Hsieh Yu Tien 582035 Final

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AIR2014YU TIEN HSIEH

SEMESTER 1- AIR DESIGN STUDIO 1: CAM + ROSIE

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CONTENTS

Introduction 04Part A- Conceptualization A1 Design Futuring 07 A2 Design Computation 16 A3 Composition/Generation 22 A4 Conclusion 29 A5 Learning Outcomes 29 A6 Appendix- Algorithmic Sketches 30Part B- Criteria Design B1 Research Field 36 B2 Case Study 1.0 39 B3 Case Study 2.0 50 B4 Technique: Development 66 B5 Technique: Prototypes 70 B6 Technique: Proposal 76 B7 Learning Objectives and Outcomes 86 B8 Appendix- Algorithmic Sketches 87Part C- Detailed Design C1 Design Concept 91 C2 Techtonic Elements 110 C3 Final Model 122 C4 Additional LAGI Brief Requirements 138 C5 Learning Objectives and Outcomes 146 References 149

4INTRODUCTION

ABOUT ME

Im Yu Tien Hsieh, third year architec-ture major in University of Melbourne. My interests are appretiating multi-GHFLSOLQDU\RIQHDUWDQGSHUIRUPLQJarts, also have a great passion in crafts and design.

To me, architecture is another form of art but design with the balance of engi-neering and construction that can affect the quality life of the people.

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Design approaching digital software creates more pos-sibilites for its fabrication, materiality and parametric form, may successfully expresses the design essence of the architecture.

I have designed my previous work through 3Ds Max and AutoCAD for modeling and rendering (image below for water studio ), but have never used Rhino and the plug-in Grasshopper before. Air design studio will be a challenge for me to explore new parametric modeling techniques, and Im looking forward to explore Rhino and design in a new approach through this semester.

Part A Conceptualization

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A.1Design

Futuring

In the past few centuries, there has been an increasing concern about the effects of humankind and natural environment. Our endeavors to sustain our lives in the short term have in turn acted in destructive ways towards the things we fundamentally depend on. Our negligence has lead us to experi-ence pollution, depletion of many en-ergy resources and climate change and the side effects.1 In addition, the long-standing problem that keeps growing should be resolved, but to do this we should radically change how we think about the way we act and occupy the world. But how can this be done?

It will be appropriate to introduce this weeks reading by Tony Fry about Design Futuring, The fact of designs continually growing importance is a decisive factor in our future having a future.2 I found that Frys presentation brought an interesting angle to consider design can be one of the main change agents. Design has shaped many as-pects of our world and influences the environment around us, but before this there must be change in our designers thinking and what outcomes will be brought by design. In Frys point of view, design futuring is the reconceptu-alization of

the practice of design.3

He believes that transforming design practice as it currently stands can then create a new form of living, in another word of sustain-able. There are two roles to generate this idea of design for future: one to slow down the rate of defuturing and the other one to redirect us towards more sustainable modes of living.4 This is important to consider at the beginning of Studio Air with the brief of the Land Art Generator Initiative (LAGI).

The questions brought to mind, how architecture (or any designs) can be designed without energy consumed but actually produces energy? How designs can meet the energy needs for the community and the world beyond? To achieve all these into the design, it is important to create adap-tive spaces and connection between society and natural environment, also considering spatial participa-WLRQUHHFWLRQFRPPXQLW\DQGVRFLDOnetworking for exchange and cre-ation. Hence, making design having a redirective role towards a sustainable future, it is essential to prevent inter-nal dialogue of design events and

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codesign, but engage the complexity of design as a world shaping force. It is not only propelling the professionaliza-tion in a territory and practice but also requires us to broaden our gaze beyond the design process, design objects and current economic positioning. Design-ing for purpose to develop, thrive and sustain the future is considerable, and I hope to integrate this concept through each stage of this design studio process.

In order to develop the integrated, environmentally aware design, comput-erized techniques may be great imple-ments to approach in a better standard. Computerized technique expands more possibilities to integrate multidisci-plinary thinking; design materials, fabrications, forms and abstractions can all possibly formulate in a short time with less effort contriving via comput-er. Hence, the following precedents that are selected will illustrate how compu-tation approaches extend the interdisci-plinary rationalization in designing. By exemplifying their values in computa-tion approach and design challenges in dynamic, energy responsive etc, we can hence implement design futuring for LAGI design.

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Design consists of a three dimensional sculptural form that has the ability to stimulate and challenge the mind of visi-tors to the site. Aim to solicit contemplation from viewers on such broad ideas as ecological systems, human habitation and development, energy and resource generation and consump-tion.--- LAGI 2014 Design Brief

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A.1

Urban Adaptor |Rock-er-Lange Architects |

2010

TKHSURMHFWFDXJKWP\H\HDWUVWfrom its form and has leaded me to consider about the construction meth-ods. I have chosen this as research precedents due to the fact that it is a previous work when computation WHFKQRORJ\ZDVLQLWLDWHGWRRXULVKIt struck me for its mature techniques in integrating data of the intended site with primitive technology. Hence, this enabled to generate design form for context adaption. The Urban Adapter is a public art that can also functioned as community service, the urban-context-adapted benches, in the part of the Hong Kong & Shenzhen bi-city Bien-nale of Architecture in 2010.5 Its design techniques and construction details XSRQGHVLJQLWVHOISOD\VLJQLFDQWUROHVin the architectural design pioneer that was still developing in present.

$VVSHFLHGWKURXJKFRQVROLGDWLQJexplicit site information and program-matic data via computation, the design form was created to be responsive to context and hence, enabling the form to perceive plasticity and unique. The approach optimized the limitless form for this sculpture art to integrate the function of benches. Furthermore, the computation approach attained the

complex and free form results in reality. This construction detail can respond to the brief of Grasshopper to arrange the section aligning layers, in order to conquer the limitations LQFUHDWLQJXLGFRQWH[WDGDSWDEOHIRUPIRUZRRGSUROHV+HQFHWKHcomplex form of the sculpture art becomes a representation of Hong Kongs unique identity of complex-ity in culture and style. In responsive to LAGI brief, the precedents form is not relevant but the computation techniques of integrating site analy-sis data with generating the design process is a good point to design pro-posal, which the energy land art will be able to respond to site context.

However, the Urban Adapter can be argued that although the form is adapted to context, its not equiva-lent to well practice in reality. The form turned out to be problematic in maintenance while litter and dust will all stuck between wooden sections ex-posing at outdoor. The precedent was designed as a public art that provides community space to sit in urban con-text, but the design excluded shading systems to engage users actually rest in the space under the sun.

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The functional purpose of this piece turned out to be quite limited and has brought up a point to consider the phe-nomenon in design democracy men-tioned in Tony Frys presentation.6 As a pioneer contriving through paramet-ric approaches, the design has leaded to go technocratic and trivialized. In this case, wooden slats and pebbles FUHDWHGDQDWXUDOJUHHQVSDFHWRRXU-ish concrete urban.7 The project was designed for natural and green appear-ance but it actually became elemental to unsustainable. Also, the problem of repackaging design via computation techniques should be considered dur-ing design development.

7KLVSUHYHQWVGHVLJQEHLQJREMHFWLHGto meet LAGI brief, in order to create an energy responsive generator engage with site and users. The Urban Adapter contributes to spearhead a feasible direction of designers and the practice in reality of parametric modeling and software design for future. Also, it ex-pands future possibilities in achieving DVHQVHRIXLGQHVVWKURXJKWKLVW\SHof parametric approach.

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Urban Adaptor | parametric mod-el- fabricated wooden slats

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A.1

Lighting Installation |Loop.pH Studio| 2013

This project is a cutting-edge prec-edent in molecular biology that corre-lates with fabricated textile and curvi-linear approaches through parametric design. I found this large-scale lighting art installation interesting while it oper-ates through series of inputs and out-puts of energy; it is responding to con-text patterns in London8. The precedent is able to store energy and illuminated through innovative bio-molecular tech-nology, in order to create an environ-ment wherein experiencing the process DQGVWUXFWXUHUVWKDQGIURPPDNLQJscience more approachable to people, on a more comprehensible scale. This is a good point to consider as giving LAGI sculpture a meaningful purpose to enhance the awareness of its energy responsive source and to engage people adapting the technology into local.

The precedent expands the future pos-sibility through their change in design thinking; by giving up on the level of design control to allow design democ-racy grew for more alternative forms and functions. The lighting installation is an example of the path-finding; the design further explored scientific tech-nology about metabolisms and energy flows from scientist John Walker.

The parametric textile design charges up with energy to create molecular installation structure on human scale. The concept of this technology-adapt-ed design thinking enables designers to explore design in artistic context ZLWKRXWLQLWLDOO\H[HPSOLHGRUVWDWLFbut having a dynamic range in design to change during process. The new design thinking is innovative; same as what Fry argued in the readings9, we FDQFRQVLGHUWKHWKLQNLQJDVDQLQX-ential factor to break through the con-textually delimited ways, that prevent the actual agency and world-shaping character of design being understood. Relate to sustain-ability10, the energy generated from this installation is low, but the potential to adapt the design idea into something more use-ful and engaging on a wider level for change remains inherent to it.

The energy installation is program-matically controlled by the paramet-ric polyhedron forms. The advantages RIWKHIRUPDOORZVWKHGHVLJQWWRDQ\FRQWH[WVXFKDVWUHHVSXEOLFDWareas or hanging on other objects. Upon easy installation, the design is portable that can be twisted and fold. This is another highlight to consider

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that the sculpture art can be moved around to interact with users and en-hance the awareness of its innovative technology. The movement and change in a sculpture with energy generat-ing meaning in a realm can have great power to absorb an audience. Hence, the precedent has the potential to inspire people to change their ecologi-cal viewpoints through design-users interaction.11 Although this precedent doesnt adapt to the studio design con-text, the educational purpose of raising the awareness of renewable energy by interact with art sculpture is worthy to embrace in LAGI brief. In addition, further investigation for site, design purpose and context should be done in later stage.

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Lighting Installation | molecular biology with energy installed

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A.2Desgin

Computation

Computation and computerization; although the two words seem literally substitutable, critically the difference EHWZHHQWKHPLVVLJQLFDQWLQH[SRV-ing what the essence of computation is for architecture design. Accord-ing to Kosta Terzidiss interpretation, computerization is the dominant mode applying architectural design via computer, which the design is already been conceptualized and planned then manipulate in software system. Con-trastly, computation or computing is the notion of a digital design tool that is restricted.13

So, computational design is an ap-proach that sometimes may lead to mechanization or organizational ma-teriality of preconceptualised design. Hence, the outcomes will weaken computations role to elaborate valu-able contributions.

As discussed in A.1 Design Futuring, the issue arises in parametric comput-ing approach may make design be-coming increasingly underestimated and reduced to appearance and style, which is not innovative nor meaning-ful. The purpose of design has trans-formed from designing future to

actually embrace the totality of what something is and gets to be purely appearance and performance.14

Design approaches developed from contemporary notions and also undergoes a prototype shift with the correlation of the designer and com-puter. In addition, computation is QRZDVLJQLFDQWGHVLJQDSSURDFKwhich applies to the design process in present.

Computational approach affects the design process and reconceptual-izes traditional design practice. The complex design that is required to visualized in three dimensional can interact with digital models through computational practice; in addition crafts and perception that used to played an important role in develop-ing design intent has now become a set of product in design process formulating to digital modeling. This approach conquers the limitation of design from the past, yet it broadens the design form, materiality and the construction solutions. Also, compu-tation approach enables to perform the combination of new technology and the design, creating innovative

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design such as parametric forms deal-ing with the energy resources etc. Hence, it leads to a phenomenon of de-sign futuring within multi-disciplinary interactions through different indus-tries, and enhancing the production of design becoming more effective, HIFLHQWDQGPHDQLQJIXO

Two precedent projects, one engages computing approach to design and another one engages computerization approach will be interpreted to discuss the essence of computing design.

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A.2On the BriNck|Graduate

School of Design Har-vard| 2009

The work has used a robot control-ling by computing system calculat-ing to build an undulating complex double-curvature structure manifests the performative potential of bricks; presenting a digitally generated and fabricated wall consisting of wooden blocks. The project demonstrates the EHQHWVRILQWHJUDWLQJFRPSXWDWLRQgenerated design in practice. The inhabited space between was created for undulated the walls accom-plished by scripting in the softwares curving form. In addition, the emerg-ing space and pattern is resultant of the set of algorithms principles applied to a simple rectangular brick module, taking into account its material and technical parameters to perform the complexity of its geometry.15

Through design process, computing GHVLJQEHQHWVWKHUHJXODWLRQRIPXOWLdisciplinary interacting factors; materi-DOVDGKHVLYHVZRUNRZRSWLPL]DWLRQand production techniques were among the many considerations that had to be researched and tested prior to and dur-ing each stage of the process. Hence, by using digital technology these af-fects were pushed to a new extreme. 6LJQLFDQWO\FRPSXWLQJWKHURERWLF

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construction is an innovative present to precedent architectural theories which construction was done manu-ally (manipulating machinery) dur-ing the past. It is a cutting edge of computing approach as the scale, precision, and vast number of units of WKHQDOGHVLJQVFKHPHQHFHVVLWDWHGan automated process based on script and robotic construction. This may be originated from the idea of 3D printing in architectural theory. The approach can not only reduced waste of time constructing but also prevent the emitting pollution from construc-tion in reality.

However, with the intention of guid-ing construction in 1:1 scale, the project working with robotic arm also set up new design challenges which were tightly linked to the construc-tion techniques, material constraints, and structural limitations encoun-tered in full scale building modus. As design derived from computing may not always successfully achieved in WKHUHDOVFDOHUHDOZRUOGLWLVVLJQL-cant to consider for future design that a digital continuum was established between design and construction, the control must be balance.

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A.2Paramount Residence Alma|Plasma Studio|

2013

The project provides us with a vision of the all-inclusive design approach in the way of computerization, which the design has already been conceptualized to manipulate in via computing soft-ware. Parametric software created an angular shape that folds around and on top of the original cuboid form, cov-ered by fabricated thin strips of larch wood in a order to generate the desired surface geometry.

The design intent of the project was FRQFHSWXDOL]HGWRFUHDWHVLJQLFDQWspatial experience from external to internal with dynamic circulation interplays with sunlight and shading; the under-utilised roof space gave way to an angular crown, connected WRDJURXQGRRUUHFHSWLRQVSDFHDQGDUFKLWHFWXUDORIFHE\WKHKRVWVUHQRvated spine. Hence, scripted protocols enabled the designers to analyze the surfaces and automatically divide parts that would adjust the angle of how the natural penetrates into the building.

Parametric modeling software was em-ployed to enhance the density of those timber strips and metal substructure in addition to balance aesthetics, privacy and views. These fabrication

parameters accounted for functional components such as the extending glass chasm, timber strips and metal substructure, acting as variables that could be applied to the geometry that would adapt accordingly with respec-tive conditions. Hence, the deftness of digital design tools facilitated the H[LELOLW\WKURXJKRXWGHVLJQSKDVHfor pre-fabricated elements at an ef-FLHQWSDFH16

The 3D drawings produced by digital software are necessary in this project to perceived volume through hori-]RQWDOVHFWLRQVDURXQGIUHHRZLQJspace as the building is characterized by 360o views. In addition, a new language of algorithmic understand-ing to utilize these software tools should be developed by designers to IXOOOWKHLUGHVLJQHVVHQFH,WQRURQO\sustains the architectural thinking but also urges the innovative changes of architectural ethics. The project high-lights the idea of blending the use of computing and inherent together, DFKLHYLQJPRUHH[LEOHUHVROXWLRQVin the new genre; the control to the computer will be one of the challeng-es in authenticating the computational architecture in future design.

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A.3Composition/

Generation

Shift from composition to genera-tion, the design thinking, modeling, ar-chitectural culture and design approach reacting to architectural literature and SUDFWLFHWKHKDYHDVLJQLFDQWFKDQJHwhen explored. The new technology was invented and changed the way architects thought, for example engi-neers in Industrialization invented steel DOOR\\HWWRLQXHQFHGWKHVWUXFWXUDOdesign of the building later on. Addi-tionally, in contemporary world, there is an observable response with new innovations in architectural culture; the technology and computation design are examples that have merged to the record.

Readings talks about computational design requires a new interpretation of technologies will continue to cause VKLIWVLQRXUGLVFLSOLQHVGHQLWLRQDQGboundaries.17 Echoes to it, computation merge computer generated and physi-cal competence to investigate architec-tural systems and surrounding envi-ronments all together. It also enables designers to communicate and perform their designs digitally always updated.

7KHPRVWLQXHQWLDOFRPSXWDWLRQ

approach is the algorithmic design, which the technology achieves intel-lect parametric responsive results beyond normal human conceptual creations. It is the era for architectural design moving to a stage where we do not design objects, but the pro-cess for creating objects.18 Through algorithmic technology, the process without design preconception can be explored and the limit will be bound-less; more exploration can be discov-ered utilizing the techniques.

Upon the researches from design futuring and computation design, VLJQLFDQWO\WKHFRPSXWDWLRQDODS-proach achieves new mix of inter-dis-ciplinary design with environmental, VWUXFWXUDODQGVFLHQWLFWHFKQRORJLHVworking together. Computing design is outstanding of its parametric fab-rication and materialization generat-ing by digital programs, while this is what self-generative virtual forms cannot achieve. In addition, design-ing in fabrication has meaningful LQXHQFHRIGLJLWDOGHVLJQSURFHVVand also the realization of conceptual forms. Hence, two fabrication-proven projects will be investigated in this section.

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A.3SunnyHills cake

shop|Kengo Kuma| 2014

Over 5000m of wooden stripswere used to construct the precise 3D grid that wraps around the outer walls. the 3D lattice of narrow timber slats forms a cloud like mass fabric via computing program. With this idea, the section size of each wood piece was reduced to as thin as 60x60mm simultane-ously when still adjuting on the digital draft.19

The project was challenged with supporting the loads from abudant of wooden slats and building itself; timber slats are not just ornaments but also holding the structure stands, the length of each pieces should be well calculate to prevent overall linearity. The narrow slats are arranged at the angles of 30 and 60 degrees that were assembled with a more stable struc-ture bearing the loads and prevent the timeber slats sheer. Hence, the multi-diciplinary techniques were generated well in computing desgin which is hard to achieve manually.

We realize fabrication achieving through computer numerically control will be more effective and precise; linking the conception and realiza-tion together, dealing rapid prototyp-LQJRIGHVLJQ,WLVQRZWKHVLJQLFDQWtechnology generating desgin futuring through computation.

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A.3Mumbai Airport

Terminal|SOM| 2014

The project intimately connectied to its surroundings by subtly incorporat-ing regional patterns and textures at all scales. The desgin features a dramatic, technically complex and aesthetically breathtaking molded coffer ceiling inside the terminal, and striking retail corridor featuring perforated ceiling petals and skylights, manufactured by Formglas.

Due to the fabricated vernecular form, the dichroic lenses that allow defused daylight and natural sunlight to illu-minate the terminal. The complex roof and columns were leveraged sophisti-cated 3D and CADCAM technology to model and fabricate molds. It is important to note the parametric prec-edent is interperative role of alorithm does in desgin. The use of it at the GHVJLQSKDVHEHQHWVWRFRQWULEXWHGtechnical details, participated in 3D de-velopment models, reviewd thecnical feasibility, shared expertise on framing desgin and provided budget pricing; all can be generated from digital com-putaion technology.

7KHGHVJLQZDVUHYLVHGDQGUHQHGDgreat amount of times to support ex-pedited schedule. Also, the fabrication was aidedby high-powered porable

This allowed fabrications such as the 4000 coffers was completed in a PRUHHIFLHQWWLPH

Ustilizing accurate tooling and mold making of in-house 5-axis CNC ma-chines to achieve the 3D modelling, HQKDQFHGHIFLHQF\SURGXFWLYLW\and also precision of manufacturing fabrication; as the 5-axis machining effort exceeded 16,000 person hours over the term of the contract.20

All of these computing technologies create the new sense of fabrication, it can be demostrated that the ability to model and interact with multidi-ciplinary technologies has given the meaning to the discourse in desgin practice. Paramatric modeling en-ables innovative outcomes and func-tions derived from the digital mate-riality and fabrication, creating new possibilities to desgining future.

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Mumbai Airport| fabrication of ceiling coffer| penertaing natural

lights in

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A.4Conclusion

DHVJLQIXWXULQJWRGD\LVSURIRXQGO\LQXHQFHGE\SXUVXLQJVXVWDLQDELOLW\WKHlimit of achieving it has now becoming boundless when computing technology involves to design. Parametric generating pursues the future through designing and simultaneously satisfy reducing resources utilization. Hence the deregulated pluralization of design activity in parametric approach via mass of free design software leads to innovation of architecutal form and contruction.

While computerization makes the realization possibles, new materials, fabrica-tions, forms and abstractions all formulating in a short time with algorthmic thinking pushing further; shifting from composition to generation. This makes ar-chitectural practice able to deal with complexity, interacting in multi-diciplinary DQGHQKDQFLQJEXLOGLQJFRQVWUXFWLRQHIFLHQF\

In addition, responding to design futuring, parametric computing design can be utilised to sustain our lives. Generating preconceptualising intent through digital and exploring new innovative fabrication and forms can all be approached.

A.5Learning Outcomes

Exploring new techniques to design from the past few weeks, parametric ap-proaches of using Rhino and plugged-in Grasshopper have shifted the way I think LQGHVJLQSURFHVV7RZDUGVWKHUHVHDUFKSURMHFWUHHFWHGLQFRPSXWHUL]DWLRQUHDOL]LQJWKDWSDUDPHWULFSOD\VDVLJQLFDQWUROHLQDUFKLWHFWXUDOSUDFWLFHLQSUHV-ent. The results of digital design allows more possibilites of forms with a good control in algorithmic codes. Applying to what Ive learnt, the design in the next stage will be generated in a more free way of thinking but ustilizing parametric WUDQVIRUPLQDEROGZD\DQGKHQFHWRQGWKHEHVWUHVROXWLRQIRUWKHQHZLQQRYD-tive outcomes.

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A.6Appendix:

Algorithmic Sketches

Transforming

Lofting

Contouring

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Reference

[20] Archdaily, Chhatrapati Shivaji International Airport- Terminal 2/ SOM (17 Feb 2014) [retrieved in 27 March 2014]

[19] Archdaily, SunnyHills at Minami-Aoyama/ Kengo Kuma & Associates (11 Mar 2014) [retrieved in 26 March 2014]

[13] Brady Peters, Computation Works: The Building of Algorithmic Thought, The Building of Algorithmic Thought (2013), p.8-15

[17] [18] Branko Kolarevic, Architeture in the Digital Age: Design and Manufac-turing (New York; London: Spon Press, 2003), p.3-62

[15] DeZeen Magazine, On the Brinck at Graduate School of Design, Harvard University (11 May 2009) [retrieved in 26 March 2014]

[16] DeZeen Magazine, Paramount Residence Alma by Plasma Studio (2 August 2013) [retrieved in 24 March 2014]

[5] [7] Dezeen Magazine, Urban Adapter by Rocker-Lange Architects (8 January 2012) [retrieved in 27 March 2014]

[8] [11] Dezeen Magazine, Were bringing cutting-edge research into the public sphere- Loop.pH (1 February 2013) [retrieved in 27 March 2014]

[12] Rivka Oxman & Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge), p1-10

[1]-[4] [6] [9] [10] [14] Tony Fry, Designing Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.1-22

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Part B Criteria Design

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B.1Research Field-

Strips & Folding

SWULSVDUHGHQHGDVORQJQDUURZpiece, usually with uniform width in any types of materials.1 Folding of-ten applies to strips for bending and winding in order to create new forms. For our design concept, although we havent really decided the exact aes-thetic looks, we would like to create a dynamic space which the spatial experience of the design can bring the awareness of sustainability and gener-ate renewable energy. As strips and folding have a huge potential of alter-ing forms (twisting, bending, curving and overlapping etc.) and have big chance to successfully fabricate in reality, we think that by researching the precedents derived from strips and folding can stimulate new ideas for our design. Hence, project Loop-3 is demonstrated through its design impli-cations, opportunities and fabrication concerns.

Loop-3 is an installation created by a team of students of Universit di Bologna via Grasshopper and Rhino.2

The project has similar design con-cepts that we would like to achieve; the form is based on curvature in structural, functional and aesthetic performance through parametric algorithm. By controlling the strips we are able to explore the rational-ity of complex shapes joining spatial interaction.

Through Loop-3 we can understand that mathematics computation can create inner complexity structure but DOVRPHUJLQJLWLQWRIRUFHHOGVRIDXQLHG\HWWRSRJUDSKLFDOO\GLIIHUHQWLated territory. We can see that there is a potential to explore our design

FIG 1: LOOP3 PROJECT CO-DE-IT

Loop-3|Co-de-it| 2012

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FIG 1: LOOP3 PROJECT CO-DE-IT

context, using mathematics as a privileged tool for tracing systematic paths as well as enhancing our design expressive language. The form creat-ing by strips are usually not restricted compare to solid structure or patterning accumulations.

The fabrication of strips can all be derived from planar elements to col-laborate mutually to structural stabil-ity, morphological organization and function development. The curvilinear structure can be fabricated in plywood core which has tension to bend but also enhance stability with tensioned lycra skin covering over. In addition, this makes us deliberate more about desgin systemic relations to optimizes mate-rial use to integrate our design.

FIG 2: LOOP3 FABRICATION FROM PLANAR ELEMENTS

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B.1Metamorphosis

Shimmer|Philips| 2010

Shimmer is an architectural product concept designed to fa-cilitate well-being through surprise, movement, natural noise management, air movement and natural light dispersion. The VWULSVDUHEDVHGRQH[LEOHHOHPHQWVWKDWHPLWQDWXUDOOLJKWDQGchannel air. They can transform to change the interior charac-teristics of a space in response to people and the atmospheric/lighting conditions outside. Space is transformed as the strips HOHPHQWVDUHH[HGFKDQJLQJWKHYROXPHDIIHFWLQJWKHDLURZand the sound characteritics.3

This conceptual design is similar to what we want to achieve in our Lagi design. The strips that can transform and making WKHVSDFHH[LEOHDQGG\QDPLFLQUHVSRQVHWRVWLPXODWHSHR-ples awareness of sustainable generating energy, especially in wind energy generating. According to research, our design will focus on the continuity creates by different curvature. Thus, unpredictability and constant changes in Lagi context gives us inspiration to develop through transformative spaces.

FIG 3: METAMORPHOSIS SHIMMER STRIPS

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B.2Case Study 1.0

Biothing Pavilion is designed through logics of attraction/ repulsion trajectories computed in plan and then lifted via series of structural micro-aching sections through different fre-quencies of sine function.4 The strips and curving form are controlled with WKHPHWKRGRIXVLQJPDJQHWLFHOGThe reasons we picked this precedents to explore further alternatives are:

+Interested in how design geom-etry can change by controlling PDJQHWLFHOGDVSDUDPHWHUV+The potential of creating dynamic shapes. +How the form will change by modifying attraction-repulsion point.+The typology adaption of strips FUHDWLQJE\PDJQHWLFHOG+The intangible spatial condition that the exploration may achieve.

2.1 |Biothing Pavilion

FIG 4: BIOTHING PAVILION

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004:crv divide pt: 1circle r: 0.5; c divide: 25fline N (steps): 350






B.22.2 |Species &

Iterations

#01

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Divided curve points as Spin forceStrength 5Radius 4Decay 1

One point as Spin forceStrength 9Radius 2Decay 1

One point as Spin forceStrength 6Radius 2Decay 0.4










#02

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3 positive charges2 negative charges+ 0.27Decay 1.42- 0.80Decay 0.97Radius of cir 8

3 positive charges (repulsor) with 1 negative charge (attractor)Positive charge: 0.10Negative charge: -1.00



3 positive chargesdifferent heights

3 positive charges2 negative charges+ 0.60- 0.80

#03













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point spin forceStrength 5Radius 3



Attractor as spin forceStrength 7.5Radius 2.4

two attractors as spin forceStrength 14Radius 2.5

Every point as spin forceStrength 10Radius 1.2

#04







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Graph type: Sine

Graph type: Square root

Graph type: Power

Geometry: circleGraph type: Conic

Graph type: Parabola

Graph type: Gaussian

#05

Graph type: Sine


Graph type: Power




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Geometry: circleGraph type: ConicFSpin for every chargeS 30R 1.2

Negative charge (Attractor)Geometry: circleGraph type: BezierFSpin for every chargeS 8R 2.1

Geometry: circleGraph type: ParabolaFSpin for every chargeS 30R 1.2


Geometry: circleGraph type: ParabolaOne point attractor in the centerFSpin for every chargeS 30R 1.2

Geometry: circleGraph type: ParabolaNegative charge (Attractor)FSpin for every chargeS 30R 1

#06







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#01

#03

#02



















First species was changed in its existing parameters without altering LQSXWJHRPHWULHVRUDGGLQJQHZGH-nitions. This help us realize how the RULJLQDOWKHRU\(0HOGFDQDIIHFWthe results.

Case study Biotin Pavilion Grasshopper defnition was VLPSOLHGUVWE\FKDQJ-ing parameter values. The purpose is to enhance the results by changing param-eters, input geometris and component options present-ing in a more obvious form.

To develop unexpected outcomes, six species were developed in both 2D and 3D to push capabilities of WKHGHQLWLRQ

Second species was created by add-ing and moving spin force to #01. The speices was altered in size, ra-dius, rate of decay and the intensity of strength. We are able to explore the dynamic movement and spin RZVLQWKLVVSHFLHV

By adding more negative point charge, reacting with the existing re-SXOVLQJSRLQWWKHHOGVFKDQJHGinto 3 dimesional forms. More forms can be explored.

47

#04

#06

#05







Graph type: Sine


Graph type: Power










The next species was added with spin force creating a vortex form. This now looks more like other strips and folding precedents. The species demostrates the XLGLW\RIVSDFHFUHDWHGE\VWULSVWKLVcan now create spatial experience and funtionality of the forms.

#05 species integrates mathematical LQXHQFHVE\DOWHULQJJUDSKVPDSSLQJPutting attractor in the center creates ZDYH\OLQHHOGV

New outcomes is created by playing with graph mapper incorporating spin force and negative point charge.

48

B.22.3 |Selection Criteria &

Outcomes|Design Potential

Our selection criteria is based on the one with the most potential for further exploration in our Lagi design concept.The four highlighted outcomes is more successful than others is because four of them have better standard of achiveing the list below:







#2.3

This selection is created by adding spin force. Although the form is not possible to fabricated, it does shows the dynamic paths on 2D plan. We can generate the ideas on the interaction and circulation plan of our design proposal from this diagram.

Some parts are continuous and some are not; the connecting part can be as struc-ture and the space can become openings of the design.







Two point charges, one negative and one positive create two different spatial experiences in one structure. The geom-HWU\LVH[LEOHVRSHUKDSVVRPHWHFKQRO-ogy intrusments (energy generator) can blend into or intall on the structure.

The form can be fabricated using materi-als good in tensile force such as plywood strips to bend. However, it is hard to make it stand unless addition structure holds those strips. This will be a good question for us to consider.

#3.6

49













The vortex form is also possible to fabri-cate and the structure can be more stable as the charging points lay on the plane to centralized loads and bring into the ground.

Fabricate the form by offsetting the lines to create frames. However, there is no intersection between lines that generated E\PDJQHWLFHOGVDVMRLQLQJWKHLQWHU-sections can strengthen the form.

This result is derived from adding nega-tive charge to make the lines going the opposite way. The form is aesthetically pleasing and looks like a pavilion with columns surrounded.

This creates the potential of functional structure which we can deliberate about and put the idea into our design.

#4.4

#6.6

CriteriaDynamic aesthetics.Fabrication possibilities.Potential to integrate sustainable material and renewable energy.Dynamic space interacting with visitors creating awareness of sustainability.

50

B.3Case Study 2.0

Beijing National Stadium is one of the largest steel structure with the anaology shape of bird nest, which-constructed with brightred concrete bowl sitting on plan and iconic steel frame surrounds it. For the structure, both horizontal andvertical steels function to resist compression force and stabilize the whole structure with intersecting joints.5

We realized the design intent of bird nest not only acheiving aesthetics delight but also having its structural fuctionality to hold the building. All the strips created in this project are all meaningful, compare to the ran-dom lines that we created in previous case study. In addition, the material consideration of bird nest is thought-ful, more precise and mathematical computation techniques are used to make this project work in reality; as each twisting steel and intersecting SRLQWVVKRXOGDOOWZHOOWRJHWKHUHence, by this case study we would like to explore how random strips can be arranged by computation as we believe the strokes in the project can enhance spatial experience of people by connecting internal and external space.

_%HLMLQJ1D-tional Stadium |

2008

FIG 5: BIRD NEST STRUCTURE

51

Fig 6|BHLMLQJ1DWLRQDO6WDGLXP_bird nest|perspective view|

52

B.33.2 |Reverse-Engineer |Pseudo Script| Bird

Nest

#1 #4

#2

#3 #6

#5

Three ellipse lines are created in dif-ferent level.

Adjust curvature (curve from two views) to loft ans create surface.

Divide the surface and interpolate curves for vertical supporting struc-tures. Also adjusting step (N) to cre-ate horizontal structures for stabiliz-ing vertical members.

Reverse curves to add complexity into structure.

Dispatch curves randomly to simulate random strokes of steel lattice of the Birds Nest. Offset and loft curves on surface for curve extrusion.

Offset curves on surface with solid mode to build real form.

53

#7Brep to create surface under lattice structure.

54

B.4Technique

Development

IQWKLVSDUWSDUDPHWULFGHQLWLRQRI%HLMLQJ1DWLRQDO6WDGLXPLVXVHGIRUWKHstarting point of our further development. According to Lagi brief, creating an aesthetic and energy generating artwork, we believe that by further exploring the possibilities of how the lattice structure can form will leads us to a more inno-vative design and also bringing us to a new level in technical construction. The exploration is record in this part.

#1

#2

4.1 |Species & Iterations

First species we changed value of pa-rameter. Points are shifted experiment different dynamic ways that structure goes. This help us to realize different aesthetics of curve continuity in dif-ferent level.

Second one focuses on structural exploration, while new plugin Weav-erbird is instroduced to demonstrate different structural traits. WbFrame are adding to achieve aesthetics and DOVRVWUXFWXUDOLQWHJULW\MXVWOLNHWKHdesign intent of Bird Nest.

55

Introducing WbWindow, this stimu-lates us to think about the materiality of the design.

Meshes are changed to complex cur-YDWXUHDQGDOOMRLQLQJZHOOWRJHWKHUfor stability in the real world.

Extrapolate on the third species. Different form of aestheticand mate-rial change are achieved through the process.

#5

#4

#3

56

#01

#1.1STEP 1 REDUCTION 0 SEED 0






57

#02

#2.1WBCATMULLCLARK WBWINDOW

#2.4WBSPLITPOLYGON WBWINDOW

#2.3WBTRIANGLE WBWINDOW

#2.2WBSIERPINSKI WBWINDOW

#2.6WBINNERPOLYGON WBWINDOW

#2.5WBMIDEDGE WBWINDOW

58

#03

#3.1WBLOOP WBFRAME WBTHICKEN

#3.2WBCATMULLCLARK WBFRAME WBTHICKEN

#3.5WBSPLITPOLYGON WBFRAME WBTHICKEN

#3.4WBTRIANGLE WBFRAME WBTHICKEN

#3.6WBMIDEDGE WBFRAME WBTHICKEN

#3.3WBSIERPINSKI WBFRAME WBTHICKEN

59

#04

#4.2WBCATMULLCLARK WBFRAME WBBEVELEDGE

#4.4WBTRIANGLE WBFRAME WBBEVELEDGE

#4.1 WBLOOP WBFRAME WBBEVELEDGE

#4.6WBMIDEDGE WBFRAME WBBEVELEDGE

#4.3WBSIERPINSKI WBFRAME WBBEVELEDGE

#4.5WBINNERPOLYGON WBFRAME WBBEVELEDGE

60

#05

#5.3WBSIERPINSKI WBST ELLAT E WBWINDOW

#5.2WBCATMULLCLARK WBST ELLAT E WBWINDOW

#5.1WBLOOP WBST ELLAT E WBWINDOW

#5.6WBMIDEDGE WBST ELLAT E WBWINDOW

#5.5WBINNERPOLYGON WBST ELLAT E WBWINDOW

#5.4WBTRIANGLE WBST ELLAT E WBWINDOW

61

6SHFLHVPRGLHGIRUQRWRQO\G\-QDPLFDSSHDUDQFHEXWXLGLW\PRYH-ment of Bird Nests structure as a whole.

Species 8 is an isolated component from the bird nest form. We can un-derstand the possibilities of different aesthetic structure.

#8

#7

From previous exploration, we gain more advantages to explore the form and its structural complexity. Explor-ing dynamic structure (both horizon-tally and vertically) in #6 and #7.

#6

62

#06

#6.2WBCATMULLCLARK WBBEVELEDGE WBST ELLAT E

#6.3WBSIERPINSKI WBBEVELEDGE WBST ELLAT E

#6.1WBLOOP WBBEVELEDGE WBST ELLAT E

#6.6WBMIDEDGE WBBEVELEDGE WBST ELLAT E

#6.5WBINNERPOLYGON WBBEVELEDGE WBST ELLAT E

#6.4WBTRIANGLE WBBEVELEDGE WBST ELLAT E

63

#07

#7.1WBCATMULLCLARK WBOFFSET WBTHICKEN

#7.6WBINNERPOLYGON WBOFFSET WBTHICKEN

#7.5WBINNERPOLYGON WBOFFSET WBTHICKEN

#7.4WBSPLITPOLYGON WBOFFSET WBTHICKEN

#7.3WBTRIANGLE WBOFFSET WBTHICKEN

#7.2WBSIERPINSKI WBOFFSET WBTHICKEN

64

#08

#8.1WBMIDEGE WBFRAME WBTHICKEN

#8.4WBTRIANGLE WBFRAME WBTHICK-EN

#8.3WBSIERPINSKI WBFRAME WBTHICK-EN

#8.2WBINNERPOLYGON WBFRAME WBTHICKEN

#7.4WBLOOP WBFRAME WBTHICKEN

#7.4WBCATMULLCLARK WBFRAME WBTHICKEN

65

#8 Is isolated individual component in structure

66

B.44.2 |Criteria Selection & Outcomes | Design Po-

tential

According to the reading about searching techniques by Kalay, we realized that to obtain the best result, it is useful to produce candidate solutions then generate the decision from the right solution for further consideration and development. 6 Also Kalay stated that the obstacles can be conquered in selecting criteria while the solution includes:

DepthBreadthBest in priority

,QDGGLWLRQWKHUVWFULWHULDZHVHOHFWHG(aesthetics, fabrication possibilites and dynamic structure etc.) requires more consideration and should put Kalays techniques into practice to optimize our results. Thus, following by the procedure and logic, we found out that the problems of materiality selection, structural integrity and aesthetic ap-SHDUDQFHFDQODWHUEHVROYHGHIFLHQWO\

Selection CriteriaAesthetics.Fabrication possibilities.Potential to integrate sustain-able material and renewable energy power.Dynamic space interacting with visitors creating awareness of sustainability.

We selected some suitable iterations to develop in order to achieve ideal structure form in #9 and #10. In spe-cies 9, modify WbFrame will create new texture on the structure. In spe-cies 10, WbWindow and WbFrame LQJUDVVKRSSHUGHQLWLRQDUHPHUJHGfor better aesthetic appearance but also funtionalized the structure. This leads to higher potential on prioritiz-ing aesthetic structure and fabrication possibilities.

67

#2 #5#9

#1 #3

#10

68

#09

#9.3WBTRIANGLE WBST ELLAT E WBWINDOW + WBFRAME

#9.2WBSPLITPOLYGON WBST ELLAT E WBWINDOW + WB-FRAME

#9.1WBCATMULLCLARK WBST ELLAT E WBWINDOW + WB-FRAME

#9.6WBLOOP WBST ELLAT E WBWINDOW + WBFRAME

#9.5WBCATMULLCLARK WBST ELLAT E WBWINDOW + WB-FRAME

#9.4WBSIERPINSKI WBST ELLAT E WBWINDOW + WBFRAME

69

#10

#10.3WBSIERPINSKI WBFRAME WBTHICKEN BIRDNEST

#10.2WBCATMULLCLARK WBFRAME WBTHICKEN BIRDNEST

#10.1WBLOOP WBFRAME WBTHICKEN BIRDNEST FRAME

#10.6WBMIDEDGE WBFRAME WBTHICKEN BIRDNEST FRAME

#10.5WBINNERPOLYGON WBFRAME WBTHICKEN BIRDNEST

#10.4WBTRIANGLE WBFRAME WBTHICKEN BIRDNEST FRAME

70

B.5Technique: Prototypes

5.1.1 |Windbelt Concept

"Wind is an unlimited resource." We are interested in adapting wind en-ergy by using innovative methods into our design due to two main reasons: climate in Demark and the policy.

Climate:Denmark has particularly good con-ditions for wind power good wind resources, large, shallow offshore areas. The average western wind to Copenhagen is over 10m/s; as windbelt works best with windspeed 7m/s or higher, the method imply to Lagi project design will work.8

Policy: 22% of Denmark's total electricity con-sumption is produced by wind turbines the highest rate in the world.8 Govern-ment encourage public support for windpower by creating a community-owned facilities and using local skills.We think windbelt is the best options for local adaption.

:LQGEHOWVDUHFRVWOHVVPRUHH[LEOHand easier to construct and 10-30% HIFLHQWFRPSDUHWRZLQGWXUELQHWind speed of 6m/s on 0.5m wind-belt vibrating frequency 70-100 Hz range can produce around 3 volts. Which means each windbelt can recharge batteries, cell phone, ipod, radio and small LEDs.7

In addition, we think that generate energy through windbelts from our Lagi proposal can enhance visitors awareness of renewable energy. This consists to our conceptual design criteria as our dynamic design struc-WXUHFDQEHPRUHH[LEOHFRPSDUHWRinstalling wind turbine.

71Magnets BeltStators

:LQGEHOWLVWKHUVWQRQLQFUHPHQWDOLQQRYDWLRQEH\RQGWKLVFHQWXU\ROGapproach.The phenomenon destructive force was discovered to be a useful and powerful mechanism for catching the wind at scales and costs beyond WKHUHDFKRIWXUELQHV,WUHOLHVRQDHURHODVWLFXWWHUXVHVDWHQVLRQHGPHPEUDQHXQGHUJRLQJDXWWHURVFLOODWLRQWRSXOOHQHUJ\IURPWKHZLQG7

B.55.1.2 |Windbelt

Design

72Firstly we think of connecting it by two metal clips and attach the belt between clips. However, as the design structure materials PD\QRWEHULJLGDQGDWWRQDLOthe clips, other assembly methods should be considered.

#1 #2

Joining blocks with metal clips will happen the same thing and also the angle of windbelt cannot be adjustable, which may not be WWLQJWRZLQGVWXG\GLUHFWLRQRICopenhagen.

*HQHUDWHEHVWMRLQW

73

#3 #4

Make holes with variable angular notches on the structure may prevent to adjust and insert each windbelt on the design. Also, it will be easier to fabricated the QDOGHVLJQEXWWKHDQJOHVRIwindbelt are still restrained.

We ended up in adding adjustable plate between clips and windbelt structure which can get various angles of in different part of our design, in addition to enhance energy JHQHUDWLQJHIFLHQF\DOVRPRUHaethetics pleasing.

74

B.5_:DIHJULG

Not relevant while we changed our design structure concept.

75

:DIH*ULG6WUXFWXUH Prototype material use is 3mm MDF by laser cut, the purpose is to investigate structural tectonics and wind belt installation. Notches creates structural stability and the holes are for windbelt installation. Visual asethic revealed through lighting effects from the lattice structure and windbelts.

+RZHYHUGXHWRZDIHJULGVULJLGVWUXFWXUHVRPHZLQGEHOWVDUHQWDEOHWRHQKDQFHLWVHQHUJ\HIFLHQF\E\IDFLQJ the right wind direction. As wind is moving and dynamic as well, we should consider better method to install wind-belts.

76

B.6Technique:Proposal

This public art installation aims to stimulate visitors to the site through its aesthetic characteristics and create an interactive community space to raise the awareness of sustainable energy.

Upon the idea that wind is the most dominant natural resource at the site, the organic form of lattice structure was emerged from the wind diagram study. It integrates wind belt technol-ogy to create an dynamic environment that stimulate visitors to visualize wind movement and sensing the sound from wind belt, thereby encouraging the awareness of renewable energy.

The design aligns with computational DSSURDFKHVIRUH[LEOHDQGLQQRYD-tive outcomes where the form was followed by the dominate wind direc-WLRQWRGHWHUPLQHWKHPRVWHIFLHQWangle for wind belt installation to RSWLPL]HWKHHIFLHQF\

77

LAGI Proposal|Wind Generator|south view

78

B.66.1 |Form &

Structure

1. Wind study

Our main form followed by the dominant wind GLUHFWLRQWRRSWLPL]HWKHHIFLHQF\RIHQHUJ\generation.

79

2. Initial internal space 3. Expand internal space

80

4. Parallel lines 5. Line shifting

8. Internal Surface 9. Secondary structure frame

To maintain the structure the secondary structure is created to strengthen the form.

81

6. Loft & offset 7. Solid

10. Secondary structure windowFinal structure

82

B.66.2 |Materials

Structure

Paper and cardboard tubing (inspired by Shigeru Ban)Low cost, recyclable, low-tech and replaceable, high density hard to burnFoundations from donated beer FUDWHVOHGZLWKVDQGEDJV&RQVLVWHGZLWKZDWHUSURRQJOPVSRO\XUHWKDQHFRDWLQJUHUHVLVWDQFHand acrylic paints to improve existing paper materials

Lattice Windware Side

BambooFast grown renewable materialAlternative material for timber while it takes 30-50 years for harvested; bam-boo is 3-5 years/LJKWH[LEOHHFRIULHQGO\&DUERQEHUMRLQWVZRUNLQJEHWWHUwith light weight, high strength in ten-sion and high resilience.

Windbelt and Lattice Panels

ETFE foils and panelsFluorine based plasticHigh corrosion, radiation resistance DQGVWUHQJWKOLJKWZHLJKWH[LEOHdurable

8383

BAMBOO & CARBON FIBER JOINT

ETFE FOIL & PANEL PAPER TUBE

8585

B.66.3 | Perspective view

86

B.7Learning

2EMHFWLYHV2XWFRPHV7.1 |Feedback

_5HHFWLRQV

Materials connection in detial should be considered. Also the structural form of RXUGHVLJQQHHGVWRLPSURYHIRURSWLPL]DWLRQRIJHQHUDWHZLQGHQHUJ\HIFLHQF\As we only consider the dominant wind from west, other directions of wind should also be generated to enhance our project. In addition, as windbelt is a new technology that hasnt been commonly used yet, we also require to do further research on technology implication to make sure it does work in the real world. The material we selected is not appropriate for our project function, since we are generating wind energy the structure should be stable to prevent collapse. In addition, paper boards should instead by other materials such as aluminium etc. Last but not least, due to our project structure, which is twisted and dynamic, we would have to think a good digital fabrication method as it is the main problem IRUWKHRXWQDOPRGHO

$FFRUGLQJWRWKHIHHGEDFNVZHVKRXOGUVWVHDUFKDQDOWHUQDWLYHPDWHULDOVIRUPDLQWHQDQFHHIFLHQF\)RURSWLPL]LQJHQHUJ\JHQHUDWLQJHIFLHQF\LQSDUWFZHshould consider the techniques of shifting windbelt directions and angles follow-ing by wind directions through data analysis and computation approaches. Also, researching in what surface can generate most wind energy considering lateral force etc.There are lots of challenges that Ive encountered during air studio, some were VROYHGEXWVRPHVWLOOUHTXLUHVPRUHH[SHULPHQWDQGVNLOOVWRFRQTXHU:HUVWO\FRXOGQWVHOHFWDQGGHQHWKHEHVWVROXWLRQIRURXUDOJRULWKPLFLWHUDWLRQVE\GLV-cussing and refer to the readings by Kalay lead us to the right direction approach-ing our design. On the other hand, fabrication is one of the most challenging thing as sometimes our structure will change or didnt work as what we expected. )RUH[DPSOHWKHZDIHJULGZHSURWRW\SHLVWRRULJLGWRH[SORUHG\QDPLFVWULSVstructure and the restriction of windbelt. Although our computation skills has im-SURYHGDORWWKURXJKWKLVVWXGLRZHVWLOOQHHGWRH[SORUHPRUHVRIWZDUHGHQLWLRQVDQGWHFKQLTXHVWRDVVLVWRXUQDOGHVLJQ

87

B.8Appendix:

Algorithmic Sketches

Prototype of Case study 2.0 Bird Nest Stadium. Strips intersecting each other, offset lines to gain thickness.

0DJQHWLFHOGSDYLOLRQH[SORUHpossibilities to fabricate.

88

Reference

[2] ArcH2O, Loop3 | Co-de-it (10 Nov 2013) [retrieved in 27 April 2014]

[1] Collins English Dictionary, 6WULSV'HQLWLRQ (2009) [retrieved in 27 April 2014]

[4] Biothing- Repository of Computation Design, Seroussi Pavillion | Paris (2007) [retrieved in 28 April 2014]

[3] Philips Design, Metamorphosis Shimmer (2010) [retrieved in 3 May 2014]

[5] The New York Times, Olympic Stadium with a design to Remember (5 Aug 2008) [retrieved in 3 May 2014]

[6] Kalay, Yehuda E., Architectures New Media: Principles, Theories, and Meth-ods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25

>@+XPGLQJHU:LQG%HOW.LWKWWSOHDUQNLGZLQGRUJOHVPDQXDOVWINDBELT_MANUAL.pdf> [retrieved 4 May 2014].

[8] L AGI, Design Guidline (2014) [retrieved 28 April 2014].

[9] Archidaily, The Humanitarian Works of Shigeru Ban (2014)

Layout referencing from previous students work: Emily Tang.

89

In summary, the project has to be dynamic, attention grabbing, inspiring and innovative. To acheive this, we have chosen to use parametric techniques due to its advantages as summarised in Part C. We also believe that as it is installed on LAGI site, a key REMHFWLYHWRFUHDWHDSURMHFWZLOOH[HPSOLHVWKHFKDQJHIRU&R-penhagen.

90

Part C Detailed Design

91

C.1Design Concept

According to feedback, our previ-ous design proposal revealed lots of issues, including materials selection, design-context adaption, computation techniques application and fabrication for reality.

The previous proposal developed in Part B was designed to built with unstable materials (cardboard rolls and bamboos) that may collapse if it is still a wind energy generator. We have to consider more about maintenance in construction stage. Also, more details of optimizing energy generation such as site orientation, form, windbelt joints, directions and angles should be resolved.

Apart from remaining the conceptual idea to optimize wind energy genera-tion through windbelts, we changed the design a lot from previous stage. Es-pecially improving the form, structure and construction techniques via further site analysis in depth. All these multi-disciplinary concerns were integrated through computation and parametric approaches; utilizing context analysis

program Vasari and Grasshopper GHQLWLRQV$WWUDFWRU5HSXOVRU6SLQForce and Graph Mapper) which are appropriate for our design. Further-more, more prototypes for our design structure and technology were made WRWHVWIRUQDOLVLQJGHVLJQ

1.1 |Feedback 5HHFWLRQ

92

C.11.2 |Finalise

Concept

NThe focus of our design is to optimize the wind energy gen-eration. This is achieved by the in depth wind analysis of Cophenhagen via computation softwarer Vasari.The wind tunnel stimulation shows the analysis of wind from multiple directions and strengths of the site, which then informs our design. (Vasari by Wen Jun)

93

Diagram shows that South West has stronger wind than North East. (Yellow area has more intense wind and more capacity than blue area)

We proposed design to be built within South West region to effec-tively generate energy without redundant uses of materials.

N

N

(Diagram by Meng Qi)

94

#1This form of structure is the PRVWHIFLHQWIRUPWRFDSWXUHthe wind without blocking the wind passages. (Outwards Bend-ing form)

The proposed form is applied to site to opti-mize wind energy generation.(Diagram by Meng Qi)

95

#1 #2Multiple forms were tested to under-stand how wind patterns perform differ-ently when passing through structure. Two major forms are compared; #1 Bending ourwards and #2 Bending inwards. Four different elevations were tested through the forms. The yellow area has more wind capacity than red and blue area.

(Vasari by Wen Jun)

9797

(Rendered by Meng Qi)

98

C.1

1. Attractor Distribution on 2D Plane

_'HVLJQ:RUNRZ'HQLWLRQ_

Pseudo Code

2. Attractor + Resulsor Pts

5. Manipulate form with Graph Mapper in Parabolic Distribution

6. Alter Spin Force to Negative Charge

99

3. Link 2D Plane 4. Elevate Pts for 3D Height

7. Strength and Radius remain unchanged to form alternative gridshell structure

8. Idea Structure

100

9. Segment Top and Bottom curves

11. Offset (Loose) windbelt curves in XY plane in both directions. Loft the two to form windbelts.

101

10. Split curves into segments of 50 lengths, join two closest points to form windbelt curves

11. Pipe curves to perform steel tubes 12. Integrate windbelts onto steel tubes

(Diagrams by Meng Qi)

102102

103103


104104

Moving from conceptual to reality, the form has been PRGLHGLQWRODWWLFHVWUXFWXUHThe intersecting joint was created by applying soin force with opposite directions. It is achieved in same logic as gridshell structure without be-ing restricted to the form of a traditional gridshell.

105105

C.11.4.1 |Construction Process|Conceptual

to Reality

The selected material is cold rolled CHS350L0 steel tube1, which has high tensile strength as well as stability to hold up the whole structures. It has high strength and stiffness and stiff-ness, also easy for prefabrication.

Our design with two layers of tube, reached the height of 10m maximum and 6m high for the inner layer. The size of 101.6mm diameter, 2.6mm thick is selected to span for 20m and bend with minimum radius of 254mm, in order to construct our design.2

As the standard length of steel tubes LVPWKHSLSHDQJHLVGHVLJQHGWRconnect tubes. Also, the overlapping WXEHVFUHDWHGE\VSLQIRUFHDUH[HGwith cross joints without redundant structure to support the design.

Others process such as fabrication pro-cesses, site works, assembly instruc-WLRQVDQGQLVKHVZLOOEHGLVSOD\HGLQdiagrams in this part.

(Rendered by Wen Jun)

106

C.11.4.2 |Construction Process| Diagrams

1. Tube Selection: CHS350L0 Cold Rolled Tube. The construction of bending tubes was

done by Ralvin Engineer.3

2. Bending steel tubes using Section Bend-er which rolled towards and backwards to

get ideal angle.

107

3. Standard steel tubes are 12m, bent tubes were cut into different lengths.

4. Weld steel tubes to make them stand on site, prevent deep foundation on LAGI

site.

108

6WUXFWXUHZDV[E\RYHUODSSLQJMRLQWV(mentioned in 1.4.1 before) and sprayed with

Galvanized Coat for corrosion resistant.

6. Joints to connect structure and windbelt

109

7. Insert Windbelt Rotating Plate to adjust dif-ferent angles when installing windbelts. This is

integrated with wind directions.

8. Windbelt Assembly. Connect belts be-tween the joints to generate wind energy.

(Construction in Firm organized by Yu Tien; Photos taken by Meng Qi)

110

C.2Tectonic Elements

We decided to design a new form of ZLQGEHOWVWRWRQWKHVWUXFWXUHWRoperate. Since we built a prototype of windbelt based on original one in Part B, it is impossible to be installed on the design. We should get rid of the cover box around the windbelt to DYRLGEORFNLQJZLQGRZ

It is an innovative technology which uses tensioned membrane undergoing XWWHURFLOODWLRQWRSXOOHQHUJ\IURPwind. The movement of membrane FKDQJHVWKHPDJQHWLFHOGRIPDJnets to produce current (electricity) through coils. This energy generating process is showed by the diagram next to. (Windbelt diagram, design and fabri-cations by Yu Tien; photos by Meng Qi)

2.1 |Windbelt

111

Prototype #1 (Theory Failed)

7KLVLVWKHUVWZLQGEOHWSURWRW\SHZHPDGHWRPRGLI\WKHRULJLQDORQH7KHLGHDLVIURPWKHFRQFHSWRIZKHHOURWDWLQJRQD[D[OHWKHPDJQHWDFWHGDVZKHHOto rotate on the rolled coils inside the structure. Although the belt successfully vibrated to make the magnet rotating up and down, we realized it failed in the physics theory. The rotation direction of the magnets between coils was wrong.

112

$GMXVW:LQGEHOW3URWRW\SHRotation Direction and Form

NS Magnets

Coil

Prototype #1 has the wrong magnet-coils rotating direction so the technology wont work. To adjust a appropriate one, the magnets should move in the direction as the diagram on the right side.

N

Coil

113

$GMXVW:LQGEHOW3URWRW\SHRotation Direction and Form

Another adjustment is the form of windbelt. The wheel-axle form has its limitation to change the rotating direc-tion of magnets, so weve been searching a lot of relevant technologies and found out the windbelt has the same theory with voice coil. (usually in computer or stereopho-ny) Also for evidence, there are several people success-fully made windbelts by using the form of voice coil.4

Instructables, Windbelt Redux 21st Century Micro Power Generation (2008)

114

Prototype #2- Fabrication Process & Testing

3URWRW\SHZDVGHVLJQHGOLNHDSHQGXOXPWRDOORZZLQGRZEULQJLQJFRLOVXSDQGGRZQthrough the belt. The design has changed from moving magnets to moving coils. This improvement reduced the weight when windbelt is vibrating, to make it easier to vibrate. However, prototype #2 is made from joining pieces of MDF, in reality it is made of stain-less steel so should be way lighter.

115

Through testing, although the theory is basically correct and the belt is allowed to vibrate through wind, the LED light we connected on didnt light up. This is a technol-ogy requires technical and engineering knowledge, so if we want to make it succeed, we should go for further physics analysis and calculations to make it work pre-cisely.

The only resaons that we could think are perhaps the magnetic force on magnets are too weak to produce current, or the coils are not big and dense enough to get electricity.

)RUWKHEHOWZHIRXQGWKDWLWVKRXOGQW[WRRWLJKWLQorder to make windbelt swinging in a bigger angle. Three different thickness of belts were tested, 8mm, 12mm and 15mm; and 8mm turned out to work the best (higher vibrate speed) due to less resistant force.

(Fabrications & Photos by Yu Tien)

116

C.2

Windbelt joints are designed to rotate in any angle when installing on structure, while each windbelt requires different orientation and angles to optimize wind energy generation.

7ZRSODWHVDUHGHVLJQHGRQH[SODWHFRQQHFWWRVWUXFWXUHMRLQWDQRWKHURQH[ZLQGEHOWRQand is able to rotate.

However, though the joints are feasible and stable enough to carry windbelt, the joint itself was a bit too long. As a result in shorten the length of the belt.

2.2| WindbeltJoints

117

Windbelt requires two joints to hold on each side, both of them are able to rotate in dif-ferent angles. But only one side of the windbelt is al-lowed to swing like pendulum, DQRWKHURQHVKRXOGEH[WKHOHIWRQHLV[

(Fabrication and design by Yu Tien, photos by Wen Jun)

118

C.2

6WUXFWXUHMRLQWLVGHVLJQHGWR[windbelt joint on the structure. As the joint is quite thick, it costs lots of MDF to accumulate to the height we ZDQWQRWHIFLHQW7KHSURWRW\SHwas designed in two semi-circles to lock each other. In reality, this is actually made with stainless steel (30mm high) with wholes to screw windbelt joint in.

For prototypes, we actually made three different sizes for the joints to SUHYHQWLWGRHVQWWRQEHQGLQJVWHHOtubes. The tube is 101.6mm diameter and we made, 101.6mm, 102.6mm and 103.6mm joints. However, PPWVWKHEHVW

2.3| Structure Joints &Connection

119

(Fabrications by Yu Tien; photos by Meng Qi)

Fabrication Process ofPrototypes

120120

121121

(Rendered by Wen Jun)

122

C.3Final

Model

Protoypes

We were told that we arent able to 3D print out model, since the strips (tubes) of our design were too thin to achieve. In alternative way, we hand made our scale model with ABS SODVWLFODPHQWPP

A laser cut base with foam board XQGHUZDVPDGHWRKROGWKHODPHQWVWUXFWXUH+RZHYHUWKHODPHQWkept popping out of the base, so we decided to put blue tag under the hole WRVWLFNWKHODPHQWVRQ

Two different colors white and black ODPHQWVDUHXVHGWRVKRZWKHVSLQforce under our desgin structure.

123

We tried to make them into two layers, however the form we made doesnt seem like our design through computa-WLRQ7KHODPHQWKDVVWURQJWHQVLRQforce which makes them really hard to bend. The bending angles on prototype are all incorrect. (Prototype #1)

7RPDNHLWEHWWHUZHUVWO\EHQGWZRVLGHVRIODPHQWLQWRVWUDLJKWOLQHVthen adjusting the bending angles. This looks more alike to our design project now but the problem was we didnt show the spin force on the model. Spin IRUFHLVDVLJQLFDQWGHVLJQHVVHQFHIRUour project, which two tubes are in-tersected to create a stable form itself. We need to consider how to plan each ODPHQWVVWD\LQJLQWKHULJKWSRVLWLRQto create overlapping strucure. (#2)

For the last prototype #3, we found the patterns of spin force. The tube with further distance from the center bend outwards around other tubes bending inwards to the center. By exploring WKHPDWHULDOSURSHUWLHVRIODPHQWVand making prototypes, this help us to PDNHRXUQDOPRGHOLQQH[WVWDJH

#1

#2

#3

(Prototypes by Wen Jun, Yu Tien)

124

Fabrication ProcessC.3

1. Materials: screws, nuts, PDJQHWVEDVH$%6ODPHQWV1.75mm white and black, blue tag.

%HQGODPHQWVWRFRUUHFWposition. Use black and white color to enhance spin force.

125

3. Continue to make other bending parts. Clip is helpful to adjust detail and bending angle.

0DNHDER[XQGHUQLVKPRGHODQGOLQN/('OLJKWVWRZLUHVIRUOLJKWLQJHIIHFWV

Model by Wen Jun, Base box by Yu Tien)

126

C.3Photography |

Prototypes & Model

Final Model

127

(Photos by Meng Qi)

Final Model|LED on

129

(Photos by Wen Jun)Windbelt on Structure

130130

Windbelt Prototype

131

(Photos by Yu Tien, Wen Jun)

Windbelt with JointsPrototype

133

(Photos by Wen Jun)Structure Prototype

135

(Photos by Wen Jun)Model with LED effect

136136

137137


138

C.4Additional LAGI Brief

Requirements

Our proposal is a steel lattice struc-ture incorporated with windbelt tech-nology. It is composed to be a public art integrates wind to generate clean energy and offsets the new energy demands in Copenhagen. Rather than simply producing energy, the installa-tion aims to fully interact with users to raise their awareness of sustainability, achieved through visual and audio stimulation of windbelts. The proj-ect is designed through computation approach that expands interdisciplin-ary integration in its design potential, including material selections, fabrica-tions, forms and abstractions can all FRQWULYHGV\QWKHWLFDOO\DQGHIFLHQWO\Thus, it optimizes the dynamic and wind energy responsive to implement designing future on LAGI site.

The design is proposed to build within Southern West region of the site to focus on optimizing wind generation. :KLOHZLQGLVDG\QDPLFDLURZIURPmultiple directions and strengths, we DFKLHYHGWKHPRVWHIFLHQWGHVLJQform from the depth wind path analysis on site. In addition, the dynamic-strip vortex form that distributed on the site, gains the innate capacity to capture wind without blocking the windpas-sages.

$QRWKHUVLJQLFDQWTXDOLW\RIRXUproposal is the possibility to move from conceptualizing into reality practice. The gigantic double-layered lattice structure has been contrived with intersecting joints that was created by applying spin force with opposite directions.

Our design is enhanced by computa-tion approach with the same logic of gridshell structure but without being restricted to the form of a traditional gridshell. This enables the structure to stand without redundant supports that may affect the wind capture capacity. Hence, the design gains the EHQHWVRIFRPSXWDWLRQLQLQWHJUDWHGmultidisciplinary thinking of wind energy responsive; also conquers the design challenges of preventing design trivialization and avoiding to UHPDLQGHVLJQLQDVXSHUFLDOOHYHO

In practice, to mitigate negative ef-fects on the restrictions of foundation GHSWKLQODQGOOFROGUROOVWHHOWXEHVwere selected for design structure while the property is heavy enough to be stable. The steel tubes also per-form a higher state of tensile strength for the dynamic bending form. This then integrates with our renewable

_3URMHFWDescription

139

wind energy technology- windbelt; to correlating with the installation in its rotation and orientation.

Energy Responsive Technology

:LQGEHOWLVWKHUVWQRQLQFUHPHQWDOinnovative technology beyond this century-old approach. The technology is originated by Shawn Frayne associ-ated with his company Humdinger to enhance the social adaption. The phenomenon destructive force was discovered to be a useful and power-ful mechanism for catching the wind at scales and costs beyond the reach of wind turbines. It relies on aeroelastic XWWHUZKLFKXVHVDWHQVLRQHGPHP-EUDQHXQGHUJRLQJDXWWHURVFLOODWLRQWRpull energy from the wind. The theory is based on electromagnetic induction, which produces electricity across con-GXFWRULQDFKDQJLQJPDJQHWLFHOGAs the membrane vibrates at a higher frequency, higher voltage is produced.

Generated Energy in Design

Windbelt works the best in the wind speeds of 15mph (7m/s) or higher; hence the technology is appropriate in context as the average wind of Copen-hagen is over 10m/s. Due to studies, a

normal size windbelt in the speed of 6m/s wind can generate over 44kWh in a year and the voltage supply of each windbelt is around 3-4V; which is able to recharge mobile devices such as mobile phone and ipad etc. There are over 6837 windbelts in-stalling on our project, which means the whole design will be able to pro-duce 300,828kWh in a year in 100% HIFLHQF\

In Copenhagen, the average energy consumption per person is 1340kWh per year and the population is around 559440 people. In addition, the energy generated by this proposal is calculated to reduce over 0.04% of energy consumption for each person in Copenhagen. However, wind is a G\QDPLFDLURZIURPPXOWLSOHGLUHF-tions and strengths, it is rarely pos-VLEOHWRPDLQWDLQLQHIFLHQF\at each stage.

In order to highly optimize wind energy generating potential, the inte-gration of this innovative technology and lattice steel structure success-fully maintains the wind continuity through space. This complements the restriction of wind turbines that can only capture wind on restrained plane

140

without utilizing the winds property of continuity. This can be the reason why windbelt device is claimed to be 10-30 WLPHVPRUHHIFLHQWWKDQDVPDOOZLQGturbine. Hence, our project enables the ZLQGRZLQJWKURXJKWKHFRQWLQXRXVorientated windbelts from multi-direc-tion, in order to make good use even small speed of wind.

Environmental Impact

Energy production in windbelt instal-lation is made possible to take place of common wind turbines in the future. The new technology is introduced to generate wind energy with less cost and easier construction, which is believed to have potential to adapt by local.

Our proposal is an innovative pioneer organized for windbelt installation in a delightful way to increase peoples awareness of the possibilities of new wind renewable energy source. To integrated, visitors are also stimu-lated by the audio effects produced by windbelts via vibrations. The innova-WLYHWHFKQRORJ\LQVRFLDOLQXHQFHDFWVas a pioneer of ambitious initiatives to expand wind power towards 2020. Fur-thermore, the windbelt art installation

responds to government statements in Copenhagen; it further encouraged public support for wind power by creating a community-owned facility and using local skills.

Thus, the land art project engages visitors through their interactions with site and its potential in popu-larizing the innovative renewable energy in future through design. Our project spearheads the advance in aesthetical windbelt installation LQDQHIFLHQWZD\DQGZLOODOVREHan interactive art generator parallel to LAGIs initiatives, Renewable energy can be beautiful.

(Written by Yu Tien)

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142

C.44.2| Dimension & Lists

of Primary Material Used

Structure

Structure-Windbelt Rotation Joints

143

Windbelt

(Written by Yu Tien)

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C.5Learning

2EMHFWLYHV2XWFRPHV5.1 |Further

Development

To push further for our design, we change the windbelt direction through para-metric computation. Windbelts were linked to the closest segment point next to the, but now windbelts are linked to the segment points bellow or above. In addition, apart from creating a vortex form in design, it becomes a tunnel like art installation. People can still interact with the installation, but this type of wind-belt installation cannot generate wind from multi-directions. In the good way, WKLVIRUPLVDEOHWRJHQHUDWHHQHUJ\IURPDVSHFLFZLQGGLUHFWLRQ7KHIRUPFDQSUREDEO\FRQVWUXFWLQDVSHFLFUHJLRQWKDWZLQGIURPDVSHFLFGLUHFWLRQLVPRUHintense than others, hence, to optimize wind energy generation. Considering to build it in reality, the structure seems stable on the diagram showed below; but in WKHGLDJUDPQH[WWRLWPD\EXFNOHZKHQZLQGRZVLQWKDWGLUHFWLRQ7KHIRUP-should be deliberated more, testing the structure etc to make it possible in the future.

(Render by Wen Jun)

147

(Render by Wen Jun)

148

_5HHFWLRQV

Through developing the design project through this semester, I realized that how LPSRUWDQWDQGDOVRGLIFXOWZRUNLQJRQDGHVLJQIURPFRQFHSWXDOLGHDVGLJLWDOmodel into a real form in reality. This studio has helped me moving to the way of multi-disciplinary thinking in design. Aesthetic forms are not the only thing to consider but also its function and the way that people can enegage with are also important. Through detailed design, I understand that instead of working on a su-SHUFLDOOHYHOLWLVDOVRHVVHQWLDOWRPDNHWKHFRPSOH[GHVLJQKDSSHQHG7RSXU-sue how our design can be constructed, our group actually went visit the engineer UPWRVHHWKHSURFHVVRIVWHHOWXEHVEHQGLQJZKLFK,QHYHUNQHZEHIRUH7KHinteresting part of this design studio is to explore the broad possibilites of design through computation whilst in adjusting it to a proper, stable and environmental adapted design. And perhaps, this is how architecture design process nowadays works in the real world.

Parametric design in computation plays an important part in our design. Firstly, by using the software tools, we are able to create a responsive form after form H[SORUDWLRQ7KHEHQHWLVWRHDVLO\PRGLI\WKHIRUPE\FRQWUROOLQJSDUDPHWHUVRQGrasshopper, such as the tube bending angles, windbelt displacement, thickness etc can all be regulated to contruct. Another point of using parametric approach is to create innovative structure, such as the spin force we created via computa-tion that can make the bending tube structure stands without redundant support. Windbelt aesthetics in our design was achieved via parametric design as well. Hence, the technique of using parametric design helps us to integrate and achieve the design essence of optimizing wind energy generation.

As my own, Ive learned to create and manipulate design using parametric mod-elling in this course. At the beginning of this studio, I have never use grasshopper before and wondering about the advantages of learning this new software. But in later stage, as I looked through the videos through weeks and explore some bit of my own, I found out that there was always unexpected outcomes through controlling parameters. It is different from hand drawing as you will never know what your design will be when you use a new plug-in. For fabrication, the design ZLOOEHPRUHSUHFLVHDQGPRUHHIFLHQWXVLQJSDUDPHWULFFRQWUROVXFKDVVHFWLRQ-ing and contouring. I think that parametric design is a trend for design process in future, Air Studio has leaded us to explore a part of it. As having a decent knowl-edge in parametric computation for design, I hope to utilize this techniques to integrate innovative designs in the future.

C.5

149

Reference

[1] Orrcon Steel Precision CHS [retrieved in 30 May 2014]

[2] Industrial Accessories Company, Tube and Pipe Standard Bends [retrieved in 27 May 2014]

[3] Ralvin Engineering, Section Tube Bender [retrieved in 2 June 2014]

[4] Instructables, Windbelt Redux 21st Century Micro Power Generation (2008) [retrieved in 26 May 2014]

[5] The New York Times, Olympic Stadium with a design to Remember (5 Aug 2008) [retrieved in 3 May 2014]

>@+XPGLQJHU:LQG%HOW.LWKWWSOHDUQNLGZLQGRUJOHVPDQXDOVWINDBELT_MANUAL.pdf> [retrieved 4 May 2014].

[7] LAGI, Design Guidline (2014) [retrieved 28 April 2014].

Layout referencing from previous students work: Emily Tang.

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Documents

Hsieh Yu Tien 582035 Final