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ABPL30048 Studio Air // University of Melbourne // S2, 2014 // Nadia Putri (565084)
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STUDIO AIRABPL30048 // ARCHITECTURE DESIGN STUDIO : AIRSEMESTER 2 // 2014NADIA PUTRI
DESIGN JOURNAL
STUDIO AIRABPL30048 // ARCHITECTURE DESIGN STUDIO : AIRSEMESTER 2 // 2014NADIA PUTRI // 565084TUTOR : FINNIAN WARNOCK
DESIGN JOURNAL
CONTENTS
PART A CONCEPTUALISATION
6-7 INTRODUCTION8-9 CONCEPTUALISATION 10-15 A1 DESIGN FUTURING16-21 A2 DESIGN COMPUTATION22-27 A3 COMPOSITION/GENERATION28 A4 CONCLUSION29 A5 LEARNING OUTCOMES30-31 A6 APPENDIX: ALGORITHMIC SKETCHES32-33 A7 REFERENCE LIST
PART B CRITERIA DESIGN
36-39 B1 RESEARCH FIELD40-45 B2 CASE STUDY 1.046-49 B3 CASE STUDY 2.050-57 B4 TECHNIQUE: DEVELOPMENT58-63 B5 TECHNIQUE: PROTOTYPES64-65 B6 TECHNIQUE: PROPOSAL66-67 B7 LEARNING OBJECTIVES AND OUTCOME68-69 B8 APPENDIX: ALGORITHMIC SKETCHES70-71 B9 REFERENCE LIST
PART C DETAILED DESIGN
74-83 C1 DESIGN CONCEPT84-91 C2 TECTONIC ELEMENTS AND PROTOTYPES92-103 C3 FINAL DETAIL MODEL104-119 DESIGN PROPOSAL: THE BOHEMIAN BRAID120 PRESENTATION FEEDBACK121 LEARNING OUTCOMES122-123 REFERENCE LIST
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INTRODUCTION
NADIA PUTRIBACHELOR OF ENVIRONMENTS // UNIVERSITY OF MELBOURNE3RD YEAR ARCHITECTURE STUDENT
When I was young, I like to read books, in particular the field of literature, from Alice in Wonderland to Robert Frost's poems. I also like to arrange my toys and things in an orderly manner. I like to
run, cycle, laugh and have fun.
Why do I say all these things? It is because these make up the daily routine that make me as I am today. Hence I start to ponder;
"How do people think of these things?"
From ideas to the written book, from thinking to the pragmatic.
There is no answer to that, only that I discover ideas are needed in this world for variety and for exploration, as well as future
enhancements.
How do people, or I achieve that? It is a question of creativity, in which is not free. I have always wanted to explore different things without being afraid of discovering them, similar to the concept of
Schrodinger's Cat.
Because the result of discovery is not necessarily a good one, however if it enhances experience, expands my knowledge and provides the potential to learn, I will be more motivated to do so.
I have always been looking for ways to explore creativity in my mind, in which I found the answer, and in which I hold this
principle tightly in my life;
Creativity is not an eureka moment, but it is a moment in which you discover an idea as a result of an accumulation of information,
ideas, knowledge and experience.
I hope through this subject, it allows me to do just that; to expand my creative thinking in terms of design and technical skills to
realise the potential of design exploration.
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“creativity is intelligence having fun.”
albert einstein
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CONCEPTUALISATIONPART A.
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DESIGN FUTURINGA1.0
Design in itself is able to impact the world globally; deciding on the future of cities and the population . However, the world is facing an environmental crisis, eventually leading to the ecology endangered for the future generations. How then should we act in accordance to this matter?1
People assume that design is unable to change anything as humans have committed extensive damage to the environment, with nations wanting to be more and more economically progressive, hence resulting in further destruction of forests and other important ecological systems2.
The brief of LAGI is attempting to address this problem of designing a project that can aid in promoting sustainability. This project is to be integrated not only to be sustainable, but also by incorporating art and creative thinking to possibly create renewable energy through the design3 .
The purpose of the brief is also to encourage not only designers and architects, but also engineers, scientists, as well as landscape architects to produce a design that responds to this 21st century energy challenge while also coming up with aesthetics and pragmatic solutions towards the design4.
The importance of sustainability in the current environmental context is inevitable as to ensure the future is also sustained, as nature plays a crucial part in providing a better place to live for future generations.
“In this situation, design either goes on becoming trivialized,
technocratic, invisible and elemental to the unsustainable,
or it becomes a pathfinding means to
sustain action countering the unsustainable while also creating
far more viable futures.“
Tony Fry, Design Futuring: Sustainability, Ethics and New Practice
DESIGNING FOR SUSTAINABILITYBRIEF: LAND ART GENERATOR INITATIVE (LAGI)COPENHAGEN, DENMARK
Deforestation is one of the leading causes of unsustainability. This impacts wildlife, which then will affect the ecology and ultimately the future
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HYGROSCOPE A1.1
HYGROSCOPE : METEREOSENSITIVE TECHNOLOGYACHIM MENGES // IN COLLABORATION WITH STEFFEN REICHERTPOMPIDOU CENTRE, PARIS // 2012
The wooden panels fabricated with exact precision of the thickness and width, hence enhancing efficiency ; this is difficult to achieve if one is merely using traditional documentation and fabrication methods in 2D. The use of parametric modelling is used to create innovative design that can be a platform for future development of digital modelling, in terms of efficiency and effectiveness through careful mathematical calculations.
This project introduces the technology in which may aid future energy production without having the use of machines or any other equipment to control its productivity; hence it is self-sufficient. The use of material is also creatively crafted to utilise what seems to be timber's drawback of contraction and expansion into something useful.
Figure 1. Morphogenetic Design Experiment Permanent Collection, the appearance of the closing panels
Achim Menges with Steffen Reichert created a novel project called 'Responsive Architecture'. This project explores material instability of food with its associated moisture content to create a climate-responsive architectural morphology. The model is suspended within a humidity controlled glass case as the model contracts and expands in response to climate change, hence there is no need for any other equipment; the model itself is the 'machine'5.
The responsive capacity is based on the material's inherent behaviour (hygroscopic) and anisotropic characteristics. Anisotropy refer to a material's characteristic in regard to direction. In this case, the wood's grain direction6. This reflects on the notion of nature in itself being complex and structured at the same time. Nature changes through a set of principles that it goes with, thus the order.
This project contrasts with existing parametric modelling and design, in which the design is normally stagnant. However, since it is climate-responsive, the material itself is engineered to react according to the set of rules set in the computational software.
The aim of parametric design is, in addition to efficiency, is the ability to foresee future problems as the software has identified the problems or errors in the first place. This quickens the design and construction process of the model. However, can this be used to produce energy, in this case, from responding to the climate to producing energy that is renewable. Ecological design is also said to be improved by 3D design, in which better planning can be done.
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Figure 2. The opening up of the timber panels in response to climate change with moisture content
Figure 3. The close-up of the panel movement; each responding individually to the climate. From the left, the panels are slightly open and expand even more as seen on the right
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CENTRE POMPIDOU-METZA1.2
SHIGERU BAN ARCHITECTS and JEAN DE GASTINESMETZ, FRANCE // 2010
Shigeru Ban with Jean de Gastines used parametric modelling to achieve seamlessness between the exterior and interior of the Centre Pompidou-Metz. The roof is made from laminated wood in a hexagonal woven pattern that is formed according to the composition of a Chinese bamboo-woven hat. The vast timber roof is covered in a Teflon-coated fiberglass membrane and allows natural light to filter into the interior. The main galleries consist of a series of 90mx15m cantilevering rectilinear tubes that float above the ground, and their glass window ends point in the direction of the cathedral and other monuments of the city7.
For the timber roof structure, it took ten months to prepare and four months to install the timber mesh, which comprises 18 kilometres of glue-laminated timber beams. 95% of the roof timbers are made from Austrian or Swiss spruce; with mixtures of beech and larch. Every single beam was CNC-machined to unique proportions. This enabled both the production of multi- directional curves and the perforations for the final assembly (node points, pins and braces). Timber is chosen as it is an inexhaustible and easily recycled material8.
The concept of the hexagon is effective in connecting the beams which allow for maximum tensility that is needed for the roof. Also, the use of bolts for the joints allow for expansion of the beams to cope for movement as a precautionary step despite being protected by the fiberglass membrane.
The evolutionary concept of this project is the combination of parametric design which combines the notion of sustainability by using easily recycled materials, in this case timber. The efficiency of parametric design is applied through the use of interconnected beams to create a seemingly expanding roof that caters to the function of the building as a Museum, and that is to make as much space for the artworks.
The use of parametric modelling is effectively used in the context for maximum efficiency, space and a distinctive kind of aesthetics that is only evident in digital design. The ability to produce complex design through timber panelling utilises wood's properties in terms of it's tensile and compressive characteristics.
Figure 4. The vast roof make room for its various functions of the Museum, hence using parametric modelling can create continuity of the roof itself and precision of the fabrication is essential in connnecting the beams
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Figure 5. The intertwining hexagonal timber beams that show the complexity of the roof that creates the notion of lightness and efficiency
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DESIGN COMPUTATIONA2.0
Design computation has become increasingly important in recent years as to create a different type of form generation. Beyond only being a design technology, parametric design is a novel type of logical digital design thinking. This type of design concentrates on the logical relationship and dependency between object and their counter-part relationships. Formation precedes form, and design becomes the result of the generative process through the logic of algorithm9.
The use of computational design also aid in maximising efficiency in production and communication between the architect and the engineer. An example would be the Swiss Re Building Headquarters by Norman Foster and Arup, hence maximising results as the building is being built through performance simulation software10..
Although it is not a rational process, the synthesis of design solutions benefits from familiarity with precedents, metaphors, reflective drawings, as well as formal knowledge of rules of formation and style. It can be induced by searching through solutions that adhere to the specifications in a technical manner11.. The use of parametric design plays an important part in this process, as it acknowledges the set of rules and logic that the designer is able to set for his or her own design. Thus, it makes it easier for designers to efficiently repeat the same logic through similar algorithms that have been developed for their design.
The intention of parametric design allows the repetition and also individulisation of different components of the design made easier and efficient. This encourages designers, architects and other disciplines to consider computational methods for means of efficiency, convenience and to adapt to the current technological advancements.
“Parametric design as a facility for the control of topological
relationships enables the creation and modulation of the differentiation of the elements
of a design.”
Oxman and Oxman, Theories of the Digital in Architecture
Foster and Associates Swiss Re Building; how computational design aid in enhancing efficiency in the design and construction process
DIGITAL DESIGN THROUGH PARAMETRIC MODELLING
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LOUIS-VUITTON POP-UPA2.1
MARC FORNES // THEVERYMANY with YAYOI KUSAMASELFRIDGES, LONDON // 2012
the Louis Vuitton pop-up store uses carbon fibre in its entirety so it is able to be self-supported through its composite structure. This creates a light and stiff form in terms of material. The use of parametric modelling plays an important part as the geometric strategy uses compound curvature made from developable stripes of various kinds of costs, with a high performing material-systems (ie: high surface finish, intensive labor, complex molds typical to aeronautics and racing boats).
The result is a very lightweight pleated shell structure made of three types of 'V' units: a standard profile radially distributed, an elongated profile placed pseudo-randomly to blur a repetitive logic and a special flat profile to smooth the pleats across the large main entrance arches.
Every unit is composed out of two ruled surfaces that can be unrolled, nested then water-jet cut into custom pre-finished carbon-fiber sheets produced through vacuum-infusion on large, flat, marble-like formwork. The slices and units are bonded together into macro-parts using ready-made carbon-fiber-straps and temporary foam scaffolding.
The pop up store is the world's first fully carbon-fiber self-supported shell applied to architecture and therefore an important milestone toward larger, economically-sustainable carbon-fiber architectural structures12.
The use of parametric modelling allows the geometry to be formed in a way that it allows carbon-fibre straps for the joints for the structure instead of traditional methods (eg. bolts or welding). This ensures seamlessness in continuity of the structure that eventually affects aesthetics as well.
The use of material is significant in the construction of the pop-up store, as since carbon-fibre is strong, light and malleable, hence the pleated shell form can be achieved. Perforations of circles are also able to be inserted to show Kusama's distinctive style while maintaining the project's structural integrity.The use of tesselations to produce these panels proves how parametric modelling is able to generate repetitive yet a dynamic form through the innovative use of carbon-fibre.
Figure 6. The pleated shell has seamless joints due to the use of carbon-fibre components.
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Figure 7. The efficient structure is able to support the extended suspended geometries to fit the light through the use of material and digital planning.
Figure 8. The exploration of the most efficient form for the pop-up store to maximise output
Figure 9. The panelling of perforations for the shell that is extended for continuity
BESANÇON ART CENTRE and CITÉ DE LA MUSIQUE
A2.2
KENGO KUMA and ASSOCIATESBESANÇON, FRANCE // 2013
Called the Cité des Arts, the centre consists of the Besançon Art Centre, which includes a gallery for regional collections and an art college, and the Cité de la Musique, a music school with its own auditorium13.
The centre uses solar panels and sedum roof panels to promote sustainability to users and the surrounding environment, in which there is a river beside the centre itself. This corresponds to the section of the LAGI brief in whch it is stated to incorporate sustainable methods and techniques that are able to produce clean energy .
The roof connects the building and its environment and makes the project blatant. Semi-transparent, the roof symbolises the fusion between built and not-built and act as camouflage when people discover it from the Citadelle which is height overlooking. It is able to attract people to come and seek protection under the roof, hence creating an encounter between the public and the environment through the centre14.
This idea of connecting the environment and the building is one of the main principles of Japanese architecture, in which the environment should be framed for nature's beauty is prominent in our surroundings. This is brought vividly by Kengo Kuma from the checkered facade of the building. The use of parametric modelling should also promote cultural principles if possible, as shown in this building.
The structure below the roof has the two functions that are identifiable by subtle variations in the patterns of the façade made from by wood panels and steel panels. The pattern dimensions are for the FRAC: 5000 X 2500 Horizontal while for the CRR 1625 X half floor height vertically15.
The notion of aggregation is evident in this project in which the checkered panels are repeated over and over, to form this idea of framing the views (timber panels) and structural stability (steel panels). This use of materials is efficient and effective in combining structure and facade into one, in which enhances the concept of sustainability as well. The use of parametric design is used in terms of making the process of creating this process of aggregation quicker in terms of design, formation and construction in reality.
Figure 10. The wooden panels that frame the view which resembles Japanese architecture
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Figure 11. The undulating roof with different sized timber and steel panels to maximise light penetration yet providing shading for the users
Figure 12. The music auditorium in which the panels are mostly closed; this corresponds to the function of the room acoustically
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COMPOSITION/GENERATIONA.3.0
Architects are now experimenting with computational simulation systems in regard to tectonics, material and algorithm exploration. This is to provide more design opportunities in terms of iterations and the possibility of producing forms that are not expected in the first place, adding to the design opportunities. Using computational methods, architecture that connects the building to the public is able to be simulated, predicted and modelled with accuracy and precision16 .
Computation also acts as an integrated art form in terms of creating new environments in which architects can explore new design possibilities and to simulate performance. Computational software is also able to provide performance feedback from the input of the project's complexity in terms of form and constructability17.
Parametric modelling promotes bottom-up design generation, in which formation precedes form. On one side, it is beneficial as the process of creating the form creates many possibilities in which the design can be explored. However, with this type of generative design, the designer's vision of the building or sculpture or pavilion cannot be realised due to the constraints and nature of parametric modelling in itself in which the principle is embedded into this type of system.
We need to look at parametric modelling as not an architectural style, but instead despite its limitation of design formation, it is still more precise and efficient in terms of producing the design and construting if compared to traditional methods of building.
Doris Sung’s ‘Bloom’ that consists of 14,000 biometals that are environmentally responsive that expand and contract with temperature change
DIGITAL DESIGN THROUGH PARAMETRIC MODELLING
“Computation makes possible not only the simulation
and communication of the constructional aspects of a
building, but also the experience and the creation of meaning.”
Brady Peters, Computation Works: The Building of Algorithmic Thought
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ICD/ITKE RESEARCH PAVILIONA3.1
UNIVERSITY OF STUTTGART // ACHIM MENGES and JAN KNIPPERSSTUTTGART, GERMANY // 2010
This temporary research pavilion acts as a platform for the latest demonstration in regard to material-oriented computational design and development. The result is a bending-active structure that is composed of extremely thin plywood strips18.
Material computation can be considered as a result from a system of internal and external pressures and constraints. Its form is determined by these pressures. However, in architecture, digital design processes are rarely able to reflect these intricate relations. Whereas in reality, material of the outer structure is always inseparably connected to external forces, The virtual processes of computational design form and force are usually treated as separate entities, as they are divided into processes of geometric form generation and subsequent simulation based on particular material characteristics19.
Material plays an important part of the process, in this case timber is used due to its tensile properties in resisting loads. The use of digital computation allows precise calculations to be made based on producing and eliminating points or components that are redundant.
Hence, the use of computational technology to create design based on digital processes and not the physical form is a new way of conveying physical geometry and enhancing efficiency as well as promoting sustainable energy production.
Nonetheless, the focus on process and not form does not give a concrete idea of how the design will turn out, and this may reduce the distinctiveness of the architect as the designer, in which the design will enter into the world of parametricism.
The result of this is reduction of creativity in terms of design as parametric design consists of similar panels being used for similar processes, hence limiting the design outcome despite various possibilities that computational design may provide.
In this research pavilion, the use of parametric modelling is maximised as to create a dynamic form by reducing the number of points on each plywood strip that only the most important points to resist loads are kept to ensure there is no waste in fabricating these panels.
This corresponds to the brief of the LAGI competition in which is to encourage maximum effiency to achieve effectiveness in order to provide a public yet sustainable production of space through material performance.
Figure 13. The precise jointing of different intertwining panels to ensure structural stability to the pavilion
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Figure 14. The maximisation of tensile stresses of the timber panels creates a dynamic form that merges with the colour of gradient brown
Figure 15. To prevent local points of concentrated bending moments, the placement of the connection points between strips needs to change along the structure, resulting in 80 different strip patterns constructed from more than 500 geometrically unique componenents
Figure 16. The stored energy from elastic bending and the morphological differentiation of the joint locations enables a very lightweight system. The entire structure, with a diameter of more than twelve meters, can be constructed using only 6.5 millimeter thin birch plywood sheets.
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SMITHSONIAN’S ROOFA3.2
FOSTER AND PARTNERS WASHINGTON DC, USA // 2004-2007
Designed to do 'the most with the least', the dynamic form, fully glazed roof canopy complies with structural and environmental concepts for the roof20.
The entire roof geometry is designed by digital system. The programme created various detailed roof components and each component is unique and adapt differently to each other in regard to responding to environmental and local conditions (eg weather). The final version of the generating code was 5000 lines in length and had 57 parameters some were numeric values and others switches controlling options. Using only the set-out geometry as input, the digital system produced estimatedly 120,000 elements in about 15 seconds. 415 models were generated over six months21.
Scripting as a mode of designing geometry for a system provides many advantages, including the predicted outcome of the design from 3D to the real world. The analysis of structural, aesthetics, environmental and acoustic development can be easily tracked. This ensures that the process from design, fabrication to construction is made as efficiently as possible and hence reduces costs as well in the long-run.
However, a range of consultants are needed to assess the competency of the structure and the particular fabrication system that is designed by the computational programme. Initial costs may be more prominent compared to the efficiency and effectiveness of the design.
With the design that relies dependently on parametric modelling, the resiliency if the programme fails is much less despite the efficiency it provides. Compared to design that uses non-parametric design typology, the options for repair and maintenance can be more spread out. An example would be if the material that is set for construction is too thin and its stresses maximised, it might have the tendency to go over the designated stress loads due to wind or any form of lateral and live loads. Hence, if the system fails under unexpected circumstances, the replacement for the particular panel will be very limited and also costly to produce if it is vital to replace the particular component.
Through the study of this roof, it provides an understanding on how to correspond to the LAGI brief in terms of combining aesthetic, structural and sustainable measures (solar) by using parametric modelling as a means to achieve such brief.
Figure 17. The double-glazed panels are set within a diagrid of fins, clad in acoustic material, which together form a rigid shell that needs to be supported by only eight columns.
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Figure 18. Structurally, the roof is composed of three interconnected vaults that flow into one another through softly curved valleys.
Figure 19. Three surfaces, column markers, and a computer script control the entire roof geometry which is undulating
Figure 20. Scripting allowed for the independent development of roof configuration and individual component strategies as seen in the individual repetition of panels below
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CONCLUSION
The concept of design futuring is vital to sustain the world in terms of
environmental needs. Hence, the use of parametric design is used more
and more in the current generation, whereby it provides efficiency and
effectiveness in generating designs. Parametric modelling is becoming
more significant, as it is able to use less materials to produce forms and
structures that are able to generate renewable energy through advanced
technology. The LAGI brief provides an opportunity for designers to
explore the idea of sustainability and to incorporate it in their thinking
and application in their design process. Hence, the use of computational
system works best if used in a right and orderly manner, in this case
the chance to shift design into a more sustainable vision for the future.
Parametric modelling can benefit various stakeholders and users, the public
and private, as well as the environment; either socially, economically
and culturally. The application of representation and creative thinking in
digital design is being recognised globally, even in more conservative
architectural style, similar to most Asian cultures. The use of materials is
fascinating in terms of how it can be engineered structurally and aesthetically
through the use of digital proramming, in which is an interesting field to
explore in through the use of parametric modelling. Material efficiency
is important as to discover more possibilities to ensure future designs that
are generated are not constrained to wasting the earth's resources due
to economical progress or unidentified errors while designing. Material
engineering in particular natural materials such as timber, that is adaptive
to change due to its inherent nature is an interesting field to explore in.
A4.0
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LEARNING OUTCOMESA5.0
Initially, my knowledge regarding computational design is limited as I
do not have the skills and proficiency in using Rhino and grasshopper.
However, through the learning of architectural computing, I've realised
there are many possibilities in which design can be discovered, and how
throught the LAGI brief I learn how the use of technology can not only
be used for humans' convenience, but also the environment as well. This
opens up the horizon of my knowledge in understanding the advantages
and importance of parametric modelling and how scripting can be used
as an important tool for future sustainable designs. Not only through the
use of computational programming that efficiency can be improved in
terms of design and its construction in the real world, but aesthetically
it provides a different field altogether compared to past designs that
have been created and erected. Researching through precedents is
also significant in the process of discovering design potential and
possibilities of exploration that can be done through bottom-up formation,
whereby process precedes form. The discipline of material performance
is an interesting field to ponder on in which one can learn how to
utilise material's inherent nature to produce an object that is functional.
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APPENDIXA6.0
ALGORITHMIC SKETCHES
Through the video tutorials and algorithmic tasks that have been allocated, I have learnt to use various methods in grasshopper such as extrusion, lofting, pipe, voronoi and others. Even though my knowledge is still limited in grasshopper and rhino, I am looking forward to expand my technique and software skills in regard to using these softwares.
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What interests me most is the Geodesic pattern that is combined with extrusion on the Y-plane to create an interlocking set of planar surfaces. This enhances the curvaceous form into something dynamic.
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REFERENCE LISTA.7.0
1Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.2
2Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.4
3Ferry, Robert & Elizabeth Monoian, "Design Guidelines", Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10
4Ferry, Robert & Elizabeth Monoian, "Design Guidelines", Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10
5"Achim Menges: Morphogenetic Design Experiment," Achim Menges, last accesed 21 August 2014 at http://www.achimmenges.net/?p=5083
6"Achim Menges: Morphogenetic Design Experiment," Achim Menges, last accesed 21 August 2014 at http://www.achimmenges.net/?p=5083
7"Centre Pompidou-Metz by Shigeru Ban", Rose Etherington, last accessed 21 August 2014 at http://www.dezeen.com/2010/02/17/centre-pompidou-metz-by-shigeru-ban/
8"Centre Pompidou-Metz by Shigeru Ban", Rose Etherington, last accessed 21 August 2014 at http://www.dezeen.com/2010/02/17/centre-pompidou-metz-by-shigeru-ban/
9Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p.3
10Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p.4
11Kalay, Yehuda E. (2004). Architecture's New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), p.11
12"Marc Fornes and theVeryMany : 12 Louis Vuitton", Marc Fornes + TheVeryMany, last accessedat 21 August 2014 http://theverymany.com/constructs/12-louis-vuitton-yayoi-kusama/
13"Besancon Art Centre and Cite de La Musique by Kengo Kuma", Amy Frearson, last accessed 21 August 2014 at http://www.dezeen.com/2013/06/12/besancon-art-centre-and-cite-de-la-musique-by-kengo-kuma-and-associates/
14"Besancon Art Centre and Cite de La Musique by Kengo Kuma", Amy Frearson, last accessed 21 August 2014 at http://www.dezeen.com/2013/06/12/besancon-art-centre-and-cite-de-la-musique-by-kengo-kuma-and-associates/
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15"Besancon Art Centre and Cite de La Musique by Kengo Kuma", Amy Frearson, last accessed 21 August 2014 at http://www.dezeen.com/2013/06/12/besancon-art-centre-and-cite-de-la-musique-by-kengo-kuma-and-associates/
16Peters, Brady. (2013) 'Computation Works: The Building of Algorithmic Thought', Architectural Design, 83, 2, p.13
17Peters, Brady. (2013) 'Computation Works: The Building of Algorithmic Thought', Architectural Design, 83, 2, p.15
18"ICD/ITKE Research Pavilion 2010", University of Stuttgart: Institute for Computational Design, last accessed 21 August 2014 at http://icd.uni-stuttgart.de/?p=4458
19"ICD/ITKE Research Pavilion 2010", University of Stuttgart: Institute for Computational Design, last accessed 21 August 2014 at http://icd.uni-stuttgart.de/?p=4458
20"Foster + Partners: Smithsonian Institution," Foster + Partners, last accessed 21 August 2014 at http://www.fosterandpartners.com/projects/smithsonian-institution/
21"Smithsonian Institution", Brady Peters, last accessed at 21 August 2014 at http://www.bradypeters.com/smithsonian.html
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CRITERIA DESIGNPART B.
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GEOMETRYB1.0
RESEARCH FIELDSMATERIAL SYSTEMS
Parametric modelling's objective is to address the limitation of using conventional tools (ie. cut, copy and paste), to instead establish relationships among various parts of the modelling components, and generating a form of design using these relationships by observing and selecting from the results created1. The relationship between modelling components can be seen vividly through patterning and other design methods. This form of design method can be enhanced through the use of geometry as the base of the structure, aesthetic form and the subject that gives meaning to the design method.
The generation of geometry and material configurations are performance driven2. A building's performance is important in deciding the geometry, in the case of the LAGI brief, it is in relation to the production of solar energy, as well as being a public pavilion that can interact with users. Hence, geometry plays a big part of the design, which should incorporate these two factors, material and performance. Through geometry as well, these two factors can be made more efficient and the results can be maximised.
Design plays a part in geometry, as through design, not only it is for aesthetic purposes, but also to test material stresses and to emphasise on the notion of efficiency through material engineering and production, in relation to precedents such as Marc Fornes and Shigeru Ban.
“Parametric modeling opens new windows to design.
Nowhere is this more evident than with curves and surfaces. This creates endless opportunities to explore for forms that are not practically
reachable otherwise.”
Robert Woodbury, How Designers Use Parameters
Montreal ‘Biosphere’ by Buckminster Fulller is an example of environmental museum which showcases the efficiency of implementing design in geometry
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CANTON TOWERB1.1
INFORMATION BASED ARCHITECTUREGUANGDONG, CHINA // 2010
The structure consist of a open lattice-structure, composed from 1100 nodes and the same amount of connecting ring and bracing pieces. Essentially the tower can be seen as a giant 3 dimensional puzzle of which all 3300 pieces are totally unique3. This relationship between individual components create a dynamic design, as seen through this tower, which relates to the notion of precision and efficiency in using parametric modelling to construct such a detailed building.
These different components make up the geometry, as achieved through various design methods (refer to narrative diagram below), namely rotation, twisting, etc. Materialisation is used to achieve the real-life construction of the building, that is to use steel for most of the support and structural systems. Geometry is seen as the building up of the steel components, that creates the dynamic form that the building is supposed to exert. Using minimal materials and resources are significant in the construction process and this can be done through the use of parametric modelling. Steel strength can be tested and maximised through these design methods.
Hence, geometry is vital in showcasing material efficiency in its composition and also to prove the usefulness of parametric modelling in which a bottom-up approach is used, as the design is derived from the process, and not the outcome as seen in conventional designs. As stated by Woodbury, the essence of material performance is based on the building's form which can be seen in this building.
Figure 1 . Each of the unique steel component is fit precisely through the joints to emulate the notion of rotating, twisting and compressing the geometry as such to achieve efficiency
Figure 2. The process of the form to adapt to the moment and shear exerted by lateral, live and dead laods is important in ensuring structural integrity and safety.
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Figure 3. The spiraling tower that showcases a dynamic form that reflects complexity through its steel components that show the relationship between the design process and outcome
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CASE STUDY 1.0B2.0
DIFFERING SPECIES WITH MULTIPLE ITERATIONS
SEROUSSI PAVILION, BIOTHING
circle (interconnected ring)
extrude (y-axis)
voronoi (x-axis)
pipe
flip curves
extrude + rotate (50 degrees)
cone
extrude + hexagonal grid
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GRIDSHELL, MATSYS
cone
cull pattern + voronoi 3D
oct tree triangulation
extrude + hexagonal grid
interpolated curve + pipe
image sampling + multiply + circle
extrude + delaunay edges
interpolated curve + extrude
ASHTON RAGGAT MCDOUGALL (ARM), PORTRAIT
image sampling (diamonds)
image sampling (contrasting dotted pattern)
hexagonal grid
hexagonal grid (removed ey slider)
cull pattern + cone (slider: 5)
triangular grid (slider: 1)
radial grid
rectangular grid42
HERZOG & de MEURON, DE YOUNG MUSEUM
extrude + circle (inner and outer radius)
voronoi triangulation
delaunay edges triangulation
oct tree triangulation
image sampling (change)
hexagonal grid
hexagonal grid + extrude (z-axis)
extruded hexagonal grid + attractor point 43
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SELECTION CRITERIAB2.1
DESIGN POTENTIAL THROUGH EXPERIMENTATION
Outcome 1 : Effective perforations
The perforations through image sampling allow a more adaptive design to be produced as the image can be used to represent dynamic or interactive concepts. Material can be used more effectively due to careful planning of the form and perforations
that allow less material waste.
Outcome 2 : Intersecting panels
Extrusions on the x-axis produce a dynamic form that incorporate minimal use of materials. Various types of material can be considered, even those with subtle varying movement (eg. timber that expands and contracts). This also allows maximum solar penetration that
corresponds to the brief.
Design experimentation that produces iterations allows various design potential that can be unlocked. The four outcomes reflect success in accordance to the brief (in this case, using solar) and
also the selection criteria:1. Minimal materialisation
2. Interactive geometry
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Outcome 3 : Planar rigidity
The rectangular grid creates efficiency in the form-making, hence a quicker production that uses less embodied energy for the fabrication of the design itself. However, the form is rigid and does not allow much light to enter despite the efficiency in production of the
design itself.
Outcome 4 : Dynamic adjustment
With the use of attractor point, the form generated can be made more interactive, in terms for the public and also the environment, as there is the potential whereby the hexagon extrusions are taller when there is more solar exposure to capture more energy. This ensures minimal energy waste for the system
to operate.
Outcome 5 : Maximum exposure
Interconnected rings convey the potential for this type of structure to absorb more solar energy as the individual component are exposed to the environment, and since it is interconnected with the other parts, it may aid in structural integrity. Nonetheless, it provides
a sense of rigidity to the form itself.
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LOOKOUT TOWERB3.0 CASE STUDY 2.0
AVANTO ARCHITECTSHELSINKI, FINLAND // 2002
The load bearing structure consists of 72 long battens, with a section of 60mmx60mm, that are bent and twisted on the site from seven pre-bent types. Over 600 bolted joints hold the shell structure together.
Having no weather protection the wood is treated with a linen oil-based wood balm with UV-protection4.
The lookout tower aims to test traditional method of construction using the pre-fabricated timber battens with the aid of parametric modelling. The gridshell structure allows minimal waste of materials, as to preserve wood from unnecessary construction parts within the design which is conventionally implemented in pavilion or designs.
The bolted jointing is also efficient in ensuring structural stability and rigidity, while maintaining the dynamic geometry of the tower. This proves how parametric modelling allows such simple and efficient production, even from the jointing itself, even though there is an extensive use of bolts.
The design interacts with the environment as well by showcasing the view of the city, hence incorporating the role of the urban setting as well as users. Furthermore, the natural setting gives a cordial welcome to the users as well, in addition to emphasise nature by using timber.
It has been successful in achieving its design intent, that is to incorporate material performance and efficiency, while contributing to the surrounding users and environment through its form and setting. This is what the design project aims to achieve as well.
Figure 4. The natural setting of the tower with the use of timber as the main material allows a more cordial appearance to the tower for the users and the environment
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Figure 5. The bolting of each timber component to ensure structural integrity of the tower
Figure 6. The view on top that looks out to the sky and also the view of the city as well as the sea to incorporate the existing urban setting and nature
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REVERSE-ENGINEERB3.1
SPECULATIVE DESIGN GENERATION
To create the frame using curves that are shaped similar to an ellipse, and then modified to adjust to the form of the tower through moving control
points
Divide the curves into a series of points using Grasshopper using the Divide Curve command. Then the Explode Tree to extract the points into
3 different branches.
The Arc-3-Point command is used to generate the vertical curves (arcs) from the top to the bottom horizontal curve for the encapsulating geometry.
1 2 3
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The curves are divided again into another set of definition, and from the 2nd Explode Tree command, the Geodesic command is used to
connect the curves
From the second definition, the points are shifted and connected to another Geodesic command to form the
intertwining curves
The curves are combined into a single set of parameter and extruded
along the X-axis
4 5 6
TECHNIQUE : DEVELOPMENTB4.0
ITERATIONS
The reverse-engineering definition is then developed into multiple iterations, similar to Case Study 1.0. This technique development is to alter the definition's function.
DENSITY MODIFICATIONThe parameter change is used to minimise and extend the current extruded geometry of the geodesic curves. This is advantageous when considering structural thickness during fabrication. This can be useful when testing maximum stress of the material with
minimal material.
CULLINGThis is to remove repetition of points in Grasshopper when generating the iterations. Culling pattern is used along with the application of triangulation pattern, namely Voronoi, Voronoi 3D, Convex Hull, Delaunay Edges, Delaunay Mesh and Facet Dome. The panel is used to experiment with the direction of the shape, namely TFTF,
and TTFT (True or False).
IMAGE SAMPLINGThis input is to play with the perforations that can minimise material and also to control the pattern that is created on the surface of the geometry. The shapes are extended to the minimal and to the extreme to show contrast. This creates a variety of effects that
can be applied to the form, such as the use of lighting.
PANELLINGPanelling is used to introduce various types of geometry that can be applied as a form of smaller pattern that composes the entire form of the lofted surface. This includes box morph, extrusions, grids (triangular, radial, hexagonal and rectangular), pipe and surface box. This is to play with the notion of a dynamic form. Weaverbird plug-in
component is part of the experimentation to create planar surfaces.
LUNCHBOX & WEAVERBIRDThis is to mainly experiment with different types of panelling using different plug-ins for Grasshopper. These plug-ins allow various meshes and patterns to be generated and
this is for the observation of geometry and structural exploration.
DENSITY MODIFICATION
X: 0.250
X:0.570
X:0.740
X:0.890
X:1.0
X:2.10
X:4.10
Y: 0.380
Y: 0.630
Y:0.970
CULLING
Delaunay Edges
Delaunay Mesh
Voronoi (TFTF)Slider : 20
Voronoi (TFTF)Slider : 47
Voronoi (TTFT)Slider : 52
Convex Hull
Voronoi 3D (TFTF)Slider : 19
Facet DomeSlider : 1
Facet DomeSlider : 0.82
Facet DomeSlider : 5
IMAGE SAMPLING
Canton Tower
BiosphereSlider : 0.670
BiosphereSlider : 0.900
BiosphereSlider : 4
Star undulating pattern (B&W)
Diamond pattern
Centre Pompidou MetzSlider : 0.250
BiosphereSlider : 0.250
Centre Pompidou MetzSlider : 1.20
Centre Pompidou MetzSlider : 5
PANELLING
Pipe
Lines with hexagonal grid
Lines with hexagonal grid (extruded)
Hexagonal grid
Interconnected circle (extruded)
Box morph
Triangular grid
Rectangular grid
Surface boxSlider : 10
Radial Grid
LUNCHBOX
WEAVERBIRD
Sierpinski Triangle Subdivision
Carpet
Triangle mesh
Diagrid StructureU direction : 20
Staggered Quad PanelU direction : 10
Staggered Quad PanelU direction : 5
Hexagon PanellingSlider : 20
Hexagonal Grid StructureU direction : 20Adjustment : 2
Skewed SquadsExtrude : X-axisSlider : 20
Diamond PanellingSlider : 3
SELECTION CRITERIAB4.1
DESIGN POTENTIAL THROUGH EXPERIMENTATION AND PRECEDENTAFFECT AND EFFECT
Further design iterations allow the consideration of the LAGI brief and how these iterations can incorporate several requirements of the brief. Several of
the iterations provide the potential for aesthetic or architectural effect. The incorporated selection criteria include:
1. Design flexibility that incorporates efficient solar absorption2. Coherence to surrounding natural environment
Outcome 1 : String Density
The thinness of the extrusion allows such minimal materialisation that gives much exposure to the sun, hence a high rate of solar absorption for renewable energy production. The lightness affect that the design tries to aim
for may be aided through this iteration.
Outcome 2: Shadow Perforation
The perforations let light penetrate and illuminating the space inside the form. This allows dynamic shadows to be created through the geometry and this is able to provide the aesthetic and experiential
requirement for the users.
Outcome 3: Dynamic Movement
The undulating form that is enhanced by the smoothness of the piping provides a dynamic aesthetic effect to the form. The surface area is also increased to provide more light
penetration for the solar power.
Outcome 4: Connectivity
The curved lines and the extruded platforms relate to lightness of material (relating to Wu's 'Screenplay'; refer B5.0), hence incorporating the ropes and steel structure together. In this iteration, a similar concept is able to be adapted; the connection of
aesthetic meaning and structural stability.
Outcome 5: The Unprecedented
The iteration does not go according to what it is supposed to, however, it produces a certain correlation between the light structure (as resembled by the lines) and how it can be connected to the other end through a set of secondary structure. This provides insight to how both primary and secondary structure
can interact to correspond to the brief.
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SCREENPLAYB5.0
OYLER WU COLLABORATIVELOS ANGELES // 2012
Screenplay is conceived as a manipulation of one's perception. This twenty-one foot long screen wall is constructed of forty-five thousand linear feet of rope strung through a series of lightweight steel frames5.The use of ropes represent the idea of lightness of structure and also to create an 'airy' effect to the users. Hence the affect, from the use of ropes and lightweight steel structure aid in producing such effect. The design should apply such affect as well, as the means to do so is through minimal materialisation and interactive geometry. The twisting tests density of the ropes; it uses the tensile properties of steel as the structure, and the rope as a factor that enhances the effect.
The design should achieve the affect of lightweight structure and a dynamic geometry to achieve the 'light' effect. The prototype then should aim to accomplish the affect to produce the effect similar to Wu's Screenplay.
This precedent also emphasises on the use of contemporary materials that is applied to the sculpture. The prototype should also use similar lightweight materials to produce the affect.
This relates to the Selection Criteria iterations in which interactive design should be able to incorporate the LAGI requirements for renewable energy resource, through solar.
Figure 7. The vivid steel structure stands out and the gaps that are created in between the steel structure enhances the notion of lightness and honesty material-wise
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Figure 8. The parametric drawing of the sculpture. This shows the complexity of the design that Wu is trying to achieve through dense use of ropes and steel, but still creating the effect of lightness
Figure 9. The interlocking ropes with the steel structure that show bending and twisting. The jointing is also very precise in composition to hold the entire structure together
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PROTOTYPEB5.1
TESTING WITH MATERIALITY AND AFFECT
Prototyping Process
Ivory card (250 gsm) is cut into 9 frames;
these frames are to test tensility of materials as
the main structure
For the secondary tensile support, knitting
wool is used to be inserted into the notches
The frames are for 3 different prototypes. 3 individual frames are
combined as to provide rigidity for the wool
strings for support
The tensility of material is then tested for both
the frame and wool strings for the effect
Oyler Wu's 'Screenplay' has been adapted for the prototype, in which the main structure (steel) and secondary structure (ropes) are applied. Ivory card is used as the frame, as the main structure, and knitting wool is used for the secondary structure. These two materials are chosen due to their tensile properties, hence testing the relationship of support and the effects produced through affect.
Algorithmic process
Rectangle
Explode
List Item
Divide Curve
Reverse List
Line
Extrude
X and Y axis
Merge
Notches
Divide Curve
Rectangle
Slider : 1mm x 4mm
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Prototype 1 : Bending
The process of inserting the strings into the notches produces pressure onto the frames, hence bending them. This creates a more
curvaceous form that perhaps can make the prototype more dynamic. The strings also produce intersecting effect as seen on the
shadows. However, a more elaborated effect can be produced through the strings.
Prototype 2 : 3rd Material
The additional material is cotton. This is to provide a more elaborated affect for the effect through the strings. This is to create a lighter feeling towards the prototype. This adheres to the
Selection Criteria of 'lightness', in this case visually. Nonetheless, it does not correspond to the absorption of solar
energy.
Prototype 3 : Sandwich
The 'sandwiched' ivory card is rotated to experiment with rigidity as the card
itself is tensile. The merging of the frame and strings is more apparent through this prototype as seen from the effect
(shadows). However, the structure is not rigid enough even though the string and
frame is an interesting concept to explore.
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PROTOTYPEB5.2
TESTING WITH MATERIALITY AND AFFECT
Algorithmic process
Curves
Explode
List Item
Divide Curve
Reverse List
Line
Extrude
X and Y axis
Merge
Notches
Divide Curve
Box
Slider : X = 0.4 Y = 4
Another prototype is developed; this time the form is modified into a more curvaceous geometry. The prototype shows the interweaving and locking of each string that connects the frame as an entire structure. The frames are of MDF as it is important to have rigidity for the structure. The strings are used to provide a more dynamic pattern as it is very tensile. The combination results in a complex form and also aesthetics that can be seen on the picture below. The frames are able to provide compression in order for the strings to work.
A more dynamic pattern observed in the
prototype than the Rhino generated design.
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Prototyping Process
Outcome
The laser-cut frames are put straight so that
they can stand up. They are stuck onto the MDF
base.
The strings are then assembled on the
notches on the frames.
The strings are placed on each notch and the
interweaving pattern can be seen.
Continue the process until the last frame. The pattern shall look like it
is interconnected.
The prototyping itself is tricky, from finding which direction can the string be weaved onto and how the notches are too big to fit the strings. Hence, I have to cut them into smaller pieces and attach each string component to each notch. This is time consuming and there is a greater risk for the components to be out of place compared to traditional weaving, similar to Semper's idea of weaving that relates to the core structure of architecture itself.
For future prototyping, it is better if the notches are smaller in width and longer in length so the strings can be inserted easily, and experiment with various forms.
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TECHNIQUE : PROPOSALB6.0
LAND ART GENERATOR INITIATIVE (LAGI)REFSHALEØEN, COPENHAGEN // 2014
Responding to the LAGI design brief, the design should aim to efficiently absorb solar energy and effectively transmitting them into renewable energy. It should also be a form of public art that users can interact with.
Coherence with the surrounding environment is important while implementing a light structure and a form of affect to produce an airy effect. This allows the form to be undulating from the first to the sixth frame. Also, the design allows solar absorption from the sun's various angles, from summer to winter. This is important as it allows renewable energy to be generated all year. The solar panels considered are photovoltaics (thin film organic photovoltaic cell - OPVC) and Thermophotovoltaic, even though the latter is still undergoing research. Both allow flexibility in its form; hence allowing a greater surface area for the solar panels.
However, both types of photovoltaics generate around 10 to 25 percent of energy; thus it is relatively inefficient in capturing solar energy.
The design is set to be both near the water and land to show the harmony, as harmony is one of the criteria for the LAGI competition. Solar energy can be captured in every part of the frame that has the solar panels. The strings provide the aesthetic characteristic that holds the frames together. The interwining of the strings reflects the complexity of nature.
However, the frames are too thin to absorb much solar energy, hence reducing effectiveness of the solar panels. The frames look rather rigid to maintain its planarity for fabrication. One of the solutions can be by increasing the size of the frames.
Figure 10. The context of Refshaleøen; the site is surrounded by industrial warehouses and buildings (left)
Figure 11. The site plan of the design proposal (right)
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Diagram 1. The summer sun path direction will still hit the frames and hence solar energy will be captured through the exposed panels with the frames as the structure
Diagram 2. The winter sun path direction that is lower than the summer sun will still be able to remain exposed and energy will still be generated from the frames for all seasons.
Diagram 3. The context of the surrounding environment; the blue represents water movement that is more dynamic, while the other direction represents the land, that is more rigid
Diagram 4. Circulation of the design proposal focuses on the journey from the start to the end of the project. This gives a certain contemplating period of time for the users, as contemplation regarding energy use and sustainability is one of the objectives of LAGI
Figure 10. The context of Refshaleøen; the site is surrounded by industrial warehouses and buildings (left)
Figure 11. The site plan of the design proposal (right)
Figure 12. Perspective view of the design on site
Conceptual Diagrams
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PRESENTATION FEEDBACK
1. How does the form maximise solar energy?
The idea of knowing which form is able to maximise solar energy
requires further research and the statistics that are needed to support
the idea of how the form can be enhanced to capture solar energy
efficiently and effectively.
2. Can the ropes have more meaning than just an aesthetic purpose?
This requires further precedent research in searching for the meaning of
the ropes and how they can be significant structurally as well.
3. Research on how the patterns work, in regard to the weaving pattern.
The notion of weaving is a complex method of knitting and so the
prototype is a simplified version of the weaving pattern, referring to
Oyler Wu's Screenplay. It is recommended to have a more complex
pattern to showcase the importance of weaving for the design.
B7.0
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LEARNING OUTCOMESB7.1
To interrogate a brief by having incorporating the process of brief digital
technology prove to be difficult as digital technology requires proficiency
in using the software. To be accurate also needs a long time of training.
Hence, I need to improve on my Grasshopper skills and techniques in
order to do just that.
To generate various design possibilities for a given situation aid in
exploring design possibilities and a chance to even be more creative in
designerly thinking. This is evident in creating the 30 and 50 iterations
from a given definition, including the reverse-engineering. The process
itself iterates concepts behind the changed definition of a given form;
hence helping in providing more concepts.
Developing skills in 3 Dimensional area, particularly preparing for
fabrication requires attention to which parameter can be used for the
notches and other parts of the design that needs to be slightly altered
so various components can work. The skills are after knowing which
parameter can be used and knowing how they are going to be cut are
vital in ensuring the pieces fall together when they are prototyped.
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APPENDIXB8.0
ALGORITHMIC SKETCHES
Through learning more videos and algorithmic exercises, I have learnt various commands, such as manipulating the Normal, Tree Patterning Menu, Image Sampling, and others.
The notion of a bottom-up approach to design through generative parametric modelling allows unexpected results, either good or bad, but it expands the exploration to limitless possibilities.
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The image sampling command is one of the most useful and powerful tool that can be utilised to generate various iterations.
The differing sizes and patterns that are produced are dynamic and with different images that are able to be selected, there are so many design possibilities that can be generated.
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REFERENCE LISTB9.0
1 Woodbury, Robert F. (2014). ''How Designers Use Parameters'', in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153.
2 Peters, Brady. (2013) 'Realising the Architectural Intent: Computation at Herzog & De Meuron'. Architectural Design, 83, 2, pp. 60.
3 "Canton Tower / Information Based Architecture" 19 Nov 2010. ArchDaily. Accessed 21 September 2014. <http://www.archdaily.com/?p=89849>.
4 "Korkeasaari Lookout Tower: Ville Hara" 10 May 2004. Arcspace. Accessed 21 September 2014. <http://www.arcspace.com/features/ville-hara/korkeasaari-lookout-tower/>.
5 "Screenplay in Los Angeles by Oyler Wu Collaborative" 24 July 2012. Sanjay Gangal. Accessed 21 September 2014. <http://www10.aeccafe.com/blogs/arch-showcase/2012/07/24/screenplay-in-los-angeles-by-oyler-wu-collaborative/>.
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DETAILED DESIGNPART C.
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DESIGN CONCEPTC1.1
RESPONDING TO DESIGN FEEDBACK
1. How does the form maximise solar energy?
The research that has been done reflects how
a more rigid shape, such as triangulation
can provide a more effecience capture of
solar energy1. Hence a dynamic form is not
necessary as it a more rigid pattern can capture
a high level of solar energy.
2. Can the ropes have more meaning than just
an aesthetic purpose?
The research on another precedent of the ICD
Pavilion 20142, which resembles how the use
of glass and carbon fibre can create a material
efficient load bearing system through natural
systems.
3. Research on how the patterns work, in
regard to the weaving pattern.
Using the ICD research pavilion 2014, the
weaving pattern is through a double skin
connection and it is a method that can be
approached when creating aesthetic effects as
well in terms of filtering light.
Solar Penetration
The sun angle for summer and
winter path of Copenhagen
Triangulation with convex shape
maximises solar penetration
With the rigid triangulation panels
or form, it can have an increase
of photovoltaic efficiency by 10%3
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The ICD Research Pavilion 2014 mimics the weaving pattern and relate it to the natural form of a beetle.Hence the design should mimic or represent a form of a natural object or creation as well. This will relate it more to the LAGI sustainbility brief to create a design that is responsive to the environment and users.
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DESIGN CONCEPTC1.2
REFSHALEØEN CONTEXT AND HISTORY
The site itself is strategic in terms of location and views. It is of proximity to the Lynetten wind farm and Lynetten Waste Water facility. The design site is surrounded by management facilities that encourage sustainability and Copenhagen's objective to be carbon neutral in 2050. The Little Mermaid is able to be seen across the river and culturally as well as socially, the design site is important for the environment and for the people of Copenhagen.
Refshaleøen was an industrial site, that was once a shipyard and was extensively polluted, due to industrialisation. It is of significance to ensure the design can cope with all these environmental and social factors, and if possible historical reflection as well.
The Little Mermaid THE DESIGN SITE
Lynetten Wind Farm Lynetten Waste Water
Treatment
Figure 1. The major surrounding sites and monuments around the design site. The design site is in close proximity to renewable energy production areas and also the symbolic Little Mermaid
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Figure 2 The function of the entire site that is still used as a shipyard until now that shows the significance of the site that marks the importance of the design site as well
Figure 3. The busy history is reflected in the density of activities that the site constitutes of; hence the design brief for the design
site is a change from a polluted area to an area that produces renewable energy
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DESIGN CONCEPTC1.3
EXPLORATION ON IDEAS
The design should be more interactive to the users compared to the energy capture, as there is already the Lynetten wind farm that produces the energy. Also, Copenhagen uses the majority of its renewable energy resources through wind, and less on solar power.
Thus, the design should be more user-friendly and interactive compared to the solar energy capture, but still constitutes a form that is still derived from natural forms.
Hence, the Little Mermaid is the cultural and social symbol of Denmark, as it also represents famous authors such as Hans Christian Andersen. The social symbol that is represented involves the importance of artists' work and creativity that reflect the significance of portraying the works of the people.
The Little Mermaid is also a sculpture that is easily seen from the design site, and is directly across the site; this increases its importance as it highlights the sculpture as an attraction for tourists as well.
The design should incorporate the importance of social production of the people, in which the Little Mermaid represents.
Figure 4. Hans Christian Andersen and his works; namely Princess and the Pea, The Ugly Duckling and Thumbelina (left)
Figure 5. The Little Mermaid as a symbolic representation of the people and the appreciation of culture and dreams (right)
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DESIGN CONCEPTC1.4
FORM EXPLORATION
Starting definitions:dream.[IN SINGULAR] A state of mind in which someone is or seems to be unaware of their immediate surroundings.
society.The community of people living in a particular country or region and having shared customs, laws, and organisations.
The left form explores the tail of the Little Mermaid, hence the essence of the separation with the sea and land is being reconciled again by this story in which the Mermaid is turned into human. This reflects the relationship between land and water regarding to the LAGI brief.
The form on the right resembles the intertwining definition of a dream, of unawareness yet there is still the connection to the society; dreams that can be translated to art works, and then impacting the society.
The form resembles wings that can be interpreted from the definition of dream and society; hence the main idea of the Little Mermaid sculpture and story. Wings symbolicly indicate the notion of elevation, up high in our state of mind, hence resembling dreams. The repeated geometry, which is then modified, individualise each dream that a person has, also reflecting the constant notion of dreaming as well. The shape also creates a dynamic flow to the design and the frames are able to cope with the installation of organic solar panels around it to generate energy.
SELECTED FORM
DESIGN INTENT
The design should be able to achieve these intents:
1. To symbolise a form of social representation
2. To engage the users through effects created (eg. using light)
3. To capture a sufficient amount of solar energy through the design for power generation
SITING
The siting is placed at the edge of the site, as it is close to the river. This shows closer proximity relative to other areas of the site to the Little Mermaid in which is the symbol of Denmark's cultural and social pride. The involvement of land and water is also evident as it combine both of these important natural features.
The design should be able to relate to the users and capture the essence of the relationship between the environment and the users.
SELECTED FORM
DESIGN CONCEPTC1.4
ALGORITHMIC TECHNIQUE
Curve - Rotate - Lines - Rotate - Lines - Weaving (30 degrees) (divide curve = 10 points) (Z direction = 90 degrees) (divide curve = 40 points)
Curve - Rotate - Lines - Rotate - Lines - Weaving (30 degrees) (divide curve = 10 points) (Z direction = 90 degrees) (divide curve = 40 points)
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CONSTRUCTABILITYC2.1
REAL LIFE MATERIALITY, JOINTING AND SUPPORT
MATERIALITY
This type of rope is strong and durable. It is resistant to rot, abrasion and UV, and it also provides constant strength without being affected by inclement weather. It is reliable and also cost-efficient to its performance4.
The method of weaving will be the of the double braid. Both will support the tensility strength needed and for its abrasion resistance5.
Polypropylene Rope
Cross Laminated Timber (CLT)
Cross Laminated Timber, or CLT, is the latest evolution in sustainable building materials. Formed using European technology, it is a lightweight, strong, solid-wood option to conventional materials. It is the only structural material for large scale construction that has the capability to be carbon neutral6.
Since the frames for the design are exposed to the weather, hence a durable and strong material to cope with lateral loads is important. The CLT is comparable to a pre-cast concrete panel; it is lighter by 20% in weight. This emphasises the notion of the design being lightweight as an affect.
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JOINTING
There are two holes that the rope goes into; the first lower hole is for when the rope goes through the timber frame, and the upper hole is when the rope needs to go through on the other side. This ensures there is seamless connection between the ropes and frames.
The jointing method to connect the ropes and the frames is efficient that there is no need to bolt or weld, hence reducing equipment costs despite there may be an increase in labour as there might be more people needed to install the ropes. However, the ropes provide tension and a dynamic appearance to the design.
- 1 in 24mm diameter polypropylene rope (clustered into 50 layers per hole)
Rope through Frame detail
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CONSTRUCTABILITYC2.1
REAL LIFE CONSTRUCTION SYSTEM
The system uses rigid bracket construction. It connects 2 cross members together, in this case the timber panel and the footing. The galvanized steel angle brackets are useful to accommodate the bolts on the sides of the timber panel to limit the movement of the timber itself
Bolts on steel plate are also used, as to further provide structural rigidity from the timber panel, rigid bracket and to the footing.
Pad footing is applied due to the different positions of the timber frames. Reinforced concrete acts as the main material.
Footing to frame detail
- Rigid Tie connector bracket: U bracket with 3 holes on flange 1 ,3 holes on flange 2 and 3 holes on flange 3- Heavy-hex structural bolts
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The panels use Mortise and Tennon Connection; this uses the tongue and fork system. This system is chosen to accommodate movement of timber (ie. the expansion and contraction of timber) and to provide a more seamless connection on the exterior. Only bolts are used to provide flexibility in incorporating more ropes or alterations to the design and coach screws are used to ensure the connection is strong between the panels as it is crucial in maintaining the whole purpose of the design.
Timber frame panel to panel detail
- Coach screw: M10 - M36 size with 200mm length
- 1200 x 1000mm Cross Laminated Timber Panels- Prefabricated and transported using either ships or truck to site- Assembled on site
Panel detail
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CONSTRUCTABILITYC2.2
REAL LIFE ENERGY-GENERATING SYSTEM
POLYMER SOLAR CELLS
Thin Film Organic Photovoltaic Cell (OPVC) or Polymer Solar cell is the most suitable type of solar panels that can be applied to the design:
1. Organic and plastic nature
It can be easily constructed into various shapes, even adhered to fabrics7. The frames of the design are undulating and curvaceous, hence this characteristic will aid in the solar capture component.
2. Translucency
This can aid in allowing light to penetrate and also for the timber frames to be made more apparent7.
3. Functions under various situations
It is able to work under low light conditions and at non-perpendicular angles7. This implies the solar cells can be placed in any area of the frame to capture light.
The first heterojunction does not work, as it is a bilayer of Aluminium, Electron Acceptor, Polymer and the transparent conductor poly(styrene sulfanate) (PEDOT:PSS) as the architecture of such solar panels prove to be inefficient8. Hence, the bulk heterojunction is chosen, in which there is diffusion in the electron acceptor and polymer, hence allowing more efficiency of the solar capture compared to the other two heterojunction models.
Polymeric solar cells heterojunction
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Solar panel Assembly System
Cross Laminated Timber Frame
Aluminium(Backing material)
Solar cells on Polymer Sheet
Polymer sheet
Steel frame (for glass)
Glass cover
The overlay of aluminium and polymer sheet would block the effect created by the weaving pattern and this overlay may create a heavy appearance on the design. Nonetheless, the generation of solar energy through this method is sufficient that meets the design intent.
PROTOTYPEC2.3
TESTING FABRICATION
The frames are laser-cut and MDF is used. Since the prototype needs a base, mountboard is used. The weaving uses white thread to see if the colour matches the notion of transparency that is supposed to be reflected. The notches consist of straight cuts into the MDF frame to insert the thread in.
However, the white thread is very loose and the notches are too deep. Hence it is a need to change material, nase amd size of notches.
The weaving notion and application can be observed in the prototype; the weaving makes the design look complex and intertwining. The weaving works by inserting the next or continuous thread and slit it into the notches. This willl ensure continuity and flow of the design.
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FINAL MODELC3.1
CONSTRUCTION SYSTEM
The notches are of a 'tick' shape to ensure the wire is held in place, compared to a standard straight notch. It is of 0.5mm size that it can be laser-cut and also to provide sufficient space for the wire to be inserted.
Notches
1. 3mm MDF (medium-density fiberboard)
2. 0.3mm Copper Wire
Colour scheme
MDF is also used to reflect the tendency of timber to have a slight different gradient of brown; it is more consistent compared to plywood that can range greatly in the colour gradient.Copper is also a glossy shade of brown and beige and adds to the gradient of colour synchronisation.
Materials
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For the weaving, copper wire will be used and twisted that it becomes a rope. It uses the stranded wire method to achive the rope braid that is suitable for the construction and aesthetics purposes; as it is glossy and it provides sufficient strength in regard to rigidity and tensility.
Copper also aids in construction that it is of high strength, high modulus, and best properties in cycling over sheaves7.
The copper wire used is 0.3mm in diameter, hence it aids in refinement of the weaving.
Weaving
The frame uses MDF (medium-density fibreboard) as it is strong and rigid. The board used is 3mm thick to maintain lightness of the frame that is indicated in the design into the prototype as well. The colour resembles timber as well and is suitable for the prototype.
Frame
FINAL MODELC3.2
FABRICATION PROCESS
Assembly Advantages
Assembly Constraints
The notches to insert the copper wire were laser-cut and they seem to be successful. However, they had burnt residue of the tick-shape cuts still inside the voids for the notches, hence it requires more work to remove them.
The notches for the base is made to ensure that the frames are structurally supported to resist movement while assembling the copper wire in place. Nonetheless, the notches are not deep enough to hold the frames together and some are offset below the base for stability.
The notches for the copper wire were thought to be too small for the laser-cutter, however the notches are able to be cut in an efficient manner. It is also able to fit the copper wire and aids in smoothly inserting the copper wire into the notches. Compared to the previous prototype, this shape works effectively in maintaining the position of the copper wire.
The notches on the base to hold the frames during assembling the copper wire fit precisely and it sustains the frames in retaining a sturdy posture.
Figure 6. The assembly of the copper wire is of difficulty as the wire bend easily and hence creating a curvaceous form, which adds to the lighting and effect created by the prototype that create a dynamic overall form
FINAL MODELC3.3
SCALE 1:100
DEVELOPMENTC3.4
IMPROVEMENTS ON FINAL DESIGN FORM
The design form further developed as the prototype is unsuccessful in terms of achieving its design intent; namely transparency. The frames were too big and thick and timber made it look heavy despite CLT being an efficient and sustainable material. The weaving pattern was not complex enough as well. Hence, the design developed into various forms that are further undulating, the weaving pattern is made more complex by having more of the ropes intersecting each other through increasing the number of weaves and there are more frames as well to enhance the dynamic form. The frames are made thinner as well, and it uses glass instead of CLT to ensure the notion of lightness is achieved through transparency as the affect.
Alterations:1. From 5 timber frames to
10 glass frames2. From 40 to 75 number
of weaves (U and V direction)
Glass FrameGlass Structural Support Solar Cells on Polymer Sheet
SOLAR PANEL ASSEMBLY SYSTEM
Polymer SheetPolymer Sheet
The energy-generating scheme still uses the polymer solar cell technology, however, the main structure to support the polymer sheet which used to be timber is now glass, and the solar cells on the polymer sheet is transparent; hence adding to the lightness and seamlessness of the design. The position of the structural frame and support are also flipped, as the frames now act as a protective layer for the solar cells and also the glass structural support is strong enough to support the polymer sheet and cells. This method is more efficient, effective and aesthetically pleasing than the previous modification to the design.
300mm x 600mm
The Bohemian Braid.LAND ART GENERATOR INITIATIVE 2014
REFSHALEØEN, COPENHAGEN
DESIGN PROPOSAL
NORTH ELEVATIONSCALE 1:150
EAST ELEVATIONSCALE 1:150
WEST ELEVATIONSCALE 1:150
SOUTH ELEVATIONSCALE 1:150
The Bohemian Braid.
Design Statement for LAGI Competition 2014
The LAGI competition in itself brings a revolutionary introduction to the emphasis of renewable energy production. The contrast with the use of Refshaleøen as an industrial site and its function as a shipyard changes the shift from the focus on the economy to the environment. Hence, the design proposal brings the design site to life, by implementing the notion of transparency; from a once heavy industrial site to the lightness of a new beginning and a brighter future through incorporating design and sustainable strategies altogether.
The design consists of frames that are made out of glass that act as a transparent form of structure that will hold the polymer solar cells (OPVC) in place and there are ropes that connect one frame to the other, that the design performs aesthetically as well. The concept of the design is reflected on the works of the people (eg. Hans Christian Andersen) and how aesthetically it can be portrayed from the individualisation of form in regard the frames and ropes that represent each individual of the nation. The effects created by the frames and ropes provide a more dynamic form to the design through the play with light and shadows that portray each intertwining rope.
Polymer solar cells is an efficient, flexible and inexpensive method of demonstrating how renewable energy can be technologically advanced as well as aesthetically pleasing. The total energy output can be up to 12% using oligomers (small molecules)9 compared to other forms of solar cells (eg. monocrystalline) , and this marks an advancement in the efficiency of organic photovoltaics.
The design proposal's objective is to raise awareness of renewable energy production to the public, specifically in regard to the context of the local people, that renewable energy too can be beautiful.
PRESENTATION FEEDBACKC4.1
1. Huge frames, stark difference; achieve depth with the weaving rope patterning - Understanding the relationship
between the frames and ropes
Hence, the improvements of the design has thinner frames than the
previous design form. Also, the the ropes are also made more intensive,
from 40 ropes to 65 rope weavings per frame.
2. Exploring more depth and variety
The design frames are now more undulating and with a more dynamic
design form in which is enhanced by the slenderness of the frames and
also through the use of glass that enhances transparency as well. This
gives more depth to the notion of lightness and also variety.
3. To play more with patterning
In improvements of the final design form, through the undulation of
the frames, the ropes are also affected in a way that they intertwine
with each other to reflect complexity and also to improve the aesthetic
quality of the design. Compared to the previous straight line connection
between the ropes to each frame.
Since the presentation is before the final submission of the journal, improvements are made on the final
design form (refer C3.4 Development):
LEARNING OUTCOMESC4.2
The ability to interrogate a brief through design formation using
computational technology is rather difficult as with interrogating a brief,
a concept needs to come up to drive the design, however, through using
computational technology, it is a little constraining due to the lack of
proficiency in using Grasshopper as the main computational technology in
forming the design. However, using computational technology to produce
a design is much more time-efficient and also to have a 3D realisation
of the design that can be understood by others quicker than conventional
design methods. There may be unexpected outcomes that are positive that
I can use as an improvement from the previous design form.
The understanding of relationship between architecture and air using
physical models to propose a design is effective in achieving a concrete
method of fabrication in a small scale, to see how the design flows
and to learn how the design can be assembled together. This gives me
the realisation how in regard to parametric modelling that it is not only
important to generate the design, but also fabricating it. In my design, it is
easier to fabricate on a 1:1 scale than 1:100 like my final model.
In developing the ability to make a case for proposals by developing
critical thinking and encouraging construction is a challenge as parametric
modelling allows many possibilities to be generated in which some may
not be able to be fabricated. However, the challenge allows me to be
creative in searching and thinking about solutions that solve the problems
created (eg. actual construction) and also in discovering how the jointing
works and the scale of the project gives a sense of realness in the design
proposal that it is able to be constructed.
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REFERENCE LISTC5.0
1 Kämpf, Jérôme H. and Robinson, Darren. (2009) 'Optimisation of Building Form for Solar Energy Utilisation Using Constrained Evolutionary Algorithms'. Solar Energy and Building Physics Laboratory.
2 "ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart" 08 July 2014. ArchDaily. Accessed 30 Oct 2014. <http://www.archdaily.com/?p=522408>.
3 Kämpf, Jérôme H. and Robinson, Darren. (2009) 'Optimisation of Building Form for Solar Energy Utilisation Using Constrained Evolutionary Algorithms'. Solar Energy and Building Physics Laboratory, p.812.
4 "Types of Rope Construction" n.d. Rope Materials. Accessed 30 October 2014. <http://typesofrope.com/rope-construction/>.
5 "Rope Constructions" n.d. Consultancy, Design and Engineering Services in Ropes, Textiles and Marine Systems. Accessed 30 October 2014. < http://www.tensiontech.com/tools_guides/rope_constructions.html>.
6 "The Benefits of Cross Laminated Timber" n.d. Cross Laminated Timber. Accessed 30 October 2014. <http://www.crosslaminatedtimber.com.au/Benefits.aspx>.
7 Ferry, Robert and Monoian, Elizabeth. (2012) 'A Field Guide to Renewable Energy Technologies'. Land Art Generator Initiative. Accessed 30 October 2014. <http://landartgenerator.org/LAGI-FieldGuideRenewableEnergy-ed1.pdf>.
8 Mayer, Alex C., Shawn R. Scully, Brian E. Hardin, Michael W. Rowell, and Michael D. McGehee (2007), 'Polymer-Based Solar Cells' in Materials Today, Stanford University. Volume 10: 11, p. 29.
9 "The future is light: The 3rd generation of solar energy". n.d. Heliatek. Accessed 30 October 2014. <http://www.heliatek.com/technologie/organische-photovoltaik/?lang=en>.
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Nadia Putri.
