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S T U D I O

X I A O J U I N L O W : 5 8 1 6 5 2 A B P L 3 0 0 4 8 2 0 1 4 S E M 1 S T U D I O : 1 4 T U T O R S : F I N N & V I C T O R

A R C H I T E C T U R A L D E S I G N

A I R

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

4R E S E A R C H F I E L D B.1

The trend of computational design in this day is grounded on the integration of a series of domains such as fabrication technology, generative algorithm technologies and materials. This not only relies on the ability to deal with digital tools and methods, but also the experience on material systems and prototyping constraints. 1 The concept of parametric modeling as discussed in Part A is a model that designs based on relationships between different elements and components. Focusing on this fundamental concept of parametric modeling, along with the brief for the LAGI competition, myself and 3 other group members have decided on the material system of patterning.

Patterns have been covering architectural surfaces for years and even till today patterns provide a useful device for architectural articulation. Within the context of parametric design, patterning emphasizes a shift in the generative side of the digital paradigm. The benefits of using parametric designs to create patterns is its ability to transform the technique of patterning into a new form of digital articulation by utilizing data-sets to drive different pattern differentiation across a surface. 2 Patterns can be set up through parametric configurations in such a way that the main pattern can be kept even and homogenous while its host body/ primary surface changes. 3 The manipulations of different components in the algorithmic definition can trigger dramatic shifts in appearance of a surface or space.

http://www.zwarts.jansma.nl/attachment/2110

1,2,3 Patrik Schumacher, Parametric Patterns, AD Architectural Design Patterns of Architecture, Vol 79, No 6 (Nov/Dec 2009) [accessed 3rd April]

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http://www.wallpaper.com/images/186_ornament_am030408_f.jpg

http://inspirationish.com/wp-content/uploads/adoba_tei_restaurant_detail.jpg

6http://lostsf.files.wordpress.com/2010/11/deyoung-museum2.jpg

http://figure-ground.com/data/de_young/0018.jpg

http://static.flickr.com/28/56219889_7eed3f7fb4.jpg

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As a group, we started off our research project by exploring other generative design works of other architects/designers that incorporated parametric patterns in their designs. One of them was Herzog & de Meurons design for the de Young Museum. The design intent for the faade of this museum was to create a variably perforated screen exterior clad in copper that would mirror the green foliage of trees of the surrounding Golden Gate Park in San Francisco. 1

The architects executed this design idea by first taking a photo of how they envisioned the way light would filter through the perforated systems of holes similar to the way light filters pass the canopy of trees to create interesting shadows.2 The architects worked together with Zahner, an engineering and fabrication company, to generate a system known as the ZIRA Process that allows perforations and patterned dimples to be positioned throughout the exterior faade. 3 These patterns could then be easily altered through the variation of size, deepness of dimple indentations, etc. The use of the ZIRA Process program allowed the engineers to choose different images of the foliage pattern to model through the algorithmic system and then translate it to the copper plates.

The effect of material performance can also be seen in this project as the brownish copper cladding is expected to oxidize overtime and take on a greenish tone and an interesting texture that echoes the patterns of the surrounding trees. In exposing the forces of nature as a key changer, the architects not only highlight the beauty of the site, but also responds to the historical background of the de Young and the long standing controversy over the museums presence. 4

The use of patterning as a material system allows a design to be transformed in a repetitive or predictable manner. One of the issues with patterning is that a primary or base surface / structure must first be designed before the patterns can be translated onto it. Hence, the concept of patterning could possibly only be adapted to enhance the aesthetics of our groups design for the wind-energy generating system instead of the structural system.

de YOUNG MUSEUMHERZOG & de MEURON

http://static.flickr.com/28/56219889_7eed3f7fb4.jpg

1,2 Herzog & De Meuron Basel, de Young Museum, [accessed 3rd April]3,4 M.H. de Young Memorial Museum, Zahner (2014), [accessed 4th April]

8The following part will aim to investigate the potential of parametric patterning in architecture through the exploration of diff erent design exercises.

Our group explored the de Young Museum algorithm in hopes to explore the techniques used by the architects and engineers that could be relevant to our design. We understood that the given grasshopper defi nition as a basic 2D grid, that contains points in the form of circular geometry which represented the perforated holes of the faade that has been off set within the grid to produce a pattern. This led us to begin our exploration of the 2D grid and the types of patterns that we could produce by altering the parameters on the grasshopper script.

What we fi rst found was that the script was divided into diff erent groups of parameters which allowed each group to be manipulated individually. We were quickly able to produce a matrix of the diff erent iteration results after changing numerical inputs and components in the Grasshopper script. The matrix shows the diff erent type of species generated and iterations of that particular species.

The fi rst component that we altered in the script was the ones related to the geometric principles of the pattern to create the fi rst two species. By changing the number of segments in a geometry, we were easily able to change the shape of base surface as well as change the shape of the individual holes in the grid.

Next, we altered the parameters related to the radius, spacing and heights of the perforated holes to create diff erent pattern organizations. We also experimented with the idea of layering by duplicating the existing grasshopper script and changing the sampling image to produce a species that possesses a sense of complexity through the combination of two diff erent layers.

The next species we explored involved inserting diff erent images into the image sampling parameter that will then be translated to the patterns on the grid.

For the last species, we made changes to the mathematical defi ntions of the script. The types of equations inputted into the script were either linear or nonlinear equations which resulted in a range of 3D outcomes as oppose to the initial 2D form.

The diff erent variations of patterns were not only surprisingly easy to generate than expected, but also surprisingly interesting in its form.

As outlined in previous parts, parametric design will be the driving design approach for the LAGI competition. However, the aim is not limited to just reiterating conventional design, but also to challenge and stretch parametric boundaries to produce unexpected outcomes. The benefi ts of using parametric patterning is that it contains a systematic approach in its generation of form in that one or all parameters can be changed in the script to create a form that is unexpected and dynamic.

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

BASE GEOMETRY

COMBINATION OF LAYERS

CHANGING SAMPLING IMAGE

MATHEMATICAL DEFINITION

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SPECIES A

SPECIES B

SPECIES C

SPECIES D

SPECIES E

SPECIES F

1 2 3

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4 5 6

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SPECIES D (3) SPECIES D (4)

SPECIES C (2) SPECIES F (1)

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After going through the selection criteria, these 4 outcomes were chosen based on their likelihood of being developed into something that can be brought to the next stage of this project. The 3rd and 4th iteration of Species D were interesting as it showed the possibility of creating a variety of patterns in different axis and sizes through image sampling. These iterations demonstrated how the primary pattern (simple rows of circles) could be easily manipulated to create different visual impacts.

The 2nd iteration from Species C was chosen because it shows a combination of complexity in form. This iteration was a result of layering two different types of image samples and altering the density of the holes. The varying intensity of the circular patterns within the grid makes for a dynamic and interesting pattern which could easily be populated to any surface.

While the other species showed the possibilities of 2D patterning, species F takes patterning to a 3D realm. The benefit of this species is that the pattern itself could become a structural form. This could potentially give numerous more design options that can be further explored. I believe that through further experimentations and developments in Grasshopper, the team will be able to find a way to incorporate the concept of generating wind energy discussed in previous parts into this three dimensional patterned form.

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

After generating a range of species and iterations, a solid selection criterion was determined to pick the most successful outcomes. The chosen iterations will form the basis of further research in the project.

Relevance to the brief x Being able to incorporate energy generating systems within the designx Be functional as an interactive community space that will educate the public.

Fabrication possibilities x The design of the project should take into consideration the use of different fabrication and construction methods as well as its feasibility.

Visual impact through Patterningx Enhancing the visual aesthetics of patterning as a material system within the design as a medium to bring an impact to the site.

Flexibility of species typex The ability to adapt to the different visual and functional requirements of the brief which will enable us to further explore characteristics of the chosen species.

Potential for further developmentx Choosing designs that can be continuously improved and reimagined as a way to avoid an outcome-orientated design and restricting ourselves to a set of design systems.

D E S I G N P O T E N T I A L

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http://www.world-architects.com/en/shigeruban/projects-3/japan_pavilion_

http://www.world-architects.com/en/shigeruban/projects-3/japan_pavilion_

http://www.designboom.com/history/ban_expo.

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

After exploring the concepts of Patterning by looking at the De Young Museum , we found that it was very surface based and lacked in terms of structural forms, sowe decided to move on to explore Structures as a material system. The Japanese Pavilion for Expo 2000 held in Hannover Germany was a grid structure made of recyclable paper tubes. The protection of the environment was the theme of this exhibition which resulted in the development of the main design intent for the realization of the Japanese Pavilion which resulted in a structure whose materials could be recycled when dismantled. 1

The design process began with architect/designer Shigeru Bans structural idea of a tunnel arch with paper tubes. In paper tubes, Ban found a material that is cheap, strong, sustainable, and readily available. However, he knew that in order to minimize the cost of having expensive structural joints, he decided to take advantage of one of the characteristics of paper tubes their ability to be made to any length. This led Ban to propose a grid shell structure without joints to engineer (and earlier pioneer of parametric design) Frei Otto.2

1,2 Japan Pavilion EXPO 2000 Hannover, Shigeru Ban Architects [accessed 14th April 2014]3,5 Shigeru Ban, Engineering and Architecture: Building the Japan Pavilion, pg 8-15 [accessed 14th April 2014]4 The Grid, ordinarystudio, < http://ordinarystudio.com/The-Grid> [accessed 14th April 2014]

To determine the form of the pavilion, they adopted a building method in which paper tubes would be connected in a grid of 3D curves (lattices) instead of a simple arch. The grid would then be elevated or pushed up from below to form the grid shell.3 In the words of Matthijs Toussaint, one of the main characteristics of the structural behavior of a shell is its large span to thickness ratio. The addition of a grid to a shell structure allows the construction to benefit from the combined action of shell and arches and also adds a level of directionality and control. 4

In addition to the lattice grid structure, Otto also then proposed a fixed timber frame of ladder arches and intersecting rafters that would be attached to the grid shell to give it strength and also allow for a translucent outer membrane to be attached.5

Besides the structural qualities, the result of the Japanese pavilion exhibits a heightened degree of control over qualitative factors such as materiality and light, a great example of a structure that integrates both computational technology and innovative use of materials.

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We employed reverse engineering techniques in attempts to reconstruct a definition that generates a model similar to The Japanese Pavilion. From our research of the case study, we concluded that the most important feature of the Japanese Pavilion was the concept of layering one structure on top of another. So, we decided to begin our study by recreating this 3-layer composition.

The parametric modeling process began with the modeling of the base form through basic geometry. A sin curve definition was used to create the undulating base shape of the Japanese Pavilion.

The next step was to create the first structural layer the lattice grid shell structure. This was done by referencing past experience from our algorithmic sketch task of designing a low-lying structure. The diagrid structure was created by intersecting two curves. The density of the grid was achieved by altering the U and V values of the base surface grid. As grid points were manipulated in a repetitive manner, the generated outputs created a range of patterns.

Recreating the second layer led us to generate a waffle grid structure. The waffle grid structure is a rationalized method to create dynamic forms through a combination of grids and ribs that can provide a rigid and strong structure. This method would probably be the easiest to fabricate and assemble, but because of its lack of complexity in form, we were encouraged to move away from such simple methods and explore more complex structural techniques.

The final step was to recreate the translucent outer membrane of the pavilion. Initially, we faced the problem of rationalizing a surface to produce planar surfaces. Through further explorations and research, we were finally able to populate the original grid and interpolate a surface to it to create the outer membrane panels. The process of creating different planar surfaces resulted in some very interesting outcomes that showed potential to be further developed.

R e v e r s e E n g i n e e r i n g P r o c e s s

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Inner structure

Inner structure + grid structure

Inner structure + grid structure + outer memberane

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A matrix was created to show the diff erent iterations made by altering and adding components of the Grasshopper defi nitions of each layer. The outcomes showed the ability of creating a variety of structure that would be considered in reference to the internal volume and potential experience of users for a land-art design.

The fi nal outcomes were quite successful as it imitates quite closely to the original project. One of the greatest diff erence between our model and the original Japanese Pavilion was that ours failed to include the connection/joints between the 3 structural layers. This is something we could experiment during the prototyping stage.

It was important for us to realize that the performance and fl exibility of structure became the main component which would determine the form and function of the structure. This would be useful to consider as we move into the next stage when we begin making prototypes to test the feasibility of these created forms. As we continue on in this project, we aim to further adopt several more patterning and structural techniques to generate greater complexity for the structure.

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Basic form

Inner structure

Grid structure

Outer structure

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

Similar to what was done in Case Study 1.0, the Grasshopper definitions used for Case Study 2.0 were manipulated to generate a range of outcomes that would evolve away from the original definition.

By reverse engineering the Japanese Pavilion, we were able to gain more control over the design, this allowed us to follow on from the techniques and definitions from that exploration to generate a series of iterations through the creation of different structural forms. We were able to combine the explorations of patterning in B.1 as well as the structural grids in B.2 to produce a palette of varied structures to work with. The technique development process will aim to generate potential forms that would be suitable for the LAGI competition design.

We understood from our previous explorations that the Japanese Pavilion had issues with connections/joints, hence we decided on a solution to merge the layers together to form a single complex hybrid layer. In this section, we will study the formal possibilities of combining the layers of varying structural formations with the use of parametric model as a form finding tool.

The technique development stage was tackled through the methods of design discussed by Kalay.1 From the outset of the project, we had a case study to explore different material system, then a precedent (the Japanese Pavilion) on which we based our technical explorations.. The problem-solving approach was adopted in this case to come up with a range of solutions (iterations) that would meet our predetermined selection criteria.

The initial stages of the form finding process involved brainstorming on paper and Grasshopper to produce potential design solutions. We started off by creating a base form that would help channel wind movements from specific directions on the site (Set A). We decided to create a tunnel-like form with a big opening that gradually becomes smaller, which follows Bernoullis principle that when a substance flows horizontally from a region of high pressure to a region of low pressure, a net force is created on the volume, thus accelerating it along the streamline.The idea of the tunnel was chosen not only to improve the efficiency of the wind energy collectors, but also to enhance the experience of users as they walk through the tunnel. With this idea in mind, we came up with a series of forms of varying shapes that could potentially create specific spatial experiences such as the wind tunnel forms where individuals could connect with nature. 1Kalay, Y. 2004. Architectures New Media : Principles, Therories and Methods of Computer

Aided Design, (Cambridge, MA: The MIT Press), p.18

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The next series of iterations (Set B) were produced by altering the u and v values of the trigrid points. At certain points, the grid exceeds its and the shape becomes irregular, resulting in some interesting forms. The grid forms provide opportunity for application of wind harnessing technologies such as panels within or upon the grid structure. The grid structure could also be easily fabricated through an interlocking system of ribs.

Set C experimented with structural patterning. The Grasshopper definition for this set allowed us to tessellate a surface with two different panel types dispatched through random sorting. While some of the iterations were successful in producing an interesting patterned structure, others were either too simplistic or chaotic.

Set D explores how a tessellated surface can be transformed from its original quadrangular pattern to a diagrid pattern. The process began by giving a specific domain by the U and V values to the input surface (curved form). The surface was then divided according to the domain inputs (U and V values) to obtain points across the surface. From these points, 4 lists were created to form the square patterns on the surface and determine the number of vertices for the diagrid.

The length of each of the vertices were manipulated by shifting the slider. This affected the position of each point and hence the surface form. Another set of sublist was created to extract the points from the original points, this list was then subjected to culling to form the smaller set of squares. It can be seen that some of these patterns are simply decorative ornaments on the surface of the structure and do not provide any structural functionality.

Set E experiments with integrating patterning to a structure on a macro scale.

Set F explores how the panels would be incorporated to a range of forms. This was done through the BoxMorph command on Grasshopper by referencing a chosen form as a BREP to be populated across a surface. The major issue with this technique was that we were unable to reference the panels with the rotating panels.

The next step in the process would be to test the rationality and feasibility of some of these design outcomes through the creation of physical prototypes. Through prototyping, we would be better informed on how to further develop the various techniques that will form the basis of our design proposal.

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SET A

SET B

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SET C

SET D

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SET E

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SET F

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Before coming up with a preliminary digital model on Rhino, we decided to experiment with different types of structural fabrication techniques by building a range of prototypes. We thought that this would be a good way for us to learn about different material performance and at the same time, obtain a greater range of outcomes for comparison and further development.

Our proposed technique involves combining structural forms with patterning to form a complex and dynamic structure. Most of the prototypes were made by hand with the aim to explore the structural rigidity of different materials under various designed conditions such as bending, stretching, distortion and tension. Prototype 1

Prototype 2

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

Prototype 1 explored the idea of creating a structural grid through an interlocking system of ribs made of balsa strips. The aim was to test the structural integrity of the material and the possibility of incorporating wind harnessing technology within the structure. What we found was that although the method and material used were able to produce a sturdy structure, its overall form did not reach the level of complexity we were looking to achieve for our final model. The cavity between the grid structure could possibly house energy generating/storing components.

Prototype 2 was created to test the bending capacity of the plastic material.

Protype 3 experimented with the interrelationships between a single nylon string and a number of different nodes. Many different configurations can be created by moving the strings to different points. The tension of the string influences the overall geometric pattern.

Prototype 3

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In this series of models, I experimented with the method of using connections and joints to create a patterned structure. Instead of creating components with predetermined connections, I decided to make a basic component out of three bent cards without any extra connections. The triangle shaped component were connected by intersecting the end of each cards to each other. The components were then connected to one another in a systematic way to form a pattern that consist of three shifting layers of the same triangular pattern. For the other model, instead of intersecting the cards with each other, I created a circular component that would act as a joint that would connect each triangle. This resulted in an entirely different patterned structure.

Prototype 4 Prototype 5

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Prototype 6

Prototype 6 shows an exploration of paneling a surface with a triangulated pattern which we explored digitally in Case Study 1.0. The cavity between the individual triangulated panels could possibly house energy generating/storing components.

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The prototypes were also created to explore possible wind collection systems where rotating panels could be used to generate energy. The motion created by these rotating panels would not only generate usable energy, but also allow the design to engage with the users through a dynamic experience of the movement and play of light and shadow. The experience of walking through a tunnel structure covered with rotating panels further enhances the concepts of the eff ects of wind movement and energy generation.

One of the precedents we looked at when exploring the possibilities of incorporating rotating panels in our design was the Savonius Wind Turbine, a wind harvesting device designed by Finnish engineer S.J. Savonius in 1922. The Savonius Wind Turbine is built by mounting two half-cylinders on a vertical shaft. The device operates on the basis of drag when one side creates more drag in moving air than the other, it causes the shaft to spin. 1 The advantage of this wind turbine is that it is easily built and it can accept wind from any direction. The electricity from the wind turbine varies with the wind speed ad is collected via a generator that will convert the wind movement into pulses of current or alternating current.

Another precedent I looked at when thinking about movable parts in a structure was the RMIT Design Hub by Sean Godsell architects. While this building responds to solar energy instead of wind movements, the technology behind its movable faade is of relevance to my groups project. This hub has a faade of automated sun shading devices (16,000 sandblasted photovoltaic cells) that turns transparent in the rain and automatically tracks the sun. An internal computer controls this facade by adjusting each cell with rotational motors, according to Melbournes daily weather. The glass cells rotates along a single axis, creating interesting shadows throughout the day. 2 The simple circular cell structures of the faade allow the solar panels to be easily replaced as the technology continues to develop.

P R E C E D E N T S

www.turbinesinfo.com

http://www.smh.com.au/entertainment/art-and-design/hub-has-designs-on-rmits-creative-types-

http://blogs.crikey.com.au/theurbanist/2012/02/09/rmit%E2%80%99s-design-hub-revisited-is-green-turning-red/

1 Zingman, A.. Optimization of a Savonius Rotor Vertical-Axis Wind Turbine , MIT (2007) http://dspace.mit.edu/bitstream/handle/1721.1/40927/212409044.pdf [accessed 29th April 20142 Sean Godsell Architects, RMIT Design Hub, 2007-2012, http://www.seangodsell.com/rmit-design-hub [accessed 29th April]

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One of the biggest issues faced in the prototyping stage was to model a movable structure that would represent the moving blades on a windmill. Through further exploration, we were able to digitally create a simple wind turbine structure similar to the Savonius Wind turbine.The digital model was sent to be laser cut in the FabLab (Prototype 9 &10). A series of joints connecting movable panels were also built (Prototype 7 & 8). A video of these prototypes being tested under wind conditions can be viewed at https://vimeo.com/93277811

Prototype 7

Prototype 8

Prototype 9 Prototype 9

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

Our groups research into patterning and structure as a material system combined with parametric modeling techniques has resulted in our design proposal. We wanted to create a design based on the concept of form follows function, with function as the ability to harvest wind energy. This meant having to generate a form that is responsive to the site especially in terms of wind movements.

Based on our study of the Japanese Pavilion by Shigeru Ban, we came up with a hybrid form that integrates moving panels (inspired by the Savonius Wind Turbine) into a structural form. With these design directions, we revisited previous design development outcomes and selection criteria to provide us with a more refined solution for our design proposal.

We decided to extrapolate the base form (a sin curve) of the Japanese Pavilion to produce a new and unique form that moves away from the original tunnel form. This was done by projecting fieldlines onto point charges on Grasshopper which were influenced by the intensity of the sin curve. The parameters that were altered on the sine curve definition included the frequency, amplitude and period. This resulted in a range of interesting forms as seen in the matrix. This algorithmic technique was further improved by using the Flowl Fieldlines plug-in in Grasshopper. These points were referenced from 3 sin curves of varying intensity and direction. The directions of the curves were determined based on site specific parameters such as the wind movements across the Refshaleen site and the views that we wanted to capture in our design, eg: the mermaid sculpture on the other side of the island.

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The curves were then lofted to generate the final form. As the physical structure is already resolved, panels can be arranged freely within the structure to meet our design intents, be it to create an aesthetic interest for users through patterning complexity or to meet specific functional needs in response to site conditions, such as harvesting and generating wind energy.

The algorithmic technique of using the BoxMorph command explored in Set E of the previously produced matrix was chosen as a method to transform the lofted surface into a structural grid that will house the rotating panels. In the next stage of our design, we intend to push this design effect further by taking advantage of assembly methods by looking at ways to connect the structure and the panels together in a seamless manner.

The technique developed aims to generate an impactful land art that can be used to generate wind energy by channeling wind from prevailing directions across the site, and enhance the experience of walking inside the structure as the wind is directed through the spiral form.

We believe through this simplistic design approach, many will see be able to see that parametric modeling and energy generating technology can be used hand in hand as a design approach for the future. We hope that our design will be able to spark an interest to the Refshaleen site and generate a discourse surrounding the issues of design for the future in Copenhagen and other cities.

Integrating movable panels to the structure

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METERS

SCALE

FEET

100

100

0

400

50

100

200

0

N

+ +

+

=

SITE FORM STRUCTURE

JOINTS ROTATING PANELS

PROPOSED FINAL FORM

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3D Printing the final model

1 Duplicate the edges of the panels on the final model and then pipe them

2 Scale and section the model into smaller parts

3 Convert the sectioned parts in Magics software to become a watertight model reading for 3D printing

4 Model sent to print for 9 hours

Issues - Incorrect thickness of the pipes

- Fails to incorporate moving parts

- Looks unrefined and messy

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The feedback received during the interim presentation will be useful in helping the team re-evaluate our design approach and consider different ways of achieving our design idea together with the energy generating technology. These were some of the feedback and suggestions we received regarding our design proposal:

For the next part of the project, we need to consider ways to control our design in terms of what we expect to achieve. This means that we will have to analyse and clarity the specific experiences induced by the form, such as how we want the wind movements to be channeled through the space and what experience that would bring to users.

We were asked to consider setting up a syntax of moving through the form. This means having to decide on what happens inside the centrifugal spiral and the middle/central point of the structure.

Instead of limiting ourselves to the spiral form generated via field lines. It was suggested that we could consider a variety of shapes that relates to the wind movement on the site.

One of the guest critics suggested that it might be interesting to incorporate an area in our form that is sheltered from the wind, so that users may be able to use the space to rest and relax.

We were also asked to consider the type of views that we wanted to achieve through our design form and orientation.

Consider the assembly of the structure - conceal or reveal joints?

Lastly and most importantly, we have to find a way to rationalize our design through prototyping.

Objective 1. interrogat[ing] a brief by considering the process of brief formation in the age of optioneering enabled by digital technologies;

Objective 2. developing an ability to generate a variety of design possibilities for a given situation by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration;

Objective 3. developing skills in various three- dimensional media and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication;

Objective 4. developing an understanding of relationships between architecture and air through interrogation of design proposal as physical models in atmosphere;

Objective 5. developing the ability to make a case for proposals by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects;

Objective 7. develop foundational understandings of computational geometry, data structures and types of programming;

Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

F E E D B A C K L E A R N I N G O B J E C T I V E S

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

The course of Studio Air so far has allowed me to gain a broader understanding of the basic principles behind digital design as well as acquire some basic skills of parametric modeling. Through group research and explorations of precedents, I have been able to learn different computation and design techniques from designers in the relevant fields. As a group, we have been particularly influenced by the work of Shigeru Ban in his design for the Japanese Pavilion which has led to our developments of different structural forms.

One of the key elements in this phase of our design was the prototyping stage. Having made several prototypes in conjunction with our algorithmic explorations, we were able to extend our design possibilities through different structural and patterning techniques (Objective 3 & 4). While we were able to test most of the structural techniques in our prototypes, I feel that each task was performed quite superficially without an exact outcome in mind. This had to do with time limitations as well as technical difficulties. The preliminary models we made will need to be further revised in order for us to choose a single fabrication technique. Things that we would need to consider in the final stage of fabrication would be the effect of materiality and scale in the design.

In terms of developing skills and foundational understandings in parametric modeling (Objective 3) and computational geometry (Objective 7), my skills have significantly developed since the beginning of this semester, especially in terms of using Grasshopper to generate a range of forms by manipulating different parameters as well as experimenting with digital fabrication. There were times, especially during the reverse engineering stage when the complexity of the Grasshopper software left us confused and discouraged because of our lack of knowledge and experience in using it.

The different theoretical research tasks and explorations of precedents helped me to achieve learning objective 6 which was to develop capabilities for conceptual, technical and design analyses of contemporary architectural projects.

So far the experience of creating a parametric technique to produce a structural form has been challenging but at the same time exciting. Through constant revisitation of past explorations and experiments, we were able to continuously explore different ideas and techniques which led us to where we are at this point. This idea of experimenting and finding new forms was a key tool in helping us determine the flaws and advantages of our design to help us move forward. (Objective 8) Furthermore, being able to critically analyse and revise my own work and groupwork was important in helping us reevaluate our design decisions more critically, providing us with the opportunity to challenge ourselves with new design techniques that can be taken on to the next stage of development in Part C.

O U T C O M E S

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B.8 A L G O R I T H M I C S K E T C H E S

A crucial part of the development of our group design is the exploration in Grasshopper and other plug-ins such as LunchBox and Kangaroo. The use of these plug-in programs allowed for a powerful and easy way to explore and experiment with variations in design parameters. Through the weekly algorithmic tasks, studio discussions,online tutorials and discussion forums, we were able to gain a better understanding behind the princples of computational design. This was especially important for us when we had to come up with a Grasshopper definition for our design proposal.

These following images represent some of the algortihmic explorations Ive done from Week 5 onwards. In those weeks I have explored date mapping, data trees, manipulating grids, rationalizing surfaces, morphing 2D objects to 3D surface, fractal patterning and many more.

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Rationalising surfaces

Subdivision of the surface into triangular planar surfaces.The distribution and strength of the attractor point can be controlled to modify the distribution of the graph mapper in the control panel which creates some interesting results. Being able to rationalize a surface, especially a curved surface is important when considering fabrication possibilities. Folds/flaps can be added to the edges of each surface so that it can be easily assembled once the individual strips are rolled out.

Data Types

Manipulating a range of data types through surface frames. Propogating a surface with hair-like structures like a cactus.

Field Lines

Exploring Grasshoppers fields component to produce a volumetric shape that could function as a sculpture in a public place. This algorithmic technique was useful when we were deciding on a form for our final model.

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Phyllotaxis growth

Changing the growth by manipulating the mathematical fomulae of the spiral form.

The hairlike structures were created in the same manner as the thorns on the cactus forms

Fractal Patterns

Experimenting using a base form and generator curve to create different fractal patterns. These fractal patterns are an extension of the patterning explorations from the first case study.

Tesellate Diagrid

Tessellate a surface and smoothly transform tessellations from a quadrangular to a diagrid pattern.It can be seen that some of these patterns were simply decorative ornaments on the surface of the structure and do not provide any structural functionality.

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R E F E R E N C E S

Herzog & De Meuron Basel, de Young Museum, [accessed 3rd April]

Japan Pavilion EXPO 2000 Hannover, Shigeru Ban Architects [accessed 14th April 2014]

Kalay, Y. 2004. Architectures New Media : Principles, Therories and Methods of Computer Aided Design, (Cambridge, MA: The MIT Press), p.18

M.H. de Young Memorial Museum, Zahner (2014), [accessed 4th April]

Patrik Schumacher, Parametric Patterns, AD Architectural Design Patterns of Architecture, Vol 79, No 6 (Nov/Dec 2009) [accessed 3rd April]

Sean Godsell Architects, RMIT Design Hub, 2007-2012, http://www.seangodsell.com/rmit-design-hub [accessed 29th April 2014]

Shigeru Ban, Engineering and Architecture: Building the Japan Pavilion, pg 8-15 [accessed 14th April 2014]

The Grid, ordinarystudio, < http://ordinarystudio.com/The-Grid> [accessed 14th April 2014]

Zingman, A.. Optimization of a Savonius Rotor Vertical-Axis Wind Turbine , MIT (2007) http://dspace.mit.edu/bitstream/handle/1721.1/40927/212409044.pdf [accessed 29th April 2014]

PART B

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