A I R ..HUI LI YEOH SEM 1/2014 TUTOR: FINN & VICTOR

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30ABOUT HUILI

PART AA1. Design Futuring...........08A2. Design Computing..........14A3. Compositional/Generation..20A4. Conclusion................26A5. Learning Outcomes.........27References....................28

PART BB1. Research Field............32B2. Case Study 1.0............36B3. Case Study 2.0............42B4. Technique: Development....50B5. Technique: Prototype......56B6. Technique: Proposal.......62B7. Learning Objectives and Outcomes..................82References....................84

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PART BB1. Research Field............32B2. Case Study 1.0............36B3. Case Study 2.0............42B4. Technique: Development....50B5. Technique: Prototype......56B6. Technique: Proposal.......62B7. Learning Objectives and Outcomes..................82References....................84

PART CC1. Design Concept............88C2. Tectonic Elements........112C3. Final Model..............120C4. Additional LAGI Brief Req- uirements................132C5. Learning Objectives and Outcomes.................134

4The beginning

My passion in creative design started at a very young age where I love to express ideas through drawings. The advancement in information technology opened me to the fancy world beyond my small home town in Malaysia, that I realized arts is not only at the tip of the brushes and how beautiful it looks like, but the conveyance of ideology through it. Since then, I was indulged in poster design and photography to ex-plore the powerful tool in saying the most words in mere single image.

Architectural design only came to my mind when I had to make decision on my tertiary education. I am an avid reader of all kinds of stuff and I came across this saying that

Architecture is the highest level of arts when I was reading a design-related book. At the age of 17, I dreamt of pursuing a great career and architect for me is an awesome profession.

Why architecture?

As I digging in more and more about architecture, my passion grows steeply. Architecture is not a blind dream anymore but one thing that I really want to do for life. I like the idea of architecture is able to speak in the most convincing way: experience, and its close mutual relationship with human. It can be done in every possibility, combining the idea of sociology, science, mathematics and many others. I believe great architecture can change life to the better..

A B O U T H U I L I

5I am a fan of humble architecture, to adopt simplicity and geometricism is my design principle. However, I am keen to explore my interest across all kinds of architecture.

Going digital

Computerization of design is the new trend. Experience with using Rhinoceros in Virtual Environment exposed me to a new way of design thinking with computers. With the program, possibility of different geometry forms is limitless. This is an eye-opener for my future architectural movement.

Studio Air will be an opportunity to develop a mature de-sign thinking and computational design skill. I am excited to learn from this studio and looking forward to see our design outcome.

Photoshop InDesign

Lightroom Illustrator

AutoCad SketchUp

Rhinoceros Grasshopper

Related Computer Skills

Filling up the tank..

P A R T a

conceptualisation

The mother art is architecture. Without an architecture of our own we have no soul of our own

civilisation. Frank Lloyd Wright

8DEsign FuturingA 1

The debate for the definition of architecture has never ceased. Architecture is ambiguous and multi-disciplinary. It is every-where in our lives and influences are enormous.

Architecture has a mutual relationship to the way human lives. Architectural space is designed to suit humans lives, while in another way, it manipulates our five senses and the sequence of living. A great architecture shouldnt be about personal pride or interest, rather it has to consider everyday needs of people and uses knowledge of behavioral, environmental, and social sciences to create an practical environment. This is true as architecture should be considerate and sensitive to suit ev-ery possible aspects of human lives.

Architecture as a discourse needs to be targeted at larger au-dience and be responsible for its existence in natural envi-ronment. The statements of statues and taste, repositories of wealth and symbols of security1 should be the sub-outcome but not the design brief.

Sustainability is the trend

A successful architecture is the works of society, a nations ef-fort rather than the inspired flash of a man of genius.2 How-ever, in my opinion, the greatest architecture is the work for future. Sustainability is the new trend. It is convenient to

overlook the adverse ffects of buildings to the environment. effects of buildings to the environment. Appearance is always the first thing that comes into eyes, thus some architects tend to sacrifice sustainability to give way to aesthetic. Design be-comes increasingly trivialized and reduced to mere appear-ance and style. 3This problem could be disastrous if it persists.

Currently, the earths renewable resources are be-ing used up at a rate 25 per cent faster than they can be renewed, and the ecological human footprint has tripled since 1961. 4

Architecture as agent of change

If nothing is done, future of world will be at risk. It is criti-cal to slow the rate of defuturing, which is the process that harms the environment.5 Being part of the agents of change, the new modern architecture needs to be low in embodied energy and creates no harm to the environment. This includes efficient land management, exploration of renewable materi-als, passive energy, generation of energy and many others. If architecture before the 20th century was referencing to social, cultural, economic and political issues, then the new architec-ture is supplemented by engineering discipline and algorith-mic form. The latter will be discussed at later section.

1 Scott Nelson, Essay: The Future of Building, Biomimicry and Architecture (2013), [accessed 24 March 2014]2 Victor Hugo, The Hunchback of Notre-Dame in Good Reads, < http://www.goodreads.com/quotes/tag/architecture> [accessed from 24 March 2014]3 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg,2008), p. 11.4 Tony Fry, p.4.5 Tony Fry, p. 10.6 Robert Ferry & Elizabeth Monoian, Design Guidelines, (Copenhagen: Land Art Generator Initiative, 2014), p.8.7 Winston Churchill, in Good Reads, [accessed 24 March 2014]

9 We shape our buildings; thereafter they shape us. -Winston Churchill7

the chance to learn the skill of parametric design which is a necessity to survive in architecture field as well as a bonus in other designing fields.

The Best Time of the World

The literature feature of architecture is diminished and gives way to new definition of design. It is an undeniable fact that computerization is leading the way. This change is another small wave of futurist movement which is welcomed. Histori-cal buildings from a few centuries ago still are very much ap-preciated and preserved. From my perspective, the wide ac-ceptance is indirectly due to globalization, where diversity is cherished. We are at the best time of the world where we take credits from history but still looking forward to the future.

In this trend, does aesthetic aspect going to be satisfied? Not necessary, although energy generation plant is facing issues from public for the reason of destroying natural landscape. This is the time to change peoples perception about energy generation.

Shift in design approach

Besides the shift in functional aspect of architecture, the design approach has experienced change as well. There is a shift from drawing to scripting and the related shift from static components to parametrically conceived generative components.6This is the adaptation of architecture to the unprecedented development of digital technology, or should say, to accommodate the demand of increasing population. Computerization and automation started to replace human hands. Building components are prefabricated in computer and mass-produced in factory. Architectural design is heavily relied on computer to generate forms.

Studio air is design futuring. The design brief for Studio Air, based on the competition of Land Art Generator Initiatives, is to create an energy-generating sculpture that is beautiful. The purpose of the sculpture is not only literal, which is energy generation, but most importantly, is to educate and gradually receive acceptance from public. On the other hand, we get

ImaI/Katsutoshi Sasaki + Associates, Aichi, Japan 2013

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ImaI/Katsutoshi Sasaki + Associates, Aichi, Japan 2013

Back in 18th century, building is built in over-large scale with excessive decorative details to express the owners social sta-tus and wealth or the power of the authority. Mansions and villas are so huge that human feels so minuscule.

Personalizing Space

Nowadays, the situation is reversed. There are still cases like huge homes for small family but it is getting rare. Japanese architecture for houses, for example, is an art for the human living. The house is scaled differently for different functions according to human size and activities. This principle of mod-ularity is a key to create a comfortable experience as if human and house are one.

The original site of this modern residential house is narrow and long. It is designed to personalize the rooms to the oc-cupants. The height and lighting of each room is adjusted to the number of users and the function of room. Balancing of scale and light gives distinct character to each room. On the other hand, public spaces of the house is not restricted to any function but designed to adapt to different occasions. For in-stance, inner garden can be dining or guest room.

This approach of designing is holding the concept of human-ism. In the design process, architects will research on the track of daily activities and dimension of space to suit every individual in the house.

Efficient organization fo space

This concept is a solution to new living in metropolitan cit-ies. The increase in world population causes come cities to be overcrowded such as in Tokyo and Hong Kong. A common apartment unit in Hong Kong is 32 metre square. Architec-ture of the interior spaces enables the occupants to live spa-ciously without having to cramp everything in small spaces.

Personalizing space is a delicate skill in architecture. Multi-disciplinary knowledge is essential for being able to design ideally for different users.

In the design for energy-generating sculpture, space is also an issue. There is a limited space with one side surrounded by building(XX), which blocks the wind from the direction. Moreover, the sculpture cannot be built higher than(XX) when wind speed is stronger and more constant at greater height. Again, site analysis is important.

In addition, as our design concept includes public interac-tion with the sculpture, the scale of the sculpture needs to be scaled to suit the average height of people in XX. Amongst this, adaptation to children scale should be the main concern as education is the major objective of the sculpture.

Being an architect isnt only about construction, its about creating wide space with small space. -Yannick Heywang8 8 Yannick Heywang, The Hunchback of Notre-Dame in Good Reads( 2014), < http://www.goodreads.com/quotes/tag/architecture> [accessed from 24

March 2014]9 Most Unusual Homes in the World, Yahoo Finance, [accessed from 24 March 2014]

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Building at extreme altitude, landscape and weather is a big challenge. The building needs to be relatively adaptive to the surrounding environment.

This mountain hut for the Swiss Alpine Club is situated in the Val danniviers, in the heart of the Valaisan alps. It pro-vides temporary stay for the mountain climbers at the start-ing point for the journey. This new hut is built to cope with constant increase in guest numbers and to improve the levels of comfort.

The challenge of the design and construction includes sus-tain-ability, insulation, energy usage, safety and environmen-tal protection. As a tourist destination, its humble and simple appearance with glazed faade gives uninterrupted, plunging magnificent view.

Self-sustaining

The building is self-sustainable by collecting solar energy from large south faade. Windows are strategically installed to obtain maximum passive solar energy. Openings are small to reduce heat loss and provide optimum natural ventilation. For storing passive solar energy, windows on south wall are larger. Material wise, structural frame is made up of wood in-stead of steel to reduce transportation cost.

In my opinion, this is model of building of the future, which depicts high adaptability. The design is based on practicality and efficient energy use but does not sacrifice its aesthetic

value. In the near future, climate change and energy use will be a big issue. The technology used is not new but it cleverly addresses the issue of extreme environment with minimum cost. From this building, I learnt that architecture is flexible. Simi-lar to the concept that Fry mentioned in his article Design Futuring, architecture is not for the interest of individuals10 ; building is not necessary built to the interest of the building to stand out from the environment. This is not beauty.

Harmonious to teh environment

In the architectural design process, respect for the landscape should always be a major concern, especially for tourist desti-nation or somewhere where space is not a limitation. For ex-ample, the excavation for underground building space should only be done if its necessary. To hide the rest of the building levels underground for the reason of minimize the disruption to natural landscape is a superficial architecture as the envi-ronment is harmed in a more severe way.

In the context of Studio Air design project, the design will consider this adaptive principle to create a sculpture that is harmonious to the environment. Site context is very promi-nent in this mountain hut, as well as in the sculpture design, as its fundamental energy generating concept is based on wind, which is dependent on site weather and surrounding buildings conditions. This hut serves as a model for further exploration of architecture.

10 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg,2008), p.10.

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New Mountain Hut At Tracuit / Savioz Fabrizzi ArchitectsAyer, Switzerland, 2013

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DEsign computingA 2

The vast advancement of technology has brought along con-venience to everyday life. Computer, particularly, is a so-phisticated technology that imitates human brain in a much efficient manner. It is getting ubiquitous, or should say, a ne-cessity tool in the industry.

Computerization

The introduction of Computer-aided Design(CAD) generates a big leap in the process of creation, modification, analysis, or optimization of a design.11 In architecture, the term com-puterization is coined to describe entities or processes that are already conceptualized in the designers mind are entered, manipulated, or stored on a computer system.12

The design process is an active one, with computer acting only as a tool to represent ideas. Its usage brings benefit to the users. This method fosters better communication of ideas as ideas are presented in the standard and organized way. Draw-ings are drawn, edited and reproduced faster and precisely.

New comers: computation

Computation, on the other hand, is new to the industry. In this case, computer involves in the design process. Compu-tational thinking is the thought processes involved in formu

lating problems and their solutions so that the solutions are represented in a form that can be effectively carried out by an information-processing agent.13

The core concepts including parametric design and genera-tive design techniques, digitization and digital fabrication techniques.14 The highly complex, curvilinear form geom-etries and structures gives new architectonic possibilities.

In fact, technology has changed the design approach adopted by the industry. Design has shifted from making of form to finding of form15 , which is an active process of intelligent design that propose design solutions for appraisal and further development by human designers.16 Designers are scripting parameters instead of making shape, where parameters will be used to set a framework and analysis relationships between different data.

Increasing need of computational design

In the near future, computer will overtake in more of the de-sign process. It is not necessary a bad move. More and more abstract structures will be experimented. It widens the range of conceivable and achievable geometry, breaking the tradi-tional look of architecture of squares and rectangles. More data can be incorporated in problem solving such as site anal

11 Narayan K. Lalit, Computer Aided Design and Manufacturing ( New Delhi: Prentice Hall of India, 2008), p. 3, < http://books.google.com.au/books?id=zXdivq93WIUC&printsec=frontcover&redir_esc=y#v=onepage&q&f=false>[accessed 26th March 2014]12 Kostas Terzidis, Algorithmic Architecture (Boston, MA: Elsevier, 2006), p. xi13 Jan Cuny, Larry Snyder, and Jeannette M. Wing, Demystifying Computational Thinking for Non-Computer Scientists ( work in progress: 2010)14 Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3-6215 Branko Kolarevic, pp. 3-62.16 Yehuda E. Kalay, Architectures New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25.17 Branko Kolarevic, pp. 3-62.18 Kostas Terzidis, p. xi

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ysis, material flexibility and structural performance analysis. This encourages evidence- and perfor-mance-oriented design, which counteracts the crisis of superficial design and encourage the exploration of variable possibilities. Algorithmic procedures helps to create green building with more ease by em-ulating nature.

The process of drafting, documentation and presen-tation are altered by computerization. At recent years, model making is replaced by prefabricated machine cut, similar in the construction field where building components are prefabricated to precise dimensions. Mass-customization is made possible with affordable cost. Variety, in other words, no longer compromises the efficiency and economy of production. 17

Digital data is produced instead of drawings, en-abling better communication and coordination be-tween more parties, thus increases the efficiency of design and construction.

A digital era

Computation initiates algorithmic design where in-telligent creativity is the key to new architecture

theory. Computation brings a new era of experimen-tation. It is neither formalism nor rationalism but traceable creativity. 18 With this phenomena, the skill of computation is sought-after to meet the needs of a new design era.

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In the new age of architecture, building is sophisticatedly de-signed to the best of human lives as well as to the environ-ment. Its faade, especially, is designed to response to the sur-rounding environment, balancing the interior atmosphere to external environment. The increasing awareness of depleting energy resources has made passive design technologies the new trend. It can be achieved by computation and comput-erization.

The Al Bahar tower in Abu Dhabi is another award-winning building in Dubai, adding to its collection of modernist and sustainable buildings.

Challenge of extreme climate

The hot and dry weather of Dubai is a challenge to environ-mental design. Solar heat and sunlight will be both an advan-tage and disadvantage. To response to this environmental is-sue, the building faade is built to response to the sunlight conditions. The faade emulates the traditional Islamic lattice shading device, the mashrabiya. The faade

panels are designed using parametric approach to response to sun exposure and changing incidence angles at different times of the year.

Dynamic Facade

The faade is an independent frame two meters from the building skin, acting as curtain wall. The faade is made up of dynamic triangles, computer-controlled to change according to optimal solar and light conditions. Each triangle is coated with fiberglass and programmed to response to the movement of the sun in order to reduce solar gain and glare.

Each unit of triangle comprises a series of panels stretched PTFE (polytetrafluoroethylene) driven by linear actuator to control opening, which is pre-programmed in a sequence that is calculated to avoid direct sunlight. This can only be done with the aids of parametric design tool.

It is estimated that this technology will reduce solar gain by more than 50 per cent, reducing the reliance on energy-

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consuming air-conditioning.

On the other hand, the whole vertical strip of mashrabiya will move with the so that the other areas where the sun is not shinning in directly can receive natural lighting. Besides that, the shading feature of the faade allows the flexibility of the choice of glass finishing. Less tinted glass is used to let in bet-ter view. At night, all the screens will close, a complete pattern of triangles will be shown. This integrated with internal artifi-cial light to form part of the scenic night view

Responsive architecture as problem solution

Architectural design has become way easier with digitally-driven process and tools. Mathematical equations are pre-formulated in the algorithmic programs to provide analysis and solutions to problems. Architecture as a problem-solving tool, can now response to larger scope of the issue of relation-ship of human and environment more effectively than before. Not only in performance aspect, faade and structural design is achieved high accuracy and various

geometries possibilities.

Al Bahar tower demonstrates a large scale dynamic respon-sive structure which can be applied to the idea of energy-gen-erating sculpture. Different from this building that avoid the emission of energy, the sculpture will be designed to receive the as much energy as possible. Since the concept of genera-tion is wind, the vibration components can be designed to face prevalent wind direction at different times of the day. Alternatively, the distribution area of vibration components, which in our imagination are small light-weight object, can be designed to spread accordingly to wind velocity; the stronger the wind, the higher the number of components. In Grasshopper plug-ins in Rhinoceros, the distribution of com-ponents can be manipulated easily and response precisely to the input data of, say, wind direction.

Al bahar towers/aedasabu dhabi, dubai, 2012

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Louisiana State Museum & the sports hall of fame/trahana architectsNatchitoches, United States, 2013[ 10 ]

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Louisiana State Museum & the sports hall of fame/trahana architectsNatchitoches, United States, 2013

Among the architectural projects that uses computational de-sign approach, Louisiana State Museum is an excellent exam-ple. Its form demonstrates seamless spaces which traditional design method can never achieved.

At the same time, the museum is also the Sports Hall of Fame. To express the dialogue between history and sports, it is de-signed to incorporated the two contrasting value in one whole building, using different approaches. Sports is interpreted as a component of the cultural history rather than as independent themes.19 To express this, the architectural representation of sports is contained within the skin of history.

Seamless interior surface Architectural design is a tool to explore interconnections be-tween the two themes. To visualize this idea, the undulating interior exhibit spaces flow visually and physically together, sculpted out of 1,000 digitally milled cast stone panels which seamlessly integrate all building components.20 This dynamic flow reflects the ancient rivers fluvial geomorphology. The white panels serve as screens for film exhibit with illumina-tion from skylight above. Rather than separating the exhibi-tion spaces in two distinct levels, the curving structural vol-ume allows the galleries to gently flow into each other.21 It gives a continuous architectural walking experience from out-side to inside, further merging the design context.

The historical representation of the building is inspired by the riverfront setting and the 17th century bousillage found in the region. The exterior envelope is made up of pleated copper pan-els that form louvres, which is a huge contrast with the sinuous entry and foyer within, highlighting the dialogue between the urban and natural environment. 22

Role of parametric design

The flow of spaces in the building is extraordinary. The CNC programming system has enabled the fabrication of highly-pre-cise curvature, as well as the joints, which is the biggest chal-lenge for seamless surface. Computational design, especially parametric design, undoubtedly, has transformed the percep-tion of public towards building which is traditionally consisted of edged geometries. Architecture as design language is suc-cessful to convey the message of fostering communication be-tween the two previously independent collections. Indeed, this example shows a good example of architectural representation aided by modern technology.

The objective of our sculptural design for Land Art Generative Initiative is to convey message to the public that energy-genera-tion plant can be beautiful. The flowing organic seamless design form is suitable for conveying our message and softens the ur-ban landscape around the given site. However, it might not suit-able as the shape of the energy-collecting components, as the lack of edge makes wind to flow through them instead of giving force to turn the component, if say, we will have wind blades.

19 Trahana Architects, Louisiana State Museum , [accessed 27th March 2014]20 ArchDaily, Louisiana State Museum and Sports Hall of Fame / Trahan Architects . [accessed 28th March 2014]21 Dezeen, Louisiana State Museum and Sports Hall of Fame / Trahan Architects , [accessed 28th March 2014]22 Trahana Architects.

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composition/generationA 3

The emergence of computation has transformed the dis-course of architecture to a brand new era. The impact is in-evitable and has brought more good than harm. Architecture, in just few decades ago in 1970s, is still mainly practiced with traditional design approaches of hand sketches and drawings. In 1980s, computer-aided design programs has reduced the need of manual drafting and thus changed the internal orga-nization of architecture firms.23

If 3D modelling helped architects to visualize their ideas and promote better communication, generative design involves directly in the design process, that architect does not neces-sary have the form visualized in head. Recent years, genera-tive design has emerged as the sought after design approach in architecture, forming the new modernist in the field.

So, what is this powerful tool?

Generative design is a morphogenetic process usiing algorithms structured as non-linear systems for end-less unique and unrepeatable results performed by an idea-code, as in Nature - Celestibo Soddu24

As defined by Soddu, it emulates the morphogenesis process in nature, like those in the cell growth and cellular differentia-

tion. In this case, parameters drive geometry. Different from the pen-and-paper design, generative design is practiced by setting a set of rules, with or without knowing the end result of the form. It differentiates the parametric Building Informa-tion Modelling(BIM) is that they contains within themselves greater design possibilities. 25 It involves the creation and modification of rules that interacts to generate the final de-sign autonomously. The design process becomes meta-design where the final product is the result of the emergent proper-ties of the interacting system. 26 The concept of design think-ing is totally changed.

Chances of accidental design

In my opinion, it reduces the control of architect on the fin-ished product, which is indirectly killing imagination, at least for now. The ease of manipulating design in any stages be-fore construction by changing a few parameters encourages too many chances of accidental design. The novelty quality of design will increase due to generative design approach, al-though it does not entirely come from the architects mind, but with integration of digital morphogenesis.

Another issue is, any person that knows the operation of the programs can create a complex form. However, even if this was true, it is not a major concern as the end users would not

23 K. Lalit Narayan, Computer Aided Design and Manufacturing (New Delhi: Prentice Hall of India, 2008). p. 3. 24 Celestibo Soddu, Quotes, [Accessed 26th March 2014]25 Sivam Krish, End of CAD Part II, Generative Design, , [Accessed 26th March 2014]26 Dorin, A., Aesthetic Fitness and Artificial Evolution for the Selection of Imagery from the Mythical Infinite Library in Kelemen, J. & P. Sosk (eds), Ad-vances in Artificial Life, Proceedings of the 6th European Conference on Artificial Life, vol. LNAI2159, (Springer-Verlag:Prague, 2001) , pp. 659-668.27 McCormack, J., Dorin, A. and Innocent, T. , Generative Design: a paradigm for design research in Redmond, J. et. al. (eds) Proceedings of Future-ground, (Design Research Society :Melbourne, 2004), p. 3.28 Daan Willems and Ole Werner, An Introduction to Genrative Design, (Lecture Note, Eindhoven University of Technology), < http://www.ds.arch.tue.nl/7at79/publicaties/ffd_wk4_generative.pdf>, [Accessed 26th March 2014]

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affected by it. I see this as a transformation of the concept of designing, which will involve more and more digital tools.28

Benefits

Nevertheless, the digital approach to design brings relatively more benefits than drawbacks to the industry. The ability of generative design to generate complexity, or commonly re-ferred to database amplification, whereby components of a given complexity generate aggregates of far greater behaviour or structural complexity27 , has benefited most design indus-tries. These includes electronic music and algorithmic com-position, computer graphics and animation, demo scene and vj culture, fine arts, product design and architecture design.

Computer programming becomes an important part of the architectural discourse. Scripting liberates the designer by au-tomating their routine and repetitive design activities, gives them more time to spend on ideation. 29 From commercial aspect, it is welcomed as with digital fabrication technolo-gies, construction time is shortened and new file-to-factory protocols can be taken advantage of.30 Time is money. This eventually fastens urbanization in some countries. With digi-tal fabrication, more variety of new forms can be realized in physical world.

La Sagrada Familia, Barcelona

For instance, Antoni Faudis La Sagrada Familia in Barcelona will be facing a much easier solution with the aid of compu-tation. It is considered as the most extraordinary personal interpretation of Gothic Architecture in the entire world his-tory .31 The notable examples include his innovative leaning columns that seems structurally unbuildable at his time and the extremely detailed and ornamental building skin. That was back in 1883.

Today, after 131 years, it remains one of the most extraordi-nary construction projects.32 The building is not finished due to war, funding and construction technology issues. Most of the ornaments on the faade are repetitive, meaning that the facade can be generated parametrically and prefabricated with computational programs. This example proves that generative design technology increases the possibility to achieve highly complicated geometries. I believe that in the near future, 3D printing can be realized on structural materials with factory-scale machinery.

Nowadays, scripting, as in computation, is integral to de-signers skill rather than a technical speciality.33 It should be widely accepted in the practice and use it as a stepping stone to greater achievement in architecture.

29 Mark Burry, Scripting Cultures: Architectural Design and Programming (Architectural Design: UK, 2011), Introduction, < http://au.wiley.com/WileyC-DA/WileyTitle/productCd-0470746424.html>, [Accessed 26th March 2014]30 Mark Burry, Introduction.31 Rainer Zerbst, Gaud a Life Devoted to Architecture., (Cologne: Benedikt Taschen Verlag GmbH and Co. KG., 1988), pp. 19021532 Mack Burry, Gaud Unseen: Completing the Sagrada Famlia , , [Accessed 26th March 2014]33 Mark Burry, Introduction.

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This is the age of digitalized architecture. The popularity of computation has transformed architecture like never before, changing the way this industry is operated, especially on the design approach.

Nature has always been the major influence on the form of architecture. Before the emergence of generative design, the emulation of nature is superficial, which is restricted on the copy of the form. However, generative design is now taking inspiration from the natures morphogenesis process to create a series of repetiting form.

The Digital Grotesques exhibition is fundamentally using generative design method to create a fully immersive, human-scale architectural object with an astonishing level of mocro-detail. The geometry consists of 260 millions of individual facets 3D-printed at a resolution of a tenth of millimeter, all contain in a 3.2-meter high, 16 square meter room.

Both the achievement in digital design and fabrication are proved to break the limitation of computational architecture. It bridges the gap between virtual design and realized out-come in the physical world. In this project, with the concept of repetitive folding of a basic form, they designed a rule in the computer to have the form generated automatically. They use the information contained in the forms to create control the folding and increase variety, for example, radius, length,

digital grotesque/Micheal Hansmeyer & ben-jamin dillenburgerzurich, 2013

34 Michael Hansmeyer- Unimaginable Shapes, (Ted Talks, 2012), , [Accessed 26th March 2014]35 Interview with Michael Hansmeyer, interviewed by Lawrence Lek, , [Accessed 27th March 2014]36 Michael Hansmeyer, Digital Grotesque, , [Accessed 27th March 2014]

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This is the age of digitalized architecture. The popularity of computation has transformed architecture like never before, changing the way this industry is operated, especially on the design approach.

Nature has always been the major influence on the form of architecture. Before the emergence of generative design, the emulation of nature is superficial, which is restricted on the copy of the form. However, generative design is now taking inspiration from the natures morphogenesis process to create a series of repetiting form.

The Digital Grotesques exhibition is fundamentally using generative design method to create a fully immersive, human-scale architectural object with an astonishing level of mocro-detail. The geometry consists of 260 millions of individual facets 3D-printed at a resolution of a tenth of millimeter, all contain in a 3.2-meter high, 16 square meter room.

Both the achievement in digital design and fabrication are proved to break the limitation of computational architecture. It bridges the gap between virtual design and realized out-come in the physical world. In this project, with the concept of repetitive folding of a basic form, they designed a rule in the computer to have the form generated automatically. They use the information contained in the forms to create control the folding and increase variety, for example, radius, length,

planarity of surfaces and curvature. They were establishing a relationship between a property of a surface, i.e, a set of rules. What they are designing is not the form, but the process. Thus, once the rule is set, the process can be carried out digi-tally over and over again. 34

Design with no constraints

According to Hansmeyer, his process can be explain using the metaphor of origami, where folds takes you from a flattened surface to a shape, like a swan. In the virtual world, you free yourself from the physical constraints of origami; and by bringing the geometry into the computer, you free yourself completely as surfaces can intersect, stretch, shrink and so on. All this wouldnt be possible if you were in the physical world. 35 Indeed, the ability to generate form quickly with large possibilities is a huge advantage brought by generative design.

This project also overcomes fabrication challenges by using additive manufacturing technology to a real architectural scale. It is made of sandstone, which is a conventional con-struction material of high strength. This technique allows thefabrication of large scale elements with high resolution and accuracy at a competitive price and in a short period of time.36 The biggest advantage other than having to create highly-de-tailed components is its self-supporting feature, which canthen be used in construction industry.

Hansmeyers former project, the Columns had also in-tended to transform generative pattern into structural object, which can be eventually use to support loads.

Dependency in artificial minds

This project envisages the future of architectural movement into the completely digital age. However, this inseparable re-lationship between human and computer still holds risk in there. This dependency in artificial minds will degrade the development of creative thinking in the form of hand mak-ing, such as wood-crafting, hand drawing, origami and many more. Computer programs bring too much convenience and presets to the users, which directly kills creativity.

Peoples value of aesthetic will change. Nevertheless, cultural value needs to be preserved and sustainable design should be given focus instead. The pursue of fanciful form should not be overriding the fundamental value of building space that is building for the sake of the users.

The Digital Grotesque project demonstrates a design method for ornamental components, which is suitable to apply in the Studio Airs sculpture design. This could be the precedents for us to fulfill the aesthetic requirements.

[ 14 ]

[ 15 ]24

25

Similar with the Digital Grotesque project, this precedent is an example of computational design that leads to astonishing fabrication outcome. The interesting part about this project is the exploration of architectural building materials to the fine arts quality.

Exploration of material quality

It is a project of the The City University of New York(CUNY)s City Techs Fuse Lab conducted by Brian Ringley. Instead, it is actually a university subject on the areas of computation, fabrication, Building Information Modelling(BIM) and building performance analysis.36 Throughout the course, students will apply 3D modelling and parametric skill as well as exploration of material qual-ity. They are required to reproduce pattern from the Rococo, the French rocaille and coquilles(stone and shells respective-ly) from Baltic Birch Plywood using computer numerical control(CNC) milling technology.

Subtractive technique of cutting

The brief proposes that any given moment along the material will have a direct relationship between cutting depth, mate-rial performance and material aesthetic.37 Plywood, unlike steel, concrete or sand, has natural ring patterns on its sur-face and every single faces are different. The understanding of the material strength and pattern is thus very important. This sensibility can be practiced and used to enhance exist-ing performance benchmark when dealing with architectural design of daylighting, ventilation, drainage, acoustics, etc. It can be achieved by subtractive techniques like those of Ro-coco sculptors, using material composites, fluted end mills, and G-code. 38

I am truly amazed by the delicate sculpting technique that is so sensitive that it blends in elegantly with the natural wood pattern. Material is the core of the building and with what-ever design approach it uses, material performance will still stand out. This indicates the careful choice of material and sensibility towards its application.

The advancement of computational design and fabrication technology causes chaos about the complexity of form that human cannot achieve previously. In this case, technology reduces the constraints of materials retains the hand-craft novelty of sculptor while realizes it in a more cost-effective and time-saving way.

Balance of both digital and traditional craft

Digitally-driven design needs might be precise but may feel sterile and distant from human body. Traditional design still needs to be preserved. A unique hybrid of both digital and hand craft quality could merge connection accuracies with subtle but sensual divergences between repeating modules. 39 There should be an equilibrium in architecture to prevent overwhelming response to digitally-driven architecture, which could lead to adverse effect.

For application of the concept in our design, sensibility to the treatment of material should be taken care of. Material-ity and form need to be looking beautiful together. Wood, although light and naturally decorative, is not resistant to weathering. We might like a design that is generated para-metrically but incorporate the activities of elements from nature, for instance, grass and leafs which move with the winds. I hope we can produce something that is new, break-ing of from the form of traditional wind blades.

Advanced Architecture Lab- Dig-ital Fabrication Method, Repre-sentation & Assembly Logic/The City University of New Yorks City Techs Fuse LabNew york, 2014

36 Brian Ringley, Dig Shop#1 : Flip Milling, 2013, , [Accessed 27th March 2014]37 Advanced Architecture Lab- Digital Fabrication Method, Representation & Assembly Logic, (Subject Outline, CUNY: 2014), < http://homepages.uc.edu/~ringlebt/>, [Accessed 27th March 2014]38 The Edge: Brian Ringley, Embracing Design Technology., Novedge, 2013, , [Accessed 27th March 2014]39 Joseph Choma, Project contested Boundaries: Digital Fabrication+Handcraft, MIT Architecture, , [Accessed 27th March 2014]

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conclusionA 4

In a nutshell, digitally-driven design process especially com-putational design is leading the architectural industry and brings enhancement to current design technology. Basically, the emergence of this kind of generative design widens the choice of design possibilities as well as shortens the overall project time of an architectural project. It should be welcomed and accepted by architects as a necessity but not an extra skill in the design process.

My intended design idea is using wind belt to generate elec-tricity. The source of wind doesn not neccesary comes from natural wind, but can be any kind of air vibration. I chose this method as I think the flow of wind is an elegant movement itself, and so it will be potential to capture its movement and develop it into a beautiful sculpture. This responsiveness that can be seen is something I wish to have in my design as for me, this sensitivity is crucial for every kind of architecture to truly interact with the environment. Computational approach will be helping a lot in the design process and hopefully the design outcome will be fit well to the purpose.

Besides, I will iinclude components of interactive structure in the sculpture, so to encourage the public to learn about sus-tainability when playing the structures. Through experience, education purpose will be better achieved. As the purpose of building the sculpture is to increase public awareness about renewable energy, it is significant to deisgn in this way.

The Copenhagen residents will be benefited by this sculpture, as an art piece that decorates the city as well as a monument for the important of renewable energy. This is especially im-portant for younger generation as they are the future. The government will also gain advantage when the area might become a tourist destination. Moreover, my team and the rest of Studio Air students are going to learn a lot of design theory and computational skill in this process.

This will be an exciting journey of designing.

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Learning OutcomeA 5

At the beginning of the semester, I am not quite sure about the impor-tance of computational design. I know that the architectural industry ahs transformed a lot due to the emergence of software technology but have no idea about the method to execute it. This module provided me a fundamental understanding of computational design and its impact to architectural revolution. Both computerization and computational softwares are not a piece of cake for me and its learning process takes a lot of patience. After the end of this module, I have truly understand the benefit and importance of gaining the skills as a prospect for my pos-sibily future career in architectural industry. Skills regarding architec-tural documentation and designing programs will help me to produce quality presentation drawings and design and I guess that is what being an architect is about.

28

Advanced Architecture Lab- Digital Fabrication Method, Representation & Assembly Logic, (Subject Outline, CUNY: 2014), < http://homepages.uc.edu/~ringlebt/>, [Accessed 27th March 2014]ArchDaily, Louisiana State Museum and Sports Hall of Fame / Trahan Architects . [accessed 28th March 2014]Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3-62Brian Ringley, Dig Shop#1 : Flip Milling, 2013, , [Accessed 27th March 2014]Celestibo Soddu, Quotes, [Accessed 26th March 2014]Daan Willems and Ole Werner, An Introduction to Genrative Design, (Lecture Note, Eindhoven University of Technol-ogy), < http://www.ds.arch.tue.nl/7at79/publicaties/ffd_wk4_generative.pdf>, [Accessed 26th March 2014]Dezeen, Louisiana State Museum and Sports Hall of Fame / Trahan Architects , [accessed 28th March 2014]Dorin, A., Aesthetic Fitness and Artificial Evolution for the Selection of Imagery from the Mythical Infinite Library in Kelemen, J. & P. Sosk (eds), Advances in Artificial Life, Proceedings of the 6th European Conference on Artificial Life, vol. LNAI2159, (Springer-Verlag:Prague, 2001) , pp. 659-668.Interview with Michael Hansmeyer, interviewed by Lawrence Lek, , [Accessed 27th March 2014]Jan Cuny, Larry Snyder, and Jeannette M. Wing, Demystifying Computational Thinking for Non-Computer Scientists ( work in progress: 2010)Joseph Choma, Project contested Boundaries: Digital Fabrication+Handcraft, MIT Architecture, , [Accessed 27th March 2014]K. Lalit Narayan, Computer Aided Design and Manufacturing (New Delhi: Prentice Hall of India, 2008). p. 3. Kostas Terzidis, Algorithmic Architecture (Boston, MA: Elsevier, 2006), p. xiMichael Hansmeyer- Unimaginable Shapes, (Ted Talks, 2012), , [Accessed 26th March 2014]Michael Hansmeyer, Digital Grotesque, , [Accessed 27th March 2014]McCormack, J., Dorin, A. and Innocent, T. , Generative Design: a paradigm for design research in Redmond, J. et. al. (eds) Proceedings of Futureground, (Design Research Society :Melbourne, 2004), p. 3.Mark Burry, Scripting Cultures: Architectural Design and Programming (Architectural Design: UK, 2011), Introduc-tion, < http://au.wiley.com/WileyCDA/WileyTitle/productCd-0470746424.html>, [Accessed 26th March 2014]Mack Burry, Gaud Unseen: Completing the Sagrada Famlia , , [Accessed 26th March 2014]Most Unusual Homes in the World, Yahoo Finance, [accessed from 24 March 2014]Narayan K. Lalit, Computer Aided Design and Manufacturing ( New Delhi: Prentice Hall of India, 2008), p. 3, < http://books.google.com.au/books?id=zXdivq93WIUC&printsec=frontcover&redir_esc=y#v=onepage&q&f=false>[accessed 26th March 2014]Rainer Zerbst, Gaud a Life Devoted to Architecture., (Cologne: Benedikt Taschen Verlag GmbH and Co. KG., 1988), pp. 190215Robert Ferry & Elizabeth Monoian, Design Guidelines, (Copenhagen: Land Art Generator Initiative, 2014), p.8.Sivam Krish, End of CAD Part II, Generative Design, , [Accessed 26th March 2014]

references

29

The Edge: Brian Ringley, Embracing Design Technology., Novedge, 2013, , [Accessed 27th March 2014]Trahana Architects, Louisiana State Museum , [accessed 27th March 2014]Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg,2008), p.10. [accessed 24 March 2014]Victor Hugo, The Hunchback of Notre-Dame in Good Reads, < http://www.goodreads.com/quotes/tag/architecture> [accessed from 24 March 2014]Winston Churchill, in Good Reads, [accessed 24 March 2014]Yannick Heywang, The Hunchback of Notre-Dame in Good Reads( 2014), < http://www.goodreads.com/quotes/tag/architecture> [accessed from 24 March 2014]Yehuda E. Kalay, Architectures New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25.

1 http://www.archdaily.com/488701/imai-katsutoshi-sasaki-associates/2 http://www.archdaily.com/488701/imai-katsutoshi-sasaki-associates/3 http://www.archdaily.com/488701/imai-katsutoshi-sasaki-associates/4 www.archdaily.com/479983/new-mountain-hut-at-tracuit-savioz-fabrizzi-architectes/5 www.archdaily.com/479983/new-mountain-hut-at-tracuit-savioz-fabrizzi-architectes/6 www.archdaily.com/479983/new-mountain-hut-at-tracuit-savioz-fabrizzi-architectes7 www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/8 www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/9 www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/10 www.archdaily.com/428122/louisana-state-museum-and-sports-hall-of-fame-trahan-architects/11 www.archdaily.com/428122/louisana-state-museum-and-sports-hall-of-fame-trahan-architects/12 www.archdaily.com/428122/louisana-state-museum-and-sports-hall-of-fame-trahan-architects/

image sources

P A R T b

criter ia design

The most innovative designers consciously reject the standard option box and cultivate an appetite for thinking wrong. Marty Neumeier

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B 1RESEARCH FIELDspatterning

[ 16 ] [ 17 ]

[ 18 ] [ 19 ]

1Branko Kolarevic & Kevin R. Klinger , Material Effects(New York: Routledge, 2008), p.72Branki Kolaveric, p.9

Parametric design as a recent trend of architectural de-sign approach has imposed many challenges when it comes to realization. The forms created might be beyond imagination. Turning digital design on computer to real building is a long and tedious process. It has to be real-ized by a material system accompanied by digital tech-nologies to represent and precisely fabricate artifacts of almost any complexity.1

Practices with cross-disciplinary expertise are emerg-ing to enable the design and construction of new formal complexities and tectonic intricacies. 2 The possibility of material capacity is brought to a new high. Structural system can be parametrically designed to use unconven-tional materials to fabricate. It could be a challenge as well as a design opportunity, considering the mutability of materials.

As discussed in Part A, our groups design direction is wind energy. It requires an element that captures move-ment, which is something that is dynamic and responsive to the movement of wind. We have decided to explore the material system of patterning, considering its pos-sibility to have the sculpture parts to move. Patterning is a system that is designed in an repetitive or predicted manner, mostly consisted of paneling small parts to an overall structure.

Patterning design is good in its ability to translate curva-ture by controlling the size of each components. It broad-ens the possibility to generate curve surfaces, especially ones that could respond to the properties of wind, i.e, free-flowing form. We like the idea that a surface can be parametrically designed to have variable patterns.

Patterning is used at many places since the start of archi-tectural history. Brick arrangement is patterning. Some stained glass window motif is patterning. Complexity of the patterns can be created through parametric design easily. Examples of projects that have applied patterning system will be discussed further.

33

Standing at a 82-storey height, it is one of the few skyscrapers which accommodate community on its faade. The design is inspired by the striated limestone outcroppings usually seen in the Great Lakes area. The floor seems to stack on top of each other on a flat plane arranged according to the shape of the limestone cropping, with curtain wall throughout the wall perimeter.

We were impressed by this building as the faade is not only aesthetically looking-good but functional. The extra curva-ture of the floor plane is extended out to form the balcony both to extend views and maximize solar shading. 3 It inspired us to a form that incorporates functional and aesthetic value in one, which meets the requirement of high efficiency.

Parametric processes have been used here to superimpose the contours and definition of silk undulating in the wind a sign of its past. The wall consists of concrete blocks, angled to cre-ate an interesting texture and varying amounts of light.

The wall consists of bricks angled accordingly to form a curve wall, like silk undulating in the wind. 4The degree of smooth-ness of the wall is depending on the size of the modular bricks, the smaller it is, the smoother the curvature. The hollow brick creates a varying density of light penetration when looking from different angles.

The seemingly changing faade and texture due to its hol-low core and three-dimensional arrangement inspired us about the importance of choice of shape of components and its delicate arrangement. The difficulty when it comes to panel it in real life will be a concern regarding the practicality of our design. Besides, the multi-directional brick will be a good reference for channeling wind from varied direction.

aqua tower/C hic ago, 2000Studio G ang Archite cts

AU Offic e& Exhi-bition Space/ Shang hai, 2010Archi Union Archite cts Inc

[ 20 ]

[ 21 ]

3 ArchDaily, Aqua Tower / Studio Gang Architects, , [Accessed 02 May 2014]4 ArchDaily, AU Office and Exhibition Space / Archi Union Architects Inc, , [Accessed 03 May 2014]

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This installation exhibits the atmospheric, cloudy floating organism and those of the deep-sea floor shell animals with the aid of parametric patterning tools. 5The clouds are semi-transparent sheets with hole that fixed to the rib of the curved surface. The lightness of cloud is depicted through the kite-like structure as if the sheets are floating on the air. In con-trast, wooden material is used to create the patches of deep sea organism to express its sense of weight.

The contrast of materials used creates a promising deep-sea environment. The experience is enhanced when the instal-lation is wrapping us around to give the sense of enclosure anfull indulgence. As education is the major objective of our project, interaction will be a priority in design consideration. This inspired us to look carefully at the choice of materials and scale to create the interactive environment at the right scale.

This project explores the biological principles of the sea ur-chins plate skeleton morphology by means of novel computer based design and simulation methods. 6 It is interesting as in its high degree of adaptability and performance of the polygo-nal wooden plates, connected to each other by finger joints. Three plate edges are joint together at one point, which allows the transmission of normal and shear forces but no bending moments between the joint, resulting in a flexible deformable structure. 7

Form finding and structural design are closely interlinked. The method of connection of joint can be a good reference to be applied in our project. In this pavilion, cell sizes are not constant to allow adaptation to local curvature and orient themselves according to mechanical stress. However, finger joint can only move in one direction. Depending on our de-sign, the joint might be modified to move in at least 2D direc-tion, or fix at one point to form rigid joint. The joint of the pavilion is created within the panel itself, meaning there is not connecting component like screws, making it a simple and smooth surface which is what we want to achieve.

MoMa PS1 finaList: Reef/ Young Archite cts Program, 2007Iwamoto S cott

ICD/ITKE Research Pavilion Stuttgar t , 2011University of Stuttgar t

[ 22 ]

[ 23 ]

5 MoMA, PS1 Finalist 2007- REEF- IwamotoScott, < http://www.moma.org/interactives/exhibitions/yap/2007_iwamotoscott>, [Accessed 03 May 2014]6 Dezeen, ICD/ITKE Research Pavilion at the University of Stuttgart, < http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/>, [Accessed 03 May 2014]7 Dezeen.

355 MoMA, PS1 Finalist 2007- REEF- IwamotoScott, < http://www.moma.org/interactives/exhibitions/yap/2007_iwamotoscott>, [Accessed 03 May 2014]6 Dezeen, ICD/ITKE Research Pavilion at the University of Stuttgart, < http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/>, [Accessed 03 May 2014]7 Dezeen.

Analysis

functional

intensity of light

joint/flexibility

material/experience

Aspects

Incorporate aesthetic and functional Joint movement Create human interaction for all walks of life

Potential challenges

36

B 2CASE STUDY 1.0de young museumSanfrancis o, 2005Herz og & de Meuron

The new M. H. de Young museum is a replacement for the original building that was demolished in 2000 due to earthquarke.

The intersting part of this museum is the exterior facade. The copper facade is perforated and textured to replicate the shad-ow made by light filtering thorugh tree canopy.

When most of the architects want the building to be persis-tently looking good and maintain its original glory, Herzog & de Meuron intentionally chose copper for its changable quality through oxidation. Through time, the facade will turn green, blending into its natural surroundings.

The perforations are variably-sized circles mapping the inten-sity of the light. It is parametrically designed by an engineer-ing and fabricating company A. Zahner Architectural Metals, working closely to create the facade concept.

The analysis of this case study started with understand-ing the Grasshopper script given. The original copper sheet design is consisted of indentations and perfora-tions with patterns varied throughout the building surface.

The case study gave us the opportunity to explore different parameters to create surprisingly varying results. Each rows of iterations are created by changing one parameter at a time.

[ 24 ] [ 25 ]

37

[ 26 ]

38

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matrix 1.0[1] surface edge

[2] perforation shape

[3] intensity

[4] arrangement

[5] image sampling

[6] indentation/3D perforation

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Cross-speciesWe went on to try on altering several species at a time to create cross-species results. Nevertheless, we found that iterations with single specie are generally more interest-ing compared to a cross-species outcome. By manipu-lating only one specie, the design is bold and its visual impact is strong.

selection criteria

Structural system is the uttermost important aspect to realize our sculpture.

Create a scupture that generates electricity while still appealing aesthetically to public. Efficency and function need to be well integrated as one to address the brief.

structuralfeasibility

briefresponse

Interactive is an efficient approach to education. The sculpture should be interactive with the users and provoking enough to educate people about the importance of energy generation.

interative&educational

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Four most interesting iterations

The gradient of intensity is successfully depicted in this iteration. The dots are distributed gracefully , like a patch slowly dissolves into the surface. This is similar with the original texture of deYoung mu-seum, incorporating indentation and perforation in one.

Overall pattern is well intergrated. some dots are kept constant in size while other are variably size in gradient. Pattern is fitted more nicely in square or rectangular then any other shapes,which may shift focus to other point.

Pattern is simply created using variably sized cir-cles, The gradient in size creates a sense of 3D cur-vature on the surface. However, circles are over-lapping in the middle which couldnt be fabricated before re-adjust it. In this case, simplicity creates string visual impact.

This is created using image sampling method. The setting is adjusted so that the size of circle is dis-tinctly different to clearly show the outline of the image. Combining indentation and perforation, this simple pattern can be a potential pattern to depict specific image on surface.

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B 3

Designed by the Japanese architect Shigeru Ban with German architect and pioneer in lightweight architecture Otto Frei, The pavilion is a great leap in the field of paper architecture. It is a great achievement in materials and structural perfor-mance in architecture. The pavilion is consisted of three layers of tunnel; which are, inner paper tube structure, additonal supporting timber frame of ladder arches and a roof mem-brane.

The theme of the expo is environment, thus the goal was to produce it using recycled or reuse materials and produce as little industrial waste as possible. Ban proposed the use of lengthy paper tubing without joints to cut down the high cost of wooden joints.8 The other goal was to use low tech method with fabric or metal tape. This added challenges to the con-struction.

The original idea was having just the paper tube as the struc-tural system. However, in order to gain legal approval in Ger-many, a wooden structure is added.9 This compromise in de-sign actually added further reinforcement to the long side of tubes.

Selection of Grid

How could paper tubing span 72m long? The weakness point is at the lateral strain of the long side of tube. To solve this problem, instead of construct a simple arch of smooth tunnel, a grid shell of three-dimensional curved lines with indenta-tions in the height and width is constructed to increase the lateral strain.

Additonal support system

Otto Frei suggested a fixed timber frame of ladder arches and intersecting rafters which increase the rigidity of the paper-tube grid shell which allows the roof membrane to be attached on.

Roof membrane

The idea of using PVC opposed the goal of the project as it will emit dioxins when burned. A water resistant and fire retardant paper roofing is used instead10, which also exhibits light-pene-trating properties.

Louvres

Paper honey-combs in the shape of equilateral triangles are at-tached to opening as louvres for ventilation.

Joint

The paper tubing is held together simply by tape. Diagonal met-al bracing is inserted to tension the paper grid while allowing it to move in three-dimensions.

We were inpressed by the construction method of the pavilion which is simple and low tech. The perfect curvature is amaz-ingly stunning when the major materials is paper, which is in-fluenced by Japanese Architecture. In fact, paper architecture is approved by minister of construction in Japan as a new struc-tural method in Japan. 11This proved the feasibility of paper to achieve curvature while self-supporting.

CASE STUDY 2.0japanese pavilionHannover, G ermany, 2000Shiger u Ban & R ap Kapp er

8 ShigeruBan Architects, Japan Pavilion, Expo 2000 Hannover. < http://www.shigerubanarchitects.com/works/2000_japan-pavilion-hannover-expo/index.html>, [Accessed on 03 May 2014]9 DesignBoom, Japan Pavilion, Expo 2000, < http://www.designboom.com/history/ban_expo.html>, [Accesssed on 03 May 2014]10 DesignBoom.11 DesignBoom.

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Reduced design creditability

Ban insisted on any addiitonal structural system is unnecces-sary12. This is still an unknown. Aesthetically, the creditability of the design is reduced with the addition of other parts of struc-tural system. The complexity of layers where all the layers have different structural pattern made the design looks distracted.

Forced curvature

Besides, the curvature of the paper tube is not pre-designed and well calculated to integrated to the tunnel shape. It was laid out flat on a temporary scaffold which used to push the grid into its final shape over 3 weeks. 13 In short, it is forced to curve to desired degree. The architectural value of the paper tube thus is mostly on the use of a feasibile material instead of a good con-struction considerations and method.

The ladder-like arches acting as main supporting structural sys-tem, meaning the paper tube might be relying partially on it.

The pavilion is stunningly beautiful, which is something we try to achieve in our sculpture. The structural part of the pavilion might be parametrically designed to create a system that could truly self supporting. Nevertheless. the three layers of systems are still a good inspiration to start our project.

[ 27 ]

12 ShigeruBan Architects, Japan Pavilion, Expo 2000 Hannover. < http://www.shigerubanarchitects.com/works/2000_japan-pavilion-hannover-expo/index.html>, [Accessed on 03 May 2014]13 DesignBoom, Japan Pavilion, Expo 2000, < http://www.designboom.com/history/ban_expo.html>, [Accesssed on 03 May 2014]

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FORM

INNER FRAME

CENTRE STRUCTURE

OUTER PANELS

45

reverse engineering[1] basic geometryThis will be the starting surface for all the other systems.

[2] inner frame(paper tubing)The lines are created by piping the lineworks that are created by joining dif-ferent selections of points on surface.

[3] centre structure(timber frame of ladder arches)Provide lateral support to the other systems. Created easily by using the waffle grid script.

[4] outer panel(roof membrane surface)Surface panels created are depending on the number of edge points, which is af-fected by the lineworks.

FORM

INNER FRAME

CENTRE STRUCTURE

OUTER PANELS

46

final result curve loft divide surface list item line piping+cap

curve loft divide surface list item line surface from 4 points

curve loft divide surface

Parametric design process

curve loft divide surface list item line piping+cap

curve loft divide surface list item line surface from 4 points

Inner Frame

Outer panel

Centre waffle structure

curve loft divide surface

divide surface(two sets of points will be joined in different directions)

line waffle system +notches

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design. This, hopefully, will be an ONE system having a strong visual impact and a suitable level of simplicity.

This pavilion is a significant building in architecture. One of the challenges is to move away from its shape to think indepen-dently regarding our own design. The tunnel shape will defi-nitely be omitted and a new solution will be explored.

On the other hand, the joint system is its weakness thus care-full consideration will be taken when designing joints. We en-visioned a more flexible joint that could integrate well with the panel system.

Our parametric reproduce of the Japan Pavilion is close to the original design with slight changes. The approach of having three layers designed separately is demonstrated in this case study.

With the paper tubing system and supporting arches re-main the same as the original design, we play with the roof membrane layer to add complexity to the surface. The pa-per roof membrane is only serving as water resistant and fire proof purpose, putting the context into our wind en-ergy sculpture, the surface panels will be the rotating panels.

For our sculpture design, we want to have an integration of lay-ers. A hybrid system will be our goal, combining rib structure and panels as well as patterning from Case Study 1.0 to the final

After this Case Study, we started to have a clearer idea on how to realize our design.

Whats next?

+designflexibility(hybrid)

structuralfeasibility

briefresponse

interative&educational

Revision on selection criteria

+designflexibility(hybrid)

The final sculpture should be a hybrid of different systems, instead of many individ-ual systems.

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50

[1]

[2]

[3]

[4]

a b c d e

B 4technique: development

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development 1.0

[5]

[6]

[7]

[8]

[9]

[10]

a b c d e

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Four most interesting iterations

The interesting ribbon-like patterned structure. The linework shows dynamicism and formality. I imagine the ribbon structure is a blade wind tur-bine and the frame is the supporting system. It is of high potential to be realized into a energy genrat-ing system.

An integration of frame and 3D surface, this struc-ture can be the supporting system that holds the wind turbine. Patterning can be applied at large scale, with solid and hollow surfaces as negative and positive point.

This example is a 2D perforated panel which holes placed randomly across the surface. Similar with , smaller holes are used. The size of holes control the accuracy and blurring of the pattern.

Triangulation is always better. Triangles when act-ing as frame is generally stronger and stiffer then four edges frame unless a diagonal bracing in used. This iteration can also be a potential pat-terned structure of the final design.

designflexibility(hybrid)

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An integration of frame and 3D surface, this struc-ture can be the supporting system that holds the wind turbine. Patterning can be applied at large scale, with solid and hollow surfaces as negative and positive point.

Triangulation is always better. Triangles when act-ing as frame is generally stronger and stiffer then four edges frame unless a diagonal bracing in used. This iteration can also be a potential pat-terned structure of the final design.

revision for selection criteria

structuralfeasibility

briefresponse

interative&educational

designflexibility(hybrid)

Iterations at this stage have high design potential due to structural feasibility that slowly shown when going through design process. As discussed before, we want to have a hybrid system that integrates panel, joint and frame structure system. The iteration rows [1] and [2] show the manipulation of base form by changing the body of the original tunnel idea. Iteration rows [3] to [10] are basically patterned structures that integrate frame and panels, with some exceptions. Rows [7] and [8] show solely panels. Meanwhile, rows [5] and [6] have potential to develop further into final design as they have a solid rigid grid framing.

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[1] image sampling

[2] shape of perforations

[3] point of attarction/ intensity

Perforations Pattern

This time we tried on a simplier pattern, which will then be realized onto the wind turbine panel. Since the beginning, we see the gradual change in size of the per-forations as interesting part that we could adopt into our final design. This arrangement of gradient exhibits intensity of light when shinning through the panel.

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development 2.0

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B 5technique: prototypes

a b

ed

c

f h jig

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a Thick Paper | Flexibility of joints. This joint method enables eachtriangle frame to adjust its angle of edges freely. The frame is able to expand and contract. Besides, the angle between triangular frames can also be changing freely.

b Thick Paper | Flexibility of joints. Explore a system without joint components. This is similar to the ICT/ITKE Research Pavilion in University of Stuttgart, which has a finger cut on the edge of panel itself. In this prototype, the frame is cut to intersect each other which allow movement between frame.

c Balsa Wood | Flexibility of joints. Using a similar method as [b], but this time balsa wood is lengthen to extend the whole length of structure. This prototype replicates the paper tubing system of the Japan Pavilion. The frame can also be expanded and contracted.

d Plastic tube | Flexibility of material.Explore a material that can be bend easily. According to the shape of pavilion, the plastic is able to span the width, providing that a resisting load is applied on the point of anchorment in the ground. The weakness is, if it can be bent easily, means it is too firmsy to support other weight(in this case, panel).

e Cardboard | Overall structure with fixed joint.Triangular frames connecting to form shelter. Explore the scale relationship between user with sculpture.

f Acetate | Panel X-type vertical axis panel. The axis is made of paper tube, with a fixed joint to the panels. It could collect wind from different direc-tions.

g Acetate | PanelH-type vertical axis panel. Similar with [f], but the starting torque is very low, whichneed more wind to initiate movement.

h Ivory Card | BladeWind turbine with three blades. Working in a similar way as [f], the airplane-wing-like curvature appplies Bernoullis principle which increase the speed of wiind passing by the blade.

i Acetate | PanelWind turbine with three blades. Experiment with wind shows that turbine unit with three blades spins faster than a four-blade unit. This is due to less drag created by wind resistance. 14

j Cardboard | Panel Another three-blade panel with a different axis joint. It does not need any connector but wind force will slowly weaken the joint.

14 Curiocity, Wind Turbine Blades, < http://www.explorecuriocity.org/Content.aspx?contentid=193>, [Accessed on 04 May 2014]

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Building model in Rhinoceros Fabrication Diagram

k Wood & Ivory Card | Panel Assuming the frame is fixed, this panel examines the rotation of panel that is attached to the frame. Rhinoceros tool is used to building the model digitally and laser cut to 1:1 scale components. Resulting model is precise and rigid, thus the rotation is smooth. This might be adapted to the actual panel that we will use in the sculpture. Holes on the panel is a test for patterning on panel. Test shows that ivory card is still too heavy to rotate by natural movement. Only one hole is cut as it will reduce the torque of the rotation.

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Prototype Close-ups

l Wood | PanelA much improved version of [k]. This is a laser cut model imitating the Savonius wind turbine. The rotation on this panel is smooth. However, the wooden strips used to keep the card in shape is too heavy to detect slight air movement. Besides, the joint on the edge is a fixed joint, meaning that the adjacent panel will be in plane with it, which opposed to the concept of having curved surface structure. These two points need to be improved to achieve our design goal.

k

l

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Prototype Making Process

Paper strips > Folding & Cutting > Intersecting

Cut holes > Pre-curved the card > Fit the card into a cut line on the wooden strips > Glue it on

Performance Test

Joint | Compressing > Stretching

Structure | Lighting conditions: Direct light from side | Diffused light from top

Panel | Panel Rotation Experiment

designflexibility(hybrid)

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revision for selection criteria

structuralfeasibility

+formfollowsfunction

briefresponse

Overall form will be designed to collect strong effect of wind.

interative&educational

During the process, one of the selection criteria, the structur-al feasibility is our main concern. Our prototypes are done in stages. The earlier ones are used to have a visualization of the design practicality. They are the tools for exploration from idea to real model and to the next prototypes. This process is im-portant to settle down the overpowering imagination especially when designing with Grasshopper which produces limitless it-erations, where only a few could be realized.

Materiality is another important aspect. Prototyping gets us to discover the potential of materials when it is used in different ways. For this stage, exploration of materials is still lacking and needs further study and experiement to find a suitable material to fabricate into different components.

Prototype [k] and [l] are ones that might be put into our final design due to its feasibility and stability. Laser cutting method will again be used due to its high accuracy. This includes the cutting of panel and perforations as well. Ivory card, is still too heavy to be turned by slight wind movement, a lighter material will be used to replace it.

Form follows function. Despite being aesthetically good, which is objective and easier to achieve, function will be a higher con-cern for our next stage. The next step to be taken after this will be to think of a feasible form that could collect more wind to turn the turbine, while still provide great experience to the us-ers.

designflexibility(hybrid)

potentialforfurtherdevelopmentIt should be a starting point and role model for any other futher development of its kind.

B 6technique: proposal

anginA design proposal for Land Art Generative Iniatitive 2014, Copenhagen

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...Structure fea

sibility

...Desig

n flexibility(hy

brid)

...Brief respon

se

...Form follow

s function, gen

erating energy

...Interactive&

educational

...Potential for

further develo

pments

x criter

ia

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x design concepts

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x tECHNOLOGYSavonius Wind Turbines[ 28 ] [ 29 ] [ 30 ]

We decided to use Savonius wind turbine as our main component for energy generator. It is a type of vertical axis wind turbine.

Vertical axis wind turbineAthough a horizontal axis wind turbine is more common, vertical axis one is chosen. The operational technique is based on drag. The wind is captured in the indention of the turbine, which causes the turbine to spin. On the other side, the air is foiled into the indention. This process repeats to spin the turbine. 14

Less limitationIt could accept wind from all directions thus the placement position of it is not a concern, thus reducing the limitation on design. Environment wise, it is relatively quiet and harms no birds or people.

Functions at low speedIts advantages over other turbines is its reputation for functionality at a lower speed as low s 11 mph. 15This kind of turbine generator and gearbox can be placed lower to the ground, 16which is convenient for human interaction. Maintainenece is easy as no climbing tall is needed to reach the blades.

Most importantly, it is very simple and can be recreated by any reasonably handy person. Cost is low as any waste materials can be used to fabricate it, such as plastic bottle cut into half. This fits the selection criteira of feasibility, educational purpose and potential for further development.

14 Background Research and Benchmarking, Analysis of Streamlines, , [Accessed on 03 May 2014]15 Erik Andrus, The Savonius Rotor: A Durable Low TRech Approach to Wind Power (USA: University of Vermont, 2008), p.316 Conserve Energy Future, Vertical Axis Wind Turbines, , [Accessed on 03 May 2014]

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x experience Tic Tac Toe PlaygroundsInteractive Moving Panels

[ 32 ] [ 33 ]

The major aim for this poject is to be an educational tool to raise awareness of the importance of energy generation as well as emphasize its approachability.

Tic Tac Toe playground is our main inspiration for the concept. This is what we want to achieve.

Scale Scale of the sculpture is important. Normally, public sculpture is built by adult for adult. This sculpture will take into account a scale suitable for the use of children who are the main target user.

Change peoples mindThe traditional wind mill is usually located at desserted area and built to tall height. The image has been instilled in the peoples minds that wind turbine is polluting the natural landscape. With this sculpture, we hope to give the impression that energy generator can be approachable and beautiful.

Fun learning for childrenTic Tac toe is located close to neighbourhood and became a toy for the children. It is interactive, fun an simple. To recreate this experience, the rotating component should be looking good to attract them.

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x patterningde Young Museumby Herzog & de Meuron

In the final design, the idea of patterning in Herzog & de Meurons de Young mu-seum is applied. We omitted indentation and printed pattern as the former looks unpleasing and the latter is purely for aesthetic purpose.

Light pattern & channeling windIn this stage, we have the wind panel perforated to control the penetration of light, especially when seen from the inside of the sculpture. It also helps in channelling the wind to the holes and increase its speed according to Venturi effect.17 This gives more wind force to the panel beside it.

To have or not to haveAt first, we are struggling with whether to have the perforations on panel or not to have. This is in consideration that wind might just passing through the holes, reduc-ing the effective surface area to collect wind.

Further DevelopmentDue to time constraint, this section of the design is not developed into a promising outcome. For further development, we might be considered looking at pattern at larger scale, which may be treated the sculpture as a whole surface. The downside is that this will cause each panel to be fabricated separately, which is not cost-efficient. Further development will be made easy by parametric design tool when each panel is a division point of the surface.

Nevertheless, a compromise will have to be made to find the best balance between the two.

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[ 35 ]

[ 39 ][ 37 ]

[ 36 ]

[ 38 ]

17 Wolfram Demonstration Project, Venturi Effect, < http://demonstrations.wolfram.com/TheVenturiEffect/>, [Accessed on 03 May 2014]

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x structure Japan Pavilion , Hannoverby Shigeru Ban& Ray KapperJapan Pavilion is the main reference for the final design. It is a starting point for our design approach, in which we are having a hybrid system incorpo-rating the layers of systems into one.

A HybridThroughout the design process, we explore structure, joint and panel sys-tem. To get the three systems integrated into one is a considerable big chal-lenge, especially when playing with curved surface.

Treating the large surface as small unit componentsThe weakness of Japan Pavilion is avoided by not having the materials forc-ing into curvature. This indirectly meant that we will split structure into small components surface and focus on the joints between each unit. The success of the wind panel prototypes made us decided to take the panel as starting point.

We then design a form that is responsive to the site. By incorporating the panel system into the form, a final structure is created.

Panel system + Form = Final structure

[ 40 ] [ 41 ] [ 42 ]

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x geometry8-House, Copenhagenby BIG Architects

[ 43 ]

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[ 45 ] [ 31 ]

The form finding process is crucial as the first point of attraction to the public.

A responsive formThe study of site context keeps us on track to produce a responsive design and avoid designing it into an alien that awkwardly placed on the site. Para-metric design approach is used to explore a responsive form to both site and wind conditions.

This example from BIG architects gave us an insight to a responsive form. We have always admired the design from this firm as being efficient in re-sponsive form making. This example is a mixed-use building incorporating apartments block stacked together to form a 8 building.

The original rectangular form is pinched at the centre to form an 8 to al-low access across the building which leads to a local attraction on the other side. One edge of the 8 form is drag down to create a sloping site which could be accessed by bicycle, which is a popular transport method in Co-penhagen. Every change they made is supported by good reasoning and responsive to site and cultural aspects.

Potential space in created by closed curveDespite its responsiveness to the site, the 8 form inspired us to look at closed curve, by which the hollow space in the middle is a potential area for public interaction.

Our process of form finding is recorded as matrix in the following page.

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form finding 1

We were struggling much to move away from the tunnel shape of Japan Pavilion. This is because a tunnel shape provides a good reasoning for channelling the wind into the interior.

Design process is initiated by a sine curve further derived from the semi-circle opening of the pavilion. If the curve is treated as tunnel, the space below the curve will have different air pres-sure, thus creating a space of varing intensity of wind. The space above the curve with its bumpy path, create space with different wind velocity according to Bernoullis principle.

We then started to develop it at different orientation and posi-tion. Still, a replication of tunnel shape is a no-no.

Iteration [4]b gives a sense of space into the form, which we began to see