lim kayla 586490 part a pages

1KAYLA LIM 596490 - SEMESTER 01 2014. TUTORIAL 01 - ROSIE + CAM

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3PART A. CONCEPTUALISATIONA.1. DESIGN FUTURING (6)A.2. DESIGN COMPUTATION (10)A.3. COMPOSITION/GENERATION (14)a.4. conclusion (18)A.5. Learning Outcomes (19)a.6. appendix - algorithmic sketches (20)

PART B: CRITERIA dESIGNb.1. research f ield (30)b.2. case study 1.0 (32)b.3. case study 2.0 (38)b.4. technique: development (40)b.5. technique: prototypes (44)b.6. tecnique: proposal (50)b.7. learning objectives and outcomes (52)b.8. appendix - algorithmic sketches (53)

PART C. detailed designc.1. design concept (58)c.2. tectonic elements (68)c.3. f inal model (70)c.4. additional lagi brief requirements (80)c.5. learning objectives and outcomes (82)

4When being asked to describe oneself, you are essentially required to reflect on your entire life, taking into consideration the life events that define you at present day. My name is Kayla Lim, a third year architectural student at the University of Melbourne, the very classification that defines me to the rest of society momentarily.

Architecture, in every sense, is a word and a world that I am still attempting to define and understand. When youre in high school and asked to decide on your working future, you never really know what it entails until you have the opportunity to immerse yourself in that particular world. I used to see architecture as merely a profession where one designed buildings for human beings to inhabit. It was truly that simple. However, my exposure to this architectural paradigm has enabled me to understand the innovation and ingenuity involved in the creation of modern day architecture. Architecture isnt merely the creation of space. Rather it is an opportunity to open a persons mind to an entirely conceptual world, filled with depth, sensations and emotions; beginning from the overall design conception, to the delivery of the last minute detail.

This notion of space and perception is a concept that truly intrigues me. That idea that you can be standing in a space, large or small, and be completely overcome with an emotional sensation that connects yourself to the space in which you inhabit.

I had not expected architecture to be so technologically inclined. Indeed, I was incredibly daunted, if not still, by the amount of computing knowledge that I will have to acquire, in order to be able assimilate myself into a contemporary working environment.

Having read the brief, for the Land Art Generator Initiative in Copenhagen, I am quite excited by the prospects of our explorations. Moreover, having studied Environmental Building Systems (EBS) in second year, I am aware of the potential of green architecture, as well as the necessity of the design profession to be developing in that particular direction. When you view architecture in terms of a global context, we truly do have such vast opportunities to alter cultural perceptions and lead society into a more optimistic future.

-introduction

5My exposure to computing software is somewhat limited, merely a drop in the ocean, compared to the vast array of programs available to the architectural community. I recently learnt to use Autodesk Revit for my Water Studio, where I was introduced to another form of three-dimensional computational modelling. I found that, ultimately my final design concept was restricted due to the limitations in my knowledge. What resulted was a rather mass-induced, linear and geometric form.

The majority of my computational knowledge lies in using AutoCAD, a program that I have grown to love, due to my ability to actually produce the works that I set to create. Moreover, I have continually developed my proficiency in the production of basic presentational formats with Adobe programs including Photoshop, Illustrator and Indesign.

Digital Architecture, as far as I am aware, has come to the forefront of contemporary architectural design. With development of software and the development of computers in general, we have seen a significant transference of analogue work to digital representations. Computing technology has enabled us to develop and visualise forms, previously seen as overtly complex. The development of mathematical algorithms in parametric modelling has generated a new genre of forms, defined by the factors and constraints within their algorithms. One of the most notable architects being Zaha Hadid, an architect who has offered a futuristic and celebrated typology, whilst simultaneously sparking controversy with her design formations.

Like many others, I was first introduced to Rhinoceros (Rhino 3D) in my first year during Virtual Environments. I utilised the natural environment as inspiration for my concept, focusing on natural elements such as a tree, whereby its bark would be rough and coarse, acting as an exterior barrier to the soft, crisp bark beneath. I attempted to replicate this idea in the creation of my 3D model, focusing on the idea of a strong exterior, and a vulnerable interior. This was interpreted through my use of panelling. The final design consisted of two-dimensional panelling on one side (in reference to vulnerability), whilst the other side of the model was created from three-dimensional panelling (representative of strength).

Our introduction to panelling tools meant that I was able to triangulate, unroll and prepare it for digital fabrication. I fervently enjoyed this process of being able to create a virtual presentation of my concept, and then fabricating a literal representation into a tangible form.

This introduction to the Grasshopper plug-in is both nerve wrecking and anticipated. I look forward to building on my computational knowledge, to the point where I feel comfortable and confident enough to experiment with the program and utilise it to its potential. Indeed, I acknowledge that this process will not come without hard work. However, such is the life of an architect and I am filled with the desire to understand and be swept up in the computational era pervading the architectural world.

7PART A. CONCEPTUALISATION

8The practice of architecture has been a continually evolving paradigm, influenced by its relationships with other disciplines and the role it represents in society. Indeed, Patrik Schumacher explores the concept of Architecture as an Autopoiesis system, a system defined by its ability to function autonomously through its artefacts, knowledge and practices[1]. However, as sustainability becomes a critical initiative that affects not only design but also the world as a whole, one questions the efficiency of such a system in bringing about change and amelioration.

Today, the role of design has been trivialised to that of aesthetic qualities, derived of little substance and functionality [2]. In a world, where our unsustainable operations are contributing to the deterioration of our natural resources and the finite life of our planet, such a perception, whether accurate or exaggerated, brings forth a call for change in the practice of design. As Tony Fry explains, our primary focus should be placed on Design Futuring by slowing the rate of defuturing, a phenomena that describes the perilous demise of humanity, unless we adopt more sustainable measures [3].

Such is the concept of Redirection, the idea that in order for such sustainable outcomes to occur, a general amendment to our values and beliefs must firstly take place [4]. Therefore, we must view our humanistic desires in line with our environmental concerns.

The change required, cannot be seen as the responsibility of a sole discipline. As such, architecture as an autopoietic system proves futile in our search for a sustainable future. Ultimately, what we require, are contributions from various disciplines, architects and engineers alike, sharing their knowledge in order to create more sustainable infrastructure.

The Land Art Generator Initiative in Copenhagen, calls upon such multidisciplinary thinking in order to create infrastructure that not only functions on renewable resources, but ultimately inspires and calls forth the importance of implementing sustainable measures into our everyday building typology [5].

A.1. Design Futuring

[ 1 ] [ 2 ] [ 3 ]

9In order to view the affirmative outcomes of interdisciplinary thinking, one must firstly look to the Okanagan College Centre of Excellence, situated in British Columbia, Canada. The college itself was constructed upon the principle that the most efficient method to teach sustainable building practices, was to incorporate such practices into the facility itself.

The facility was designed according to the Living Building Challenge, which required an attainment of net-zero energy and water consumption. This led to the development of three crucial criteria for this approach: conserve, capture and create[6]. Indeed, such an approach has proven to be highly effective and can undoubtedly be implemented into the design for the Land Art Generator Initiative (LAGI).

The design of the facility focuses on sustainable technology, incorporating both passive and active systems. By adopting a multidisciplinary approach, the architects have been able to address each facet of the building construction, from the local to the technologically inspired materials utilised, to the renewable energy resources incorporated, and lastly to the easy-accessibility of the facility from an educational perspective.

In each classroom, students are constantly aware of energy consumption levels through the real-time usage meters. Such a presence is required to encourage and reinforce the importance of ecological awareness and partaking in a conservational approach in regards to the usage of our natural resources [7].

As such, this facility is an ideal example of the intent behind LAGI, functioning self-sufficiently, whilst educating users on the importance of living sustainably in this day and age.

Okanagan College Centre of Excellence in Sustainable Building Technologies and Renewable Energy ConservationArchitect: CEI Architecture Planning Interiors

[ 4 ]

[ 5 ]

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Unwoven LightCreator: Soo Sunny Park[ 6 ]

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From a more metaphorical perspective, Unwoven Light is a commentary on our perception of the world, and how we too can alter our perceptions, by literally changing our point of view and observing from a different angle.

This particular art installation, designed by Soo Sunny Park, is comprised of 37 sections of chain-link fence, incorporated with translucent Plexiglas [8]. The ethereal quality that it possesses is derived from its multifaceted nature and its constant play with light. Viewers stand entranced by the spectrum of colour displayed through the changing influence of lighting conditions.

As Park explains, We dont notice light when looking so much as we notice the things light allows us to see. Unwoven light captures light and causes it to reveal itself, through colourful reflections and refractions on the installations surfaces and on the gallery floor and walls [9].

The intention behind the LAGI competition can be assumed to stem from the desire to alter the values and beliefs, which currently drive our over-dependence on finite resources. In adopting a similar approach to Park, we too can throw light upon the importance of sustainable living and the need to view the detrimental functions of our current society as a fluid entity, rather than in a fixed state of being.

Moreover, Park displays the ability to utilise seemingly mundane materials such as the chain-link fence, transforming it into a seamless conceptualisation encapsulating beauty. Such adaptations can transcend beyond the design of art installations to the development of sustainable infrastructure that captures and evokes sensitivity from the viewers of the site.

[ 7 ] [ 8 ]

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The evolution of computational design is altering the role of the architect in the design industry. Rather than pursuing a conceptualised form, computation encapsulates the notion of formation preceding form, characterised by form generation, through the use of mathematical algorithms[10].

Indeed, computation has offered us an alternative method in the pursuit of conceptual exploration. No longer are we problem solving, by attempting to encapsulate our goals and restraints into an idealised form, but rather, puzzle making, by beginning with the elements or algorithms that are at our disposal and allowing those elements to manifest into their own creations[11].

Computation has enabled the architect to return to the role of the master craftsman before the turn of the Renaissance, by providing the architect with the tools to personally construct and manipulate materiality[12]. The advantage of this being that the architect is capable of not only generating the exterior form, but also configuring the structural skeleton within.

The accessibility and universality of computers is also arguably facilitating integrated design through software such as Building Information Modelling (BIM). Furthermore, the analytical capability of such software enables users to create a digital demarcation of an environmental context, hence testing the abilities of various architectural pursuits without actual construction[13]. Indeed, on a smaller context, this may be seen as reducing interdisciplinary communication due to our ability to generate and critique our own architectural forms and realisations. Nevertheless, a noteworthy success of computation has been its contribution to more efficient and precise methods of construction.

Perhaps the key justification for computation lies in its analytical and algorithmic abilities. With the environmental agenda becoming increasingly paramount, computation allows users to analyse the functionality of the ecological system, consequently enabling design to evolve in an ecologically orientated manner, rather than through humanistic desires.

A.2. Design Computation

The notion of computerised form generation, as defined by Kosta Terzidis in Algorithmic Architecture, can be divided into two techniques. The first centres on computerisation, whereby algorithmic generation is utilised for preconceived forms. Contrastingly, the computational technique relies solely on the algorithmic configuration for the generation of form. Indeed, these pursuits of form are similarly addressed in the notions of problem solving and puzzle making.

The faade for the Abu Dhabi Investment Council Headquarters, as designed by Aedas, utilised parametric modelling for the creation of the geometric panels. The system itself was designed to be highly responsive to sunlight through variable operations, which was dependent on the changing incident angles throughout the year [14]. Such design responses are expected to reduce cooling loads by 25% [15]. Indeed, it is these environmental considerations that make computerisation highly useful and effortless in the generation of form.

Moreover, the geometry of the panelling was derived from Islamic architectural typology, in the adoption of the Mashrabiya, a projecting ornate window traditional made from a wooden lattice. Parametrically driven algorithms were utilised to calculate the optimal surface area required for efficient use of the dynamic panelling, as well as the utility of space within the building. The ability for computation to derive from cultural and environmentally driven factors, allows for the intersection between science, technology, design and architectural culture [16].

Indeed, it would be remiss to ignore the advantages of computerisation and computation in the pursuit of a more sustainable architectural approach. Its ability to utilise various algorithms in searching for the most efficient method lends itself to being highly beneficial in the creation of ecologically driven architecture.

[ 9 ] [ 10 ]

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abu dhabi investment council headquarters (facade)Architect: aedas

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From the opposing end of the spectrum, computational architecture seeks to utilise parametrics in an alternative manner. Rather than defining the parameters based on the pursuit of a conceptualised form, it seeks to utilise parameters in the creation of performative form finding [17].

This notion is explored in the project Swarm Urbanism, by speculative architectural firm, Kokkugia. Based on Melbournes Docklands, the digital project utilises Swarm intelligence in order to offer an alternative urban typology characterised by its emergent properties [18]. As a commentary on our perception on current societal configurations and urbanised layouts, it offers a digitalised version of an alternative city based on data and parameters configured into the system.

The system itself works of self-organising agents, influencing the immediate micro context around them. However, the consequence of such agents still results in a large-scale impact. In a way, such explorations allow us to see the influential nature of relatively minute elements on an overall scale.

Indeed, this use of computational intelligence enables us to encode various elements within a system with particular characteristics, and observe the interactions and consequences of such characteristics [19]. There is no doubt that such potential could be implemented into various functional systems, including ecologically and environmentally orientated systems. In regards to biomimicry, we are given the opportunity to observe the environment, find the elements and systems that work, and implement them in order to achieve our own sustainable urban systems. By analysing data and finding the functioning elements of an natural ecological system, we will be able to utilise such data in trialling our own systems, in the hopes of creating a more sustainable future.

At a more aesthetically placed level, these parametric pursuits have the ability to create such organic forms, structured, yet fluid in their characterisations. Whether it is computerisation or computational techniques utilised, there is little doubt that technology and algorithmic avenues will be continually explored in the search for a more sustainable outcome.

swarm urbanismArchitects: kokkugia

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The introduction of computational methodology into architectural design has resulted in a shift in conceptual design generation. Conceptualisation with a pencil and paper appears to be a thing of the past, what with the ever-present accessibility of computational mediums that enable us to easily create conceptualised three-dimensional models. Indeed, the potential of computation surpasses the capacity of a mere production of a static digitalised structure. With the introduction of algorithmic parameters into architectural design, we edge into an era wrought with complex formations, seemingly too complex for the human mind to have conceived alone.

An algorithm is defined as an unambiguous, precise, list of simple operations applied mechanically and systematically to a set of tokens or objects[20]. These operations result in complex geometry, characterised and constrained by its parameters. Consequently, architects acquire the capacity to easily manipulate and re-assess the geometry, in turn, gaining insight into the complex arithmetical function of a particular algorithmic process [21]. Such potential is highly advantageous in the field of biomimicry whereby the utilisation of biomimetic algorithms enable us to develop architecture that draws inspiration from natural, ecological systems, hence bringing us one step closer to understanding the complexity of our environment.

Indeed, such possibilities have begun to bridge the gap between the role of architect and the engineer. In order for the integration of computational methods into the architectural design process to be successful, we will likely require a new generation of hybrid software engineers and architects [22]. Moreover, to design computationally

without the knowledge of scripting, limits the potential and our understanding of the medium at hand. Ideologically, the scripting culture appears to significantly contrast the notion of design, which is seen as highly creative and unconstrained [23]. By forming a synergic link between the two, we are likely to witness the adoption of a more scientific and justified approach towards architecture, as opposed to the form driven approach utilised beforehand.

Indeed, this flexibility in design is key to the success of computational architecture. Unlike, the appropriation of Vitruvian teachings throughout the Renaissance period, which arguably limited the scope for growth and innovation, computational architecture risks the possibility of running a similar course, unless wholly accepted by the architectural community.

From a purely aesthetic perspective, computational design may be seen as form finding without function [24]. Whilst architects may design the tools and parameters for the program, it is the program that facilitates the generation of iterative forms.

Nevertheless, from a functional perspective, algorithmic programming appears to be driving the cohesion of architectural and structural elements, as opposed to the conflicting discrepancies that usually take place [25]. Such technology has enabled us to create real-life simulations, testing the feasibility and utility of designs before construction, and ultimately increasing the efficiency of the whole construction process as a whole.

A.3. Composition/Generation

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The use of algorithmic, computational programming has enabled designers and researchers alike to bridge the gap between computer-driven and ecological fabrication. The importance of this achievement stems from environmental concerns, and finding more sustainable and efficient means of synergic relationships between humans, objects and the environment [26].

The MIT lab has explored this relationship with the Silk Pavilion, an example of fabrication-driven design. The purpose of this endeavour was to integrate a biological system with a computational entity. The primary layer of the pavilion was created via CNC machine and consisted of 26 polygonal panels [27]. Algorithmic functionality was utilised in creating the density of the base layer.

The secondary layer integrated natural fabrication. This consisted of 6,500 silkworms, its migration around the pavilion geometry, defined by lighting and heating conditions [28]. Such conditions played a crucial role in defining the degree of densification on various facets for the pavilion. Indeed, it is the combination of both natural and computational uses of fabrication that ultimately created the unique surface texture and density.

Perhaps, a key learning from this undertaking is the significance placed on integrating natural and computational functionalities. Moreover, the influence of algorithms can be seen in creating the base, non-woven geometry as well as defining the shape and layout of the pavilion by calculating the optimum efficiency of fiber-based surface structures [29]. Indeed, such research is pioneering in search for a conclusively symbiotic relationship between humans and nature.

Silk PavilionMIT lab

[ 13 ] [ 14 ] [ 15 ] [ 16 ]

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Algorithms are increasingly being utilised in the configuration of digital environmental conditions. Such capacities enable us to assess the form and efficiency of architectural projects prior to construction. These computational capacities were pivotal in the construction of Project Distortion, a project created from an range of participants from The Royal Danish Academy of Fine Arts, in Copenhagen, and the Rensselaer Polytechnic Institute, in New York.

The purpose of the pavilion was to create a space that reflected light, sound and space [30]. It was installed at the Copenhagen Distortion Festival, where visitors who encountered the pavilion were able to experience the effect of architectural proportions as well as an amalgamation of sensory effects. By moving around the installation, one would be subjected to different acoustic and visual properties [31]. As such, materiality was a key concern, which resulted in the use of acoustic absorbing materials.

As performative design was a driving factor in the pavilion, careful synthesis of spatial and configurative considerations needed to be undertaken. Hence, the role of algorithmic parameters was crucial in optimising

Project DistortionThe Royal Danish Academy of Fine Arts, School of Architecture, Copenhagen& Rensselaer Polytechnic Institute, School of Architecture, New York.

[ 17 ] [ 18 ]

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the acoustic and visual properties of the pavilion. This intent required the elements of analysis, design and fabrication to function in an integrated manner for the duration of the project [32].

The installation itself had the ability to fold and crumble. As such fabrication played a key role in ensuring that the project came together in a cohesive manner. With the use of parameters, digital environments were designed, simulating the gravitational effect on the folding and crumbling. Moreover, parameters of space, acoustic performance and social interaction were created to optimise the geometric configuration as well as systemise the fabrication process [33].

Here, we are privy to the possibilities of parametric design and its utility in controlling the outcome and efficiency of a structure. Moreover, we gain a more cohesive understanding of various elemental relationships and the effects of such elements on architectural proportions. In effect, the use of parametric design ultimately drove the final formation of the pavilion, according to the influence on acoustic performance [34].

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As explored in Part A, architecture from a general consensus, is an evolving paradigm continually swayed by new forms of technology and architectural theory. Ultimately, a key influence in architectural design stems from humanitys need to find more sustainable options for living. By integrating computational methods with further research into ecological systems, one hopes to create more functional systems without the use of fossil fuels. Moreover, from an architectural perspective, the arrival of the parametric design culture has revolutionised the design process by shifting the emphasis from conceptualisation of the end form, to the generation of iterations. This technology has also enabled us to construct virtual environments, defined by various parameters, and simulate a real-life environment without need of actual construction. Indeed, we are already seeing an increased efficiency in construction methods, as well as the re-integration of structural and architectural design.

My design approach hereafter will be significantly influenced by the integration of renewable energy sources, as defined by the LAGI brief. However, from a more aesthetic point of

view, the aim is to generate eye-catching and challenging forms that encourage visitors to consider their construction methods and the feasibility of various designs. Ultimately, the idea is to make the general public aware of the potential of technology, and directional integration of such technology into our present and future lifestyle.

Indeed, it is crucial that the form and the technology exhibited engages with visitors, as this is how general discussion and inspiration can be generated. The hope is that through such design, one develops an interest in this technology, influencing a new generation into integrating sustainable measures as part of their everyday life.

A driving factor of contemporary design and the purpose of the LAGI competition, stems from our need to develop a more sustainable future. Without the consideration of environmental concerns into design, we risk further detriment to our planet. As such, it is vital that we incorporate algorithmic modelling with renewable energy sources in order to gravitate towards the most sustainable pathway.

A.4. Conclusion

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Over the past few weeks, I have felt rather conflicted about the use of parametric design as opposed to traditional ways of form development. Having used the traditional approach for the majority of my studies, parametric design can at times feel like an entirely different paradigm. Nevertheless, having read the articles on the potential of parametric modelling in terms of optimisation, as well as having seen the utility of fabrication from computational methods, I am convinced that computation is and will ultimately alter the way we design. At the end of the day, all this technology will hopefully lead us to the pathway of efficiency and sustainability.

Having now understood the potential of computation, I would have dedicated more time to learning computer programs for past projects. As it is undoubtedly influential and useful in creating simulative environments and fabricating design iterations.

A.5. Learning outcomes

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A.6. appendix - algorithmic sketchesThe following three examples were chosen as they show a variety of algorithmic capabilities using Rhino and the plug-in, Grasshopper. They show the feasibility of incorporating repetitive elements with the use of parametric modelling. In the case of contouring, it enables the user to easily export the lines and lead to fabrication. Moreover, the panelised surface incorporates a single brep form that was reiterated throughout a grid, with each brep altered parametrically according to its proximity to a point. Lastly, the creation of arcs shows the ability to create a series of points from relative curves and create line work necessary from the creation of points on a curve.

By observing these algorithmic sketches, we begin to see how fabrication is intertwined with the creation of form. Not only can we create complex exterior surfaces, but by utilising the same points, we have the ability to create a structural grid beneath, simply by offsetting and loft the points into planar curves.

Contouring of surface

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Created an arc from three points, then shifted the points in order to create diagonal curves and intersections.

Panelised a surface by creating a three-dimensional grid and then incorporating the brep

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[1] Schumacher, Patrik (2011), The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), p. 1.

[2] Fry, Tony (2008), Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p. 1-16.

[3] Fry, Tony (2008), Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p. 6.

[4] Fry, Tony (2008), Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p. 1-16.

[5] Ferry, Robert & Elizabeth Monoian (2014), Design Guidelines, Land Art Generator Initiative, Copenhagen, p.1-10.

[6] Okanagan College Centre of Excellence in Sustainable Building Technologies and Renewable Energy Conservation / CEI. 06 Oct 2011. ArchDaily. Accessed 28 Mar 2014. http://www.archdaily.com/?p=173726

[7] Okanagan College Centre of Excellence in Sustainable Building Technologies and Renewable Energy Conservation / CEI. 06 Oct 2011. ArchDaily. Accessed 28 Mar 2014. http://www.archdaily.com/?p=173726

[8] Jobson, Christopher, Shimmering Chain-link Fence Installation by Soo Sunny Park. 10 May 2013. Colossal. Accessed 28 Mar 2014. http://www.thisiscolossal.com/2013/05/shimmering-chain-link-fence-installation-by-soo-sunny-park/

[9] Jobson, Christopher, Shimmering Chain-link Fence Installation by Soo Sunny Park. 10 May 2013. Colossal. Accessed 28 Mar 2014. http://www.thisiscolossal.com/2013/05/shimmering-chain-link-fence-installation-by-soo-sunny-park/

[10] Oxman, Rivka & Robert Oxman (2014), Theories of the Digital in Architecture (London; New York: Routledge), p3

[11] Kalay, Yehuda E. (2004), Architectures New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp14-15



[14] Aedas, Abu Dhabi Investment Council Headquarters - Responsive Facade. Aedas - Research and Development. Accessed 28 Mar 2014. www.aedas.com/Research/ADIC-Responsive-Facade

[15] Meinhold, Bridgette, Solar-Powered Crystalline Towers Unveiled for Abu Dhabi. 16 Sep 2010. Inhabitat. Accessed 28 Mar 2014. Inhabitat.com/solar-powered-crystalline-towers-unveiled-for-abu-dhabi/



[18] Snooks, Roland & Robert Stuart-Smith, Swarm Urbanism. 2009. Kokkugia. Accessed 28 Mar 2014. www.kokkugia.com/swarm-urbanism

[19] Snooks, Roland & Robert Stuart-Smith, Swarm Urbanism. 2009. Kokkugia. Accessed 28 Mar 2014. www.kokkugia.com/swarm-urbanism

References

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[20] Wilson, Robert A. & Frank C. Keil (1999), Definition of Algorithm. The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), p 11

[21] Ucar, Basak, METU Journal of the Faculty of Architecture. Jun2011, Vol.28 Issue 1, p100

[22] Peters, Brady (2013), Computation Works: The Building of Algorithmic Thought, Architectural Design, 83, 2, p11

[23] Llach, Daniel Cardoso, International Journal of Architectural Computing. Mar2010, Vol. 8 Issue 1, p20

[24] Riekstins, Arne. Architecture & Urban Planning. 2011, Issue 5, p83

[25] Moreno-De-Luca, Leonardo; Carrillo, Oscar Javier Begambre. International Journal of Architectural Computing: Dec2013, vol. 11 Issue 4, p365

[26] Bojovic, Marija, Silk Pavilion: An Outcome of Computational Form-Finding at MIT Lab. 14 Jun 2013. Evolo. Accessed 28 Mar 2014. http://www.evolo.us/architecture/silk-pavilion-an-outcome-of-computational-form-finding-at-mit-lab/




[30] Project Distortion/CITA. ArcH2O. Accessed 28 Mar 2014. http://www.arch2o.com/project-distortion-cita/

[31] Peters, Brady, Project Distortion I. 2010. Brady Peters. Accessed 28 Mar 2014. http://www.bradypeters.com/project-distortion-i.html



[34] Peters, Brady, Project Distortion I. 2010. Brady Peters. Accessed 28 Mar 2014. http://www.bradypeters.com/project-distortion-i.html

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image References[1][2][3][4][5]Okanagan College Centre of Excellence in Sustainable Building Technologies and Renewable Energy Conservation / CEI 06 Oct 2011. ArchDaily. Accessed 28 Mar 2014. http://www.archdaily.com/?p=173726

[6][7][8]Christopher Jobson, Shimmering Chain-link Fence Installation by Soo Sunny Park. 10 May 2013. Colossal. Accessed 28 Mar 2014 http://www.thisiscolossal.com/2013/05/shimmering-chain-link-fence-installation-by-soo-sunny-park/

[9][10]Aedas, Abu Dhabi Investment Council Headquarters - Responsive Facade. Aedas - Research and Development. Accessed 28 Mar 2014. www.aedas.com/Research/ADIC-Responsive-Facade

[11][12]Roland Snooks & Robert Stuart-Smith, Swarm Urbanism. 2009. Kokkugia. Accessed 28 Mar 2014. www.kokkugia.com/swarm-urbanism

[13][14][15][16]Bojovic, Marija, Silk Pavilion: An Outcome of Computational Form-Finding at MIT Lab. 14 Jun 2013. Evolo. Accessed 28 Mar 2014. http://www.evolo.us/architecture/silk-pavilion-an-outcome-of-computational-form-finding-at-mit-lab/

[17][18]Stasiuk, Dave, Project: Distortion. Dave Stasiuk. Accessed 28 Mar 2014. http://www.davestasiuk.com/d161ortion-pavilion/

[19]Project Distortion/CITA. ArcH2O. Accessed 28 Mar 2014. http://www.arch2o.com/project-distortion-cita/

[20]Peters, Brady, Project Distortion I. 2010. Brady Peters. Accessed 28 Mar 2014. http://www.bradypeters.com/project-distortion-i.html

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PART b. Criteria design

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b.1. research f ieldPart B of the design exploration moves into the integration of computational design in the pursuit for a parametrically enabled form. This section will require an in-depth exploration of various tectonic systems, culminating in the production of prototypes, and the development from computational to real-life application. Indeed, computational methods has provided us with an alternative means to generative design. No longer, are we confined by the need to derive a specific form for a given context, but rather given an opportunity to create a dynamic, parametric forms that can be applicable to a variety of situations [1]. Whilst this newfound flexibility has enabled us to produce a variety of iterations quite easily, it may also be argued that this has lessened the importance of contextual form-driven design.

Perhaps the key advantage of computational design lies in its ability to incorporate mathematical algorithms, seemingly too complex for manual adaptation [2]. Indeed, it has brought us one step closer to incorporating natural environmental systems into the very architecture we produce, in hopes to achieving a more sustainable future.

Moreover, the utilisation of computational means is likely to pose multiple complications in this section due to the precise nature of algorithmic data [3]. One slight misconnection has the ability to void all flow of data. Nevertheless, the arrival of parametric design, in conjunction with the World Wide Web, has provided users with an online interactive community where problems and idea conceptualisations can be addressed, and notion of code-and-modify strategy is rampant. This thus enables users to expand on their computational knowledge through the sharing of various definitions online [4].

Ultimately, the goal of computational design lays in the discovery of directional data and the creation a parametric definition, allowing for the easy variability and production of various iterations.

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Section B.1. involved the exploration of a particular tectonic system, that being Tessellation. The idea of computational tessellation is the repetitive application of a shape or form, applied in a parametric manner over a particular surface geometry. This firstly led to the study of Iwamoto+Scotts Voussoir Cloud. The appeal of this being, the structural contradiction between the creation of pure compressive forces with the usage of lightweight materials. [5]. Moreover, the design drew influence from Antoni Gaudis Hanging Chains model, through the use of catenary curves.

The structure itself was modelled in Rhino, and utilised parametric modelling in order to ensure the feasibility of utilising thin wood laminate by creating flanges and the required angularity, thus acting in pure compression without the usage of further structural members.[6] This beauty of this design lies in its ability to incorporate the characteristics of materiality into a parametric definition, and in effect fabricating a structural that would have been seen as structural unfeasible, if not for the usage of computational data.

What results is a porous membrane, readable from both underneath and over the structure, ultimately creating architectural discourse on the perceived utility of materials in their natural and yet overall unnatural structural state.

[ 1 ] [ 2 ] [ 3 ]

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b.2. case study 1.0

34

The next stage, involved the exploration of a chosen parametric definition. Expanding on the Voussoir Cloud as precedence, the chosen definition included the usage of the kangaroo component in Grasshopper. This allowed the user to play with the forces acting upon the particular geometry.

The feedback that was received in regards to the developed iterations, stated that we required a more intimate understanding of the kangaroo component and the relevance of the catenary curves in the Voussoir Cloud precedence.

Indeed, it has been restated on multiple occasions, that Antonio Gaudi utilised parametric modelling even before parametric modelling was defined. Perhaps the most notable aspect of his work, was the use of chains in creating the form of his architecture. He accomplished this by suspending chains from their ends, and creating a catenary curve, which evenly distributed the static load throughout the chain, thus acting in tension [7]. This curve, when mirrored vertically, would create an inversed impression of the tensile curve, ultimately creating an arch in compression.

In terms of the LAGI brief, this notion of reflection was

deemed as highly relevant. Seen from a metaphorical sense, one considers the importance of reflecting on our past and present usage of the planet momentarily, and the actions we need to adopt in order to attain a more sustainable infinite future. From a more literal sense, the understanding of Gaudis intentions, began to drive the direction of the design through the usage of catenary curves, when reflected upon a surface would provide a perfect inversed image, and a representation of the compressive and tensile forces acting upon all structural elements.

The use of the Hanging Chain models ultimately enabled Gaudi to create more fluid architectural designs [8]. It is widely known that he used the parametric model of hanging chains to create fluid forms, that when mirrored, would create the form and structure of his architecture such as, the Basilica de la Sagrada Familia.

Whilst creating our own Grasshopper definition, the intention was to follow a similar train of thought by utilising catenary curves and creating multiple points that would allow for significant variability in form through the manipulation of

points.

Hanging ChainsCreator: Antonio Gaudi[ 4 ] [ 5 ]

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This notion of reflection influenced the decision to utilise a solar pond as the key renewable source on site. Rather than adopting a more active and kinetically fuelled approach towards the brief, the concept took a more tranquil approach, in creating a serene environment whereby the visitor would be surrounded by a renewable energy source, whilst given an opportunity to reflect on the concept of sustainability and the easy applicability of renewable energy sources, without the added aural disturbance to the environment.

A solar pond functions via the salinity differentiation throughout the various layers in seawater pool. As the sun shines over the pool of water, the solar heat is absorbed into the bottommost layer of the pool. Normal water, wouldve allowed for the convective distribution of heat and ultimately evaporated at the surface. However, the high density of salt at the bottom of the pool prohibits the water from moving upwards, hence retaining the heat [9].

Water pipes are then run through the bottom of the pool, heating the water, which is then utilised for a variety of purposes. In order to create electricity, this water can be used to boil the refrigerant in a rankine engine, thus producing electricity [10].

The advantages of creating a solar pond on the LAGI site, are that the site itself is quite large and flat, which is a requirement for a solar pond. Moreover, the direct connection to the sea ensures that there is a continuous supply of salt water. A possible downfall is likely to be the reduced exposure to solar heat radiation in the northern hemisphere. Nevertheless, solar ponds have been utilised in the northern hemisphere to heat greenhouses, particularly during the winter months [11].

Constructing a greenhouse adjacent to the solar pond is another potential concept that could be pursued. This would enable visitors to witness a direct correlation between the energy that is being produced, and its applicability to real life environments.

pyramid hill solar pond[ 6 ] [ 7 ]

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The most successful outcomes, encapsulated these notions of fluidity and serenity. What makes them stand out from the other iterations is the relaxed quality that each of these outcomes possess.

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Ultimately, the intention of the structure is to create an environment where the visitors will feel comfortable. Hence, the importance of creating geometry that isnt highly angular, is applicable in this instance.

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b.3. case study 2.0

paper chandeliersCreator: cristina parreno architects + MIT

Paper Chandeliers is joint project between Cristina Parreno Architects and students from the Massachusetts Institute of Technology (MIT). The project aims to create a quiet ambience with reference to the stalactite configurations. Indeed, one feels a certain imposition of these cylindrical elements whilst walking throughout the space. In fabricating this structure, white cardboard tubes were suspended from a wire mesh structure[12]. Whilst the length of the tubes remained the same, the length of the adjoining wire varied in length in order to create the curvature of the installation. This allowed for the filtration of lighting originating from above the tubes, whilst simultaneously saving on unnecessary cardboard usage.

Lighting plays a pivotal role in creating the ambience of the room. Indeed, one may argue that the topographical undulation was influenced by the position of lighting and play of light and dark that it would create within the room.

This was the project that was ultimately chosen to be reverse-engineered. As for the structural installation, one can only estimate the structure, as no images were provided. Nevertheless, a grid structure has been created in grasshopper to correspond with the placement of the tubes. Moreover, the surface geometry created in rhino, varies

somewhat from the actual undulated geometry.

The element that stood out about this installation was the ambient filtration of light. Ultimately, light is going to play a key role on the LAGI site, whether one seeks to highlight the infiltration of light, or rather create a less lucid environment whereby various elements are cast into darkness.

The following diagram depicts the reverse-engineered process.

[ 8 ]

39

Create two surfaces (Srf 1 representing the undulating surface in Rhino, and Srf 2 being your 2D grid surface)

Subdivide the surface into a grid so that it can be adjusted parametrically. Ensure that the subdivision between Srf 1 and 2 are connected. Extrude Srf 2 so that you have a grid structure.

Create a line in the Z-direction, ensuring that the length can be adjusted parametrically

Create pipes around these lines, in order to create the cardboard tubes. Adjust the radius of the pipes by using a multiplication component

Bake all items, having created the cardboard tubes, adjoining wire, and wire mesh structure

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b.4. technique development

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The process behind these set of iterations, showed a greater degree of parametric manipulation. Generally, the concept revolved around creating a canopy like installation that would surround the solar pond, and allow for the infiltration of sunlight. In order to achieve this aesthetic, we decided to focus on creating grid-like structural members, rather than placing emphasis on the tessellated aesthetics.

The idea of using field lines in Grasshopper, augmented this initial conceptualisation by allowing us to creating linework that could be given a three-dimensionality at a later date. These field lines would also be created from a set of points that could be easily moved around in order to create different shapes. The problem that arose from having only a single set of field lines was that it would not be easily fabricated. Hence, we required a definition which utilised field lines, but in a way that would be conducive for fabrication at a later date. By creating a repellent and attractor field, this meant that repellent field would react in the opposite direction to the attractor field, hence creating a more expressive interconnecting structure, than simply a linear grid. As both

fields were connected to the same sets of points, this allowed for easy flexibility in terms of moving points around and regenerating a new interconnected structure.

These merged field lines were then run through the kangaroo component, which allowed us to the play around with the vector forces acting upon the curves. In order to generate the iterations, we explored a variety of components both within field lines and kangaroo, including changing the degree of the force applied to the curves, changing the position of a force vector attractor point, which resulted in the changing directional pull of the curves, as well as altering the magnitude of the uniform unary forces.

Ultimately, we derived a structure that we discerned as most structurally adapt by analysing the placement and adequacy of intersecting members. Any key design consideration was creating a form that didnt necessarily stand prominently on the site but rather created a more integrated curvature to

the overall topography.

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b.5. technique prototypes

The intention behind the fabrication process was to utilise multiple linear timber elements that could be connected in a certain way in order to generate the overall form. Having decided on a particular form for the canopy, the next stage required a strong consideration of fabrication methods. The curves in Grasshopper were transformed from curves to polylines, hence creating points and lines that would allow for a beam and node system.

Several beam and node systems were explored in the prototyping process. The first balser wood prototype looked at creating an external node that would allow for slimmer beam members to slot into the custom node. The second connection prototype altered this method, creating an internal node that would enable all beam members to meet at the intersection cleanly, without accentuating the connection joint.

The chosen connection joint was a combination of the two, hinting the existence of an internal node with a raised intersection junction. This would be further juxtaposed aesthetically by contrasting the wood beams with the copper connection points. Finally, screws would be utilised, penetrating through the external beam and through to the internal node, holding both elements together.

A three-dimensional model of the final form was also fabricated using 3D printing. This method was chosen, as it encapsulated the final form in the most efficient manner, without resorting to actual constructional methods.

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External connection Node

Balser Wood prototypedconnection Joints

internal connection Node

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internal connection Node

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3D Printed Model

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b.6. technique: proposalThe proposal for the site depicts the solar pond at the centre of the site, connected by a valve to the adjoining sea. The canopy is then constructed over the solar pond, hence creating architectural infrastructure available for visitors to enjoy.

The final forms for the canopy and solar pond have not yet been decided. The diagrams are purely a means to understand the approximate placement of each element on the site.

The innovativeness of the design stems from the ability to translate the conceptual idea of reflection into both a metaphorical and literal representation. By placing the canopy directly over the solar pond, the curvature of the structure is immediately reflected in the pond, creating an aesthetic play, whilst the pond simultaneously generates energy. Moreover, the overall impact on the site remains relatively minute. Whilst the canopy appears grand and articulate, it doesnt pose as an imposition to the site and its surrounding context. Rather, the form itself remains rather languid, creating an architectural and environmental discourse, whilst simultaneously providing a relaxing and serene environment.

Potential drawbacks include the unavailability of shelter. This could prove as problematic on the Copenhagen site, due the significant downfall received throughout the year. Nevertheless, the form has remained un-tessellated to ensure for maximal solar heat infiltration.

[ 9 ]

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b.7. learning objectives and outcomesInterim Review

Receiving feedback from a variety of sources and perspectives during the interim review, proved to be incredibly valuable. The majority of our work had been so computationally based, that we had almost disregarded the actual fabrication methods required to construct our design.

From the very beginning, one of the first points of feedback was that the beam and node system would not be conducive with the overall form that we had created. As we had not fabricated a real-life prototype, we were forming out ideas based on theory rather than by observation. Indeed, at Herzog and De Meuron, 3D printers are not present, as they remove the rationality required to construct buildings in real life [13]. Whilst our 3D model captured our conceptual form incredibly well, we failed to translate this form into a tangible constructible concept. As noted by Peter Brady, in architecture, the conceptual world of design is balanced by the pragmatic world of construction, a key point that we must develop further in the last stages of development [14].

Another point of feedback that we received was that our concept was not integrated in a cohesive manner. Rather, we had several differing elements that werent necessarily coming together as one concept. Ultimately, that is another factor that we have to consider, as to the direction we intend on pursuing, whether its the solar pond which will be driving our constructional method, or altering the form to suit a beam and node system. From this point onwards, one must also be more adapt at addressing the LAGI brief. Not necessarily just placing a renewable energy source on site, but also considering how the source can act as an

educational stimulus for visitors. For example, whilst energy can be generated via the solar ponds, it is possible to expand on this notion by considering how the energy produced, can be utilised on site.

The last major point of feedback was to ensure that we were considering a single user experience, such as creating pathways and bridges for people to walk around and experience the site. Nevertheless, these final elements will be developed once the form and concept have been finalised.

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b.8. appendix - algorithmic sketches

Learning Objectives

Looking back on our performance during the interim review, we were able to address the questions regarding our conceptual decisions. However, when to came to real-life application and fabrication, we were not as eloquent as we had not spent a significant amount of time considering these factors.

Using grasshopper as a designing tool is still a method that I dont feel very comfortable with, despite having followed the tutorials, and spent time creating the iterations. Ultimately, this will develop with time as I continue to use the program more often. The program utilises a very logical way of thinking and a certain amount of patience when developing a definition, skills that I am still cultivating. Moreover, the second set of iterations in particular show a clear investigation of parametric manipulation.

Furthermore, the exposure to the architectural discourse and the use of computational design methods in contemporary applications, has definitely opened my eyes to a key facet of contemporary and future architectural design. Whilst computational methods enable us to create conceptualisations seemingly beyond the human scope, ultimately, the application of such forms to real life will depend significantly on the technology available and the context of the infrastructure. Whilst computational design, expands significantly on the traditional handdrawn methods, it is still retains a sense of realism due to the desire to create real life adaptations of computational forms.

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references[1] Woodbury, Robert F (2014). How Designers Use Parameters, in Theories of the Digital in Architecture, ed. By Rivka Oxman and Robert Oxman (London; New York: Routledge) p. 159

[2] 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) p. 162



[5] Iwamotoscott Architecture, Voussoir Cloud. Iwamotoscott Architecture. Accessed 5 May 2014. http://www.iwamotoscott.com/VOUSSOIR-CLOUD

[6] Iwamotoscott Architecture, Voussoir Cloud. Iwamotoscott Architecture. Accessed 5 May 2014. http://www.iwamotoscott.com/VOUSSOIR-CLOUD

[7] Gomez-Moriana, Rafael. Gaudis Hanging Chain Models: Parametric design avant la lettre?. 16 Aug 2012. Criticalista. Accessed 5 May 2014. http://criticalista.com/2012/08/16/gaudis-hanging-chain-models-parametric-design-avant-la-lettre/

[8] Gomez-Moriana, Rafael. Gaudis Hanging Chain Models: Parametric design avant la lettre?. 16 Aug 2012. Criticalista. Accessed 5 May 2014. http://criticalista.com/2012/08/16/gaudis-hanging-chain-models-parametric-design-avant-la-lettre/

[9] Mechanical and Automotive Engineering. Solar Pond Project. RMIT University. Accessed 5 May 2014.http://www.rmit.edu.au/browse/Our%20Organisation%2FScience%20Engineering%20and%20Health%2FSchools%2FAerospace,%20Mechanical%20and%20Manufacturing%20Engineering%2FAbout%2FDisci-plines%2FMechanical%20and%20Automotive%20Engineering%2FResearch%20Specialties%2FSolar%20Pond/

[10] Hignett, Cliff. Solar Ponds. Accessed 5 May 2014. http://soilwater.com.au/solarponds/

[11] Hignett, Cliff. Solar Ponds. Accessed 5 May 2014. http://soilwater.com.au/solarponds/

[12] Chalcraft, Emilie. Paper Chandeliers by Cristina Parreno Architecture and MIT. 19 Mar 2013. Dezeen Magazine. Accessed 5 May 2014. http://www.dezeen.com/2013/03/19/paper-chandeliers-installation-by-cristina-parreno-architecture-mit/w

[13] Peters, Brady (2013), Realising the Architectural Intent: Computation at Herzog + De Meuron. Architectural Design, 83,2. P.61

[14] Peters, Brady (2013), Realising the Architectural Intent: Computation at Herzog + De Meuron. Architectural Design, 83,2. P.58

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image references[1] [2] [3]Iwamotoscott Architecture, Voussoir Cloud. Iwamotoscott Architecture. Accessed 5 May 2014. http://www.iwamotoscott.com/VOUSSOIR-CLOUD

[4] [5]Memetician, A different kind of string theory: Antoni Gaudi. 6 Feb 2007. Live Journal. Accessed 5 May 2014. http://memetician.livejournal.com/201202.html

[6]Mechanical and Automotive Engineering. Solar Pond Project. RMIT University. Accessed 5 May 2014. http://mams.rmit.edu.au/uuuihyv1zi5j.JPG

[7]Hignett, Cliff. Solar Ponds. Accessed 5 May 2014. http://soilwater.com.au/solarponds/

[8] Rachel. Monochrome Paper Chandelier Ceiling, Madrid. Intralld. Accessed 5 May 2014. http://inthralld.com/2013/03/monochrome-paper-chandelier-ceiling-madrid/

[9]Land Art Generator Initiative. Site Photos. Accessed 5 May 2014.

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PART C. Detailed design

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c.1. design conceptHaving created a form utilising computational means, the next step was to adept our design more seamlessly to address the LAGI brief. The feedback received during the interim presentation suggested that the three components of the design, consisting of the aesthetic structure, the connection joint and the renewable energy resource, were rather disjointed. Hence, we needed to find a way to integrate these elements in order to create a more unified conceptual design.

For this component of the design, we focused on integrating the structure and the solar pond by considering alternative methods of utilising the excess salt produced by the solar pond. This inferred, moving towards a concept that was more dynamic, rather than simply a stagnant form placed on the site.

This newfound interest in salt residue aesthetic production, led us to Faulders Studio, an architectural firm that has explored the capabilities of salt, through both spray-on residue and the generation of 3D salt compounds.

GEOtube Tower is their current speculative proposal for Dubai, in the United Arab Emirates [1]. It functions by pumping salt water to the top of the building and dispersing the liquid through its pipework, utilising gravity. This saline solution is then misted upon meshwork, where it evaporates and leaves behind the salt crystals. Overtime, the effect of the crystallisation creates a dynamic form through the gradual build up of surface salt crystals over time, transforming the mesh from transparency to opacity [2].

Meteorological conditions, including rain and wind, would also serve to remove loose crystallised forms, strengthening the salt residue over time. If applied to the LAGI brief, this dynamism would create an ever-evolving structure in Copenhagen that would potentially alter with the changing weather patterns. One would witness the growth of the structure during the summer season, and increased deterioration of salt compounds during the rainy days. Such dynamism would spark a symbiotic relationship between the visitor and the structure itself.

[ 1 ] [ 2 ]

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[ 3 ]

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Whilst considering salt deposition, we similarly made reference to the history of the Refshaleen site. As a former industrial site and shipyard, land was initially reclaimed in order to increase the size of the island. This adaptive correlation is a similar process driving our design. Today, the island is home to mass events and festivals, including Eurovision. This notion of transporting excess salt water through the structure and dispersing it throughout the pipework, ultimately creates a festive yet contemplative environment for the countless visitors to the site.

The main access to the site is also from the street. The focal point of the design was to create a serene environment. Hence, the viewers attention is drawn immediately towards the harbour. This linearity is further reinforced by the placement of the pathways, which intersect at one point at the centre, but then continue to diverge towards the jetty.

site plan

[ 4 ] [ 5 ]

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Entrance Pathwaysto Site

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One Application Two Applications Three Applications

Six Applications Seven Applications Eight Applications

salt experimentationThis experimentation, exhibits the gradual build up to salt residue on mesh

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Three Applications Four Applications Five Applications

Eight Applications Nine Applications Ten Applications

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Build up of salt deposit over time

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First Month

Second Month

Third Month

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Upper Convective Zone (UCZ)

Non-Convective Zone (NCZ)

Lower Convective Zone (LCZ)

Condenser

Evaporator

TurbinePump Generator ELECTRICITY

Hot Water Supply

Sea

Polylines

Create Pipes to x radiusA) Mesh, x = 250mmB) Structural Steel, x = 150mm Thickness 10mm. Therefore interior pipe, x =130mmC) Rubber, x = 50mm Thickness 5mm. Therefore interior pipe, x = 40mm

Pipe ADivide domain by:U = 140V = 80

Create Surface Box and adjust height to 3mm

Morph to create Mesh Pipe

Mesh

Solve intersections of Polylines

To create sprinkler protrusions:Divide line by 25cm intervals

Create vertical protrusions at points perpendicular to the angle of individual polylines

Create Pipes, x = 5mm

Create a planeaveraging the angle

of the two adjoining pipesCreate two circular curves at plane

Offset by 100mm to create connection joint

Physical structuredesign def initon

Solar pond

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Upper Convective Zone (UCZ)

Non-Convective Zone (NCZ)

Lower Convective Zone (LCZ)

Condenser

Evaporator

TurbinePump Generator ELECTRICITY

Hot Water Supply

Sea

rankine engine

Rubber Tubing

Structural Steel

Copper Mesh

Steel Connection

Cross-sectionconstruction element

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Prototype

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c.2. tectonic elementsPrototypeDue to the magnitude and complexity of the proposed structure, rather than build the entire model, a section detail at the scale 1:5 was created instead. The structural pipe was 3D printed in order to ensure the correct proportions for the connection joint.

Having created a prototype, the structural steel pipework was deemed to be too thick. Moreover, there were problems adhering the mesh to the 3D prototype model, as the angle of the mesh juncture was not aligned with the angle of the structural joint. In real world production, these mesh edges would be cut according to individual sizing proportions. The mesh in particular was difficult to work with as it was very malleable and did not hold its form well. Moreover, the 3D printed powder prototype, was half a millimetre thicker than the actual file size. As such, when it came to connecting the two junctures, the inner element had to be filed down in order to be inserted into the adjoining element.

The reality of this structure is that it utilises a lot of steel in order withstand the non-linear forces. Our final 3D model was 3D printed, which required the mesh to uploaded into the program Meshmixer. Ultimately, components of large singular spans would come up as red on the computer, and indicate that those elements would break during production. This gave us an indication of the strength of various members and allowed for further manipulation of form and of attractor and repellent points in order to create a more stable structure. Even though the program was designed for 3D modelling, it is an example of computational application in analysing the structural rigidity of our chosen design. Without the program, we would have been relying purely on the experience of the FAB lab staff in order to advise us of potential problems. Having a program like Meshmixer, that is free to the general public, enables users to become more aware of the structural feasibility of their design, even if its from a simplistic point of view.

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c.3. f inal model

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c.4. additional lagi brief requirementsFrom the initial stages of conceptualisation, technology took a crucial role in the generation of form. Much like how the intent of the design required a contemplative and engaging mindset towards the awareness of renewable energy resources, a similar approach was adopted in the generation of architectural form. Exploring the potentialities of parametric design, a definition was created utilising the computer three-dimensional generating program Rhinoceros and its plug-in, Grasshopper. This generated a canopy-like structure, which utilised a network of magnetic field lines to generate the underlying geometry. Coupled with catenary vaults, this sort to create a purely compressive structure.

The notion of reflection and reflectivity were integral to the chosen renewable energy source as well as to the characteristic elements of the form. Our concept centred around the desire to create a serene and contemplative environment, showcasing the potential of renewable energy as being integrated and seamless, rather than acting in an imposing manner, as is often depicted. This notion of reflection was reiterated both metaphorical and literally. By incorporating a solar pond into the design, this created an aesthetically serene environment, whilst simultaneously generating the energy required for the canopy, with additional surplus electricity supplied to the city.

To further elaborate on the operational components of this renewable source, a solar pond is essentially a body of water, separated into three divisions through various brine saturations. The three layers are defined as the upper convective zone (UCZ), non-convective zone (NCZ), and the lower convective zone (LCZ). In a normal body of water, the penetration of solar radiation creates convective current within the system, resulting in the continual absorption and release of heat energy. This convective nature is suppressed in a solar pond due to the introduction of several salinized layers. The salinity concentration of the LCZ can reach levels of 26% by weight, in contrast to the UCZ layer whereby the salinity levels range from 1-4% salt by weight. The weight of the salt in the LCZ ultimately inhibits the heat energy retained in the water from rising to the surface, increasing the temperature of the LCZ to the temperatures as high as 95 degrees Celsius. Meanwhile, the NCZ, acts as a thermal insulative layer, retaining the heat within the

lower most layer of the pond. This stratification has enabled its dual function as a solar collector as well as a thermal storage device. The efficiency of solar ponds vary between 15-25 percent, dependent on its contextual and structural elements. Nevertheless, the size of the site and its proximity to water, lends itself to being an ideal renewable energy source without the added acoustic and aesthetic intrusions.

In terms of generating electricity, the ponds are often coupled with a Rankine Cycle Heat Engine, whereby the heat stored in the bottom most layer of the solar pond, is collected via the circulation of water pipes through the pond. This heat energy is consequently used to vaporise the working fluid, otherwise known as R-134a, in the evaporator. As the working fluid moves from a high pressure to a low pressure, it spins the turbine, whereby the mechanical energy is thus transformed into electrical energy.

Taking into consideration the abundant availability of water, the solar pond can be consistently replenished with seawater. Moreover, the residual hot water from the evaporator can be incorporated as part of the hot water supply for the city of Copenhagen. A supply of water will be required to operate the condenser, which can be similarly drawn from the sea. It is this output of water from the condenser at a temperature of approximately 24 degrees celsius, that will be carried throughout the architectural infrastructure. The water will be pumped to the highest points within the structure and then allowed to flow through the pipes, where multiple sprinklers have been intermittently spaced throughout the structure in order to allow for the spraying of hot water onto the copper mesh.

Overtime, the built up of residual evaporated salt on the surrounding mesh, will create a dynamic and consistently evolutional form, moulded and strengthened by the meteorological conditions of Copenhagen.

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The following lists the primary materials in the design:Rubber Tubing - To carry water throughout the structureSteel Acts as the structural supportGalvanised Copper Mesh Provides a surface for the salt to adhere toStainless steel and glass panelling - RailingsGlue-laminated timber Decking

When youre dealing with such an expansive ecosystem, such as the ocean, minimal changes in the immediate context can have certain ramifications on the surrounding environment, as well as neighbouring contextual environments.

In order to build a solar pond, the body of water and land under the current site, must firstly be partitioned from the ocean. These natural water movements would circulate the salt and heat energy hence, rendering the solar pond inoperative. Moreover, the capacity to stratify the pond into three layers requires an enclosed environment. This may result in the loss of current flora and fauna currently situated under this site. Nevertheless, this loss has been weighed in accordance to the potentiality of the new infrastructure and renewable energy resource.

Furthermore, the removal and re-input of seawater to and from the site may also be harmful for sea creatures

in the surrounding areas. Hence, precautions would be taken to ensure that sufficient meshing was placed over the underwater piping to ensure the safety of sea life. Moreover, the water utilised as coolant in condenser, may also be harmful to sea life,if immediately introduced back into the sea. This is due to the increase in the water temperature as it absorbs the heat energy in the condenser. This mere hike in temperature may have potentially altering ramifications if not properly addressed. In order to circumvent this potential detriment, this output of water will be utilised as the fluid spraying throughout the structure.

Lastly, the salt installation will ultimately lead to increased dry salt exposure on land. This may be blown around by wind conditions, potentially impacting on the surrounding infrastructure. Frequent harvesting of salt for agricultural purposes may be necessarily to reduce significant impact of salt in times of significant climatic conditions.

environmental impact statement

The estimated generative electricity has been calculated in the following table:

Average Annual Insolation in Copenhagen:

Net Pond Efficiency:

Total Collected energy from pond:

Turbine efficiency:Resulting effective cycle efficiency:

Total electricity produced from Rankine Engine:

Area of Solar Pond:

Total Electricity produced:

1026.78 kWh/m2

18%

1026.78 x 0.18= 184.482 kWh/m2 per year

80%10%

184.82 x 0.10= 18.482 kWh/m2 per year

36,000 m2

665,352 kWh per year1,822.88 kWh per day75.95 kWh per hour

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c.5. learning objectives and outcomesThe overall response to the final design was fairly receptive. It provided us with me scope to explore different salt generative structures if need be.

Ultimately, my ability to manipulate and generate parametric forms has increased significantly from the start of the semester. When utilising computational programs such as Grasshopper, I found the initial stages very difficult to comprehend the process behind definition generation. It was only through the weeks of experience and the countless tutorials that I was able to slowly develop an understanding for the functional logic of the program. Indeed, with these newly developed skills, creating parametric algorithms at a later stage will be more feasible and easier to utilise.

This design project enabled me to explore a more futuristic approach to architecture that I was not previously well acquainted with. Indeed, we have witnessed the potentials of computational techniques, not only in generating parametric iterations, but also in creating simulative environments according to real-time data. Such capabilities

are bound to make architecture more highly efficient, especially as we seek to integrate renewable energy more seamlessly into architecture. I believe that that is the best quality of current computational design, is its ability to create the most influential and efficient iteration, at least in a virtual sense, when generating designs.

Moreover, whilst the majority of our processes were completed computational, I was still often inhibited by my lack of knowledge of computational techniques, a skill that can now be more easily improved due to having basic foundational experience.

Perhaps the most enjoyable aspect of this subject has been the fabrication process and witnessing the translation from virtual to physical. Moreover, understanding the reality of prototyping and fabrication, and how computational methods can enable you to get to a certain point, however, ultimately the feasibility of something will be remain unclear until you utilise real-life application methods.

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references

Image references

[1] Faulders Studio, Geotube Tower. Faulders Studio. Accessed 11 Jun 2014. http://faulders-studio.com/GEOTUBE-TOWER


[1] Faulders Studio, Materialized: Salt Prints. Faulders Studio. Accessed 11 Jun 2014. http://faulders-studio.com/MATERIALIZED-SALT-PRINTS

[2] Faulders Studio, Materialized: Crystalline Growth. Faulders Studio. Accessed 11 Jun 2014. http://faulders-studio.com/MATERIALIZED-CRYSTALLINE-GROWTH


[4] Land Art Generator Initiative, Site Photos. LAGI. Accessed 11 Jun 2014. https://app.lms.unimelb.edu.au/webapps/portal/frameset.jsp?tab_tab_group_id=_5_1&url=%2Fwebapps%2Fblackboard%2Fexecute%2Flauncher%3Ftype%3DCourse%26id%3D_271635_1%26url%3D

[5] Open Street Map, Copenhagen. Open street map. Accessed 11 Jun 2014. http://www.openstreetmap.org/#map=15/55.6937/12.6065

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Special thanks to my Air partner Jesse Osadzuk and to our tutors Cam and Rosie

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