S T U D I O A I R

STUDIO AIR: 2014Alyssa Santomartino 585168

Studio Tutors: Haslett Grounds and Brad Elias UNIVERSITY OF MELBOURNE: SEM 1

CONTENTS

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pp. 10pp. 12pp. 14pp. 20

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pp. 44pp. 46pp. 48pp. 52pp. 54

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pp.70pp.72

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INTRODUCTION

CONCEPTULISATION

DESIGN FUTURING Introduction to LAGI PrecedentCompetitionEntry’s Energy Harvesting Research

DESIGN COMPUTATION Computational Design Precedents

GENERATIVE COMPUTATION Generative Design Precedents

CONCLUSION

LEARNING OUTCOMES

BIBLIOGRAPHY Footnotes Refrencing

DESIGN CRITERIACASE STUDY 1 Tesselation Matrix Successful Iterations

CASE STUDY 2 Double Adent White Reverse Enginerring

TECHNIQUE DEVELOPMENT Matrix Selected iterations

A.1

A.2

A.3

A.X 4

A.5

A

B.1

B.2

B.3

B.4

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pp. 76 pp. 78pp. 79pp. 80

pp. 82pp. 84pp.. 86pp. 92pp. 96pp. 98

pp. 100pp. 102

PP. 104

pp. 105pp. 106

PROTOTYPING #1 #2 #3 #4

TECHNIQUE PROPOSAL Digital Prototype #1 Digital Prototype #2 Digital Prototype #3 Scandinavian Public Bathing Tubular Solar Panels Design Proposal On the Site

LEARNING OUTCOMES AND DIRECTION

BIBLIOGRAPHYFootnotesRefrencing

B.5

B.6

B.7

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I N T R O D U CT I O N

My name is Alyssa and I am majoring in Architecture in Melbourne University’sBachelor of Environments. So far I am enjoying the course and all of the different aspects of learning and designing it involves. I enjoy spending time with friends and family, travelling, learning, reading and music along with design. Having travelled to different places in the world, I enjoy learning about different cultures and their design practices.

I enjoy the structured but creative process of architecture; going from the idea, to sketches, to the computer aided design and a model example. I am therefore excited to learn about using parametric modelling in rhino and grasshopper. I have had some experience with Rhino through Virtual Environments course.

Other than this I have had experience with Auto Cad due to my external internship. The basics of this program were learnt thought the subject Virtual Environments. Here I also learn to use some of the Adobe programs like Indesign, Photoshop and illustrator.

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PART A: CONCEPTULISATION

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dd to the length of time atmospheric gases have been in the atmosphere. Should issues not be resolved this would lead to global population re- distribution on a massive scale . “In increasingly more unsustainable worlds, design intelligence would deliver the means to make crucial judgements about actions that could increase or decrease future potential. “ (Pp. 12) These actions however, also have to be

considered over a lapse of time, as whilst they might provide some relief for the moment, they could worsen the situation in the future, something which Fry claims might be happening at the moment . Design is the leading area which can provide change for sustainability.

WEEK ONE

D ES I G N F U T U R I N G

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dd to the length of time atmospheric gases have been in the atmosphere. Should issues not be resolved this would lead to global population re- distribution on a massive scale . “In increasingly more unsustainable worlds, design intelligence would deliver the means to make crucial judgements about actions that could increase or decrease future potential. “ (Pp. 12) These actions however, also have to be

considered over a lapse of time, as whilst they might provide some relief for the moment, they could worsen the situation in the future, something which Fry claims might be happening at the moment . Design is the leading area which can provide change for sustainability.

D ES I G N F U T U R I N GDesign Futuring is the need to design for the present and future to ensure survival.

In’DesignFuturing: Sustainability, EthicsandNewPractice’, Fryarguesthat without better designing, there

mightn't be a future at all Presently we are downing in a sea of un-sustainability.

Nature cannot be relied upon as a sustaining method due to large

population and the amount of ecological damage that has occurred. Currently the renewable resources cannot keep up; used 25% faster than they renew . Therefore the ethical and ecological

implication must be understood when designing. There needs to be a change in

the thought process of design. The

problems need to be resolved; however after effects may still be around for years

after due to the age of atmospheric gases. Should issues not be resolved

this would lead to global population re- distribution on a massive scale .

’Inincreasinglymoreunsustainableworlds, design intelligence would deliver the

means to make crucial judgements about actions that could increase or decrease

futurepotential. ’(Pp. 12) Theseactionshowever, also have to be considered over

a lapse of time, as whilst they might provide some relief for the moment, they

could worsen the situation in the future, something which Fry claims might be

happening at the moment .

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The LAGI competition promotes green living and energy. It is located in Copenhagen in 2014 after competi-tionsinNewYork(2012) andDubai(2010). LAGI’smaingoalistoprovideaplatform for design experimentation and the construction of large scale public art installations which promote and create green energy.

LAGI COMPEITION

The 2014 competition is located at Refshale øen, Copenhagen. Refshale øen once was the site of a shipyard which was a major employment centre for Danish workers. It is a man made piece of land. The site is rich in historical context being situated directly across fromthepopulartouristlocation’TheLittleMermaid’statue. Surroundingarebusinesses, markets, warehouses and cultural and recreational centres.

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The design is to consist of a three dimensional sculptural form which is well informed to the site. It should aim to create some form of renewable energy without polluting the atmo-sphere with harmful gasses.

The LAGI competition is extremely appropriate for a time where global warming and climate change are is-sues within society. Competitions such as these allow new technologies to be experimented with and tried in a real world condition.

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PRECEDENT IDEAS

PouyanBizet, ImanAmini, AlirezaHoubakht, AminAmini, DelaramZarnegar& SetarehSedghi, SkyDomes, (2012, Iran: LAGI) <http://landar tgenerator.org/LAGI-2012/L053I31G/>

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PouyanBizet, ImanAmini, AlirezaHoubakht, AminAmini, DelaramZarnegar& SetarehSedghi, SkyDomes, (2012, Iran: LAGI) <http://landar tgenerator.org/LAGI-2012/L053I31G/>

SKY DOMES: LAGI 2012

Iranian team consisting of Pouyan Bizet, Iman Amini, Alireza Houbakht, Amin Amini, Delaram Zarnegar,

Setareh Sedghi.

Aims: to connect Manhattan with the Freshkills Park through a visual relationship as, from the high-rise buildings in the city the park can be clearly seen. The sky domes can land and take off from the ground depending on the wind. Envisage: a wind farm with a capacity of 100MW. The Sky Domes mimic kites however are built with approximately 20 wind turbine lenses. This is an example of innovative technological use. As they mimic something which everyone is familiar with, the idea doesn’tseemsofar fetched.

I think that this is a creative idea that could potentially create the amount of energy which has been envisaged. Seeing that the domes ’take off andland’, this could potentially dangerousfor users of the site, depending on their weight and materiality. The idea depends on the use of many domes, should Manhattan expand, the wind farm could not continue at this scale and the design would not survive. The domes do fit the brief and are a creative design idea which could be seen not only within the park but also from the city, becoming a daily reminder of sustainability. When on the site, the domes are also extremely user friendly which also meets the brief.

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PRECEDENT IDEAS

Miros’aw Struzik, Tadeusz Zdanowicz, Ph.D & Tomasz Pultowicz, LAGI Butter fly Project, (2012, Poland: LAGI) <http://landar tgenerator.org/LAGI-2012/MS071256/>

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Miros’aw Struzik, Tadeusz Zdanowicz, Ph.D & Tomasz Pultowicz, LAGI Butter fly Project, (2012, Poland: LAGI) <http://landar tgenerator.org/LAGI-2012/MS071256/>

THE BUTTERFLY PROJECT: LAGI 2012

Polishdesignteam; Miros’awStruzik, TadeuszZdanowicz, andTomaszPultowicz

the public can be involved, I however don’t believe that they have fulfilledthis. In the design outline the images show a number of paths leading around the butterflies, making public involvement minimal. As they light up at night this is could become an attraction for the area, bringing tourists, however this seems to be a waste of the energy which has been collected by the butterflies.Overall however I don’t think that thedesign is leading in its technology, rather i find the design to be based to heavily on the butterfly concept. Usage of solar panels is not new and innovative. The designs should be inspiring of ways to renew energy which has not been seen before as this could influence new ideas within the community about energy renewal.

Aims: for the butterfly concept tobecome symbolic of the change that was to happen at the park. ’Like a metamorphosis in the life ofan butterfly from the egg through unattractive larva to the beautiful adult, this project will change the landfill to colorful and full of attractionsplacetoenjoy. ’Envisiage: that New York as a multinational centre. The butterfly has symbolic meaning within many cultures communities therefore all can connect with it. They attempt to create a sculptural artistic design and combined that with new technology to create renewable energy.

The large butterfly outline is lined with smaller butterflies which are raised at angles. The wings of the butterflies are solar cells which aim to create a clean environment with fresh air. The larger butterfly outline is 500 by 620 metres. They aim to create a site where

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PRECEDENT IDEAS

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AEOLIAN TRANSPORT: LAGI 2012Emma Froh, Olivia Waller from the USA

energy renewing. This would become a reminding force to the public which could become a changing factor in the way people think. It contributes practically and ideologically to renewable energy.This design stands out as the design team has considered how their project would last over time on the site. Whilst the vibrant hot pink arches are not that appealing to me in that location, nor are they extremely complex from a design point of view, the opportunities they present for the future are exciting and promising, thereforeI’minclinedtolikethis proposal.

EmmaFroh& OliviaWaller, AeolianTranspor t, (2012, USA: LAGI), <http://landar tgenerator.org/LAGI-2012/GV28B5J/>

Aims: Use wind turbine technology to transform wind into energyEnvisage: a project which will transform Freshkills Park from a landfill to a community space. The design intent production and movement, the final pink form being made up of curved hill shaped lines to display this

I think it is a comprehensive design. Landscape architecture has been considered;how the seed dispersal of plants will be characterised by the wind turbines. During peak harvesting periodsthearch’sglowbright, lightingup the night sky. I think this is a brilliant idea as it serves as a celebration of

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ENERGY HARVESTING TECHNIQUES RESEARCH

GEOTHERMAL:Geothermal energy harvesting refers to theresidualheatundertheear th’scrustfrom the creation of the planet1. Once the heat is extracted, energy can be collected. The heat can then be reused for other purpose after extraction. Sktech: The geothermal process understood by me

Infrared and UV Photo Voltaic energy generators are essentially Solar energy panels, however the advancement leads to a 24hour capture potential. Normal Solar Panels collect the thermal energy from the sun, Infrared and UV, however, just collect the infrared and UV rays from the sun7. This allows all of the visible light spectrum to filter through. The technology developed has created a glass with this type of energy collection within. Potentially, this could be used on a house and it would permit natural light in and collect energy as well. The technology also reduces internal heat gain within the building 8. The conversion efficience is extreemly high, up to 90%. Therefore maximum energy can be captured

PHOTOVOLTALIC: INFRARED AND UV

Technology has been developed from solar panels, where ’multiple thin films of varying absorptioncapabilities are required to catch the entire spectrum oflight’10 and then store it. This technique could be used on site in a sculptural manner, seen in the sketch

Green Diesel uses naturally occurring oils, like canola and vegetable, to produce die-sel. This is a modern issue

due to the shortage of petrol. The process involves heating the oil to 600 degrees2 which could lead to problematic issues with public involvement.

GREEN DIESEL

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Piezoelectric Generators convert kinetic energy from mechanical strain into electrical energy3. When exposed to vibrations from weight placed upon them power is produced. An example is a footstep. From walking on the plate’s power canbe produced4. Due to this some research is being taken to place them within footpaths. The energy collected would be used to power lights and other small scale road connected objects5. The downfall however, it does not have a 24hour effect, only when in use will the energy reproduced.

Vortex power is a concept based on the idea that fish use water vortex energy to propel themselves through it . These vortices created by placing objects in flowing water creating obstacles for the water to move around. As it replicates nature, it is not ecologically damaging like some of the other hydroelectrically energy creators . Fins are placed in the water which in turn generates a current through vibration. This creates an efficient feedback loop . The idea originated at the University of Michigan where a VIVACE (Vor texInducedVibrationforAquaticCleanEnergy) wascreated. It ’emulates the natural and destructivephenomenonofvor texinducedvibration’knownas VIV. This is ’motion which is induced on abody facing an external flow due to the periodic irregularities in the flow caused by boundary layer separation’ . These vibrating bodies onlyneed 1-2 knots of vibration. It is still in the stage of development.

Therefore, whilst it is an easy way for energy to be produced it may not collect as much energy as something over a 24 hour period. The bonus, however, is that such a technique could be easily incoperated into which ever design as today.

KINETIC ENERGY HARVESTING: PIEZOLETRIC GENERATORS

HYD RO E L ECT RI C I T Y(HYD RO KI N E T I C): VO RTE XPOWE R

Due to the site context, water could be brought directly onto it and the public could be involved in the process of creating obstacles for the vortexes.

An example of this could be through the creation of a water way for the public.

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WEEK TWO

D ES I G N C O M P U TAT I O N

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D ES I G N C O M P U TAT I O N

Computation within architectural design is a means of extending design possibilities through

the use of computer based programming. Kalay indicatesinhispaper’Architecture’sNewMedia’

(2004) thatcomputerscanbeprogrammedtofollow a logical line of thought. The computer

however must be programmed correctly by the user. As design aims to engage with a particular situation parametric design and

computational design can create a larger branch of possibilities which previously may have been

considered impossible. Oxman and Oxman pushthispointintheirpaper’Theoriesofthe

DigitalArchitecture’(2014) wheretheyclaimthat’innovativetechnologieshavebecomethe

driving force in the formulation of theories as well as producing a new wave of tectonic and

materialcreativity’(pp.3).

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"The design balances a formal relationship between courtyard, building, and roof. [The courtyard] creates a contemporary complement to the new roof, while reflecting the character and spirit of the historic building"20

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SMITHSONIAN INSTITUE ROOFFoster and partners 2004

In 2004 Foster and Partners won the design competition for the new roof and courtyard at the Smithsonian Institute in Washington. Computing was essential in the design process of the roof. Early design ideas involved a diagonal grid structure, undulating over the courtyard. It was supported in these early sketches by Norman Foster, by eight columns16.

Once inputted into the computation program the geometry created a complex surface which was able to be manipulated to fit the specifications of the current building. The design was able to be pushed to create a form free of columns within the central cour tyard. This created an open space ’thatfloodtheupperfloorswithnaturallight’17.

Computation as a design process allows for change and flexibility within the design. The programs have the ability to allow architects to ’generate and explore architecturalspaces and concepts through the writing and modifying of algorithms that relate to element placement, element configuration, and the relationships between elements. ’18 In the example of the Smithsonian roof, the use of computation allowed for independent development of the structure with precise control over it. Computation was beneficial in this design as it allowed for simpler modification and faster regeneration. Menges claims that 415 models of the roof were created in just a six month period19. Computation allows for many different ideas to be explored quickly. Especially where the brief is highly

structured, the use of algorithmic design can allow simple ideas which fit to the brief to be explored and pushed to more creative limits.

This design is interesting to me as I appreciate how the use of computer design allowed the initial sketch, which used load bear columns, to be transformed into an open courtyard. I think that computation can enhance a design rather than make it. From this roof design we can see how something modern can be incorporated into an older design. I like the clash of the different periods and how they are connected through the courtyard.

http://www.bustler.net/index.php/ar ticle/gustafson_guth-rie_nichol_wins_tucker_design_award_for_smithsonians_ko-god_co/

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PRECEDENT COMPUTATIONAL IDEAS

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HYDRA PAVILIONAsymptote Architects

The Hydra Pier Pavilion was the Winning entry for the international competition ’acknowledging and celebrating the fastgrowing city of Haarlemmermee21 in Amsterdam. It uses computation to create a form which incorporated the site (the waterit sits on becoming a major component of the design). The linear roof and curvilinearstructure was obviously the product of computation. Such a form is modern in its design. Computation has redefined architecture as it ’allows designers to extendtheir abilities to deal with highly complex situations.22 A more traditional design uses rectilinear geometric shapes due to the inability to construct buildings which were otherwise designed. Computation, however, has allowed these more abstractive designs to become realised.

The structure was inspired by ’technologiesofflightandhydra-engineering’25. It projects the design into the water surrounding and reflects the design as well. After implementing the ideas into computer programs, they were manipulated until they could become resolved. With computation, therefore the initial ideas and intents will shape the digitalisation stage.

I liked this example as it shows how a creative and unique idea can become realised with the incorporation of computation and advanced

However the use of computation does not stop at the design process. In fact with this building computation continued into the construction stage of it. Octatube Space Structures was tasked with the construction of the design which forced them to explore ’innovative means of digital production’23. In order to create the modern design, new building technologies needed to be founded and/or advanced. The main challengerevolved around the roof due to the double panelled curved cladding. With the introduction of new technologies in design, this advancement needs to be replicated within the construction industry. ’Thecompany developed a combined process of digital production and explosive forming’24 to solve the problem.

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WEEK THREE

D E S I G N C O M P O S I T I O N / G E N E R AT I O N

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D E S I G N C O M P O S I T I O N / G E N E R AT I O N

Generative design in architecture uses algorithms to create the look and design of the concept from a few parameters inputted by the architect. This allows for further exploration of ideas, surpassing what is able to be designed by hand. AccordingtoPeterscomputation’hasthepotential to provide inspiration and go beyond the intellect of the designer...

through the generation of unexpected results’29. The designer, however, does not become redundant, for their initiation of the algorithm and its inputs is vital. Peters continues to suggest that generative computation can be ’fully integrated’30within the design process.

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Other forms of Computational design are more generative in terms of their shape through computer. This form of design has become a ’mediumthat supports a continuous logic of design thinking and making’26. To me this implies that the computer and designer work in tandem to create a form, an ever evolving form due to algorithmic design inputs. The form of the cloud[s]cape installation draws back to the ideas of circulation, flows and vortexes. A custom algorithm was created to define its curves and surface pattern. The pattern replicates itself due to this algorithm on the surface at different scales. This use of algorithmic design allowed them to achieve the initial design intents.

ADMIN, Cloudscape installa-tion at the Royal Malta Uni-versity, (2012, web: MyDesignPick) <http://mydesignpick.com/2012/06/20/cloudscape-installation-at-the-royal-malta-university/>

GENERATIVE DESIGN

C O M P U TAT I O N A L DESIGN

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Computational design is not limited to architecture. Modern Furniture design exhibits the use of panelling. Whilst the form of the chair is set by the need, the design itself seems quite random. I imagine this surface to come from the lofting of a few curves which has then been panelled for fabrication.

Riccardo Bovo, Digital Mor-phologiesChairDesign, (2012, UK: furninspiration.com) <http://www.furni i i.com/ideas/digital-morphologies-chair/>

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Other building forms are inspirational due to their use of computation to form the building shape and texture. Whilst the overall form may connect to an initial idea or sketch, it can be seen that computation has evolved the design to something that could not be sketched.

ProfAchimMenges, ICD/ITKEResearchPavilion, (2011, Stuttgar t: Institutefor

ComputationalDesign) <http://icd.uni-stuttgar t.de/?p=6553>

Council on Tall buildings and urban Habitat, Al Bahar Towers, AbuDhabi, (2013, web: Councilon Tall buildings and urban Habitat) <http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/AlBaharTowersAbuDhabi/tabid/3845/language/en-US/Default.aspx>

Agata Kycia, Museum of Contemportary art in War-saw- the use of real-time simulation in the design process, (2010, Graduationproject: Workshopsfactory) <http://workshopsfactory.wordpress.com/category/agata-kycia/>

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The bionic research pavilion is a great example of computational design. The panelled shape is a reference to sea urchin's plate skeleton morphology27 which as then replicated with computer software. The size of the panels and the patterns of them were completely controlled by the algorithm; the form of the building was then created by this. The complex geometry was further advanced by the use of computation in the construction process of the building. While it appears to have a curved form, all of the pieces are in fact straight puzzle pieces. This idea replicated the way of designing that Kalay talks about in his piece ’Architectures New Media’28.

ProfAchimMenges, ICD/ITKEResearchPavilion, (2011, Stuttgar t: InstituteforComputationalDesign) <http://icd.uni-stuttgar t.de/?p=6553>

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GENERATIVE DESIGN

This generative model from GenerativeDesign is a simple form, made of a number of geometrical shapes. These shapes underlie a surface which transforms these curves into a smooth and curved one. The transformation from geometrical to fluid shape is interesting to me. The surface is panelled into long strips which give the building a sense of unity. The downfall to the design is its practicality. I’mnotsurethatthisbuildingcouldbebuilt. Whileitis quite easy to make a generative form, the actual process of turning the form into a design and then later construct it is a long process. A good design needs to have the ability to become reality, not simply stay as a generative form.

G enerativeDesign, Contact(2012, London: G enerativeDesign) , <http://www.generativedesign.co.uk/contact/>

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The idea of cladding a surface with a panel that expresses the structure of the frame is interesting. The triangular like panels are of different sizes. It looks as if the size of these triangles is dependent on its position on the curve. This is due to an algorithmic formula which dictates the clustering of panels and their attraction to a specific point. This creates an interesting sculptural form which could be mimicked in my LGAI design. The use of generation has created an interesting facade to a structural member. Dietrich defines an algorithm as a recipe for getting computers to do something specific30.

G enerativeDesign, Contact(2012, London: G enerativeDesign) , <http://

www.generativedesign.co.uk/con-tact/>

Other architectural designs use a box like truss system to create aesthetical appeal. They provide stability and a frame to hold the building up in this instance; however I question the need for such extravagance on the exterior of a building. The problematic issue with design generation is the point at which to stop. In the case of this building, even though I know little about its purpose and design, it looks as if the designer has generated the idea for too long, turning something simple into something complex.

PrzemekJaworski, Hello, ( 2009 web: ParametricDesign) <http://www.parametricdesign.net/?paged=2>

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This principle however is not limited to architecture. In fact it has inspired many art pieces creating fluid free forms. These forms could inspire my creation of the LGIA form. Furthermore as it is a competition for a sculptural design, research into art forms is beneficial in inspiring my own design. Some of these inspirations come

from hand drawn art. This indicates that generation is not limited to computation itself. The artist designed it from lines which flowed ’continuously, algorithmically, and randomly’31. In the initial stages of the design process this is what I will aim to do. Create flowing objects, curved and smooth.

GENERATIVE DESIGN

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RIght: Ju Young Park, Interactive art and Computational Design, Spring2012, (2012 Carnegie: CarnegieMellonUniver-sity), <http://golancourses.net/2012spring/02/29/ju-young-park-generative-ar t/> Above: Scholz & Volkmer, Montblanc Generative Artworks, ( 2011, G ermany: onformative), <http://www.onformative.com/work/montblanc-ar tworks/ >

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From some research it seems like the ’Nervous System’ has become inspiration inthe generative design of jewellery, sculpture and furniture. The use of the random cellular pattern is generative as it is unpredictable. Below are some of the photos which interested me most and I took a particular liking to I feel that these patterns could help to inspire my

Left: Jessica Rosenkrantz and Jesse Louis-Rosen-berg, Nervous System Generative Design Studio, (Accessed2014, Web: generactive.net), <http://generactive.net/nervous-system-generative-design-studio/>

Right: TaflineLaylin, NervousSystem’sDIYAppLets Users Design Their Own Cellular Wooden Tables, ( 2013, Web: Inhabitat.com), <http://in-habitat.com/nervous-systems-diy-app-lets-users-design-their-own-cellular-wooden-tables/>

design at the inital stages, perhaps when generating panels. The use of this pattern, however I feel is not longer gen-erativeduetoit’shighuse. Par tofbeinggenerative is the creation of new, never seen before designs. I will, therefore try to change this into something new.

GENERATIVE DESIGN

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CONCLUSION & lEARNING OUTCOMES

CONCLUSIONThe research of precedent’s and researchundertaken to learn about computation and generative design has been benefited in creating a starting point for my own designs. I have understoodtermslike’G enerative’, ’Computation’and ’Algorithm’ from completing the readingsand then further developed this through the discovery of a number of precedents which use these concepts for their own designs. I would like to replicate this in my own work, not only because this must be done to meet the brief. I find the transition and transformations from my own inputs to something unpredictable and random intriguing. It is very different to other architectural experiences which I have had, where design intent is achieved early on and then the rest of the process becomes about achieving this intent. This is almost the opposite, where the whole

process becomes the creation of intent. I would like to use pattern as a major factor in my design approach. This is quite a broad statement; however I believe that the broadness will lead to initiative. The object of using generation is limitlessness. This adds to the significance of designing this way. However my approach is logical. Whilst I wish to explore these random and initiative forms, I want to design something which can be constructed. This perhaps is the innovative part of my approach. Many of the precedents I looked at were either not built, or the construction process became complex.From using algorithms to create a design output, the design can benefit in being different, innovative and unusual to what has been created.

LEARNING OBJECTIVESFrom Part A I feel that I have started to achieve a number of the objectives set out in the study guide. The first objective is one which has been looked at in the most detail. Through looking at precedents I have begun to consider how the brief can be tackled through the form of digital technologies. Furthermore I have been learning Rhino and Grasshopper to complete this in fur-ther weeks. I have research how other people have generated designs through the use of al-gorithms in preparation to generate my own set ofdesignpossibilities(objectivetwo). Objectivethree involves the developing of skills in vari-ous 3D media, which I have been doing regularly

(please see the algorithmic sketchbook). All ofthis research and learning about the virtual pro-grams has allowed me to begin to understand computational geometry. I have been able to competently analyse a number of modern design and design ideas and how these would inspire my owndesigns( Objective6).

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FO OT N OT ES

1. Robert Ferry &Elizabeth Monoian, a Field guide to renewable energy technologies, LGIA 2012, pp. 2. Ibid, pp. 3. Piezotechnology, Energy Harvesting- The Piezo Effectt for generating Energy, (2013), <http://www.piceramic.com/energy_har-vesting.php> [Accessedon10/3/14]4. Robert Ferry &Elizabeth Monoian, a Field guide to renewable energy technologies, LGIA 2012, pp.5.AndriopoulouSymeoni, AreviewonEnergyHarvestingfromRoads, <http://kth.diva-por tal.org/smash/get/diva2 :549685/FULL-TEXT01.pdf> 6. Piezotechnology, Energy Harvesting- The Piezo Effectt for generating Energy, (2013), <http://www.piceramic.com/energy_har-vesting.php> [Accessedon10/3/14]7. Robert Ferry &Elizabeth Monoian, a Field guide to renewable energy technologies, LGIA 2012, pp.8. Ibid, pp. 9. Ibid, pp. 10. RickMar tin, NewPVCellgenerateselectricityfromUVandIRlight, April2014, < http://www.gizmag.com/pv-cell-ultraviolet-infrared-light/14708/> [ accessed, 10/3/14]11. Robert Ferry &Elizabeth Monoian, a Field guide to renewable energy technologies, LGIA 2012, pp.12. Ibid, pp. 13. Ibid, pp. 14. MichaelM. Bernitsas& JamesC. MacBain, VIVACE: ANEWCONCEPTFORHARVESTINGHYDROKINE TICENERGY, (publicationdate unknown) < http://www.nist.gov/tip/wp/pswp/upload/87 _vivace_a_new_concept_for_harnessing_hydrokenetic_energy.pdf> [ accessed11/3/14]15. Ibid

16.AchimMenges, ’InstrumentalG eometry’, ArchitecturalDesign, Vol. 76, Iss. 2, pp. 42-53, fromhttp://onlinelibrary.wiley.com/doi/10.1002/ad. 239/abstract17. ’RenovationofHistoricHomeforTwoSmithsonianMuseums’theSmithsonianAmericanAr tMuseumandtheNationalPor traitGallery’, SmithsonianInstitute, 2011, fromhttp://americanar t.si.edu/pr/facts/renovation_overview.pdf18. BradyPeters, ’Introduction’inComputationWorks: ArchitecturalDesign, March2013, pp.8-15, fromhttp://au.wiley.com/WileyC-DA/WileyTitle/productCd-1119952867.html19. AchimMenges, ’InstrumentalG eometry’, ArchitecturalDesign, Vol. 76, Iss. 2, pp. 42-53, fromhttp://onlinelibrary.wiley.com/doi/10.1002/ad. 239/abstract20. ’G ustafsonG uthrieNicholWinsTuckerDesignAwardForSmithsonian’sKogodCour tyard’, Bustler, 3/2/10, fromhttp://www.bustler.net/index.php/ar ticle/gustafson_guthrie_nichol_wins_tucker_design_award_for_smithsonians_kogod_co/21. ’HydraPier’, archspace.com, 8/7/02, fromhttp://www.arcspace.com/features/asymptote-architecture/hydra-pier/ 22 . BradyPeters, ’Introduction’inComputationWorks: ArchitecturalDesign, March2013, pp.8-15, fromhttp://au.wiley.com/WileyC-DA/WileyTitle/productCd-1119952867.html23.AchimMenges, ’ManufacturingDiversity’, ArchitecturalDesign, Vol. 76, Iss. 2, pp. 70-7 7, fromhttp://onlinelibrary.wiley.com/doi/10.1002/ad. 242/abstract24. Ibid, pp. 25. ’HydraPierPavilion’, ArchiTravel, Accessed20/3/14, fromhttp://www.architravel.com/architravel/building/hydra-pier-pavilion/26. Oxman, RivkaandRober tOxman, eds(2014). TheoriesoftheDigitalinArchitecture(London; NewYork: Routledge), pp. 1 ’1027. ProfAchimMenges, ICD/ITKEResearchPavilion, (2011, Stuttgar t: InstituteforComputationalDesign) <http://icd.uni-stuttgar t.de/?p=6553> 28. Kalay, YehudaE. (2004). Architecture’sNewMedia: Principles, Theories, andMethodsofComputer-AidedDesign(Cam-bridge, MA: MITPress), pp. 5-25

29. BradyPeters, ’Introduction’inComputationWorks: ArchitecturalDesign, March2013, pp.8-15, fromhttp://au.wiley.com/WileyC-DA/WileyTitle/productCd-1119952867.html30. ibid31. Rober tA. andFrankC. Keil, Definitionof’Algorithm’, 1999, TheMITEncyclopediaoftheCognitiveSciences(London: MITPress)32 . JuYoungPark, Interactivear tandComputationalDesign, Spring2012, (2012 Carnegie: CarnegieMellonUniversity), <http://golancourses.net/2012spring/02/29/ju-young-park-generative-ar t/>

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R E F E R E N C I N G

AchimMenges, ’InstrumentalG eometry’, ArchitecturalDesign, Vol. 76, Iss. 2, pp. 42-53, fromhttp://onlinelibrary.wiley.com/doi/10.1002/ad. 239/abstract AchimMenges, ’ManufacturingDiversity’, ArchitecturalDesign, Vol. 76, Iss. 2, pp. 70-7 7, fromhttp://onlinelibrary.wiley.com/doi/10.1002/ad. 242/abstract AchimMenges( prof), ICD/ITKEResearchPavilion, (2011, Stuttgar t: InstituteforComputationalDesign) <http://icd.uni-stuttgar t.de/?p=6553> ADMIN, CloudscapeinstallationattheRoyalMaltaUniversity, (2012, web: MyDesignPick) <http://mydesignpick.com/2012/06/20/cloudscape-installation-at-the-royal-malta-university/>

AgataKycia, MuseumofContempor taryar tinWarsaw- theuseofreal-timesimulationinthedesignprocess, (2010, Graduationproject: Workshopsfactory) <http://workshopsfactory.wordpress.com/category/agata-kycia/>

AndriopoulouSymeoni, AreviewonEnergyHarvestingfromRoads, <http://kth.diva-por tal.org/smash/get/diva2 :549685/FULL-TEXT01.pdf> Bentley, G enerativeDesign,(2014, USA: BentleyArchitecture), <http://www.bentley.com/fr-FR/Products/G enerativeCompo-nents/>

BradyPeters, ’Introduction’inComputationWorks: ArchitecturalDesign, March2013, pp.8-15, fromhttp://au.wiley.com/WileyCDA/WileyTitle/productCd-1119952867.html CouncilonTallbuildingsandurbanHabitat, AlBaharTowers, AbuDhabi, (2013, web: CouncilonTallbuildingsandurbanHabitat) <http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/AlBaharTowersAbuDhabi/tabid/3845/language/en-US/Default.aspx>

Dave, ’HydraPier’, Contemporist, 9/2/08, from http://www.contemporist.com/2008/02/09/hydra-pier/

EmmaFroh& OliviaWaller, AeolianTranspor t, (2012, USA: LAGI), <http://landar tgenerator.org/LAGI-2012/TGV28B5J/> ’HydraPier’, archspace.com, 8/7/02, fromhttp://www.arcspace.com/features/asymptote-architecture/hydra-pier/ ’HydraPierPavilion’, ArchiTravel, Accessed20/3/14, fromhttp://www.architravel.com/architravel/building/hydra-pier-pavilion/

G enerativeDesign, Contact(2012, London: G enerativeDesign) , <http://www.generativedesign.co.uk/contact/> ’G ustafsonG uthrieNicholWinsTuckerDesignAwardForSmithsonian’sKogodCour tyard’, Bustler, 3/2/10, fromhttp://www.bustler.net/index.php/ar ticle/gustafson_guthrie_nichol_wins_tucker_design_award_for_smithsonians_kogod_co/

JessicaRosenkrantzandJesseLouis-Rosenberg, NervousSystemG enerativeDesignStudio, (Accessed2014, Web: generactive.net), <http://generactive.net/nervous-system-generative-design-studio/>

JuYoungPark, Interactivear tandComputationalDesign, Spring2012, (2012 Carnegie: CarnegieMellonUniversity), <http://golan-courses.net/2012spring/02/29/ju-young-park-generative-ar t/>

Kalay, YehudaE. (2004). Architecture’sNewMedia: Principles, Theories, andMethodsofComputer-AidedDesign(Cambridge, MA: MITPress), pp. 5-25

MichaelM. Bernitsas& JamesC. MacBain, VIVACE: ANEWCONCEPTFORHARVESTINGHYDROKINE TICENERGY, (publicationdateunknown) < http://www.nist.gov/tip/wp/pswp/upload/87 _vivace_a_new_concept_for_harnessing_hydrokenetic_energy.pdf> [ accessed11/3/14]

Miros’awStruzik, TadeuszZdanowicz, Ph.D& TomaszPultowicz, LAGIButter flyProject, (2012, Poland: LAGI) <http://landar tgenera-tor.org/LAGI-2012/MS071256/> Oxman, RivkaandRober tOxman, eds(2014). TheoriesoftheDigitalinArchitecture(London; NewYork: Routledge), pp. 1 ’10 Piezotechnology, EnergyHarvesting- ThePiezoEffecttforgeneratingEnergy, (2013), <http://www.piceramic.com/energy_harvest-ing.php> [Accessedon10/3/14] PouyanBizet, ImanAmini, AlirezaHoubakht, AminAmini, DelaramZarnegar& SetarehSedghi, SkyDomes, (2012, Iran: LAGI) <http://landar tgenerator.org/LAGI-2012/L053I31G/>

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PrzemekJaworski, Hello, ( 2009 web: ParametricDesign) <http://www.parametricdesign.net/?paged=2>

’RenovationofHistoricHomeforTwoSmithsonianMuseums’theSmithsonianAmericanAr tMuseumandtheNationalPor traitGallery’, SmithsonianInstitute, 2011, fromhttp://americanar t.si.edu/pr/facts/renovation_overview.pdf

RiccardoBovo, DigitalMorphologiesChairDesign, (2012, UK: furninspiration.com) <http://www.furni i i.com/ideas/digital-mor-phologies-chair/>

Rober tA. andFrankC. Keil, Definitionof’Algorithm’, 1999, TheMITEncyclopediaoftheCognitiveSciences(London: MITPress)RickMar tin, NewPVCellgenerateselectricityfromUVandIRlight, April2014, < http://www.gizmag.com/pv-cell-ultraviolet-infrared-light/14708/> [ accessed, 10/3/14]

Schol z& Volkmer, MontblancG enerativeAr tworks, ( 2011, G ermany: onformative), <http://www.onformative.com/work/mont-blanc-ar tworks/ > TaflineLaylin, NervousSystem’sDIYAppLetsUsersDesignTheirOwnCellularWoodenTables, ( 2013, Web: Inhabitat.com), <http://inhabitat.com/nervous-systems-diy-app-lets-users-design-their-own-cellular-wooden-tables/>

V. Lobo, N. Mainsah, A. Banerjee, J.W. Kimball , Design Feasibility of a Vortex Induced Vibration Based Hydro-Kinetic Energy Har-vestingSystem, November27 2012, < http://www.researchgate.net/publication/224231475 _Design_Feasibility_of_a_Vor tex_In-duced_Vibration_Based_Hydro-Kinetic_Energy_Harvesting_System> [accessed, 11/3/14]

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PART B: DESIGN CRITERIA

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WEEK FOUR

CASE STUDY 1.0 : RESEARCHING AN ALGORITHMIC DESIGNTESSELATION

Tessellation by principle is about using the same or a few of the same shapes to create a pattern which fits together per fectly. There are no gaps or overlapping in a tessellation.

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CASE STUDY 1.0 : RESEARCHING AN ALGORITHMIC DESIGNTESSELATION

Tessellation by principle is about using the same or a few of the same shapes to create a pattern which fits together per fectly. There are no gaps or overlapping in a tessellation.

Doing this on a surface, particularly a three dimensional surface, allows for simple fabrication. The use of the folded tessellation can create curves without the paper curving at all.

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C AS E ST U DY 1

The VoltaDom by Skylar Tibbits attempts to reference the historic significance of vaulted barrels in architecture. It is constructed to celebrate MIT’s150th anniversary1. It is made up of a number of repeated vaults which line the corridor and work together with light to create a spectrum. It uses tessellation in its panelling form; a number of strips were printed to make construction easier. Also, the vaults have been repeated to define the whole structure. The repetitions have been scaled and skewed, as seen in the image, however it can be noticed that the root shape it the same. It is made from a number of Curves within curves which are made possible by ’aninnovative fabrication technique that transforms complex double curved vault construction to that ofsimplyrollingasheetofmaterial. ’2

’voltaDom: MIT2011 ’( accessed31/3/14: SJE T) <http://www.sjet.us/MIT_VOLTADOM.html>

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The Voussair Cloud project by IwamotoScott uses similar principles to the VoltaDom. It too is based upon a vaulted structure which incorporates light into the design. It is made of thin, light wooden panels which are scored by a laser cutter and then panelled intothecurvedshape. It ’isalandscapeof vaults and columns consisting of clusters of three dimensional petals’3. It uses a the repetitive element of the petal, some being removed in certain sections. It becomes complex because the petals are not the same size. They ’migrate to form greater density at theedges’4. This creates interest within the tessellation. Over 2300 petals were scripted by Rhino.

’’VoussoirCloud’byIwamotoScottwithBuroHappold’(2009: Archivenue) <http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/

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This example known as FERMID, uses kinetic energy to create a living sculpture. Use of parametric designing creates a number of curved shapes repeated. They move, making the sculpture look like it is breathing.5

The design uses flexibile panels. This could relate back to the brief. The use of renewable energy within the design is inspiring. The flexibility allows for user interface. In my design i might like to replicate this movement to represent the energy i have chosen.

’FERMID by Behnaz Babazadeh’(2014: Design PlayGrounds) <ht t p://d es i g n p layg ro u n d s.co m/d e v i a n t s / fe r m i d - b y - b e h n a z -babazadeh/ >

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Radial Clusters are used in this example to create a tessellation of panels around a point6. I’m not surewhether this would be considered true tessellation due to the fact that there are multiple gaps within the design. However the principle of repetition has allowed the breaking up of the surface to allow light to exit the lantern.

’Transformers byIMADE’ (2014: DesignP l a y G r o u n d s ) < h t t p : / /designplaygrounds.c o m / d e v i a n t s /transformers-by-i-m-a-d-e/>

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M AT R I X E X P LO R AT I O NVOUSSOIR CLOUD: IWAMOTTO SCOTT

Addition of an X unit and slider

Addition of an X and Y units, both with sliders

Mesh SurfaceX= -. 2Y= 1Z=-. 2

VORRONOI COMMAND

Circle Faces

Basic shape given

Boolean toggle ON In Weld Verticies

Smooth MeshIterations: 5Strenght: 2

ProximityMin: -.5Max: 4

Circles

Small Hole

Smooth MeshStrenght: 7

Smooth MeshStrength: 2

Boolean toggle ON Kangaroo: False

Reciprocated

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Small Hole

Smooth MeshStrenght: 7

Smooth MeshStrength: 2

Boolean toggle ON Kangaroo: False

Reciprocated

Large Hole

Boolean Toggle ON Kangaroo: False

Transform Geometry and Number Slider

Facet Dome

3D Oct Tree

Positive Charge

Diagonal

Triangulate Mesh

Kangaroo Weld Verticies

Change Surface which mesh connects too

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M AT R I X E X P LO R AT I O N

SUCCESFUL DESIGNS

23: Lines

In this design iteration I feel like I have taken the geometry as far as it will go. Using the Reciprocated plug in I created little lines in be-tween points. I think that the look aesthetically is quite night, however when tested in a real life situation it probably would not be construct-ible.

19: Dome

By inputting a Facet Dome plug in I was able to create this curvilinear shape from a linear form. This is an interesting creation to me for that reason. I don’t fully understand thelogic behind the shape but I find it aesthetically interesting.

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13: Kangaroo

Using Kangaroo I was able to create a fluidandrelaxedshape. WhilstIdon’tthink that this shape in particular will help to formulate my future design, I feel that learning about kangaroo may be beneficial in later stages of my de-sign. It was amazing to see the form move on screen. About the practi-cality of this in a real life situation, I’mdoubtful.

6: Mesh

Creating a mesh on a surface is not hard nor extremely interesting, how-ever it allows for a grand amount of potential for future iterations. I already know that I can apply inputs like the Vorrinoi or the triangulation onto a mesh surface and achieve an interest-ing looking design quite easily. I be-lieve using a mesh on the next case study will be beneficial and allow me to create a pattern on the surface.

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WEEK FIVE

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C AS E ST U DY 2 .0 : C R E AT I N G A N

A LG O R I T H M I C D ES I G NSTRIPS AND FOLDING

DOUBLE AGENT WHITE BY THEVERYMANY

This week's task involves reverse engineering a building of our groups choosing. We chose

Double Agent White to research and then develop on Rhino and Grasshopper.

This building is seen to incoperate Strips and Folding. Strips and Folding incoperates the use

of panelisation to create generative cladding and object design.

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C AS E ST U DY 2

DOUBLE AGENT WHITE IN SERIES OF PROTOTYPICAL ARCHITECTURES

Architect: MarcFornes/ Theverymany

The project was one of a series displaying Prototypical Architectures. It features a continuous surface where 9 different spheres intersect to create freedom from minimal components. It ’uses Object Oriented computingto generate developable parts for fabricationofdoublecurvedsur faces’6. The Double Agent White material is used as it enables construction.

The construction of the form is reliant upon computational and generative design. The pattern overlaid hugs the geometrical structure beneath. There is a connection between structure and ornament which creates a dynamic design. This combination interests me as I find the design appealing in its contrasts between simplicity and complexity.

Theverymany is known for his ’extensive body of experimental, highly organic, large scale and self-supported structures, between art andarchitectures’7.

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C AS E ST U DY 2

REVERSE ENGINEERING THE DESIGN

Double Agent White

After researching the Double Agent white design my group attempted to recreate it digitally using Rhino and Grasshopper.

It was discovered that the design was created by intersecting nine spheres. These nine spheres are unique in size. This became the base point for our rhino modelling. Using the sphere tool we created a three-dimensional sphere in Rhino. A slider was added to control the radius. A plane was added with the point connections in Rhino to allow for future movement. These points were also given sliders so that they have the potential to move. The central sphere however is connect-ed to a specific point in rhino.

A smooth mesh component was added to achieve a smooth surface. when this input was not put in a hexagonal shape was created with points.

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This was then replicated nine times and they were positioned on the largest and central sphere. This was done in a random and purely aesthetical fashion as I believe that this would have been the basis when the actually structure was designed.

These are the first two spheres which I created.

I have again applied the smooth mesh input.

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The next stage was intersecting the spheres. We used the solid union command. This created one shape from the nine. The Grasshopper input can be seen to the left..

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The next stage was intersecting the spheres. We used the solid union command. This created one shape from the nine.

The surface was divided into a number of points.

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The next stage involved placing a pattern on the surface of the object. This was a difficult process due to the curved nature of the shape. After many trials and errors we used the cull pattern to create a random selection of faces which were deleted. This gave us the final output.

One of the trials to achieve surface pattern was the use of the arc tool. This, however just cre-ated the arcs on a horizontal rather than verticle plane. It was therefore not appropriate.

Anumberofdifferenttrue/falsecombina-tions were trialed. This is an example of one.

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The mesh was turned into a surface to be able to ofset it. It was offset internally by a charge of -1

Both of the surfaces were later culled to create the same patterns on the internal face.

This created an extreemly complext mesh with a number of different faces. Im not too sure how this can be progressed further.

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C AS E ST U DY 2

REVERSE ENGINEERING THE DESIGN: Week 2

Double Agent White

Due to the intense complication surrounding the creation of the pattern on the model it was decided that the base form which we would work from was this. It is simply the union of the spheres, however as we would like to move away from the spheres, due to the amount of trouble which they have given us, i see this as positive. Without many initial inputs i can play around to create something better as i go along.

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WEEK SIX

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T EC H N I Q U E D E V E LO P M E N T

Creation of a matrix

Moving on from reverse engineering the design as a group we had to create a number of

iiterations of the design. This is to be set-up in a matrix.

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T EC H N I Q U E D E V E LO P M E N T

ITERATIONS AND POSSIBLE EXPLORATIONS

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19: Cones

This design was chosen for its point of difference in relation to our other exam-ples in the matrix. Using a cone input we were able to move away from a spheri-cal shape. A dynamic design was cre-ated through the intersection of these different cones. With further exploration of this design we believe that it has po-tential to be an interactive and sculptural from as dictated by the brief. We could perhaps make use of its pointed form when connecting it to our energy renew-ing. Many of the past years examples used a portion of the energy created to allow the structure to do something, usually in relation to light. We could make the tips of the cones light up when a cer-tain amount of energy has been created. Another idea to explore is the possibility of the sides of the cone flattening and then rising throughout the day due to the magnetic force somehow created by site users. This will be further explored through prototyping.

25: Circles

A funky design created through the lofting of circles between the two offset layers of our Brep shape. The circles intersect creating a nice pattern on the surface. We have yet to decide how this could poten-tially renew energy, however it is extremely sculptural. Its sculptural nature is defined by the delicate-ness which the circles create.

43: Layering

Here, a feathering of layering is cre-ated. This design was selected for its delicacy and flexiblity. A pos-sible direction would be using the petal-le layers to blow in the wind and create wind-energy. Another option would be to use magnetism to create a field as moveable parts draw near to each other.

T EC H N I Q U E D E V E LO P M E N T

OPTIONS TO FURTHER CONSIDER

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19: Cones

This design was chosen for its point of difference in relation to our other exam-ples in the matrix. Using a cone input we were able to move away from a spheri-cal shape. A dynamic design was cre-ated through the intersection of these different cones. With further exploration of this design we believe that it has po-tential to be an interactive and sculptural from as dictated by the brief. We could perhaps make use of its pointed form when connecting it to our energy renew-ing. Many of the past years examples used a portion of the energy created to allow the structure to do something, usually in relation to light. We could make the tips of the cones light up when a cer-tain amount of energy has been created. Another idea to explore is the possibility of the sides of the cone flattening and then rising throughout the day due to the magnetic force somehow created by site users. This will be further explored through prototyping.

33: Contours

Using contours with an attractor in-put for the distance between them an interesting form was created. It is extremely spherical, however the pat-terns created by the contour is of inter-est to us. Perhaps we could have disks on an axis, shaped like each contour, which move. As they move and bang into one another they could help to create the magnetic energy which we are trying to create.

28: Onion shape

An explosive design with lines protrud-ing from a central sphere was created through a map-to-surface input. The shape created is unique and different; we find it extremely interesting and see lots of potential for further interpola-tion. The central sphere could be a gathering area for the site, the pro-truding elements a sculptural design. This would allow users to contemplate the design from within it. Possibly the design could be even more user friendly by allowing it to be climbed. A design such as this one would also allow us to cover a large amount of the site, which itself is actually quite large. The design could be turned on its side or created upright. This flexibility is ap-pealing as it promotes further explora-tion.

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PROTOTYPE #1

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This prototype explores the basic form that we have created in Grasshopper and Rhino. It

also tests the interaction between spheres and how it would be possible to change the number of components in the overall form. This iteratative prototype is organic, which creates a soft and relaxed form. It would be an interest-ing paradigm change have an energy source that is delicate in form as opposed to a machine with harsh edges. Here we employed flexible twigs to wrap around a central spherical space. This natural material would be easily available at the LAGI site in Den-mark, as Scandanavia is famous for its timber.

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Two different materials were tested in the creation of this prototype. First-

ly a normal paper one, followed by a thicker card. Whilst the thicker card was a more durable and better looking out-come, with the thinner paper I was able to weave the strands into one another to create the form at the top. Both were made in the same fashion, by strips of paper being cut from the edge to the outline of a circle. Due to the issue with sticking the strips together at the top of cone we began think about incorporat-ing the renewing of energy and making the design more user friendly. Perhaps we could design a moving structure where the strips folded down and up during the day dependant on certain factors.

PROTOTYPE #2

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In order to emulate the softness and deli-cacy of the form obtained in our explora-tions, we used black tissue paper. If this option were to be further explored howev-er, other possibilities would have to be ex-plored. Thin slices of wood could be used to construct an incredibly beautiful piece. Other options could include using canvas or another waterproof material. An exciting possibility could be to use rubbish and junk from the surrounding waterways to create a space that produces energy and awareness of litter in the sea. This installation could be added to by people who use the site - in a way, a type of community art project.

PROTOTYPE #3

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The central sphere in this design, we imagine, would be a gather-

ing area for the site. The area would most likely need to be enlarged. With a rough site cut out (not toscale) we randomly created a nestpattern around the sphere roughly copying the grasshopper prototype we created. However, we turned the grasshopper design on its side when creating this prototype as we felt it would fit the brief better. The point of interest in this prototype is the large footprint of it. By us-ing a random scattered pattern and perhaps increasing the number of domes around the site, most of the site could be incorporated into the design.

PROTOTYPE #4

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WEEK SEVEN

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T EC H N I Q U E P R O P O S A L

Proposing a design to take forward into part c

continuing to develop our design based on the reverse-engineering exersize we aimed to broaden our design and move away from the

spherical shape to come to a proposal.

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T EC H N I Q U E P R O P O S A L

DIGITAL PROTOTYPE #1

Physical prototype number 4 was then replicated in a digital form. It was created through populating a surface with points and forming arcs in between those points at random intervals. The sphere trims any of the arcs intersecting it creating that central gathering space. I was not able to create a number of different starting

points for the arc, many of them begin at the same point for some reason., even though they all end at different points. After some contemplation, however it was realised that having one dense starting point for all of the arcs is more sculptural than having each arc starts where another ends. This way it seems less symmetrical and more random.

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T EC H N I Q U E P R O P O S A L

DIGITAL PROTOTYPE #1

This physical prototype was created based on the digital model which we created. The aim of this was to see how the arched pipes which were made in rhino will fare once being created with paper. Straight away issues were run into with the creation of the pipe. It was not a smooth curve, as grasshopper had modelled, rather the paper bended at odd angles creating a pointed form. In order to create a smoother curve different folds and papers were experimented with. This twisted form created by folding the paper around itself was the best suited as it curved but still maintained a pipe-like form. This allowed the structural form to be replicated to a certain extent.

We propose to apply this system to the site with the central sphere area functioning as a gathering area for people to view the sculpture and the energy being created. Seeing that our energy renewal technique focuses around water and magnetism we propose that magnetic fields could be created between the pipes and as the wind blows through the site, knocking the pipes together at their apexes, energy would be created.

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T EC H N I Q U E P R O P O S A L

DIGITAL PROTOTYPE #2

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This model was created through offsetting lines and creating surfaces in grasshopper. We used our baked sphere surface as a brep, with one of the contours formed through the matrix as a central curve. From this we were able to offset the points and extrude upwards. The surfaces finish where the spheres finished. This lead to an elegant formation of curved surfaces around a central point.

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T EC H N I Q U E P R O P O S A L

DIGITAL PROTOTYPE #2

We then tested the design in a real life situation. It was a positive result. We were able to successfully achieve the creation of the curved surface without too much difficulty. As we are considering Vortex power as our energy renewing technique this design is perfect. Should we project the surfaces into water they would create obstacles for the water to flow around. This would create the energy which could be sent to the grid. Potentially the middle area could be a area for the users of the site to inhabit so that can view the process.

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DIGITAL PROTOTYPE #13

This digital model was created in grasshopper by using field attractors which made a series of lines over a sphere like form. Once the lines were piped, an elegant form with a number of interconnecting and intertwined arcs was created. Due to the small nature of the pipes we decided that prototyping

this using the card cutter or manual prototyping would be difficult and al-most impossible to replicate properly. It was therefore decided to look into 3D printing.

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DIGITAL PROTOTYPE #13

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We aimed to test the model outside of the virtual world of Rhino where there was no gravity. We wanted to know if the model would perform well in a real life situation. Due to the fine members, in some areas the model failed, however we now know that if we were to continue with this design we would need to take this factor into further consideration.

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Scandinavian Bathing Culture

Within Scandinavia public bathing has held a place in tradition from centuries ago. It was used as a means of hygiene since before the middleages. InSwedenthe’Sweatlodge’developed, influencedbyAsia8. Public bathing, however is a custom seen in many places throughout Europe. Budaphest is another country where this custom is prevalent. The amount of ornamentation used in these buildings was enormous, perhaps indicating their importance to the city and society.

http://www.memetics.com/wp-content/uploads/2013/07/How-to-Enjoy-the-%E2%80%9CCity-of-Healing-Waters%E2%80%9D-600x450.jpg

http://www.memetics.com/wp-content/uploads/2013/07/How-to-Enjoy-the-%E2%80%9CCity-of-Healing-Waters%E2%80%9D-600x450.jpg

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The Copenhagen Harbor Bath located within a close proximity to our site has also used this idea of public bathing in their design on an old port in Copenhagen9. They transformed’anindustrialpor tand traffic junction [into] the cultural and social centre of the city’accordingtoArchidaily. Itallows for connection between the port and the installation, with the installation extending over the water. It uses modern design to reconnect the Danish to their roots. ’Copenhagen Harbor Bath/PLOT’ 05 Jan 2009. ArchDaily. Acessed 3/4/14, from http://www.

archdaily.com/11216/copenhagen-harbour-bath-plot/

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Renewable Energy Technique

The solar tubular panels are beneficial as they both create electricity through capturing solar, infrared or UV rays, and heat water at the same time. Once a PV panel in general heats up past its peak, it is not able to efficiently produce energy anymore. The benefit of heating water is that through the heating process the panel is cooled down as the heat is

transmitted. This allows for the creation of more energy than a normal solar panel10. As it both creates energy and heats water we believe it to be perfect for our concept.

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DESIGN PROPOSAL

We propose that the design will be partially dug into the ground. It will be made of photovoltaic tubular panels to collect energy from the sun’srays. Therewillalsobea number of public baths incorporated into the valleys of the design. Heat emission from the collections will be used to heat the water. Other areas of the site will be used for gathering areas, particularly under the apexes of the design.

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the little mermaid statue

Harbour

The Design will be placed on the left hand side of the sight so that views of the little mermaid statue can be appreciated by site

users. Also tourists at the Little Mermaid can see our site. It is also placed here as harbour

water is to be used for the baths. We still need to discover how this is exactly possible, howev-

er due to a difference of 200mm water height between high and low tides a pump system

would need to be incorporated.

T EC H N I Q U E P R O P O S A L

Site Context

179.71

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302.4

179.71

63.90

30.05

236.8750.00

104.63

79˚

101˚10.38

all units in metres

LAGI SITE

water taxiterminal

land

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lEARNING OUTCOMES & DIRECTION

Objective7: Developing’theabilitytomakeacaseforproposals’ We were able to anticipate the short comings of potential design proposals which we began to create with prototypes 1 and 2, the reason for starting afresh and creating digi-tal prototype #3. Once we had associated the design to the brief and a cultural connection we realised the shortcoming of our selected energy technique, vortex power. Instead of sticking with it we researched new techniques and found the Tubular solar panels. Objective 8: begin developing a personalised repertoire of computational techniques As seen through my algorithmic sketchbook and the creation of the digital proto-types I am beginning to become more comfortable using Grasshopper and all of its plug ins. For the creation of the matrix I learnt how to use Kangaroo, Weave-a-bird, lunchbox and Starling. I found it most logical to implements what was taught in the tutorials to our algorithm when creating the matrix. This did not always work, however I felt comfortable fiddling with the algorithm to try and make it work. I was successful sometimes. Objective2 : developing’anabilitytogenerateavarietyofdesignpossibilitiesforagivensituation’Objective7: developfoundationalunderstandingsofcomputationalgeometry, data structures and types of programming. At the beginning of this process due to the case study selected my group was very fo-cusedaroundthesphereshape. Theinitialiterationswereextremelysphericalanditdidn’tseem as if we could move past this shape. However we decided that we had to find a waytocreatedifferentgeometries. Insomecases(i.eourfinalthreeprototypes) weeitherstarted with a blank file and used the knowledge gained from the initial exercise to inform our design or just used the baked brep shape to inform part of our design. From doing this I feel as if I thoroughly explored the algorithm and how it could be changed if I started again. Objective3: developingskillsinvariousthree-dimensionalmedia’As previously stated I have seen an improvement in myself in being able to problem solve when in the virtual programs. Through using the 3D printer I was able to translate this un-derstanding from a purely virtual knowledge to an understanding of how it would perform in the real world with gravity.

Feedback

From the feedback during the intrem presentations it is clear that the next stage for our group is to further explore the capabilities of the energy renew-

ing technology we have chosen. This will allow us to use it better within our design. Wehavetocontinuetofiddlewiththefinaldesigntoper fectit’sform,

especially where it concaves underneath itself.

Learning Objectives

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FO OT N OT ES

1. ’voltaDom: MIT2011 ’( accessed31/3/14: SJE T) <http://www.sjet.us/MIT_VOLTADOM.html> 2 . ’SkylarTibbits: voltaDom’( accessed31/3/14: Ar tsatMIT) <http://ar ts.mit.edu/fast/fast-light/fast-installation-skylar-tibbits-vdom/> 3. ’’VoussoirCloud’byIwamotoScottwithBuroHappold’(2009: Archivenue) <http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/>4. ’VoussiorCloud’(2008: IwamotoScottArchitecture) < http://www.iwamotoscott.com/VOUSSOIR-CLOUD> 5. ’FERMIDbyBehnazBabazadeh’(2014: DesignPlayGrounds) <http://designplaygrounds.com/deviants/fermid-by-behnaz-babazadeh/ > 6. Escobedo, Jessica’DOUBLEAGENTWHITEINSERIESOFPROTOTYPICALARCHITECTURES’(2012 : Evolo) <http://www.evolo.us/architecture/double-agent-white-in- se-ries-of-prototypical-architectures-theverymany/7. ’MarcFornesandTheverymany’(accessed5/4/14) <http://theverymany.com/about/> 8. Hoffman, Anna’QuickHistory: PublicBaths& Bathing’5.12 .11, fromhttp://www.apar tmenttherapy.com/quick-history-baths-bathing-1465449. ’CopenhagenHarborBath/PLOT’05 Jan2009. ArchDaily. Acessed3/4/14, fromhttp://www.archdaily.com/11216/copenhagen-harbour-bath-plot/10. Emspak, Jessie’TubularSolarPanelscreateElectricity, Hotwater’11.4.12 fromhttp://news.discovery.com/tech/alternative-power-sources/naked-energy-tubular-solar-120411.htm

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R E F E R E N C I N G

’ARTICULATEDCLOUD’( 2012 : NedKahnStudio’s) <http://nedkahn.com/por tfolio/ar ticulated-cloud/ >

’CopenhagenHarborBath/PLOT’05 Jan2009. ArchDaily. Acessed3/4/14, fromhttp://www.archdaily.com/11216/copenhagen-harbour-bath-plot/

Emspak, Jessie’TubularSolarPanelscreateElectricity, Hotwater’11.4.12 fromhttp://news.discovery.com/tech/alternative-power-sources/naked-energy-tubular-solar-120411.htm’Escobedo, Jessica ’DOUBLEAGENTWHITEINSERIESOFPROTOTYPICALARCHITECTURES’(2012 : Evolo) <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/

FERMIDbyBehnazBabazadeh’(2014: DesignPlayGrounds) <http://designplaygrounds.com/deviants/fermid-by-behnaz-babazadeh/ >

Hoffman, Anna’QuickHistory: PublicBaths& Bathing’5.12 .11, fromhttp://www.apar tmenttherapy.com/quick-history-baths-bathing-146544

http://www.memetics.com/wp-content/uploads/2013/07/How-to-Enjoy-the-%E2%80%9CCity-of-Healing-Waters%E2%80%9D- 600x450.jpg

’HypoSur face’( accessed31/3/14: Hyposur face) <http://hyposur face.org/>

’MarcFornesandTheverymany’(accessed5/4/14) <http://theverymany.com/about/>

’POLYP.luxbySOF Tlab’(2014: DesignPlayGrounds) <http://designplaygrounds.com/deviants/polyp-lux-by-softlab/>

’SkylarTibbits: voltaDom’( accessed31/3/14: Ar tsatMIT) <http://ar ts.mit.edu/fast/fast-light/fast-installation-skylar-tibbits-vdom/>

’TransformersbyIMADE’(2014: DesignPlayGrounds) <http://designplaygrounds.com/deviants/transformers-by-i-m-a-d-e/>

’voltaDom: MIT2011 ’( accessed31/3/14: SJE T) <http://www.sjet.us/MIT_VOLTADOM.html>

’VoussiorCloud’(2008: IwamotoScottArchitecture) < http://www.iwamotoscott.com/VOUSSOIR-CLOUD>

’’VoussoirCloud’byIwamotoScottwithBuroHappold’(2009: Archivenue) <http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/>