sections.

44CASE STUDY 2.0

Figure 8 CuveCreate a pipe that runs along the curve and edit the form to a more

abstract non-geometrical form Offset

Solid difference between two brep sets

Solid difference between form and boundary box

Solid difference between form and horizontal sections

Solid difference between form and vertical sections

Boundary box

Horizontal sections

Vertical sections

45 CASE STUDY 2.0

Fig 10 - Lignum Pavilion EntranceFig 11 - Interior of Lignum Pavilion

46CASE STUDY 2.0

DISCUSSION

The outcome of the reversed engineered product may not be exactly the same as the original project; however, it contains the same elements it is comprised of. In terms of differences, both outcomes differ in form and the orientation and size of vertical sections. The Lignum Pavilion contained vertical sections that were oriented in different directions in comparison to the reversed-engineered outcome where a series of parallel vertical sections were used. In addition, the vertical components in the original component are comprised of rectangle shapes whereas the other outcome is comprised of vertical sections that continue smoothly from top to bottom. The form is also another evident difference where the pavilion used more non-geometric form; this allows the pavilion to have a more fluid internal space. The reversed engineered outcome was produced from curved cylinders, which made the form simpler than the original pavilion. However, the overall elements such as the abstract form, horizontal and vertical sections, openings and wall thickness were similarly replicated in the reversed engineered outcome.

I would like to develop the definition through manipulating the form as well as changing it completely into something that may contain straight edges. I would attempt to add other components in order to push the definition beyond its limits whilst maintaining its elegant aesthetic feature. Referring to previous related precedents, definitions and the algorithmic sketchbook, I’d hope to incorporate and combine elements in order to further develop the form of the outcome.

47 TECHNIQUE: DEVELOPMENT

MATRIX

Change D value of range in vertical section

(25 -> 45)

Change N value of range in vertical section

(5 -> 20)

Change N value of range in horizontal section

(19 -> 30)

horizontal section(9 -> 20)

SPECIE

48TECHNIQUE: DEVELOPMENT

Change radius of first pipe (3.5 -> 2)

Change radius of second pipe(5 -> 3)

Change Y value in XYZ vector of horizontal section

( 1 -> 2)

Change Z value in XYZ vector of vertical section

(0.2 -> 0.6)

Change X value in XYZ vector of horizontal section

(0 -> 20)


MATRIX

Change D value of range in vertical section

(25 -> 45)

Change N value of range in vertical section

(5 -> 20)

Change N value of range in horizontal section

(19 -> 30)


SPECIE

50TECHNIQUE: DEVELOPMENT


Change radius of first pipe (3.5 -> 2)

Change radius of second pipe(5 -> 3)

Change Y value in XYZ vector of horizontal section

( 1 -> 2)

Change Z value in XYZ vector of vertical section

(0.2 -> 0.6)

Change X value in XYZ vector of horizontal section

(0 -> 20)

51 TECHNIQUE: DEVELOPMENTTECHNIQUE: DEVELOPMENT51

EXPLORATION

This is one of the many iterations that were considered as an unsuccessful outcome because its visual aesthetic elements do not conform to our selection criteria despite implementing the same algorithmic process. The design does contain a sense of horizontality and movement within its interior space; however, its sculptural form is not elegant enough and holds little potential for further development. In addition, the interior space seems to be dominated by the thickness of the form, which gives it a fairly bulky and heavy feel to it.

52TECHNIQUE: DEVELOPMENT 52TECHNIQUE: DEVELOPMENT

This iteration is produced by lofting a series of curves, extruding the surface and then applying the Boolean intersection between the form and some horizontal and vertical sections. The form is much more elegant than the previous iteration and possesses more room for potential development despite looking like it’s been lofted from one point to another. The design also seems unfinished or uncompleted due to how it suddenly cuts off at both ends. In addition, the form seems to be quite continuous and doesn’t display different spatial

experience. For further development, the design needs to vary more in terms of its movement, spatial experience and compositional balance.


EXPLORATION

Out of all the iterations generated previously, the outcome, shown above, was selected due to its qualities. Its organic sculptural appearance and the subtle perception of horizontality conform to our previous selection criteria as well as our intent of encouraging movement within the design. The vertical sections don’t seem well-balanced with the rest of the form due to how it suddenly discontinues in the middle. In addition, the form was solely designed in order to achieve an organic sculptural form that promotes movement. Thus, it would be required to be further developed in order to respond to the site as well as to conform to the capabilities and potential of the selected energy generator.

In order to resolve the awkward arrange of vertical sections, we’ve developed it further by increasing the number of vertical sections that span across the design whilst decreasing the number of continuous ribs in order to create the fade away effect. In terms of design potential, it acts a slow transition between two spaces, which can be related to the contrast between solids and voids. Furthermore, as the number of ribs starts to decrease, the ribs are trimmed shorter in order to illustrate that sense of progression through the site/design.

TECHNIQUE: DEVELOPMENT53

55 TECHNIQUE: DEVELOPMENTTECHNIQUE: DEVELOPMENT55

EXPLORATION


Although this was not generated through the previous process of iterations, it’s a design that was developed from the iterations of case study 1.0 where a series of vertical sections are cropped. The first iteration outcome features vertical sections that are warped over a landscape with small hills and valleys. The second iteration outcome illustrates a similar design as the first but uses horizontal sections as well as being constrained by a boundary box that crops the top and bottom section of the design. This creates voids that can be left empty or covered with a flat surface.

We combined the ideas from both of these iterations to

create a landscape design that incorporates flat ground and protruded surfaces. This relates to our proposal where we wish to design a space that would contrast the static flat nature of environment surrounding the LAGI site. Therefore, a more natural landscape effect is developed by utilising a series of vertical panels that are closely arranged; this allows the public to move over the design instead of being constrained by it. However, the design seems difficult to incorporate and run energy generators effectively. In terms of design potential, it adds onto the organic sculptural form of the design and can be combined with the previous iteration.

57 TECHNIQUE: PROTOTYPES

PROTOTYPES

The first prototype displays a sequence of parallel vertical and horizontal sections that appear to have a waffle grid appearance; thus, this led us to use the provided algorithmic definition to create a waffle grid between two existing surfaces. The connections between the vertical and horizontal sections are achieved by notches on the intersection junction of both planes. Due to the number of notches on each piece, the stability of the physical prototype will be able to be maintained; however, it may not be the case in real life due to some parts of the model being cantilevered too far. The model is fabricated by organising all horizontal and vertical sections on a template, which would be later forwarded to a laser cutter to be fabricated.

In terms of materiality, mount board was used due to time constraints and fast construction process. However, the downfall of laser cutting mount board is that it creates burn marks, which deteriorate the visual effects of the material and the model. In order to resolve this effect, we’ve chosen to contrast the materiality of the model and the ground, which we’ve decided on using black foam core. In addition, the malleable quality of the mount board allowed for small errors to arise during construction where it was difficult to slot in some section pieces. Using harder materials with lower malleability, such as wood, will make construction a lot easier

where each section pieces will be able to slot into each other more smoothly. Another negative result from not being able to perfectly slot in all the section pieces is that all the small errors accumulated at the end to produce a slightly deformed outcome where the model was able to sit flatly on the ground.

After fabricating the physical model, we’ve learnt more about the structure of the model, the approach to building it, different views and the various outcomes of lighting effects. The structure was rigid where both the vertical and horizontal planes intersected with each other but was unstable at areas where there were no junctions. The areas with low rigidity where able to bend slightly, which implied that movement would be prone to happen on the actual site due to lateral loads. This has given us another energy generator option due to the model’s potential development with wind energy generators. The thickness of the form will need to be increased so as to avoid areas failing due to insufficient support. In addition, the more surface area the ribs have, the more it will move due to lateral loads; this will in turn increase the energy output generated from wind energy technology. The model seemed to be more intriguing from bird’s eye view rather than the side views; therefore, the design will need to be further developed in order to increase its visual elements.

58TECHNIQUE: PROTOTYPES

59 TECHNIQUE: PROTOTYPES59

60TECHNIQUE: PROTOTYPES

PROTOTYPES

The second prototype displays a series of horizontal sections that give a sense of natural landscape to the environment. The elements were fit together by simply using superglue; however, we planned to cut thin cuts into the foam core in order for the sections to slot in but resulted in a failure. Whilst fabricating the model, we found that it would have been easier and more accurate if we made the base of the model with section cuts in Rhino and sent to the Laser Cutter. Since we’ve only used superglue to connect the pieces with the foam core, the structure is prone to failing if the section pieces are forcefully touched.

The visual effects are similar to the first prototype where the burn marks from laser cutting deteriorated its visual appearance of the material; however, emphasis was focused on the sectioning by contrasting the white colour of the mount board with the black foam core as the ground. On the actual site where the ground is not black, using white materials/finishes or wood for the sectioning will amplify its visual effect due to its contrast and balance with the green elements of the environment. The compositional effects of the model weren’t too bad as there was clean connection between the sectioning and the base due to superglue. The model originally had 100 section pieces closely spaced, but it had to be reduced in order to increase the construction process. In addition, 1 mm

mount board was used for the prototype, which was different to what we had originally planned in Rhino; thus, the spacing seemed much wider between the vertical pieces.

After the process of fabrication, the model presented different views from different angles. Viewing the model parallel to the vertical pieces did not give a clear indication of the form whereas viewing it perpendicularly to the sectioning revealed the curvilinear nature of the model. This aspect of the model changing accordingly to different viewing perspectives can be manipulated in a way that it enhances the composition and design of the form.

60

61Fig 10 - Aerial View of LAGI site

62

DESIGN A SPACE THAT CONTRASTS THE STATIC NATURE OF THE SURROUNDING INDUSTRIAL AREA

MOVEMENT

SPATIAL EXPERIENCE

VOID VS SOLIDINTERNAL VS EXTERNAL

LIGHTING

SECTIONING

EMPHASISE HORIZONTALITY AND/OR VERTICALITY IN ORDER TO INFLUENCE FLUIDITY AND MOVEMENT

ACROSS THE SITE

CIRCULATION

ENCOURAGE FLUID MOVEMENT THROUGHOUT THE SITE BY SUGGESTED PATHS

ORGANIC FORM

NATURAL TOPOGRAPHY

RENEWABLE ENERGY

SOLARKINETIC

TECHNIQUE: PROPOSAL

PROPOSAL

63 TECHNIQUE: PROPOSAL

64TECHNIQUE: PROPOSAL

CONTEXT

Copenhagen is renowned for its implementation of innovative green spaces and renewable energy resources that strive towards the future. Therefore, we would like to maintain its intention by reflecting these values of sustainable city through the design of this project and to promote awareness of energy consumption and renewable energy resources by applying innovative, interactive technology onto the design. The LAGI site is situated on the riverside where it is surrounded by industrial areas and water areas. The number of ways the site can be accessed are all compressed onto the south entrance where it accommodates walking paths, roads and bicycle tracks. There is a tourist attraction opposite the site where it can be viewed from the LAGI site, vice versa; this can be incorporated into the design development.

Fig 11 - Sun and wind analytical diagramFig 12 - Views and attractions diagramFig 13 - Circulation diagramFig 14 - Photomontage on site map

65 TECHNIQUE: PROPOSAL

FORM

Our main design intent of this project is developing a space that contrasts with the static and straight nature of the surrounding industrial area by focusing on movement. This is expressed through the sculptural form of the landscape and the pavilion where it is thoroughly developed with computational techniques. By pushing our algorithmic definition to its limit, we aim to create a structure that generates a sense of

separation between reality and fantasy where people can temporarily forget about reality on a site that is surrounded by industrial and commercial activities. Moreover, we plan to make the site more of park where people can relax. This will be primarily achieved by influencing the form, circulation and spatial experience in a way that it encourages more organic movement. The form of the design consists of a series of horizontal sectioning, which attracts visitors to follow the path due to its strong sense of horizontality. The fluid and


organic nature of the form contrasts with its surrounding and delivers a different sense of atmospheric ambience which is not seen within the industrial precinct. Whilst visitors circulate along the path, the design will slowly progress into different spatial qualities that affect the user’s experience on site.

In addition, another objective is to incorporate energy generators that would further amplify the aesthetic and functionality of the design. In doing so, it would create a

sculptural piece that would reflect the beauty of natural and dynamic forms as well as exposing the aesthetic nature of renewable energy sources.

Fig 15 - Photomontage

67

Energy System and Public Engagement

Denmark is listed as one of the leading forces that utilise wind energy to generate electrical energy, with the highest rate recorded in the world. In 2012, 22% of their electricity was generated through the use of wind power and they have set their sights to increase it to 50% by 2020.4 Therefore, wind power is an ideal use of energy generator and should be wisely used in order to illustrate its functional and aesthetic qualities. In particular, we’ve decided to implement Piezoelectric Vibration Energy Harvesters into our design with the assistance of kinetic energy.5 The technology will be located on the rib sections of our design where it will produce energy when the ribs vibrate; this causes the crystals in the membranes to undergo compression and tension. Furthermore, it would be ideal if the ribs were oriented perpendicular to the wind from the South in order to optimise energy generations. In addition, the technology will generate energy through the vibrations caused from rain. In terms of public engagement, the moving structure will create an interesting effect as users are able to walk underneath it.

Since our proposal is focused on movement, kinetic energy will be also incorporated with the Piezo technology by installing PaveGens.6 As the moving ribs attract the public to the site, they will be guided along the path underneath it where PaveGens will generate energy as people walk on it. In addition, another element is used to engage the public at night, which is the new technology called Starpath. This features a spray on coating that produces a glow in the dark effect by absorbing UV rays, storing them and emitting it at night.7 This will further encourage movement within the site as well as creating an atmosphere that is different to the surrounding industrial areas.

TECHNIQUE: PROPOSAL


Fig 16 - Starpath

69

LEARNING OBJECTIVES AND OUTCOMES


The feedback after the interim presentation was mainly focused on the implementation and relationship of energy generators; in our case, the design did not have a well-established relationship between the form and its ability to produce energy efficiently. The design would be able to develop further if the technology is fed back into the form and constrained by it. In addition, solar energy was utilised weakly and wind power was suggested due to our design’s potential of incorporating wind energy generators. We need to research a specific technology for wind and work out its optimal conditions and constraints, and then propose some arrangements to balance an optimised result with an interesting architectural outcome. Furthermore, the form needs to respond to the site more as it is just a sheltered walkway between two points on the site.

In addressing these problems, we’ve updated our proposal in a way that it utilises a specific wind technology; however, more of which will need to be further explored and developed in the next phase of the design process. We plan to develop the form further in order to make it more site responsive and more balanced on the site. In addition, another different form may be erected to create two forms; both compositions will need to be balanced. Furthermore, another element will implemented with the rib structure to either increase the design’s functionality or aesthetic quality as it feels like it is incomplete.

Over the past 2 months, I’ve developed a further understanding of the design process in Studio Air, a design process that is similar, yet different to previous design studios. Very much like other design studios where we have to generate a variety of design possibilities for a given situation, I have developed my ability to do so by using computational techniques rather than by hand. Using algorithmic expressions allowed me to produce more complex forms that are difficult to imitate by hand. In addition, manipulating parameters within the algorithmic definitions and creating a series of matrices has

given more solutions to critically assess and extrapolate. The ability to use computational design is more beneficial than generating ideas by hand because it allowed me to expand the limitations of design solutions as well as greatly increasing the process of which each idea and iteration are generated. Moreover, it has allowed me to develop a deeper understanding of computational geometry, data structures and types of programming throughout the past two months as I rigorously drown myself with this unfamiliar field of designing. Furthermore, exploring the components and connections between them in grasshopper has enabled me to understand how existing precedents were constructed and how to reverse-engineer it.

Digital and physical models have always been time consuming without the aid of computational techniques and this subject has reminded me of how useful Rhino and grasshopper is for fabricating something. It is something I wished to develop my knowledge on because I’ve taken too much time in the past making models from scratch. Furthermore, learning about the issues of fabrication and assembly of physical prototypes have also reminded me of constraints that computation still has and how it corresponds to the actual structure in real life. Nevertheless, physical models have always provided me with another perspective on the model as well as another approach in which it could be fabricated next time.

69

70LEARNING OBJECTIVES AND OUTCOMES

71 APPENDIX

ALGORITHMIC SKETCHES

73 REFERENCES

IMAGE REFERENCES

Fig 01 - 06: dECOo Architects, 2011. One Main Street.Available at: http://www.decoi-architects.org/2011/10/onemain/

[Accessed 03 04 2014].

Fig 07-09: Furuto, A., 2012. Lignum Pavilion. Available at: http://www.archdaily.com/274331/lignum-pavilion-frei-saarinen-

architekten/ [Accessed 09 04 2014].

Fig 10, 14, 15: Land Art Generator Initiative, n.d. Site Photos. Available at: https://app.lms.unimelb.edu.au/bbcswebdav/pid-

4269798-dt-content-rid-13528024_2/xid-13528024_2 [Accessed 05 05 2014].

Fig 16: Hogarth, B., 2014. 1millionwomen: Incredible Electricity-Free Alternative to Streetlights. Available at:

www.1millionwomen.com.au/2013/10/16/incredible-electricity-free-alternative-to-streetlights/a [Accessed 30 04 2014].

74REFERENCES

REFERENCES

[1] dECOo Architects, 2011. One Main Street.Available at: http://www.decoi-architects.org/2011/10/onemain/

[Accessed 03 04 2014].

[2] Woodbury, R., 2014. How Designers Use Parameters. In: Theories of the Digital in Architecture. New York: Routledge, pp.

153-170.

[3] Furuto, A., 2012. Lignum Pavilion. Available at: http://www.archdaily.com/274331/lignum-pavilion-frei-saarinen-

architekten/ [Accessed 09 04 2014].

[4] Sustainia, 2003. Guide to Copenhagen 2025. Available at: http://www.sustainia.me/wp-content/uploads/2012/06/CPH-

2025.pdf [Accessed 05 05 2014].

[5] MIDE, 2014. MIDE Engineering Smart Technlogies: Piezoelectric Vibration Energy Harvesters. Available at: http://www.

mide.com/products/volture/piezoelectric-vibration-energy-harvesters.php [Accessed 05 05 2014].

[6] Pavegen Systems Ltd., 2014. Pavegen Systems. Available at: http://www.pavegen.com/technology [Accessed 05 05

2014].

[7] Hogarth, B., 2014. 1millionwomen: Incredible Electricity-Free Alternative to Streetlights. Available at:

www.1millionwomen.com.au/2013/10/16/incredible-electricity-free-alternative-to-streetlights/a [Accessed 30 04 2014].

76PART C P R O J E C T P R O P O S A L

77 DESIGN CONCEPT

DESIGN CONCEPT

The feedback after the interim presentation was mainly focused on the implementation and relationship of energy generators; in our case, the design did not have a well-established relationship between the form and its ability to produce energy efficiently. The design would be able to develop further if the technology is fed back into the form and constrained by it. In addition, solar energy was utilised weakly and wind power was suggested due to our design’s potential of incorporating wind energy generators. We need to research a specific technology for wind and work out its optimal conditions and constraints, and then propose some arrangements to balance an optimised result with an interesting architectural outcome. Furthermore, the form needs to respond to the site more as it is just a sheltered walkway between two points on the site.

Consequently, we have refined our design proposal in attempt to further develop more resolute site considerations and arrangements. In addition, this would serve to enhance our conceptual idea. Previously, we decided to steer towards the expression of movement so that it contrasts with surrounding environment of the site; however, it still led to difficulty in resolving the form of the design as well as its positioning on site. Therefore, we’ve decided to reflect the cityscape qualities of Copenhagen, which will in turn contrast with the industrial space surrounding the site. Copenhagen features several characteristics that are ideal in incorporating into the design concept such as sustainability, long shopping districts that are elongated along long pathway, cycling and the various unique architectural character and colour of buildings. In addition, the night life at Copenhagen also plays an influential element that affects the direction of our design intent. These qualities of the city life in Copenhagen will be elaborated in depth during later stages of the design process.

78DESIGN CONCEPT

Fig 1- Bike Copenhagen

79 DESIGN CONCEPT

CURVE 1 DIVIDE CURVE INTO EQUAL LENGTH

SEGMENTS

CREATE ARC BETWEEN POINTS ON CURVES 1 & 2

DIVIDE ARC INTO EQUAL LENGTH

SEGMENTS

OFFSET AND EXTRUDE

FLIP DATA MATRIX BY SWAPPING ROWS

AND COLUMNS

CURVE 2

DESIGN DEFINITION DIAGRAM

RIBS STEEL STRANDS

80DESIGN CONCEPT

SOLVE INTERSECTION EVENTS FOR CURVES

1 & 2

SHATTER CURVES INTO

SEGMENTS

CREATE AN INTERPOLATED CURVE THROUGH A SET OF

POINTS

CREATE PIPE ALONG CURVE

CREATE POINTS IN THE MIDDLE OF EACH SEGMENTS

POINT ATTRACTOR

CREATE POLYGONS PARALLEL TO CURVE

STEEL STRA NDS PANELS

81

CURVE ARRANGEMENTS

DESIGN CONCEPT

82DESIGN CONCEPTDESIGN CONCEPT 82

The main problem with the design from part B was its responsiveness to the site as well as its design intent. We initially tackled this problem by creating several quick iterations of sectioning forms. Adding another curve allows for more possibilities of different spatial experiences and purposes such as encouraging movement. In addition, the change in form as the design progresses adds an organic element in which it enhances the notion of movement. This leads to our next area of focus, the journey of the design since the iterations illustrate no meaningful start and end.

83 DESIGN CONCEPT

CURVE ARRANGEMENTS

84DESIGN CONCEPT

Moreover, we aimed to create a journey in which people would follow and end up at a location where it provides access to the boat dock and a viewpoint where the Mermaid Statue can be seen on the other side. Furthermore, we maintained the fluid form of the design so as to develop a circulation route that would attract cyclers. We attempted to reflect Copenhagen’s shopping district where shops are located along both sides of a long narrow street by creating two forms that intertwines and grows parallel to each together. In addition, Copenhagen possesses a distinct connection with the harbour, which is reflected in many areas in which buildings are positioned at the edge of rivers and harbours. This has led us to create a space that illustrates that sense of association with water by arranging part of the form over the harbour.

DESIGN CONCEPT 84

85 DESIGN CONCEPT

In terms of the energy generators, we decided to drop solar energy generators to wind energy and piezo because of its relevance to our design concept of movement. We came to an agreement of utilising piezoelectricity generators as our primary energy generators with the aid of wind energy that would serve to enhance the performance of piezo technology. To be specific, we plan to utilise Piezoelectric Vibration Energy Harvesters on the wire strands that would vibrate in the wind. In attempt to find ways to amplify the performance of this technology, panels are used in order to catch the wind and cause the wire strand to vibrate more. When panels are placed across the whole design, it will create a ‘moving’ structure when all the panels rotate and oscillate in the wind. In addition, it would be ideal to place the surface of the panels facing in the direction of the most wind; in this case, we found a wind rose of a nearby location that indicates majorly southerly and south-westerly winds. Therefore, this results in ribs running parallel to the southerly wind direction.

Piezoelectric Compressor will be incorporated with building isolators located below the base of the taller ribs. Like the Piezoelectric Vibration Energy Harvesters, wind power will utilised in order to increase the energy output of the piezo technology. Using the logic where the increase in height correlates to the increase in wind speed/power, we can include tall ribs that can capture the stronger winds. Not only does tall ribs increase the energy output of Piezoelectric Vibration Energy Harvesters, the stronger winds are capable of moving the structure. Therefore, we can adapt to this effect by placing building isolators with Piezoelectric Compressor wrapped around it. Elements that influence the performance of this piezo technology would be the height, surface area and direction of the ribs. Therefore, an ideal rib for this system would be large, tall ribs that are positioned perpendicular to the direction of the majorly winds.

Fig 2- Energy Generator DiagramBlue - Location of Piezoelectric Vibration Energy HarvestersPurple - Piezoelectric Compressor and Isolator underground

86DESIGN CONCEPTFig 3- Rendered view

87

PREBARICATION OF STRUCTURAL STEEL

MEMBERS AND CONCRETE FORMWORK

TRANSPORTATION OF MATERIALS

(STEEL MEMBERS, BOLTS, GUSSET AND L-PLATES, WELDING EQUIPMENTS, CONCRETE AGGREGATE,

ISOLATOR, CONCRETE FORMWORK, PIEZO CERAMIC

PLATES)

PREPARE FOUNDATION FOR

ISOLATORS AND FOOTINGS

FOUNDATION AND FOOTING

CONSTRUCTION

ATTACHMENT OF STEEL STRANDS

WITH TRUSS WORK

PIEZO VIBRATION HARVESTORS

CLAMPED TO STEEL STRANDS WITHIN

TRUSS WORK

PANELS ATTACHED TO STEEL STRANDS

CONSTRUCTION PROCESS DIAGRAM

DESIGN CONCEPT87

88

PIEZO CERAMIC PLATES INSTALLED

AROUND ISOLATORS

TRUSS BOLTED TOGETHER

TRUSS LIFTED INTO PLACE WITH

CRANES

L PLATES BOLTED TO STEEL PLATE AND WELDED TO

TRUSS

CLADDING BOLTED TO TRUSS

FLASHING PLACED AROUND ALL HORIZONTAL

PENETRATIONS

SITE CLEAN-UP

DESIGN CONCEPT 88

91 TECTONIC ELEMENTSFig 4- Isolator and steel truss detail

Fig 5- Piezoelectric Vibration Energy Harvester

Fig 6- Flashing over steel strand

92TECTONIC ELEMENTS

TECTONIC DEVELOPMENT

Figure 4 illustrates the steel truss formwork on an isolator. The system features a series of steel members such as curved square hollow sections and I-beams that are all connected together with gusset plates and bolts. The truss is welded to a L-plate and steel plate below. The structural formwork rests upon a concrete block, which is then followed by the isolator and Piezoelectric Compressor ceramic plates. The Piezo system is sandwiched between 2 steel plates and concrete blocks. Concrete formwork is placed around the isolator system in order to prevent earth from filling up the space surrounding the isolator otherwise it will neutralise any sort of movement of the isolator and cancel the production of energy from the piezo technology.

The Piezoelectric Vibration Energy Harvester is clamped onto the steel strand within the interior of the truss. It produces energy as the steel strand start to oscillate when the panels captures the wind. The technology is placed on both ends of the wire strands across the entire design.

The third image illustrates the necessary flashing required when there are horizontal penetrations. This is an important aspect in terms of the materiality because the internal steel truss formwork is prone to corrosion if comes into contact with water.

93 TECTONIC ELEMENTS

Fig 7-9 - Prototypes

94TECTONIC ELEMENTS

PROTOTYPE

This particular construction element was chosen for prototyping due to its primary structural element. Several gusset plates are used for the connection between each structural element and provide adequate structural stability and rigidity. Whilst making the model, it emits a sense of material wastage due to the large number of elements were required; in addition, the structural stability of the truss at its high point needs to be evaluated because the design spans very large distances. The cost was relatively cheap and the time of fabrication was slightly longer. Pre-fabricating the steel members would greatly increase the time of fabrication. The use of card for steel members was slightly concerning because it was initially unstable when glue was applied; however, once all the structural steel members were joined together with gusset plates, it greatly increased the structural stability of the formwork.

95 FINAL MODEL

FABRICATION PROCESS

96FINAL MODEL

Fig 10- 13- Images of fabrication process

97 LAGI BRIEF

THE WHISP

On the site of Refshaleoen, a series of sectioned ribs run along two organic curves with a sense of harmony and fluidity. The elegance of the form and the oscillating panels expresses the notion of movement and is particularly emphasised due to its contrast with the surrounding industrial space. This reflects the design intent of reflecting the characteristics of the city of Copenhagen. The Whisp encourages movement on site and creates a space for people to temporarily escape from the ‘industrial world’ to a place where they can relax. The design starts at the entrance of the site and develops a journey that splits up into two pathways with different spatial experience. Both in which will led to the end of the site where it meets with the harbour and a viewpoint where the mermaid statue can be seen on the other side of the site. The intent of the two parallel pathways is to reflect the shopping district in Copenhagen where shops follow along a street on both sides. One of the pathways runs adjacent to the harbour where it creates a closer sense of association between the visitor and the water, which is an integral feature of Copenhagen city. The other pathway allows visitors to experience a more energetic ambience in comparison to the other pathway that is more serene. The visitors enter this space where the structure begins to move due to the tall ribs that is supported on an isolator. In addition, the journey along this pathway creates constantly changing views due to the changing direction of ribs. This also heightens the notion of movement along with the continuous oscillation of panels. The design highlights several interactions between wind and the Whisp where different visual and spatial effects are generated. The combination of organic design and the energy generating systems amplifies the visitor’s engagement through many different aspects.

98

Fig 14- Perspective view of the Whisp

99

TECHNOLOGY

The Whisp features the use of Piezo technology along with wind power, which is a predominant renewable energy source used at Copenhagen. Wind power has been incorporated with Piezo technology in a way that it would amplify its performance. Piezoelectric Vibration Energy Harvesters are clamped on each ends of the steel strands between the ribs where it would generate energy when the steel strands vibrate. In order to amplify the energy output of the piezo technology, panels are incorporated on the steel strands so as to capture more wind. In addition, the panels are oriented perpendicular to the majorly wind direction. Piezoelectric ceramic lead zirconate titanate (PZT) plates are incorporated

with isolators located under the base of ribs. Energy will be produced when the plates expand and compress as the ribs sway in the wind. The energy output is increased by utilising taller ribs that are capable of capturing stronger winds; in addition, the surface of the ribs Is oriented perpendicular to the majorly wind directions, south. A secondary energy harvester has been included as another element that encourages movement throughout the site. Pavegen is a system that produces kinetic energy when pressure is applied onto it. An additional integration of StarPath technology increases the energy output of the Pavegens due to its glowing effect at night, which is achieved by capturing and storing UV rays during the day and utilising

100

Piezoelectricity Vibration Harvesters 1

1 Piezoelectricity Harvester= 0.05mW/s 120 Ribs x2 Piezoelectricity Harvester in total= 12mW/s= 378.43MW/year378.43MW/year X 40% efficiency= 151.372MW/year

Piezoelectricity Ceramic Plates1 Piezoelectric Ceramic Plate= 0.06W/s for 1 piezoelectric ceramic plates - there are 50 plates50 Plates= 3W/s = 94.6MW/year94.6MW/year X 50% efficiency= 47.3MW/year

Pavegen 2

1 Pavegen Plate= 2.1W/hr1500 Pavegen= 3150W/hr= 27.6MW/year

Total Energy Produced= 226.272MW/year

Fig 15 - Perspective view of entranceFig 16 - Interior view

101

MATERIALS

The primary material used for the structure of the ribs is steel in a truss formwork. Steel possesses several qualities that are ideal for structural formwork such as flexibility, speed, recyclability etc. The truss is composed of a series of curved 100mm x 100mm square hollow sections and I-beams that zig zag along the square hollow sections. Bolts and gusset plates are used to join each steel member. In addition, the truss is bolted into a steel plate, which is then bolted to the concrete

footing that is supported on isolators. Steel strands are used to support the aluminium panels and will need to be fixed to the truss. The panels are made out of aluminium because of its ideal properties: less resistant to wind, recyclable, speed etc. The ribs will be cladded in in sheets of bamboo so as to maintain its natural visual aesthetics and emit a sense of lightness to the structure. In addition, bamboo is high sustainable material due to its availability and speed of growth.

102

The Whisp Energy Capacity = 226.272MW/yearIf average of 249kWh/month for a typical home= power up to 530 houses

Embodied Energy 3: Steel (recycled): 37210 MJ/m3= 297680MJAluminium (recycled): 21870 MJ/m3= 174960MJBamboo: 5720 MJ/m3= 45760MJThe Whisp Embodied Energy= 518400GJ= 518.4TJThe Whisp Embodied Energy return= 6~7 years (wind dependant)

Fig 17 - Interior view of the WhispFig 18 - Interior view of the Whisp

104

MATERIALS

The primary material used for the structure of the ribs is steel in a truss formwork. Steel possesses several qualities that are ideal for structural formwork such as flexibility, speed, recyclability etc.4 The truss is composed of a series of curved 100mm x 100mm square hollow sections and I-beams that zig zag along the square hollow sections. Bolts and gusset plates are used to join each steel member. In addition, the truss is bolted into a steel plate, which is then bolted to the concrete footing that is supported on isolators. Steel strands are used to support the aluminium panels and will need to be fixed to the truss. The panels are made out of aluminium because of its ideal properties: less resistant to wind, recyclable, speed etc.5 The ribs will be cladded in in sheets of bamboo so as to maintain its natural visual aesthetics and emit a sense of lightness to the structure. In addition, bamboo is high sustainable material due to its availability and speed of growth.6

ENVIRONMENTAL IMPACT

The Whisp aims to illustrate and raise the awareness of renewable energy in an aesthetic manner in terms of materiality, technology and innovative design. Recycled materials are used with several energy harvesting technologies that results in an organic and sculptural form that moves due to wind power. The landscape of the site is preserved to maintain the notion of sustainability. The space under the base of the ribs will need to be dugout in order to implement the concrete foundation and isolator.

Fig 19 - Aerial view of site

105


The innovative idea of the project is the relationship between design computation, energy technology, its performance and how it intertwines with each other. The use of organic form and structures, and its development in accord to energy harvesting technology defines the use of design computation. Through several experiments and iterations, computational techniques offer several upsides over non-computational techniques such as being able to create many organic forms in a short amount of time as well as the ability to change many parameters of the design. The main element of our project that is only achievable through parametric modelling would be the form in which the whole design is based on and the use of parameters that influence the changing sizes of the panels. In terms of energy, it has been integrated into a performing pattern where its orientation is decided on where it would produce the most energy; in this case, the panels are positioned perpendicular to the majorly wind directions and the ribs with isolators beneath it are also positioning in the same direction as the panels. There are some areas of the design where some panels are not directly perpendicular to the southern winds due the need to maintain its continuous flow in terms of aesthetics; in addition, it was also to address winds coming from other directions. Geometry was integrated into a performing pattern where its organic form and its relationship with the adjacent form were designed with a sense of harmony between them. Prefabrication through the use of computation allows for more accurate and faster construction, which is ideal in all construction types including non-computational design.

The design project has influence my knowledge of the design process of architecture in way that the structural elements are not taken into account at the start of the design process. By temporarily discarding the structural aspect of the design, we are able to create more interesting, unique ideas and expand the design possibilities. The structural aspect is then taken into account during the later stages of the design process so as to reduce the possibility of tunnel visioning on an idea that is constrained by the structural aspect of it.

In terms of be able to create, manipulate and design using parametric modelling, I am more capable than I was at the start of the semester but I’m still lacking in many areas in terms of manipulating the design. I would say that there were times during the design process where I tunnel visioned on an idea too much that it has severely limited my capabilities of generating innovative design possibilities; however, after learning various components in Rhino and Grasshopper has enabled me to generate a variety of ideas at a faster and understanding rate. I have found difficulty in using computational methods to fabricate tectonic assemblies with the given definitions due to my lack of knowledge of some components; thus, I had to seek for help. This was evident during Part B phase where notches had to designed.

107

IMAGE REFERENCES

Fig 01: VisitCopenhagen. Bike Copenhagen. 2014. http://www.visitcopenhagen.com/bikecopenhagen (accessed 06 10, 2014).

108

REFERENCES

[1] Mide Technology. “Piezoelectricity Vibration Harvester.” 2010. http://www.mide.com/pdfs/volture_material_

properties_2010.pdf (accessed 05 26, 2014).

[2] Pavegen Systems. Pavegen. 2014. http://www.pavegen.com/ (accessed 05 10, 2014).

[3] Canadian Architect. Measure of Sustainability. 2008. http://www.canadianarchitect.com/asf/perspectives_sustainibility/

measures_of_sustainablity/measures_of_sustainablity_embodied.htm (accessed 05 27, 2014).

[4] Worldsteel Association. Sustainability. 2014. http://www.worldsteel.org/steel-by-topic/sustainable-steel.html (accessed

05 15, 2014).

[5] Australian Aluminium Council. Aluminium: Properties and Sustainability. 2013. http://aluminium.org.au/properties_and_

sustainability (accessed 05 23, 2014).

[6] ECO Designz. Whybamboo. 2006. http://www.ecodesignz.com/whybamboo.html (accessed 05 21, 2014).

vo barry 585236 part a journal

Documents

design computation precedent

generation precedent

atmospherics surface

arts centre precedent

body of atmospherics

learning objectives

research paviliona

matrix sectioning