aryananda monica_studioair2014sm1

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STUDIOAIR

MONICA ARYANANDA

A.1 Design Futuring

C R I T E R I A D E S I G N

B.1 Research Field

B.2 Case Study 1.0

B.3 Case Study 2.0

B.4 Technique: Development

D E TA I L E D D E S I G N

B.5 TechniqueL Prototypes

B.6 Technique: Proposal

B.7 Learning Objectives and Outcome

B.8 Appendix - Algorithmic Sketches

A.4 Conclusion

C.1 Design Concept

C.2 Tectonic Elements

C.3 Final Model

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T A B L E O F C O N T E N T S

A.0 Introduction

C O N C E P T UA L I S AT I O N

A.2 Design Computation

A.3 Composition/Generation

A.5 Learning Outcomes

A.6 Appendix- Algorithmic Sketches

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I N T R O D U C T I O N

My name is Monica Aryananda, a 3rd year bach-elor of environments student majoring in Archi-tecture. I am originally from Indonesia and have lived there all my life. With having a rich cultural background, i am hoping to someday incorpo-rate these cultures and architectural practices.

In my opinion, rather than a necessity, architec-ture is more about the way of life of an individual and community. Its purpose is mainly to accom-modate and protect however, I think a building without intent is not architecture but just shelter, to protect people from the external environment. Ar-chitecture is alluring because of the need to con-stantly problem solve and the exploration of ideas.

I don’t have any architectural background and is keen to learn more about how technology has influenced architecture greatly in the 21st centu-ry. This is aided by the availability of 3D model-ing and rendering. My past experience of digital modeling is only the use of basic software like Revit and Auto-cad, Rhino is fairly new to me however, after viewing the tutorials and the work of others, I’ve realized how powerful it can be.

Parametric design is a new concept I have yet to learn and found great interest in exploring it further.

The only past experience I have on 3d software is basic Rhino and Revitt, I find these 3d soft-wares very interesting as it enables us to explore forms not only through physical modeling but to try out different forms and shapes through the computer. There are many advantages mainly the freedom to control space and form in which we can alter, record, and edit very easily rather than drawing or making the real physical mode. I am very excited to learn grasshopper and how it can manipulate 3d forms giving it a set of rules that define the sequence of operation.

I took Virtual environments in first year and found it very difficult to use paneling tools and I strug-gled the whole semester and now that I am learn-ing grasshopper and Im hopping to make the best of this tool so it can help me in the future.

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PA RT A . 1C O N C E P T U A L I S AT I O N

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A . 1 . D E S I G N F U T U R I N G

Design Futuring is a practice

that creates and makes time for humans

by nullifying forms of action, goods,

systems and institutions that take time

away. (Lecture 2014) It is basically slow-

ing down the process and buying time for

future generation as the resource of the

world are now limited.

Accoring to Fry (2008), design futuring is

changing the way of thinking to become

more sustainable and to find a way to re-

generate resources and energy in a way

to slow down the process of using the

earth’s resources. This can be seen by

the two following precedents, it is basi-

cally using design as a tool to slow down

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N at i o n a l S ta d i u m Ka o h s i u n gToyo Ito

This dragons shaped stadium by Toyo Ito is lo-

cated in Kaohsiung, Taiwan and it was designed

for sporting events, which can accommodate

around 55,000 people. Often building a stadium

would cost millions of dollars for construction,

engineering and operational costs. However, Ito

negates the energy used to power up the sta-

dium (3.300 lights) and the vision screens. As

suggested in Fry’s reading (2008), he stated that

the key of the future is to reduce time for future

generations and the key to design is by produc-

ing innovative solutions that could help reduce

energy consumption though excess use of ma-

terials, and efficient construction strategies.

In the case of the Dragon Stadium by Toyo Ito,

he approached the idea of Design futuring by

incorporating 8,844 solar panels into his design

to regenerate energy for the stadium; this will

create an advantage to reduce cost of the ener-

gy used in the building in a long term. This sta-

dium can operate at maximum efficientcy as the

panels generate 100% of its electricity from the

photovoltaic technology (GEN 2011).n and how

architects at present are redirecting to a more

sustainable approach rather than aesthetics.

According to Pham (2011), he has integrated

other green features such as permeable paving

and the extensive use of domestic materials. Ad-

ditionally as shown in Figure 2, Ito has also tack-

led the issue of labour, time and material cost ef-

ficiency of structure by using precast, continuous

structure for the external cladding of the stadium.

This refers back to Fry’s (2008) argument that

states how he carefully consider the material intel-

ligence to help slow down the rate of deterioratio

Figure 1:Toyo Ito, 2011, Taiwan, http://stat-

i c . g u i m . c o . u k / s y s - i m a g e s / G u a r d i a n / P i x / p i c -

tures/2010/4/6/1270553530138/Public-Architecture-

Now-002.jpg

Figure 2: Toyo Ito, 2011, Taiwan, http://bjlee2.files.word-

press.com/2010/10/lee_brian_assignment1b_img31.

jpg

Figure 3: Toyo Ito, 2011, Taiwan, http://

a d 0 0 9 c d n b . a r c h d a i l y . n e t / w p - c o n t e n t / u p l o a

ds/2009/05/1770308421_3522142791-7fe32f27a8-o-

528x316.jpg

9 Figure 1

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Figure 2 This has opened up future possibilities by us-

ing materials such as solar panels as a part of

the design integration and not as a separate

entity like it was seen in the past. Regenera-

tion of energy has become one of the main fo-

cuses of architects in today’s world therefore,

bringing in such materials and finding ways to

reduce damage for the future. They are cur-

rently still used as how they are planned,

the stadium only takes up 6 minutes to light up

the whole place powered by the solar panel

(Pham 2011), which lights up 3,300 lighting in

the stadium. They have contributed the think-

ing that we are at the age where we should

preserve our environment in order to buy time

for the future, therefore, we should redirect our

thinking on using sustainable materials on inte-

grating efficiency in our everyday life (Fry 2008).

N at i o n a l S ta d i u m Ka o h s i u n gToyo Ito

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Figure 3

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Vo l vo Pav i l i o n , I ta l yLos Angeles’ Synthesis Design + Architecture

This portable pavilion is designed by LA office

Synthesis Design + Architecture for Volvo to estab-

lish Volvo’s new hybrid model V60 in Italy. In this

design the solar panels became the main material

and design feature/driver, not something placed

after the design but it is integrated as a part of the

design. The solar panel used in this design is a

total of 252 flexible photovoltaic (Like used in Toyo

Ito’s Kaohsiung Stadium) which is then attached to

the surface and the panels are placed in a way us-

ing computational design in a pattern to maximize

their sun intake taking the average sun’s position

in any location in Italy (SDA 2014). People are

now redirecting themselves towards sustainabil-

ity to slow down the rate of defuturing (Fry 2008)

Another interesting part of this project that makes

it Design futuring is that not only that the solar

panels the main design feature and driver but the

panels can also function in a way that the panels

receiving the least energy will automatically be

turned off, ensuring sustainability of energy and

power generation (SDA 2014). The panels then

charged the portable battery that charges the car.

Furthermore, this pavilion has expanded its poten-

tial by not only used to charge the cars it can also

be flat-packed to fit in the trunk of a car and can be

assemble in less than an hour which makes it por-

table and maximizes the sun rather then oil which

therefore helps create more time for the future.

Figure 1: SDA, 2013, http://synthesis-dna.com/pure-tension-volvo-v60-pavilion/

Figure 2: Italy. http://www.dezeen.com/2013/11/14/volvo-pure-tension-pavilion-charges-an-electric-car-by-synthesis-design-architecture/

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Figure 1

Figure 2

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PA RT A . 2D E S I G N C O M P U TAT I O N

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A . 2 . D E S I G N C O M P U TAT I O N

Design Computation is the process of

using algorithms to generate faultless in-

novations. In this case, architects don’t

use visions and build according to what

design they want, but instead they study

the materials in the tangent with the use of

digital software such as grasshopper and

analyze it to determine the form of what

they are making. Integrating data and

computer from the very beginning of our

design process in relation to our design.

To sum it up, digital architecture aids the

emergence of certain distinctive geomet-

ric preferences and aesthetic affects. Be-

fore, the advance progress of materials

and fabrication design were among the

dominant contributions to the evolution of

digital architecture. However, at present,

biological influence and sustainability is

one of the main concepts used.

There is now an increase in the rela-

tionship between computer and archi-

tecture that enables digital architecture

to create a set of symbolic relation-

ships between formulation of design

process and developing technologies.

Fast progressing technology allows the

evolution of digital in architecture and

how computation allows designers to

derive forms from available data from

its surroundings and the environment.

Through generation and advance mate-

rial production in the world at present,

it creates a digital chain where humans

are bound to use this progress in order

to advance to the future. Parametric de-

sign allows new form of logic of digital

design thinking, it focuses on the logic

of associative and dependency relation-

ships. (Oxman, Rivka and Robert Ox-

man 2014)

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C h h at ra p at i S h i va j i I nte r n at i o n a l A i r p o r tSkidmore, Owings & Merill

This concrete coffered canopy is covering

the new Mumbai Airport, India, which was re-

cently finished early this year. SOM has inte-

grated the national bird of India, which is the

peacock as the main concept of their design.

They then collect the constellation of colors of

the peacock feather that can be seen from fig-

ure 2 into data and thus creating a coffered can-

opy ceiling, which is 4 stories high (DBA 2014).

The reading by Oxman, Rivka and Robert Oxman

(2014) suggested that there is an increase in the

relationship between computer and architecture

and at present, digital architecture has enable set

of symbolic relationships between formulation of

design process and development. In this case,

computer aided design also provides efficiency in

time and algorithmic thinking has been widely used

to provide solution/design. SOM has an input of

these peacock feather and inspired by other series

of factors such as the sun’s lights and angles and

also keeping the idea of design futuring in mind.

Woodbury (2014) suggested that designers are

the ones that establishes and builds up the rela-

tionship of the components in the design in which

each part are independent and that it edit rela-

tionships by observing and selecting from results

produced. The airport has successfully used

computational tools to manipulate and establish

each component from the openings to the form

separately and how it works and goes together.

From figure 2 and 3 it can be seen that they care-

fully thought about the relationship of the columns

and how it transition outwards having bigger

opening outwards and smaller as it goes to the

column. It is mathematically possible to produce

this transition and design with only computational

tools, as it will take forever with freehand. Further-

more, as Brady (2014) suggested, SOM has been

famous to have computational designers working

in internal specialist group and that the computa-

tional designers are involved with the design pro-

cess.mal thermal performance and mitigate glare.

Figure 1:SOM, 2014, Mumbai, India, http://www.dezeen.com/2014/02/20/chhatrapati-shivaji-airport-ter-minal-mumbai-som/

Figure 2: SOM, 2014, Mumbai, India, http://www.arch-daily.com/477107/chhatrapati-shivaji-international-airport-terminal-2-som/52fd8fd4e8e44e1589000128_chhatrapati-shivaji-international-airport-terminal-2-som_column_diagram-png/

Figure 3: SOM, 2014, Mumbai, India, http://www.arch-daily.com/477107/chhatrapati-shivaji-international-airport-terminal-2-som/52fd901ae8e44e158900012a_chhatrapati-shivaji-international-airport-terminal-2-som_column_model-png/

17 Figure 1

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Figure 2

C h h at ra p at i S h i va j i I nte r n at i o n a l A i r p o r tSkidmore, Owings & Merill

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Figure 3

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I C D / I T K E Re s e a rc h Pav i l i o n 2 0 1 2ICD/ITKE

The ICD/ITKE 2012 is a research pavilion is a ro-bot fabricated pavilion made up of carbon and glass fibre composites. The research is focused on material and morphological principles of arthro-pods skeleton as a solution for new composite construction paradigm in architecture. The main aim of the project was to transfer the fibrous morphology of the biological role model to fibre-reinforced composite materials, the anisotropy which will then be integrated into the computer based design simulation process leading to new possibilities. The design has to have elements of closed, digital information chain linking the mod-el to possible simulations, material testing and robotic fabrication control. The formation of ge-ometries and components simulations into com-putational models allowed the project to have comparative analysis of different iterations which is a big advantage of computational design.

The fabrication happens on site with robotic fabri-cation and a weather proofing environment with a 6-axis robot. The materials used are fibre which is then placed on a temporary steel frame. The in-tegration of biomimetic principles of the lobster cuticle and the logics of the newly developed robotic carbon and glass fibre filament winding the computational design process, enable a high level of structural performance in architecture.

Figure 1: University of Stutgart, 2012, http://icd.uni-stutt-

gart.de/?p=8807

21 Figure 1

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PA RT A . 3C O M P O S I T I O N / G E N E R AT I O N

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A . 3 . C O M P O S I T I O N / G E N E R AT I O N

Computation has definitely changed ar-

chitecture in a way that it allows architects

to widen their views and abilities to solve

highly complex problem. The reading by

Brady (2013) defines computation as the

processing of information and interactions

between components in a specific envi-

ronment, it influenced database, which

then provide the capacity to GENERATE

complex forms and order. The computer

then processes the information through a

model, which can be expressed as an al-

gorithm.

Computation and architects such as Grim-

shaw, Foster+ partners, and SOM has use

computation to generate and explore ar-

chitectural spaces and concepts though

algorithm and the relationship between

each different components (Brady 2013).

Compositional architecture is the practice

of composing a shape and having a vision

then using the computer to represent their

design that can also called as computer-

ization. However computation architecture

is when architects have sufficient under-

standing of algorithm concepts, when we

no longer need to discuss the digital as

something different, and computation as

the main method of design (Brady 2013).

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I T K E Re s e a rc h Pav i l i o n 2 0 1 1ICD/ ITKE

There has been a shift in architecture from com-

position to generation. Designers are now think-

ing of algorithm, which can be defined as set of

rules that define sequence of operation (Mod-

elab 2014). They use and come up with differ-

ent creative algorithms to generate forms that

would exceed their imagination and generate

unexpected result. Just like this example of the

2011 ITKE/ICD pavilion which researched the

biological principle of the sea urchin’s plate skel-

eton morphology (Sand Dollar) by using digital

based design and simulation accompanied by

a computer-based and controlled manufactur-

ing method for its construction (ICD/ITKE 2012).

The pavilion was built on the idea of effectively

extending the current bionic principles and relat-

ed performance to a range of different geometries

through the process of computation, the pavilion I

built with thin sheets of plywood of 6.5 mm (Arch-

daily 2012). The reading by Brady (2013)states that

when architects have sufficient understanding of

the algorithmic concepts, they would not discuss

digital as a separate entity but when computation

becomes the true method of design for architec-

ture. This statement applies directly to his pavilion,

as what they have come up with is just a set of data

of a sea urchin’s plate skeleton and had taken the

advantage of the computer to generate these ge-

ometries in relation to both the data and the site.

As seen in Figure 1, the properties used in their

design computational design processes are Het-

erogeneity (different cell sizes adaption to local

curvatures), Anisotropy (The direction of the struc-

ture, with computation the cells stretched and

orient themselves according to the construction

stresses) and lastly hierarchy (The pavilion is di-

vided into 2 hierarchy. The first one is when the

finger joints of the playwood are glued together

to form a cell, the second one is a screw con-

nection as seen in figure 3 allowing the assem-

bling and disassembling of the pavilion as seen

in figure 2). They have generated a form and has

explored the architectural possibilities through

writing and modifying algorithm that relates to the

relationship of different elements (Brady 2014).

Figure 1,2, 3 & 4 : ICD/ITKE, 2011, http://www.arch-

daily.com/200685/icditke-research-pavilion-icd-itke-

university-of-stuttgart/, 2014

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Figure 1

Figure 2

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Figure 3

I T K E Re s e a rc h Pav i l i o n 2 0 1 1ICD/ ITKE

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Figure 4

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B EA STNeri Oxman

Neri Oxman is an architect/designer that is

currently an assistant professor of media and

arts at MIT media lab. Her job includes explor-

ing how digital design and fabrication technolo-

gies mediate between matter and environment

and how it changes the design and construc-

tion of objects, buildings and system (Elshout

2012). Just like other designers, she relies on

computation to adjust the material and form of

her objects; she suggests beginning from the

analysis of material properties and then generat-

ing a single, multi-functional form (Quirk 2012).

Beast is an organic-like structure formed by in-

corporating physical parameters with digital

form generation. The beast is a continuous sin-

gle surface, acting as both structure and aes-

thetics together, is locally modulated for both

structural support and corporeal aid. It adapts

and combines structural and environment per-

formance by adjusting and modifying its thick-

ness, pattern, flexibility, curvature and skin-

pressured area respectively (Oxman 2012).

Beast adjusts to every muscle in the us-

er’s body and responds itself like a living

organism, Oxman’s intent was about ma-

terial efficiency and actually customizing it ac-

cording to the user’s body load (Ortved 2011).

Figure 1: Beast, Neri Oxman, 2011, http://web.media.

mit.edu/~neri/site/projects/beast/beast.html

Figure 2: Beast, Neri Oxman, 2011, http://web.me-

dia.mit .edu/~neri/s ite/projects/beast/beast.html

Figure 3: Beast, Neri Oxman, 2011, http://www.mate-

rialconnexion.com/Home/Matter/MATTERMagazine/

PastIssues/MATTER63/MATTERInterviewNeriOxman/

tabid/699/Default.aspx

In this context, Oxman focuses on the material-

ity; the synthetic material she used on beast is a

heterogeneous material that is similar to the ma-

terials in biological systems (Ortved 2011). As

explained before, the material that can be seen

is more concentrated on areas which requires

more compression and density is low in areas

which is more tensile and requires less strength

(Ortved 2011). The shape and material den-

sity allocations are all based on computational

tools and digital fabrication, Oxman has proven

a point through her designs that designers can

be a mere source of algorithm thinking rules

to generate complex order form and structure.

29 Figure 1

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Figure 2 Figure 3

B EA STNeri Oxman

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PA RT A . 4C O N C L U S I O N

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A . 4 C O N C L U S I O N

In Part A, Conceptualization, I have become

more aware of how computation is redefining the

practice of architecture. The main concept that

designers are noe focusing and redirecting on

is Design Futuring, It is how architects are chal-

lenged to be more sustainable and to slow down

the process of using resources to buy time for fu-

ture generations. We can achieve design futuring

by computation as it allows designers to extend

their abilities to deal with highly complex situation.

Designers are more less constraint than in the

past as highly complex forms, order and struc-

ture can be achieved just by a set of algorithm

or data. Some of the forms generated by digital

computation can provide inspirations for design-

ers as well as go beyond our expectations. ation

and using computation to generate the form. The

main idea of Part A is to built a form or structure

that can create time for humans as well as taking

the environment and data context into consider.

My intended design approach is regenerating ener-

gy to reduce the operational cost thus, being more

sustainable. It is so revise the data of the site and

design an installation that could create awareness

on how we need to redirect our focus from aesthet-

ics to sustainability. It is significant as mentioned

before that resources are scarcer and a redirecting

our design to provide time for the future is very im-

portant. The future generation can definitely ben-

efit from the design as more people are becoming

more aware of the situation and have to change.

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PA RT A . 5L E A R N I N G O U T C O M E S

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A . 5 L E A R N I N G O U T C O M E S

After a month of constant exercise of grass-

hopper with the help of readings and looking at

precedents, it has developed my interest in para-

metric and computational design. As mentioned

before in my introduction, I am not familiar at all

with Rhino and Grasshopper and was always

against it after my experience with them in virtu-

al environments during my first year. Thus, I was

always going for a more traditional approach of

things where we look at precedents, have a vision

of what we are going to design and then using the

computer only as a tool to computerize my design.

However, after doing all the tutorials and readings,

it has changed my view towards architecture, I

became more aware of where the future is going

and how important it is to engage with technology

not only to be more efficient but to actually gen-

erate form we could have never imagined which

really amazed me after doing the weekly videos

on grasshopper. I am now thinking more about

how I can design something inr elation to exist-

ing data, like how interesting would it be to de-

sign like Oxman, which is inspired by biological

systems, or SOM, and Grimshaw using computa-

tional tools to expand and develop their forms. I

could have done much better thinking about the

actual data than thinking about the sole aesthet-

ics and functions of the building and how the

form fits in space when the computer can actu-

ally generate the form for me. I am hopping to

expand my knowledge on parametric design

and computation for my future as an architect.

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A . 6 A P P E N D I X

This was achieved by using orient that was in the tu-

torial and i have just experiemnted it further by us-

ing random points to stack the boxes .My idea was

to actually generate the form throught the data from

the site where i can calculate the sun energy and the

boxes will move accoringly in which at the highest

sunlight received, the boxes might be able to close up

to actually absorb the heat into regenerating energy

and during night time or on a cold day the boxes will

open to allow light and views to enter the building.

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R E F E R E N C E S

Cifuentes, Fabian, 2012, In Progress Pulkovo airport/ Grimshaw Architects, URL: http://www.archdaily.com/307869/in-progress-pulkovo-airport-grimshaw-architects/

Den, Andrew .H, 2011, Interview with Neri Oxman, URL: http://www.materialconnexion.com/Home/Matter/MATTERMagazine/PastIssues/MATTER63/MATTERInterviewNeriOxman/tabid/699/Default.aspx

DesignBoom Architecture, 2014, SOM unites mumbai airport terminal with fractal roof canopy, URL: http://www.designboom.com/architecture/som-unites-mumbai-airport-termi-nal-with-fractal-roof-canopy-02-25-2014/

Dezeen, 2014, Grimshaw completes St petersburg airport with folded golden ceilings, URL: http://www.dezeen.com/2014/02/27/pulkovo-international-airport-terminal-by-grim-shaw/

Dezeen, 2014, SOM completes Mumbai airport terminal with coffered concrete canopy, URL: http://www.dezeen.com/2014/02/20/chhatrapati-shivaji-airport-terminal-mumbai-som/

Huang, Mary, 2014, Continuum Dress, http://www.rhymeandreasoncreative.com/portfolio/index.php

ICD/ITKE, 2012, ICD | ITKE Research Pavilion 2011 / ICD / ITKE University of Stuttgart, URL: http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/

Oxman, Neri, 2011, Beast, URL: http://web.media.mit.edu/~neri/site/projects/beast/beast.html

Pham, Diane, 2011, Dragon-Shaped Solar Stadium in Taiwan is 100% Powered by the Sun, URL: http://inhabitat.com/taiwans-solar-stadium-100-powered-by-the-sun/

38

R E F E R E N C E S

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

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

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (Lon-don; New York: Routledge), pp. 1–10

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

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architec-tural Design, 83, 2, pp. 08-15

Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Ency-clopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12

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. 153–170

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PA RT B . 1 R E S E A R C H F I E L D

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B . 1 R E S E A R C H F I E L DS e c t i o n i n g

Sectioning is the process of form division and is com-

monly used to produce a complex design and geom-

etries. It is currently used in the world of computational

design and has evolved from a 2D orthographic projec-

tion to its 3d counterpart (Iwamoto 2009). Moreoever,

sectioning is also used as a method of taking differ-

ent ways of cross section which is commonly used in

airplanes and ship construction (Iwamoto 2009). Fur-

thermore, the technique which is widely used in sec-

tioning is cross-sectioning, contouring, horizontal and

vertical trimming. Thus, this material system has aid the

world of computational design by making it very effi-

cient and easy to produce form especially curved form.

In relation to our design concept, we have decid-

ed that sectioning is much more feasible than tes-

sellation (the material we first picked), as our con-

cept is related to the landscape and the curved

topography of the site in which by using section-

ing is more possible to produce and manipulate..

Tessellation has restrained our form making it very

hard to manipulate the form according to our con-

cept. Our team believed that we can explore our de-

sign concept with sectioning as it shows more po-

tential in making the design better and achievable.

However, there are also disadvantages related to sec-

tioning in relation to their fabrication, assembly and

form. Keeping in mind the research in part A- design fu-

turing, although sectioning allows us to achieve forms

which are hard to achieve with other materials, it has

issues with the fabrication materials needed to achieve

those forms. It may use more materials than needed with

other materials and it uses individual layer of sheets to

produce a form in which sometimes might not be nec-

essary. Iwamoto (2009) has expressed her concerns and

issues regarding these three factors in her case studied.

42

One main is an office renovation by dECOi archi-

tects located in Boston, USA. They have used a sec-

tioning method of vertical trimming to produce their

ceiling by using sustainable plywood to create aware-

ness of efficient building process. Not only do they

use sustainable plywood, they have incorporated a

computational logic of customized fabrication and

ready-made components which our team is trying to

achieve in our design. In relation to design futuring

in Part A, dECOi architects are aware of their environ-

ment and is suing a sustainable a carbon-absorbing

raw material (forested spruce), and is translated

and used efficiently into functional and refined ele-

ments with low-energy digital tooling (dECOI 2009).Figure 1,2 & 3: ONE Main, dECOi Architects, 2009, http://ar-

chitizer.com/projects/one-main/media/672278/

In figure 2, it can be seen then all the elements are

fabricated and is placed as stacking sectioning ele-

ments produced from a plywood sheet by incor-

porating ventilation grills, light pockets and door

handles. One of the advantages of this design that

makes it design futuring is also because not only

in its material usage, its assembly techniques also

shows lateindustrial protocols, which evident of ef-

ficient labour, material and logistic, digital fabrica-

tion allows this projects to be as economical as pos-

sible by offering a versatile digital tool (dECOi 2009).

O n e M a i ndECOi Architects

43

Figure 1

44

Figure 2 Figure 3

O n e M a i ndECOi Architects

46

Po l y m o r p h i c B e n c hColumbia GSAPP

Polymorphic kinetic bench is a kinetic engineer-

ing solution by utilizing innovative design inspired

by the action of see-saw and the reverberating mo-

tion of a slinky to create a double sided bench, made

of 119 connected components which is placed on

an interactive board. This innovative bench is de-

signed and constructed by 10 GSAPP students, USA

(Chang 2012). What are most interesting about this

bench that fits our team’s design intent is the joints

and sectioning used. Section strips of the chair

used are connected with a rigid inventive pivot and

bolting system to keep the structure together pre-

venting it to move out of place, this allows only

the vertical sectioning to move on one part while

not allowing the other part of the bench to move.

In our design e are trying to achieve a dynamic mov-

ing landscape/pavilion, and movement is really nec-

essary to generate kinetic energy, which is why the

connection joints of this precedent really helped us

though about our own design. Furthermore, what al-

lows the structure to move is the strong elastic band

keeping them together, in figure 2 we are able to see

how the elastic band and the bolting integrated in the

design which involves an early thinking of the fabrica-

tion process with Rhino and Grasshopper. All togeth-

er this motion allows the installation to different types

of section, which interacts and engages with the user.

Figure 1,2 & 3: PolymorphicBench, GSAPP, USA, http://www.

jennchang.com/8.html

47

Figure 1

48

Figure 2

Po l y m o r p h i c B e n c hColumbia GSAPP

49

Figure 3

50

M AT E R I A L SYST E MSectioning

The reason why sectioning is suitable with our

design intent is because:

1. Sectioning does not restrict shapes. In comparison

to tesselation that requires the use of the same shape

repeated all over the form, sectioning’s compart-

ments follows the curvature of the form.

2. Sectioning does not create angular surface in com-

parison to tesselation. As shown on the figure on the

right, there are several methods of sectioning that

could be achieved, from waffling, horizontal of verti-

cal sectioning (Bang Restaurant), etc, which allows

the forms to be retained.

3. As shown in projects such as the Bang Restaurant

or Design weave, the connection in sectioning seems

to allow a more flexible joint that does not restrict

movement and also witholds its structural integrity.

4. With further iterations beginining in Case Study

1.0, it seems possible to achieve even more results

of sectioning methods, from varying basic shapes

to forms, as some examples have been shown in the

figure on the right.

5. Finally, with context to our design brief of energy

regeneration, there have been numerous research

on sectioning that have been done regarding how

to fabricate it efficiently, and these existing investi-

gations can come in good use when integrated to

the energy regeneration mechanism that has been

researched. (Part B.5-6 shows research on piezoelec-

tric generator).

Figure1:http://m1.behance.net/rendition/mod-

ules/27279945/disp/43f7a779780786933b7ac3b59b6ed

1e5.jpg

51

Figure 1

52

PA RT B . 2 C A S E S T U D Y 1 . 0

53

B . 2 C A S E S T U D Y 1 . 0

Part B.2 is the experimentation of the script

in order to test and explore the potential of sec-

tioning. This section will explore new iterations

to reach the potential and find the limit of the

material system. This section will explore differ-

ent ways of sectioning which includes section-

ing with lines, graph mapper, driftwood pattern,

and curves and how it sections different type

of geometries such as surface, solid, section

planes, density, and a mixture of both. In addi-

tion, this section will then extrapolate the four

most successful iterations and discuss its out-

come and why is it more successful than others.

54

SURFACE SOLIDSECTION PLANES

LINES

GRAPHMAPPER

DRIFTWOODPATTERN

SECTIONINGWITH CURVES

C A S E ST U DY 1 . 0 : I te rat i o n M at r i x

55

SECTION PLANES DENSITY

INCREASEDINPUT

HYBRIDS

56

LINES

GRAPHMAPPER

DRIFTWOODPATTERN

SECTIONINGWITH CURVES

C A S E ST U DY 1 . 0 : I te rat i o n M at r i x

HYBRIDSHYBRIDS

57

S E L E C T I O N C R E I T E R I A

Selection criteria:

1.A form and design that fits the LAGI brief

and the Copenhagen environment in rela-

tion to its topography and natural features

2.Can regenerate energy and sustain itself

3.Allowing the structure to move to provide

kinetic energy through the piezoelectric in

which the energy will then be converted to

electrical energy

4.Thinking about the fabrication and how it

can be feasible and assembled in real life

5.A design that is safe for children and adult

to interact in and engage with the structure

58

C A S E ST U DY 1 . 0 : S e l e c te d I te rat i o n s

Selection Criteria: Our team has decided to base the selection criteria on the feasibility of fabrication and on the form; we are going forward with the idea of

creating a dynamic landscape through sectioning which involves curves, movement and how the form can aid us in energy generation (kinetic energy).

This surface is sectioned from a curve from the

driftwood pattern, this is one of the most success-

ful iterations from the rest because I think this way

of sectioning provide flexibility in the shape we

want to produce, this does not restrict the form

and it creates a more dynamic form rather than

ordinary vertical sectioning. Furthermore, it does

not give a rigidity feeling to the form. We are aim-

ing to create a flexible dynamic landscape which

I think can be very well achieved with this form.

This form is one of the most successful vertical sec-

tioning as it shows that this way of sectioning can

create any shape and form given especially curved

form, it creates a sort of landscape feeling which

we can later integrate in our design. It also allow

different geometry variations and fits the crite-

ria in what we are trying to achieve. Furthermore

the advantage of sectioning is that it is easy to

construct as these are curves in the same planar.

59

C A S E ST U DY 1 . 0 : S e l e c te d I te rat i o n s



The additional input iterations creates an interest-

ing shape, but out of all, this form is the most in-

teresting and just the form itself is acting as a pa-

vilion sort of design, this can be integrated with

piezoelectric and will create a lit up pavilion. This

is the most successful iteration because it is pos-

sible to fabricate no matter how dynamic the shape

may be and creates rigid structure by adding the

section lines in x and y, not just in one direction.

This surface is sectioned from a curve from the drift-

wood pattern, this is one of the most successful it-

erations from the rest because I think this way of

sectioning provide flexibility in the shape we want

to produce, this does not restrict the form and it

creates a more dynamic form rather than ordinary

vertical sectioning. Furthermore, it allows the cre-

ation of dynamic forms with the piped section to

be part of the support structure itself. We are aim-

ing to create a flexible dynamic landscape which

I think can be very well achieved with this form.

60

In summary, with the appropriate mecha-nism and system, sectioning has great poten-tial to explore forms that would otherwise be difficult to fabricate and assemble with other systems for instance tesselation. Sectioning allows the form to be achieved with minimal angular edges thus allowing the overall form to have a curved finish. One of the biggest design potential is the low-energy fabrica-tion which will aid design futuring and the exploration of curved forms which can be further explored into mroe shapes. Although there may be issues concerning the efficiency of fabricating the components of a sectioned design and how to prototype an assembly that meets the design brief of allowing move-ment, with iterations and scripting explora-tion, a suitable system would tackle these issues.

D e s i g n Po te nt i a l

62

PA RT B . 3 C A S E S T U D Y 2 . 0

63

B . 3 C A S E S T U D Y 2 . 0

In relation to Part B.3, we have chosen Dunes-

cape as our selected project in which we are to

write a script to recreate the Dunescape to help

our future and final design. Dunescape was cho-

sen as it is the most related project to our de-

sign intent and idea; it explores the use of multi-

purpose spatial area in relation to structure and

aesthetics while rying to make our outcome as

similar as possible as the original in form. How-

ever the main difference is that since this is a

digital model, it was hard to imagine the rigid-

ity of the form therefore lacking certain struc-

tural members from the original dunescape.

64

D u n e s c a p eShop Architects

Dunescape at MOMA PS1 is a pavilion located in

Long Island, NY, covering 12,000 SF (Shoparc 2006). It

is sponsored by MOMA, for a young architect compe-

tition that provides opportunities for young architect

to build an outdoor courtyard. It is built for people

to enjoy the summer weather where visitors can so-

cialize, sunbathe, wade in the pool and walk through

the spray of water mist to cool off (Shoparch 2006)

Dunescape is designed by shop architects, it is a ar-

chitecturalized landscape built completely as a series

of parallel, stacked dimensional lumber. The method-

ology is totally computer driven. What they did was

come up with the shape of the landscape, and it was

then sectioned. They were then fabricated and were

then plotted at full scale. The substantial rhetoric that

has surrounded digital fabrication toward the stream-

lining of construction practice is certainly warranted.

In this case laser cutters in particular have facilitated

the conceptual and practical move from making mod-

els to executing full-scale construction. This provides

precision model making, as for engraved building fa-

cades, structural members, and building small details.

Figure 1: Dunescape, Shop Architects, http://www.shoparc.com/

project/Dunescape-at-MoMA-PS1

Figure 2,3,4: Dunescape, Shop Architects, http://www.diisign.

com/en/2010/03/for-shop-architects-pre-fab-is-pretty-fab/

Designers have now able to envision section-

ing as a representational method, and are mov-

ing towards a building technique. There are

different types of sectioning, and what the dunes-

cape has used is the vertical sectioning method.

Dunescape is chosen as the reverse engineering as the

design intent of our project is focusing on how sec-

tioning can be used to create a form and pavilion, the

shape really fits our idea as we are trying to design a

multi-purpose space. One of the most interesting part

of the dunescape which inspires us the consideration of

joints used; in here they have used a cull pattern (true,

false) to create such a dynamic form which can later

be used in our design. Furthermore, we are also inter-

ested in the type of material used in this project which

is timber which we are planning to use in our design.

65 Figure 1

66

Figure 2 Figure 3


67

Figure 3 Figure 4

68

I

Creating a frame (ribs of the du-

nescape) for the design in Rhino.

Then orienting section spaces to

navigate the lines in later steps.

II.

Section Points are oriented into

the ribs in order to join the lines

in step III.

III.

Lines are joined by joining each

section points, depending on

how it should start and end.


69

IV.

This diagram illustrates the fin-

ishing of the structure from th e

curves.

V.

Cull patterning allows the stack-

ing of the timber to create joints

without having to make angled

timber strips, allows strips to

always be straight so that it is

feasible to connect sideways.

VI.

Application of material property,

giving depth to the line to the

dimension of a real timber

70

The figure shows the script used

in creating the dunescape. Creat-

ing a frame (ribs of the dunes-

cape) for the design in Rhino.

Then orienting section spaces to

navigate the lines in later steps.

Section Points are oriented into

the ribs in order to join the lines

in step III.

Lines are joined by joining each

section points, depending on

how it should start and end. In

this case, it is line E to F.

Lines drawn for each necessary

points, this diagram shows all the

necessary lines joined together.

Cull Pattern (True-False) is used

in order to not make lines join

together straight, rather to create

spaces for fabrication.

Extrude the lines in X-Y to create

depth and extend it on the ends

in order to show joinings of the

dunescape.

Figure 1


74

The outcome from the grasshopper digital dun-

escape has their differences and similarities to the

original Dunescape.

Similarities:

-Focuses on the joint detail such as the cull pattern-

ing (true, false) which then the timber extrusion are

extended to give emphasis on the details.

-The main use of curve to control the points in which

will control the whole form of the structure.

-Provides enclosed and open spaces for people to

socialize and interact.

-A multi-purpose spatial area.

-The team attempts to imitate the materiality of

the original dunescape which is timber in order to

achieve maximum similarity.

Differences:

-Lacking form similarity with the original dunescape

-The lack of structural members which is not that vis-

ible in the computer grasshopper.

-Lack of details such as curtain/pools and bathrooms

Finally, due to the lack of information regarding the

project and its dimension, we are unable to achieve

maximum accuracy regarding the dunescape project

with the reverse engineering.


76

PA RT B . 4 T E C H N I Q U E D E V E L O P M E N T

77

B . 4 T E C H N I Q U E : D E V E L O P M E N T

In relation to Part B.3, we have chosen Dunes-

cape as our selected project in which we are to

write a script to recreate the Dunescape to help

our future and final design. Dunescape was cho-

sen as it is the most related project to our de-

sign intent and idea; it explores the use of multi-

purpose spatial area in relation to structure and

aesthetics while rying to make our outcome as

similar as possible as the original in form. How-

ever the main difference is that since this is a

digital model, it was hard to imagine the rigid-

ity of the form therefore lacking certain struc-

tural members from the original dunescape.

78

B . 4 Te c h n i q u e D e ve l o p m e ntDensity Variation

79

With density variation, the slider is controlled in order to produce several iterations displaying varying

forms in terms of the number of sectioning components. In the dunescape engineering, every sections need

to be joined to atleast one other, therefore if this variation is to be used, the designs with the bigger gaps need

to figure out a new connection method. A possible solution is to control the density in a way that the form

could achieve the same aesthetic intent such as the diagrams in the right while being achievable to construct.

80

B . 4 Te c h n i q u e D e ve l o p m e ntCull Patterning

81

Cull Patterning is probably one of the orignal dunescape’s most highlighted detail as it ensures each sections joins

with another in order to create joinings. Nevertheless, with this part of the iteration, the joinings are set aside in order

to create effective cull pattern iteration. The original dunescape uses a simple True-False pattern, and in this section of

the iteration, these iterations are expanded to a large array from 7 sets of trues to a sudden false, among many other. The

form of the dunescape is then changed to a flat overlappping surface in order to create variation, gradually moving away

from the dunescape’s, and the cull patterning is explored as well along with extensions of the lines outwards. It could be

seen on the diagrams that the iterations have resulted in very varying patterns, often resulting in large gaps between

space. These sort of forms should be explored in the future, however, the joining would then have to be considered.

82

B . 4 Te c h n i q u e D e ve l o p m e ntSectioning with Curves

83

This iteration’s aim is to manipulate the lines into curves; in this case we are trying to change to shape of the timber

stipes from a normal rectangular strip to a curved shaped timber to create a more dynamic shape. The reason we

did this is we are trying to create an engaging design where people can interact so we are trying to make it looks as

unrigid as possible. Another advantage of these iterations is that it is very possible to fabricate using strips to create

a rigid structure. Furthermore curves allows the structure to be more flexible and allow the structure to move freely.

84

B . 4 Te c h n i q u e D e ve l o p m e ntSurface Patterning

85

The aim of surface patterning creating irregular forms that differs from the original Dunescape. This can be

achieved by manipulating the curves in rhino which then later affect the overall shape of the script. We see po-

tential in this as it allows us to be more flexible with the form of our design with different dynamicity of landscape

by playing with the form of the Dunescsape limited to the script. In the original dunescape they used curves to

generate form but using surface patterning it is not limited to curves alone but other geometries and lines.

86

B . 4 Te c h n i q u e D e ve l o p m e ntHybrid

87

Lastly, the hybrid is the mix of the script in which we are trying to explore the limitation of the

form and how complex or what form can be derived by combining two types of iterations together.

88

T EC H N I Q U E : D e ve l o p m e nt



This hybrid of cull patterning and surface pattern-

ing is produce a very interesting form which cre-

ates this sort of pavilion, this is one of the most

successful as it fits our selection criteria. This form

allow the members to be connected with an elastic

band which then allows the form to start generat-

ing movement and energy. This form provides an

interesting form. However, since the curves are not

on the same planar they are not feasible to fabricate

This form is one of the most successful cull pattern-

ing as it shows that this way of sectioning can cre-

ate any shape and form given especially curved form

which will useful in our project, it creates a sort of

interesting wall pattern which can be integrated to

the landscape which can later be further developed.

89

T EC H N I Q U E : D e ve l o p m e nt



The density iteration can change the original Du-

nescape into a more natural and allow it to inter-

act with the environment by allowing more sun-

light and a space where people can go through

in and out. I personally like the shape of having

less timber structure, it might not be possible

with the structural and movement aspect of our

intent but further development can be made.

Manipulating the shape of the original Dunescape

with the manipulation of curves allows us to control

the form much more in which we can integrate with

the movement capabilities of the structure , this does

not restrict the form and it creates a more dynamic

form rather than ordinary vertical sectioning. Further-

more it does not give a rigidity feeling to the form.

We are aiming to create a flexible dynamic landscape

which I think can be very well achieved with this form.

91

Inspired by one of our iterations and it made us realized how these iterations can

help us start thinking about our overall design proposal and form in relation to the site.

92

PA RT B . 5T E C H N I Q U E : P R O TO T Y P E S

93

This section explores the materialisation, joints

and structure in consideration with the fabrica-

tion and assembly of the model and how it re-

lates to our design intent (Movement, generates

energy and a dynamic form). The main material

used for the prototype is MDF as our intent and

idea relates more to the joints and structure. We

will be investigating different methods of joints

and orientations before proceeding to our final

design to gain experience on which will work

and which will fail. All the prototypes are digitally

fabricated using grasshopper and rhino which

is then sent to the fab-lab. The process is first to

align the layout of the sheet to be printed, then

to assemble them according to their order (giv-

ing number on the sheets) with different types

of jointing systems and secure them with glue.

B . 4 T E C H N I Q U E : D E V E L O P M E N T

96

P ro to t y p e : Tw i st i n g

97

The above prototype explores on the potential twisting component of our de-

sign intent. A part of our design idea is to design a landscape which can move in

relation to people’s body mass. The purpose of this is to make it possible for the

twisting structure to provide enough force for the piezoelectric to react and gener-

ate electricity. There is also another way for this to work by, is by attaching piezo-

electric patches (which will be explained later in technique: Proposal) in between

each sectioning component to provide friction when the structure twists and turn.

98

P ro to t y p e : J o i nt s

99

The above prototype focuses on the type of joints which allows twisting and bending

while providing a rigid structure. The jointing material used here is elastic band to allow

movement from the structure, in this experimentation process, it can be seen that having

a rigid bottom structure supported by elastic band side jointing is the most efficient and

feasible. The jointing system is mostly inspired by the GSAPP bench in which they make

use of a bolting at the bottom to secure the structure and the use of elastic band to allow

the structure to move.

In conclusion, Some of the prototypes do achieve our intended goal and some failed,

we tried different types like figure 3 to show the cull patterning however, the struc-

ture would not stand without the help of a support column in the middle which would

100

P ro to t y p e : Ve r t i c a l S e c t i o n i n g

102

C o n c l u s i o nPrototype

For example the rubber made the structure too

flexible allowing it to move freely and the struc-

ture lacks rigidity to be safe for humans to inter-

act with. The most ideal we found out is to have

a rigid bottom structure making it stays on one

position and having these elastic bands to cre-

ate a movement in order to provide kinetic energy.

We also tried experimenting with cull pattern-

ing to create the shape of the whole structure.

However, it failed due to the lack of structural

elements for the prototype. This will need fur-

ther development and experimentation in order

for it to work. However, we are planning to in-

tegrate both ideas of movement joints and cull

patterning in order to produce our final design.

In conclusion, the prototypes carried success and

failure in which further development can still be

made for all in order to make our final product.

What we focused on in these prototypes is the

ability of the joints and the rigidity of the struc-

ture in order to move forward to the designing

phase. We explored different types of joints mainly

the one we are inspired and sure that it can help

us move forward is the polymorphic joint; this is

because the design fit our design intent, allow-

ing the structure to move according to human

interaction. The three different types of joints we

tried to explore is with elastic band, rigid plastic

connection at the bottom and wire. Those three

proves to be a success and fits our design intent.

However, there are certain drawbacks in each.

104

PA RT B . 6T E C H N I Q U E P R O P O S A L

105

B . 6 T E C H N I Q U E P R O P O S A L

This section focuses on the techniques used to

further develop our idea and design intent. This

section further explores the type of energy the

design will be generating in specific the materi-

al the kinetic energy will be using. In addition, it

will discuss how this technique is applied to our

design to meet the design brief criteria by mak-

ing it as innovative and engaging as possible.

Our proposal will be focusing on the topography

and natural environment of the site and how it

affects our overall design with the integration of

kinetic energy and how it can engage the user

to make the design interactive and innovative.

Overall, our technique proposal is to use human

interaction to provide kinetic energy in which

the structure of our design will begin to twits

and turn activating the piezoelectric (sensitive

to even the smallest energy, however, the light

produce depends on how much energy is input-

ted) which will then be converted to light for the

pavilion in order to create awareness and edu-

cate the user on energy generation (going back

to the brief ). In relation to the LAGI brief, this

design has potential which can be further ex-

plored keeping in mind design futuring (Fry 2008)

and human engagement with the structure.

106

C o p e n h a ge nSite

Apart of our design intent is to create an inter-

active structure which is in relation to the natu-

ral surroundings of the site in which people can

distinguish our design as one with Copenhagen

itself. Our aim is to frame views to different areas

on the site while providing a journey for the user.

Our design will not only be aesthetic but edu-

cational at the same time in which awareness

of energy generation is created while engaged

with our design. Furthermore, at the end of the

journey, users will be able to spot the little mer-

maid which is across the site sort of as a reward

for the journey interaction with the structure.

108

K i n e t i c E n e rg yPiezoElectric

Rochelle salts, and other various solid (Gibilisco

2012). There are different ways we can incorporate

piezoelectric in our design. Firstly we can place a

whole area of piezo in which our structure will be

on and when the structure moves and provides

pressure to the ground, it will generate energy.

One of the disadvantages for this is that not the

whole area of piezo material is needed to generate

electricity therefore this proves to be insufficient.

Another ideal way that we thought about is to

insert these materials in between the sections in

joints in which even a little twist or stretch will gen-

erate energy through the piezo. Further develop-

ment with our real model is needed, but through

research it is very possible and efficient to use

this in our design which meets our design intent.

Piezoelectric can be known as the electric

charge that is accumulated in a certain solid in

response to a body mass or a mechanical stress

(Rouse 2012). The word itself meant electricity

which is resulting from pressure, it can come in

many different types and shapes, the most famous

and commonly used are patches and crystals

which our team is exploring further to incorpo-

rate it into our design. These different types have

the same mechanism in which it acquire charges

when it is compressed, twisted or even distorted

in order to generate energy. Piezoelectric is the

ability for certain materials to generate an alter-

nating current voltage when subjected to pres-

sure, vibrating or stress. The most common ma-

terial which is used for piezoelectric is ceramics,

109

http://www.youtube.com/watch?v=laSQ6yd7jaE

DIFFERENT TYPES OF PIEZOELECTRIC GENERATOR:

http://www.piezo.com/prodbm8dqmpict760.jpg

110

PA RT B . 7L E A R N I N G O B J E C T I V E S A N D O U T C O M E S

111

B . 7 L E A R N I N G O U T C O M E S

Part B has covered most aspect of the design,

which includes the design concept and intent

and why we have chosen our particular idea, ex-

ploring a material system in which we can fur-

ther explore and what we can achieve with sec-

tioning as a material system such as what are

the disadvantages and advantages of sectioning

keeping in mind its limitation and potential. Fur-

thermore, it has also explored different iterations

from the different types of sectioning on differ-

ent platform to the different iterations that can

be produced by testing our reverse engineer to

its potential. By choosing 4 of the best iterations,

I have learnt to start thinking about the design

and how can these iterations be helpful in our de-

sign intent in terms of form and structural joints.

In part A we were directed to explore the idea of

parametric design and design futuring and how

they have affected the world of design and how

computational design has aided in the production

of design. Whereas, in part B we were to think of the

design brief itself and how do we utilize what we

leant in part A into the integration of our design it-

self to create an innovative design. Part B also made

me appreciate the complexity of scripting and form

able to present and got some constructive criti-

cism in which we can further improve our design.

Some of the common feedbacks were:

-The main part that we have to consider is the fact

that we are focusing to much on the technical stuff

neglecting the main form and how it is related to

Copenhagen and the site itself.

-Another one is how our structure can be safe for

the users to interact as the ore structural joints and

members are needed

-Further exploration of joining would make it more

feasible for the structure to provide movement for

the kinetic energy

-How to integrate our piezoelectric into our design

-Lastly how can we produce the most efficient way

to construct and regenerate energy following the

LAGI Brief

In reference to our brief to create awareness of

energy regeneration, we have now had a better

idea on how we can move forward with our design.

Taking all that we have learnt in part B and critics

from our tutors and guest crits, it becomes clearer

on which areas we are lacking in and how can we

improve further. We can now conduct specific

research in order to achieve our design intent.

112

A . 6 A P P E N D I X

This section has taught me more about computational design through part B mainly

because of the iterations, reverse engineering and most of the weekly tutorial. In this

section, we have explored ways to imitate a real design in grasshopper and how that

design will help us move toward with our own design using similar scripts. The best

way to learn is through experiencing the script itself, In part A we have only do tutori-

als which are given but in part B we are to explore our design thinking and ideas with

grasshopper and I feel that it has aided me in this project and for future projects to

come. Iterations made me realized that by pushing the boundaries and limitation we

are able to see forms that we have never thought of which we can use I our design.

Overall, this part is very helpful in improving my own design thinking and scripting.

113

R E F E R E N C E S

Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 71


Dunescape, Shop Architects, http://www.shoparc.com/project/Dunescape-at-MoMA-PS1

Dunescape, Shop Architects, http://www.diisign.com/en/2010/03/for-shop-architects-pre-fab-is-pretty-fab/

Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Re-thinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Margaret Rouse, 2012, http://whatis.techtarget.com/definition/piezoelectricity

Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61

Piezoelectric materials and pictures, 2012 http://www.piezo.com/prodbm8dqmpict760.jpg

Polymorphic Bench, GSAPP, USA, http://www.jennchang.com/8.html

Stan Giblisco, 2012, http://whatis.techtarget.com/definition/piezoelectricity

114

PA RT C . 1D E S I G N C O N C E P T

115

C . 1 D E S I G N C O N C E P T

Part C focuses on the development of idea and

the finalizing the design concept. All design options

are then finalized and the focus will shift to make our

design as realistic and innovative as possible. Fur-

thermore, this section will also demonstrate my un-

derstanding towards Sectioning (Material system)

and their potential/limitations, in addition to how

these parametric tools will assist me in my design.

This part will specify on the improvements and chang-

es made in regards to the mid-term presentation critic

and how our group has taken all the suggestions and

keeping them in mind while further developing our

project. It will then explore how our form has evolved

in relation to the site and the concept behind our de-

sign proposal explaining the workflow through dia-

grams. Lastly, this section will explain the construc-

tion process which includes the offsite and in-Situ.

117

D ES I G N CO N C E P TKinetiskape

such as fabrication and piezo in order to make our

installation sustainable. Our form is site derived;

we decided to make use of existing site qualities

such as the views, environment around the site

and place of interest at our site (views, entrance

and water taxi) to form the main curve of our sys-

tem. We then take the exploration of sectioning

systems in part B and chose one which suits our

design best, the vertical sectioning system best

suits our design concept because it gives maxi-

mum pressure to the piezo below which will lead

to more energy generation. Vertical sectioning

will also help us be material efficient as our form

can self-support. Another main concept we have

is allowing some parts of the installation to move

to make it more interactive and to generate more

energy at this point, and to do this we have de-

cided that vertical sectioning is the only sectioning

method which allows this movement to happen.

Therefore, combining these elements together we

have come up with the design to our installation.

According to the LAGI brief, we are to design

an installation which promotes awareness for en-

ergy generation in a large scale. The energy from

the design will have to be converted to electrical

energy with the potential of providing electricity

for houses and energy to sustain itself. Our group

has tackled this brief by first choosing kinetic

energy, we think it can be most the interactive

and attracts people to actually produce the en-

ergy themselves which will also create awareness.

We have come up with Kinetiskape, an interac-

tive dynamic landscape that can allow movement

at some parts which, uses kinetic energy placed

at the bottom of the installation in order to pro-

duce and store energy with every footstep taken

by users. This installation is designed to be very

engaging to help create awareness of energy

generation, in regards to our design; we have re-

ferred to Fry’s concept of design futuring to make

use of material system and technique proposal

119

F E E D BAC KS F RO M I N T E R I M P R ES E N TAT I O NDesign Improvement

We have discussed and kept in mind all of these

feedbacks and have thought of ways in which we

can improve our design:

1.The problem with the canopy is that it will be

able to cantilever with support joints at the bot-

tom

2.We made several options for the problem of the

distance between each section, the first option is

to use polyethylene between section to avoid in-

juries and the other option is to reduce the length

of the gap

3.Using attract and repel to produce our paramet-

ric form

4.Using actual site data to generate our form

There are several main arguments and sugges-

tion that came up during the mid-term presenta-

tion which we have to improve on further, which

are mainly:

1.The structural integrity of our form, especially in

the canopy

2.The distance between each sectioned compo-

nent to assure the safety of the visitors despite the

activities they do on site

3.Controlled degree of motion of the part where it

allows movement

4.Integrating a more parametric approach to our

design

5.A better controlled curve that will lead to the

generation of form

120

D ES I G N P RO P O SA L CO N C E P TFunction creates form

1-Platform 2-Canopy

A place to relax and sight-see the surround-ing view

Covering parts of the view to repel users and directing their attention away from un-wanted sceneries

1

2

2

2

121

2-Canopy 3-Dynamic Walking Structure

Covering parts of the view to repel users and directing their attention away from un-wanted sceneries

A part that moves when enagaged with users to create awareness of energy genera-tion

2

3

3

3

122

D ES I G N CO N C E P T WO R K F LOWFunction creates form

The form is derived parametrically as these 4 main points are taken based on the site context ( The two entrances, Water Taxi, and the Little Mermaid).

Attract and Repel tool is used to direct the form to where we want to direct the users. This is also used to create a journey through out the installation and the site. The red indicates the repel point where the attention of the user must be directed somewhere else.

These points are later connected to create our con-troled curve and will then be iterated.

This form is considered the most successful iteration as it fits our purpose of creating this journey for the users. The other thing is that the dynamism of the form provides an aesthetic approach.

Attraction Points

Attract and Repel

Connection

Picked Iteration

124

CO N ST R U C T I O N P RO C ES SPre Fabrication

The first step towards construction is the pre-

fabrication phase in the factory where the Pine

sheets timber is cut into pieces to form the sec-

tions. These sheets of timber is then transport-

ed to site, since no piece exceeds the standard

timber sheet not exceeding 300mm in lenght

it well be transported easily, some canopy

are customed and can be transported by wa-

ter/ship which can be then assembled in site.

At the same time of fabrication, the site can al-

ready be prepared for assembly, proccesses such

as excavation of site and preperation of concrete +

Piezo can already take place to not waste any time.

126

CO N ST R U C T I O N P RO C ES SIn-SITU

The on site construction follows the following

process:

- site excavation and site clearance

- Reinforced concrete laid on site, with Piezo in-

serted 5mm below concrete

- The plancement and bolting of the main struc-

tural rod on site

-Timber pieces are then arranged on sie and

bolted accordingly, the dynamic parts uses rubber

as their joining mechannism.

The steps are shown and potrayed in the diagrams

on the right.

127

CanopyDynamic

1

3

4

5

6

7

1

2

3

4

128

PA RT C . 2T E C TO N I C E L E M E N T S

129

C . 2 T E C T O N I C E L E M E N T S

Part C.2 revolves around the core construction

element of tge installation and the details which is

repeated across the design. By integrating proto-

types and detail drawing to show how the design

works and if the fabrication will be feasible. This

area will also explore the materials used and how

if it behaves as expected.

The tectonic elements and joints revolves around

our main concept and design criteria which

includes:

- Allowing flexible changes in our components from

dynamic to static and back to dynamic

- Allowing sections to give enough and stable pressure

to the ground to allow energy generation from the

Piezoelectric

- Structual integrity stability and safety for the users

130

CO R E CO N ST R U C T I O N E L E M E N TAssembly Process

1

2

3

STATIC DYNAMIC

HOLLOW CORE STEELCOATED PINE

TIMBER SHEET

STEEL BOLTS

REINFORCED CONCRETE SLAB

ELASTIC BAND

COATED PINE TIMBER SHEET

METAL PLATE & BOLTS

Steel Rod connection Henrich Rubber

131

STATICDYNAMIC STATIC

METAL PLATE & BOLTS

METAL PLATE & BOLTS

HOLLOW CORE STEEL

COATED PINE TIMBER SHEET COATED PINE

TIMBER SHEET

STEEL BOLTS

HOLLOW CORE STEEL


ELASTIC BAND

METAL PLATE & BOLTS

HOLLOW CORE STEEL

Our construction core element focuses on the joints between static and dynamic

elements and how the two works together. The diagrams above illutrate the compo-

nents needed in order for the two system to work cohesively together. The different be-

tween the two systems is that the section timber material on the static part is bolted to

the ground for stability and rigidity purposes, the dynamic parts have a different sys-

tem in which the base of the section timber is cut 30 degrees to allow a see-saw mo-

ement which allows user engagement and attraction. It is then connected together

with the static with the long rod and then is then bolted to the groun to avoid move-

ment which can cause the system to fail. The canopy works the same way as the static

which can be then connected to the dyamic component. The materials that would be

used is the Henrich rubber for the Dynamic which is a band for wood and Steel rod.

132

CO R E CO N ST R U C T I O N E L E M E N T PROTOTYPE from Kinetic to Light

Picture 1 Picture 2

133

Picture 2

134

PA RT C . 3F I N A L M O D E L

135

C . 3 . F I N A L M O D E L

Part C.3 is the fabrication and assembly of scaled

models and prototypes.

136

M O D E L M A K I N G P RO C ES S1:100 SCALED MODEL

150

M O D E L M A K I N G P RO C ES SFabrication Template

152

PA RT C . 4A D D I T I O N A L L A G I B R I E F R E Q U I R E M E N T S

153

C . 4 L A G I B R I E F R E Q U I R E M E N T S

The Lagi brief was about creating awareness

through energy generation and how the design

can contribute to society and environment in en-

ergy generation and awareness. Our design was

developed by different ideas such as design fu-

turing and parametism. We have come up with

Kinetiskape, an interactive dynamic landscape

which can produce enough energy to self-sustain

and contribute to the environment. Kinetisk is a di-

rect translation from danish to english that means

kinetic, and in addition to that a landscape which

creates Kinetiskape. Our main idea is the engage-

ment of user with the site. Piezo is installed within

the concrete below the installation and everytime

a person engages or provides pressure to an area,

Light which is installed within each section will

light up to create awareness that through every-

day movement, enery can be saved and generted.

Thus the design of Kinetiskape.

Kinetiskape

154

M ate r i a l i t yPine Wood

Local Timber Used in Denmark: -Oak-Pine-Beech-Norway Spruce

Coated Pinesheet to reduce the rate of weathering, it is coated with intergrain wood oil (Natural and organic coat-ing); oil finish penetrates deep into the timber, preventing it from weathering.

-Pine Sheets are 30mm thick

Most forests in Denmark are pri-vately owned for generations, which is why timber is seen as a lega-cy and a heritage material (con-servation and production values).

155

OTHER MATERIALS:

Elastic Band Steel Rod

Bolts Concrete + Reinforcement

156

D e s i g n Te c h n o l o g y LED

LED: LIGHT EMITTING DIODES

Life Span (average) Watts used [= 60 Watt bulb] LED use less power (Watts) per unit of light emitted (lumens). This technology helps in reducing greenhouse gas emissions from power plants and lower electric bills

50,000 Hours 6-8 Watts

Kilo-Watts of Electricity Used 329 kWh/year Carbon Dioxide Emissions [30 bubls/year] Lower consumption, decreases CO2 emissions, sulfur dioxide, and high-level nuclear waste.

451 pounds/year

Durability Can Withstand jarring & Bumping Sensitivity to Humidity NO LUMENS WATTS 450 800 1,100 1,600 2,600 WATTS

4-5 6-8 9-13 16-20 25-30

157

Energy Produced Per Person/h

-->Ranging from 1-7 W/s-->60-420W/m-->3600 - 25200 W/h-->3.6 - 25.2 kW/h

Assuming there are approximately 100 people/h interacting with the installation in peak hours

3.6 - 25.2 kW/h (In relation to their body mass and actions) x 100 = 36 - 252 kW/h

Assuming the installation is used up to 10 hours per day, it can produce 35 ~ 252 Kwh /day

Energy produced annually : 12775 - 91980 kW/year

5kw can light up a 15W LED for 252 Hours --> 15 Days

120 Kw is needed to light up a 15W LED for a Year

91980Kw can cater for 766 LED for a Year

900 kW is the average usage of a house for a month, so approximately 9000kW per year. The more visitors and the longer they stay at our in-stallation, the more energy it produce. The energy can then be expanded not just to sustain our de-sign but can be stored to cater the energy needed to light up nearby facilities and environment.

E n e rg y G e n e rate dEstimation of annual kW/H

158

E nv i ro n m e nta l I m p a c tPine Wood

Carbon Footprints

Low Embodied Energy

Recycling

Reduced Green House Emission

Less carbon footprints due to less green house emission, carbon is stored within the pine.

Total energyt o fabricate the timber uses less energy than other matrials such as concrete, solar panels etc.

Timber and and materials used is very easy to recycle

Green house is reduce as carbon is stored in the pine itself

160

PA RT C . 5L E A R N I N G O B J E C T I V E S

161

C . 5 L E A R N I N G O B J E C T I V E S

form which takes full advantage of its material sys-

tem. During my exploration of sectioning I have

noticed how it is more superior to other material

systems. Firstly Sectioning does not restrict shapes

in comparison to other material system, it allows

even the most dynamic shape to be make possible

to construct. Second, it does not necessarily create

an angular surface like tessellation which allows us

to design our form more freely etc. Lastly, with ex-

ploration in Part B and C we have noticed that it is

possible to achieve more dynamic results varying

from basic shapes to complex shapes.

During the final presentation one of the main com-

ments made by the crits are the face that we didn’t

make use of the total potential of sectioning as we

could have used different types of sectioning for

different functions which can take advantage of

the advantage of each type of sectioning. For ex-

ample for the canopy we could have used Cull pat-

terning (Same length of material and easy to fab-

ricate while saving material for fabrication due to

the template) for the canopy and not the vertical

sectioning. During the break after the final presen-

tation we have refined our design further to show

that we understood and made use of the material

system we explored.

Part.C by far has been the most difficult part to

overcome. This is because we have to develop our

prototype from part B to become more site specific

using parametric tools which take us most time to

figure out. The hardest part of this section is how

we have to think about the limitations and poten-

tial of our material system and how we have to de-

sign in a way that takes advantage of sectioning. In

this section I have learnt so much about sectioning

as a material system and as a construction tool. For

our design we have decided to use vertical section-

ing as it allows users to exert most pressure to the

Piezo which can create most energy rather than

other sectioning tools explored in part B which

is unfeasible to design with our concept. Part.C

has allowed me to explore parametric design to

a whole new level has allowed me to know more

about it advantages also disadvantages.

Before this studio I had no idea how valuable para-

metric design is, I have started to appreciate para-

metric and how it is generated. Designing keep the

idea of Design futuring and computational design

has made me appreciate how forms generated

by these ideas are not random but based on data

itself. I think this subject has pushed me to think

more about the environment and how the site

context can help me generate

162

F u r t h e r D e ve l o p m e nt

1. We have changed our method of creating form

to make it easier for construction. Now no matter

how dynamic the shape may be, it will only utilize

one type of timber which can be easily fabricated

which uses cull patterning similar to Dunescape.

As shown in Diagram 2, we can see how it con-

nects together and no matter how dynamic the

shape is it can be created with single strips of

timber connected together. This not only saves

material but also costs of transport to site.

2. The second is our fabrication template which

can be seen in Diagram 3. The difference in tech-

nique can affect greatly on the materials used

and wasted for this project. As seen, the refined

template doesn’t waste material whereas we wast-

ed more money on our first fabrication template

which supports fry’s design futuring (2008).

One of the main aspects that need to be im-

proved is the fact that we did not manipulate and

explore the full potential of different types of sec-

tioning and the feasible of construction and trans-

portation means. In our previous concept, the can-

opy was assembled as a single piece with vertical

sectioning without dividing it or cutting the piece

to smaller sections, not only can it save materials

but also easier construction. We have made pro-

totype in part B using the cull patterning method

and it failed as it wasn’t being able to support itself

(Diagram 1). We have developed our failed proto-

type into more separate pieces so it can support

itself. Therefore, for our refined design we have

taken advantage of our reverse engineering “Dun-

escape” methods of construction.

Cull Patterning

163

Diagram 1

Diagram 2

Diagram 3

164

F u r t h e r D e ve l o p m e ntAA Driftwood

The second change we made is how we manipu-

late sectioning to create and form space. One of

the feedbacks we got is how we did not take ad-

vantage of the sectioning types we did in part.B.

In this new refined case we used the driftwood

precedent type of sectioning where the sectioning

curve is the control curve that controls the whole

sectioning form.

In our first part we thought that AA driftwood

would not fit our design concept as it would be im-

possible to fabricate, but when we thought of how

these pieces can be made up with more than one

sections, we tried modifying and refining our form

which created a more dynamic space in the whole.

The diagram on the right shows the driftwood pat-

tern we explored in part B piped, for the purpose of

this design we have changed it to surfaces instead

of pipes.

166

F u r t h e r D e ve l o p m e nt

168

F u r t h e r D e ve l o p m e ntCull Patterning Assembly

1 2

5

169

3 4

6

170

F u r t h e r D e ve l o p m e ntCull Patterning

172

F u r t h e r D e ve l o p m e ntCull Patterning

176

F u r t h e r D e ve l o p m e ntAA Driftwood Assembly

HOLLOW CORE STEEL


STEEL BOLTS


METAL PLATE & BOLTS


ELASTIC BAND

METAL PLATE & BOLTS

STATIC DYNAMIC

177

HOLLOW CORE STEEL



METAL PLATE & BOLTS

DYNAMIC

178

F u r t h e r D e ve l o p m e ntAA Driftwood Assembly

182

R E F E R E N C E S

Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 71


Dunescape, Shop Architects, http://www.shoparc.com/project/Dunescape-at-MoMA-PS1

Dunescape, Shop Architects, http://www.diisign.com/en/2010/03/for-shop-architects-pre-fab-is-pretty-fab/

Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Re-thinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Margaret Rouse, 2012, http://whatis.techtarget.com/definition/piezoelectricity

Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61

Piezoelectric materials and pictures, 2012 http://www.piezo.com/prodbm8dqmpict760.jpg

Polymorphic Bench, GSAPP, USA, http://www.jennchang.com/8.html

Stan Giblisco, 2012, http://whatis.techtarget.com/definition/piezoelectricity

aryananda monica_studioair2014sm1

Documents

i o n7a

e d d e s i g

design futuringc r i

e o f c o n t e n t

d forms

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introductionc o n c

d modeling