560890 Studio Air Final Journal

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ABPL 30048 Architecture Design Studio: AirSemester 1 / 2014Filia Christy

STUDIO AIRDesign Journal

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Design Journal

ABPL 30048 Architecture Design Studio: AirSemester 1 / 2014Filia Christy 560890Tutors: Bradley David Elias & Philip Belesky

STUDIO AIR

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CONTENTSINTRODUCTIONDESIGN BRIEF: Land Art Generator Initiative 2014PART A. CONCEPTUALISATIONA.1 Design FuturingA.2 Computational DesignA.3 Formation/GenerationA.4 ConclusionA.5 Learning OutcomesA.6 Appendix - Algorithmic Sketches Reference List & Image Reference

PART B. DESIGN CRITERIAB.1 Tessellation - Material SystemB.2 Case Study 0.1B.3 Case Study 0.2B.4 Technique: DevelopmentB.5 Technique: PrototypeB.6 Technique: ProposalB.7 Feedback & Learning OutcomesB.8 Appendix - Algorithmic Sketches Reference List & Image Reference

PART C. DETAILED DESIGNC.1 Design ConceptC.2 Tectonic ElementsC.3 Final ModelProposed Design: Dragone with The WindC.4 Design StatementC.5 Learning Objectives and OutcomesReference List & Image Reference

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University of Melbourne | Bachelor of Environments | 3rd Year Architecture Major

INTRODUCTION

FILIA CHRISTY

My first realisation of interest in architecture was through Jenga wooden blocks. The game was to stack them to form a tower and then take each blocks slowly to avoid collapsing. However, instead, my brother and I used them as ‘walls’ or bricks for my miniature doll house. It was like forming the plan of the house which I really enjoyed doing. But pretty much from that moment, I had never really done anything to express this hobby of visualizing or designing space.

I grew up loving crafts and anything hand-made, from paper crafting to stitching. I noticed how I started to develop a particular style of aes-thetic, which refers to more tradi-tional aspect of beauty. Most of my projects revolves around making greeting cards, scrapbook, paper quilling and so on. But, without me realizing, the skill for neatness and

using glue and scissors starts to de-velop. These skills become my ad-vantage when it comes to physical modelling. However, despite of the strong exposure to manual or tradi-tional arts, I am not totally against computation. I am not necessarily a supporter of the Arts and Crafts Movement. For me, you can still create art that’s from the heart (op-posite to the ‘coldness’ of industrial products) through computation.

When it comes to using technology, I am actually quite behind. I have very minimal background knowl-edge nor curiosity in computation. Nonetheless, I did Virtual Environ-ments in my first semester of uni, which has revealed to me minimally of what digitisation can do through Rhinoceros. Ironically, I experienced the underside of computation with my initial design intent couldn’t be realized due to complexity. My

experience and logical ability just couldn’t fit with the logic of para-metric design. It was certainly a stumbling block in succeeding with the design. However, I want to make a new positive start with this new project. Since this time, we are using Grasshopper, hopefully the design process will be less trouble-some.

I do believe that in years to come (which already happening now), ar-chitecture will be dominated and totally dependent on computation. Since growing up in this Postmod-ern age, it is inevitable that the ty-pology of today’s architecture, with parametric-based façade panels (and so on), will govern the way we think about architecture. We are, in-disputably, the product of the archi-tectural zeitgeist.

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The final paper lantern model, inspired from the circular loops of Sun’s solar loops.

Panelling explorations using Rhinoceros.

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IntroductionLand Art Generator Initiative is a design ideas competition that aims to provide platform for harnessing clean energy generation through the design and construction of site-specific public art installation. The installation will provide clean energy in the form of electricity to feed the demand for thousands of home. Due to its functional nature, the brief promotes interdisciplinary approach to design, between the disciplines of architecture, land-scape architecture, engineering, applied science research, industrial design, urban planning, education, and environmental science. Lastly, the public artwork would stand as positive and innovative landmark which conveys that “renewable en-ergy can be beautiful”.

LAGI 2014 Design SiteThe site for this year’s competition is located on Refshaleøen in Co-penhagen. It is a manmade island, where initially housed the shipyard company Burmeister & Wain until 1996. Today, the infrastructure has shifted in function, into recreational areas such as flea market, creative entrepreneurship and cultural and recreational venues.

The site boundary is located on the Sønder Hoved pier with some areas of the surrounding waterways. It is an old landfill where the remaining of the materials from the demol-ished building is still present in the ground. Moreover, there lies the wa-ter taxi terminal on the southwest corner of the site and water channel on the north which are to be main-

tained. In terms of height, the pro-posal should not exceed the 125 m limit at any point.

Land Art Generator Initiative 20141

DESIGN BRIEF

The panoramic view of the site from a distance.

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Design SiteLAGI 2014

Brief-

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To design a 3 dimensional art sculp-ture that inspires positive thoughts to the community about renewable energy generation and healthy eco-logical system.

To generate clean energy from na-ture and translate to electricity which then connected to the city’s electri-cal grid

To not generate toxic emissions and negative impact on the natural ecosystem

To be pragmatic in terms of design constructability

To be safe for visitors to view and explore

To be sensitive with the history and the wider cultural context of the site.

The Birds-eye view of the Site from the satellite.

The dimensioning of the Site Boundary.

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PART

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CEP

TUA

LISA

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A.1

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IntroductionIn the 21st century, there is a rising interest in questioning about the future, the possibilities and threats imposed to humans and the surrounding envi-ronment. This quest for understanding the future state inevitably has influ-enced the way of thinking about architecture. People are wandering about how buildings should look like and the kind of contribution it plays. In the past, discussion about architecture has been dominated by the problem of form propriety2. However, in today’s era of vast technological influence and environmental degradation, the exploration of architecture should go be-yond the traditional mindset of style. As Vidler put it,”[A]ny serious ‘rethink-ing’ of architecture at the start of this century cannot be undertaken without upsetting the structure and emphases of the traditional profession, of tra-ditional typologies, and of traditional modes of envisaging the architectural subject.”3. Therefore, it demands a critical understanding of what needs to be generated, thus shape our ways and means for design. It involves the revolutionary change in thinking into the idea of sustainment. Therefore, by its own nature, Design Futuring has two fundamental jobs: to decelerate the rate of ‘defuturing’ and to reorient people towards sustainability4.

Sustainability & Design IntelligenceSustainability can be defined as the persistence of nourishment and nour-ishing activity to and by the surroundings within the bound of time and space5. In architecture and the built environment, the issue of sustainability majorly concerns about the environmental sector. Currently, the environ-ment is undervalued by majority of people. The rates of U.S. average emission from coal combustion are reaching 2,249 lbs/MWh of carbon dioxide, 13 lbs/MWh of sulfur dioxide, and 6 lbs/MWh of nitrogen oxides. As result, the toxic gases cause severe breathing diseases (i.e. bronchitis, cancer)6 and greenhouse effect that contributes to global warming and climate change7. Therefore, there is an urgent demand for revolution in thinking about design by being critical about the way we engage with the world and redirecting mindset towards the idea of Sustainment . In other words, design thinking should be redirected into new forms of design intelligence, which focus on the sustainment of the environment of the future.

“ The future is not presented here as an objective reality independent of our

existence, but rather, and

anthropocentrically, as what divides ‘now’ from our

finitude.”

Tony Fry in “Design Futuring:

Sustainability, Ethics and New Practice”.

PART A.1

DESIGN FUTURING

The coal combustion from power plant generator caused severe environmental defects, such as smog, accumulation of Greenhouse Gases and Global Warming

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PART A.1.1

kitegen concept

The realization of design intel-ligence is conveyed through the technological development for clean energy generators. One con-temporary example of renewable energy technology is the KiteGen Concept9. The research looked be-yond the modern windmill system and finds ways to improve from the limitations of conventional method.

Typically, wind turbine requires tall thin structure to support the rotor at the highest possible height to obtain stronger winds. However, the meth-od has very limited height since the structural integrity of the support is very restrained to the static post. Consequently, it restrains the pos-sibility of obtaining stronger wind kinetic energy at higher altitudes.

However, the KiteGen Concept started by rethinking on how the system to system can be improved. They observed that the end tips of a typical turbine are where high-est speed is experienced, which accounts for 90% of energy pro-duced10. Therefore, they reconfigure the shape into basic ‘kite’ form to replace the blade tips for more ef-ficient result (Fig a). Because of the great loss in weight, the kites can be floated in higher altitudes or 800 to

1,000 m to get higher kinetic energy (Fig b). Meanwhile, intelligently, the heavier machineries such as rotor and energy storage are placed on the ground. Also, the kites are ma-neuvered by the engines below to control the rotational movement.

The proposed advantages com-pared to conventional turbine are

Fig A.1.1.a The Diagrammatic Explanation of the the form of KiteGen Generator.

Fig A.1.1.b The Diagram showing how KiteGen enables wider area of wind capture in con-trast to conventional windmill.

numerous. First, it has higher ca-pacity of reaching higher altitudes and wider areas, which therefore generated more energy. It also requires smaller area compared to conventional wind turbines to generate equal energy. Moreover, it has zero CO2 emission, pro-duces less noise on ground and doesn’t create unwanted shadows.

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From the functionality perspective, this technology conveys the idea of Design Futuring in the way that it promotes sustainable design prac-tice through the rethinking of conventional design. Most certainly, this engineering innovation will change people’s mindset about wind energy generator towards a more efficient way to be sustainable.

However, if to transform this technology into architecture, the suitabil-ity may be questionable. Although KiteGen is an efficient wind genera-tor, the application of the system does not coincide with the LAGI brief regarding the ability to establish poetic relationship with the ecosystem and human. The presence of really high objects (the kites) causes the re-striction in establishing experiential connections with the users below (Fig c). Moreover, the height restriction of the brief and the limited en-gagement to just visual sensory inhibit the KiteGen concept to be im-plemented. As result, it lacks the ability to inspire the wider community about sustainability as an integration of human life and the ecosystem.

Fig A.1.1.c The look of the KiteGen Generator on site.

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Fresh Kills, US | Competition Entry 2012

PART A.1.2

SCENE-SENSOR //

The challenge of creating an archi-tecture that are both functional and poetic in promoting Sustainability is certainly the main intention of LAGI competition. Among all the entries from 2012 competition, the one that creatively answer the brief is the winning proposal, entitled Scene-Sensor//Crossing Social and Eco-logical Flows.

The idea of bridging two perpendic-ular forces, between the wind kinetic and human gravity, conveys a strong

message of integrated human and ecological system11. The installation comprises two conceptual ideas of energy generation: Channel Screen and Vantage Points. The Channel Screen is in the form of two paral-lel planes with individual panels of piezoelectric thin films and wires (Fig c) that extend from the North and East mounds of Freshkills (Fig a). It acts as a ‘wind mapping’ strat-egy by visually presenting the invisi-ble forces of the wind kinetic energy and hence visualizing the action of

renewable energy generation in an interactive way (Fig b). As result, the technology proposes the sustain-able ideal of nature taking control of the design which would inspire the community about the concept of Design Futuring.

Moreover, the poetic nature of the proposal is enriched with the idea of Vantage Points. The communication between human and nature as ener-gy generators is conveyed through the pedestrians walkways in be-

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CROSSING SOCIAL AND ECOLOGICAL FLOWS

Fig A.1.2.a Diagram showing the location of the installation

Fig A.1.2.b Rendering of installation of site shows the dynamic piezoelectric facade that changes by the wind kinetic forces.

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tween the two piezoelectric planes (Fig d). The capturing of pressure exerted by human traffic will then be displayed with lights in the eve-ning (Fig e). Here, the perpendicu-lar and intersecting forces of nature and human are vividly depicted as to enrich our understanding of the ecosystem through the energy gen-eration process.

The design pretty much elevates the idea of Design Futuring. It pro-motes an active interaction and engagement between human and nature through design, in contrast to the passive connection resulted by the KiteGen concept. Therefore, Screen-Sensor sets a good example to learn from as part of the concep-tualising stage of formulating the design for the 2014 LAGI Brief.

Fig A.1.2.c Series of Diagrams (Left: Vantage Point, Middle: LED Lights, Right: Piezoelec-tric Panes

Fig A.1.2.d The pedestrian pathway, where people could walk and generate energy through piezoelectric panels on the floor.

Fig A.1.2.e The LED Lights on the interior side of the installation.

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A.2

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PART A.2

DESIGN COMPUTATIONIntroductionWhen talking about futuristic ideals in architectural design, the technology of computation inevitably plays an intrinsic part of the topic. Over the past few decades, computation has revolutionized the way people think about design by allowing new unimaginable possibilities. Its ability to deal with complex problems with high level of precision, without any arithmetical errors is the main advantage of computational technology in aiding architecture12. In the initial stage, computers were only used for mere representation of ideas. Terzi-dis defines the mechanic conversion of predetermined processes as ‘comput-erization’13. But, the true advantage can only be gained through the process of ‘computation’, which focuses on the exploration of the unknown. It involves algorithmic and parametric thinking to enrich the design beyond the limited generative-ability of the designer. Generally, algorithm can be defined as the set of finite list of operations being applied in logical order to set of objects14. Meanwhile, parameters refer to the variables, the limitations and boundaries, that govern how particular form could be generated. In collaboration, both of them constitute to the wider computational thinking framework as design generative tool.

Digital MorphogenesisThe term morphogenesis in architecture refers to the utilization of digitized sets of methods for the generation of form derivatives and transformation as favour over visual representation tool15. By its fundamental nature, computa-tional morphogenesis focuses on the system behaviour and processing in con-trast to mere shapes, which enables the integration of materiality and construc-tion as part of the logic16. Oxman correlates the term Digital Morphogenesis as the creation of ‘second nature’ due to its ability for analysing and performance-based design. The capabilities of analysing efficiency and offering new pos-sibilities of design through form generation are the desirable tools that will certainly push architecture into new forms of design futuring.

Additionally, digital morphogenesis also inherits similar properties to biologi-cal morphogenesis, such as the concept of emergence and mass-customiza-tion17. Emergence in the fact that the results of the process are surprising and indeterminable. Meanwhile, mass customization refers to the ability to gener-ate multiple alternatives by simply altering the parameters. However, the gen-erative results undeniably depend on the designer’s ability in manipulating the full-capacity of computation. Nonetheless, the strive for achieving this higher-order function of computation with its generative process is crucial in moving towards a futuristic design thinking.

“Working in complex situations and typically look-ing for futures that cannot be derived from the past or from the laws of

nature, designers search the present for variables that

can be modified. ”

Stanislav Roudavski in “Towards

Morphogenesis in Architecture”

The Roof of Smithsonian Court-yard by Foster+Partners dem-onstrates the use of parametric technology for structural ef-ficiency and performance-based design.

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Fosters+Partners Architects | Washington DC, US | 2007

PART A.2.1

Smithsonian Courtyard Enclosure

The idea of digital morphogenesis is depicted by Foster+Partners’ de-sign for the Smithsonian Courtyard Enclosure. With the assistance from Specialist Modelling Group (SMG), the technology of computation ac-counts for the performative success of the project.

The brief is to design roofing on the central courtyard of the National Portrait Gallery and the Smithson-ian American Art Museum, to make an enclosed space for public indoor events (Fig a&b). The proposed de-sign is composed of a glass canopy with structural fins in the form of lat-tice shell structure (Fig c). The un-

dulating form of the canopy with 3 domed bays are supported with a diagonal grid system and 8 steel columns. The essential role of com-putation comes in rationalizing the most efficiency form by generating multiple alternatives. For instance, it is used to determine the vary-ing thickness of the twisting beam, since different parts of the area are imposed with different loading con-dition18 (Fig e). Moreover, algorith-mic scripting was also implemented incrementally to generate alterna-tives for the canopy’s geometry and the structural beam. Meanwhile, sensitivity on performance such as acoustics and lighting of the build-

ing is also achieved with the help of computed-analysis programs such as Ecotect. The louvers for solar shading (Fig d), improved acoustics through perforations on the struc-tural fins and undulating elegant form of the canopy suggest a har-monious integration between com-putation and the architect’s design intent to achieve performance effi-ciency.

From this project, it becomes clear how computation enables the pos-sibility of innovation both in the aesthetics of the form through pa-rameters and also construction wise. Like Oxman argues in his book “Theories of the Digital in Architec-ture”, digital computation allows for performative design, where the intrinsic features of real life materi-als can be put into parameters19. Therefore, the relative performance of the materials can be tested even before it is built. The advantageous are numerous. It speeds up time for deciding the right construction method while increases the safety of the structure by having more ac-curate speculations of the structural stability. As a result, the aesthetical and structural qualities of the proj-ects go beyond the basic thinking of what’s attainable.

Fig A.2.1.a The birds-eye view of the Smithsonian Gallery, showing the undulating,elevated canopy.

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75EXPANDING BODIES: ART, CITIES, ENVIRONMENT

THE PATENT OFFICE BUILDING

The Patent Offi ce Building in Washington, DC, was built between 1836 and 1867. The original designs for the building were by the architect Robert Mills. The porticos were modelled after the Parthenon in Athens, and it is considered one of the fi nest examples of Greek Revival Architecture in the United States. The south wing of the building was completed in 1840. The east, west, and north wings of the building were completed at

later dates under the supervision of diff erent architects. The four wings of the building are constructed around a 2500 square metre open-air courtyard. This central courtyard’s south elevation and portico are constructed of sandstone, while the elevations of the remaining wings are granite.

One of the oldest federal buildings in Washington, the Patent Offi ce Building was originally built to house the many scale models that patent law required inventors to submit. Once described by the poet Walt Whitman as “the noblest of Washington Buildings,” it housed the Patent Offi ce from 1842 until 1932. Congress gave it to the Smithsonian Institution in 1958. The Patent Offi ce Building now houses the Smithsonian American Art Museum and National Portrait Gallery (Smithsonian 2003).

THE ARCHITECTURE COMPETITION

In 2000, the Smithsonian began a six-year renovation project to restore the building. The project involved extensive renovations including a new roof, mechanical systems, electrical and lighting systems, a new audi-torium, and a new conservation centre. In the fall of 2003 the Smithsonian held an invited international architecture competition for an enclosure to the cen-tral courtyard. The competition called for a visionary proposal, an urban centrepiece for Washington, a public room within the city, and a commitment to design and innovation (Smithsonian 2003).

THE SMITHSONIAN COURTYARD ENCLOSUREBrady Peters

FIGURE 1 Norman Foster’s Concept Sketch for the Canopy

FIGURE 2 Beam Detail of the Competition Scheme Canopy

FIGURE 3 Competition Model

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DIGITAL METHODS OF FABRICATION AND CONSTRUCTION

The Foster + Partners scheme encloses the building’s grand central courtyard with a fl owing glass canopy. The scheme aims to transform the public’s experience of the building, and creates a fl exible events space capable of holding receptions, performances, seated dinners, and landscaping. Designed “to do the most with the least,” the fully glazed canopy develops structural and environ-mental themes fi rst explored in the design of the Great Court at the British Museum (Foster + Partners 2005).

The courtyard canopy is supported above the existing parapet on eight columns. The integrated design solu-tion was a gently undulating lattice shell that effi ciently dealt with the structural requirements, provided protec-tion from the rain and snow, acted as a giant acoustic absorber, and provided a sun shading and natural light-ing solution. Norman Foster’s concept sketch (Figure 1) shows the diagonal grid of structural elements gently fl owing over the central courtyard.

THE SPECIALIST MODELLING GROUP

The Specialist Modelling Group (SMG) acts as an internal consultancy within Foster + Partners. Its group members have expertise in complex geometry, environmental sim-ulation, parametric design, computer programming, and rapid prototyping. The SMG brief is to carry out project-driven research in the intense design environment of the Foster + Partners offi ce. The group consults in the areas of project workfl ow, digital techniques, and the creation of custom CAD tools. Its specialists work with project teams on either a short or long-term basis and are involved with projects from concept design through to fabrication (Peters and De Kestelier 2006).

The proposed canopy was composed of a diagonal grid (dia-grid) of structural fi ns. Similar to the struc-tural solution at the Great Court the fi ns form a warped,

FIGURE 4 Courtyard Canopy seen illuminated at night

FIGURE 5 Plan of Twisting Beams FIGURE 6 Canopy Design Surface with Control Polygon

Fig A.2.1.d Louver panels above the fins for solar shading.

Fig A.2.1.b The pleasant interior space of the courtyard, with the canopy.

Fig A.2.1.c Beam Detail of the Canopy

Fig A.2.1.e Diagram of the thickness of the twisting beam across the region.

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PART A.2.2

Michel Wilford & Partners | Singapore | 2002

ESPLANADE6 SHAHAB DIN RAHIMZADEH, VERONICA GARCIA-HANSEN, ROBIN DROGEMULLER, GILLIAN ISOARDI

Figure 2. Variation of daylight device projection on the façade system.

Results

USEFUL DAYLIGHT ILLUMINANCE 100-2000 LUX ANALYSIS

UDI 100-2000lux analysis is the initial step to assess the performance of natural light in the case study building. Within DIVA plug-in the annual percentage of the useful daylight (100 to 2000 lux) per sensor (1384 sensors are placed on the measuring grid at 0.85 m above the ground floor) is calculated using a Weekly 8am to 6pm occupancy file. Error! Reference source not found. shows the maximum UDI 100-2000lux is about 70-90%, which is obtained for device projections of 1.50 m, 1.75 m and 2.00 m (highlighted on Error! Reference source not found.).

Table 1. Useful Daylight Illuminance 100-2000 lux percentage regarding variation of daylight device projection and building orientation from the north.

Shading device projection (m)

Building orientation (degree)

00 450 900 1350

0 40 38 38 39

0.25 41 40 40 41

0.50 44 42 42 43

0.75 47 45 45 46

1.00 51 50 50 50

1.25 57 57 57 57

1.50 70 70 70 70

1.75 88 89 90 88

2.00 89 90 90 90

Another project that conveys the ability for performative design through parametric modelling is the Esplanade Theatre in Singapore by Michel Wilford & Partners. It high-lights the potential of climatically responsive building through the generation of façade system based on the daylight analysis generated by Grasshopper (Fig c).

The challenge was to allow cer-tain levels of daylight illuminance without getting the glare. Using Grasshopper, three metrics were produced: Daylight Availibility, Use-ful Daylight Illuminance and Glare Probability20 (Fig d). Initially, the site’s physical availability of sunlight by looking at the sun path diagram dictates the most efficient orienta-tion of the building. Useful Daylight Illuminance helps in deciding the cut-off illuminance that could enter the building. Using Grasshopper, the shape of shading devices at any particular nodes was manipulated to see the projected effects into the building. The opening aperture var-ies from 0m full opening to 2.00 m closed (Fig a&b). This study was re-peated 9 times for different building orientation about the North axis to study the optimum influx of natural light into the interior space. Simulat-neously, Daylight Simulation (DIVA)

6 SHAHAB DIN RAHIMZADEH, VERONICA GARCIA-HANSEN, ROBIN DROGEMULLER, GILLIAN ISOARDI

Figure 2. Variation of daylight device projection on the façade system.

Results

USEFUL DAYLIGHT ILLUMINANCE 100-2000 LUX ANALYSIS

UDI 100-2000lux analysis is the initial step to assess the performance of natural light in the case study building. Within DIVA plug-in the annual percentage of the useful daylight (100 to 2000 lux) per sensor (1384 sensors are placed on the measuring grid at 0.85 m above the ground floor) is calculated using a Weekly 8am to 6pm occupancy file. Error! Reference source not found. shows the maximum UDI 100-2000lux is about 70-90%, which is obtained for device projections of 1.50 m, 1.75 m and 2.00 m (highlighted on Error! Reference source not found.).

Table 1. Useful Daylight Illuminance 100-2000 lux percentage regarding variation of daylight device projection and building orientation from the north.

Shading device projection (m)

Building orientation (degree)

00 450 900 1350

0 40 38 38 39

0.25 41 40 40 41

0.50 44 42 42 43

0.75 47 45 45 46

1.00 51 50 50 50

1.25 57 57 57 57

1.50 70 70 70 70

1.75 88 89 90 88

2.00 89 90 90 90

was also conducted to indicate the fraction of the floor area with po-tential glare condition. After all the analysis, it is decided that 1.75 and 2m are the best device projections to achieve the appropriate amount of sunlight.

This precedent communicates the intricate role of computational modelling in the strive for sustain-able design. It allows the integra-tion of physical properties of the site (i.e. sunlight, wind, etc) as part of the design generation process. The design utilized the full potential of Grasshopper in generating forms that effectively correlates with the natural conditions.

However the façade system of Es-planade only purposed for efficient and sustainable shading devices, while the proposal for LAGI de-mands more difficult result, which is the ability for renewable energy generation. Nevertheless, the abil-ity to create an ecological system based on the real world into compu-tational parameters should inspire creativity to transform those widely available energy to our advantage.

Fig A.2.2.a The different angles of projec-tions of the shading device.

Fig A.2.2.b The modelling of shading devices to inform the level of illuminance inside the building.

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PARAMETRIC MODELING & DAYLIGHT STRATEGIES 9

The graphical distributions of DAV200lux results are shown in

. Observing the resulting DAv200lux metric from the GH plug-in, a negative symbol appears in front of the DAv200lux percentage where illuminances ex-ceed an upper limit. This symbol appears when the sensor registers values 10 times higher than the target illuminance, in this case 2000 lux, for at least 5% of the time. From the simulations run across all variations of orientation and shading projection tested, two scenarios emerged as preferred based on the metrics used. The first is 2.00 m projection gives the greatest from sun and potential glare (GP less than 0.2 %). It is within UDI range 90% of the time; however, time outside of this range is generally below the 100 lux lev-el. This is consistent with the shading extent, and can be considered the con-servative shading option. Due to the extent of this shading option, the per-formance of this design is not significantly altered by changing building orientation (i.e. it rejects sun regardless of orientation). The second scenario worth examining is the 1.75 m projection. This design gives more daylight, has a comparable UDI value (88-90%). However, due to increased solar ac-cess, it has a larger GP (19% at an orientation at 90°). Also due to the in-creased amount of sunlight, it is demonstrated that the preferred orientation is 900. This is where glare probability is minimal, and DAV is maximal.

Figure 5. Graphical results from GH/ DIVA plug-in regarding daylight device variations and building rotations.

Conclusion

The purpose of this paper was to assess daylight performance of a case study building with a complex geometry that integrated daylighting devices in its double curvature envelope. The geometry of the building is based on the Es-planade building in Singapore. Parametric modelling was used to explore the design by changing parameters such as orientation of the building, and pro-

Fig A.2.2.c The view of the Esplanade from the river.

Fig A.2.2.d The graphical result data of the daylight device variations with different rotation angles from Daylight Availability modelling using Grasshopper.

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A.3

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formation/generationPART A.3

IntroductionThe discussion on the rising algorithmic culture will certainly lead to the debate between form composition versus generation. The conventional method of utilizing computers for representational purpose results in com-positional forms, that are limited by the designer’s imagination and physical media constrains. However, in digital morphogenesis, the idea of coming up with complex and unimaginable outcomes has induced the notion of form generation. By allowing algorithms to facilitate the process, it enables unpredictable alternative to the design, that focuses on the generative be-haviour of the process.

The Ongoing DebateParametric thinking is revolutionary and yet controversial. It revolutionize design, shifting from form-based into process-based focus. Therefore, it encourages complexity, logical thinking, performative design, control and efficiency. However, it could also engender diversion from the real design objectives by being immersed with the greatness that comes out of script-ing. Functionality is neglected while the new form of digital aesthetic is adored. Who is then the mastermind?

Brady Peters, in “The Building of Algorithmic Thought” purposes the idea of ‘computation as an integrated art form’, where algorithm should be part of architectural design and not as something other21. The advantage of en-hancing performance and managing complexity in construction should be gained by correctly identifying the limits of which generative-ability of the process should extend. Designers and computation should have a mutual-istic relationship, to complete each other’s strength and weaknesses. More-over, Peters also commented on the computation of the roofs for Smithson-ian Courtyard, saying “The writing of a computer program that generates architecture requires the ability to understand and interpret of the design intent and then translate this into algorithms that the computer can under-stand.”22 Only by then, architecture and computational technology can be consolidated into a harmonious unity of design process.

“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”

Brady Peters in “The Building of

Algorithmic Thought”.

Michael Handsmeyer’s generated subdivision patterns conveys the complexity and unpredictability of form that could be generated using parameters and algorithms

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Michael Hansmeyer | Gwangju Design Biennale 2011

PART A.3.1

subdivided columns

The work of Michael Hansmeyer, The Subdivided Columns, is prob-ably one of the most controversial projects regarding digital form gen-eration. The creation of the ‘Sixth Order’ pushed forward the idea of designing a process or the algo-rithms and not merely the object itself23. Consequently, it results in a generatively complex behaviour that is promoted through continu-ous permutations and subdivisions of planes, as opposed to static and simple compositional form.

The initial form of the column takes the historical Doric Order, together with the proportional characteris-tics of its shaft, capital and base. To maintain the iconic fluting and entasis in classical Roman columns, parametric inputs are tagged along the subdivision process. Infinite number of permutations are gen-erated by altering the parametric numbers (Fig b).

From here, it is evident how the generative process of designing has surpassed our thinking. It goes be-yond the imaginable and extends the possibilities for design altera-tions because of the focus on for-mulating process not composition. Moreover, computation also breaks from the limitation of the physical constrain, such in drawing 2D on pa-per. Therefore, the design can have intersecting surfaces or stretching

which further explore possibilities of design24. Additionally, the pro-cess also enables coordination be-tween the algorithms governing the smallest detail and the overall form, which creates a unified result.

However, the shortcomings of the generative process are vividly por-trayed when translating the digi-tal ideas into reality. Hansmeyer shared the difficulty in fabricating these columns for the Gwangju De-sign Biennale 2011 (Fig c) due to the complexity in subdivisions. The pragmatic issues start to bombard the 3D Printing process, including the breaking-off pieces and weight problem25. Moreover, he also com-mented about the doubts of failing

to reproduce the design accurately, predetermined by the printer’s ac-curacy level (Fig a).

The precedent becomes an eye-opening fact that generative pro-cesses, which exist only in the digi-tal world can go too far, such that it disconnects the design from reality. This disjunction is not favorable and definitely not what the LAGI Brief asked for. Nonetheless, the idea of focusing on the formulation of pro-cess as opposed to the actual form is the main important lesson from Hansmeyer’s columns. Relevant pa-rameters and our construction sen-sibility should control the extent to which the form generation should go.

Fig A.3.1.a The process of 3D Printing of the columns through layering of slices.

27

Fig A.3.1.b Digital Rendering of the Subdivided Columns with slightly different patterning by altering the paramets permuta-tively.

Fig A.3.1.c The exhibition of the 3D Printed Columns at the Gwangju Design Biennale 2011.

28

University of Stuttgart | Stuttgart, Germany | 2010

PART A.3.2

icd/itke research pavilion

Although it is a challenge in applying digital morphogenesis, the ICD/ITKE Research Pavilion provides an excellent precedent on the appropriate appli-cation of the generative process. Instead of conforming to the conventional top-down engineering solutions to materiality (where form is generated first before moving into materiality), the design follows reverse method in creat-ing architecture26. By integrating the physical properties and behaviour of the material into sets of parameters, it conveys the idea of performative and generative design solution.

The design first took inspiration from vernacular housing of Madan peo-ple that is structurally under active bending forces. Then, they started out by examining the bending stress of the material, the birch plywood strips, through physical testing (Fig b). From here, the properties were then trans-formed into sets of parameters that would determine the form. Using algo-rithms, experimentations with the form were done to search the limits of buckling on each strips. Simulations using FEM Modelling also helped to analyse the tensile forces or buckling that occurs when the half-torus form is applied (Fig c&d). Therefore the final form is structurally efficient since it is informed and dictated by the materiality27 (Fig a&e).

Fig A.3.2.b The physical testing of bending behaviour of the birch plywood strips.

Fig A.3.2.e The generative form resulted a very pleasureable space which is structurally efficient.

Fig A.3.2.a The half torus form of the pavillion is dictated by the bending behaviour of the material.

29

This bottom-up approach of synthe-sising material behaviour into com-putation to explore the form reflects the full benefits of generative de-sign process. The outcome of such method is beyond the ordinary, in-capable to be achieved by conven-tional composition of form. It dem-onstrates a suitable approach to digital morphogenesis, that doesn’t cross the boundary of inconstruc-table form. The precedent exhibits the propriety of digital computa-tion in assisting architectural design process, that should be pursued by every architect in the age to come.

Fig A.3.2.d The connection between two strips showing the tensile forces.

Fig A.3.2.c The FEM Modelling to show the bending stress across the form.

30

PART A.4

Conclusion

The approach to the Conceptualisation of the design proposal starts by exploring

and evaluating upon existing themes regarding Design Futuring, Design Compu-

tation and Parametric Modeling as means for responding to the LAGI 2014 design

brief. The futuristic notion of design thinking coincides with the brief, in a sense

that both promote redirection towards environmental sustainability. The prece-

dents, KiteGen Concept and Scene-Sensor from LAGI 2012, suggest new modes

of design intelligence, where efficiency in renewable energy technologies are ad-

vanced. Meanwhile, Design Computation is also another rising topic in the discus-

sion about the future of design. The quote from Roudavski proposes the idea of

using parameters to control design process, unlike any other previous conceptu-

alization in the architectural history. The technology of algorithms in computation

puts forward the concept of Digital Morphogensis, which promotes performative-

based design that are efficient structurally and environmentally. It is evident in

the projects Smithsonian Courtyard Closure and Esplanade. Lastly, it leads to the

debate about Composition vs Generation, conventional form-finding method vs

generative method from parametric modeling. On one hand, it can go to the ex-

tremes, like with Hansmeyer’s Subdivided Columns, where generative process no

longer becomes realistic and separated form the functionality and pragmatic of

the real world. Instead, the appropriate use of algorithms is conveyed by ICD/

ITKE Research Pavillion 2010, where bottom-up engineered solutions is done by

setting parameters of the material behavior as part of the generative process of

form-making.

To conclude, concepts about the future of design have been explored on the first

stage the design process as means of enriching understanding about what needs

to be designed and the suitable approaches to design. The LAGI brief demand

sustainable thinking and energy generation, whose complexity can be answered

logically with the help of the analytical and generative tools of Parametric Design.

As being discussed in the precedents, the correct reconfiguration of design pro-

cess through digital morphogenesis results in an architecture that are innovative,

in terms of environmental sensitivity and efficiency in structure and function. The

bottom-up approach with materiality, analysis modeling of structure and energy

and prefabrication technologies are the approaches to be implemented with the

case for the LAGI design proposal. Hopefully, not only physical benefits of sustain-

able living, but also the ideological benefits of enriching the notion of aesthetical

beauty will shift design thinking towards the integration of parametric and sustain-

ability

31

PART A.5

The study of theories and practice of architectural computing has been

eye-opening. It has broaden my understanding of the attainable possi-

bilities of computation technology, beyond our limitations in complexity.

After analyzing the precedents, it becomes clear to me how computa-

tion is successfully applied in practice, not just some theoretical ideals,

but real-life benefits on the design process. Moreover, the shift in de-

sign thinking, from form-based into process-based using the generative

method of algorithms has revolutionize my perspective about futuristic

design. Although I am aware of the danger that it may impose (by being

too process-based such that it neglects the efficiency of the outcome in

real world), still the benefits of generative design in dealing with com-

plexity is too good to be missed. Furthermore, it also solves the prob-

lems with my past projects, where the focus was on the form and not the

process. Now, I understand that what governs the form (the parameters)

matters, not just the actual physical form of the architecture.

learning outcomes

32

PART A.6 - Appendix

algorithmic sketches

The 3D Panelling was done using the commands: Surface Grid, Surface Box and Box Morph. The number of pan-els on each axes can be easily altered using number slider.

So far, the explorations with Grass-hopper have been very limited, since the interface itself is complex. I also not yet used to the program-ming language of this plug-ins. However, I tried to implement the demonstration from the videos and learn about simple ribbing and box morphing to create 3D panels unto a surface.

The initial surface and 3D Patter were taken from grasshopper3d.com. But the Grasshopper defini-tion was made originally by myself, as being taught in the videos.

The Ribbing pattern was created using the commands: Divide Surface, Project, and Loft in two axes (X & Y).

33

This time, the height of the 3D panels were altered using point attractor to create a more dynamic form. How-ever, the command wasn’t translated well at several parts of the model, too thin at parts underneath.

xxxxxxxxxxxxxxxxxxx

34

REFERENCE LIST1. “Land Art Generator Initiative: Copenhagen 2014 Design Guidelines,” Land Art Generator Initiative, last accessed 28 March

2014, http://landartgenerator.org/designcomp/downloads/LAGI-2014DesignGuidelines.pdf.

2. Michel Foucault and Neil Leach, Rethinking architecture: A reader in cultural theory (London: Routledge,1997), xiii.

3. Anthony Vidler, ‘Review of Rethinking Architecture and The Anaesthetics of Architecture by Neil Leach,” Harvard Design

Magazine, 11 (2000): 3.

4. Tony Fry, Design Futuring: Sustainability, ethics and new practice (New York: Berg, 2009), 6.

5. Helena Bender, Kate Judith, and Ruth Beilin, “Sustainability: a model for the future,” in Reshaping Environments: An Inter-

disciplinary Approach to Sustainability in a Complex World, ed. Helena Bener (New York: Cambridge 2012): 321.

6. “Estimated health effects from U.S. coal-fired power plant emissions,” Rocky Mountain Institute, last accessed 28 March

2014, http://www.rmi.org/RFGraph-health_effects_from_US_power_plant_emissions.

7. “Global Warming,” Natural Resources Defense Council, last accessed 28 March 2014, http://www.nrdc.org/globalwarming/ .

8. Tony Fry, Design Futuring: Sustainability, ethics and new practice (New York: Berg, 2009), 12.

9. “KiteGen Research Details,” KiteGen, last accessed 28 March 2014, http://www.kitegen.com/en/technology/details/.

10. “Electricity in the air,” Bob Silbery, Phys.org, last accessed 28 March 2014, http://phys.org/news/2012-07-electricity-air.

html#jCp.

11. “Scene-Sensor // Crossing Social and Ecological Flows,” Land Art Generator Initiative, last accessed 28 March 2014, http://

landartgenerator.org/LAGI-2012/AP347043/.

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

Press, 2004), 2.

13. Kostas Terzidis, Algorithmic Architecture (Oxford: Architectural Press, 2006), xi.

14. Robert A. Wilson and Frank C. Keil, The MIT encyclopedia of the cognitive sciences (London: MIT Press, 1999), 11-12.

15. Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), 13.

16. Achim Menges, “Computational morphogenesis.” Proceedings for ASCAAD 2007 (2007): 727.

17. Stanislav Roudavski, “Towards morphogenesis in architecture.” International journal of architectural computing 7, no. 3

(2009): 349.

18. Brady Peters, “The Smithsonian Courtyard Enclosure: a case-study of digital design processes.” ACADIA 2007 (2007): 77.

19. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), 6.

20. Shahab Din Rahimzadeh, Veronica Garcia-Hansen, Robin Drogemuller, and Gillian Isoardi, “Parametric modeling for the

efficient design of daylight strategies with complex geometries,” in Cutting Edge: The 47th International Conference of the

Architectural Science Association (ANZAScA) (Architectural Science Association, 2013): 4.

21. Brady Peters, (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design 83, 2 (2013): 15.

REFERENCe

35

22. Brady Peters, “The Smithsonian Courtyard Enclosure: a case-study of digital design processes,” ACADIA 2007 (2007): 79.

23. “Subdivided Columns - A New Order,” Michael Hansmeyer: Computational Architecture, last accessed 28 March 2014,

http://www.michael-hansmeyer.com/projects/columns_info4.html?screenSize=1&color=1#undefined.

24. “Interview with Michael Hansmeyer” Lawrence Lek, The White Review, last accessed 28 March 2014, http://www.thewhit-

ereview.org/interviews/interview-with-michael-hansmeyer/.

25. Ibid.

26. Moritz Fleischmann, Julian Lienhard, and Achim Menges, “Computational Design Synthesis,” Shape Studies - eCAADe 29

(2011): 760.

27. Moritz Fleischmann, Jan Knippers, Julian Lienhard, Achim Menges, and Simon Schleicher, “Material Behaviour: Embed-

ding Physical Properties in Computational Design Processes,” Architectural Design 82, no. 2 (2012): 44-51.

IMAGE REFERENCE LIST

Part A.1:Coal Power Plant, 2013, photograph, http://discovermagazine.com/~/media/Images/Issues/2013/Jan-Feb/coal-power-plant.

jpg?mw=900.

A.1.1.a. Comparison, diagram, http://www.kitegen.com/en/technology/details/.

A.1.1. b. Swept Area, diagram, http://w ww.kitegen.com/en/technology/details/.

A.1.1. c. KiteGen Carousel Image, digital rendering, http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2012/05/KiteGen-

Carousel-image-e1338472127448.jpg

A.1.2.a - e. Scene-Sensor // Crossing Social and Ecological Flows, digital rendering, 2012, http://landartgenerator.org/LAGI-

2012/AP347043/.

Part A.2:

A.2.1.a, b, d. Smithsonian Courtyard Enclosure, photograph, http://www.fosterandpartners.com/projects/smithsonian-institu-

tion/

A.2.1.c. “Beam Detail of The Competition Scheme Entry,” in Smithsonian Courtyard Enclosure: a case-study of digital design

processes, Brady Peters (2007): 75.

A.2.1.e. “Plan of Twisting Beams,” Ibid, 76.

A.2.2.a-d. “Esplanade Case Study,” in Parametric modeling for the efficient design of daylight strategies with complex geom-

etries, Shahab Din Rahimzadeh, Veronica Garcia-Hansen, Robin Drogemuller, and Gillian Isoardi (2013): 6 & 9.

Part A.3A.3.1.1.a - c. “Subdivided Columns - A New Order,” photographs, 2011, http://www.michael-hansmeyer.com/projects/col-

umns_info4.html?screenSize=1&color=1#undefined.

A.3.2.a - e. “ICD/ITKE Research Pavillion 2010,” photographs, 2010, http://icd.uni-stuttgart.de/?p=4458.

36

37

PART

B

CRIT

ERIA

DES

IGN

38

B.1

39

Research Field - Material Systems

PART B.1

TESSELATION

In digital computation, there are numerous methods or forms of algorithmic manifestation in design, one of which is tessellation. Based on Escher’s fundamental definition, tessellation is the divi-sion of surface into similar-shaped figures that exist in harmony with no gaps in between or touching each other1.

Historically, tessellation has existed in the forms of Roman tiling and Moorish Geometric Mozaic (Fig Top). These fascination for patterned ornamentation inspired artist like MC Escher to develop new forms of tessellation using objects with complex morphology such as animals. Moreover, he also introduced the idea of Meta-morphosis, where one pattern slightly evolves into another pattern and yet still part of the same tessellation. It demonstrates the pos-sible innovation within such art (Fig Middle)2.

However, as in today’s technological engagement, tessellation pat-terns are further advanced with the help of computed mathematical algorithms. Its definition remains similar, but yet totally revolution-ary in form due to the role of parameters. Relationships are estab-lished between form-dictacting factors, which increase the ability for exploration, generative and performative design (digital mor-phogenesis) in contrast to Escher’s conventional method of direct manipulation3.

“Parametric design and its requisite

modes of thought may well extend the intellectual scope of design by explicitly representing ideas

that are usually treat-ed intuitively.”

Robery Woodbury in “How Designers Use

Parameters”.

Top: Alhambra Tessellation carved on the walls suggest the historical application of tessellated surface.

Middle: M.C. Escher’s ‘Metamorphosis I’ 1937 Woodcut.

Bottom: Neri Oxman’s Beast, the prototype for Chaise Lounge uses Tessellation for achieving Digital Morphogenesis.

40

Neri Oxman | Museum of Science, Boston | 2008-2010

PART B.1

The avant-garde innovation of tes-sellation is demonstrated by Neri Oxman’s Chaise Lounge. It trans-forms conventional notion of chaise lounge into a performative object based on the analysis of human body that informs the tessellation arrangement. Initially, the mapping of pressure exerted by human ana-tomical structures (Fig a)is utilized to determine the size of voronoi til-ing on each nodes of the object and also the strength of material. Oxman uses the term ‘Tiling Behaviour’ as an interchangeable term Material-

Based Tessellation. Smaller cells on steeper curvature and larger ones on shallow curvature suggest the idea of Curvature-based tessella-tion informed by the angle between the surface normal and the projec-tion vector (Fig b)4.

Moreover, the voronoi tiling is also dictated by the metric distance be-tween each node of the curved sur-face. Meanwhile for the material se-lection, stiffer materials are placed on vertical regions for buckling pur-poses and softer materials on hori-

zontal regions.

The fabrication process of the chaise lounge comprised the assembly of 32 sections where each consists of prefabricated photopolymers cells with different stiffness (Fig c). How-ever, since these manufacturing technologies are design for proto-typing purposes only, the limitation of the material prevent from full-scale fabrication of the chair5.

Fig B.1.b The Mapping of different material stiff-ness based on pressure map analysis.

Fig B.1.a The Mapping of pressure exerted by parts of human morphology.

beast-chaise lounge

41

Regardless of the disadvantages, this precedent teaches about the poten-tial of tessellation as part of digital morphogenesis or performative-based design. It also conveys in a sense of Escher’s idea of Metamorphic pattern-ing, where material of each cell transforms into different size and stiffness based on the analysis of human pressure curvature. Therefore, Oxman’s ap-propriation of Tiling Behaviour should inspire future development on the use of tessellated technology for maximizing performance.

Fig B.1.c Each pieces of the prototype composed of different cells stiffness.

Fig B.1.d The scaled prototype of Chaise Lound called Beast.

42

IwamotoScott | SCIArch Gallery, Los Angeles | 2008

Similarly, the idea of digital morpho-genesis is also demonstrated in Iwa-motoScott’s Voussoir Cloud through the use of algorithmic tessellation. Initially, the compressive nature of the structure is successful with the help of computational hang-ing chain model and tessellated cells components6. The precedent looked at the historical work of Frei Otto and Antonio Gaudi who used hanging chain model to find effi-cient arch form under loading at any point on the surface. With the help of other form finding programs, the resulting vaulting of the arch, with fourteen segmented pieces and 5 columns, becomes structurally per-formative (Fig a).

Moreover, the material strategy of the project is also crucial to the structural achievement of the vault-ing. The curvature of the vaults is translated into Delaunay Tessella-tion with varying sizes, where smaller and denser cells are located at col-umn bases and vault edge to form strengthening ribs, while bigger cells on upper vault areas to loosen the structure (Fig b). Interestingly, the compressive forces are held up by lightweight materials, thin wood laminate along curved seams, which rely on the internal surface tension and folded flanges to hold them in place (Fig c).

Meanwhile, the role of computa-tion is also depicted on the varying treatment of each petal. The end points of each petal and tangents with centroid of nearby voids dic-tate the petal edge plan curvature7. As result, the petals are differentiat-ed as having zero, one, two or three curved edges. Pure triangular cells (zero curve) are located at the base and edges, while more curved cells are scattered across the installation.

Similar to Oxman’s Chaise Lounge, this project conveys the idea of

tessellation as a product of digital computation that further elevates performative-based design. Com-putation enables the division of surface into smaller segments (tes-sellation generation) that is con-trolled through engineering or logi-cal algorithmic system. Hence, each constituent part can be controlled locally to contribute to the success of the performance as a whole.

Fig B.2.a The Form-making process using computation to achieve structurally efficient form.

PART B.2 CASE STUDY 0.1

voussoir cloud

43

Fig B.2.c The look on the installation from above.

Fig B.2.b The final constructed installation com-prised of vaulting of tessellated petals.

44

PARAMETRIC MANIPULATIONColumn Behaviour Modelling

using Kangaroo Physics (F=70 z-axis)

Rad

ial G

ridSq

uare

Grid

Hex

ago

nal G

ridTr

iang

ular

Grid

Voro

noi G

rid Perspective View Front View

45

Voronoi on 2D Points Grid E

xtru

de

to

Tip

Po

int

Vary

Hei

ght

with

Po

int A

ttra

cto

rTr

imm

ed a

t 0

.5 H

eig

htN

ull V

aria

tion

Nul

l Var

iatio

n

Voronoi on Phylotaxis Grid

Null Pattern

Null Pattern

Null Pattern

Null PatternNull Pattern

Null Pattern

Null Pattern

Null Pattern

Null Pattern Null Pattern

Extrude Along curve Extrude Along curve with al-tered graph

Extrude Ribs along curve

Array to Curve, connect to interpolate curve.

Divide Fline into points and use as centres of spheres. Size = 0.4

Divide Fline into points and use as centres of spheres. Size = 0.2

46

Beizer Graph Manipulation

Graph CurveMultiplied by -10

Graph Curves Lofted (Closed Loft) to form bell-shaped form dictated by the Graph Manipu-lation Factor

Curves manipulated by Graph to form conic bell shape.

Spheres to Curve

Extrude Along

Size: 0.5 Size: 0.2 Size: 0.2Scaled NU by 0.5 in z-direction

Sphere Fit through the points Curve Fit through the points Lofted Result of the Curve Fit Algorithm

47

Sphere along Interpolate Curve Points

Sphere Fit and Curve Fit

Generative Design starts by playing around with the algorithms and parameters in a random manner with the motivation of exploring all possible outcomes. In result, unexpected outcomes do emerge as a way of demonstrating the complexity and unimaginability of algorithmic thinking.

48

selection criteria

So far, the iterations were very experimental. Not so much thinking on how to rationalize the outcome, but just trying out different possible commands that could alter the definition. Nonetheless, if to relate this process with the design brief, then the possible selection criteria would be:1) Structural Efficiency2) Dynamic Metamorphosis

Species 1 demonstrates the efficient form for vaulting, achieved using Kangaroo Physics to model Gaudi’s hanging chain method. Moreover, the hexagonal shape of extrusion is also the one that results in lower vault height compared to triangles, for instance. However, although this compressive form is structurally efficient, the definition didn’t explore tes-sellation as the chosen material system. Additionally, in the context of the LAGI brief, the iteration didn’t solve the brief for energy generation.

Species 1: Efficient Vaulting

Species 2 explores tessellation as a complex material system achieved using computation technology. The voronoi cells were created on regular grid but culled using Boolean pat-terning, specifically TTFTF, to create more dynamic pattern. Moreover, The height is also varied based on the distance from the attractor point to create a dynamic metamorphosis of cell heights. However, it doesn’t utilize any digital simula-tion for structural performance, neither energy generation.

Species 2: Dynamic Tessellation

49

Species 3 extends the explorations beyond tessellation, into another material system. The initial definition is based on Biothing’s Serouissi Pavillion which was then altered using graph mapper. Next, the interpolated curves were divided into points which then used as the centre of the spheres. Although the structural performance of the design is rather ambiguous to be fabricated, yet it looks aesthetically pleas-ing and parametrically unique. It could probably be used as an art installation.

Species 3: Spheres on Curves

Species 4 conveys how computation works beyond the com-plexity of our minds and how unexpected outcomes are resulted from the generative process. Although these itera-tions may be impossible to fabricate or don’t inform anything about the brief, they certainly induced shock when they first appeared. It was unexpected, away from the expected re-sult in mind when the algorithms were connected with each other. Nonetheless, it was a challenging experience, where we were reminded again of the power of computation.

Species 4: The Unexpected

50

University of Stuttgart | Stuttgart, Germany | 2011

Another project that conveys the potential of computational tessella-tion in conjunction with biomimicry to achieve structural performance is the ICD/ITKE Research Pavilion 2011. The bio-morphological sys-tem of the sand dollar, a sub-species of sea urchin, is used as an example of nature’s structural efficiency be-ing depicted in the installation8. It mimics the polygonal form of the modular skeletal shell which then jointed by finger-like calcite protru-sions (Fig a & c).

where the finger-joints were glued on the first level and screwed on the second hierarchical level to join the cells together. Therefore, three plate edges always meet at only one point which stops bending moment and yet still deformable due to the normal and shear forces translated through the structure (Fig b & d)9. Consequently, this approach op-timizes the load bearing capacity of the structure and enables to be efficiently built out of thin plywood sheets (6.5mm) in contrast to the

In order to achieve this biomorpho-logical adaptation, the computa-tion process focused on 3 things: Heterogeneity, Anisotropy and Hi-erarchy. Heterogeneity deals with the varieties of cell sizes according to the curvature at each nodes and discontinuities, smaller cells around the edges, while bigger ones on low curvature values. Anisotropy conveys how the cells are directed according to the mechanical stress-es. Lastly, hierarchy refers to the pavilion’s double layer of structure,

Fig B.3.a The interior of the pavillion. Fig B.3.b. Finger-like Jointing that meets at one point

PART B.3 CASE STUDY 0.2

icd/itke research pavilion

51

scale of construction.

The methodology is very successful in a way that it manages to create a performative system of construction from modular tessellated segments using computation. In contrast with other lightweight construction that use optimal load-bearing shapes, this system is applicable to variet-ies of shapes. It demonstrates the universal use of the system in the creation of architectural spaces that are both functional and aestheti-cally pleasing.

Fig B.3.c The bird’s eye view of the pavillion.

Fig B.3.b. Finger-like Jointing that meets at one point Fig B.3.d The Bending Forces acting on each modules of the pavillion.

52

Hexagonal Grid

Extrude to mid point

Trimmed with Avg Plane

Lofted Base

Surface

Bounding Box

Surface Morph

Deconstructing Domain

Final Result

The main limitation of this definition is that, the pat-tern gets skewed at certain points on the surface, since it is lofted on series of base curves.

Lofted Base Surface

Populate Geometrywith points

Voronoi 3D

Trim Voronoi with Base Surface to get intersecting

Curves

Extrude to Point

Final Result

Advantegously, the voronoi pattern is distributed evenly throught the surface. However, since the Voronoi pattern on the surface are curves, not straight lines, the resulting extrusions are also not straight sections. Hence the tip cannot be trimmed unlike in previous definition.

Trial 1

Creating

Tesselation on 2D Plane

Trial 2

Normals at Nearest Point

on Surface

Move Point normal to the plane

Finding

Tip Point

Cre

atin

g V

oron

oi G

rid o

n Su

rfac

e

53

REVERSE ENGINEERING

Base SurfaceHalf of Sphere

Final Result

ContoursTo Readjust Grid lines

(avoiding merging on the apex)

Planarizing Hexagon Panels

Extrude to Point

Trimmed with Average Plane

Areato find centers

Move

Normals at Nearest Point on Surface

Loft Curvesto form readjusted dome

Springs from Linecreate spring from

Hooke’s Law

Planarizeplanarize any

polygon

Curve Pullconstrain or pull point to a curve

Kangaroophysical simulation of the forces

Wb: Hexagonal Cells

Explode + Remove Duplicate Lines

Edges

Control Points

Polyline

BoundaryPlanar surfaces

Planarizing H

exagon Panels

Extrude to Point

The panels are finally able to be planarised. The tessellation is also evenly distributed and not skewed at certain points on the sur-face. However, the variation of cell sizes such in the Pavillion is not demonstrated. There are some details missing. The interior is not considered here and the actual panels on the pavilion are voronoi cells, not hexagons

54

TECHNIQUEDEVELOPMENT

B.4

55

RESEARCH ON WINDPART B.4 Technique Development

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Technical Report 99-13 06180 Københavns Lufthavn

Station 06180KØBENHAVNS LUFTHAVN

01-01-89 - 31-12-98

Hele perioden

240

V

300

330

N

30

60

Ø

120

150

S

210

25%

20%

15%

10%

5%

N 30 60 Ø 120 150 S 210 240 V 300 330 Ialt

% 5.1 4.9 5.0 7.7 5.6 7.7 8.0 9.7 14.6 15.3 10.0 4.2 98.0

% 2.1 2.8 2.4 3.3 3.0 3.8 3.5 4.4 5.1 6.3 3.9 2.1 42.70.2-5.0m/s% 2.8 2.0 2.5 4.2 2.6 3.8 4.4 5.1 8.8 8.0 5.6 2.0 51.75.0-11.0m/s% 0.2 0.1 0.1 0.1 0.0 0.2 0.2 0.3 0.8 1.0 0.5 0.1 3.6> 11.0m/sMiddel 5.9 5.0 5.2 5.5 5.0 5.2 5.5 5.6 6.3 6.0 6.1 5.3 5.7hastighedStørste 18.0 16.5 13.9 17.0 12.9 15.0 16.5 14.9 21.6 19.6 18.0 14.4 21.6hastighedTotalt antal observationer = 29189 Kilde: DMIVindstille defineret som hastighed <= 0.2m/sAntal observationer med vindstille/varierende vind: 580 = 2.0%

0.2 - 5.0m/s

5.0 - 11.0m/s

> 11.0m/s

Procent:

IntroductionSo far the algorithmic explorations hasn’t incorporated any thoughts about the energy generation aspect of the brief and the site condition. Therefore, at this stage of the de-sign process, it becomes crucial to formulate the overarching design approach that could help guiding the process. Therefore, we have a clear direction on how to develop the algorithmic technique that an-swers the main requirement for en-ergy generation

Site Resource: WindWind is undeniably one of the stron-gest natural resources on site. Ac-cording to Danish Meteorological Institute10, the weather of Denmark is hugely dictated by the wind. The wind coming from the West brings coastal climate with mild and humid weather during winter and cool and changing weather during summer. Meanwhile, the South and East wind brings continental weather that is cold during winter and hot and sun-

ny during summer. From here it can be deduced that the weather is very inconsistent due to the exposure to multiple wind directions.

On the site itself, majority of the wind comes from the South West. By using the Wind Rose data of the closest weather station, 06180 Københavns Lufthavn, highest per-centage of wind from the West and Southwest is around 5-11 m/s and sometimes above 11 m/s (Fig b). Meanwhile, the potential energy that could be generated on site, above 45m off ground, is around 200-250 W/m2 (based on the as-sumption of using turbines as the generator). It is relatively small in contrast to the West ridge of Den-mark since the site is rather con-cealed by the terrain. Nevertheless, efficiency is then becomes incred-ibly important.

Wind Movement BehaviourIn order to be able to use wind as an energy source, it is crucial to first

analyse and understand the gen-eral behaviour of wind towards the landscape. Majorly, the movement of wind or how it behaves is incon-trollable by human since mostly are dictated by natural factors such as temperature difference, altitude, latitude and so on. However, what we could possibly do to alter wind movement is through the form. We have seen in natural landscape, how different topography such in hills and mountains can result in differ-ent wind pattern11. Wind moves smoothly across round hills while steep ridged hills causes turbulence and eddies on the leeward side, due to pressure change (Fig a). It can be explained using the Bernoulli’s prin-ciple, where wind speed increases when there’s a decrease in pressure, which in this case caused by the sloping form of the hill12. Based on this knowledge, it informs the po-tential to manipulate wind through form-making to generate more en-ergy.

Fig B.4.a Wind movement behaviour on two different types of hills. Fig B.4.b Wind Rose Diagram

56

panelling

Tatami Box Pattern

Tatami Hexagonal Pattern

Tatami Mix Pattern: Small and Big Hexagons

Voxelization Patternu = 15v = 8

Voxelization Patternu = 21v = 15

6 Star Grid + Pipe

6 Star Grid + Centre Circle

6 Star Grid + Sphere

6 Star Grid + Box

Circle Packing

57

panelling

Average Point on Box Grid + Vertical Line from Grid + Pipe

Erwin’s Hauer’s Box Morph

Circle Packing Jointed

Box Morphing

Lofting lines

Box Morphing: Rectangular Pattern

Box Morphing: Rectangular Grid

Box Morphing: Torus

Box Morphing: Rectangular Grid

Box Morphing: Rectangular Grid

58

others

Interpolate Curve + Surface

Platonic Dodecahedron (LunchBox)

Rectangular Pyramid with Point Attractor varying height + Sphere on top

Sphere on Grid

Trib Split

Triangular B Split Height = 6

Triangular B Split Upside Down

Waffle Explode + Sphere Along Cuve

Extrude Hegaons to Point + Sphere

Extrude Hexagons to Point + Sphere + Alter Grid

59

6 Star Waffle Grid + Point At-tractor varying height

Waffle Pipe

Waffle Pipe + Sphere

Divide Curve + Sphere

Divide Curve + Cylinder

Tree Item: Relative ItemOffset:

0;02;1

0;1

Tree Item: Relative ItemOffset:

0;0

3;1

2;2

Tree Item: Relative ItemOffset:

0;0

2;1

2;2

Tree Item: Relative ItemOffset:

0;0

3;2

3;3

Tree Item: Relative ItemOffset:

0;0

3;2

2;2

60

Spiral curves: mathematics

Connect 2 Points with Linex-value = cos x * xy-value = sin x * x PiCountFactor

1.03802.65

Connect 2 Points with Linex-value = cos x * xy-value = sin x * xPiCountFactor

1.03801.51

Connect Points with Nurbs Curvex-value = cos x * xy-value = sin x * xPiCount

1.0380

Connect 2 Points with Line + List Itemx-value = cos x * xy-value = sin x * xPiCount

1.0380

Connect Points with Nurbs Curvex-value = cos x y-value = sin x * xPiCount

1.0380

Connect Points with Nurbs Curvex-value = cos x y-value = sin x * xPiCount

1.0327

61

Spiral curves - graph mapper

Lofted Rectangular FramesWidthHeightGraph

1010

Lofted Rectangular FramesWidthHeightGraph

1010

Lofted Rectangular FramesWidthHeightGraph

1050

Lofted Rectangular FramesWidthHeightGraph

350

Lofted Rectangular FramesWidthHeightRotate Graph

350

10

Lofted Rectangular FramesWidthHeightGraph

350

Lofted Rectangular FramesWidthHeightGraph

350

Lofted Rectangular FramesWidthHeightGraph

350

Lofted Rectangular FramesWidthHeightGraph

350

Lofted Rectangular FramesWidthHeightNo RotationGraph

350

62

selection criteria

Based on the research done regarding the wind behaviour and site condi-tion, the design approach that our group intended to pursue is to manipu-late the architectural form of the installation and also its surface to optimize energy generation. The form has to channel the wind and the surface has to incorporate the Bernouli’s Principle into the shape and performance. Therefore, the selection criteria would be:1) Undulating Form: Terrain-like, Artificial Hill2) Cone-like or Tunnel-like Tessellation3) Structurally Sound and Builtable

Species 1 demonstrates a very dynamic and flexible form, generated using graph mapper component. The undulating form has the potential to create areas of depression which may cause different pressure to wind. Such behavior can be utilized to generate more energy due to increase in wind speed.

Species 1: Graph Mapping

Species 2 explores the use of mathematical curves, such as the sine and cosine curves to create dynamic spiral form. Since it is controlled through mathematics, the result be-comes very repetitive and ordered. However, it tends to be sculptural and not relating to the site much. More effort needed to connect this into some kind of meaningful data.

Species 2: Dynamic Tessellation

63

Species 3 has the potential of increasing wind pressure through series of cone-shape modules. By having narrower opening on the inside, it could increase the wind speed which in turn could provide greater kinetic energy.

Species 3: Wind Tunnel

Species 4 conveys the potential for structural stability and also build-ability. The intersection between ribs going from 3 different directions suggest a strong and rigid connection of each part. This can help to provide structural support for the skin or modules, which is also aesthetically pleasing at the same time.

Species 4: Structural Ribs

So far, the development has been rather limited by the tendency to maintain the compressive nature of the case study (ICD/ITKE Pavillion). We put too much time on getting planar panels out of the form, which constrains the exploration much. As a result, we tend to play around only with 3D paneling, varying heights with point attractor and so on. Although there were attempts to explore other parametric system, such as strips and graph mapping, still majority of the results are rather basic and predict-able. Hence, our group encountered the difficulties of producing fruitful outcomes due to skill and time constrains. More time is actually needed to understand the way Grasshopper definitions work and how to com-bine different systems together. But nonetheless, our group already has a clearer design direction although not yet executed well on the algorithmic results.

64

PART B.5

Strips laid out on 900x600mm

rectangle

Strips lasercutted and detached from Box board 1mm thick

Prototyping Process

Strips were arranged accoding to group and

order

First was to finish con-necting all strips from

2 directions before connecting the third

group of strips

Finished Prototype

Species 3 was then chosen to be prototyped to test the structural stability and aesthetical effect cre-ated. First, additional work on the algorithm needs to be done. Notches were used as a method of connecting since it is commonly successful in joint-ing flat intersecting members such in this case. The strips height should be enough not to easily torn, while the notches starts on midway of the height with the width of less than 1mm to make sure no loose connections

Algorithm for Notches

List ItemSeparate Ribs into 3 groups based on

direction

Solve Curve | Curve Intersction

Point on Curvepoint at 0.5 (midpoint)

Circle + Boundarydiameter = 0.9

Extrude z-axisForming cylinders with varied directions

Solid TrimResult: Strips with notches on

A B C+

B A C+

C A+

C B+

A

B

C

PROTOTYPE

65

The resulting prototype resembles the digital model in great clarity. The notches work well and able to create rigid connection between the strips. As a result, the structure becomes very rigid and compressed. Moreover, the shadow effect on the interior is also very pleasant.

However, we were unable to test the structure onto different materials. Box-board was chosen since it is bendable compared to timber for instance. Even during the prototyping process, the strips had to be forced or bended slightly (especially at the apex) to slip unto the designated notches. There-fore, the choice of material for prototyping this design is limited to flexible material.

For future prototyping, perhaps the form has to be simplified. Three ribs on different direction are actually overly structured. Probably the size of cells can be enlarged to reduce overlapping joints. Moreover, due to the rigid-ness of the structure, it tends to be very stiff and not dynamic. Hence, there should be a reconsideration whether to go with this type of structure, or to explore more tensile structures that offers greater flexibility.

Fig B.5.a Photograph of the prototype from below.

Fig B.5.b The Digital Model

66

White pipes were cut according to the right

sizes & joined together using thread

Continue the process until 6 sides were

formed

Prototyping Process

Slip through the end of thread back to the first pipe & then knot

tightly

The pipes were glued to the base of a hex-

agonal cone.

The blades were cut and then glued to the

bigger tubes

Finished Working Prototype

Another prototype was made to test the wind gen-erator system. At the moment, we chose turbine in favour over piezo-electric panels or other system because it extract the most out of the kinetic en-ergy of the wind.

The turbine tested in this prototype is still very primitive. The blades were attached to bigger tubes, which allow for easy rotation. Moreover, we also tested different types of blades: one, two and three blades. It was done to test which configura-tion spin faster.

When tested with hairdryer, the three blades spined the fastest compared to the others. The reason for that is due to greater stability between the blades as a whole. Probably, for future prototype, thin wire can be used instead of glass thread since it will form a more rigid framing for the blades.

67

techniqueproposal

B.6

68

Refshaleøen, Copenhagen | 2014

PART B.6

In responding to the LAGI design brief, the concept that our group would like to propose is the idea of channelling the wind through the formation of an artificial hill and also modular units of tessellation. By incorporating wind movement analysis and Bernoulli’s principle, the design is to increase the wind speed by creating areas of depres-sion which then result in greater ki-netic energy for the generators to capture.

Form FindingThe form is informed loosely by the wind rose diagram (Fig a). The shape is to focus on the major West

and SouthWesterly wind, where it is sloping to face that direction. More-over, the ridge is also exaggerated to intensify the pressure difference. Meanwhile the modules are made of hexagonal cones, with narrower opening on the underside to in-crease wind pressure and create ed-dies. Hexagon is used since it is the closest shape to circles (compared to square and triangles), but easier to construct. Turbine is used as the method for energy generation since it is the most efficient method com-pared to piezo electric panels for in-stance. It is also placed at the edge of the cones, where the wind is at the fastest.

Algorithmic TechniqueThe conceptual and technical achievement of the algorithmic technique is that it enables the in-tensification of wind as a method for wind channelling, through the cones. However, there are some lim-itations that need to be addressed. First, due to the stiffness of the form, it becomes hard to planarised the whole surface. Secondly, the algo-rithm hasn’t incorporated any per-formative parameter so far. And the last one, the form of the tessellation itself doesn’t give flexible structure to the design. As a result, it looks very stiff and not dynamic enough.

N

E

S

W

WIND ROSE MAPPING

ARTIFICIAL HILL INCORPORATE WIND ROSE MAPPING

TESSELATION OFWIND OBSTRUCTIONMODULES

Fig B.6.a Digram of the Form-Mak-ing Process

PROPOSAL

69

Top: FIg B.6.b Perspective View of the Design on SiteLeft: Fig B.6.c Site Plan Right: Fig B.6.d Perspective of the Interior

70

PART B.7

1) Too generic proposal/algo-rithm

At the moment, the proposal is too general and not specific enough. The algorithm itself is also too ‘pe-destrian’ or uninspiring. I’m won-dering whether these 2 factors are related though. But nonetheless, our group do agree on that and we are working on solving this issue for Part C. As mentioned earlier in the technique development section, our group constrained ourselves to planarised surfaces and compres-sive members, just like depicted on the case study. Therefore, we would like to explore more tensile ele-ments or members in our iterations to come. If it does work better with tensile, then we might switch to the suitable material system or algorith-mic technique. From there, it will also be much easier too to refine the design approach.

2) Unresolved about how each modules can operate

Again, if we do successfully man-age to change into another mate-rial system, then the whole system of energy generation has to be re-thought. However, we are also still considering alternatives beside tur-bines. Whatever that is, we will try to have the system integrated to the design, not like an afterthought.

3) Need to interact more with the site in terms of scale, programme, inhabitation and so on

So far, our interaction to the site is limited to just wind mapping and topography. For Part C, we will con-sider more of the different aspect of the site such as views, history, path-ways and so on. It is also possible to expand the programme for instance as markets or educational centre rather than mere installation.

Here are some highlights of the feedback from interim presentation:

PRESENTATION FEEDBACK

71

Objective 5.To a certain extent, the ability to

make a case for proposal is dem-

onstrated, although many parts

of the design are still unresolved,

such as materiality, structural sys-

tem and so on (Refer to Part B.6).

The limitations of the proposal, in-

cluding the algorithmic technique

have been acknowledged and put

into consideration for future im-

provement.

Objective 8.The technique explored through

case studies in Part B.2 and B.3

has shaped my repertoire of com-

putational technique. By special-

izing into specific material system,

the skill developed becomes per-

sonal as my own repertoire.

Objective 2.By altering parameters and regu-

lar baking, wide range of possi-

bilities can be made. Moreover,

making matrices and the idea of

having selection criteria enable to

compare and contrast the differ-

ent possibilities in a standardized

manner. Therefore, the process of

choosing particular result instead

of the other is grounded on logical

reasoning.

Objective 3.In Part B.6, we engage with digi-

tal fabrication on the basic level,

such as lasercutting. It becomes

clear how the digital can only be

realized through the process of

fabrication, where real-life mate-

rial, structural performance and

constructability are assessed using

the prototypes.

Objective 7.The understanding about com-

putation through Grasshopper

has been demonstrated, although

rather limited to a certain extent.

The principles of data flow through

diagramming (Refer to Part B.3)

suggests some basic understand-

ing that could be refined further.

The ability to read the algorithm

of a particular case study becomes

really important for the reverse en-

gineering exercise.

PART B.7

LEARNING OUTCOMES

72

PART B.8 - Appendix

algorithmic sketches

The triangular panels were created by selecting the data or the points from the triangular grid on the surface. The chosen data dictates the kind of panels to produce.

Here are some of the sketches produced after learning from the weekly tutorial videos. New skills were being taught including: Tree Menu, Understanding Data Tree, Image Sampling, Beizer Curve Span, and many more.

Similar to the first definition, but the selection of data was altered using Relative Item Command.

The data chosen for the Relative Item is {0;0}, {2;1}, {0;1}.

73

Image Sampling of 2 different pat-terns. The first pattern is dicataing the cones, while the second pattern is dic-tating the circles. The dark and light ratio of the pixels on the image inform how big the circles should be.

Aranda Lasch Morning Line project was Reversed Engineered here using Recursive Method. The idea of using repititive element, in this case the truncated pyramid, creates an interesting form of algorithm. Additionally, Beizer Span curve that con-nects the end points of each geometry also creates a continuous patterning.

xxxxxxxxxxxxxxxxxxx

74

REFERENCE LIST1. Ranucci, Ernest R. “Master of tessellations: MC Escher, 1898-1972.” The Mathematics Teacher (1974): 299.

2. “Gallery,”M.C. Escher, last accessed 5 May 2014, http://www.mcescher.com/gallery/.

3. R. Woodbury, “How Designers Use Parameters,” in Theories of the Digital in Architecture, eds. by Rivka Oxman and Robert

Oxman (London; New York: Routledge, 2014), 153.

4. Oxman, Neri. “Material-based design computation: Tiling behavior.” In reForm: Building a Better Tomorrow, Proceedings

of the 29th Annual Conference of the Association for Computer Aided Design in Architecture, Chicago, 2009, 125.

5. Ibid, p. 126

6. “Voussoir Cloud,”IwamotoScott Architecture, last accessed 5 May 2014, http://www.iwamotoscott.com/VOUSSOIR-CLOUD

7. Ibid

8. “ICD/ITKE Research Pavilion 2011,” Universität Stuttgart, last accessed 5 May 2014, http://icd.uni-stuttgart.de/?p=6553.

9. Ibid.

10. John Cappelen and Bent Jørgensen, “Technical Report: Observed Wind Speed and Direction in Denmark,” Danish Me-

teorological Institute (Copenhagen, 1999), 8-12.

11. “Chapter 6: General Wind,” last accessed 5 May 2014, http://www.firemodels.org/downloads/behaveplus/publications/

FireWeather/pms_425_Fire_Wx_ch_06.pdf.

12. “Bernoulli’s Equation,” last accessed 5 May 2014, https://www.princeton.edu/~achaney/tmve/wiki100k/docs/Bernoulli_s_

principle.html.

IMAGE REFERENCE LIST

Part B.1“Inside Alhambra,” last accessed 5 May 2014, http://hdfons.com/wp-content/uploads/2013/02/Inside_Alhambra_2560x1600-Wallpaper.jpg“Metamorphosis 1,” 1937, Woodcut printed on 2 sheets, last accessed 5 May 2014, http://www.mcescher.com/gallery/most-popular/metamorphosis-i/. B.1.a - e. Oxman, Neri. “Material-based design computation: Tiling behavior.” In reForm: Building a Better Tomorrow, Pro-

ceedings of the 29th Annual Conference of the Association for Computer Aided Design in Architecture, Chicago, 2009, 124-7.

Part B.2:

B.2.a-c “Voussoir Cloud,”IwamotoScott Architecture, last accessed 5 May 2014, http://www.iwamotoscott.com/VOUSSOIR-

CLOUD

REFERENCe

75

Part B.3B.3.a-c “ICD/ITKE Research Pavilion 2011,” Universität Stuttgart, last accessed 5 May 2014, http://icd.uni-stuttgart.

de/?p=6553.

Part B.4

B.4.b John Cappelen and Bent Jørgensen, “Technical Report: Observed Wind Speed and Direction in Denmark,” Danish

Meteorological Institute (Copenhagen, 1999), 135.

76

77

PART

C

det

ail

ed d

esig

n

78

designconcept

c.1

Rethinking of The Whole Design

79

rethinking designPART C.1.1

The interim presentation feedback suggests the need for further refinement of the design concept and implementation. The main limitating factor would be the lack of exploration with the paramet-ric tool itself which then narrow down possibilities for innovative design. But nonetheless, we better maximize the algorithmic tech-nique that we have learnt so far due to time constrain. The first thing will be to change the shape from hexagons to triangles for easier fabrication, since triangles are closer to planar surfaces. Next, the form has to be more logical, rather than some arbitrary connection with the Wind Rose. Then, the opening has to also be optimized for larger wind penetration. Furthermore, the design concept also needs to be refined to create a more in depth meaning to the in-stallation in relation to the site. After we are set with the design, then we can move on refining the tectonics and constructability. For the technology, turbines are still our first main option since it pro-duces the greatest amount of energy compared to other methods (i.e. Piezoelectric). Lastly, the program and site access have to also be incorporated to the formulation of the form..

Change from Hexagons to Triangles Bigger Openings for the Modules

Copenhagen, Denmark, CASE - 03

Energi- og Miljødata, Niels Jernesvej 10, DK-9220 Aalborg O – Tel: +45 9635 4444, Fax: +45 9635 4446, Mail:

[email protected], Web: www.emd.dk - 3 -

Lynetten wind farm

Photo from east.

Middelgrunden wind farm

Actual Energy production from the WTGs

Production figures are typically given by the WTG owner as monthly readings at the meters. For all projects except Middelgrunden, we have a relative long data record, which is long term correlated with wind energy index. While most calculations were performed before Middelgrunden was set in operation, this is treated separately as an add-on in the last chapter.

80

The argumentPART C.1.2

REFSHALeoeN: PAStRefshaleøen was once an industrial site, a manmade island that housed the shipyard company Burmeister & Wain until 1996. The idea of industrializa-tion has taken up the land in a degrading way, such in the extensive refills and damming of the rivers which alters the topography. Natural deforma-tions and the amount of CO2 released, around 67 mill tonnes in 19901, sug-gest the intense situation that Copenhagen faced in regards to environmen-tal responsibility. Additionally, industrialization also impacted on the social life of the city, where workers were put under the detrimental working condi-tion, exposing to death risk and deprivation economically and health-wise.

refshaleoen: now-futureRefshaleøen is moving towards sustainability in alignment with Denmark’s Energy Agreement in 2012 to convert the supply energy of the entire coun-try into renewable energy by 20502. Wind powered energy generator is fo-cused as the main source for renewable energy along with biogass and bio-mass. Currently, wind farms are placed on the peripheral of the island and offshore, such as the Lynette wind farm on the north side of Refshaleøen. Moreover, incentives are given to promote more onshore wind turbines, up to 500MW. Additionally, the site is now transformed into recreational and cultural functions such as flea market, creative entrepreneurship and music events. So it promotes the sense of community as well in conjunction with a greener lifestyle through a healthier and more comfortable city.

Timeline Photos of Refshaleøen

81

site

N

Lynette Wind Farm

Lynette Waste Water

Treatment Plant

SITE

SouthWest Wind

NorthWind

The Little Mermaid

Lynette Marina

82

design intentBased on the site context and design brief, the proposed design intent con-sists of 3 ideas:

1) RECIEVE - OUTER SKIN

2) PROCESS WIND- TURBINE 3) INFORM - FLEXIBLE FABRIC

WIND

Conceptual Diagram of how energy generation can engage with the users.

To bring a sense of nature back to the site in contrast to the surrounding built forms as part of engaging with the contrasting past and present context of Refshaleøen

To promote wind energy generation onshore in accordance to the Dan-ish Climate Policy Plan and its optimization through parametric tools.

To engage the users with the energy generation process by enabling physical interaction with the installation

To become an iconic landmark of Refshaleøen that accommodates large cultural and social events as part of promoting a sense of com-munity.

•

•

•

•

83

PART C.1.3

siting

Water Taxi Terminal

Boat Access

Bus Stop

Potential Siting

Wind Source

Direction

ExistingBuilding

South West edge of the site, near to the riverbank, is the potential area for siting First, it maximizes exposure to wind, which comes majorly from the South West and North West. Secondly, it is near to the user access, i.e. the water taxi terminal and tourist attraction i.e. the Little Mermaid Statue across the river. Furthermore, the area is also away from built infrastructure which moves the users away from unpleasant view.

ExistingBuilding

84

PART C.1.4

EXPLORATION on FORMS

85

selection criteriaSome explorations on form were done, informed by the Wind-Rose Diagram. In order to choose the most suitable outcome, the design intent is used as the Selection Criteria. The highlights of the criteria is:1) Mimic natural forms 2) Able to provide large areas for public events3) Constructability

The iteration is chosen as the final form as it ticks off all the required criteria. Since it utilizes Kangaroo Physics to model the Spring Force behaviour, the catenary arch form is surely an efficient one and constructible. Moreover, the arch can span great distance which is able to provide large areas for public space. Moreover, in simple terms, the undulating form resembles hill shape, which reinforces the idea of ‘nature’ as opposed to the flat industrialised site.

240

V

300

330

N

30

60

Ø

120

150

S

210

25%

20%

15%

10%

5%

0.2 - 5.0m/s

5.0 - 11.0m/s

> 11.0m/s

Procent:

240

V

300

330

N30

60

Ø

120

150

S

210

25%

20%

15%

10%

5%

0.2 - 5.0m/s

5.0 - 11.0m/s

> 11.0m/s

Procent:

86

PART C.1.4

form-making

Trace the Wind Rose Diagram

1Scale by 0.7 and Move along z-axis based on the vector distance be-

tween the centre and points

2

Scale down by 0.5

3

Draw Lines connecting the corresponding points

4

Loft the Lines

5

Use Kangaroo Physics to generate the efficient arch form

6

Trim certain parts for users access

7

Panellize the surface

8

Add other functions (i.e. stage)

9

240

V

300

330

N

30

60

Ø

120

150

S

210

25%

20%

15%

10%

5%

0.2 - 5.0m/s

5.0 - 11.0m/s

> 11.0m/s

Procent:

87

Greater height on the West to maximize the greatest exposure to wind. Allow for turbines to capture faster wind velocity in higher altitude. Higher ceiling and span for large market space.

form optimizationThe translation of the Wind Rose into the outcome is not an arbitrary nor abstract one, yet a quite literal one by taking precise vectors as the bases of determining the dimensions. The intensity of wind is translated into numeri-cal vector which dictated the span of the arches and also the height at dif-ferent parts of the form while still maintaining the proportions. As a result, it creates a dynamic form in terms of height and width while at the same time, rationally optimized for wind energy generation. Additionally, the consid-eration of program is also done in conjunction with the energy generation.

•

•

•

Lower ceiling and span to offer a more interactive space between the users and the energy generation process.

•

Void in the centre for outdoor public events

•

88

algorithmic techniquePART C.1.4

Base Surface Wb Triangular Panels B

Scale by 0.7

Move up based on Normals

Rotate slightly Loft

Base Surface Mesh TringulatedMesh UV:Turn into

Mesh

outer skin

fabric

Base Panel

Centre Point

Wb: Mesh Edges

Wb: Mesh Vertices

The Turning Up and Down of the triangular modules were done to maximise opening for wind.

89

Mesh Tringulated

Base Panel Triangular Panel

Centre Point

List Item: Up Move up based on Normals

Extrude to Point

List Item: Down Move down based on Normals

List Item: Select only 2 sides to

create openings

Ribs

Wb: Mesh Edges

Wb: Mesh Vertices

Springs from Line

Unary Forcez-downward

Kangaroo

Anchor Points:4 corners & centre

Rest Length:multiply by 1.2

ResultedMesh

The Turning Up and Down of the triangular modules were done to maximise opening for wind.

1) Wind is channeled through the Skin Panel

2) Turbine rotates to generate energy

3) Fabric inflates

mechanism

90

91

PART C.1.5

design outcome

92

tectonicelement

c.2

Real Life Constructability & Prototyping

93

materialityPART C.2.1

Glass Fibre-Reinforced Plastic Glue Laminated Timber

GRP is a composite material made of strands of glass fibre that are woven to form a flexible fabric3. The fabric is then stacked into layers with resin as the glue. The result of this process is a strong yet light and durable plastic. GFRC is selected as a suitable material for the skin due to these reasons4:

Glulam is made up of series of timber laminations with parallel grain that are bonded together with resin adhesives. There are numerous reasons why Glulam is chosen for the structural member based on these advantages of5:

•

•

•••

Strong in tension and compression:The skin is imposed to high lateral wind load which will cause shear and bending moment. Therefore it is critical for the material to sustain its form.

Lightweight material:Because the construction deals with high altitude, hence a more lightweight material is desirable as it reduces the overall dead load.Seamless construction thus watertight

Able to mold complex shapes Low ongoing maintanance cost Durable towards wind exposure

Strong and stiff (strength-graded lamination)It is able to give the strength to achieve such long span (40m through lattice rib structure) with small-er member dimensions compared to conventional timber which strength is hard to control

Lightweight materialThe low mass in relation to strength makes Glulam a desirable choice in contrast to steel or conven-tional timber. It reduces the dead load of the over-all structure, which enables to achieve higher alti-tude.

Able to be curved or bendedUniform distribution of moisture Fast installation and easy deliveryAesthetically pleasing

•

•

••••

Timber shell structures

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Figure 2.21: Sports hall Berlin-Charlottenburg (Müller 2000)

Figure 2.22: Node of the barrel vault lattice (Müller 2000)

Figure 2.23: Radial rib dome (Müller 2000) Figure 2.24: Davos ice rink (Müller 2000)

Figure 2.25: Davos ice rink under construction (Müller 2000)

Figure 2.26 Davos ice rink under construction (Müller 2000)

Timber shell structures

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Figure 2.21: Sports hall Berlin-Charlottenburg (Müller 2000)

Figure 2.22: Node of the barrel vault lattice (Müller 2000)

Figure 2.23: Radial rib dome (Müller 2000) Figure 2.24: Davos ice rink (Müller 2000)

Figure 2.25: Davos ice rink under construction (Müller 2000)

Figure 2.26 Davos ice rink under construction (Müller 2000)

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PART C.2.2

construction system

lattice ribs structureLattice Ribs is a common method used in timber arch construction in or-der to achieve great span such in sports hall and exhibition hall6 (refer to images). Ribs are running in two directions, intersecting not necessarily at right angles, which may form diamond shaped voids or skewed squares. One direction of ribs becomes the primary ribs, usually the ones that are perpendicular to the surface. Meanwhile, the secondary structural ribs are fragmented and fixed attached to the primary ribs.

Two-way Ribs to form a lattice ribs structure.

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Primary Structural Ribs(Continuous)

Résix© Jointing System

Secondary Structural Ribs(Fragmented)

Resix jointing systemRésix© is a jointing system developed by Simonin Company that replaces bolt-in-place with an invisible connection that allows for seamless design7. The threaded steel bars are embedded inside a high quality glulam. A strong epoxy resin is then used to allow for a rigid connection between the members.

Detail of Connection between Primary and

Secondary Ribs Structure

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Detail of The Hinge at the Base

130mm x 400 Glulam Timber Arc

Grade 8.8 Bolts on Steel Shoe

Stainless Steel Welded With Stiffners

Bolts on Stainless Steel Plate to Anchor Down to Footing

Concrete Footing

Max Span: 40 m

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3-hinged arch strucureThe structure of the primary ribs is categorized as 3-hinged

arch system8. The base is hinged to the footing, while another hinge is placed at the apex of the arch. The curved arch glulam

can span above 50m.

Stainless Steel Plate (bolted to ribs)

Single Pin

Detail of The Hinge at the Apex

Max Height: 15 m

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PART C.2.3

Construction detail

Glass Fibre-Reinforced Plastic Skin Panel

Spider Jointing

Glulam Ribs

Metal Plate with Holes (bolted to ribs)

White Polyester Fabric

Skin Panel, Ribs and Fabric Jointing System

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mini giromill cycloturbineThe specified type of turbine utilizes two forces, lift and drag, to generate me-chanical force to the aerofoils9. The blades are connected by a vane to the central rotor, that is also responsible in orienting the pitch of the blade. At low wind speed, the blades operate using drag force by pitching the blade flat against the wind. When it starts to rotate, lift forces is generated by pitching the blades, which then accelerates the turbine. Therefore, it becomes an ef-ficient system compared to other vertical axis wind turbines (VAWT), especially in areas like Copenhagen where wind turbulence is high.

Glulam Timber Rib Lattice Structure

Downward Extrusion of Glass Fibre-Reinforced Plastic Skin

Power Generatow which connects to DC to AC inverter connection to the circuit breaker

0.4 m ø Rotor

Radial Arm to hold 3 blades to the rotor

Blade

Turbine Mechanism

energy outputThe calculation is based on the graph produced by Danish Wind Industry Association & American Wind Energy where, x-axis represent the rotor size and y-axis for the energy output10. Association. It can be estimated that the 0.4m rotor size will generate 0.9 kW energy per turbine daily with the assumption of 15m/s wind velocity. Therefore, the total generated energy based on the proposed amount of 846 turbines is 761.4 kW. Per year, it will produced roughly around 6.6 GWh.

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PrototypingPART C.2.4

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For prototyping, 1mm Box Board were used for the skin. Although the thickness is adequate for rigidity, issues were faced due to the jumbled numbering system of the strips, which caused major difficulty in figuring out the order and pairings. As a result, some panels were mismatched and poorly glued. Moreover, the tabs were excessive and many of them had to be cut since the process was automated using Grasshopper.

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The ribs was very unsuccessful due to notch failures. The width was set slightly smaller than 3mm, which unable to be slotted. So, they were cut into segments and connected using Gluetac and tape to keep in place. Moreover, the connection to the skin haven’t been considered beforehand, which is an important aspect that should be improved for the final model. Additionally, the placing for turbines also haven’t been thought of.

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Nonetheless, the prototype is a great tool to explain the mechanism of our project, better than any visual diagramming. For the final detailed model, we need to focus on refining the jointing for neat outcomes.

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Scale 1: 20

DETAILED MODELPART C.2.5

Materials3mm Medium Density Fibreboard

400 gsm Optix Black CardWhite Polyester Fabric

3mm ø White Pipe5mm ø White Pipe

0.6mm Translucent PolypropyleneFishing Line

White Thread5mm ø Pins

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assembly components

Outer Skin(400 gsm Optix Black Card)

Ribs & Jointing(3mm MDF)

Turbine(3 ø Pipe inside 5 ø Pipe & Polypropylene Wings)

Inner Skin(White Fabric hanged with Pins and Thread)

Ribs with Notches

Pipe 3 ø

Fishing Line

Jointing Circles

Knitting Thread

Base Strip

Protriding Strip

2D2C

2B

3C

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1A

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unrOLL, LABEL AND LAYOUT

1 2 3 4A

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Unrolling for Skin

Material: 0.6mm Polypropylene400 gsm Optix Black Card

900 x 600 sheet

2D2C

2B

3C

3A

1A

2A

1B 1C 1D

3B

3D

4D

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2C

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2A0C

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2B 2C

2A

1A 1B

1C

Unrolling for Ribs

Material: 3 mm Medium Density Fibre Board

900 x 600 sheet

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Ribs and Circle Jointing

Turbine

List ItemSeparate Ribs into 2 groups based on

direction

Solve Curve | Curve Intersction

Point on CurvePoints at 0.3 & 0.65

Circle + BoundaryDiameter of 5 &3 mm

Extrude z-axisForming cylinders with varied

directions

Solid TrimResult: Strips with notches on

different sides

Algorithm for Fabrication

Circle + BoundaryDiameter of 15 mm

Solid TrimTrim with previously

trimmed ribs

Notches

Jointing Circles

Make Hole

1) Laser Cut components2) Thread knot to circles3) Join circles with Ribs

1) Insert Pipes to Fishing line2) Knot Lines to Ribs through holes3) Cut out Turbine wings4) Glue Wings to pipes

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Outer Skin

Initially, polypropylene was used as the mate-rial for the skin as it reflects the GFR Plastic in real-life materiality. However, due to unex-pected and intolerable burnt marks, our group decided to think of alternatives. Moreover, the transparent color also doesn’t emphasize con-trast with the fabric.

1) Laser Cut components2) Cut out strips in pairs3) Punctured with pins to connect to Ribs

Optix Black Card was selected as the skin mate-rial to replace polypropylene. Although it is much weaker and less resemblance of the real material, the thickness is still able maintain rigidity. The black color is also better in terms of representing the idea of contrast with the flexible fabric.

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Assembly ConstrainsOne of the toughest part of the assembly was to join the skin with the ribs using pins. Because the holes were manually done and the skin modules were connected first, extra care and time was taken to gently (with little bit of force) pinned the skin one by one to avoid tearing the skin apart. Moreover, Moreover, since the digital model wasn’t properly planarized, it is inevitable that the skin gets skewed at certain parts and required manual adjustments to the size in order the skin to fit into each other.

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Assembly SuccessThe Detailed Model has achieved several successful points. First, it resolves the jointing problem with the MDF ribs that existed during prototyping and also enables neat hanging of the fabric and turbines using small holes. Moreover, the neat jointing of ribs and skin using pins also performs effec-tively. But, most importantly, the model clearly communicates the mecha-nism of the skin, structure, fabric and energy generation, which provides a convincing argument to the buildability of the proposed system.

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finalmodel

c.3

Top and Bottom view of the Closed Mesh for 3D Printing.

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fabrication techniquePART C.3.1

The first step was deciding the scale of model. Because making 1:50 model of it would certainly take too much time due to the level of details that should be put in (i.e. skin, ribs, turbines, fabric) and large number of panels, our group decided to go for larger scale model, in 1:500. Attempts were made to use flat fabrication technique, similar with the Detail Model, such as using MDF for the ribs and black card for the skin. However, the thickness of ribs would be too thin, 3mm only, which wouldn’t be able to stand firmly. Furthermore, the use of notches would also be very difficult. Due to these reasons, we decided to go for 3D printing.

3D PrintingAlthough 3D printing takes less time, the result is very satisfactory in the case of our design. There are lots of constrains, such as the minimal thick-ness required. We end up converting the surfaces into basic triangulated mesh, with no openings. Although the triangulated pattern is visible, it doesn’t inform the functional and experiential qualities of the project.

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Scale 1: 500

site MODELPART C.3.2

Materials3mm Medium Density Fibreboard

2mm Transparent Perpex3D Printer Powder

Black Card

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Nurbs Surface Mesh

assembly components

Offset Mesh SolidThickness 4mm

Closed Mesh: Good

3D Printing Process

MeshLabTo Smoothen

meshes

Pathway & LandscapingBlack Card

Site Model Process

Place 3D ModelLaser CutWater: 2mm Translucent Perspex

Site: 3mm MDF

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500

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design proposalLand Art Generator Initiative 2014 - Refshaleøen, Copenhagen

Group: Dian Mashita Suryono, Filia Christy & Belinda PrasetioUniversity of Melbourne

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East ElevationScale 1:1000

West ElevationScale 1:1000

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North ElevationScale 1:1000

South ElevationScale 1:1000

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Design Statement for LAGI 2014 Competition

dragone with the windPART C.4

Refshaleøen used to accommodate shipyard from 1871 until 1966. Ever since the shipyard company stopped operating, the island accommodates markets, cultural and recreational context. Our proposal program is to cre-ate an iconic landmark for Refshaleøen while benefiting from the strong wind to generate electricity. Also, the proposal will try to bring a sense of nature back to the current dully flat size by mimicking the natural topog-raphy of Denmark, which is hilly, and retreating the landscape of the site. The proposal will be a universal space, where economic and socio-cultural activities such as market trading activities, cultural exhibition and seasonal festivals can take place. While at the same time, it will contribute to caress sustainability awareness among society through the energy generation pro-cess. In regard to this, our design concepts are first to receive the wind, second to convert the reusable energy to electricity, and last to inform visi-tors the process.

Primarily, the project consists of three layers. The first one is the roof skin that acts as openings to receive wind. The roof skin is triangular panelized that, where each triangle will accommodate one extrusion that opens up and down. As a whole, the roof will look like a dragon skin. The second one is the structural frame that holds the roof and acts as the entire structure. The third one is the fabric layer that is hung onto the structural frame. The fabric will inflate as the wind energy generation process takes place. Thus, the process will be able to be informed to the visitors.

The proposed installation will occupy half of the size, where the widest span of curvature will be 42m and the highest point will be 15m. In order to realize the proposal, the structure will apply lattice rib structure. The ribs consist of primary and secondary ribs, which the primary ribs are spanning continu-ously and the secondary ribs are fragmented. The ribs are connected using method of resix jointing-system, in which the jointing is concealed within the ribs. Whilst, the primary rib itself is pinned to bottom plate that will transfer the acting loads to the foundation. The peak of the primary rib will also pinned to allow the rib structure to reach the height intended. Glue-laminated timber is proposed as the material for the lattice structure. The glulam is considered appropriate since it is lightweight, strong and eco-friendly.

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The roof skin is installed on top of the rib structure. Glass Fiber-Reinforced Plastic is proposed as the skin material as it is strong in tension and com-pression, yet lightweight. It is necessary to choose a material that can en-dure the wind exposure and lightweight to make the construction process easier. Moreover, the fiber-reinforced plastic is economical and long-run performer that the ongoing maintenance cost is relatively low. More impor-tantly, the material is moldable that it is possible to adjust the size of the ex-trusion panel individually in response to the each waffle panel of the lattice structure. The roof skin is attached to the rib-structure using spider jointing.

In every two extrusion-panels, a wind turbine will be allocated below the rib structure. The wind turbine adopts Giromill (vertical axis) three-bladed cycloturbine model with a little adjustment applied in the blade shape in or-der to catch more wind. Vertical axis turbine (Darrieus turbine) is proposed, as it is more efficient and less noisy than the horizontal axis turbine. Regard-ing the context of the proposal, it is necessary to have a quitter turbine system for convenience issue. Moreover, vertical axis turbine is proved to be more efficient than the horizontal one.

It is calculated that there are 846 turbine modules with rotor size of .4m in diameter installed in the proposed design. By plotting a graph based on Danish Wind Analysis data, it is possible to estimate that .4m diameter rotor will be able to generate 761.4 KiloWatt at wind speed of 15 m/s. We then multiply the number with 24 (as there is 24 hours in a day) then with 365 (as it is assumed that there are 365 days in a year) to get the annual electricity output. Ideally, the proposed design will be able to generate 6.7 GigaWatts hour of electricity throughout the year. As a comparison, it is estimated that each household will require electricity consumption of 4200 Kilowatts hour annually. Thus, based on our calculation, our proposal fulfils the LAGI en-ergy generation brief.

Written by Belinda Tiffany Prasetio

Annotation of Images produced by Dian Mashita & Filia Christy1. Aerial View2. View from Little Mermaid Statue Across River3. Bird’s Eye View from North East4. Elevations & Bird’s Eye View from South West5. Day Render Main Market Hall6. Day Render Small Pavilion7. Night Render Concert Events

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PART C.5

learning objectivesand outcomes

Final Presentation FeedbacksThe final crit highlighted several things that could be improved from the proposal. First, consideration for siting and form were the poorest amongst other aspects, which really weaken the argument for project like this where optimization for energy generation is one of the key point from the brief. Our group attempted to rationalise the siting and form post-presentation through more comprehensive site analysis and additional matrix to sug-gest exploration with form-making using Grasshopper. Secondly, another suggestion was to play with landscaping a bit, through plantings or level changes to draw visitors into the installation. We resolved that issue by add-ing pedestrian pathways and pavements for cyclist and visitors. Moreover, modification on the turbine shape was also suggested. This one is rather hard to change due to the need of additional research, as triangular shaped wings for turbines are unusual. Lastly was about visual presentation issues such as additional diagrams, better renderings and better models, which we attempted to improve in the final submission.

But nevertheless, our proposal resolves great deal of construction issues such as the choice of construction system and jointing methods for real-life assembly, which becomes a strong argument for the buildability of the proj-ect. Additionally, the program is also convincing and promising in terms of real-life context of the site.

Objective 1.The idea of interrogating and formulating a brief is a key challenge in the subject. I started the semester with a puzzled understanding of the brief, not knowing how to approach this, not even wonder how the final outcome would look like. But as knowledge on parametric modelling started to de-velop, the idea of generating unconventional design brief becomes pos-sible. It is certainly a new concept for me and I still need to improve this skill. This might be the grounding technique of what future architecture might stand on.

Learning Objectives

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Objective 2.Exploration using visual programming and algorithmic design in Grasshopper evident in Part B.2-B.4 through matrix making with selection criteria has certainly opened my mind about the possibility of parametric modeling and its’ role in architecture. Now, I under-stand how parametric can elevate architecture into an-other level. In terms of structural performance, the use of physical modeling such as Kangaroo enables for effi-cient form-finding, like what I demonstrated in the final form (p. 86-87). Although, the process got really frus-trating at most times (due to flaws in data flow which I couldn’t understand sometimes), it is still a worthwhile skill to learn.

Objective 3.Another huge advantage of using computation is the ability to support precise fabrication. At one side, it en-ables for 3D relationship within each part of assembly, which easing for creating precise jointing technique (p. 105). However, the constrains faced when translating digital model into real-world model (commonly deals with planarized surfaces) generate a great deal of frus-tration. In my case, the requirement for planarized ribs and skin has caused great distortions to the final model (p. 110). The failure to realize this problem earlier had caused time-consuming model-making process. Mean-while, I also engaged with 3D Printing technique and was very amazed and yet upset at the same time be-cause of its limitation (p. 117). However, probably my lack of knowledge of this process also inhibited suc-cessful fabrication outcome in 3D Printing.

Objective 4.If it means something like architecture being grounded on land (or atmosphere) rather than existed only digi-tally, then Part C has answered this objective. I was en-couraged to have a sound rationale in the construction method for the project through research and model-making (p. 94-99, 108-109).

Objective 5.So far, this studio demands the greatest depth of logical reasoning and critical thinking to come up with strong arguments to the proposal, compared to previous stu-dios. All 3 aspects (Aesthetic, Firmness and Commod-ity) have to be solidly grounded based on extensive research and experimentation with the digital tools. I reckon this objective as probably the most influential one through my learning process.

Objective 6. The idea of starting the subject with conceptual analy-ses of precedent projects is needed, since it is my first encounter with such tools (Part A). It improves my skill for analytical thinking and researching. At the same time, it also opens my mind of what the industry is pro-ducing right now with these tools and how I can also improve myself to keep up.

Objective 7 & 8. I have developed principal understanding of data flow in programming and also computational techniques, evident in the Reverse Engineering exercise (p. 52-53) and through the matrices, which still show rather pre-liminary degree of complexity.

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Concluding RemarksAt the end of my learning journey in this subject, I would like to say how parametric thinking offers me a revolutionary perspective in design thinking and broaden my understanding about how architecture can be approached. The quest in finding the answer that could keep up with the demand for efficiency, performative and innovative design can be solved using para-metric design. The idea of ‘thinking about the process’ instead of ‘thinking about outcomes’ , like in conventional methods, is mind-blowing. More-over, it also fascinates me how algorithmic thinking enables for integrated design process, where the Realization Stage should be in ease because of the complexity dealt in precision in earlier stages (Refer to image below). Parametric seems to want to predict the future, moving away from specula-tive proposals and move towards realizing performative design with highly resolved complexity done in precision. In a way, this futuristic theme sits in alignment with the spirit of Modernism and Post-Modernism that envisage a better form of the built environment and historically significant to the de-velopment of the architectural discourse to come.

4© Copyright AIA California Council 2007

WHAT

WHO

HOW

REALIZE

Critera Design Detailed Design Implementation Documents

Construction Closeout

Buyout

Agency

WHAT

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REALIZE

SchematicDesign

DesignDevelopment

ConstuctionDocuments

Construction CloseoutBuyout

Agency

Conceptual-ization

Pre-Design

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DIFFERENCES IN INTEGRATED AND TRADITIONAL PROJECT DELIVERY

In a truly integrated project, the project fl ow from conceptualization through implementation and closeout differs signifi cantly from a non-integrated project. Conventional terminology, such as schematic design, design development and construction drawings, creates workfl ow boundaries that do not align with a collaborative process.

In general, integrated project delivery will result in greater intensity with increased team involvement in the early phases of design. In the integrated project, design will fl ow from determining what are the project goals, to what will be built to how the design will be realized. To provide a basis for comparison, however, the description below uses conventional project terms and phases to highlight the differences between a conventional and an integrated project. Terms in brackets throughout this document are the traditional equivalents, and are provided for context.

Input from the broader integrated team coupled with BIM tools to model and simulate the project enable the design to be brought to a higher level of completion before the documentation phase is started. Thus the Conceptualization, Criteria Design, and Detailed Design phases involve more effort than their counterparts in the traditional fl ow.

This higher level of completion allows the Implementation Documents phase to be shorter than the traditional CD phase, and the early participation of regulatory agencies, subcontractors, and fabricators allows shortening of the Agency review and Buyout phases. The combined effect is that the project is defi ned and coordinated to a much higher level prior to construction start, enabling more effi cient construction and a shorter construction period.

A Working Definition Version 1 - updated May 15, 2007

AIA California Council, comparing project phases between traditional and integrated delivery.

http://www.aia.org/groups/aia/documents/pdf/aiab083423.pdf

AIA (The America Insitute of Architects) comparing proj-ect phases between tradi-tional and integrated design process.

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REFERENCE LIST1. The Danish Government, “The Danish Climate Policy Plan” (August 2013): 15.

2. The Danish Government, “The Danish Climate Policy Plan” (August 2013): 37.

3. “Fibreglass / Glass Reinforced Plastic,” V. Ryan, last modified 2010, http://www.technologystudent.com/joints/fibre1.html.

4. “Glass Fibre Reinforced Polymer,” Stromberg Architectural, 2012, http://www.strombergarchitectural.com/materials/gfrp.

5. Glue Laminated Timber Association, “Specifiers Guide,” http://www.glulam.co.uk/pdfs/SpecifiersGuide.pdf, 5.

6. M.H. Toussaint, “A Design Tool for Timber Gridshells”, Delft University of Technology (2007), 22-23.

7. “Resix System,” n.d., last accessed 9 June 2014, http://www.simonin.com/en/catalogue-produits/resix/.

8. K.J. Fridley, “Timber Structures,” in Structural Engineering Handbook, ed. Chen Wai-Fah (Boca Raton: CRC Press LLC,

1999), 37-38.

9. “Giromill Darrieus Wind Turbines,” REUK, last accessed 9 June 2014, http://www.reuk.co.uk/Giromill-Darrieus-Wind-Tur-

bines.htm.

10. “How Wind Power Works,” Julia Layton, last accessed 9 June 2014, http://science.howstuffworks.com/environmental/

green-science/wind-power4.htm.

IMAGE REFERENCE LIST (in order of appearance)(80) “Wind Turbine,”in The Danish Climate Policy Plan, The Danish Government (August 2013), 6.

(80) “Kulturhavn,” 2014, last accessed 9 June 2014, http://refshaleoen.dk/event/kulturhavn-2/.

(93) “Fibreglass / Glass Reinforced Plastic,” V. Ryan, last modified 2010, http://www.technologystudent.com/joints/fibre1.html.

(93) “Glulam Beam,” last modified 2013, http://www.lumberworx.co.nz/assets/PDFs/Sept-2nd-2013/Lumberworx-Laminated-

Veneer-Lumber-Glulam-Beams2013.pdf.

(94) “Sports hall Berlin-Charlottenburg,” in A Design Tool for Timber Gridshells, M.H. Toussaint (March 2007), 23.

(95) “Resix System,” n.d., last accessed 9 June 2014, http://www.simonin.com/en/catalogue-produits/resix/.

(95) “B7: Componenets and System,”Woodspec, last modified 2006, http://www.woodspec.ie/sectionbdetaileddrawings/

b7componentsandsystems/

(99) “Giromill Darrieus Wind Turbines,” REUK, last accessed 9 June 2014, http://www.reuk.co.uk/Giromill-Darrieus-Wind-

Turbines.htm.

(142) “Traditional and Integrated Process Diagram,” The American Institute of Architects, http://www.aia.org/groups/aia/

documents/pdf/aiab083423.pdf.

REFERENCe

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© Filia Christy 2014