chen rong 584445 fianl journal

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Air

RONG CHEN

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DESIGN STUDIO AIRRONG CHEN

5844452014 / SEMESTER 1

TUTOR: BRAD & PHILIP

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Contents

Introduction 6-7

A.1 Design Futuring 9 A.2 Design Computation 14 A.3 Composition/Generation 22

A.4 Conclusion 28 A.5 Learning Outcomes 29

A.6 Appendix 30

References 31

PART A PART B

B.1 Research Field 37

B.2 Case Study 1.0 42


B.4 Technique: Development 61

B.5 Technique: Prototypes 70

B.6 Technique: Proposal 80

B.7 Learning Objectives and Outcomes 84

B.8 Appendix 85

Reference 86

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PART B

B.1 Research Field 37



B.4 Technique: Development 61

B.5 Technique: Prototypes 70

B.6 Technique: Proposal 80

B.7 Learning Objectives and Outcomes 84

B.8 Appendix 85

Reference 86

PART C

C.1 Design Concept 91

C.2 Tectonic Elements 106

C.3 Final Models 114

C.4 LAGI Brief Requirements 137

C.5 Learning Objectives and Outcomes 154

Reference 156

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Introduction

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My name is Rong Chen (Renee), a third-year architecture student at the University of Mel-bourne. I come from China, and have been in Australia for six years. I am interested in architec-ture as it is a course that involves comprehen-sions of various fields, such as arts and technolo-gies, enables me to develop holistic design skills.

My first experience with digital design tool was Rhino in the Virtual Environment. The lantern model is the realisation of the abstractive idea of expressing the natural process of mimosa pu-dica. From ideation to fabrication, the process was challenging for me, but it was surprized to see my concept transformed into a real product.

However, I have limited skills on CAD and Sketch Up. It was difficult for me to learn the computer software as I never ever used design software before I studied in Uni. I think the air studio provides a great oppor-tunity for learning the software and innovation de-signs, and it will be useful for my design career path.

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Part AConceptualisation

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2012 Land Art Generator Initiative EntryArtist Team: AMIR KRIPPER, MICHAEL GROGAN, CHRISTOPHER LI, KRISTEN BARROW, ALENA PARUNINAArtist Location: Boston, USA

This project proposal is designed for the Fresh-kills Park, which aims to dissolve the traditional boundaries between landscape, architecture, public art and renewable energy infrastruc-ture.

This building can be treated as a design for the future, as it generates renewable energy by mounting a system of flexible solar panels on construction. In fact, this installation can gen-erate around 1.20 MW of power which can provide electricity to more than 1,200 homes annually.2 Aesthetically and functionally de-sign a sustainable architecture where installa-tion corresponds to the unique topography of

the site, rather than a single landmark. Further-more, as every built construction has impacts on environment, Loop uniquely designed the circular planters that are able to collect the rain water which filtered and returned to the creek, significantly mitigate the effects of water runoff.

Loop is an excellent example of design which integrate sustainability, nature, and design into a whole one. Visitors not only enjoy the leisure time in the park, but also inspired af-ter discovering the installation and engag-ing with the amazing views, the journey be-comes a transformative experience for visitors.

A.1 DESIGN FUTURINGLOOP

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Moreover, this proposal established as a learn-ing facility which provides visitors great oppor-tunities to interact with state of the art technol-ogy and renewable energy while discovering a new built environment.3 They can be edu-cated about the process of clean energy, and be conscious of benefits of sustainability. Over-all, the Loop is a unique sustainable, athletic, functional and educational design, engaging the public in the reinvented FreshKills Park in an unprecedented way.

Figure 1 Loop ELevation

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Piezoelectric generator is one of the kinetic energy harvesting. The mechanical strain har-vested by this technology, which comes from human motion, low-frequency seismic vibra-tions, and acoustic noise, can be converted into electric current or voltage. However, the amount of produced power is small, ideally supply for low-energy electronics, such as pe-destrian lighting, way-finding solutions and ad-vertising signage or be stored in a battery.4

As an emerging technology, the use of piezo-electric materials to harvest power has already become popular. Piezo elements are

Figure 3 Havested Energy

A.1 DESIGN FUTURINGPIEZOELECTRIC GENERATORS

being embedded in walkways to recover the “people energy” of footsteps, and one of the great examples is the Pavegen systems paved in a London sidewalk.5

The energy harvested by the Pavegen tile can immediately power off-grid applications, and have ability to send wireless data using the en-ergy from footsteps and can be interred with API as a key technology for smart cities. Recy-clable materials are used for majority of the flooring unit, 100% recycled rubber utilized for the top layer, and slab base is constructed

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from over 80% recycled materials.6 It has ability to withstand harsh outdoor locations with high footfall, and waterproof to efficiently operate in both interior and exterior.

The technology is interactive as it offers the tangible way for people to engage with re-newable energy generation and to provide live data on footfall wherever tiles are.

Even piezoelectric generator has limitations on energy production, and requires certain amount of movement, it greater benefits for the nature as environmental friendly technol-ogy, and sustainable for future generations.

Figure 4 Pavegen Tile Figure 5 London Sidewalk

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A.2 DESIGN Computation

With the evolution of the digital technologies in architecture, computation as a computer based design tool has changed the design methods in an efficient way, and the compu-tational design as a process supports design exploration rather than design confirmation.

In the use for the design process, computa-tional techniques help represent the design graphically and numerically, fabricate and construct the resulting, and capable to mod-el the structure of material system, provid-ing powerful paradigm for material design.7 These breakthroughs provide architects the knowledge and expertise to discover differ-entiating potential of topological and para-metric algorithmic thinking and the tectonic creativity innovation of digital materiality. Furthermore, it allowed more people to be-come involved in the design process, inte-grate process in a holistic manner to the re-alisation of the design. 8

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The Spanish Pavilion was constructed in 2010 for the World Expo in Shanghai, and demol-ished after the event. The abstract idea of this pavilion is an expression of the climate of Spain on architecture. It is characterised by the highly complex curvature form, and the utilization of the wicker materials.

Digital in architecture support the emergence of certain distinctive geometric preferences and aesthetic effects.9 The unique complex geometry of the pavilion was manipulated using the Rhino software, but computational techniques not only create the desired ge-ometry surface, also help in finding solutions for design where the challenge of structure was solved by experimentation of structures to find a metal system that meet the complex geometry. Furthermore, the ability to model the materials system provides architects op-portunities to determine various materials densities and orientations of the panel along

The 3D models were also used as a system of communication between the architecture, engineer and the manufactures in the work-shop. It enables the explorations of the struc-tural expression, by this process, the archi-tects and engineer simplified the structure by adapting variable curve that was produced to a limited number of different curves, which reducing the complexity of fabricating the elements. 3D model graphically presents the design idea and efficiently formulates a spe-cific solution through manipulating the pre-set parametric, allows the complex form to be achieved with readily available materials and a streamlined assembly process at mini-mal cost, instead of the traditional trail-and-error methods.11

Figure 6 Exploration of Structure and Material

A.2 DESIGN ComputationSpanish Pavilion

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Figure 7 Spanish Pavilion

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Figure 8 Research Pavilion

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The Institute for Computation Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) at the University of Stuttgart have completed the pavilion that is entirely robotically fabricated from car-bon and glass fibre composites in November 2012.12

The inspiration of the project comes from the exoskeleton of the lobster, as a source been analysed in greater detail for differentiation of local materials in order to explore a new composite construction paradigm in archi-tecture by simulate method. By utilizing the computational techniques, architects are capable to transfer the biomimetic design principles to the design of a robotically fab-ricated shell structure based on a fibre com-posite system.13

A.2 DESIGN ComputationResearch Pavillion 2012 by ICD/ITKE

19Figure 9 Model of Researcj Pavilion in Matrix Principle

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geometry through evaluating process in computations, reduces the likelihood errors. If the project communicates in traditional pen-and-paper ways, the complexity of ge-ometry is less efficient to present, as there are concerns with time consumption, difficulties of obtaining accurate measurements of ma-terial hence lack of performance preview, which results in reducing the variability of design options. Thus the synergy of modes of computational and material design, digital simulation, and robotic fabrication provides opportunity for exploration of the completely new architectural possibilities, and lead to development of highly efficient structure with minimal use of materials.

Computational techniques enable the cre-ation and modulation of differentiation of the element of a design, it advanced envi-ronment for interactive digital generation and performance simulation. It is beneficial for designers to acquire new knowledge of computational techniques which neces-sitates a design strategy to be developed at the initial phase of the design process. In the LAGI project, by utilizing of computation, performance of energy installation will be obtained which helps evaluating the sustain-ability of the design project.

In this way, architects are able to explore possibilities of using the shell structure as computation conceptualises how the struc-ture will work, and preciously analysis mate-rial properties through parametric values, as a way in achieving the spatial arrangement of the carbon and glass fibres, as well as as-sisting in realization and assurance structure functionality in a productive 3D simulation.

The computational design process optimized the material and form generation regarding to the biomimetic principle, and ensures ar-chitect’s creation met the desired

Architects directly coupling of geometry and finite element simulations into compu-tational models allowed the generation and comparative analysis of numerous variations. The ability to model the structure of mate-rial system as tectonic systems in computing enables the determination of fibre orienta-tion, fibre arrangement, stiffness and layer arrangement, integrating the material and structure design in the process, thus complex-ity of interaction of form, material, structure and fabrication could be distinctively com-municated to the architects and engineers.

A.2 DESIGN ComputationResearch Pavillion 2012 by ICD/ITKE

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Figure 10 Fibre Orientation

Figure 11 Fibre Orientation

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A.3 Composition/Generation

Composition is defined as the rules or process of the architecture. It is the organization of the whole out of its parts, by this process, an ordered expression is created by architects. Throughout the history, the perfect composition architec-ture is characterised by the idea of “balance and contrast” with establishments of primary and secondary focal points and arrangement of climax. However, the composition only forms a traditional architecture that designed based on the order rules, without any design innova-tions in geometries, presentation, and architec-tural elements.

Parametric modelling software like Rhino and Grasshopper, develop the computational simu-lation method that generates the performance of feedback, offers architects an analysed per-formance regarding to the material, tecton-ics and parameters of production machinery in their design drawings, hence providing new design options for architectural decision during the design process. Nevertheless, the genera-tion approach has shortcomings in problem of overly complex forms, which is doubted with its practicality regarding to the limitation of cur-rent construction technology.15

The emerging computational techniques in nowadays has shifted the architecture from the composition to generation. Computation has brought along a new process to architecture, as it augments the intellect of the designer and increases capability to solve complex problems through the ‘sketching by algorithm’.16 In the generation process, the understanding results of generating codes and scripting enabling ar-chitect to write and modify of algorithms that relate to element placement and configura-tion, which generating the exploration of archi-tectural spaces and concepts.

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Figure 12 Shellstar Pavillion

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A.3 Composition/GenerationShellstar PavilionLocation: Hong Kong

Shellstar pavilion is designed as a social hub and centre for the art and design festival held by Detour in Hong Kong in December 2012. The design goal of the project is to achieve the maximized spatial performance while minimizing structure and material in a tempo-rary, inexpensive, and efficient method.17

The design process was completed in six weeks and fully working within a paramet-ric modelling environment that provides the quick development for design. Three parts of design process can be divided by advanced digital modelling techniques: form-finding, surface optimization and fabrication plan-ning.

Form-FindingBy utilizing parametric programs, Grasshop-per and the physics, the self-organized form is emerged based on the creation of thrust surfaces that are aligned with the structural vectors, it allow for minimal structure depths. The generation approach in this stage allows designer to quickly explore different vari-ables of structure design in a holistic com-prehensive representations, and investigate the results efficiently to single out the appli-cable scheme.

Surface optimizationThe structure is composed of 1500 individ-ual cells, in order to achieve the complex geometry, the custom Python script is used to optimize each cell as planar as possible, which greatly simplifying fabrication. Even though the generation approach limited in directly generating the buildable non-planar cells, the parametric modelling adapted as problem solving tool to deal with material property, enable the feasibility of the design before realization.

Fabrication PlanningThe orientation of shell was analysed, and then unfolded flat and prepared for fabrica-tion with labels on each individual material pieces. The generative approach enables the design outcome successfully construct-ed. 18

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Figure 14 Design Process in Computation

Figure 13 Shellstar Pavillion Realisation

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Guangzhou Opera House

The Opera House is located in Guangzhou, China. The design evolved from the concepts of a natural landscape and the fascinating interplay between architecture and nature, engaging with the principle of erosion, geol-ogy and topography.

The utilizing of Rhino program generates the outer crystalline, and inner complex and flu-id surfaces inside the auditorium generated in Maya. The organic forms are achieved through logarithm, splines, blobs, NURBs, and particles on organized by scripts of the dy-namic systems of parametric design, which implies that parametric tool gives the possi-bilities of curves. 19

By : Zaha HadidLocation: Guangzhou, China

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Furthermore, development in Maya as NURB surfaces of the auditorium geometry repre-sents the different mathematical species, the parametric tool allows final material be cast precisely based on its unique paramet-ric data. In this way, the parametric design makes the fabrication easier as all material prefabricated in factory and construction on site. Moreover, the generative approach leads to the formation of the continuous, seamless surfaces due to the parametrical design in early stage.20

Overall, in the generation process, param-eters are interconnected as a system. The parametric design creates systematic, adap-tive variation, continuous differentiation, and dynamic figuration from different scales that from urbanism to the furniture.

Figure 15 Guangzhou Operation House

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A.4 Conclusion

Nowadays, architecture is not only defined as a building or form, it also expresses the re-sponses to the environment regarding to the current facing issues, and the design goal of architecture puts more emphasis on the long-term development and the sustainable future.

With the advanced development of com-putations, architects and designers gained new design approach to find a suitable and efficient outcome, as the computer lets ar-chitects predict, model and simulate the en-counter between architecture and the envi-ronment. The generative approach expands possibilities for architect to explore complex geometry in a productive way that tradition-al pen-and –paper method cannot apply, hence encourages innovations in architec-ture.

Regarding to the proposal for the LAGI (Land Art Generator Initiative) Competition, the computation is useful in determining the performance of energy generating strategy through algorithmic exploration of param-eters, as well as tests the feasibility of the fabrication. Furthermore, utilization of Rhino and Grasshopper in the design process helps in optimizing the structure and material, thus make the sustainable proposal of an land-mark for energy-saving achievable.

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Over the past few weeks, through the read-ings and research on precedents, it broad-ens my new views in architectural design. At the very beginning, my thoughts were limited by the traditional composition architecture and thought that the design of architecture only generates the interesting forms. By look-ing at the precedents that involves the com-putational design, I realized the architectural design is currently shifted to a high level of approach with computation, and concern-ing more on the sustainable solution in re-gards to posted environmental challenges.

Also, the weekly Grasshopper exercises al-lowed me to gain the understanding of the parametric design, it not only a geometry design tool, it also benefits the architectural industry in design performance. I expect that use of this parametric modelling program will significantly contribute to the proposal of the LAGI project.

A.5 Learning Outcomes

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A.6 Appendix

Computational design is very important for designers, it help designer to generate ideas and develop models. When I doing the ex-ercise, I realize that doing parametric design is not only a study for design but also a study for computer program. I get lots of surprise from the computer since it always provides amazing outcomes.

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ReferencesBrady, Peter, Computation Works: The Building of Algorithmic Thought, Architectural Design, 2013.Rivaka, Oxman and Oxman, Robert. Theories of the Digital in Architecture, London: New York: Rout-ledge, 20141.Kaylay, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge, MA: MIT Press, 2004.2.”Loop,” Land Art Generator Initiative, Last Modified 2012, http://landartgenerator.org/LAGI-2012/LP360012/3. ”Loop,” Land Art Generator Initiative, Last Modified 2012, http://landartgenerator.org/LAGI-2012/LP360012/4. “Pavegen system” Pavegen system, Last Modified 2014, http://www.pavegen.com/technology5.“Pavegen system” Pavegen system, Last Modified 2014, http://www.pavegen.com/technology6. “Pavegen system” Pavegen system, Last Modified 2014, http://www.pavegen.com/technology9. Oxman, Rivka and Oxman, Robert. Theories of the Digital in Architecture, (London; New York: Rout-ledge,2014), 610. “Spanish Pavilion for Shanghai World Expo 2010,” World Buildings Directory Online Database, Last Modified 2010, http://www.worldbuildingsdirectory.com/project.cfm?id=2681 11. Rivka and Robert, Theories of the Digital in Architecture, 612. “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, Last Modified 2012, http://www.achim-menges.net/?p=5561 13. “Research Pavilion 2012 By ICD/ITKE,” A As Architecture, Last Modified 2013, http://www.aasarchi-tecture.com/2013/05/Research-Pavilion-2012-ICD-ITKE.html14. “Research Pavilion 2012 By ICD/ITKE,” A As Architecture, Last Modified 2013, http://www.aasarchi-tecture.com/2013/05/Research-Pavilion-2012-ICD-ITKE.html 15. Peters, Brady, Computation Works: The Building of Algorithmic Though,(Architectural Design,2013), 12.16. Brady, Computation Works, 10.17. “Shellstar,” MATSYS, Last Modified 28 April,2011, http://matsysdesign.com/2013/02/27/shellstar-pavilion/ 18. “Shellstar,” MATSYS, Last Modified 28 April,2011, http://matsysdesign.com/2013/02/27/shellstar-pavilion/19. “Guangzhou Opera House,” Architect Magazine, Last Modified 28 April,2011, http://www.archi-tectmagazine.com/cultural-projects/guangzhou-opera-house.aspx20.”Guangzhou Opera House,” Architect Magazine, Last Modified 28 April,2011, http://www.archi-tectmagazine.com/cultural-projects/guangzhou-opera-house.aspx

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Image ReferencesFigure 1 AMIR KRIIPPER, Loop Elevation, 2012, http://landartgenerator.org/LAGI-2012/LP360012/, (ac-cessed March 26, 2014) Figure 2 AMIR KRIIPPER, Loop Elevation, 2012, http://landartgenerator.org/LAGI-2012/LP360012/, (ac-cessed March 26, 2014)Figure 3 “Pavegen system” Pavegen system, 2014, http://www.pavegen.com/,(accessed March 26, 2014)Figure 4 “Pavegen system” Pavegen system, 2014, http://www.pavegen.com/,(accessed March 26, 2014)Figure 5 “Pavegen system” Pavegen system, 2014, http://www.pavegen.com/,(accessed March 26, 2014)Figure 6 “Spanish Pavilion for 2010 Expo Shanghai,” World Buildings Directory Online Database, 2009, http://www.worldbuildingsdirectory.com/project.cfm?id=1737, (accessed March 26, 2014)Figure 7 “Spanish Pavilion for 2010 Expo Shanghai,” World Buildings Directory Online Database, 2009, http://www.worldbuildingsdirectory.com/project.cfm?id=1737, (accessed March 26, 2014)Figure 8 “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, http://www.achimmenges.net/?p=5561 (accessed March 26, 2014)Figure 9 “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, http://www.achimmenges.net/?p=5561 (accessed March 26, 2014)Figure 10 “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, http://www.achimmenges.net/?p=5561 (accessed March 26, 2014)Figure 11 “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, http://www.achimmenges.net/?p=5561 (accessed March 26, 2014)Figure 12 Shellstar Pavillion, 2012, http://www.arch2o.com/shellstar-pavilion-matsys/ , (accessed March 26, 2014)Figure 13 Shellstar Pavillion, 2012, http://www.arch2o.com/shellstar-pavilion-matsys/ , (accessed March 26, 2014)Figure 14 Shellstar Pavillion, 2012, http://www.arch2o.com/shellstar-pavilion-matsys/ , (accessed March 26, 2014)Figure 15 “Guangzhou Opera House,” Architect Magazine, 2011, http://www.architectmagazine.com/cultural-projects/guangzhou-opera-house.aspx

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Part BCriteria Design

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B.1 Research FieldMaterial System - Biomimicry

Biomimicry is literally from the Greek ‘bios’ that meaning life, and mimesis, imitation, it is a new principle that offers design, science, and industry a new way of accessing na-ture’s intelligence in order to solve human challenges by taking imitation from nature.1

Biomimicry provide a wealth source of inspi-ration as well as unleashing a new breeding ground for sustainable research and devel-opment, as nature has refined itself over last millions of years, this process has demonstrat-ed successful solutions to many of the prob-lems that we are facing nowadays, as well as has revealed the survival strategy of the ecosystem which has singled out the fittest organisms.2 Therefore, it provides opportuni-ties that transferring natural theories to design innovations which lead to a more advanced technology for solutions, as well as offers enormous potential to transform our build-ings, products and system.

As a part of biomimicry study, biomimetic ar-chitecture design is seeking solutions for sus-tainability in nature not only by replicating the natural forms, but also by understanding the rules governing those forms by looking at nature as model, which means taking inspi-ration from natural forms, process, systems, and strategies, and then apply it to the man-made in order to optimise the design solu-tions; as measure, by utilizing an ecological standard to assist development of human in-novations while judging the sustainability of the solution; as mentor, values nature that humans can learn from instead of extracting from it.3

Furthermore, along with the arrival of acces-sible computer technologies, biomimetic ar-chitecture become popular. It facilitates the design and construction of complex forms that were almost unachievable in the past due to constrains of physical fabricating pro-cess. Integration of biologically inspired pro-cess in computational design opens oppor-tunities of new ways of designing approach, utilize natural process as an algorithmic pro-cess. A wide variety of biomimetic projects are in development, in testing, or in use now.

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Times Eureka Pavilion, 2011Architect: Nex ArchitectureLocation: London, UK

Times Eureka Pavilion is a typical example of architecture imitating the patterns of biologi-cal structure in a scientific approach, dem-onstrating humanities symbiotic relationship with natural ecosystems.4

The design concept of Times Eureka Pavilion was inspired by looking closely at the cellular structure of plans and their process of growth to inform the design’s development. It fo-cused on the ‘bio-mimicry’ of leaf capillaries being embedded in the walls, the supporting structure of pavilion was formed by the mod-ular structural grid that imitates the growing

patterns of capillaries.5 Moreover, the pavil-ion mimics water transfer found in plant bi-ology, rain water literally runs off the glazed roof cells into the main recessed capillaries and down the walls to the ground.

Furthermore, the structure was generating by utilizing computer to algorithm plan of the garden that was grown by capillary branch-ing and subsequent cellular division. And the patterns of biological structure were con-trolled by a Voronoi diagram in grasshop-per. Level of satisfaction of architectural and structural needs was estimated following

Figure 1

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completion of the 3D modelling, as well as specialist timber fabricator undertook de-tailed analysis.

Figure 2 Figure 3

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Airspace Tokyo is a representative example of biomimetic architecture that imitating na-ture to solve the problem through innovating a new type of facade.

Inspiration of airspace facade solution was informed via old facade that was wrapped by dense vegetation. It artificially blends with the nature as performing like artificial vege-tation that has similar attributes to the green strip. This project not only imitates the organic pattern for aesthetic purpose, but also takes inspirations via the nature process of the cap-illaries actions in forming operations of the facade, including refracted sunlight along its metallic surface; channel rainwater away from exterior walkways.6

The facade contains four over laying layers of the porous, open-celled meshwork that changes densities as it moves across the fa-cade, responding to internal program and providing shading and reflection of excess light away from the building. Moreover, the different unique patterns of each layers skin were generated with parametric software, and fabrication consideration was integrat-ed in the process. In order to ensure the cellu-lar mesh to visually float, the panels that using composite metal panel material are affixed by a matrix of thin stainless steel rods which is threaded from top to bottom, assembled in an aesthetical way as the supporting struc-ture seems invisible.7

As a result, airspace Tokyo derived an archi-tectural system from process of capillaries has shifted to a new atmospheric space of protection to building, as biomimicry pro-vides opportunity for designer to innovate a creative structure with similar qualities as the previous facade, engage and with nature rather than beating the nature.

Airspace TokyoArchitect: Faulders Studio with Proces 2, Studio MLocation: Ota-ku, Tokyo, Japan

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Figure 4 Airspace Tyoko

Figure 5 Exterior Skin

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B.2 Case Study 1.0Aranda Lasch - The Morning LineArchitect: Matthew Ritchie with Aranda Lasch and Arup AGU

The morning line is an experimental project that explores the interdisciplinary interplays between arts, architecture, mathematics, cosmology, music.

The initial idea of collaborators team aims to develop a semiasographic architecture that refers to a non-linear architectural language based on fractal geometry and parametric design, which directly expresses its content through its visual structure, and considered as challenges to architectural convention.8

Based on a radical cosmological theory, the morning line takes the form of an open cel-lular structure that simultaneously generating itself and falling apart rather than an enclo-sure, and further utilizing the fractal cycles through computation to create a truncated tetrahedron module with fractals are fol-lowing a repetitive definition which can be scaled up and down.9 By harnessing the ad-vantages of the parametric design, collabo-rators team pushes the definition to its limits to experiencing the multiple architectural forms that resulted from changes of parameters, to test the boundary of definition.

Figure 6 The Morning Line

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However, there is no final form as there is no single way in or out, an interactive film de-scribes the evolution of the universe as a story without beginning or end, only move-ment around multiple centers. The outcome is an impressive 8 metre high, 20 metre long black coated aluminium pavilion integrates the music and sounds culture within it, recog-nized as a new type of instrument as well as an interactive performance space.10

The morning line project is used as a starting point to explore the possibilities of biomim-icry in computational design, through under-standing of the algorithm process in grass-hopper, it enables capability of exploration with variation of changes, the following pag-es demonstrate the matrix table of explora-tion of definition.


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B.2 Case Study 1.0Matrix Table 1

Three Sides Four Sides Five Sides Six Sides

Cluster 0.333

Cluster 0.1

Cluster 0.2

Cluster 0.4

Cluster 0.5

Cluster 0.6

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Seven Sides Eight Sides Nine Sides Ten Sides

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B.2 Case Study 1.0Iteration Table 2

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Matrix table 1 explores the variations with dif-ferent functions and cluster parameters. Based on the original functions that used in defini-tion, the limitation of geometry outcome was pentagon, apply with different mathematical functions, numerous geometry form will be achieved. Also as number if sides increase, the height decreases. Maximum value of cluster is 0.6 for tetrahedron, as long as factor greater than 0.6, the geometry no longer exists, and greater the parameter, more complex the fractals appear.

Matrix table 2 explores radius parameters and component options. There is no limitation of radius and height, thus the scale of polygons can be infinitely increased. The unexpected outcome was achieved by simplified and flatten the parameters, which alternates the points order resulted in new ways of connec-tions.

The selection criteria is based on consideration of interesting and aesthetic form that attracts visitors while relevant and connect to the site at Copenhagen, as well as take potentiality of structure to maximise the ability to harvest wind energy. The selected four iterations are considered the most successful than others, because they are all have interesting features and showed potentials of development in ar-chitectures or landscape installations.

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B.2 Case Study 1.0Successful Outcomes

Selection A

Fractals formed a symmetrical pattern while remain the overall shape of a pyramid, it fea-tures the 3D patterning effect rather than flat 2D pattern that usually applied on wall or floor. It demonstrates the potentiality of fractals ap-plication in other objects, pavilion or architec-ture for aesthetic effect.

Selection B

The form of this iteration shows the possibility of side numbers of geometry. It is no longer definable from the original tetrahedron as no sharp corners on the bottom, demonstrate possibility of curvy form rather than linear-line shape. High density of fractals not only results in an interesting fragmentation pattern, but also further expresses the biomimicry system of natural process through the structure itself.

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Selection C

This Is an abstract concept rather than an intact geometry, as it basically a series of fragmented pieces organised in a pentagon form. The floating sense of fractals is opposite to the original static feeling of selection A and B, if integrate it to the site environment, it will blind into the nature, and offers a different experiences of free structure of the project.

Selection D

Demonstrate an indefinable form that looks like imitation of the universe, the ends of the protruding suggest a sense of deterioration of natural process. Demonstrate potential adoptability for generating basic pavilion form or sculpture.

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B.3 Case Study 2.0CLJ02 - ZA11 PavilionDesigners: Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan, 2011Location: Cluj, Romania

The ZA11 pavilion is designed for the 2011 ZA11 Speaking Architecture event in Cluj, Ro-mania. This design boats strong representa-tional power in order to fulfil the main goal - attracting passers-by to the event, and al-lowing for the sheltering of the different planned events.

Creative exploration was constrained due to the harsh requirements of short time period, limited budget, specified materials and tools, which resulted in limited approaches. Deep hexagonal structure is adopted in the final design to solve the problem by mimic natural structure. 10As the hexagonal structure is

efficient in according to each line length in a hexagonal grid as short as it can possibly be, which means a large area to be filled with fewest number of hexagons. This struc-ture provide possibility for design team to construct a particular geometrical configu-ration that requires less materials while gain adequate strength under compression. 11

In addition, the realization of this unusual spectacular form was realized possible by parametric design techniques, from geom-etry generation to piece labelling, assembly and actual fabrication, process was con-trolled in computational design tools, which

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reduces time consumes in comparison to tra-ditional design way, hence meet the harsh time requirement. As a result, a free-form ring is formed based on hexagonal structure.

Design team combines the biomimicry prin-ciple into the computational design process enables themselves to achieve the goal with limit material and time, thus the project is suc-cessful in meeting design intent.

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B.3 Case Study 2.0Reverse-Engineering

I.Set one base curve and one ref-erence point in rhino.Scale and move the curve to create multiple curves.

II.Loft the curves to get the base surface. Commit closed loft option to ensure the surface is closed

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III.Apply the hexagon cells to the surface

IV.Utilizing reference point as centre to scale the surface that achieved in IIForm an inner surface

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B.3 Case Study 2.0Reverse-Engineering

V.Set both surface to graft optionLoft the corresponding lines of hexagon on the inner and outer surfaces

VIDebrep the loft surface to obtain individual surfaces Apply the pattern to the surfacesDelete the duplicate surfacesRefine the Model

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B.3 Case Study 2.0Algorithim Diagram

Curve

Curve

Curve

Curve

Hexagonal Cells

Scale

Move/Scale

Loft Loft

Point

DeBrep

Hexagonal Cells

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Loft

DeBrep Explode

List Item

Line

Point

Joint

Joint

Area

Scale

Line

Line

Line

Line Area

Scale

Solid Difference

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B.3 Case Study 2.0

The combined outcome of different process for each parts in grasshopper has enabled a final definition, creating a successful out-come in reverse-engineering project of the ZA11 pavilion.

The outcome reproduces the overall ring form with deep hexagonal structure that em-ployed by the ZA11 pavilion, and both has the similar triangular pattern that is hollow on each individual pieces of the surface. Even though the appearances are similar, the de-sign process was obviously different. In the process of our outcome, in order to achieve the horizontal surfaces between edges of hexagon, an scaled inner surface is used to line the corresponding points of hexagon corners, then loft the surface.

However, the ZA11 pavilion design process achieved it by using a referencing point to extrude line from surface to a certain length rather than using the inner surface, the origi-nal design process is much complicated than definition that we created.

The next step would be to incorporate differ-ent forms, patterns to the definition, as well as changing the different inputs to test the capability of definition. The existing alforithm could be developed further to achieve a more creative definition.

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Using the reversed engineering project as the starting point, in this section, the definition is further developed with variations of basic shape, the patterns attach to the surface, and the lofting panels options to extend and alter its functionality.

Matrix table 1 – the basic shapes that created in matrix table 1 are inspired by the form and structure of a specific animal or insect, such as caterpillar, peacock, tree trunk, beehive. The rest two shapes are generated through analysing the wind direction at site, pull and push the curve to generate the shape that resulted by effects of wind pressure. By using the Lunchbox plug-in, loft panel is tested with options of hexagon, triangle, rectangle, dia-mond and stegger shapes.

Matrix table 2 – Six basic shapes are selected from matrix table 1, then recreate the defini-tion of pattern section in grasshopper to ex-plore the options of patterning, for instance line different point on two curves by using divide curve command, to produce more outcomes.

Matrix table 3 – based on table 2, six hybrids iterations are selected based on its potenti-ality for further development, and they are most varying from the original. Through alter-ing the parameters, it freely changing the geometry, and shift it to a more dynamic form rather than just utilizing one script.

B.4 Technique Development

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Matrix Table 1

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Matrix Table 2

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Matrix Table 3

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B.4 Technique: Development

I.This iteration generates the most interesting dynamic form that based on wind direction of the LAGI site. The wind mainly comes from the south-west direction, the windward side of the shape is curvier than the leeward side, the whole shape is shifted toward to the leeward direction by pressure. Imitating the wind movement and express it through the structure, has patentability to be developed with tensile materials, and suitable for installation of wind energy generation.

II.The basic form of this iteration is also inspired by wind, compared to selection I, it is more static, but the hollow core under the structure skin will direct the wind passage rather than let wind pass over the struc-ture skin. This idea has possibility to offer people with an interesting experience while the structure likely to be a pavilion. It has high poten-tiality to harvest the wind energy.

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III.This iteration takes the shape that is inspired by the height of the sur-rounding buildings as well as wind movement. The scatter locations of posts would create an interesting circulation for visitors. Feasibility of simple structure, and able to harvest the piezoelectricity from visitors’s engagement with site.

IV.The simple form of iteration looks like imitating the bamboo growing process which is in sections. The outcome is interesting as it has least members in comparison to other iterations. Its surfaces potential for harvesting solar energy.

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B.5 Technique: PrototypePrototype 1

The digital model in rhino was unrolled and labelled in order for fabrication process, which significantly reduce time consumes in comparing to the hand-craft. Then it can be print out in multiple options of materials.

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For prototype 1, the selected successful out-come II in B.4, plywood, an eco-friendly ma-terial was utilized to explore the stability of structure and appearance of the design. As plywood is light in weight but has high uniform strength and freedom from shrinking, swelling and warping, it is beneficial for outdoor instal-lation. Moreover, it has capability for fabrica-tion of curved surfaces which provide oppor-tunities for more creative form generation.

As shown in the picture above, plywood has possibility to achieve the curve structure and offers not only elegant but also organic feel-ings about the design. However, the thick-ness of the material is a serious concerns in fabrication process, unlike paperwork, as differs the thickness, the structure is altered, which may lead to a collapse outcome.

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B.5 Technique: PrototypePrototype 1 - Connector

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Based on previous research on ZA11 pavilion, a common con-nector type for assembling wood construction in small scale architecture is wood panel connector. It fixed multiple panels together and provides strength to the overall structure in con-ventional way, as it is easy for remove in the future.

As testing outcome of prototype one, it could be seen that the connector provides rigidity to structure as it hold each individual pieces right at their position.

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Prototype 2, the selected successful outcome III, is aiming to gain the understanding of overall form of the design. The bal-sa wood was utilized, it was lighter and much softer than the plywood, easy to cut and shape, idealised for small scale proj-ects. It is conceived as sustainable material as its carbon neu-tral qualities ensure an environmentally friendly solution that can help promote Copenhagen as a “Green City”.

This prototype demonstrates an interesting ground area that zoned by the density of the posts, but the design concept is too simply to be recognised as solution for the brief, it still has large potentiality to be developed further.

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The purpose of prototype 3, the selected successful outcome I, is to test the material performance with the structure. It utilis-es the Perspex material, an acrylic plastic material, which has similar qualities to glass with regards to transparency, but it’s twice as durable and more lightweight than glass with similar thickness. It is conceived as eco-friendly material as Perspex is reusable.

This prototype demonstrate that Perspex form the hexagonal structure of design, the transparent feature of material results in a beauty of cleanness. The connector between individual pieces of Perspex is an important consideration. As in proto-type, in order to form hexagonal cell, steel wires was utilized to fix the position of pieces of Perspex, but it failed to make stable structure, instead, resulted in a loose and flexible structure.

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B.6 Technique: Proposal

Based on the LAGI brief, it is not only impor-tant to create an attractive energy saving design, but also necessary to invite users to the design and interact and engage with in the design by themselves, through expe-riencing the energy regeneration to raise the awareness. The team attempts to design an aesthetic pavilion which will attract and pro-vide them with an opportunity to get to know the sustainable energy.

Regarding to the Copenhagen site, its windy weather suggests a good condition for the Pizoelectricity system. Piezoelectricity is the electric charge that accumulated in certain solid materials in response to applied me-chanical strees. . It literally means

electricity resulting from pressure, as certain materials have ability to generate current when subjected to mechanical stress or vi-bration. Therefore, when wind moving across the piezoelectricity materials that installed on the structure skin, wind pressure resulting electricity through the material.

Furthermore, as the basic shape of design is generated by wind direction, combine the system into the design will maximise the performance of the energy regenerating whereby the designed structure is respond-ing to the wind movement, piezoelectric ma-terial will vibrate frequently. Moreover, the harvested electricity could be used for light-ing, visitors can see the lights up when there is wind crossing, which will interest visitors to know the system behind it.

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Moreover, the piezoelectric generators is easily obtainable and economic to construct and maintain, there is no require of bat-tery power, the installation is small and can be designed in an invisible way in structure which aesthetically installed and effective in generating electricity, this proposed system is feasible and efficient, providing a sustainable solution to Copenhagen. The combination of irregular form and innovative technology will form a more sustainable architecture design for Copenhagen and promote it to a “Green City”

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B.6 Technique: Proposal

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B.7 Learning Outcomes And Objective

Through the last few weeks, based on re-searches into precedents, biomimicry tech-nology is now combined into computational design techniques to achieve design intents. It is clear that by understanding the nature process in the ecosystem will generate a new way of thinking in architecture, as well as gain the sustainable solution from the nature.

In addition to the research, the case study 1.0 provides the introduction to the algorithmic Grasshopper definition. By experiment with al-ternating parameters and changing options to push the definition to its limits, I understand that parametric design has high flexibility of alternating changes to the digital model in a conventional way, and it offers architects nu-merous design options in generating design concept as it enable a new set of controls to overlay the basic controls.

Moreover, case study 2.0 pushes me to a higher level in understanding the logic algo-rithm behind the definition through reversing the project. Parametric design depends on defining relationship, focus more on the logic behind the design. It is a complex thinking process, nonetheless, we developed a defi-nition which we could use as foundation for the development of LAGI project.

Based on the feedbacks from Part B interim presentation, we unify the energy generating system to the piezoelectricity that can gen-erate electricity once wind move acrossing the structure, rather than previous unclear proposal with two different energy generat-ing system. Furthermore, the idea of energy technology should become the main focus of our design intent when moving towards part C, as well as develop the definition fur-ther as there are still potentials.

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B.8 Appendix

Based on learning grasshopper from the online tutorials for laster few weeks, I become more familiar with the computational technique. It developed both my thinking and skills, the most successful outcome was the reverse engineer-ing, but outcomes from weekly practices were the basic skills that we fundamentally begin with. Those patterns generated in grasshopper and as well as the seroussi pavilion reverse project are considered as best outcomes as they are helpful in tracing the natural forms and process.

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Reference1. “What do you mean by the term biomimicry”, BIomimicry Institue, accessed on 17 April 2014, http://www.biomimicryinstitute.org/about-us/what-do-you-mean-by-the-term-biomimicry.html 2. “Biomimicry”, Designboom, accessed on 24 April, 2014, http://www.designboom.com/contem-porary/biomimicry.html 3. “What is Biomimicry”, accessed on 25 April, 2014http://www.biomimicryinstitute.org/about-us/what-is-biomimicry.html 4. “Time Eureka Pavilion –Cellular Structure Insipired By Plants”, Lidija Grozdanic, accessed on 28 April 2014, http://www.evolo.us/architecture/times-eureka-pavilion-cellular-structure-inspired-by-plants-nex-marcus-barnett/ 5.“Time Eureka Pavilion//Nex Archiecture, Marcus Barneett”, AFFLANTE, accessed on 30 April 2014http://afflante.com/28753-times-eureka-pavilion-nex-architecture-marcus-barnett/ 6. “Airspace Tokyo”, Wallpaper, accessed on 28 April 2014http://www.wallpaper.com/architecture/airspace-tokyo/1778 7.“Airspace Tokyo”, accessed on 29April 2014http://travelwithfrankgehry.blogspot.com.au/2010/03/airspace-tokyo-by-faulders-studio.html8.“The Morning Line Launches in Istanbul” Accessed 28 March 2014, http://artpulsemagazine.com/the-morning-line-

launches-in-istanbul

9. “The Morning Line, Vienna 2012” TBA21. Accessed 27 March 27 2014.

http://www.tba21.org/pavilions/49/page_2?category=pavilions

10.“Aranda / Lasch” Nick Clarke, Accessed 28 March 2014. http://www.iconeye.com/read-previous-issues/icon-066-%7C-

december-2008/aranda/lasch

10. “ZA11 Pavilion/Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan,”Megan Jell. Last modified 5 July 2011. http://

www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/

11. “ZA11 Pavilion/Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan,” Accessed on 29 March 2014, http://www.

arch2o.com/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/

“Advantages of Plywood”, accessed on 2 April 2014, http://fennerschool-associated.anu.edu.au/fpt/plywood/advply.

html

“Balsa Wood Advantages”, Steve Johnson, accessed on 24 April 2014

http://www.ehow.com/list_6727312_balsa-wood-advantages.html

“Perspex glassware: its advantages and disadvantages”, accessed on 29 April, 2014. http://www.perspexadvantages.

sitew.org/#Perspex.A

“Piezoelecticity“, accessed on 3 May 2014, http://whatis.techtarget.com/definition/piezoelectricity.

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Image ReferenceFigure 1 “Time Eureka Pavilion//Nex Archiecture, Marcus Barneett”, AFFLANTE, ac-cessed on 30 April 2014, http://afflante.com/28753-times-eureka-pavilion-nex-archi-tecture-marcus-barnett/ Figure 2 “Time Eureka Pavilion//Nex Archiecture, Marcus Barneett”, AFFLANTE, ac-cessed on 30 April 2014, http://afflante.com/28753-times-eureka-pavilion-nex-archi-tecture-marcus-barnett/ Figure 3 “Time Eureka Pavilion//Nex Archiecture, Marcus Barneett”, AFFLANTE, ac-cessed on 30 April 2014, http://afflante.com/28753-times-eureka-pavilion-nex-archi-tecture-marcus-barnett/ Figure 4 “Airspace Tokyo”, Wallpaper, accessed on 28 April 2014http://www.wallpaper.com/architecture/airspace-tokyo/1778 Figure 5 “Airspace Tokyo”, Wallpaper, accessed on 28 April 2014http://www.wallpaper.com/architecture/airspace-tokyo/1778 Figure 6 “The Morning Line, Vienna 2012” TBA21. Accessed 27 March 27 2014.http://www.tba21.org/pavilions/49/page_2?category=pavilions Figure 7“The Morning Line, Vienna 2012” TBA21. Accessed 27 March 27 2014.http://www.tba21.org/pavilions/49/page_2?category=pavilions Figure 8“The Morning Line, Vienna 2012” TBA21. Accessed 27 March 27 2014.http://www.tba21.org/pavilions/49/page_2?category=pavilions Figure 9“ZA11 Pavilion/Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan,”Megan Jell. Last modified 5 July 2011. http://www.archdaily.com/147948/za11-pavilion-dimit-rie-stefanescu-patrick-bedarf-bogdan-hambasan/ FIgure 10“ZA11 Pavilion/Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan,”Megan Jell. Last modified 5 July 2011. http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/

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Part CDetailed Design

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C.1 Design ConceptInterim Presentation Review

In choosing this direction with considerations of unique windy site condition, one of the proposal, which designed to create an inter-esting ground area that zoned by the density of the posts, is discarded. Thus, we not only redevelop the design form but also modify the panels on the surface that respond to the wind condition, in order to integrate the de-sign concept with energy generating system in a functional and aesthetical way that is suitable for the brief.

In addition, in order to facilitate the interac-tion between visitors and the project, a imi-tated piezoelectric energy facilities will be in-stalled in the inner ground area for childrens to play with, in this way, visitors will be inspired to know the adapoted energy generation system.

Based on the feedback from interim presen-tation, main field that we need to improve on further are unification of proposals, as we posed two very dissimilar proposals which makes our design lack of concentration, hence lead to unclear energy generation system design specification.

In response to feedbacks, our group redirect the proposal to a different approach. Unify the energy generating system from the wind turbines to the more specific system - vibro-wind piezoelectric generator that harvesting energy from the wind through mechanism vi-brating structure, which is an emerging alter-native to conventional rotary wind turbines. As it requires less installation spaces and more flexible in installation, provides more opportu-nities in changes made for design.

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C.1 Design ConceptRefine Forms

Design continues with the previous idea of express wind movement through the struc-ture, overall design form is redeveloped and emerged based on reference to the ana-lysed the wind load diagrams of different months on Copenhagen.

Design continues with the previous idea of Using site boundary as the starting curve (fig-ure 1), as wind comes from different direc-tions exerting various loads on the site, the wind force pushes the curve bend inward in different levels and directions, as shown in the above figures, which eventually results in a dynamic curved ring shape after a series of bending (figure 5).

Figure 1 Figure 2

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However, as the design concept of the proj-ect is to create an area that attracts people to come and interact with the architecture, hence we changed the previous simple pavil-ion installation to a more attractive proposal, which is to create a maze on site that would interest and inspire people to walk around and feel the site. Therefore another two in-ner layers are generated and integrated with outer layer to form the maze (Figure 6).

Figure 3 Figure 4 Figure 5

Figure 6

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C.1 Design ConceptSite Analysis

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Wind Direction Circulation

A brief site analysis has determined the dominant wind passage is from the south-western direction due to it surrounded by ocean, which suggests that the most curved part of maze should place to-ward the direction which corresponds to the initial design idea, as the highest wind load the greatest inward bending. Furthermore, the ferry station is also located at south-western side, hence maze pavilion will act as an attracting point for passengers. Main circu-lation is around the north-eastern corner as well as south-eastern side, which assume that the access point to the maze would be located at the north eastern corner.

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C.1 Design ConceptWind Analysis

In order to optimize the facade height and panelling surface where vibro- wind piezo-electric generators installed in the hollow area, the wind load impacts on structure is analysed by using grasshopper, which helps in defining heights for three facades as high-er the facade, higher the wind load impacts on, hence creating height difference be-tween facades.

As shown in the diagrams, red section is the highest wind load area and hence this sec-tional facade relatively higher than rest in or-der to access maximum wind, white section is the second highest wind load area, blue section is the least even none wind load im-pacts on therefore the inner layer is at lowest height.

More importantly the analysed wind dia-grams help in determining influence level of winds on different area of facade, in terms of efficiency of generating piezoelectricity through exposure to wind. In comparison with Part B, the panelling surface were applied to entire surface of the structure, instead, the panelling on facade are gradually changed in dimensions and disappeared in some ar-eas due to wind load condition, which mimic the duplicating and transforming process of cells to fit to the surrounding environments.

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C.1 Design ConceptPanel Modification

Therefore, five kinds of panels that on the di-amond shape are applied. Red panels that has largest hollow core are placed in the red area where most piezoelectric generators are installed to maximize energy generating, and orange is the second largest, yellow panel is the next, green panel has smallest hole, and blue panel is a basic diamond panel applied in blue sections and for area that is close to users for safety reason.

In Part B, the diamond grid command in lunchbox plug in was used to generate the basic diamond pattern on the facade. How-ever, the panels at the bending area are over-lapped and disconnected. So as to solve this issue, grasshopper definition was modified by changing surface into a mesh surface, using weaverbird command to divide the mesh, and then rebuild mesh surface to surface to achieve the diamond shape surface, which avoids the awkward bending panel shapes and discontinuity. Furthermore, grasshopper definition for extruded panels was refined in-stead of previous flat hollow core panels by using centroid command to scale the cores.

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Generally, the design outcome is panel-ling facade which assembled by individual pieces of panel, which requires a structure frame to support the facade. Grasshopper technique was extended to produce a steel structural frame by scale the all curves of each panel, then using pipe to the scaled curves. This technique ensures the each steel bar at the corresponding position to the panels that it supports.

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C.1 Design ConceptWork Flow Diagram

1. Create surface with diamond panels 1.1 Mesh the surface with U value of 4 and V value of 80 1.2 Use the Weaverbird Midedge subdivi-sion command to create lines of diamond pattern on the surface. 1.3 Rebuild the diamond surfaces with the lines obtained in step 1.2.

2. Steel Frame 2.1 Offset the lines obtained in step 1.2. 2.2 Use pipe component to create the steel frame.

3. Panels 3.1 Scale down the border of the surface to get a concentric parallelogram of the border. 3.2 Loft the original border and 3.1. 3.3 Use the centre point of the general shape to scale 3.1. 3.4 Loft 3.1 and 3.3.

4. Energy generators 4.1 Create a group of parallel lines in the parallelogram 3.3 by dividing and lining cor-responding points on it. 4.2 Pipe 4.1. 4.3 Find the points that the cantilevers of the energy generators should be located on by dividing 4.1 by the spacing of each genera-tors. 4.4 Move the points by the vector defined by the points of the centre of 3.3 and the centre of 3.1. 4.5 Line up the two groups of points ob-tained in 4.4. 4.6 Pipe 4.5. 4.7 Draw a rectangular at the end pointing outward of 4.5 and offset it to create a box.

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1. Create a diamond panel 2. Use the area centroid as the cen-tre to scale the boder of the surface

3. Loft the original and scaled border

4. Use the area centroid to scale the border

5. Use the centre point of the general shape to scale the scaled border obtained in step 3

6. Loft the scaled border in step 3and the scaled border in step 5

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C.1 Design ConceptWork Flow Diagram

Curve Loft Midege Subdivision(Weaverbird)

Mesh

Curve

Curve

Loft

Loft

Joint(Panel)

Use surface centroid as the centre point to scale

Curve


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Midege Subdivision(Weaverbird)

Explode 4 Point Surface( Basic Facade Diamond Shape)

Brep Edges


Curve


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C.1 Design ConceptConstruction Process Diagram

Before the Construction on Site

The first step towards construction is the pre-fabrication phase in the factory where the steel bars and plywood panels are cut into pieces and labelled with reference numbers. These individual pieces then transported to site. Site preparation will be done at the same time, prior to the assblem process. 1

1. Define the position of inner layer, steel frame then assembled and stabilized by connectors between the ground and the frame.

4

4. Plywood panels bolted accordingly to the steel frame by fixing plates, and hinges used for panel to panel connection to allow adjustment and then fixed to correct final position. Install piezoelectric system to the structure.

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1. Define the position of inner layer, steel frame then assembled and stabilized by connectors between the ground and the frame.

4. Plywood panels bolted accordingly to the steel frame by fixing plates, and hinges used for panel to panel connection to allow adjustment and then fixed to correct final position. Install piezoelectric system to the structure.

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5 6

2. Construct second layer steel frame, main vi-bration structure of virbo-wind piezoelectric is assembled at the same time as they form a in-tegrated system.

3. Bolting outer layer steel frame and energy generator vibration structure.

5. Placement of scattered diamond shaped pathway pavement on ground.

6. Install chairs on the inner ground area, as well as the imitated piezoelectric energy facilities.

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C.2 Tectonic ElementsDetail Model

1

2

3

4

Steel frame is the main structure support to the plywood panel facade, and integrated with the vinro-wind piezoelectric system. Hence the main construction core elements focus on the joints between plywood panel and steel frame, as well as piezoelectricity system connections.

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5

6

7

8

9

10

Figure 1 & 2 illustrates the steel connector that stabilizes the frame on the ground by fixing plates and bolts. Figure 3 & 4 demonstrate a steel to steel connector, fixed four steel bars at their intersections, due to the curved ring shapes of the design, connectors for steel bars are various at different bending area, which requires specific prefabrication for the connector.

Figure 5 shows the panel to panel connector, where a hinge connector (Figure 6) is used to allow the adjustment for panels during as-semble process and fixed to final position af-ter defined correct position. Figure 7 shows a panel to steel bar connection, angled fixing plate (Figure 8) is adapted for stabilisation. Figure 9 illustrates how the piezoelectricity system placed in the hollow panel, plastic mounts are used as connections for the steel cantilever and the steel structure.

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C.2 Tectonic ElementsDetail Model 1:10

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C.2 Tectonic ElementsDetail Model 1:10

A partial section of facade was selected to fabricate a prototype model at 1:10 scales. This model allowed experiments on connec-tion in reality with materiality and fixing sys-tems for the diamond panel and frame. The outcome shows that the angled fixing plate and hinge perform well in providing rigidity to the structure with bolts and nails.

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However, the prototype also shows that even hinge is adjustable before permanently fixed to final position, it still has potentiality in leav-ing a gap between two panels, in terms of panels are not fixed in exact position that they supposed to be, which lead to failure in connecting panels, this might due to low skilled labour issue. Therefore, the process will require skilled labours to participate in the construction process to ensure the construc-tion quality.

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C.2 Tectonic ElementsDetail Model - Energy Generator

The energy generator system was made to test the connections of the system, and per-formance under the low wind activity.

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As a result, it shows that even the mount sta-bilize the cantilever to the main structure, it still allow movement of cantilever. Regards to the performance, we the blower to mimic the wind activity, and the testing indicates that the piezoelectric system vibrates under the weak wind activity, even vibrate in a low frequency, it demonstrates the possibility of harvesting energy through 24 hours, unlike the solar energy installation which restrained by the solar condition.

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C.3 Site ModelScale 1:1000

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A final site model at scale of 1:1000 depicts the way in which the design proposal interacts with the site environment, it mainly demonstrates the overall form and placement of the design.

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C.3 Site ModelScale 1:1000

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C.3 Prototype 2Scale 1 : 200

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A prototype of the design was constructed at 1: 200 scale. This model emphasises on the shape of the basic panels and dis-tribution pattern of the panels over the facade, providing an general idea of how the project looks like.

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C.3 Prototype 2Scale 1 : 200

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C.3 Prototype 3Construction Process

A prototype of a corner of the design was constructed at 1: 50 scale. This model focuses on the detailed panel design for the facade surface, gaining feelings of panel dimensions. Based on this model, we decided to make our final model at 1:100 scale as this prototype shows that 1:50 scale is too large.

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C.3 Final ModelPrototype 1 : 50

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C.3 Final ModelScale 1: 100

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C.4 LAGI Brief RequirementConcept

The LAGI brief was about creating a design and construction of public art installations with the added benefits of clean energy generation that contributes to society and environment.

Our design concept is not only to design a sustainable project integrated with energy generator, but also create an area for peo-ple to rest and experience the site by walk-ing through our project. According to the extremely changeable weather in Danish where lies on path of westerlies, an area char-acterized by fronts, extra tropical cyclones and unsettled weather, hence we decide to integrate with the vibro-wind piezoelectric-ity with our project, and the design is inspired and developed based on the wind activity of different months and wind direction on Com-penhagen. The finalized structure formed a maze to engage people to interact with the project more, rather than a simple installa-tion.

Furthermore, the infrastructure of project pro-vides sustainable energy to the city by har-nessing the presence of wind as a source to generate electricity, which expands the fu-ture possibilities by using renewable source. This designed project, acts as a landmark and expression of Copenhagen’s environ-mental awareness and reminder that the in-volvement is vital to city future.

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C.4 LAGI Brief Requirement

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C.4 LAGI Brief RequirementTechnology

Vibro – wind piezoelectricity is an eco-friend-ly energy technique that harvesting energy from the wind through mechanism vibrating structure, which is an emerging alternative to conventional rotary wind turbines. It is the ideal technology for the project as it requires less installation spaces and more flexible in installation position, also the form and pan-els are designed according to the analyzed wind activity, hence optimize the wind har-vesting capability. In addition, it is compara-ble to solar energy, since wind may be avail-able for 24 hours on a daily basis, and it can vibrate at low wind velocity of 2m/s.

Piezoelectric will be installed in the hollow core of panels, the main support structure is integrated with the steel frame behind, as shown on left. And most of energy genera-tors planned to install in the higher parts of facade where high wind activity most likely to take on then the lower panels, as well as avoid safety issues.

The Diagram at the bottom left illustrates the way in which energy is created using the vibro-wind piezoelectric technology. It com-prises a blunt body which is usually made from ceramic and aluminum, connected to the oscillator that comprises a steel cantile-ver and piezoelectric bender at rare. When wind cross the facade surface, light blunt body will oscillate which produces the kinetic energy by the oscillator movement, piezo-electric transducer which installed in the bender coverts kinetic energy into electricity, then transfer to the site storage.

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C.4 LAGI Brief RequirementMaterial Dimension List

Total area – approx. 3000 square meterHighest point of the model – 10m highLowest point of the model – 3m highDiamond panel size – Largest diamond size 300cm (W) x 260cm (H)-- Smallest diamond size 200cm (W) x 180cm (H) Plywood thickness – 2cm

Steel frame bars diameter – 10cm

Bolts diameter [connects the steel frame to the ground] – 1.5cm

Steel frame connector diameter – 13cm

Plastic mount size –6cm (l) x 3cm (W)

Blunt Body size – 5cm (L) x 5cm (W) x 7.5cm (H)

Steel grid (to hold up structure) – 10cm (part of the steel frame)

Feeler gage & steel bar -- 24cm (L) x 5cm (W) x 0.009cm (T) [2cm will be insert into the e rear face of Blunt Body ]

PZT Bender (piezoelectricity bender) -- 18cm (L) x 5cm (W) x 0.55cm (T)

DuraAct Patch transducer – 6.1cm (L) x 3.5cm (W) x 0.05cm (T)

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C.4 LAGI Brief RequirementEnergy Estimation

Based on the flow of wind power (P) past an area (A) nor-mal to the flow velocity (V) is proportional to the density of air (r) as given by Equation:

P/A = (r V3)/2

With the density of air (r) of 1.225kg/m3, wind velocity at 10 m/s, the wind power density is approximately 600W/m2, in accordance to research, it possible to convert 30% of this power into structural vibration energy with a wind density (P/A) of 180W/m2.

30% of the structural vibration will convert into electrical energy, hence the figure of merit would be wind density power of 54W/m2.

As frontal area of blunt body equals to 0.05 x 0.07 = 0.0035 m2, and approximately 8553 generators will be installed, total wind crossing area is 8553 x 0.0035 = 30 m2.

Therefore, generated electricity power will be 14191.2 kWh per year, which given by W = Pt = 54 x 30 x 24 x 365.

The average annual energy consumption of a standard household is 5000 kWh, hence generated power will sup-port approximately 3 households per year.

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The Pavilion carries little environmental im-pact once it constructed. Since the Wind Vibro Piezo-electricity is an eco-friendly proj-ect, it sustainably generates clean energy without any unrenewable resource to oper-ate, hence avoid generating pollution to the environment which caused by using fossil or nuclear fuels, as well as helps in the control of global warming. In addition, the system mini-mizes the noise impact as it offers a low- im-pact, nearly silent alternative, and provides a safer alternative to bird and bat-unfriendly turbines, eliminates concerns about noise and animal safety raised by traditional wind turbines.

The materiality of pavilion is the locally sourced durable plywood with embodied energy of 10.4 MJ/kg and steel that has embodied energy of 38 MJ/kg. Both mate-rials not only have relatively low embodied energy and low maintenance required, but also contain a significant amount of recycled content, main components of the project, the timber façade and steel structure will be fully recycled from demolition once the life cycle of the project ends. Furthermore, the project is designed to be prefabricated and specified material size list avoids using addi-tional materials as fillers, locally sourced ma-terials chosen reduce need for transporta-tion. Therefore, this pavilion project has low environmental impact as it significantly mini-mizing the subsequent impact on the natural environment, reducing the greenhouse emis-sion and embodied energy.

C.4 LAGI Brief RequirementEnvironmental Impact

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Digital Redenring of Final ModelInterior Experience

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Digital Redenring of Final Model

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C.5 Learning Objectives and Outcomes

During the whole semester’s study across var-ious fields, I do enjoy and learn a lot from part A to Part C. Looking the learning objectives outlined in the reader, I feel my group and myself have certainly addressed points.

The final LAGI Competition design shows we have interrogated the brief and created an interesting design by integrating the design proposal with the sustainable technology. During the design process, I have learnt how to use precedents to develop our own idea. Also, in this session, I realize both the advan-tages and disadvantages of digital tool. It is obvious that grasshopper is a useful tool in creating complex forms and mesh surface, and even can be used for sun path analysis and wind force testing. By analysis the out-come of the wind force test, we formed our dynamic curved form. However, there are many restrictions with using the algorithm, sometimes material behaviour and fabrica-tion process could not be embedded with the logic of the algorithm.

Moreover, feedbacks from tutors and guests were important in refining the designs. In re-sponse to the feedback from the final presen-tation, our group remake the final model in order to show the well presented deisgn, and modify the grasshopper definition to avoid panels connection failed at the awkward bends. For the integrity of the energy genera-tor installation with the structural frame, our group redevelop the grasshopper definition to ensure the integrity of the elements.

Through the studies on parametric tools, I have developed skills on reverse a definition in order to create another definition, using parametric tool to analysis and generate the design in an efficient way, as well as realize a digital model into a physical model. In addi-tion, I realize that a well presented document is important in competitions. I believe the skills I have gained in this studio will be beneficial for my future study and carrier.

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Reference

“Wind Density Calculation”, accessed on 7 June 2014, http://www.ocgi.okstate.edu/owpi/educout-reach/library/lesson1_windenergycalc.pdf

“Vibro-wind Energy Technology for Architectural Application”, accessed on 7 June 2014http://www.windtech-international.com/articles/vibro-wind-energy-technology-for-architectural-applications “Shape Optimization of a blunt body Vibro-wind galloping oscillator”, accessed on 7 June 2014. http://audiophile.tam.cornell.edu/randpdf/kluger-moon-rand.pdf“Piezoelecticity“, accessed on 7 June 2014http://whatis.techtarget.com/definition/piezoelectricity

“Household usage and bills”, accessed on 7 June 2014.http://www.switchon.vic.gov.au/how-can-i-take-charge-of-my-power-bill/compare-household-us-age-and-bills

“Small-Scale Wind Power Panels” , accessed on 7 June 2014.http://www.switchon.vic.gov.au/how-can-i-take-charge-of-my-power-bill/compare-household-us-age-and-bills

Image ReferenceUrban Gallery, “Piezoelectricity detail diagram”http://urban-gallery.net/scib/?page_id=4166

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