ABPL 30048: DESIGN STUDIO AIREMILY ADAMSON (538935)

2014

STUDENT JOURNAL

ABPL 30048 DESIGN STUDIO AIR

EMILY ADAMSON SEMESTER 1, 2014

Cover photo - Anna Cguienko, http://www.flickr.com/photos/annca/3286758126/in/set-72157614089077308/

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Milly Adamson

As a child I was lucky enough to travel to Europe with my family, we visited France, England and Italy exploring the century year old cities and admiring the architecture that creates them. This amazment for these large buildings that still stand tall hundreds of years later, I believe, is what began my interest in architecture. After finishing school I fed this love by travelling around South America and discovering countries with new architecture which is bringing them into the 21st Century.

As I began my studies at Melbourne University I found myself more intersting in the physical design-ing process and drawing out my work as I came from a strong art background. I began Virtual Environments and tackled Rhino (opposite). In 2013 I developed my Rhino skills further with an intense workshop which left me an intermediate level of Rhino skills and a beginners level in Grashopper. In the same year I also delevoped my Revit skills with a similar workshop.

Melbourne University 3rd Year Environments Majoring in Architecture

CONTENTS

9 PART A.10 A. 1.1 Design Futuring: LAGI12 A. 1.2 Design Futuring: Kinetic Energy14 A. 1.3 Design Futuring: Thin Film Organic

Photovoltaic cells16 A. 2.1 Design Computing: Interface /418 A. 2.2 Design Computing: Fibrosity20 A . 3.1 Composition/Generation: Aerody-

namic Microclimate22 A . 3.2 Composition/Generation: Smithsonian

Institute24 A . 4 & 5 Conclusion & Learning outcomes25 References27 PART B.29 B . 1 Research Feild: Material Performance31 B.2.1 Matrix Exploration: The Voussoir Cloud33 B . 2.2 Matrix Exploration34 B . 3.1 Case Study 2.0: EXOtique36 B . 3.2 Case Study 2.0: EXOtique38 B . 4.1 Technique: Development40 B . 4.2 Technique: Development42 B . 5 Technique: Prototypes44 B . 6 Technique: Proposal46 B . 7 Learning Objectives and Outcomes47 References

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PART A.

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A. 1.1 Design Futuring: LAGI possible, does not utilise the space in an effective way. Rosenberg has not provided exact details on where the bamboo would be grown, what quantity is needed and how much would be used in the design. By placing the human activity in the center of the site, the nose and wind will make it uncomfortable for anyone to stay within the site for an extended period of time, and therefore disrupt anyone who used the site originally. More could have been done to the site to manipulate it effectively and to create a “power plant as [a] public artwork.”2(p.4).

Similarly this site inefficiency can be seen with “The beauty in recycling”, with the human interaction with the infrastructure is only possible via boat. This means that a percentage of people have to access to the site. In this project there is a clear focus on the night light show that is achieved through the energy that is collected in the day. Elmore does not focus on the collection of energy for the city and also does not take into account the issue of rough water, bad weather or other factors that are out of human control. With these vessels in the water the original shipping paths will be dis-rupted.

The brief of LAGI is to “continuously distribute clean ener-gy into the electrical grid at a utility scale (equivalent to the demand of hundreds or thousands of homes)”3 (p.4) and to present “the power plant as public artwork.” 4 (p.4). These elements as well as a focus on stainability and future expansion were key in the design of this site. In “Fresh Hills”, Rosenberg hides the wind turbines and doesn’t embrace there power, going against what the brief requires. In “The beauty of recycling” the whole infrastructure is solar panels, which are clear to see. However, you can only see and interact with them if you are on the water. Both designs have key design features that if developed further could be strong and concise.

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

2. Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10

3.Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10

4.Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10

The Land Art Generator Initiative (LAGI) competition is an open competition to create an infrastructure art space that show-cases sustainable clean energy as Copenhagen aims to become the first carbon neutral city by 2020. Over the years that the competi-tion has been running many different entries with different energy styles have been received. From this competition I have analyzed two different forms of energy from 2012, “Fresh Hills”(Figure 1a. and b) by Matthew Rosenberg (Los Angeles, USA) a wind turbine field that took second place and “The beauty of recycling” (Figure 2. ) by Daniel Elmore (Cherry Hill, USA) a floating solar cell piece.

When designing for the future, a designer has to confront “two tasks: slowing the rate of defuturing (because, as indicated, for us humans the problem adds up to the diminution of the finite time of our collective and total existence) and redirecting us towards far more sustainable modes of planetary habitation.”1 (p. 6). With this in mind “Fresh Hills” tries to tackle these tasks. Rosenberg has used a material that is fast growing, planted on the site and therefore can be repaired easily. However, this is only the repair of the decora-tive, unnecessary elements of the design and the wind turbines that lay underneath the bamboo facade will still need regular repair. As a sustainable energy, wind turbines are effective close to water and therefor a form of defuturing is trying to be achieved. In “The beauty of recycling”, Elmore considers sustainable materials by us-ing mainly recycled elements, however this list is not broken down in the presentation. Elmore also doesn’t consider the effects of the water on the plastic and the subsequent fogging of it disrupting the ability for sunlight to be caught.

“Fresh Hills”, although it aims to catch as much wind as

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(top left) Figure 1a. “Fresh Hills”, Mathew Rosenberg, Los Angeles (USA) (bottom left) Figure 1b. “Fresh Hills”, Mathew Rosenberg, Los Angeles (USA)

(right) Figure 2. “The Beauty of recycling”, Daniel Elmore, Cherry Hill, USA

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A. 1.2 Design Futuring: Kinetic Energy

When researching different sustainable energy forms, in relation to LAGI design competition, Kinetic forms of energy stood out for me. In particular Piezoelectric and Pyroelectric.

Piezoelectric energy is created through mechanical strain that is converted into electrical energy. Pyroelectic energy is the conversion of temperature change into an electrical current. The energy is created when the crystal within the system is heated. Ex-amples of this are light up shoes, singing birthday cards and pavers that light up when they are jumped on. A company named Pave-Gen has created a tile (Figure 3 ) that lights up or collects energy as someone walks over it. An example of this on a large scale is during the Paris marathon where a part of the course was covered in these tiles. 40, 000 people passed over them creating “7 kilowatt hours of electricity during the entire race, which is enough energy to power a light bulb continuously for five days” 1 (inhabitat.com). This is a low number, however, MIT realized that they created a generator (Figure 2), as small as a 5 cent peice (Figure 1), that created 100 times more energy then any other generator of its kind. The “MEMS-based microscale power generator utilis[es] a PZT thick film and the trans-ducer to harvest ambient virbation energy”2 (p.82).

From these kinetic energy different ways of creating en-ergy and therefore different design ideas can be explored. Through research I discovered that if water is dripped on a piezoelectric cell, the vibration activities it and creates energy. This with the pyroelec-tric cell and temperature it makes me wonder if you could harness the rain and funnel it to create this dripping motion and changes its temperature if you are able to create a larger amount of energy then each cell would create by themselves.

1. Kinetic-Energy Harvesting Tiles, http://inhabitat.com/kinetic-energy-har-vesting-tiles-generate-power-from-paris-marathon-runners/pavegen-energy-

harvesting-tiles/2. Energy Harvesting Technologies, By Shashank Priya, Daniel J. Inman, 2009

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(top left) Figure 1. Generator sizing, http://nextbigfuture.com/2011/04/piezo-electric-mems-boosts-vibration.html

( bottom left) Figure 2. Piezoelectric generator, http://www.gizmag.com/mit-mems-device/19856/

(right) Figure 3. PaveGen tile, http://www.gizmag.com/pavegen-tiles-kinetic-energy-harvesting/20235/

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A. 1.3 Design Futuring: Thin Film Organic Photovoltaic cells

As kinetic energy cannot provide enough energy on its own to supply the amount that is needed in the LAGI competition, I further researched another form of energy that could be used with Kinetic energy to harness both of there potentials to the maximum. I decided to pick Thin film organic photovoltaic cells.

Thin film organic photovoltaic cells (OPVC) uses organic polymers to absorbs sunlight and submit electrical charges1. Due to its organic and plastic nature it means it can be easily fabricated and manipulated into different shapes. This also means that the cells is able to have some form of transparency to it too. They can be produced at a low cost in comparison to other photovoltaic cells as they can be easily printed. The cells have a conversion efficiency of 10% and can preform with low sunlight which is key for the LAGI project as in winter Denmark does not receives of average 7 hours of full sunlight. Due to the nature of the product, the cells can be sewn onto fabric, another element that could be optimized in LAGI submission.

As the cells are so flexible and malleable, I feel as though there could be a way of using this with the kinetic energy so that they both help each other. What if the cells moved in the wind and there movement generated kinetic energy, whilst harnessing solar. I think materiality and using energy systems as a material is some-thing that I want to focus on and analyze more as my design for LAGI further develops.

1. Feild Guide: Renewable Energy, Photovoltaic cells, http://landartgenerator.org/LAGI-FieldGuideRenewableEnergy-ed1.pdf

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Figure 1. Flexability of Thin Film organic photovoltaic cells, http://www.thomas-net.com/articles/image/thin-film.jpg

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A. 2.1 Design Computing: Interface /4

”Computation has provided the most radical shift in our methods of prescribing volume – a toolset that abstracts form to a dimensionless yet absolute state.”1 (AD)

As computation has developed it has allowed architects to redesign and re-imagine things that were impossible before computers. Richard Beckett (DMC London), Sarat Babu (Betatype) and Vasilis Chlorokostas from the, Bartlett School of Architecture, University College London (UCL) are the creators of Interface /4. Interface /4 is an ongoing series of experiments exploring the notion of a high-definition interface. They “adapt design tools to include both macroscopic form and material properties, to fabricate them on current commercial additive manufacturing systems, and engage in localized control of material properties throughout their physical volume.”2(AD). Shown here are examples of a four layered mem-brane with microscopic fibers, 100 per centimeter.

In Figure 1 and 2 a natural light shines through the materi-als membrane structure of 4 individual layers that are joined to-gether. This visually appealing scene and atmosphere that is created shows Interface /4’s “ability to design below the macroscopic scale”3 (AD) through the use of selective laser sintering to create microscop-ic fibers on a surface that is over layered to create a new material and texture completely. Here computation has allowed for a unique material to form. To create a surface with such minute detail and a complex four membrane structure. This creation of an individual material has allowed for a renewal of “the architect’s traditional role as the master builder empowered with the understanding and ability to digitally create in the material realm”4(Oxman, p.5). This recre-ation provides inspiration in relation to the LAGI project; by creating a new surface or material different energies could be harnessed to a greater potential, as well as creating something that presents the energy source is a visually aesthetic way.

(above) Figure 1. The rear of the membrabe showing the detailed sections of the structure, Beckett & Babu, Interface /4, http://onlinelibrary.wiley.com/doi/10.1002/ad.1709/pdf

1. High Definition: Zero Tolerance in Design and Production, January/Febru-ary 2014, Volume 84, Issue 1, Pages 1–136, i–iii, Issue edited by: Bob Sheil, http://onlinelibrary.wiley.com/doi/10.1002/ad.1709/pdf2. as above3. as bove4.Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–105. High Definition: Zero Tolerance in Design and Production, January/Febru-ary 2014, Volume 84, Issue 1, Pages 1–136, i–iii, Issue edited by: Bob Sheil, http://onlinelibrary.wiley.com/doi/10.1002/ad.1709/pdf6. as above7. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

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(left) Figure 2. Front surface under a natural light, Beckett & Babu, Interface /4, http://onlinelibrary.wiley.com/doi/10.1002/ad.1709/pdf

(right) Figure 3. Close up of fiborus texture, each panel has 100 fibres per centermeter, Beckett & Babu, Interface /4, http://onlinelibrary.wiley.com/doi/10.1002/ad.1709/pdf

Interface /4 are not saying what architecture may be but are instead exploring the “physical reality of a new language for architecture that matches the potential of additive manufactur-ing”5 (AD). The material that is created is not new but is exploring the boundaries between form and material. Interface /4 explores the boundaries and the capabilities of the material and looks to see what new geometries can be created. The team is” working to un-derstand the practical limits, capabilities and properties that can be exhibited through a persistent material data set created by digital and physical testing”6 (AD). Each practise is printed on a scale of 1:1 as to see the full capabilities and to learn from each test.

“This new continuity transcends the merely instrumental contributions of the man-machine relationship to praxis and has begun to evolve as a medium that supports a continuous logic of design think-ing and making.”7 (Oxman, p.1)

This designing with trial and error to explore the limita-tion of design is something that I can take away for my own design for the LAGI project. By working with computation and allowing it to push you as a designer and thinking in a new way,new materials, concepts and ideas can be generated.

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A. 2.2 Design Computing: Fibrosity

“formation precedes form, and design becomes the thinking of architectural generation through the logic of the algorithm. This is truly the shift towards a topological logic independent from formal and linguistic models of form representation.”1 (Oxman, p.3) Newnham’s project, Fibrosity, is “an attempt to highlight the difference between an architectural algorithm versus an applied algorithm”2 (Suckerpunch). Newnham has created a project that directly uses algorithms to sketch a bridge, with walkways and pas-sages, that directly removes the design element out of it and only uses mathematics.

To create the structure Newnham made it so that “pro-grammatically the algorithm is dealing with sound attenuation walls and pedestrian bridges”3 (Suckerpunch) to create its barriers and walkways around the road and the surrounding land. In this project Newnham is stating: “Through this we propose that algorithmic design currently leans far too heavily on simply application of existing systems. Algorithmic design should take into account a much greater spectrum of architecture, not just beauty, and be intricately tailored to a project, rather than found and applied.”4(Suckerpunch) This project presents a unique prospective on design com-puting and makes one question where the line is drawn and what do we call “design” today. From this work inspiration for the LAGI proj-ect can be explored through possibly statistics for Denmark and the site to see if they in themselves can help design what is placed on it. However this should not be the only element that is considered. For design to develop there should be a clear relationship between what the computer can help you design algorithmically and what is made purely for beauty. Elements that I could consider in my design in rain statistics and noise pollution for the area.

1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–102. Cam Newnham, Melbourne Australia, RMIT University, critic: Roland Snooks, http://www.suckerpunchdaily.com/2014/02/13/fibrosity/3. as above4.as above

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(right top) Figure 5. Aerial view, Fibrosity, Cam Newnham,http://www.sucker-punchdaily.com/2014/02/13/fibrosity/(right bottom) Figure 6. Section, Fibrosity, Cam Newnham,http://www.sucker-punchdaily.com/2014/02/13/fibrosity/

(left) Figure 4. Close up of bridge, Fibrosity, Cam Newnham,http://www.suck-erpunchdaily.com/2014/02/13/fibrosity/

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A . 3.1 Composition/Generation: Aerodynamic Microclimate

” The Aerodynamic Microclimate project explored the themes of biomimicry, emergence, sustainability, evolutionary computation, system control logics, kinetic design, interactive design and large-scale fabrication technologies. The adaptive material system explorations reflected the anisotropic property of plywood and smart behaviour of shape memory alloy. The physical and computational toolset of the fabrication process were CNC milling, composite material production and smart material activation by Arduino micro-controller.” 1 (sucker-punch quoting Cagla Gurbay, Yemin Ma, Prajish Vinyak, & Jinjing Yu)

The project Aerodynamic Microclimate by Cagla Gurbay, Yemin Ma, Prajish Vinyak, & Jinjing Yu focuses on the changes in temperature and humidity and figure out ways “of responding the heterogeneous thermal demand of the occupancy variation”2 (Suck-erpunch). This changing building is created through moving panels with open and close through parameters that are placed on the building. “The clustered controlled multiple parameters of interior heat and humidity was achieved in a single system by sensory data input”3 (suckerpunch). Kolarevic states that “by assigning different values to the parameters, different objects or configurations can be created” 4 (Kolarevic, p.17), this change in configuration is achieved through the moving panels. In Figure 2 multiple situations are shown for the variation in wind, area temperature and the frequency that the building is being used. To create this “methodology was set on evolutionary computation with tools of Grasshopper and Rhinoc-eros” 5 (suckerpunch). By accessing a building by the people that move in and out of it we are able to not just think of the building as a permanent unmoving object. By enabling these parameters and calculating optimum efficiency it could possibly lead to a more static architecture. This form of building however could not be put into practise everywhere due to weather conditions that have not been assessed.

1. Cagla Gurbay, Yemin Ma, Prajish Vinyak, & Jinjing Yu: “Aerodynamic Microclimate”,http://www.suckerpunchdaily.com/2014/03/05/aerodynamic-microclimate/2. as above3. as above4. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufactur-ing (New York; London: Spon Press, 2003) Suggested start with pp. 3-625. Cagla Gurbay, Yemin Ma, Prajish Vinyak, & Jinjing Yu: “Aerodynamic Microclimate”,http://www.suckerpunchdaily.com/2014/03/05/aerodynamic-microclimate/

(above) Figure 1. Aerial of model, Cagla Gurbay, Yemin Ma, Prajish Vinyak, & Jinjing Yu: “Aerodynamic Microclimate”,http://www.suckerpunchdaily.com/2014/03/05/aerodynamic-microclimate/

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(above) Figure 2. Parametric Change, Cagla Gurbay, Yemin Ma, Prajish Vin-yak, & Jinjing Yu: “Aerodynamic Microclimate”,http://www.suckerpunchdaily.com/2014/03/05/aerodynamic-microclimate/

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A . 3.2 Composition/Generation: Smithsonian Institute

“A single computer program, written by Brady Peters, an architect on the design team and a member of Foster + Partners’ Spe-cialist Modelling Group (SMG), generated the geometry of the roof. The computer code was used to explore design options and was constantly modified throughout the design process. It was also used to generate the final geometry and additional information needed to analyse struc-tural and acoustic performance, to visualise the space, and to create fabrication data for physical models.” 1 (Peters, p.13)

The roof over the courtyard of the Smithsonian Institute by Foster + Partners shows a clear example of computer generate design with a piped mesh being lain over existing architecture. As stated in the quotation above several parameters were enters so that multiple generations could be achieved to create the shape and structure of the roof. The firm Foster + Partners design process uses “computational designers working in internal specialist groups largely separate from the design teams. These groups act as internal consultancies and designers integrate with the design process to varying degrees depending on the needs of the project”2 (Peters, p. 11). The specialisation in computational design allowed them to generate many different iterations to produce the most effective outcome to be placed on the building. By generating multiple out-comes they were able to test and examine what outcome would be most effective to the space. The meshed roof seems to float above the existing building and creates a large covered open space that seems as though it is outdoors. Through there generative design they considered the factor of the pre-existing building and how the new addition needed to react with it. I believe that this roof is simple and therefore is effective in its setting as it continues the conversa-tion of the building. The interaction between the existing and new design is something that I can take away in my own LAGI design as external factors should be considered when generating design.

(above) Figure 1. Close up off roof, Foster + Partners, Smithsonian Institu-tion, Washington DC, 2007, http://www.fosterandpartners.com/projects/smithsonian-institution/

1. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-152. as above

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(above) Figure 2. Angle shot of water reflection, Foster + Partners, Smithsonian Institution, Washington DC, 2007, http://www.fosterandpartners.com/projects/smithsonian-institution/

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A . 4 & 5 Conclusion & Learning outcomes

Through investigation over the past four weeks, I have dis-covered many presidents that I believe that I can learn from for my own design. Investigation into previous works for LAGI on pages 10-11 has shown me what I don’t and do want to achieve in my design and allowed me to view myself in a more critical way. By investigat-ing piezoelectric energy as a sustainable energy source it sculpted the types of precedents that I wanted to gain knowledge from. From Part A I take away the concept of materiality and the ability to create a material of structure that is reactive and that will optimize my energy source. Along side my discoveries, the readings have allowed me to question my previous design ideals and think not just about sustainable practise and what it means to be “sustainable” but about defuturing and what it means to design. This ideas have made me rethink my previous designs as I have previously thought about design in a more analog why, through this exploration and discover-ing Grasshopper it has allowed me to transfer these thoughts and develop them into a more digital thinking.

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References Beckett & Babu, Interface /4, http://onlinelibrary.wiley.com/doi/10.1002/ad.1709/pdf

Cam Newnham, Melbourne Australia, RMIT Uni-versity, critic: Roland Snooks, http://www.suckerpunchdaily.com/2014/02/13/fibrosity/

Cagla Gurbay, Yemin Ma, Prajish Vinyak, & Jinjing Yu: “Aerodynamic Microclimate”,http://www.suckerpunchdaily.com/2014/03/05/aerodynamic-microclimate/

Energy Harvesting Technologies, By Shashank Priya, Dan-iel J. Inman, 2009

Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10 Foster + Partners, Smithsonian Institution, Washington DC, 2007, http://www.fosterandpartners.com/projects/smithsonian-institution/

“Fresh Hills”, Mathew Rosenberg, Los Angeles (USA)

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

Generator sizing, http://nextbigfuture.com/2011/04/piezo-electric-mems-boosts-vibration.html

High Definition: Zero Tolerance in Design and Production, January/February 2014, Volume 84, Issue 1, Pages 1–136, i–iii, Issue edited by: Bob Sheil, http://onlinelibrary.wiley.com/doi/10.1002/ad.1709/pdf Kinetic-Energy Harvesting Tiles, http://inhabitat.com/kinetic-energy-harvesting-tiles-generate-power-from-paris-mara-thon-runners/pavegen-energy-harvesting-tiles/

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

PaveGen tile, http://www.gizmag.com/pavegen-tiles-kinetic-energy-harvesting/20235/ Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

Piezoelectric generator, http://www.gizmag.com/mit-mems-device/19856/

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PART B.

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Figure 1. Aerial view, http://www.iwamotoscott.com/VOUSSOIR-CLOUDFirgure 2. View through the cloud, As above

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B . 1 Research Feild: Material Performance

The material system that I decided to explore further was Material Performance with Iwamoto Scott ‘s 2008 Voussoir Cloud installation. In previous precedents, materiality and its performance has been a key element that I have tried to explore. By exploring material performance in this context I hoped to grasp a further understanding and context in computational design. Voussoir Cloud grasps inspiration from Gaudi and Otto’s concepts of chain modelling to find an efficient form1. Chain modelling is a concept where the form of a hanging chain was observed and gravitationally reversed with stone and concrete to create arches that were struc-turally sound and different in form. The chain modelling used allows for the low sloping arches and simple compressions of the structure. Each vault is divided into Delaunay tesselations which allows the panels to optimize the vault structure. The petal panels optimize the structure through bunching and smaller petals at the bases of the structure and at the ribs of the vault, opening up and spreading out as the go up and out. The wedge shaped masonry that is usually used in vaulted arches is able to be replaced with paper this wood panels due to the compression and tension factors realized through the chain modelling and Dealunay tesselation.

The thin wood panelling that is used creates its own surface tension through the curved folded seams. This tension of the folds wanting to bulge out is what allows for the structural poros-ity within the constraints of the sheet material2. There are four different times of petals with zero, one, two or three curved folds which allows for each petal to behave in a different way and interact between each other. Designed on Rhino, Voussoir Cloud clearly shows what computational design is capable of, or was in 2008, and creates an atmospheric space through mathematical spacing, shape formation and overall vault formation.

1. Iwamoto Scott, Voussoir Cloudm, 2008, http://www.iwamotoscott.com/VOUSSOIR-CLOUD2. As above

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B.2.1 Matrix Exploration: The Voussoir Cloud

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From the above matrix I have selected four which I believe show the best outcome, or potential to learn from for future design generation. The four images (from top to bottom) show an alteration in the physics application, altering gravitational forces, an alteration in horizontal forces, a plugin in point change to a spiral formation with few points, and then many points. To select these iteration from my matrix I assessed material performacne and considered what type of materials i want to use within my own design. I think the organic, bulbous shapes of the first two could lend themselves well to thin film photovoltaic cells as a meterial as the shape allows for move-ment in the shapes and material. The bottom two present a more ridid structure with hidden elements and confusion to the eye as well as the ability for moving element for kinetic energy. When model-ing these iterations my aim was to break to model, to distort it and push it to its boundaries. The first two do not essentially show this but show where i began and the physics capabilities of the program which could be used to my advantage.

B . 2.2 Matrix Exploration

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EXOtique was a quick, 5 day fabrication installation at Ball State’s College of Architecture where projectione was invited to lead a group of students from design through to fabrication. They had a $500 budget and a strict schedule to assemble and make a function-ing hanging structure over a foyer of the school. Computational tools such a Rhino and Grasshopper aiding in the design and lead the direction the system was heading. The aim was for students to use these tools as pure generators of representation, elegantly put “As designers and creative thinkers, we do not have to lean on these tools for the purposes of imagery; imagination can act as renderer, and understanding of materiality acts as logic in the physi-cal world.”1, yet to ease and speed up the design process generative design process are used.

The structure uses hexagonal panels and triangulated circle cut outs to create a lit drop ceiling over the space. No hard-ware or connectors where used in the project with all elements being considered in the design process. This allowed for a cut in costs, using the material to its full potential. EXOtique considers material performance and optimizes this in its design intellectually and elegantly. This philosophy should be considered in our LAGI design, where materiality acts as a main factor in energy efficiency to achieve the lowest embodied energy cost and least waste. The geometric complexity of the design is something else which we would like to embody in our design as its creates an effective simple surface with flexibility to be placed in any environment.

B . 3.1 Case Study 2.0: EXOtique

1. EXOtique, http://www.projectione.com/exotique/

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(top) Firgure 1. EXOtique, http://www.projectione.com/exotique/(bottom) Figure 2. Close up of panels and cut outs, http://www.projectione.com/exotique/

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1 Hexagonal gridUsing the hexgrid function and offsetting the hexagonal shape, we have created a hexagonal pattern which mimics the panel tessellation of the EXOtique instal-lation. The integers used for the grid were odd numbers in order to satisfy the tessel-lation requirements of the hexagonal shape. We have used an x integer of 3 and y integer of 5.

2 BoxAfter establishing the hexagonal grid pat-tern, we established a panel space using this grid as a base. The box is created by the joining of points, whose locations are informed by the grid geometry through use of the subtract command. The rectangular space serves as a panel, which allows the hexagonal pattern to be applied to our lofted surface.

3 LoftApplying the loft command to a collec-tion of curves creates a planar surface to which the hexagonal panel geometry. The lofted plane is representative of the lofted shape of the EXOtique installation.

B . 3.2 Case Study 2.0: EXOtique

Similarities and differencesSimilaritiesGeneral curvature while keeping rigid structure because of the hexagonals The hexagonal panels follow the curvature of the loft, rather than being two-dimensional pieces placed together to create a lofted shape. DifferencesThe configuration of the circular cut-outs is dissimilar to that of our defini-tion in that our circular pattern expressed itself in singular lines, rather than a concentric configuration. The outside edges of EXOtique are limited to the borders of the hexagonal shapes, rather than adhering to the shape of the lofted surface. Our defini-tion adheres to the boundaries of the loft.

Where would we like to go next? Increase dimensionality by splitting the lofted plane to fold it into different directions. Additionally, we would extrude some panels to create a more 3 dimensional effect.We would increase the ‘sharpness’ of the form by implementing pan-elised ribs which would protrude from the loft.

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4 ApplyingThe hexagonal grid was applied to our lofted surface by morphing the grid surface, the box panel and the loft surface box. The combination of shape and pattern creates the overall form which is identifi-able as a variation of EXOtique.

5 AdjustingExperimentation with the surface loft shape, and of the values of various com-mands such as the surface divider, facili-tated minor adjustments to our form that resulted in a greater level of resemblance to EXOtique.

6 Attempt at point charges The EXOtique panels have circular cut-outs. We recreated this circular pattern using point charges. We divided our hexagonal surfaces into points. We then created point charges, altered by equa-tion which controls the circle radius. This new surface was then mapped onto the loft. We encountered an error in execut-ing this, however the simulation was still completed. EXOtique is lit with LED bulbs attached to some panels, the circles are only present on the panels which are not lit. We could not replicate the inconsisten-cy of the circular patterning, as we could not find a way to instruct point charges to only effect certain portions of the grid surface.

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B . 4.1 Technique: Development

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B . 4.2 Technique: Development

exotiqueIn this iteration we redid our reverse engi-neer of EXOtique to create a piped frame with hexagonal panelling on them. This dif-ferent iteration meant that we would be able to achieve different outcomes and genera-tions in our matrix through using different iterations and different methods to receive the same outcome.

piping patternIn this render the geometric piping was offset to create a two layered structure with no surface between the pipes. This one was picked as we believed the shape and move-ment was emotive whilst still retaining the material texture we want to create in our structure. This structure could be applied to the site in different ways, vertically upright, horizontal in the sky or on the ground, or even over hanging the water.

tensile tunnelIn this rendering we looked at removing the curve at one end of the structure and replac-ing it with a point, this creates a pinched end. By removing the surface and only hav-ing piping it allows for us to place piezoelec-tric film within them that will react to exter-nal factors such as wind and hum contact. To create maximum accessibility and efficiency, this structure would be placed horizontal to the site so that pedestrians could walk though and interact with the structure.

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phat pipesThis piping iteration enlarged the pipes creating no surfaces in be-tween them and creating a piped meshed structure. This structure could be used as a walkway and if panels where applied to the struc-ture it then could be clad in photovoltaic cells to collect sunlight.

turning towerThis iteration created a structured twisted tower structure with a ribbed facade. We picked this one as I feel an energy could be placed on this structure very easily due to its flat surfaces at 360 degrees. I feel that this structure could be pushed and expanded to challenge to site and to create a breathing landscape if elements of it where made to move.

We have interpreted the brief as prompting a design which employs natural site conditions as a means of energy generation.Our intent is to create something that responds to the dynamism of on-site environmental factors in a way that is interactive with users. The challenge is to incorporate geometric complexity and expression of parametric design, while maintaining navigability in our structure. We have employed the algorithmic design process of geometric paneling in conjunction with solar and kinetic energy generators with a focus towards minimizing embodied energy through use of local recycled materials. Our algorithmic design strategy, geometric panelling, has been influenced by our explorations of precedents Voussoir Cloud and EXOtique. Consideration of material function, as in Voussoir cloud, inspired integration between our generators and our structure, in turn informing our decision to employ photovoltaic and piezoelectric paneling. EXOtique emphasizes the relative simplicity of panel fabrication. As embodied energy is a concern for sustainable development, we chose to integrate paneling into our design. Moreover, we will employ recycled steel from the surrounding industrial area for the frame in order to minimize cost and energy of transport and production. The Voussoir cloud cells are based on the Delaunay tessellation, and EXOtique on an offset hexgrid. Having worked with these geometric grid forms and achieving interesting results, we chose to continue down this pathway.

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B . 5 Technique: Prototypes

Through genereative exploration and presedant research, material performance has transformed into a key element of design that we want to be portrayed in our design. A geometrically complex surface acts as both a physically beautiful element but also works practically when incorporated with photovoltaic cells on a surface. Here is a modelled example of a triangulated surface that we want to project onto our work.

This triangulation would be perfect for photovoltaic cells as they would allow for them to be placed on an efficient angle. Photovoltaic cells convert the energy of light directly into electricity.Specifically we have chosen monocrystalline solar cells: the most efficient, durable and space efficient and crystalline cells, which also suffer less adverse effects from temperature increase than polycrys-talline.These cells are generally used in the form of panels, and so are applicable to our strategy of geometric panelling. Our other en-ergy that we want to incorporate is piezoelectric cells. Piezoelectric ceramics when affected by pressure or vibration have the capacity to generate electric voltages. Piezo electric actuators convert electrical signals into physical displacement, this could be used to control the movement of elements within our dynamic, responsive structures.

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Through prototyping and exploration we discovered a few thing. The “tower” design was effective and simple and had the ability to have multiple facades if we made it possible for it to rotate. This dynamic movement could be used to our advantage to harness energy on the site. In prototyping the pipes we found that there was elements in the grasshopper file which we did not realize where there, which is why our 3D print came out with more joining pipes. I definitely feel as through we need to revise our grasshopper file and maybe start again with our design with elements of what we want to achieve in mind. The dynamic nature of the tower is something that I feel we should expand.

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B . 6 Technique: ProposalPipes is an interactive constellation of piped walkways clad with photovoltaic cells and piezoelectric fitted doors. The pipe directions are based on overlayed summer and winter wind rose data for the site, maximizing kinetic energy potential. The central area will be a meeting point of all the pipes with sitting area for users. The door from each pipe to the central space is constructed of translucent, coloured piezoelectric panels. The doors are fitted with piezoelectric actuators which will detect changes in wind velocity and open or close the door in response. The greater the wind speed, the further the door closes. This places panels more perpendicular to stron-ger winds to optimize energy intake. The door colouring will be projected into the floor of the space; the door will be lit with a small percentage of the energy generated to emphasise the projection. Wider projections denote higher wind velocities (refer to diagrams). The interior space is protected from large wind tunnels as door are automatically further closed in these areas. The exterior of the structure is cladded mono crystalline photovoltaic panels which are triangulated to allow for individual angling for optimal light capture.Tessellation tower is a rotating solar and wind energy harnessing sculpture. Steel offcuts will make up the frame of the structure, which will be clad in mono crystalline photovoltaic cells and piezo-actuators. The tower itself is divided up into rectanglular modules, which move independently as a result of wind velocities affecting the piezo actuators. Each module will be covered in mono crystal-line photovoltaic cells on the top and the sides of the rectangular structure to harness solar energy. The tower visually demonstrates changes in wind patterns but is limited in user interaction.

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B . 7 Learning Objectives and Outcomes

Over the past weeks I think my grasshopper skills have been lacking and it has meant my computational designing isn’t standing up to the ideas that I have. The feedback received for inter-im presentation was helpful and definitely what was needed to help my group pull up our socks and work out what we want to achieve in this subject. I definitely think that we should push the tower idea further and work out how it can effectively be used on the site. What is we just kept the rotation idea and made the whole site out of rotation panels that generate energy and create a hilled landscape on a once flat site. What if we kept this tower idea but elongated ele-ments so that users could stand on them or what if we had different activities on each of these elements, all generating kinetic energy. I think there is definitely some potential it just involves a lot of hard work from here until the end of semester.

At the beginning of the subject guide there is a list of learn-ing objectives for this subject. Objective 2 is the “ability to generate a variety of design possibilities for a given situation”, I think in my work when I am given a definition, like in Voissoir Cloud, I am able to push and challenge the design, however when we had to reverse engineer EXOtique I don’t think I push the design to its full potential. I don’t think I was able to achieve Objective 4, “an understanding of relationships between architecture and air”. I believe that over the next few weeks I need to work hard and push myself to create some-thing that is both visually appealing and geometrically complex. I believe that if I push myself in Grasshopper, more then I had before, a design I am proud of will come out. From the past crit and seeing where everyone else is at, I know that there is a lot of work that needs to get done but I think it is possible if i work hard.

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References EXOtique, projectione, 2005, http://www.projectione.com/exotique/

Iwamoto Scott, Voussoir Cloudm, 2008, http://www.iwa-motoscott.com/VOUSSOIR-CLOUD