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

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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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