Studio:Air Final Journal: Sarah Fraraccio

SEMESTER ONE 2014ARCHITECTURE DESIGN STUDIO: AIR

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contents

Introduction

A1: Design Futuring

A2: Design Computation

A3: Composition / Generation

A4: Conclusion

A5: Learning Outcomes

Reference List

Image Sources

B1: Research Field

B2: Case Study 1.0

B3: Case Study 2.0

B4: Technique: Development

B5: Technique: Prototypes

B6: Technique: Proposal

B7: Learning Objectives and Outcomes

Reference List

Image Sources

C1: Design Concept

C2: Tectonic Elements

C3: Final Model

C4: LAGI Brief Requirements

C5: Learning Objectives and Outcomes

Reference List

Image Sources

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introductionSARAH FRARACCIO

Architecture has the intrinsic ability to impact upon the lives of its users. To me, the spatial qualities and experiential aspect of architecture is deeply significant in shaping the way society relates to and engages with the spaces around them. The experience of emotion and attachment of memory and ownership to built spaces is an aspect of design that I aim to explore during this semester’s studio project. I am a third year architecture major with an interest in wider scale public engagement with space through urban design as well as the experience of personal interaction with designed objects created through furniture and lighting design as well as traditional crafts. I have a limited experience using parametric design but recognise the power of progressive technology to cause a rethinking of what Architecture is. Employing such technologies extends the possibilities of design, thereby breaking away from traditional thought and creating a new experience of built space.

(Above from left)Figure 2: Virtual Environments model, Semester 1, 2012.

Figure 3: Design Studio Water model, Semester 2, 2013.

Figure 4: Portrait of me

PART A: CONCEPTUALISATION

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a1: design FUTURINGWEEK ONE

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LANDFILL: REFLECTIONS OF A CITY’S FORGOTTEN DOUBLELAGI COMPETITION ENTRY 2012

2012 entry for the Land Art Generator Initative, Landfill interacts with the context of the Fresh Kills site by creating a project that both counteracts current issues whilst referencing past human activity that has contributed to poor environmental conditions. The trellis frame acts as the ghosted memory of the park’s recent history as a landfill site. Sitting upon the man made parkland, the transparent frame emulates the undulating landscape below and ties itself historically to the effects of human presence in New York City, the negative spaces created between the frame and the land become space for visitor activities to take place.

The form of the frame creates a structure to which specially designed wind belts are attached enabling the site to produce a renewable source of energy whilst acting as a cultural reminder. The spectacle created by the action of the wind belts allows the site to become a space where visitors are able to engage with and experience of energy creation, overall reinforcing the contention for the site to encourage environmental responsibility and awareness for the city. The construction of the project aims to employ discarded scaffold tubing for the trellis production, thereby counteracting the actions which are tied to the site’s history (LAGI, 2012).

“In land-scarce New York City, this erasure is exacerbated by the fact that waste and landfills have practically been rendered invisible”

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Landfill creates a multi-faceted response for the Land Art Generator Initiative competition. It is deeply tied to the site history and context and both addresses and aims to preserve the existence of local issues for a lasting impact upon the environmental conscience of the people of New York City. Landfill becomes an apparition of environmental concern by adopting an issue that is regularly omitted from the eye of those who create it and creating a space in which they voluntarily involve themselves in. Proposed to host a variety of purposes, the transparent canopy of the frame creates a series of non-imposing spatial cavities for human

engagement with the significance of the structure. The energy production, however seemingly effective, lacks a connecting involvement with users. Although the wind-harnessing belts would be active and visible, surrounding users where they are situated beneath the canopy, the energy collection happens in a structure that is distanced from the user. The symbolism and philosophy behind Landfill as a design is deeply tied to human involvement, the quality of the outcome and its resulting effort to increase environmental responsibility could be strengthened if the energy production system had a greater interaction with the users.

(Above)Figure 5 & 6: rendered drawings from Landfill: Reflections of a City’s Forgotten Double, LAGI 2012 entry.

A1. DESIGN FUTURING

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KINETIC ENERGY HARVESTINGRENEWABLE ENERGY SOURCE RESEARCH

In researching renewable energy generating technologies that may be suited to the LAGI project for 2014, engaging with human interaction was of paramount interest. The site in Copenhagen has no current purpose thus the energy-producing technology installed could form the basis of a site activity and use. Kinetic Energy Harvesting captures the energy created by humans in everyday movements.

Kinetic Energy Harvesting captures the energy created by humans in everyday movements. With particular interest in Piezoelectric Generators which convert mechanical strain into electrical energy, the LAGI project could harness walking, running or cycling movements of users to generate electricity that could be fed back into the city’s power grid. Pavegen tiles are an example of how this technology is currently being employed in city areas with a high level of foot traffic (Ferry & Monoian, 2014).

Piezoelectric Generators

9A1. DESIGN FUTURING

LAGI 2014 provides a great opportunity for this existing technology to take on new forms and be employed to a large-scale urban landform. A Piezoelectric generator system could be extended to provide large scale responsive lighting systems, transforming the site at Refshaleøen into an interactive urban art piece. Copenhagen experiences very little daylight during its winter season thus the nature of this technology producing lighting could encourage users to interact with the site regardless of the time of year.

(From Left): Figure 7: Refshaleøen site in Copenhagen.

Figure 8: Pavegen tiles installed into a London workplace.

Figure 9: How pavegen tiles work.

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a1. design futuring A REFLECTION

Design Futuring addresses the rethinking of architecture through design. The understanding of the architectural form, its purpose and its fabrication process is distrupted by new approaches to computing and design. Architectural subjects begin to look beyond the present, utilising contemporary technology for future thinking. An understanding that architectural form shapes experiences and impressions of the material world initiates the rethinking of design practice and the processes involved in form-finding as they relate to new technology (Fry, 2008). This ideological shift establishes a platform for further learning in the sphere of architectural discourse.

“Architectural subjects begin to look beyond the present, utilising contemporary technology for future thinking.”

(Left)Figure 10: Landfill, LAGI entry 2012

(Right)Figure 11: Refshaleøen, LAGI site in Copenhagen

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a2: design COMPUTATIONWEEK TWO

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DIGITAL TEA HOUSES // UNIVERSITY OF TOKYO PRECEDENT STUDY

An outcome of a student collaborative project at the University of Tokyo, the ‘130008252010’ pavilion reinterprets the form and experience attached to traditional Japanese tea houses by incorporating parametric design tools. The geometry of the openings in the pavilion surface is designed so that at precisely 13:00 on the 25th August, 2013, the triangulated light matches with the patterning on the floor. The structure was created using Rhino and Grasshopper and manufactured using plywood cut by a CNC cutter. The generation of a phenomenological experience within the pavilion was intrinsic to create a link between the traditional and the re-interpreted tea house form. The use of computational design techniques enables these natural phenomenons to be modelled and created, thus creating a more accessible connection between designed spaces and experiential qualities (Domus Web, 2014)

Encompassing the qualities of space, experience and attached meaning, this project exists as an interesting precedent for the LAGI project and emulates forms and production procedures that have been generated using identical parametric design software. The approach taken by the university group had the intent of harnessing the abilities of parametric modelling tools. Here the design process is greatly influenced by algorthmic thinking, whereby design outcomes are inspired by formation rather than form (Oxman, 2014) raising the question of whether they can be truly validated against a project that is conceived by non-compuational means? Computational design does contribute greatly to the performance of the Digital Tea House where it is able to test and optimise the designed form allowing the Tea House sun light effect to be realised.

ComputationalDesign

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Designed for the context of the historic Hutong District in Beijing, China, As Autumn Leaves is an installation created by student group, LCD: Laboratory for Compuational Design. The form represents the changing growth form of biological material over time. Students engaged in the study of natural growth logics and geometries. Using parametric tools to define these systems and experiment with variations and adaptations, the generation of design iterations and ideas was a collaboration between the designer’s ideas and the algorithmic abilities of the software. Modelling software also arranged the components of the form to follow a systematic assembly process. Wind and gravitational forces that would impact the model were also calculated using mathematical modelling software so that the built outcome could best suit it’s installation environment (suckerPUNCH Daily, 2014)

(From Left): Figure 12, 13, 14: Digital Tea House, University of Tokyo, Japan. Photos by Allessio Guarino

Figure 15, 16 As Autumn Leaves, LCD Laboratory for Computational Design, Beijing, China.

As Autumn Leaves //LCD LABORATORYPRECENDENT STUDY

The use of form generation using biometric principles resembles what Oxman (2014) describe as ‘a second nature’ where architecture is informed by material properties. The geometries created in both precendents using computational design are somewhat informed or arranged based on a natural phenomenon (ie. sun path properties and biological growth) it is interesting though, to consider whether these stylistic outcomes and expressions are a true reflection of computational design potential or whether they are limited to the skill level and communication ability between the designer and the parametric modelling software (Kalay, 2004). These precendent projects will enable further discourse on the power of computational design and the way in which it affect the design process.

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PAVILION 21 MINI OPERA SPACE // COOP HIMMELB(L)AU PRECEDENT STUDY

Archi tectura l Soundscaping

A temporary performance space outside the Bavarian State Opera in Munich, Germany, Pavilion 21 addresses functional assembly challenges of a mobile pavilion whilst maximising its acoustic properties. The pronounced spikes of the pavilion structure are produced as a result of ‘soundscaping’ where musical frequency is translated into spatial form. Parametric scripting was employed to transcribe the selected passages of music into a three-dimensional model. The model, producing the pyramidal collection of volumes, was then optimised in its ability to deflect, reflect and absorb sound according to the program of the spaces of the interior and exterior of the pavilion (A AS Architecture, 2013) (figure 19). This method of design computation demonstrates the relationship associated between the designer and the digital program employed.

(Left page) Figure 17: Pavilion 21 facade

Figure 18: Pavilion 21 facade

(Left)Figure 19: Pavilion 21 acoustical properties.

The Pavilion’s use of musical frequencies as a parameter for generating form is effective in the manner in which a resemblance of the building’s intangible focus is realised in physical form. Extending further to achieve specific acoustic requirements, the adaptation of the form to optimise the reflection and absorption of sound indicates a greater input from the designer within the computational relationship (Kalay, 2004). The design process involved in creating Pavilion 21 utilises a direct translation of information derived from musical frequencies into built form. It could be argued that this project may have experimented with the generation of form further beyond the functional acoustic qualities to produce a more meaningful outcome that may be more highly illustrative of computational relations.

A2. DESIGN COMPUTATION

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a2. design computationA REFLECTION

Design computation demonstrates the shift in design communication from computerisation to computation. The relationship, feedback loop and parameters established between the designer and the digital process shift the limits of computing from what could be considered ‘fake creativity’ (Musta’amal et al. 2008, p.2) towards an integrated design process. An introduction of algorithmic thinking is made whereby designers guide the compuational process in their understanding of the interaction of information within the parametric model (Brady, 2013, p.10). The use of computers in the architectural design process is highly benficial to form generation, particularly with the use of algorthmic models in their ability to generate infinite iterative possibilites that would not be conceivable without digital processes. Though computational practices appear to produce outcomes that are stylistically typical of the generation processes (Oxman, 2014), computational design when informed by adequate parameters can produce an intelligent amalgamation of input by the designer and the form-making process.

“The use of algorthmic models in their ability to generate infinite iterative possibilites that would not be conceivable without digital processes.”

(Above)Figure 20: As Autumn Leaves Pavilion, LCD Laboratory for Contemporary Design.

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a3: COMPOSITION / GENERATIONWEEK THREE

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hygroscope // achim menges x steffen reichert PRECEDENT STUDY

Meteorosensitive Morphology

Harnessing the responsive nature of meteorosensitive morphology, Hygroscope is a collaborative installation project created by Achim Menges and Steffen Reichert for the Centre Pompidou Paris. Ingrained material behaviour is employed along with methods of computational morphogenesis to create an architecture that responds to climatic change without the use of mechanism or energy. The outdoor humidity change in Paris is simulated from within the installation enclosure to induce a change in shape for the thin layers of wood material composing the building envelope (Architectural Design, 2012). The hygroscopic performance of the material is the cause of the opening and closing of the installation skin as the specific properties of the individual composite maple veneer pieces are used as parameters to govern the responsive behaviour of the design. Additionally to the observance of grain direction, the cladding pieces were individually customised to achieve specific performance output according to the synthetic and natural material composition, the thickness, geometry and humidity conditions during

(Left page) Figure 21: HygroScope installation, material response causes panels to close.

Figure 22: HygroScope installation, material response causes panels to open

material production. Using climatic conditions as extrinsic environmental data, the input data that governs the qualities and fabrication conditions of the veneer pieces is derived algorithmically. Based on this data, the computational design process eventually generates a specific structural arrangement pattern, influencing the form of the installation (“Hygroscope: meteorosensitive morphology”, n.d). In this project, material and computation are strongly linked. This interrelation between material performance and the morphology of the installation illustrates the transition from computational to generative design The form of the installation is driven not only by a set of data but one that optimises material performance according to form. In this case, computation is strongly integrated into the design process and the designers intellect is extended by the role of the generative design technique (Peters, 2013, p.11.) This passive control over form-making in the design process produces a outcome that strongly expresses the relationship between material properties and form generation without the influence of a preconceived ideas of form from the designer.

A3. COMPOSITION / GENERATION

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Extending beyond digital fabrication processes, Silk Pavilion by MIT Media Lab explores the interrelation of computational and biological processes. The polygonal form of the pavilion was generated according to an algorithmic model based on the densities created by a single continous thread passing over a three-dimensional surface. The density of the primary structure was further evolved by the employment pf 6500 silkworms to reinforce the spacing between the machine-woven thread. The resulting cladding was generated as a combination of computational form-finding as well as biological adaptation. Environmental factors such as natural light, ventilation and orientation influenced the silkworms biological computation of material distribution in relation to these external criteria. The study of this material composition then becomes a generative pattern for further research into woven structures. (Mediated Matter: MIT, 2014).The logic of form-finding generated by the

(Left page: clockwise from top)Figure 23: Silk worms generating the secondary material structure.

Figure 24: Initial CNC woven thread distribution and underlying structure.

Figure 25: Silk worms distributing material upon the secondary structure.

(Left)Figure 26: Polygonal form of the pavilion depicting distribution of thread, creating material density.

silk paVILION // MIT LABPRECENDENT STUDY

organic properties of material has equivalent potential within design to the use of mathematical rule-based design (Kotnik & Weinstock, 2012, p.111). The extension of the design approach to harness biological structural composition strengthens the generative nature of this pavilion whereby the design ouput is controlled by a variety of interrelated parameters, both environmental, organic and structural. Form generation processes in MIT’s Silk Pavilion exist as a useful research tool for modelling fibrous material composition however, the overall integration of the generative process may only be useful within a narrow field of applications. Implementing a hybrid generative process as in this project to other design proposals may require the addition of greater parameters that govern form or programatic requirements. Demonstrated here is the somewhat essential role of the designer in the generative design process in order to realistically actualize generated ideas.

ComputationalForm-Finding

A3. COMPOSITION / GENERATION

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a3. composition // generation A REFLECTION

A shift in role and relationship within the design process, the transition from composition to generation in architecture exists as a response to a growing need to design for contexts of complexity. A generative approach in design removes itself from concern with the form of the output and instead, designs the process through which outcomes are generated. In this manner, iterations of form can be continously produced within the process using the same set of parameters. This generative process also allows the simulation of external effects or responses to the design before it is fabricated, allowing the prediction of meaning accumulated from the interaction of the design with the environment (Peters, 2013, p. 13). Processes such as digital morphogenesis allow a self-referential recursion of form according to non-specific parameters. This autonomy of computation can produce intelligent design outcomes that optimise organic, material and functional properties (Chu, 2006) as evident in the adoption of material quality in the precedent studies. Generative design has a critical role in architectural discourse as the process of design adapts to changing environments.

“A generative approach removes itself from concern with form and instead, designs the process ”

(Left)Figure 27: Silk Pavilion material distribution.

(Right)Figure 28: HygroScope installation.

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Investigating the transition of attitudes towards computational design, the course has thus far provided an overview of the changing roles within the design process. Introducing the understanding of digitisation, parametric design and algorithmic thinking, an evolution of approaches to the role of the digital and the designer was explored. As technology advances, traditional understandings of objects being ‘designed’ are shifting and form generation becomes less governed by pre-conceived ideas of the physical outcome. Generative design embodies the computational process of designer communications with digital processes and guides the generation of form using a set of parameters. In response to my understandings within this subject, a generative approach optimises the potential of parametric design processes and focusses on design formation. The shift to this method of design challenges conventional ideas of form and enables greater experimentation with digital form generation processes. The ability of parametric processes to freely produce outcomes guided by input environmental data or conditions is a significant advance in design technology. Producing higher forms of design intelligence, generative design can shift ideas of space, material and fabrication processes not only for the design and construction industry, but for all those who experience these built forms. (Chu, 2006).

“The shift to this method of design challenges conventional ideas of form and enables greater experimentation with digital form-generating processes.”

a4: conclusionWEEK FOUR

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a5: LEARNING OUTCOMESWEEK FOUR

In review of the course content and numerous pieces of literature on architectural discourse, my own understanding of computing as it relates to design has been greatly influenced. The emerging theories on generation and form-making in design have informed and further established my attitudes towards computational design. Originally rather skeptical of the credibility of digital form-making processes, I had always been concerned with the disconnection of meaning to form. Informed, in part, by the student design environment and early encounters with Rhino as a modelling program, computational practices appeared to be impetuous outcomes of a convenient form-making process. As the semester has progressed and concepts such as algorithmic thinking and the generative design process have been introduced, the potential of computational design processes has been realised. The departure from conventional design intent towards a dynamic, infinite form generating process induces an exciting re-thinking of form and fabrication in architecture. In previous projects this understanding may have motivated a more abstract approach to form and generated an architecure guided by parameters but free from pre-conceptions.

“The departure from conventional design intent towards a dynamic, infinite form generating process induces an exciting re-thinking of form and fabrication in architecture”

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A1: Design Futuring

Ferry, Robert & Monoian, Elizabeth (2014). ‘A Field Guide to Renewable Energy Technologies’’, Land Art Generator Initiative, Copenhagen, 2014.

Fry, Tony (2008) Design Futuring: Sustainability, Ethics and New Practice. Oxford: Berg, pp. 1–16

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge, MA: MIT Press. pp. 5-25.

LAGI (2012) “Landfill”, Land Art Generator Initiative Past Entries, 2012. Retrieved from http://landartgenerator.org/LAGI-2012/ Oxman, Rivka & Oxman, Robert, eds (2014). Theories of the Digital in Architecture London; New York: Routledge

A2. Design Computation

A AS Architecture (2013). Pavilion 21 mini opera space by Coop HIMELB(L). Retrieved from http://www.aasarchitecture.com

Brady, Peters (2013). Computation works: The building of algorithmic thought.

Architectural Design, 83 (2), pp.8-15.

DomusWeb (n,d) “Digital tea houses,” DomusWeb. Retrieved from https://www.domusweb.it/en/architecture/2010/10/27/digital-tea-houses.html

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge, MA: MIT Press. pp. 5-25.

Musta’amal, Aede Hatib et al. (2008) “International Conference on engineering and product design education” Retrieved from http://www.designsociety.org

Oxman, Rivka & Oxman, Robert, eds (2014). Theories of the Digital in Architecture London; New York: Routledge suckerPUNCH Daily (2014) “As autumn leaves,” Retrieved from http://www.suckerpunchdaily.com

References

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A3: Composition/Generation

Architectural Design (2012). “About the guest editor: Achim Menges. Architectural Design, 82 (2), 6-7.

Chu, Karl (2006). Metaphysics of genetic architecture and computation. Architectural Design, 76 (4), pp.38-45.

HygroScope: Meteorosensitive Morphology. (n.d). Retrieved from http://www.achimmenges.net.

Kotnik, Toni, & Weinstock, Michael (2012). “Material, form and force” Architectural Design, 82 (2), 104-111.

Mediated Matter: MIT (2014). Silk Pavillion. Retrieved from http://matter.media.mit.edu/environments/details/silk-pavillion

Peters, Brady (2013). Computation works: The building of algorithmic thought. Architectural Design, 83 (2), pp.8-15.

A4: Conclusion

Chu, Karl (2006). Metaphysics of genetic architecture and computation. Architectural Design, 76 (4), pp.38-45.

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Figure 1 (also present on pages 11,19,26) Hygroscope. Retrieved from http://www.achimmenges.net/?p=5083

Figure 2: Virtual Environments Model, Photo by Sarah Fraraccio.

Figure 3: Water Studio Model, Photo by Sarah Fraraccio.

Figure 4: Portrait, Photo by Sarah Fraraccio.

Figure 5: Landfill, Retrieved from http://landartgenerator.org/LAGI-2012/

Figure 6: Landfill, Retrieved from http://landartgenerator.org/LAGI-2012/

Figure 7: Lagi Site Refshaleøe, Copenhagen. Retrieved from http://landartgenerator.org/LAGI-2012/

Figure 8: Pavegen tiles. Retrieved from www.pavegen.com

Figure 9: How pavegen works. Retrieved from www.pavegen.com

Figure 10: Landfill. Retrieved from http://landartgenerator.org/LAGI-2012/

Figure 11: Lagi Site Refshaleøe, Copenhagen. Retrieved from http://landartgenerator.org/LAGI-2012/

Figure 12: Digital Tea House. Retrieved from https://www.domusweb.it/en/architecture/2010/10/27/digital-tea-houses.html



Figure 15: As Autumn Leaves Retrieved from http://www.suckerpunchdaily.com


Figure 17: Pavilion 21. Retrieved from http://www.aasarchitecture.com




IMAGE REFERENCES

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Figure 21: Hygroscope. Retrieved from http://www.achimmenges.net/?p=5083


Figure 23: Silk Pavilion. Retrieved from http://matter.media.mit.edu/environments/details/silk-pavillion






PART B: CRITERIA DESIGN

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b1: RESEARCH FIELDWEEK FIVE

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Typically, biomimicry in design restricts itself to the immitation of natural patterning or form in a design, creating an outcome that merely emulates the physical characteristics it is inspired by (Biomimetic Architecture, 2010). When adopted into parametric design, biomimetic principles become a powerful parameter upon the design process, establishing meaningful guidance to the generative process (Menges & Schwinn, 2012). The processes, structures and materiality found in nature are highly influential in their ability to inform computational design. Strengthening the quality of the built outcome, biomimetic principles enable a greater definition of relationships between components in the parametric design. The quality of this relationship-definition stage is essential to the built outcome (Woodbury, 2014) thus when these relationships are informed by the complexity and success of natural phenomena, the design outcome is made more meaningful in its form and has the

(Left page: clockwise from top)Figure 29: ICD/ITKE Research Pavilion, University of Stuttgart, Germany Figure 30: Airspace Tokyo, Faulders Studio

(Left)Figure 31: Skylar Tibbets, Self-folding Strand. Self-assembling, non-mechanical systems.

BIOMIMICRYRESEARCH FIELD

potential to generate diverse outcomes based on its underlying biological rule. Various recent projects depict this strengthened implementation of biomimicry, where the material quality, structural system and overall form have been generated from an understanding of the biological origins of the subject. The use of biomimetic design solutions to explore structural, material and spatial characteristics is evident in the ICD/ITKE Research Pavillion at the University of Stuttgart, Germany (figure 29). Utilising the polygonal geometry and configuration of sand dollar shells, the pavillion structure is informed by the biological cell characteristics and their heterogenetic and anisotropic ability to respond to curvature and orientation, resulting in a form that is structurally intelligent (Menges & Schwinn, 2012, p.122). A double layered cell-like skin, Airspace Tokyo portrays the use of biological structure to serve a practical function where cell overlapping responds to the building interiot program (figure 30).

“Biomimetic principles enable a greater definition of relationship between components in the parametric design.”

B1: RESEARCH FIELD

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Skylar Tibbets research into the material performance further enhances biomimetic design practices. Figure 31 depicts the self-assembling wire system developed through 4-dimensional printing whereby form transformations are embedded into the material before it is printed, streamlining the process from generation to fabrication (SJET, 2013). In a similar manner, student project Hydrofold (figure 34) created by Christophe Guberan determines the design outcome through an understanding of material performance and characteristics. Here single sheets of tracing paper transform into pre-determined shapes after being fed through a specially programmed inkjet printer (Biomimetic Architecture, 2012). Ceiling installation, Canopy (figure 33), harnesses the form and geometry of leaf cell structures to create an interactive lighting installation that emulates the filtration of light through a forrest canopy (Design Playgrounds, n.d). This design concept adopts biomimetic characteristics for a predominantly aesthetic purpose as opposed to more performative and integrated projects such as ICD/ITKE

(Left page: clockwise from top)Figure 32: Voltadom, Skylar Tibbits, MIT. Figure 33: Canopy, United Visual Artists. Toronto, Canada

(Left)Figure 34: Hydrofold, ECAL and Christophe Guberan.

BIOMIMICRYRESEARCH FIELD

Pavillion and Sylar Tibbet’s Voltadom (figure 32). In this project, doubly-curved vaults create a complex and intricate form. The assembly of the installation components is kept to realtive ease by use of parametric design to separate the surfaces into developable strips (SJET, n.d). An understanding of material capabilities as well as biological engineering allows the transfer of these patterns to generate intelligent structural systems (Menges & Schwinn, 2012, p.122). The fabrication system for such complex surfaces requires an advanced computational skill level. Biomimetic design, while meaningfully guiding the generative process, can inform structural systems and fabrication processes. The construction of biomimetic designs is reflective of the level to which the biological process as been adopted to the structural system. Translating digital models into developable components for fabrication is integral to the parametric design process. Natural systems in biomimicry can enable a greater intelligence of structural system thus a more highly resolved fabrication process.

B1: RESEARCH FIELD

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b2: case study 1.0WEEK FIVE

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SPANISH PAVILION // FOREIGN OFFICE ARCHITECTSCASE STUDY 1.0

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Constructed for Expo 2005 in Aichi, Japan, the Spanish Pavilion utilises surface geometry, structure and spatial organisation to represent the culturally and religiously diverse history of Spain and particularly, the Iberian Peninsula. The lattice-like surface geometry references fused motifs of Christian and Islamic origins with a colour scheme symbolic of national imagery. The six unique types of hexagonal tile are derived from a hexagonal grid and so, when applied to the facade create an unrepeating pattern in geometry and colour. The complexity of the facade tiling illustrates the generation of surface geometry through recurring mutation of patterning. (DigiitalArchFab, n.d). Although there remains only six types of tile, the organisation of these tiles in always unique. Where this project does not directly immitate a natural process, it remains an example of biomimicry in the recognition of generative patterning as can be witnessed in natural growth processes.

(Left)Figure 35: Spanish Pavilion, Foreign Office Architects

(Right clockwise from top)Figure 36: Spanish Pavilion, Foreign Office Architects

Figure 37: Facade Pattern, Spanish Pavilion, Foreign Office Architects.

Figure 38: Unique tile types 1-6 and configuration.

B2: CASE STUDY 1.0

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1. Original Species2. Internal Grid Points 1 x slider 1.0 y slider 0.0 3. Internal Grid Points 3 x slider 1.0 y slider 1.0 4. Series Arrays x cells horizontal arrays 8 y cells vertical arrays 5

5. Cull Pattern Offset 0.146. Cull Pattern Offset 0.707. Vertical Cell Array: cell radius and y cells expression squared. n*(1.5*s)2 8. X cell arrays of range. Expression changed to x*y-12.

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1. Original Species2. Internal Grid Points 1 x slider 1.0 y slider 0.0 3. Internal Grid Points 3 x slider 1.0 y slider 1.0 4. Series Arrays x cells horizontal arrays 8 y cells vertical arrays 5

5. Cull Pattern Offset 0.146. Cull Pattern Offset 0.707. Vertical Cell Array: cell radius and y cells expression squared. n*(1.5*s)2 8. X cell arrays of range. Expression changed to x*y-12.

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MATRIX SELECTIONCASE STUDY 1.0

The four selected outcomes of the matrix outcome for Case Study 1.0 embody specific qualities that are desirable in consideration of future design outcomes. Understanding that these outcomes exist merely as two dimensional patterning geometries, the application of these attributes would occur on a more holistically designed scale, and not as a flat applied surface. The four selections give the opportunity for a dynamic facade or texture to materialty which is a quality that is agreed upon as important in response to the design brief. The potential for the negative space within the patterning to create an interesting light and shadow effect was also of interest along with an overall preference for irregularity and adaptive patterning as seen in selection A, B and D. In further development, new patterning and form generating methods will be undertaken, keeping in mind the desirable attributes of this matrix selection. The 2-dimensionality of these outcomes makes 3-dimensional form-finding difficult thus these features will inform further exploration.

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b3: case study 2.0WEEK SIX

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SYNAESTHETIC FILTEr // Stefan Rutzinger & Kristina Schinegger

The Synaesthetic Filter designed by Stefan Rutzinger and Kristina Schinegger was a competition entry for “Ohrenstrand mobil 2008.” (Dezeen, 2009) The pavilion, designed for experimental music, aims to induce experiential discovery through bodily and sensory perceptions. The composition of the structure is manipulated through “rotating acoustic elements” in order to generate the desired acoustic qualities. (Dezeen, 2009) The maneuvering of each independent pivot-able element enables the progressive transition of the pattern across the pavilions surface. The pavilion therefore expresses a direct and integrated relationship between visual, spatial and acoustic qualities of the space during musical performances. (Dezeen, 2009)

The acoustic panels, which are supported and pivoted through tension cables, are “arrayed across the surface following its normal tangents.” (Dezeen, 2009) The rotation of these focal elements is enabled through the use of ‘servo-motors’ which synchronically rotate the panels through the tension cables to generate variation in

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The composition of the structure is nevertheless hindered by the complexity of the rational behind the form. The reliance on suspension cables, single curved wire frames and a servo motors in order to distribute and control the manipulation of orientation of the linear panels restricts the creative expression of the surface pattern and composition.

When considering this project as a precedent to approaching the LAGI brief many features can be applied to the design process. The structure highlights how design can not only create a physical form but can induce an experiential form for discovery. This theme is one that was further supported through the winner of the 2012 LAGI competition, The Scene Sensor. The project therefore reveals the need to consider the design process beyond the development of a structural form in the way of experiential discovery through composition. This search for complexity in visual appearance, spatial quality and

the surface patterning and to enable desired acoustic properties. The composition of these patterns was generated through parametric pattern study as depicted below (image 41).

As discussed by Moussavi et al (2006) in “The Function of Ornament,” Design is rapidly taking on the consideration of culture and relaying these ideas through creating structures which induce experiential discovery; This design project highlights this shift in designed forms. The success in the project lies in its responsiveness to the surrounding environment through the establishment of a direct relationship between elements to induce physical and sensory responses. The Synaesthetic Filter is successful in achieving a versatile form which possesses a flickering presence rather than a physical visible structure. The success of the project lies in its creation of an immersible synaesthetic experience rather than a physical enclosure.

(Left)Figure 39: Kineasthetic Filter Pavilion

(Right)Figure 40: Kineasthetic Filter Pavilion

Figure 41: Parametric Pattern Generation.

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SYNAESTHETIC FILTEr // Stefan Rutzinger & Kristina SchineggerCASE STUDY 2.0

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The diagrams bellow indicate the consideration of spatial flow through the development of flexibility in plan. The three points of contact which create the vertical pavilion enables the movement through the space and the variation in the surface pattern. This movement is highlighted through the flow diagram illustrated in image 45 with a direct consideration of the panel configuration and orientation. In this way the diagraming represents the design intent to establish a responsive relationship between all interacting variables.

(Left)Figure 42: Flexibility of Use (Right)Figure 43: Surface and deducted pattern of normals

Figure 44:Three points of contact enable flexibility of use

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reverse engineering EXPERIMENTATION

EXPERIMENT AExperimentation with extruding box geometry form surface points. The desired outcome was to generate a paneling system for the pavilion.

EXPERIMENT BCreating interpolated curves from point charges using field objects. This experimentation intended to create a system to guide the directionality of the panels.


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REVERSE ENGINEERINGPROCESS A

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Curves plotted and manipulated in Rhino Multiple curves set in Grasshopper and lofted Contours created in X and Y direction at even spacing Tight contouring, small distance input Uniform contouring, average distance input Loose contouring, large distance input Tight contouring with rectangular box geometry in the Z direction Uniform contouring with rectangular box geometry in the Z direction, wide rectangles Uniform contouring with rectangular box geometry in the Z direction, narrow rectangles


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Curves plotted and manipulated in Rhino Multiple curves set in Grasshopper and lofted Contours created in X and Y direction at even spacingDivide surface, project points at 30 degrees from original points. Field line created with projected points using point charge off original surface divide.Field lines divided into 4 segments Curves translated in the Z-axis using a graph mapper to create interpolated curvesOffset interpolated curves at a distance of 0.3 Curves piped at a radius of 0.2Ruled surfaces created between interpolated curves and offset curves


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REVERSE ENGINEERINGPROCESS OUTCOMES

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REVERSE ENGINEERINGFINAL OUTCOME // FOUR VIEWS

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REVERSE ENGINEERINGFINAL OUTCOME

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The combined outcome of our experimentation has enabled a final definition, creating a successful reproduction of the Synaesthetic Filter project by Stefan Rutzinger and Kristina Schinegger.

The outcome replicates the rib structure employed by the designers to create the pavilion shell. Projected from the rib structure, the box geometry mimics the panels distributed across the original surface. The original pavilion project explores the orientation of the panels through the use of a cable system to produce variation in surface treatment. This idea was explored in our definition through the use of field charges and point distribution using graph mapper components. The manipulation of these elements within our definition enables the exploration of a variety of compositional forms.

The original project enables variations of panel orientation, whereas our definition limits us to a single specified directionality for these components. The grid configuration and the distribution of panels varies slightly from the original project. Similarly, the rectangular box geometry is not a direct representation of the projects surface panels. Nevertheless, our definition produces a relatively successful imitation of the Synaesthetic Filter pavilion project.

“The non-static nature of the Synaesthetic Filter project enables the opportunity to harness methods of kinetic energy production through panelling technologies.”

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SYNAESTHETIC FILTEr // Stefan Rutzinger & Kristina SchineggerDIAGRAMMING THE DIGITAL PROCESS

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Base curves generated according to spatial mapping as displayed in imageRegulated grid projected across base surface. field Grid surface piped to create a structure for the geometry.Field generated across the surface projecting points at an angle of 30 degrees. Box geometry projected along generated field.

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MATRIX KEY

Using the Biothing Ser-rourssi Pavilion Grass-hopper definition as a starting point. Projecting the pipe and rectangular box geometry from the base curves. Pipes take directionality determined by graph mapper.

The box geometry is projected off the Biothing base curves using original definition directionality.

The Voxel size is reduced to 3.

Distribution of panels is reduced through number sliders.

Panels are distributed through original surface subdivision.

Cull pattern placed on translation vecotr of sur-face points.Perpendicular frames rotated in XZ plane.

Pipe geometry projected using Biothing base curves and graph mapper.

The box geometry is projected off the Biothing base curves manipulating original graph mapper.

Pipe and box geometry input into Biothing defini-tion but not projected into the Z direction.

List length is grafted which rotates the rectangular geometry.

Graft the Brep input for the Brep area component.

Graft the Brep input for the Brep area component.

Changed rotation of perpendicular frames, further increased number of surface points.

The Box Rectangle output from the original defini-tion is input into the box corners input from the Vox-elizator Project definition (co-ed-it.com).

The Voxel size is reduced to 1.

Surface grid is culled through the random sorting through number sliders.

All faces are culled through the number slider (set to 0) of the random sorting components.

Change input surface to an organic shape built from curves.

Surface CP and Inside Brep is grafted. Divide Length is input into the one list length and out put into 3 series components.

Panel distribution is generated through the original divide surface grid generated by the Panels Dispatch Project.

Panels are distributed through original surface subdivision.

Cull pattern to points, increased multiplication of movement, changed angle of rotation of perpendicular frames, increased surface points and reduced num-ber of frames.

Using the Panels dispatch Project (co-ed-it.com) definition and surface as a starting point. Surface is populated using the box geometry from original definition.

Using the Panels dispatch Project (co-ed-it.com) definition as a starting point the original curves were inputted. Point Surface grid is culled through the random sorting through number sliders.

Curves of the reverse engineered definition were plugged into the second series of Office dA’s Banq Restaurant definition. Translate planes in x axis and loft between to create panels.

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SELECTED OUTCOMES

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In developing our reverse- engineered definition, iterations were produced from several different starting points. This approach allowed us to explore the extent of our definition when existing component sequences were applied to it from available definitions. Using surface points and fields to experiment with mapping geometry, Kalay’s ‘Breadth 1st’ approach was undertaken where a number of options were explored before a narrowed selection will be developed further (2004, pp. 19.)

Where series 1-4 explored varied initial alterations to the original definition, series 5-7 depict an ongoing development of form as a result of the sequence of definition changes. The following selection reflects the successful outcomes of the development process. Reflecting on the potential of the iteration to satisfy the brief, produce desired architectural qualities and energy technologies, the success of the iteration will be reviewed. The potential inputs and fabrication possibilities will also be considered preceding the next prototyping phase.

Increased cone radius, increased cone height.

Cull faces removes mesh faces according to rule True False False.

Increase in cone radius and height in the negative plane

Decrease input surface divisions.

Cull Pattern applied to grid Increase input surface points, Increased cone surface division.

Cone height inverted. Cone radius and opening increased.

Increase input surface divi-sions to 32 x 27.

Plugged new surface points into Skylar Tibbet’s VoltDom definition.

Cone subsurface divided into points. Delaunay mesh and Delaunay edges ap-plied to the points.

SELECTED OUTCOMES

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1D 2D

DESIGN: The box components on 1D could be distributed across a site or structure in a meaningful way, allowing the design to be adaptable.

QUALITIES: The design is non-static, thus the play of light and motion could be harnessed in further development.

ENERGY: The potential for movement within the form could produce a form of kinetic energy.

DESIGN: The stepped form of 2D creates potential for both a built landform on the surface and a shelter beneath, increasing possibility for user engagement.

QUALITIES: Giving the illusion of an undulating land surface, the design could respond to the topography of the site.

ENERGY: The surfaces potential for user engagement could harness piezoelectricity and the distributed geometry could store or harness forms of energy.

INPUTS: Wind patterns and program use of the design could influence the dustribution and overall form of the design.

FABRICATION: A base structure/surface will need to be developed to fix the components to in order to maintain structure.

INPUTS: User movement patterns in the site, access to/potential for views as well as wind collection patterns and technologies could influence the form of the design.

FABRICATION: The merged surfaces of the box geometry will be unrolled and fabricated to then be constructed, loads and movement forces may require an underlying structural system.

SELECTION CRITERIA SELECTED OUTCOMES

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4E 5D

DESIGN: The grid form provides opportunity for application of technologies upon or within the grid structure.

QUALITIES: Light and shadow as well as surface tactility/movement could create desired non-static qualities.

ENERGY: The cavity between grid lines could house energy creating/storing components.

DESIGN: 5D provides an opportunity for the creation of an interactive collection of surfaces or protrusions that are adaptable to site use and conditions.

QUALITIES: Depending on the user’s position within the design,a sense of expanse and enclosure, viewfinding elements and the play of light could be harnessed.

ENERGY: The spacing and directionality of the protrusions could harness wind patterns and the wall structure could contain Vaneless Ion technology to create and store electricity.

INPUTS: Relation of the created surface to the ground plane and program as well as view-finding opportunites could determine further development.

FABRICATION: An interlocking system of ribs could create the grid form. Further structural support may be provided by structural members or triangulation.

INPUTS: Wind patterns, site access and views to surroundings and intended user engagement could inform the design development.

FABRICATION: Protrusions could be unrolled and fabricated then arranged to the intended spacing.

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b5: TECHNIQUE: prototypesNON-TEACHING WEEK

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algoritmic design methodSELECTED MATRIX OUTCOME

Reviewing our matrix exploration, a decision was made to further explore the concept of contouring as a method to develop our design response. In order to explore this design method we looked to the system employed within the Grasshopper definition of BanQ Restaurant by Office dA Architects and the way in which it could manipulate our existing reverse-engineered design. Contributing our own knowledge of Grasshopper, a sequence of modifica-tions were made to the design outcome to produce a result which could be further developed and applied to the site. Through this exploration we reviewed the methods taken to distribute panels across a surface using the parallel frames component. The geometry of these frames is generated by a base surface which has the potential to be reconfigured to optimize site attributes. These methods will be further explored in the response to the site to produce multiple experi-ences or spatial ‘types’ within the site. The algorithmic process is depicted at left whereby the original curves of the reverse engineered outcome are first developed and then built upon to create the new design outcome.

(Left)Algorithmic Process1: Base curves of reverse-engineered design altered during matrix type 5.2: Curves are lofted to create a surface.3: Surface divided into points, points culled.4: Parallel frames created along a diagonal vector.5: Plane of parallel frames rotated to achieve surface curves.6: Surface grid and frame plane intersected and projected in XY plane. These curves are lofted between.7: Lofted surface is offset in X direction and panels are lofted between to generate the 3-dimensional panels.

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DESIGN: This design provides an interactive collection of surfaces or protrusions that are adaptable to site use and conditions.

QUALITIES: The play of light and motion could be harnessed along with the creation of views and spatial experiences as the user moves between and over the forms.

ENERGY: The spacing and directionality of the panels could harness wind energy using a oscillating panelling system and energy storage embedded into the panel envelope.

DESIGN: The surfaces create an artificial landscape, further linking the idea of the relationship between humans and the environment which our design seeks to challenge.

QUALITIES: Along with light and motion, the raised panel areas may become a viewing platform that overlooks the surrounding city, allowing users to connect more deeply with the environment in which they inhabit.

ENERGY: Along with wind harnessing panel systems, the top surface of the form could be embedded with peizoelectric systems to heighten the interaction and engagement with users.

SUCCESS: This collection of panels needs to be adapted to the site context and developed to incorporate the desired functions.

IMPROVEMENTS: Panels will need to be thickened and the geometry and slope reassessed in order to adapt to become walking surfaces.

SUCCESS: Across the large site, this distribution of panels is more suitable.

IMPROVEMENTS: The panel slope will need to be further developed to be made suitable for a walking surface.

DIGITAL PROTOTYPINGPROTOTYPING

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DESIGN: The surfaces create an artificial landscape, further linking the idea of the relationship between humans and the environment which our design seeks to challenge.

QUALITIES: Varied distribution of panels could create a variation of sensory experiences, from enclosure to expanse.

ENERGY: Along with wind harnessing panel systems, the top surface of the form could be embedded with peizoelectric systems to heighten the interaction and engagement with users.

SUCCESS: Panels are reduced in distribution and widened in thickness, creating a larger wall envelope to house energy technology.

IMPROVEMENTS: The panel slope will need to be further developed to be made suitable for a walking surface and the design must be adapted to the site context, addressing specific views, and the suitable heights to obtain them.

SUCCESS: The heights of the panels are too high in relation to their distribution. Spatially, this would appear to be a ‘forest’ of wind tunnels.

IMPROVEMENTS: The panel slope will need to be further developed to be made suitable for a walking surface and the design must be adapted to the site context, addressing specific views, and the suitable heights to obtain them.

DESIGN: Panels are heightened and no longer engage below the ground plane, creating a truly artificial landscape, contributing to the challenge of human-environement relationships, as the site is situated on human reclaimed land.

QUALITIES: Contrasting senses of expanse and enclosure as a user moves between high and low points in the form.

ENERGY: The spacing and directionality of the protrusions could harness wind patterns driving the oscillating panel wall system along with peizoelectric walking surfaces.

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PHYSICAL PROTOTYPESPROTOTYPE 1

B5: TECHNIQUE; PROTOTYPE

Prototype 1 enabled the understanding of the overall form of our design and the way in which it would engage above and below the ground plane. The Rhino model was unrolled and printed, then hand cut and slotted into a foamcore frame so that the way in which the design flows into the ground plane could be depicted.At this stage, the Rhino model contained a twisting at the transition between above and below ground planes which not only became an issue for joining faces in the model space but also in the unrolling and fabrication phase. In fabricating prototype 1, the weak point in the panels was realised and rectified within the digital model. The purpose of this prototype was to gain a greater understanding of the overall form of the design. The structural system, fixing and application of the energy technology would be developed as the form is optimised to capture wind energy.

(Left to right)Figure 45, 46, 47: Views of Prototype 1.

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PHYSICAL PROTOTYPESPROTOTYPE 2

Prototype 2 explored the overall form of the design, focussing on the above ground panel formation. Depicting a progression in the digital model, the twisted surfaces were rectified and the distribution and orientation of the panels was altered, taking into account how the design may be placed on the site. The structure of these panels was not incorporated into this model, thus further development into the way in which these flat surfaces could be both a self-supporting structure and provide housing for the energy technology is needed. It is through the fabrication of prototypes such as these that the overall idea is conveyed and tested. In response to this process, further exploration into the creation of an effective wind-harnessing technology will be undertaken, whereby the distribution of the design will be adapted to optimise different purposes of the design; for example, energy-generation, spatial experience or shelter.

(Left to right)Figure 48,49, 50, 51: Views of Prototype 2.

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MOTION STUDIESPROTOTYPING

Two panelling system ideas were tested in this prototyping stage. Prototype 1 employed a system of metallic discs threaded along a wire that create a reflective pattern when wind movement is applied. Prototype 2 consists of a series of folded plastic rectangles that spin around the wire when wind pressure is applied. Both technologies were explored as possible wind collection systems where the rotations of the panels hung from piezoelectric cables would generate energy that could be stored within the wall envelope or directed to the main city power grid. The motion created by these panels allows the design to engage with the user by establishing a dynamic experience of movement and the play of light and shadow as is visible in figure 46 and 48. These ideas could be developed more once the design is applied to harness the specific site qualities. A video of these prototypes under testing can be viewed https://vimeo.com/92838194.

(Left: clockwise from top left)Figure 52, 53, 54: Views of Prototype 1: Rotating discs

Figure 55, 56, 57: Views of Prototype 2: Folded Rectangles. (Right)TopFigure 58: Stop motion sequence of Prototype 1 under wind pressure

BottomFigure 59: Stop motion sequence of Prototype 2 under wind pressure


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Tension STUDIESPROTOTYPING

Selected outcome 1D of B4 employed a series of protruding geometries. This system reflects upon the tension cable system of the Synaesthetic Filter where the directionality of the members was controlled by a cable system. Here a piece of fishing wire was threaded through the top of each balsa wood member connected to a wire cable at its base. As the fishing wire was tensioned at different points, a number of bending and twisting configurations were achieved. This could be employed to create the structure for a design, and could generate energy by implementing Vaneless Ion technology to pass water particles through the ‘fence’ which create electricity as they change from positive to negative charges. These structural qualities and formations may be employed, depending on the chosen outcome.

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Figure 60-64: Twisting and bending formations guided by the tensioning of the fishing wire cables.Creating possible structural formations.


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FLUID MAPPINGPROTOTYPING

Mapping of wind flow across the site was explored in a dye mapping experiment. Dye was placed into a pool of water which was blown across the rectangular piece of paper using a number of hairdryers. This experiment aimed to simulate the wind direction and it’s path across the site in order to inform the directionality and spacing of the design panels in order to maximise wind collection. The outcome gives some indication of this phenomenon but was found to be quite subjective to the specific conditions to which the experiment was undertaken. Futher investigation into the wind patterning in the LAGI site will be undertaken to inform these qualities.

(Left)Figure 65: Water is poured onto the surface.

Figure 66: The experiement tools.

(Right- anticlockwise from left)Figure 67: Fluid mapping trial 1

Figure 68: Fluid mapping trial 2

Figure 69: Fluid mapping trial 3


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design proposalLAGI Site, Refshaleøen, Copenhagen

B6: TECHNIQUE: PROPOSAL

Our conceptual approach to the LAGI brief was to create a land art form which both enable users to engage with the site whilst raising awareness for renewable energy. Copenhagen is typically a topographically flat city thus an aerial view or overall un-derstanding of the historical, cultural and social layering of the city as expressed in it’s urban space is not easily achieved. The purpose of the form is to solidify the relationship between the users and the city by providing an alternative viewing perspective of the site surroundings. As a reclaimed piece of land, the Ref-shaleøen site represents human interven-tion into the formation of natural land-forms.

Our proposed design aims to develop upon this symbolic relationship between humans and the land by generating a form which acts as an artificial landscape. This energy-generating landform represents a human effort to contribute back to the environment, thus the user’s interaction with this process challenges and solidi-fies these relationships. Vertical engage-ment with form both above and below the ground plane creates a variation of experiences for the users where they are emersed within the process of energy generation.

“The design aims to develop upon this symbolic relationship between humans and the land by generating a form which acts as an artificial landscape.”

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(Anticlockwise from top)Figure 70: Aerial photograph Refshaleoen.(1) Figure 71: Citadel Kastellet(2) Figure 72: The Little Mermaid(3) Figure 73: Lynetten Marina(4) Figure 74: Copenhagen Opera House(5) Figure 75: Nyhavn Harbour(6) Figure 76: Amalienborg Palace

The site is located across the river from sites of cultural and historical significance and is approachable and viewable from water transport. Our design aims to ex-tends the cultural precinct across the river, This extension creates a cultural and en-vironmental landmark which signifies the importance of environmental awareness to Copenhagen.

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(Anticlockwise from top)Figure 77: Aerial photograph Refshaleoen, LAGI site(1) Figure 78: View from east edge(2) Figure 79: View of site from North(3) Figure 80: View of Refshaleoen from across the harbour.(4) Figure 81: View of site from West waterfront(5) Figure 82: View of neighbouring sites(6) Figure 83: View of site from south-east corner

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For users to understand more fully the city the inhabit, new viewing perspectives must be created. Our desire is to utilise the vertical height of the form to achieve this goal. The variation in panel height creates a diversity of observation points where users can reflect upon their relation-ship with the city through environmental engagement.

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(Left)Figure 84: Aerial photograph and overlayed map of Reshaleoen, Copenhagen.(Right)Figure 85: Sun path diagram, Copenhagen, Denmark.

Through a review of the supplied docu-mentation and a consideration of our fluid mapping studies we have determined the potential wind flow and directionality across the site. The results of this explo-ration will inform the optimal positioning of these panels in order maximise energy generation through wind driven forces. The orientation of these panels will also be adapted to the intended uses within the site, where some spaces will serve pur-poses other than wind collection, such as shelter, spatial experience or green space.

The maximum and minimum hours of day-light conveyed by the sun path diagram above futher informs our understanding of the Refshaleøen site. The amount of sun-light that our design recieves will greatly impact it’s use and need for artificial light-ing during the evening and winter months. Our design aims to extend the cultural precinct across the harbour, thus an arti-ficial lighting system is essential to draw users to the site while it is dark. A lighting system that illustrates the movement of the panels as well as the generation of energy is desired at this stage to enhance the presence and experience of the design within the Copenhagen context.


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ENERGY GENERATIONRenewable Energy Technologies

These pathways leading to observation points across the design already signify a consious effort of the user to engage with the design and the surrounding views it provides. In this way the relationship between the users and the creation of renewable energy is further strengthened. The harnessing of wind will be the focus for the generation of renewable energy technology within the design. The second-ary piezoelectric paving surfaces will not be explored further due to their minimal impact on the overall energy-generating process and their probable high cost.

The distribution of the form as governed by wind movement aims to harvest wind energy generated by the oscillating movements of a distributed panel system attached to piezoelectric cables. The pres-sure and movement exerted by the rotat-ing panels upon these wires will generate electricty. The energy harvested by this system will be transported to on site stor-age within the envelope of selected panels or fed into the city grid.Pictured in figure 87, Piezoelectric surfac-es could be applied to selected pathways across the form to harness the energy generated through the tactile human en-gagement with the design.

(Left)Figure 86: Diagram depicting the proposed energy generating technology for the wall panels of the design.

(Above)Figure 87: Diagram depicting the proposed piezoelectric surfaces embedded into the traversible pathways


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users to be reflected upon on in a collec-tive and unified level, highlighting the im-portance of co-operation to be engrained within the culture of the city. The strength of the concept and approach taken to achieve this design exists mainly within the correlation between the physical form and proposed experience with the symbollism and significance to satisfy the LAGI brief. Further development of the established approach will allow a strengthened re-sponse to the conceptual idea. Further development will require a greater employ-ment of computational design to adapt the spatial types within the design and apply the energy technology to them.

The significance of Refshaleøen being a reclaimed piece of land exists as a symbol of man’s intervention with the environ-ment. The energy-generating artificial landscape is symbollic of a human solu-tion to a man-made problem. Manipulating the spacing between panels enables the creation of spaces which de-mand engagement and recognition by the user. Where the design extends below the ground plain the user is immersed within the ambience created by the renewable energy technology and can personally engage and reflect upon their role in the renewable energy technology. The open spaces and observation points allow the relationship of the environment and the

(Left)Figure 88: Render of current design on site. (Above)Figure 89: Spatial experience diagram.


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Intended uses within the site will be estab-lished to allocate areas that will satisfy a variation of spatial experiences so that the design produces more than one opportu-nity to engage with the site and its embed-ded technology. The significance of scale and placement of the design within the site will determine further developement. Likewise, the role of lighting within the design will determine placement and use for both day and night. Light and shadow attributes will be harnessed and adapted to enhance spatial experiences and an artificial ambient lighting system will be employed to depict the energy-generating activity of the structure.

In accordance with the closing discussion for part B6 and in response to presenta-tion feedback, the underlying concept for our design will be retained and strength-ened through the final detailed design phase of part C. Further detailed exploration into the wind forces and distribution across the site will enable an informed layout of spatial types and experiences within the overall struc-ture. With the assistance of Wind Rose diagrams and further documentation, des-ignated areas of optimised wind collection can be established. Existing systems of rotating panels that enable the generation of energy will be explored, along with fur-ther prototyping, to determine the optimal distribution of these panels.

“Exploration into the wind forces and distribution across the site will enable an informed layout of spatial types and experienc-es within the overall structure.”

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B7: LEARNING OBJECTIVES AND OUTCOMES

My response to this objective will be evident particularly in further design and consolidation in Part C. Similarly, objective 5 has been satisfied throughout the journal and, particularly in the conclusion to part A where reflections on contemporary ideas on architectural discourse have been discussed in relation to design outcomes.The research field and case study analysis of part B1, B2 and B3 enabled an under-standing of contemporary architectural and design projects and advances in tech-nology. Through this analysis, the concep-tual and technical significance of specific projects was realised and, in the case of the reverse engineering activity, the technical exploration led to a greater un-derstanding of the project and its design sequence. These experiences, along with the weekly algorithmic tasks and design progression, contributed to a personal understanding and practice of computa-tional design, its benefits and disadvan-tages. The Algorithmic Sketchbook acts as a compilation of aquired techniques and understandings about computational design which informs the progression of the design outcomes within this journal.In conclusion, Studio: Air has enabled a greater understanding of the role and significance of computational design in contemporary architectural practice. My technical abilites have been strengthened and my approach to design, challenged. The production of a variation of incon-ceivable outcomes further reinforces the advantages of taking different approaches to design.

Reflecting upon personal experience of Architecture Design Studio: Air so far reveals a deep progression in my design approach and thinking. The generative approach to design, initially uncomfortably experienced, has developed an evolving sequence of concepts and outcomes. The course aims to instill a number of objec-tives into the learning experience of each student, and my personal learning certain-ly correlates with a number of these. In response to interrogating the design brief (Objective 1) the approach taken thus far avoided much of the reality of the intended outcome and strongly focussed on developing design thinking and method and allowing that to inform and guide the constraints of the eventual design. Where each group was asked to investigate a research field that would influence se-quential work, this approach to interrogat-ing the brief in part was undertaken (Part B1). Matrix explorations in Part B2 and B4 exercised abilities in developing itera-tive outcomes to a given brief, through this process, control over the design was lessened and creative outcomes were produced by reliance on the computa-tional process. The process of learning how to navigate and controll the Grass-hopper interface and other computational methods have satisfied objective 3 where the alternate approach to form-finding has enabled design progression. The prototyping and site application phas-es of part B5 and B6, have embodied the intent of objective 4 where digital models began to be realised with their successes informing further design direction.

“Studio: Air has enabled a greater understanding of the role and significance of computational design in contemporary architectural practice.”

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B1: Research Field

Biomimetic Architecture (2010) What is Biomimicry. Retrieved from http://www.biomimetic-architecture.com/what-is-biomimicry/

Biomimetic Architecture (2012) Hydro-fold: ECAL and Christophe Guberan. Retrieved from http://www.biomimetic-architecture.com/2012/hydro-fold-ecal-christophe-guberan/

Design Playgrounds (n.d) Canopy by United Visual Artists. Retrieved from http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/

Menges, Achim and Schwinn, Tobias (2012) Manufacturing Reciprocities. Architectural Design, 82 (2), pp.118-125

SJET (2013) 4D Printing: Multi-material Shape Change. Retrieved from http://www.sjet.us/MIT_4D%20PRINTING.html

SJET (n.d) Voltadom: MIT 2011. Retrieved from http://www.sjet.us/MIT_VOLTADOM.html

Woodbury, Robert F. (2014) “How Designers Use Parameters,” In R Oxman & R,

Oxman ed. Theories of the Digital in Architecture. London; New York: Routledge

B2: Case Study 1.0

DigiitalArchFab (n.d) Spanish Pavilion: Foreign Office Architects. Retrieved from http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Spanish-Pavilion.pdf

B3: Case Study 2.0

Dezeen (2009) Synaesthetic Filter by Stefan Rutzinger and Kristina Schinegger http://www.dezeen.com/2009/01/18/synaesthetic-filter-by-stefan-rutzinger-kristina-schinegger/

Moussavi, Farshid and Michael Kubo, eds (2006). The Functions of Ornament (Barcelona: Actar) pp. 7

B4: TECHNIQUE: DEVELOPMENT

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge, MA: MIT Press, pp. 5-25 pdf

References

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image References

Figure 1 (also present on pages 11,19,26) Hygroscope. Retrieved from http://www.achimmenges.net/?p=5083

Figure 2: Virtual Environments Model, Photo by Sarah Fraraccio.

Figure 29: ICD/ITKE Research Pavilion, University of Stuttgart, Germany. Retrieved from http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/

Figure 30: Airspace Tokyo: Faulders Studio. Retrieved from http://faulders-studio.com/AIRSPACE-TOKYO.

Figure 31: Skylar Tibbets: Self-folding Strand. Screen captures from video. Retrieved from http://vimeo.com/59185591

Figure 32: VoltaDom: Skylar Tibbets. Retrieved from Retrieved from http://www.sjet.us/MIT_VOLTADOM.html

Figure 33: Canopy: United Visual Artists. Retrieved from http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/

Figure 34: Hydrofold: ECAL and Christophe Guberan. Retrieved from http://www.biomimetic-architecture.com/2012/hydro-fold-ecal-christophe-guberan/

Figure 35: Spanish Pavilion: Foreign Office Architects. Retrieved from http://www.architecture.com/Awards/RIBAInternationalAwards/2005/Spanish-Pavilion.aspx#.Uz4MCPmSwSw

Figure 36: Spanish Pavilion: Foreign Office Architects. Retrieved from http://www.architecture.com/Awards/RIBAInternationalAwards/2005/Spanish-Pavilion.aspx#.Uz4MCPmSwSw

Figure 37: Spanish Pavilion: Foreign Office Architects. Retrieved from http://everystockphoto.s3.amazonaws.com/expo_aichi_spain_518354_o.jpg

Figure 38: Non-repeating tile types 1-6. Retrieved from http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Spanish-Pavilion.pdf.

Figure 39: Synaesthetc Filter Retrieved from http://www.dezeen.com/2009/01/18/synaesthetic-filter-by-stefan-rutzinger-kristina-schinegger/

Figure 40: Synaesthetc Filter Retrieved from http://www.dezeen.com/2009/01/18/synaesthetic-filter-by-stefan-rutzinger-kristina-schinegger/

117

Figure 41: Parametric Pattern Generation, Retrieved from http://www.crispandfuzzy.com/?p=25

Figure 42: Flexibility of use, Retrieved from http://www.crispandfuzzy.com/?p=25

Figure 43: Surface and deducted pattern of normals, Retrieved from http://www.crispandfuzzy.com/?p=25

Figure 44: Three points of contact enable flexibility of use, Retrieved from http://www.dezeen.com/2009/01/18/synaesthetic-filter-by-stefan-rutzinger-kristina-schinegger/

Figure 45-47: Views of Prototype 1: Photographs by Ornella Altobelli

Figure 49-51: Views of Prototype 2: Photographs by Ornella Altobelli

Figure 52-54: Views of Prototype 3: Photographs by Sarah Fraraccio

Figure 55-57: Views of Prototype 4: Photographs by Sarah Fraraccio

Figure 58: Stopmotion sequence for Prototype 3: Photographs by Sarah Fraraccio

Figure 59: Stopmotion sequence for Prototype 4: Photographs by Sarah Fraraccio

Figure 60-64: Views of Prototype 5: Tension Studies: Photographs by Sarah Frarac-cio

Figure 65-69: Fluid Mapping Process: Photographs by Sarah Fraraccio

Figure 70: Aerial Photograph of Refshaleoen. LAGI website, http://www.landartgenerator.org/

Figure 71: Citadel Kastellet. Photo by H C Steenson http://www.panoramio.com/photo/1331707

Figure 72: The Little Mermaid Statue. http://www.copenhagenet.dk/cph-map/cph-mermaid.asp

Figure 73: Lynetten lystbådehavn. Photo by Flemming Brandenborghttp://www.panoramio.com/photo/13121759

Figure 74: Copenhagen Opera House. Photo by Michael Shirrefs. http://www.abc.net.au

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Figure 75: Nyhavn Harbour. http://www.copenhagenet.dk/CPH-Nyhavn.htm

Figure 76: Amalienborg Palace. Photo by John P. Palmer.http://copenhagenet.dk/CPH-Amalienborg.htm

Figure 77: Aerial photograph Refshaleoen. LAGI website, http://www.landartgenerator.org/

Figure 78-83: Site photos of Refshaleoen.. LAGI website, http://www.landartgenerator.org/

Figure 84: Aerial photograph Refshaleoen with overlayed map. LAGI website, http://www.landartgenerator.org/ added upon by Sarah Fraraccio.

Figure 85: Sun Path Diagram, Copenhagen, Denmark. Created by Sarah Fraraccio using information sourced from http://www.gaisma.com/en/location/kobenhavn.html

Figure 86: Diagram by Ornella Altobelli

Figure 87: Diagram by Sarah Fraraccio

Figure 88: Render of design on site by Sarah Fraraccio

Figure 89: Spatial Experience Diagram by Sarah Fraraccio.

image References

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PART c: detailed DESIGN

121

c1: design concept

122

6

123

6

PRESENTATION REVIEW Interim Presentation

(Left)Figure 90: Aerial photograph of LAGI site at Reshaleoen, Copenhagen.

Following the interim presentation, further development was encouraged in several aspects of our design technique. The presence of wind on the site was required to be more fully understood and integrated into the specific layout and tectonic design of our proposal upon the site. In response, we have based futher development of the design on a wind rose diagram provided in a Copenhagen wind report by EMD International (EMD, n,d) which provides wind collection performance of wind turbine farms surrounding the city. The most dominant path of wind flow will govern the main energy generating corridor of the design. From this understanding, the footprint and scale of the form will be defined. Within this overall formation, sub-spaces will be designed to create various experiences for the users.

Along with the experiences within the site, the overall views towards the proposed design will govern the overall composition of the land art project as it endeavours to fulfill its conceptual basis to exist as a symbol of renewable energy production and its significance to Copenhagen as the European Green capital 2014 (LAGI, 2014).The feedback from the interim presentation also encouraged further exploration into the development of multiple use zones across the entire site. The existing design occupies roughly half of the site, hence an allocation of spatial use across the site was required. Additionally, further experimentation into the design of the energy-generating panels was needed. Part B had only resolved the system of how the enrgy would be generated, the specific geometry of these forms will be explored according to predicted performance and aesthetics.

C1: DESIGN CONCEPT

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technique developmentSite Attributes and Zoning

(Left from top)Figure 91: Wind Rose for Lynetten Wind farm (top right) imposed upon LAGI site

Figure 92: Site use map.

Through an investigation into wind study reports for Copenhagen, produced by EMD International, a wind rose diagram has been obtained. Superimposed over the recorded site (Lynetten Turbine Farm) and the Refshaleøen site, the potential wind directionality and force is revealed (figure 91). Through further investigation we have determined that the presence and relative heights of factories to the North and North-East of the reclaimed piece of land will have an influence on the predicted wind activity. The West to South-West wind presence is expected to be lessened due to the partial enclosure created by these structures. The portion of the diagram highlighted in orange depicts the expected lessened effect of the wind due to the presence of surounding structures. This understanding of the site characteristics on a macro scale will inform detailed design layout and configuration. Figure 92 depicts the intended zoning of the site into three main uses and also illustrates the experimentation with the site’s topography to create a varied

landform upon which the design will be integrated. The orange space is designated to create the visual linkage across the harbour. This space is open, accessable and provides clear views towards the cultural precincts. Highlighted in blue, the central core of the site provides the best opportunity for the collection of wind as predicted from the wind rose diagram. This area contains the largest scale energy collection spaces and will experience the most wind activity. For these reasons, these expansive areas will provide an experience that will allow users to feel immersed in the energy-generation process. The green space is situated in the lower end of the site, where the ground levels are excavated beneath the existing ground level. These areas will be most sheltered from the wind and enclosed with existing buildings to the east. This will provide rest spaces, with open areas being developed into parkland. The smaller scale of the design in these areas provides an opportunity for engagement with the Land Art Generator on a more human scale.

C1: DESIGN CONCEPT

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127

6

design formation and site layout

C1: DESIGN CONCEPT

Figure 93: Sets 1-4 Surface iterations depicting the plan of the design on the site, the design in perspective and the altered surface respectively.

The surface in which would determine the height and distribution of panels in Grasshopper was altered to produce the most effective outcome. Set 4 was selected for further development for the scale of the partition structures and its smooth integration into the site, creating a visual symbol of the ‘artificial landscape’.

i. ii.

iv.

vi.

viii.

iii.

v.

vii.

129C1: DESIGN CONCEPT

structure and panel geometry

Figure 94: i. Hexagonal Gridii. Space Truss 2Diii. Space Truss 3Div. Space Truss 3D with circular discs attached to websv. Face Brep, Dicision and Scaling vi. Diamond Panelsvii. Diamond Panels (Triangulated Output)viii. Diamond Panels (Diamond output) lofted and scaled with scaled faces

Early experimentation with Grasshopper produced a series of structural and tectonic iterations illustrated at left. The Wall partitions that make up the design were intended to be double skinned to facilitate stucture, allow air movement, and conceal or protect the piezoelectric components. Figures 94.i-iv depict the use of a structural truss from which wall panels could be fixed or hung. Figure 94.iv incorporates metallic disc forms explored in part B prototyping. A collective decision was made to integrate the movable panels into the wall structure more to strengthen the overall formal effect. Figures v-viii depict experimentation with different surface panelling techniques and thier potential to integrate movable panels. These panelling tools were predominantly sourced from Lunchbox plugin for Grasshopper. Figure viii was chosen for further development for its realistic potential and aesthetic.

i.

ii.

iii.

iv.

v.


site configurations

Figure 95:i-v. Wall panel configurations across the site.

would permeate rather than flow along these wall panels. This could create an interesting effect visually and also experientially as the impact of the wind is lessened as it permeates the formation. In terms of wind energy collection, this configuration is likely to be effective only in some areas of the design. Figures iii and iv. work in a similar way to figure i whereby the wind flow is predominantly at a parallel with the wall surface. The configuration of figure i allows the design to resemble ‘landscape’ form that has been established as part of the design concept. This iteration remains the most effective form to address both performance and aesthetics.

A series of potential configuration patterns of wall partitions is illustrated at left, showing how the design is orientated in plan and in elevation as how the site may be viewed from across the harbour. From this exploration, the predicted wind flow and its effect on the performance of the land art project can be determined, strengthening the argument for the choice of the final proposed outcome. Figure i works with the original design according to the wind rose shown previously, The wall partitions guide the dominant flow of wind through the passages, collecting energy. Figure ii and v. orientate the wall panels to recieve the flow of the wind at a slightly more perpendicular angle, thus the wind

132

i.

iii.ii.


SITE RESPONSE

Figure 96:i. Site Response incorporating the understanding from the wind rose diagram, topography and final design configuration. ii. Site map depicting topographyiii. Site map locating the design onto the site.

The final configuration of panels is shown in plan at left, (figure iii) with landscaped pathways continuing the curve of the wall partitions to converge at two points, articulating the access points to the site from land and from water transport. These pathways are intended to illuminate to show energy movement from the walls to the converging points where the energy will be stored before being fed into the city grid. The wind rose diagram is superimposed over the site topography and design to further justify this final configuration of wall panels. The greatest passage of wind is depicted by the group of arrows at the top left, thus the openings between the wall partitions are greater at this end, before converging, ultimately funnelling the wind into the corridor. Double skinned wall and permeable structure allows for wind to flow across the design, so that panels in less active areas recieve the subsidiary flow of wind. The large portions of the wind rose diagram shown in pale blue depict a prediction of lesser wind activity due to the shielding of the site by surrounding structures. From this understanding, further exploration into the tectonic nature of the movable panels and their performance can be undertaken.

134


SITE RESPONSE

Figure 97: Figure i. Section 1 through elevated site area

Figure ii. Section 2 through excavated area of the site.

Figure ii. Illustrates the experience in the lower areas of the site where the ground has been excavated to create a sheltered space. This is a rest space, designated to accomodate parkland activities. The human scale of the wall panels in this area allows the users to connect and interact more with the design, without the high action of the dominant wind spaces. The panels are likely to move at lower speed, creating a gentler overall effect.

Site Sections depicting the two main space designations within the site. Figure i. depicts the site location in an area of built up topography. This space is at a large scale, and located in an area of high wind activity. The built up mound creates a variation of experiences for users within the site and also establishes a variation in views from the site toward the surroundings.

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5 6 7

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12

14 15

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4

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C1: DESIGN CONCEPT

algorithmic process

(Left to Right Top to Bottom)Figure 98:Algorithmic Process1: Base curves of reverse-engineered design altered during matrix type 5.2: Curves are lofted to create a surface.3: Surface divided into points, points culled.4: Parallel frames created along a diagonal vector.5: Plane of parallel frames rotated to achieve surface curves.6: Surface grid and frame plane intersected and projected in XY plane. These curves are lofted between.7: Lofted surface is offset in X direction and panels are lofted between to generate the 3-dimensional panels8: Quantity of frames and manipulation of base surface points9: Diamond Panels Component applied to surfaces.10: Offetting diamond panels from the center point using a domain.11: Inside curve created with scaled diamond faces, outer curve created from Triangular panel output.12: Lofted to create diamond lattice 13: Inner diamond panels rotated using a vector to depict their rotation.14: Ground Surface manipulated 15: Lofted wall panels trimmed to

iii.

vi.

ix. x.

iv.

vii.

v

viii.


construction process

Figures 99i-x: Construction Process from site excavation to tectonic fixing of panels to piexoelectric cable.

These wall sections attach and create a cavity between the two skins of wall (v). Connecting the two wall skins are rectangular plates that are located at each junction of the lattice (vi) (ix). These plates not only provide rigidity to the structure but hold in place the Piezo cable as it passes through the cavity and into the network (vii). The diamond panels have piezoelectric transducer rings attached to the back of them (x), the piezo cable is threaded through these trasnducers and the wall connecting plates so that each column of panels is connected vertically to one cable path (viii).

To achieve a variation of experiences within the design area and to further emphasise the symbolic nature of the design acting as a ‘landscape’, the site would be cut and filled (i). Areas of high elevation would be built up and others cut beneath the existing ground surface to create valley-like sunken spaces. The scale of the wall panels across the reclaimed land site may require deep piles to act as the footings to which the double skin walls would be fixed (ii). Figure (iii) depicts the tectonic fixing of the pre-fabricated diamond lattice walls which would be trasnported to site and configured (iv).

i.

ii.

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c2: tectonic elements

A section of one wall was selected to fabricate a prototype model at 1:50 scale. This model allowed experimentation with materials and fixing systems for the diamond panels. The outer frame was constructed on 2.7mm plywood to model a heavy laminated timber. The two wall skins were fixed together using plywood plates that serve to stabilise the piezoelectric cables. Four materials were modelled and tested in the wall cavity; plastic (i), plywood (ii), metallic paper (iii) to resemble a light metal sheet, and fine wood grain paper (iv), to resemble a thin wood veneer.

143C2: TECTONIC ELEMENTS

tectonic model1:50

Figures 100: Prototype model: Panelling systems, tectonics and materials

i.

iii.

ii.

iv.

The model was tested under wind simulation and filmed to observe the performance characteristics of each of the material types. The video can be viewed here https://vimeo.com/97506300 . Due to the curved form of the wall partitions, the wind would flow across and through the structure at a variation of angles. Testing revealed two main characteristics of the panels when fixed using ring loops attached to the wire. Panels would either spin or flutter back and forth depending on the location of the concentrated wind force. The timber veneer and metal sheet panels showed mainly a flutter activity and did not spin as easily.

The plywood panels predominantly tended to spin under wind force, due to their weight and surface area. This material was selected to provide panelling for the areas of high wind activity due to its performance. The plastic panels showed a similar tendency to spin and also to flutter back and forth according to the location of the wind force. The lightweight nature of the plastic allowed it to create a visual effect with less wind force. This material was selected to create panels for the low-lying areas of the site where there is less direct wind presence as they will provide a variation of movement patterns in low-wind periods.

Prototype

iii.

ii.

i.

iv.


panel geometry

Figure 101:Panel Dimension Variations

With the materiality of the panels chosen, the scale and geometry of the panels was explored, with it’s impact upon energy collection measured. Figure 101 depicts four options where the geometry of the diamond panels took on a squared shape (i), an elongated narrow profile to fit the cavity exactly (ii), a narrow profile at smaller scale to allow greater permeability to the wall (iii) and a regular diamond shape, recessed from the cavity edge (iv). Containing a relatively large surface area, figure 101.iv. was selected for it’s consistency of performance in the predicted energy measurement as well as it’s aesthetic quality. The panel sizes vary in scale across the site but the diagram (v) shows the dimensions of one of the panels in the main wind collection areas. This scale allows for adequate weight of the panels to generate enough strain on the piezo wires without being too large to present a hazard as the panels rotate and protrude from the wall cavity. Specific energy calculations will be carried out in part C5.

Prototype

v.

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c3: final model

149C3: FINAL MODEL

site model1:500

Figures 102:Photographs of site model 1:500

A final site model was constructed at 1:500 scale to depict the way in which the design proposal interacts with the site topography. A site model was laser cut and constructed from boz board with the wall partitions laser cut from ivory card. The illuminated pathways are depiced on one end of the model to illustrate how these feature on the site and provide a visual focus from the design to the storage and access points where the pathways converge.

Model

151C3: FINAL MODEL

design model 1:100

Figures 103:Fabrication Process: Design Model 1:100 Scale.

A design model of one of the 12 wall panels on the site was constructed at 1:100 scale. From this model, the way in which the design places itself on the site could be understood. The doubly curved surface of the wall panels did not allow for the entire wall to be fabricated in one piece, hence the wall was divided into individual pieces and glued together. The two wall skins were formed and the fixing plates attached to create the cavity space in the wall. The diamond panels were represented in a selected set of lattice sections as the scale did not permit the panelling of the entire surface. The diamond panels were fixed to glass tubes beads which were threaded onto wire lengths, fitted between the cavity plates. This enabled the rotation of these diamond panels so that the experiential nature of the design could be obtained. A rectangular portion of the site surrounding the wall was selected and fabricated from laser cut boxboard. The wall panels were anchored to the site using dressmakers pins, modelling the pile footings mentioned in the construction discourse. The second wall skin was fixed over the top of this, connected to the anchored side by the cavity plates.

Construction Procee

153C3: FINAL MODEL

design model 1:100

Figure 104:Design Model Pihotographs.

The finished product of the design model allows for an understanding of the way in which the design engages with the topography of the site and produces experiential lighting effects on its surroundings. The wall cavity would be fitted with a lighting system so that this shadowing could project out, creating a beautiful vista to be viewed from the city in the dark. This quality enhances the monumentality of the project- establishing an identity as a new environmental landmark for Copenhagen city.

Model

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c4: lAGI bRIEF REQUIREMENTS

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157C4: LAGI BRIEF REQUIREMENTS

WINDSCAPE

Figure 105: Windscape: design illuminated at night and during the dark hours of the day.

158


CONCEPT

(Left from top)Figure 106: Aerial of the site at night.Figure 107: View of the design on the site from across the harbour.

This site presents a symbol of human intervention into the landscape. An ‘artificial landscape’ is created through engagement with the site topography as well as a manipulation of the overall form. The Windscape project exists as a human gesture, and a cultural reminder, of society’s role in caring for the environment. By day and night, Windscape can be viewed from the existing city across the harbour, as a landmark and expression of Copenhagen’s environmental awareness. Illuminated at night using an allocation of the electricty created on site, the generation of energy is visible from afar, strengthening the consistent reminder that environmental awareness and involvement is vital to city culture.

Windscape is a new living monument for the city of Copenhagen. The infrastructure art project provides renewable energy to the city by harnessing the presence of wind as a resource to generate electricity. Situated on a waterfront location in close proximity to Copenhagen’s cultural and historical precincts, Windscape establishes a new landmark for this city fabric. Copenhagen’s recent appointment as European Green Capital 2014 (LAGI, 2014) justifies the erection of a new environmental landmark to celebrate the achievements and future endeavours of Copenhagen as they seek to become carbon neutral by 2025 (Visit Copenhagen, 2014). Refshaleøen, like much of Copenhagen’s harbour-side city, is situated on reclaimed land.

Windscape

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design model 1:100

(Left to right)Figure 108: Experience within the elevated areas of the site. Figure 109:Experience with the lower site areas.

the existing buildings allows these spaces to be more restful and contemplative. The use of a lighter perspex panel material in opposition to the plywood allows for movement of the wall panels with the decreased presence of wind in the space and designates a different experience of these areas of the site. In both areas, users can experience the creation of renewable energy, the impact of which will vary according to the intensity of the wind presence and the scale of the space. The connections formed between users and the Windscape project further strengthens the desired cultural awareness of environmental issues as society takes ownership of global problems at a local scale.

Scale, topography, materiality and the presence of wind vary across the varied spaces within the site. Depicted in figure 108, elevated areas of the site provide wide, open space and the sense of being immersed within the process of the creation of energy. The configuration of these spaces, and their positioning to recieve optimum wind flow creates the opportunity for high wind activity as it funnels from the wide opening through the passage between the walls. The lower-lying areas of the site, where the ground line has been excavated below the existing surface, create an alternate experience.The smaller scale of the structure in this area, along with the sheltering created by

Model

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energy technology

Figure 110: Energy creation diagramFigure 111: Piezoelectric cable composition and fixing to the movable panels.Figure 112: Site section showing the flow of energy down the piezo cables and into the storage network.

The diagrams at left illustrate the way in which energy is created using the piezoelectric cables. The strain placed on the transducer rings creates a charge from the flutter or spin movements of the diamond-shaped panel. These charges flow through the cable and into the network (figure 112) where they are transferred to site storage and converted into electrical energy (figure 110). The composition of the piezoelectric cable is depicted in figure 111. This tectonic system, along with the overall construction of the double skin wall allows for modifications and upgrading of technology to optimise wind collection over time. The structure itself being created in prefabricated sections and dismountable parts, could be disassembled and transported to other locations or the materials recycled should the site be required for other use.

Prototype

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energy productionMaterial Performance

Average wind speed = 4.6 m/sMax wind speed = 27 m/s

Marine Plywood Perspex

Site Area = 38,250 m2

Design Footprint = 11700 m2

Avg panel size = 1.3 x 0.7m = 0.454 m^2

Kinetic energy is directly proportional to the square of its speed

KE= 1/2 x m x v^2

25 mm marine plywood panelsPanel weight = 16.319 x 0.454 = 7.4 kg

@27 m/s = 2697.3 joules Each wall has an average of 672 panels = 1, 812, 585 joules per wallMultiplied by 12 walls = 6.04 kWh

@4.6 m/s = 78.292 joules = 360.14 joules per wallMultiplied by 12 walls = 0.0012 kWh

Avg panel size = 0.7 x 0.7 = 14.57 kgs

@27 m/s = 5310.8 joules 300 Perspex panels = 1, 593,240= 0.44 kWh

@4.6 m/s = 154.15 joules 300 Perspex panels = 46245= 0.01284 kWh

Figure 113:Panel Rotation Sequence.Figure 114: Panel Material: Plywood and Perspex

166

Site Dimensions

255 x 150 = 38,250 m2

Watts

38250

Site Dimensions

255 x 150 = 38,250 m2

Watts

382500.6(4.6)3

58. 4016

58. 4016 x 38,250

2,233,861.2 Watts2233.86 kWh

Design Footprint

130 x 90 = 11700 m2

Watts

117000.6(4.6)3

58. 4016

58. 4016 x 11700

683,298.72683.29872 kWh

0.6(27)3

11809

11809x 38250

451, 694,250 Watts451, 694.25 kWh

Design Footprint

130 x 90 = 11700 m2

Watts

117000.6(27)3

11809

11809 x 11700

138, 174, 660 Watts138174.66 kWh

WattsM2

= 0.6 v3

Site

Des

ign

Foot

prin

tEnergy calculationsEnergy per area per time of wind

Low Average Speed High Average Speed


energy production

Figure 115:Energy Calculations

Calculating the energy output for the Windscape proposal reveals the energy generated from the two materials used for the panels as well as the energy generated across the site at low and high average speed. To calculate the estimated annual kWh, an average of the low and high speeds was taken. Assuming 2/3 year produces the required wind conditions for Windscape to operate, this averaged kWh output was multiplied by 5840 hours of the year. The Annual kWh ouput calculated is 405 462 440 kWh or 405 462 MWh. This output provides a justification for the building of the land art generator project and would be able to be fed back into the energy grid of the city.

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169C3: FINAL MODEL

Environmental impact

Figure 116: View from North West corner of the site.

Windscape exists as an environmental landmark to enhance the Copenhagen cultural precinct to further personify the attitudes and concerns of its people. The benefits to the city’s urban design and culture are undeniable, whereby a neglected piece of land is transformed to symbolise a collective goal of the city. The scale and requirement of building resources for the proposal presents an argument as to how environmentally benfitial the land art generator is. The output of energy can be measured to the estimated cost and labour required for the erection of the design and weighed up on the value of investment into such a large scale project. An argument can be made though, that the brief requires it to be both an energy generator and a landscape art piece. For the energy generating space to be both habitable and aesthetically artful, the energy performance may have to be compromised. Regardless, the Windscape project has benefit beyond it’s energy generation performance. In strengthening the invaluable bond between people and the environment in which they inhabit, Windscape not only impacts the environment, but it impacts culture which is key to solving future enviornmental problems

Windscape

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c5: learning objectives and outcomes

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173C5: LEARNING OBJECTIVES AND OUTCOMES

windscape

Figures 117: View of site from South East.

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Figures 118: Potential development of traversable levels within the wall cavity.

sky, creating openess whilst being surrounded by the dynamic movement of the panelled walls. In strengthening the bond between users and the landscape, this development would be highly benefitial. Practically, the idea would require some thorough exploration in terms of structural accomodation, site levels and the need to protect walkways from the motion of the panel rotations. This development would further strengthen the proposal in relation to the LAGI brief and also to the design concept.

Following the final presentation feedback, we were encouraged to explore the potential of the double skinned cavity wall as a space for inhabitation. Earlier design phases considered this idea, but it was lost in development and the practical issues of scale. Figure 118 depicts a potential implementation of traversable levels between the cavity walls. Different scales of experience could be created locally within each panel where the lower levels of exploration would create areas of enclosure and immersion in the energy generating process. Similarly, elevated levels would open up a view toward the

further developmentFinal Presentation Feedback

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further development

Figures 119:Potential distribution of movable panels within the wall cavity.

(i) designates panels only to the curved and tapered areas of the wall surface. This distribution would be ineffective as the collection of wind would be lessened in these non-linear areas. (ii) presents a horizontal distribution of panels and may be found to be effective, particularly in allowing greater permeability, therefore airflow, within the wall frame. (iii) combines the elements of both (i) and (ii) to provide vacant spaces in groups across the site. Further testing is needed to determine how the greater openings in the wall would improve or decrease energy generation.

Another response was to explore the distribution of panels across the wall. The current design houses a single panel in each lattice opening. The suggestion was to develop a pattern for distributing these across the site, leaving vacant spaces to facilitate increased airflow and aesthetics. A brief exploration into this area was undertaken, distributing panels using the sift component on the list of faces scaled from the lattice openings. Three outcomes were obtained, from each a predicted performance can be assumed according to prototype studies and analysis of wind movement.

Final Presentation Feedback

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learning objectives and outcomes

“Encountering challenges in this way always extends ones skills and abilities and often results in a new confidence”

Throughout Studio Air, I have developed a new repetoire of skills and design approaches. I have been challenged to design in new ways, particularly in the generative design phases of parametric modelling. Often resulting in the need for further learning and a reliance on digital resources and online forums, the design development process, and the guiding of the formal aspect of my design, was limited by the skills I had in manipulating the parametric model. Encountering challenges in this way always extends ones skills and abilities and often results in a new confidence at the rate of which skills were aquired and utilised. Through regular work in Grasshopper, I was able to apply practical knowledge to the design task.Responding to the brief, I took great interest in the symbolic opportunity for the project and it’s location in the European Green Capital 2014. The integration of generative design processes with an established conceptual approach gives the opportunity for a strong design proposal. Keeping the concept as a guide to manipulating the parametric model has enabled the outcome to have been justified through layers of development. The design process has also shown an increased familiarity in digital fabrication processes, of which produced several successful representations of the design outcome. Overall, Studio Air has challenged me to develop new skills and extended my approaches to design in a multitude of ways.

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EMD International (n,d) Local Wind Data. Copenhagen, Denmark: Case Study 03,

pp. 1-20. Retrieved from http://emd.dk/Documentation/Introduction. Land Art Generator Initiative (LAGI) (2014) LAGI: Competition. Retrieved from http://landartgenerator.org/competition.html

Visit Copenhagen (2014) Retrieved from http://www.visitcopenhagen.com/copenhagen-tourist

image References

Figure 90: LAGI Site. http://www.landartgenerator.org/

Figure 91: Wind Rose Map. Created by Sarah Fraraccio.

Figure 92: SIte Use map. Created by Ornella Altobelli.

Figure 93: Surface Iterations. Created by Sarah Fraraccio

Figure 94: Captures of Panelling Iterations. Created by Sarah Fraraccio.

Figure 95: Variations of wall configuration. Created by Ornella Altobelli.

Figure 96: Site Response diagrams. Created by Sarah Fraraccio.

Figure 97: Site Sections. Created by Ornella Altobelli.

Figure 98: Algorithmic Process Captures. Sarah Fraraccio and Ornella Altobelli

Figure 99: Construction Process Diagrams. iii. by Ornella Altobelli, i,ii,iv-x by Sarah Fraraccio.

Figure 100: Tectonic Prototype. Photographs by Sarah Fraraccio.

References

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Figure 101: Panel Variation Diagrams. Created by Ornella Altobelli.

Figure 102: 1:500 Site Model. Created and Photographed by Ornella Altobelli.

Figure 103: Construction and fabrication of 1:100 Model. Created and Photographed by Sarah Fraraccio

Figure 104: 1:100 Model. Created and Photographed by Sarah Fraraccio

Figure 105: Windscape Project. Night Panorama render by Sarah Fraraccio

Figure 106: Aerial render at night by Sarah Fraraccio.

Figure 107: View from across the harbour. Render by Sarah Fraraccio

Figure 108: Site experience render by Sarah Fraraccio

Figure 109: Site experience render by Sarah Fraraccio

Figure 110: Energy creation diagram by Sarah Fraraccio

Figure 111: Peizoelectric cable diagram by Sarah Fraraccio

Figure 112: Site Section by Ornella Altobelli.

Figure 113: Panel rotation sequence images by Ornella Altobelli.

Figure 114: Panel Material photographs by Sarah Fraraccio.

Figure 115: Energy Calculations by Ornella Altobelli

Figure 116: View of site. Render by Sarah Fraraccio.

Figure 117: View of Site from South East. Render by Sarah Fraraccio.

Figure 118: Site section diagram by Ornella Altobelli

Documents

Studio:Air Final Journal: Sarah Fraraccio