Air Journal Final

AIR STUDIO2014

ShIhUI wU 565808 TUTOR: CAnhUI Chen

COnTenT

PART A. CONCEPTUALISATION

A. 1. Design Futuring

A. 2. Design Computation

A. 3. Compasition/Generation

A. 4 & 5. Conclusion & Learning Outcomes

A. 6. Appendix - Algorithmic Sketches

A. 0. Introduction

Page Number

4

6

9

14

18

19

PART B. CRITERIA DESIGN

B. 1. Research Field

B. 2. Case Study 1.0

B. 3. Case Study 2.0 / Reverse-Engineering

B. 4. Technique: Development

B. 5. Technique: Prototypes

B. 6. Technique: Proposal

B. 7. Learning Objectives and Outcomes

B. 8. Appendix - Algorithmic Sketches

22

25

28

38

50

58

60

61

PART B. CRITERIA DESIGN

C.1. Design Concept

C.2. Tectonic Elements

C.3. Final Model

C.4. Additional LAGI Brief Requirements

C.5. Learning Objectives and Outcomes

63

78

84

100

101

4

INTRODUCTIONPART A:

My name is Shihui Wu and i am a third year architecture student

at the University of Melbourne. I am interested in objects of design

TXDOLW\�RI�VWUHQJWK�� ,�RIWHQ�ZDQGHU�WKH�VWUHHWV�WR�¿QG�H[TXLVLWH�DQG�beautiful things to bring back home. I am fascinated by how design

can communicate as well as affect people emotionally.

One of my favourite pieces of architecture is the Lou Ruvo Centre

by Frank Gehry (Fig.1). The irregular and exaggerated form of this

building, plus the titanium cladding, completely break the idea of

what architecture should look like and can be. I hope to be able to

design and built such provocative and powerful designs in the future.

(Fig. 2.)Boat House Project I did last year

5

In the last few years at Melbourne Univer-

sity, I have completed several design stu-

dios. Although I really enjoy the studios I

RIWHQ�¿QG�WKDW�P\�GHVLJQV�DUH�OLPLWHG�E\�P\�software skills. For example, last year I de-

signed a Boat House (Fig. 2) using Sketchu.

Since I didn’t know how to curved surfaces

in the software I had to settle for a rectilinear

formed building.

I was quite inspired when I found out that

Frank Gehry uses Catia to design and mod-

el his designs. The software is traditionally

used to design the body of airplanes. There-

fore, one of my objectives in Studio Air is to

learn more about 3D design softwares so I

can produce forms other than boxes.

(Fig. 1.)Lou Ruvo Center for Brain Health in Las Vegas. Architect: Frank Gehry. Photographer: Matthew Carbone.

6

A.1 DEsIgN FUTURINg As Tony Fry1 outlines in his book “Design

Futuring - Sustainability, Ethics and New

Practice”, the resources on Earth are limited

and design is a key to creating a more sus-

tainable path for human civilization. Accord-

ing to Fry2 , the human ecological footprint

has trippled since 1961 and human beings

are currently consuming resources 25%

faster than the resources can be renewed.

Such statistics paint a grim future for the

future for humanity as it is inevitable that

the resources will one day be depleted and

environmental crisis will force people into

mass migration. The relentless pursuit for

economic growth at the cost of the environ-

ment needs to be reconsidered against the

future survival for human beings. Within this

debate, Fry3 puts forward two antagonist

terms, “Design Futuring”: Futuring and De-

Futuring. De-futuring refers to the current

approach of using resources with no regard

to the effects on the future generations. That

is, an unsustainable future. On the other

hand, Design Futuring is the idea of design-

LQJ�ZLWK�WKH�IXWXUH�LQ�PLQG��VSHFL¿FDOO\��VORZ-

ing down the exploitation of resources and

creating a sustainable environment for peo-

ple and other living species to live on Earth.

In this section, I will introduce two parametric

design projects and discuss how they have

LQÀXHQFHG�GHVLJQ�WKLQNLQJ��LQ�SDUWLFXODU�ZLWK�reference to design futuring.

1. 2. Tony Fry, Design Futuring: Sustainability, Ethics, and New Practice (Oxford: Berg, 2009), P.4.

3. Tony Fry, P.6.

(Fig. 3.) National Aquatic Centre. Architecture: PTW Architects

(Fig. 4.) Interior view of the National Aquatic Centre

(Fig. 5.) Heating and ventilation design

7

(Fig. 3.) National Aquatic Centre. Architecture: PTW Architects

NATIONAL AQUATIC CENTRE PTW ARCHITECTsThe Beijing National Aquatic Centre (also known as Water Cube) was built for the 2008 Summer Olympics for swimming competi-

tions (Fig 3). The project was won through design competition by PTW Architects, ARUP International, and China State Constrution

Engineering Corporation. What is unique about the design of the Aquatic Centre is that it is essentially a steel space frame structure

clad in ETFE pillows. The space frame structure is lightweight and allows large spans across the pool areas to be possible with the

OHDVW�DPRXQW�RI�VWUXFWXUDO�PDWHULDO��)LJ��7KHUHIRUH�WKH�FKRLFH�RI�VWUXFWXUDO�V\VWHP�LV�PXFK�PRUH�HI¿FLHQW�WKDQ�WUDGLWLRQDO�VWHHO�DQG�concrete structures.

The translucent ETFE pillows allows natural sunlight to enter the building saving energy costs on lighting the interior, it also allows

radiant heat to be kept inside the internal spaces during winter while heat to be ventilated out, through stack effect, during summer (Fig

5). The ETFE pillows, which is an idea of PTW Architects, are designed to follow th pattern of the steel frame, which is parametrically

modelled to look like ‘water bubbles’. The pillow and the structure of the building are therefore features of sustainable design as they

save energy as well as performs multiple roles such as cladding, structure, acoustic buffer, lighting and building aesthetics.

The design of the building offered innovation in many different areas, with the president of China, Hu Jintao commenting, “the Austra-

lian-designed “water cube” swimming centre is a model for China’s development, making the skies clearer, the land greener and the

water cleaner”4 ��7KH�VXVWDLQDEOH�GHVLJQ�IHDWXUHV�RI�WKLV�EXLOGLQJ�HVSHFLDOO\�EHQH¿WV�WKH�ORFDO�&KLQHVH��QRW�RQO\�HQYLURQPHQWDOO\�DV�D�‘Green’ building, but also culturally as a symbol of sports, recreation, sustainability and design futuring. Since the games, the building

has been converted into a water park for local people to enjoy.

4. Arup, Creative Leadership and the Water Cube at the Beijing Olympics. (The creative leadership forum, 2008). http://thecreativeleader-

shipforum.com/creativity-matters-blog/2008/8/9/creative-leadership-and-the-water-cube-at-the-beijing-olympi.html

8

BEIJINg NATIONAL sTADIUMBY HERZOg & DE MEURONThe Beijing National Stadium was designed for the 2008 Summer Olympic Games. It was designed by Swiss archi-

tects, Herzog & de Meuron. Due to the unique steel “woven” structure of the building, the Beijing National Stadium is

also known as the “Bird’s Nest” (Fig 6). The original idea of the design was driven by the cracking patterns commonly

found in Chinese porcelain artefacts. The fragmented patterns are also found on traditional Chinese window screens.

Although the shape of the stadium appears simple, almost a bowl-like mesh, the design of the mesh geometry was highly

FRPSOH[��GXH�WR�WKH�QHHG�WR�FDOFXODWH�WKH�ORDG�SDWKV�RQ�WKH�HQWLUH�VWUXFWXUH��3DUDPHWULF�PRGHOOLQJ�ZDV�XVHG�WR�¿QG�WKH�PRVW�HI¿FLHQW�VKDSH�RI�WKH�EXLOGLQJ�DQG�DOVR�WR�GHVLJQ�RI�WKH�ZLUHIUDP�URRI�DQG�WKH�ER[�JLUGHU5. With the use of powerful 3D Digital

Project modelling softwares, the design team was able to simplify the roof structure of the stadium and reduced the amount to

steel needed in the construction to meet value engineering requirements6. In this particular project, it is easy to see the useful-

ness of parametric modelling. Not only can design decisions be made more accurately, through calcuated parameters such

as load and material strenghts, many different variations on the same form can be generated quickly for testing. With para-

PHWULF�PRGHOOLQJ��GHVLJQV�FDQ�EH�PDGH�WR�ZRUN�KDUGHU�DQG�PRUH�HI¿FLHQWO\��DOO�DW�WKH�VDPH�WLPH�RI�GHVLJQLQJ�EHDWLIXO�EXLOGLQJV�

Similar to the National Aquatic Centre, the external envelope of the National Studium is also the structure of the building,

hence saving cost and material7��6XFK�HI¿FLHQFLHV�LQ�GHVLJQ�FDQ�UHGXFH�WKH�DPRXQW�RI�HQHUJ\�DQG�PDWHULDO�QHHGHG�IRU�FRQVWUXFWLRQ��FRQWULEXWLQJ�WRZDUGV�D�GHVLJQ�WKDW�KDV�OHVV�HQYLURQPHQWDO�LPSDFW��6XFK�HI¿FLHQFLHV�LQ�GHVLJQ�DUH�PDGH�SRV-

sible with parametric modelling that also considers design futuring.

��*HKU\�7HFKQRORJLHV��³3URMHFW�'HVFULSWLRQ��%HLMLQJ�2O\PSLF�6WDGLXP´��85/��KWWS��ZZZ�JHKU\WHFKQRORJLHV�FRP�VLWHV�GHIDXOW�¿OHV�ZHE-

form/application-docs/Beijing-Olympic-Stadium.pdf. -Last Accessed March 26th, 2014.

7. World Stadiums. N.d. “Beijing National Stadium”. URL: http://www.worldstadiums.com/stadium_menu/architecture/stadium_design/beijing_na-

tional.shtml. -Last Accessed March 26th, 2014.

(Fig. 6.) Beijing National Stadium

9

A. 2 DEsIgN COMPUTATION In the 21st century, computers have become a vital tool in the

¿HOG� RI� DUFKLWHFWXUDO� GHVLJQ�� &RPSXWHUV� DUH� XVHG� LQ� YDULRXV�design and fabrication processes including testing conceptual

LGHDV�LQ��'�GLJLWDO�LPDJH��WR�GHWDLOLQJ�DQG�UH¿QLQJ�WKH�GHVLJQ-

WRZDUGV�WKH�HQG�RI�WKH�GHVLJQ�ZRUNÀRZ��$V�D�WRRO��FRPSXWHUV�have replaced the pencil and ruler that architects used to draw

with, further, with the testing and calculating capacities of com-

puters, such a tool has become a means through which ar-

chitects access data on their designs, in order to make better

design decisions.

There are two major approaches in designing with computers,

namely computation and computerization. For computeriza-

tion, computers are used by the designers to represent and

visualize their design (Fig 7). In another words, the computer is

used as the extension of the pencil and the ruler. However, in

terms of computation design, computers are not only used as a

representation platform, it is also used as a generative tool8. In

another words, the computers can react to parameters offered

by the designer to generate a variety of design solutions and

options for th designer to choose from9.

8. Terzidis, Kostas. Algorithmic Architecture (Boston, MA: Elsevier,2006), p. xi

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

Therefore, the key difference between the computerization and

computation are obvious. Computerization offers designers a

tool to draw and represent their designs, while computation of-

fers designers a drawing and thinking tool.

Implications of both computerisation and computation on the

EXLOGLQJ�DQG�FRQVWUXFWLRQ�LQGXVWU\�DUH�VLJQL¿FDQW��:LWK�FRPSXW-ers, complex geometries in buildings can be visualised, tested

and represented for fabrication. Instead of relying on interpreting

SULQWHG�GUDZLQJV�WR�EXLOG��HQWLUH��'�GLJLWDO�¿OHV�FDQ�EH�VHQW�WR�IDF-

tories for ‘fabrication’. Therefore, computers have reconnected

the process of design and fabrication for architects. Architects

are once again able to ‘build’ as opposed to just design.

$QRWKHU�EHQH¿W�RI�XVLQJ�FRPSXWHUV�LV�WKDW�EXLOGLQJ�SHUIRUPDQFHV�such as the heat gain and loss can be calculated in advance.

Such building data can inform designers in making better design

decisions, so that their designs perform better and can be built

PRUH�HI¿FLHQWO\��

(Fig. 7.) Pavilions. An example of computational design by Michael Hansmeyer.

10

(Fig. 8.) Yas Hotel. Designed by Asymptote

(Fig. 9.) Parametric designed LED panels on the Yas Hotel.

11

10 Vivian Nereim. 2012. “Abu Dhabi’s Yas Viceroy hotel: it’s whatever you want it to be”.URL: http://www.thenational.ae/news/uae-news/abu-dhabis-

yas-viceroy-hotel-its-whatever-you-want-it-to-be. - -Last Accessed March 26th, 2014.

11. ARUP. 2009. ‘YAS Hotel’. URL: http://www.arup.com/projects/yas_hotel.aspx. Last Accessed May 20th, 2014

The Yas Hotel is located in Abu Dhabi, UAE and is

designed by Asymptote architects. The lead archi-

tect, Mr Rashid said that the form of the building

was inspired by the movement, beauty and poetry

of the Formula One car10.

The Yas Hotel has two main buildings connected

by a bridge in the middle. The two hotel buildings

are also connected by a curvilinear 217m grid-shell

structure, composed of over 5,000 individually-lit

angled glass panels that can be remotely controlled

to produce media images. The double curved steel

and glass shell is structurally designed by ARUP

international and is an integral part of the structural

system of the building11 .

A. 2 DEsIgN COMPUTATION YAs HOTELBY AsYMPTOTE

The double curved structural ‘veil’ of the Yas Hotel is para-

metrically modelled and tested to achieve its complex ge-

RPHWU\��,Q�WKLV�SURMHFW�LW�LV�HDV\�WR�VHH�WKH�EHQH¿W�RI�FRP-

SXWDWLRQ�GHVLJQ��6XFK�D�JHRPHWU\� LV�RWKHUZLVH�GLI¿FXOW� WR�design, draw and fabricate without the use of computers.

The organic shape of the structural veil has to be care-

fully designed to perform also as the structure of the build-

ing. In order to design and fabricate the individual glass

panels, complex algorithms had to be scripted so that the

relationship between the unit and the entire structural

grid shell can be tested and managed. Through the use

of paramettric algorithms, variations of glass panel can be

calculated and sent off to factories for precise fabrication.

In another words, without computation design methodolo-

gies, such a design would not be able to be designed and

built.

(Fig. 8.) Yas Hotel. Designed by Asymptote

12

12. Greg Lynn. 2005. “Blobwall”. URL: http://glform.com/environments/blobwall/.- Last Accessed March 26th, 2014.

13. Sci-arc. 2008. “Greg Lynn FORM: Blobwall Pavilion”. URL:http://www.sciarc.edu/exhibition.php?id=1222.-Last Accessed March 26th, 2014.

Blobwall comprises of a series of hollow plastic bricks, custom cut by Computer Nu-

merically Controlled Robotic Arm12. Designed by parametric design architect, Greg

Lynn, the inspiration for the Blobwall comes from traditional brick walls, where an

LGHQWLFDO�XQLW�FDQ�EH�¿[HG�WRJHWKHU�WR�IRUP�D�ODUJHU�DUFKLWHFWXUDO�HOHPHQW�VXFK�DV�an internal wall.

Greg Lynn used the idea of the brick, to develop a ‘blob brick’, that is shaped in a

particular way to allow interlocking. Unlike traditional bricks, which are rectilinear in

shape and do not lend well to curved walls, the ‘blobwall’ can curve into different S,

L, C shapes. Using 3D parametric softwares such as MAX or Maya, different types

of curved walls can be simulated using the blobwall unit. Depending on the overall

shape of the curve, the software can calculate overlapping areas between the blob

bricks using the Boolean function, and able to cutt off extra material by the Robot

Arm13.

Therefore, the blobwall highlights the importance of computation design in not only

designing a blob-interlocking-unit, but also calculating the number of blob units

needed to compose a freestading wall of a certain curvature and height. Also the

amount of material that is needed to be cut off in order for the blob units to be in-

terlocked seemlessly. Given that the blob wall are designed using an algorithm, by

varying the parametric inputs, the entire blob wall can be changed without altering

the shape of individual blob units.

7KH�EOREZDOO�SURMHFW� WKHUHIRUH�VKRZFDVHV�VRPH�RI� WKH�NH\�EHQH¿WV�RI�SDUDPHWULF�GHVLJQ��2QH�RI� WKH�EHQH¿WV�EHLQJ� � WKDW� WKH�GHVLJQHU�FDQ� IDEULFDWH� WKH�GHVLJQ�GL-UHFWO\�WKURXJK�H[SRUWLQJ�WKH�GLJLWDO�¿OHV�WR�EH��'�SULQWHG�RU�VFXOSWHG��,Q�DGGLWLRQ��WKH�compuater is able to test the function and performance of the proposed blobwall,

provideing data for comparison and analysis. With such a powerful tool, computa-

WLRQ�GHVLJQ�DOORZV�GHVLJQHUV�WR�FUHDWH�PRUH�HI¿FLHQW�DQG�VXVWDLQDEOH�GHVLJQV�WKDW�are both easier to fabricate and with less wastage.

A. 2 DEsIgN COMPUTATION BLOBWALLBY gREg LYNN

(Fig. 10.) A unit/ brick

(Fig. 11.) Cut brick by robot arm

(Fig. 12.) how bricks connect

13

(Fig. 13.) A digital model of Blobwall.

(Fig. 14.) Built Blobwall

14

Throughout the history of architecture, the idea of composition,

in terms of achieving a certain kind of aesthetics, has been im-

portant in the way designers approached design problems. Carlo

Scarpa, a famous Italian architect, epitomised the architect that

composed his architecture as paintings on a wall14. In a ‘com-

positional’ approach to design, the designer is the only point of

reference in all design decisions, as the architecture is crafted

and built as a 3D art object.

With the advacement of CAD, architects are using computers in

more ways to support their design process and thinking. Peters15

explains that computers are able to help designers “go beyond

[their] intellect ... through the generation of unexpected results.

For example, when an architect writes a computer program to

solve a design problem, further options can then be explored

WKURXJK�PRGL¿FDWLRQV�WR�WKH�SURJUDP�±�VNHWFKLQJ�E\�DOJRULWKP´��Threfore, by using computer programs and algorithms to design

14. ArchDaily, “Carlo Scarpa: architect biography” http://architect.architecture.sk/carlo-scarpa-architect/carlo-scarpa-architect.php

15. Peters, Brady,‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2003. 83, 2, pp. 04

16. Robert A. Wilson & Frank C. Keil (ed.). The MIT Encyclopedia of the Cognitive Science (Cambridge: The MIT Press, 2000), p. 11.

A. 3 COMPOsITION / gENERATION

sUBDIvIDED COLUMNsBY MICHAEL HANsMEYER

(Fig. 16.) Details of Subdicided Columns (Fig. 17.) Section of Subdicided Columns

architecture, the architect is using computers to ‘generate’ the de-

sign based on input data. Such ‘generative’ appraoch to design

dramatically changes the role of the designer from one that designs

the object to one that designs the ‘rules’ to the shape and form

of the object. Algorithms as the “recipe, method, or technique for

doing something”16�LV�XVHG�LQ�WKHVH�VLWXDWLRQV�WR�GH¿QH�WKH�GHVLJQ�outcomes, leaving the designer to select the generated outcome

based on a set of input parametric data.

In this generative approach to design, the designers become the

SHUVRQ� WKDW� GH¿QHV� WKH� UXOHV�� LQSXWV� WKH� GDWD�� WHVWV� RSWLRQV� DQG�VHOHFW� WKH�¿QDO�SURGXFW��&RPSDUHG� WR� WKH� WUDGLWLRQDO� µFRPSRVLWLRQ¶�approach to architecture design, generation is quicker, more logical

and is able to respond to changing conditions in the form of alter-

ing design parameters. These qualities suggest a dramatic shift in

thinking from traditional compsitional design.

15

The Subdivided Column by Michael Hansmeyer is an example of

how a changing set of parameters on a base form can create end-

less permutations. Through a digital generative process, the archi-

tects of this project can manipulate and permutate a ‘Doric Column’

as a base form. Applying parametric deformations based on a logic

of continued and compounded subdivisions, the orginal Doric Col-

umn is altered through the algorithm to create an array of different

outcomes17. By running the algorithm repeatedly, a generative pro-

cess is set up to create endless permutations18.

In this project, the power and versatility of generative design can be

observed. As the designer alters the parameters of the algorithm,

alternative designs can be created rapidly, that both follows the

same logic and inherits the basic design principles of the original

Doric Column. Better yet, the complex geometries are captured in

WKH�GLJLWDO�¿OH�ZKLFK�FDQ�EH�VHQW�RII�WR�WKH�IDFWRU\�IRU�GLUHFW�IDEULFD-

tion. The versatility of this translation allows the designed object to

be fabricated with precision. Thus without computation and genera-

17. 18. Michael Hansmeyer. 2010. “Projects: Subdivided Columns - A New Order”. URL: http://www.michael-hansmeyer.com/projects/columns_info.

html?screenSize=1&color=1. - Last Accessed March 26th, 2014.

(Fig. 15.) Subdicided Columns by Michael Hansmeyer

tive design technology, such a outcome cannot be achieved.

The only disadvantage the generative process can potentially

inherit is the outcome of endless permutations, that then require

a set of criteria in order to make selections. As the designs fol-

ORZ� WKH�VDPH� ORJLF�� LW� FDQ�EH�GLI¿FXOW� WR� FKRRVH�RQH� LWHUDWLRQ�over the other. In projects that do not require iterative testing,

such a generative process can be cumbersome if not unneces-

sary. However, in a project where such level of testing is re-

TXLUHG�LQ�RUGHU�WR�¿QG�WKH�PRVW�HI¿FLHQW�DUUDQJHPHQW�DQG�GHWDLO��such testing can yeild much merit. The designer in this case

needs to make the decision, taking a step back to consider the

generative approach as another tool to solve the design prob-

lem at hand. The designer has to keep in mind that each design

WRRO�ZLOO�XOWLPDWHO\�EULQJ�ZLWK�LW��LWV�HI¿FLHQFLHV�DQG�LQHI¿FLHQFLHV��

16

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6QRZÀDNH�7RZHU�E\�/$9$� �ODERUDWRU\� IRU� YLVLRQDU\�DUFKLWHFWXUH�� LV�D�project where generative design is used to create a set of changing

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outcome of the overal morphing extrusion is a streamlined, undulating

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7KH�SDUDPHWULF�PRGHO�RI�WKH�6QRZÀDNH�7RZHU�ZDV�EXLOW�RQ�WKH�,QWHUQHW�via Grasshopper by Gilles Retsin20, suggesting another versatility in

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As the building is a residential tower, there are certain spaces

that are required for the tower’s air circulation, ventiliation,

lightening, plumbing and views etc. these requirements can be

‘scripted’ into the algorithm. In another words, the programmatic

complexities of the building can be scripted, so that as the de-

sign parameters are changed, the produced iterations continue

to be responsive to the spatial requirements of the the func-

tional spaces and areas of the building.

17

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18

Concluding PART A of the journal, what is evident is the advcancement of technology in architecture design

and fabrication. Traditional approaches to architecture design such as composition, design then construction,

have limitations in dealing with complex geometries, complex programs and producing high performance archi-

tectural elements such as structure that also act as the buildiing envelope, and the main design feature of the

building. The case studies of the National Stadium and Aquatic Centre in Beijing I discussed earlier, demon-

strate how such complexity in design and construction can be resolved through parametric design and modelling.

Utilising the power of computation design, it is evident that generative design, through the use of algorithms,

can be extremely useful in situations where multiple design outputs are need to be produced quickly. Algorithms

can produce a set of design outputs rapidly and iterations can all be based on the same generative logic. Once

the ‘rules’ of the design are established, multiple designs can be tweeked and tested until the optimum solu-

tion is reached. Furthermore, complex geometries can be fabricated directly in factories through ‘printing’ the 3D

GLJLWDO� ¿OH� WKXV�QRW� QHHGLQJ� WKH�GHVLJQ� WR�EH� µFRQVWUXFWHG¶��6XFK�HI¿FLHQFLHV� FDQ�VDYH� WLPH��PDWHULDO� DQG�PRQH\�

Moving forward I would like to explore further the complex brief of sustianability, energy generation and the pro-

duction of a public sculpture/architecture. Using computation design, I would perhaps adopt the functional

needs of energy generation as parameters to drive my design. Such an amalgamation of public architecture/

VFXOSWXUH� ZLWK� HQHUJ\� JHQHUDWLRQ� LV� LQQRYDWLYH� DQG� ZLOO� XOWLPDWHO\� EULQJ� EHQH¿W� WR� WKH� SHRSOH� RI� &RSHQKDJHQ�

,Q�WKH�SDVW�IHZ�ZHHNV��,�KDYH�OHDUQW�WKDW�FRPSXWDWLRQ�LV�RQH�RI�WKH�PRVW�VLJQL¿FDQW�LQQRYDWLRQV�LQ�DUFKLWHF-

tural design. In the beginning of the semester I thought of digital design only as ways to produce curved

shaped buildings. Now my understanding has deepened further, understanding the algorithmic logic and

parametric controls behind the power of computation.

If I could redesign my ‘Boat House’ project that I did last year, I would approach it completely differently

using computation design. I would analyse the key parameters of the project, including the brief and key

aesthetic ideas and use generative design to come up with a series of intereresting and logical forms to

GHYHORSH�IXUWKHU�LQWR�D�¿QDO�SURGXFW�

A. 4 CONCLUsION

A.5 LEARNINg OUTCOMEs

19

A. 6 APPENDIx - ALgORITHMIC skETCHEs

Algorithm sketch model developed by fol-

lowing the tutorial guide. with some pa-

rameters, the degrees and quantities of the

shifters can be change.

20

Based on the model I learnt from tutorial. I

made this building by extruding the arches

in X,Y, Z plane. And with a parameter of

number of division number, I can change

the number of the panels.

21

PART B:CRITERIA DESIGN

22

B.1 Research Field

After comparing and discussion about all material systems, our team decides to choose strip and folding as the starting point of our design project. We research on some precedents of strip and folding and found that strips can form into variable unexpected shapes and spaces. Strips could be bent, fold, twist etc. For in-stance, changing the direction and degree of folding strips will create vary unique outcomes. And the use of strips can pro-duce very beautiful voids in the surface like ICD / ITKE Research Pavilion 2010 (Fig. 21.22) and Double Agent White by Marc Fornes / Theverymany (Fig. 23).

These gaps can let the lights through and cast stunning shad-ows. Strip also allows more air through the entire project. Ac-cording to 21 years weather record, the average annual wind speed for LAGI design site located in Copenhagen is 20km/h21. It is possible to use of wind to generate energy since the wind speed in Co-penhagen is relatively high. We also want to add some special characteristics in our design to CVVTCEV� RGQRNG�� 6JG� ƂTUV� KFGC�come up with is when the wind blows gaps there will be some sound. So what we are going to do is develop a technique that

makes the project emit differ-ent tones sound like singing.The strips may be subject to bending forces, so that it is im-portant to choose a stable ma-terial and also full of tension. There is a range of materials that we can use such as metal, composite plastic materials, ply-wood. ICD / ITKE Research Pa-vilion uses plywood strips for the structure since they can be bent22. Plywood is suitable for this pavilion as it looks soft and creates a quiescent environment for people. Therefore, choosing materials also depends on the purpose of a curtain project and needs to response to their site.

(Fig. 21.) ICD/ITKE Research Pavilion 2010

21. Weatherbase. 2014. “Copenhagen, Denmark”. URL: http://www.weatherbase.com/weather/weather.php3?s=8160. - Last Accessed May 4th, 2014.22. Michael Pelzer. 2013. “ICD / ITKE Research Pavilion 2010”. URL:http://network.normallab.com/mpelzer. - Last Accessed May 4th, 2014.

23



24 (Fig. 23.) Double Agent White by Marc Fornes / Theverymany

25

B.2 Case Study

26

27

28

B.3 Case Study 2.0Reverse Engineering

29

Reverse EngineeringFLUXby CCA Architecture/MEDIAlab

We choose the FLUX instal-lation (Fig.24) was designed and assembled by a team of California College of the Arts faculty and students. It was used as display boards for an exhibition “FLUX:Architecture in a Parametric Landscape” held by CCA Architecture/ME-DIAlab. FLUX meaning “con-tinuous change or movement

��.+('�#TEJKVGEV��0�F��p(.7:�+PUVCNNCVKQPq��74.��JVVR��YYY�NKHVCTEJKVGEVU�EQO�ƃWZ��.CUV�#E-cessed May 4th, 2014.

also help with fabrication. All of the vertical MDF (medium FGPUKV[� ƂDGT�DQCTF�� TKDU� CPF�horizontal HDPE (high den-sity polyethylene) panels of the FLUX was generated by VJG� ITCUUJQRRGT� FGƂPKVKQP��And it is easy to assemble and disassemble because every part of the project is distinc-tive and numbered in order24.

(Fig. 24.) FLUX installation by CCA Architecture/MEDIAlab.

is an appropriate appellation for the current state of af-fairs in architectural practices that try to reconcile the need for iterative or evolutionary design procedures with the ways in which we produce ar-chitectural environments23”. The FLUX installation applied advanced digital design tech-nique to create the form and

30

Reverse Engineer-Grasshopper Process

1. It is crucial and funda-mental to determine section shape of the FLUX, because this shape is the basis of the twisting-structured project.

2. By utilising script ‘Area’, a central point of section shape is discovered. From the central point, a line is generated which is regarded as the centre of ro-tation. By moving multiple sec-tion shape along x axis, a base form of the FLUX is created.

31

3. After generated the basic shape of the FLUX, 3D rotation is applied by using the central line as the axis of rotation. To make the model more similar to the original FLUX installation, the direction and degree of ro-tation should be similar. There-fore, the “angle” command in “Rotate 3D” needs to connect a “Graph Mapper”. By this step, the model has the twist form.

32

4. In order to obtain a more actual reverse of the FLUX, surfaces of the boundary are divided into two parts: rig-id structure and the surface lofted between the structure.

5. For the surface lofted between structure, lists of faces are scaled. In order to ensure all the faces are scaled in same direction, Pla-nar is used. After extrude, the series of faces are cull indexed.

33

�� 6JG�ƂPCN� TGXGTUG�GPIKPGGTKPI�QH�(NWZ�KU�ƂPKUJKPI�D[�LQKPKPI�VYQ�parts of the boundary together.

�À>ÃÃ��««iÀ�`iw��Ì��v�Ài�i�}��iiÀi`��18°

34

Reverse EngineeringRe-engineered FLUX Installation

35

36

37

38

B.4 Technique : DevelopmentMatrix of Iterations

39

B.4 Technique : Development

Rotation center: By changing the central grid line to create new central of rotation to form new iterations.

40

Matrix of Iterations


41

Dimension:By changing the linear curve graph mapper to form different geometry such as smaller base with large open on the top


42



43

Rotate Angle:By applying different graph mapper to change the rotation form of the geometry.


44



45

Base Surface:By changing the base surface to effect the change of central point and shape of the boundary to form new iterations.


46



47

Solid: By using different 3D shape such as cone, box and cylinder to form new iterations


48

We choose to explore the iter-ations with pipes as they best meet our design intent. This it-eration was produced through changing the angle and center of rotation, as well as the input surface. The design concen-trating is to utilize wind power to generate energy. Mean-while, This design can attract people by sound comes from the tubes when wind blows. It allows people to hear the wind and make the movement of wind “can be seen”. We decide to have pipes to be a part of our design not only be

cause they can make sounds but also the tone of sound could be manipulated by placing different length of tubes. Compare to sin-gle boring sound, this can attract more people. And the arrange-ment of pipes of these iterations seems to be several overlaid Ver-tical Axis Wind Turbines. If each layer of the pipes can be rotated hence produce momentum, and then transfer into electricity by generators. When wind comes, some part of wind make the pipes spin, while a little part of wind blow into the tubes and make sound while they are spinning.

49

50

B.5. Technique : Prototypes

Fig. 25. A small model of preconceived design shape.

51

Fig. 26. Top view of the model

Fig. 27. How the project look like when all layers are spining .

52

Material&Shape

JOINT

PVC hollow square PVC tube

Joint A Joint B

53

Metal tube

Joint C

The core purpose of prototypes creation is to assess the material and shape of the pipes as well as the joint DGVYGGP�RKRGU�CPF�UVTWEVWTG��2KRGU�CTG�ƂZGF�KP�C�OGVCN�ring.

Metal tubes, PVC tubes, and PVC hollow squares are the materials selected to test how material and shape affect spinning speed. As the spinning speed of tubes related to the energy generated, we need a joint with minimum friction that enables pipes to spin as fast as possible by using less wind power.

9G�CNUQ�OCFG�VJTGG�FKHHGTGPV�V[RGU�QH�LQKPVU�VQ�ƂPF�QWV�which one make less friction. As shown on the picture, ,QKPV�#�JCU�C�OGVCN�UJGGV�ƂZGF�QP�C�UVTWEVWTCN�EQNWOP��And place the ring with pipes on metal sheet when testing. This type of joint makes sliding friction. As for Joint B, there is a groove with beads on the metal sheet. Rolling friction will occur when using this type of joint. Joint C installs wheels to reduce friction.

Pipes and joints could be matching up as combinations radomly (Fig.28. 29. 30), since they are two sepa-rate sets of parts rather than one-pieces. This kind of design enables and facilitates us to control variables. For example, in order to test spinning speed of metal RKRGU�CPF�28%�RKRG��YG�PGGF�VQ�ƂZ�CNN�VJG�HCEVQTU�except material. This could done by placing metal pipe and PVC pipe on joint A respectively as two different combinations, then count the number of spinning of each combination while given the same amount of wind power and time. After testing the prototypes, we found that the mate-rial of pipes should be lightweight and high stiffness. Because reducing the weight of the pipes is reduce the loads on the tower and foundations. Thus composite materials such as glass reinforced plastic, wood-epoxy QT�KPLGEVKQP�OQNFGF�RNCUVKE�YKVJ�ECTDQP�ƂDGTU�YQWNF�DG�good choices for the pipes.

The tower as structural elements of the project should be stiff and strong enough to support the weight of VJG�VWDGU��#PF�KV�OWUV�CNUQ�YKVJUVCPF�ƃWEVWCVKPI�YKPF�loading and loading resulting from pipe spinning. Therefore, the material of tower could be steel.

54Fig. 28. Assembled joints and pipes.

55Fig. 28. Assembled joints and pipes.

Fig. 29. Assembled joints and pipes.

Fig. 30. How joint and pipes are assembled.

LAGI DesignSite

Fig. 31. Aerial view of LAGI design site.

58

B.6 Technique : Proposal

Fig. 32. LAGI design site.

25. 26. Land Art Generator Initiative. 2014. “Copenhagen, 2014 Design Guidelines”.URL: http://landartgenerator.org/competition2014.html. Last Accessed May 4th, 2014.

LAGI competition requires designer to build an infrastructure in LAGI design site (Fig. 32) where is a pier section of Refshaleøen located in Copenhagen, Denmark25. The project needs to generate electricity from nature, while not produces any greenhouse gas emissions and not pollutions26.

59

Fig. 33. Windrose plot of Copenhagen.

Fig. 34. average wind speed in Copenhagen.

As the site is near the sea, usually coastal area has strong wind than inland area. There-fore we did some research of wind in Copenhagen. Accord-ing to the Average Wind Speed table (Fig. 34.), annual average wind speed in Copenhagen is 20km/h. In January the average wind speed reached 25km/h27.

6JGUG�ƂIWTGU�UJQY�VJCV�%QRGPJCIGP�QYPU�UWHƂEKGPV�wind power, so it is practicable to produce energy by wind. Therefore, our design will make use of wind power to generate electricity. Furthermore, City of Copenhagen promotes using wind power. In 2012, there is 22% electricity production from wind power in Denmark, and they want the percentage to be 50% in 202028.

The wind rose plot shows majority wind in Copenhagen comes from southwest and west. When we set the infra-structures in the site, make sure they are facing the wind to acquire more wind power.

27. Weatherbase. 2014. “Copenhagen, Denmark”. URL: http://www.weatherbase.com/weather/weather.php3?s=8160. - Last Ac-cessed May 4th, 2014.Ón°��ÌÞ��v��«i��>}i�°�Óä£Ó°�º�«i��>}i�\�-��ÕÌ��Ã��À�-ÕÃÌ>��>L�i��Ì�iÃ»°�1,�\ÜÜÜ°V«�V�i>�ÌiV�°V��°��>ÃÌ�ƂVViÃÃi`��>Þ�4th, 2014.

60

After mid-term presentation, tutor and guests provide us many useful feedback and ad-vices about our design. After TGƃGEVKQP�� +� UWOOCTKUGF�RTQD-lems arisen and possible solu-tions to improve the design:1. The sound of wind blow the tubes originally is designed as a distinguishing attraction of the project. However, some guests regard the sound as noise. We will optimise our de-sign, to make the sound pleas-ant or cancel the sound effect.2. We need to change shape of pipes to enlarge the wind contact surface area since it promotes the spinning speed and also increase the possibility to spin. We can learn from windmills and

wind turbines, see what kind of shape helps spinning. 3. The project is lack of hu-man interaction. We will set some of the pipes lower to en-able people to generate en-ergy manually by spin the pipes.4. Human cannot control wind. The strong wind may cause stability issues. Therefore we will improve the structure and foundation to ensure it is strong enough to sup-port itself. On the other hand, if there is only gentle breeze, the ability to generate energy may be affected. It may stop spinning. Hence, we need to choose light OCVGTKCN� CPF� ƃGZKDNG� LQKPVU� VQ�make it spin even with little wind. 5. In order to gain more energy, we will set a lot of this kind of in-frastructure on the design site.

B.7 Learning Objectives and Outcomes

61

B.8 Appendix - Algorithmic Sketches

62

PART C:CRITERIA DESIGN

63

C.1 Design ConCept

The feedbacks from the interim presentation were:1.Change pipes into blades, so they will not produce noise. The blade shapes will also enlarge the surface area of the propellers to the wind. 2.Design the blades with a slight curve, so it can better resist bend-ing when it is catching the wind. 3.Put a lot of turbines on the site to create a windmill farm.

64

The problems we faced were:

1. The design had too many blades so the turbine propellers hardly moved to the wind. We originally chose to design the proj-ects with as many blades as possible because we thought that it looked more beautiful with a ‘spiky’ feel. However, we failed to consider whether the number of blades would impede the project from working.

2. Due to safety reasons, the blades on the lower level close to WKH�ZKHUH�WKH�SHRSOH�ZRXOG�EH�ZHUH�DOVR�¿[HG��6LQFH�WKH\�FDQQRW�rotate, in the end we thought there were really a waste of money and material.

3. Also, another aspect we failed to consider was that the lengths of the blades on the same level were different. The different lengths would possibly cause uneven loading when the blades were in rotatation. The uneven load may cause the system to fail.

��6R�LQ�UH¿QLQJ�WKH�SURMHFW�ZH�QHHGHG�WR�¿QG�D�EDODQFH�EHWZHHQ�aesthetics and functionality.

65

66

67

29. Ministry of Foreign Affairs of Denmark. N.d. “Copenhageners Love Their Bikes”. URL: http://denmark.dk/en/green-living/bicycle-culture/copenhagen-ers-love-their-bikes/. -Last Accessed June 9th, 2014.

,Q�UH¿QLQJ�WKH�GHVLJQ��ZH�PRGL¿HG�WKH�VFXOSWXUHV�WR�ORRN�PRUH�OLNH�WUHHV��³:LQG�7UHHV´��Each Wind Tree had blades that looked like branches. The overall effect was the cre-ation of a man-made forest which we believed worked well with the competition site as it is also meant to be a public park or open space.

In order to engage visitors we designed a series of walking and biking paths on site. Knowing that Copenhangener love their bikes we especially wanted our project to be ‘bike friendly’. According to government statistics29 50% of all Copenhagen citizens commute by bike every day and there are more bikes than inhabitants.

On the edges of the site, the existing road way is also kept to allows cars to come up to WKH�ZDWHU�WD[L�WHUPLQDO�RQ�WKH�6RXWKHUQ�HQG�RI�WKH�VLWH��7KH�RSHQ�VSDFH�RQ�WKH�1RUWK�East part of the site is also left as a open space so that it could be used for larger events such as music festivals and weekend markets.

68

69

7KH�PDMRU�ZLQG�GLUHFWLRQV� LQ�&RSHQKDJHQ�DUH� IURP�WKH�6RXWK�:HVW�DQG�West. In responding to the site conditions, we decided to place a number of WDOO�:LQG�7UHHV�LQ�WKH�6RXWK�:HVWHUQ�FRUQHU�RI�WKH�VLWH��7KLV�SLFWXUH�VKRZV�the different heights of Wind Trees on the site from the West to the East.

70

71

72

Design DeFinition

��6HW�XS�ORFDWLRQ�SRLQWV�LQ�5KLQR�DQG�ODEHO�WKHP�from 1 to 24. Then use Voronoi in Grasshopper to create the line for paths.

2. Use “Pipe” to produce columns. The height of each column: H is determined by number of layers: N.

73

3. Each column has 5m bottom clearance and 3-10 layers of ring. Number of layers were set one by one.

4. Each ring has 6 blades, and the length of blades were choose by “Random” in a range between 1.5m-6m.

C.1 Design ConCept envisageD ConstruCtion proCess

%HJLQQLQJ�ZLWK�VLWH�SUHSDUDWLRQ��WKH�SURMHFW�¿UVW�needs some infrastructural work including the laying of underground power cables to carry the electricity generated to the local power station.

The Wind Trees, including all components such as column, ring, blades are prefabricated in lo-cal factories to reduce greenhouses gases and transported to site for assembly.

The foundation of each Wind Tree is reinforced FRQFUHWH��ZLWK�EROWV�¿[LQJ�WKH�EDVH�SODWH�RI�WKH�Wind Trees.

C.1 Design ConCept

78

C. 2 teCtoniC elements Detail moDel

The section drawings on this page show the connections between the columns and rings. In part B, we tested 3 kinds of joints and found that the joint with the ball bearings performed WKH�EHVW�LQ�WHUPV�RI�DOORZLQJ�WKH�URWDWLRQDO�PRYHPHQW��6R�ZH�decided to use the ball bearings joints on the top and bottom of the blade rings. Compared to the joints we made for part B, we also added some changes, for example, we added two plates on the top of the ball bearings to make sure the ball bearings ZHUH�¿UPO\�KHOG�LQ�LWV�WUDFNV��

79

80

81

82

83

84

C.3 Final moDel

This model was made by laser cutting out of perspex, then gluing all the layers together with varying degrees of rotation. This model was made before we changed our design. But this model can still show how the Wind Tree would look like when it is spinning at speed.

85

C.3 Final moDel

86

87

88

89

90

91

100

C.4 aDDitional lagi BrieF requirementsDetail moDel

30. Robert Ferry & Elizabeth Monoian. 2012. “LAGI Field Guid Renewable Energy”. URL: http://landartgenerator.org/LAGI-FieldGuideRenewableEnergy-ed1.pdf. -Last Accessed June 9th, 2014.��8QLYHUVLW\�RI�6WUDWKFO\GH��1�G��³:LQG�3RZHU´��85/��KWWS��ZZZ�HVUX�VWUDWK�DF�XN�(DQG(�:HEBVLWHV��5(BLQIR�ZLQG�KWP��/DVW�$FFHVVHG�-XQH��WK��(QHUJ\�*RY��³,QVWDOOLQJ�DQG�0DLQWDLQLQJ�D�6PDOO�:LQG�(OHFWULF�6\VWHP´��85/��KWWS��HQHUJ\�JRY�HQHUJ\VDYHU�DUWLFOHV�LQVWDOOLQJ�DQG�PDLQWDLQLQJ�VPDOO�ZLQG�electric-system. -Last Accessed June 9th, 2014.

:,1'�75((6�2)�&23(1+$*(1The idea of our project - ‘Wind Trees of Copenhagen’ came from combining nature (trees) with renewable WHFKQRORJ\��ZLQG�SRZHU�JHQHUDWLRQ��6LPLODU�WR�WKH�LGHD�of wind turbines, the Wind Trees have blades that move with the wind, turning as it generates electricity for the city of Copenhagen. We believe that our proposal will create a popular destination for Copenhageners and tourists alike. Like an urban wind power forest, the Wind Trees would dot the site, creating a park environment for people that want to enjoy the outdoor, sit under a Wind Tree or bike around the site. The Wind Trees are FRQFHQWUDWHG�DW� WKH�6RXWK�:HVWHUQ�FRUQHU�RI� WKH�VLWH� ��Each tree rotates at different speeds to the breeze. The slow and gentle rhythm of the rotation is melodic and peotic. Each of the Wind Trees are at different heights, mimicking the vairable dimensions of real trees. We have also deliberately incorporated bicycle and walking tracks to attract the large outdoor biking population of Copenhagen. The technology used in your design Vertical axis wind turbines are generally either Darrieus RU�6DYRQLXV�LQ�W\SH��QDPHG�DIWHU�WKHLU�HDUO\��WK�FHQWXU\�inventors). A simple distinction between the two types is that Darrieus-type turbines use aerofoil blades and 6DYRQLXV�W\SH� WXUELQHV� XVH� ZLQG� VFRRSV30. In our design project, the Wind Trees are Darrieus in typology, adopting the blades as the kinetic energy generator. One of the key advantages of the Darrieus wind generator is that they do not need to face any particular direction with respect to the wind in order to work. In another words, these turbines would work irrespective of wind direction31. The wind power generated would be stored in batteries and transferred via underground powerlines to the Copenhagen grid.

Estimate of the annual kWh generated by your design A preliminary estimate of the performance of our dsign can be gauged by the following formula32: AEO= 0.01328 D2 V3

Where: AEO = Annual energy output (kWh/year) D = Rotor diameter, feet (average 23) V = Annual average wind speed, miles-per hour (mph), at your site (12.4)

Therefore: AEO= 0.01328*23²*12.43 =13394.26 Total layers: 136 13394.26*136 = 1,821,620 (kWh/year)

Dimensions and primary materials used in your design

��6WHHO�FROXPQV�� P�UDGLXPV ��P�KHLJKW��DYHUDJH��hollow steel column. - Composite plastic:for rings and blades.- Reinforced cncrete for foundation. Environmental impact statement We believe our project offers huge environmental EHQH¿WV�WR�WKH�FLW\��1RW�RQO\�GRHV�WKH�SURMHFW�JHQHUDWH�a large amount of green renewable energy each year, the project is also fabricated locally to reduce the carbon footprint that would otherwise incurr if the components had been manufactured overseas and would have to be transported. Due to the slow moving nature of the blades there would be no adverse impact to birds in the area. Overall the project will be a strong environmental statement to Copenhagen.

30. Robert Ferry & Elizabeth Monoian. 2012. “LAGI Field Guid Renewable Energy”. URL: http://landartgenerator.org/LAGI-FieldGuideRenewableEnergy-ed1.pdf. -Last Accessed June 9th, 2014.��8QLYHUVLW\�RI�6WUDWKFO\GH��1�G��³:LQG�3RZHU´��85/��KWWS��ZZZ�HVUX�VWUDWK�DF�XN�(DQG(�:HEBVLWHV��5(BLQIR�ZLQG�KWP��/DVW�$FFHVVHG�-XQH��WK��(QHUJ\�*RY��³,QVWDOOLQJ�DQG�0DLQWDLQLQJ�D�6PDOO�:LQG�(OHFWULF�6\VWHP´��85/��KWWS��HQHUJ\�JRY�HQHUJ\VDYHU�DUWLFOHV�LQVWDOOLQJ�DQG�PDLQWDLQLQJ�VPDOO�ZLQG�electric-system. -Last Accessed June 9th, 2014.

101

C.4 learning oBjeCtives anD outComes

Objective 1. 7KURXJK�WKH�$LU�6WXGLR�,�KDYH�OHDUQW�WR�³LQWHUURJDWH�a brief”. Unpick the different aspects of the brief and develop design options for selection. This LV� HYLGHQFHG� E\� WKH� PRGL¿FDWLRQ� DQG� WHFKQLTXH�developements we have done on the project. A process of continual development and change to UH¿QH�WKH�GHVLJQ�IRU�RSWLPXP�HI¿FLHQF\�

Objective 2. I have developed “an ability to generate a variety of design possibilities for a given situation” through the use of parametric modelling softwares such as Rhino and Grasshopper. This is evidenced especially in the matrices our group had procuded in Part B of the journal.

Objective 3.In the beginning of the semester I had no idea of how to use any 3D softwares. By the end of this studio I am now familiar with the working functions of Rhino and Grasshopper. I have also learnt how WR�VHQG�GLJLWLDO� ¿OHV� IRU� IDEULFDWLRQ�VXFK�DV� ODVHU�cutting.

Objective 4.I have developed “an understanding of the relationships between architecture and air”. 7KURXJK�WKH�$LU�6WXGLR�,�KDYH�EHFRPH�FRPIRUWDEOH�working in both the real physical world and the digital world in terms of modelling ideas up both in a physically sense and in 3D softwares. In fact I KDYH�IRXQG�VXFK�SURFHVV�EHQH¿FLDO�WR�WKH�GHVLJQ�thinking process.

Objective 5. 7KURXJK� WKH� $LU� 6WXGLR� ,� KDYH� GHYHORSHG� ³WKH�ability to make a case for proposals”. Beginning with Part A of the journal where I have research ed and discussed so many precedent case studies to selecting and developing our idea on Green parametric architecture. Developing our design both in theoretical terms and in our growing understanding of construction.

Objective 6. I have found Part A of the journal especially helpful in getting me started on the design. Within Part A I have learnt to analyse and learn from precedent projects conceptually and technically. This initial exercise has been very helpful in building a base knowledge to develop our ideas upon.

Objective 7.6WXGLR�$LU�KDV�IRXQGDPHQWDOO\�SURYLGHG�PH�ZLWK�D�solid understanding of computation design. How to use and develop algorithms to create interesting geometries. More importantly how to manage GDWD�VWUXFWXUHV� LQ�RUGHU� WR�UH¿QH�RXU�GHVLJQ�ZLWK�growing complexity

Objective 8.I have somewhat started to develope a personalised UHSHUWRLUH�RI�FRPSXWDWLRQDO�WHFKQLTXHV�DOWKRXJK�,�believe it is still immature as I have just started this computational design journey. But I have taken a liking to adopting a very simple base unit or geometry and organising that simple unit to become something interesting at a meta level.

ArchDaily, “Carlo Scarpa: architect biography”. URL: http://architect.architecture.sk/carlo-scarpa-architect/carlo-scarpa-architect.php.Last Accessed May 20th, 2014

ARUP. 2009. ‘YAS Hotel’. URL: http://www.arup.com/projects/yas_hotel.aspx. Last Accessed May 20th, 2014

Arup, Creative Leadership and the Water Cube at the Beijing Olympics. (The cre-ative leadership forum, 2008). http://thecreativeleadershipforum.com/creativity-matters-blog/2008/8/9/creative-leadership-and-the-water-cube-at-the-beijing-olym-pi.html

City of Copenhagen. 2012. “Copenhagen: Solutions For Sustainable Cities”. URL:www.cphcleantech.com. - Last Accessed May 4th, 2014.

Energy.Gov. 2012. “Installing and Maintaining a Small Wind Electric System”. URL: http://energy.gov/energysaver/articles/installing-and-maintaining-small-wind-elec-tric-system. -Last Accessed June 9th, 2014.

)KNNGU�4GVUKP��p.CDQTCVQT[�HQT�8KUKQPCT[�#TEJKVGEVWTG�5PQYƃCMG�VQYGTq��74.��http://www.grasshopper3d.com/photo/albums/laboratory-for-visionary. - Last Ac-cessed March 26th, 2014.

Greg Lynn. 2005. “Blobwall”. URL: http://glform.com/environments/blobwall/.- Last Accessed March 26th, 2014.

Gehry Technologies. 2009. “Project Description: Beijing Olympic Stadium”. URL: JVVR��YYY�IGJT[VGEJPQNQIKGU�EQO�UKVGU�FGHCWNV�ƂNGU�YGDHQTO�CRRNKECVKQP�FQEU�Beijing-Olympic-Stadium.pdf. -Last Accessed March 26th, 2014.

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

Land Art Generator Initiative. 2014. “Copenhagen, 2014 Design Guidelines”.URL: http://landartgenerator.org/competition2014.html. Last Accessed May 4th, 2014.

LAVA. 2008. “MICHAEL SCHUMACHER TOWER”. URL: http://www.l-a-v-a.net/proj-GEVU�OUYEV�UPQYƃCMG�VQYGT��.CUV�#EEGUUGF�/CTEJ��VJ��

.+('�#TEJKVGEV��0�F��p(.7:�+PUVCNNCVKQPq��74.��JVVR��YYY�NKHVCTEJKVGEVU�EQO�ƃWZ��Last Accessed May 4th, 2014.

BiBliography

Michael Hansmeyer. 2010. “Projects: Subdivided Columns - A New Or-der”. URL: http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=1. - Last Accessed March 26th, 2014.

Michael Pelzer. 2013. “ICD / ITKE Research Pavilion 2010”. URL:http://network.normallab.com/mpelzer. - Last Accessed May 4th, 2014.

Ministry of Foreign Affairs of Denmark. N.d. “Copenhageners Love Their Bikes”. URL: http://denmark.dk/en/green-living/bicycle-culture/copenhageners-love-their-bikes/. -Last Accessed June 9th, 2014.

Peters, Brady,‘Computation Works: The Building of Algorithmic Thought’, Architec-tural Design, 2003. 83, 2, pp. 04

Robert A. Wilson & Frank C. Keil (ed.). The MIT Encyclopedia of the Cognitive Sci-ence (Cambridge: The MIT Press, 2000), p.11.

Robert Ferry & Elizabeth Monoian. 2012. “LAGI Field Guid Renewable Energy”. URL: http://landartgenerator.org/LAGI-FieldGuideRenewableEnergy-ed1.pdf. -Last Accessed June 9th, 2014.

Sci-arc. 2008. “Greg Lynn FORM: Blobwall Pavilion”. URL:http://www.sciarc.edu/ex-hibition.php?id=1222.-Last Accessed March 26th, 2014.

Terzidis, Kostas. Algorithmic Architecture (Boston, MA: Elsevier,2006), p. xi

Tony Fry, Design Futuring: Sustainability, Ethics, and New Practice (Oxford: Berg, 2009), P.4.

University of Strathclyde. N.d. “Wind Power”. URL: http://www.esru.strath.ac.uk/EandE/Web_sites/01-02/RE_info/wind.htm. -Last Accessed June 9th, 2014.

Vivian Nereim. 2012. “Abu Dhabi’s Yas Viceroy hotel: it’s whatever you want it to be”.URL: http://www.thenational.ae/news/uae-news/abu-dhabis-yas-viceroy-hotel-its-whatever-you-want-it-to-be. - -Last Accessed March 26th, 2014.

Weatherbase. 2014. “Copenhagen, Denmark”. URL: http://www.weatherbase.com/weather/weather.php3?s=8160. - Last Accessed May 4th, 2014.

World Stadiums. N.d. “Beijing National Stadium”. URL: http://www.worldstadiums.com/stadium_menu/architecture/stadium_design/beijing_national.shtml. -Last Ac-cessed March 26th, 2014.

Documents

Air Journal Final