Tow Zacchaeus 581907

ABPL30048 ARCHITECTURE DESIGN STUDIO: AIR TUTORS: ROSIE GUNZBERG AND CAM NEWNHAM

SEMESTER 1, 2014

STUDENT DESIGN JOURNALZACCHAEUS TOW (581907)

DESIGN JOURNALSTUDIO: AIR

1

PART 0 - INTRODUCTION

PART A - CONCEPTUALISATION

A.1 DESIGN FUTURING

A.2 DESIGN COMPUTATION

A.3 COMPOSITION/GENERATION

A.4 CONCLUSIONS

A.5 LEARNING OUTCOMES

PART B - CRITERIA DESIGN

B.1 RESEARCH FIELD

B.2 CASE STUDY 1.0

B.3 CASE STUDY 2.0

B.4 TECHNIQUE: DEVELOPMENT

B.5 PROTOTYPES

B.6 TECHNIQUE: PROPOSAL

PART C - DETAILED DESIGN

C.1 DESIGN CONCEPT

C.2 TECTONIC ELEMENTS

C.3 FINAL MODEL

C.4 LAGI

C.5 LEARNING OUTCOMES

TABLE OF CONTENTS

3

A little about myself...

Growing up in Singapore and studying in Melbourne, i have been very fortunate to be given the opportunity of experiencing different urban realms. I would say that I am someone who enjoys travelling and experiencing new places. Being wrapped within an entirely new space excites me; the freshness of the air, the relative humidity, the various colours and shapes of the surrounding urban boundaries excite me! Somehow the minute differences that we take for granted everyday is somehow highlighted and picked up by our senses, allowing us to treasure and savour every detail.

My time spent in Architecture has indeed allowed me to experience spaces differently, or maybe in a more informed manner. Understanding my surroundings better has truly transformed my perspectives. Taking these ideas and creating a 3D world is my passion. Seeking to recreate a space that i envisage myself in gives me a great sense of satisfaction. Hopefully, through this semester i can hone in on my understanding of 3D software and parametric permutations to conceive designs beyond my own imagination!

On top of this, I am keenly interested in sustainable and passive architecture. To be more specific, I envision our future cities to be lined with buildings that are not only responsive to environmental factors such as the sun and wind, but also to be local catchments of energy that can go beyond the boundaries of just being self-sustaining. I find great purpose in my studies as it constantly exposes me to new technologies and design methods, and also integrating them together into cohesive systems that are synergised into the greater realm of our natural environment. I am not a tree-hugger, but an avid supporter of green technology and industries that are willing to invest time and effort into maximising these potentials alongside the everyday commercial activities.

It’s all about striking a balance, taking and giving back!

STUDENT PROFILE: ZAC

5

- A - CONCEPTUALISATION

7

A.1 DESIGN FUTURING

As of now, many of us have come to realise that humanity has reached a point where a reevaluation of our actions is unavoidable. Our human-centric behaviour has emphasized immediate gratification at the cost of future gains. How then, should we approach the topic of sustainability, and how is the role of the modern day architect involved?

Our future is being riddled with insecurities - problems such as global warming and an energy crisis. Human beings unwittingly, have created this condition through the consequence of our anthropocentric mode of worldly habitation, which has been amplified by the kinds of technologies we have created and our sheer numbers[1]. This calls for a new approach, one that goes beyond just economic gain and bettering the quality of life - one that would allow us to continue our way of life (that many would hate to abandon) in a sustainable manner.

As it has been argued, design plays a crucial role in reshaping the manner by which we live. The design 1 Tony Fry, Designing Futures: Sustainability, Ethics and New Practice, (New York: BERG, 2009), p1.

READING RESPONSE

8

practice itself becomes inherently transformative in terms of its impacts and the subsequent rippling effect it has on others. Not only by creating sustainable systems that work in a specific locality, but also introducing ideas and philosophies into society. Thefore, the depth of thought that goes into design should not be trivialised. It should be noted that the Architect’s role becomes highlighted at this stage - where the totalily of the system should be considered, and not just surface attributes such as aesthetics and style. This does not mean that an Architect should undermine beauty and art of a creation, but rather seek to strike that balance. Ultimately, a building envelope serves the needs of its occupants and should always be the top priority. Humanity has spent centuries perfecting this skill that glorifies ourselves but in the recent decades, the realisation that our never-ending journey to self glorification will cease to exist. This is where the future of architecture lies - sustainable design methods.

Sustainable design is the philosophical basis of a growing movement of individuals and organisations that literally seek to redefine how buildings are designed, built and operated to be more responsible to the environment

and responsive to people[2]. It endevours to maximise the quality of the built environment, while minimising and hopefully entirely eradicate negative impacts on the natural environment.

The same way Augustus Pugin deemed pointed architecture as the solution to societal degradation in the mid 19th Century, we might be faced with a similar problem - a similar equation with different numbers maybe? In our modern day world, the architect with more advanced technology and greater tools at his disposal, becomes that agent of change, redirecting society, block by block.

2 Jason F. McLennan, The Philosophy of Sustainable Design: The Future of Architecture, (Missouri: Ecoton, 2004), p4.

9

A.1.1 PUBLIC ART PROJET

The ‘Blowhole’ Sculpture at the Docklands, by Architect Duncan Stemler, is a 15 metre high wind-powered sculpture. It consists of a giant ring with attached arms of anodised aluminium cups that are spun rapidly by wind. These multicoloured anodised cups reflect sunlight in the day and are artificially lit up at night.

This public sculpture heralds the area’s maritime history and its renaissance as a vibrant urban destination. When winds get strong enough, the armature and cups form a complex galaxy of orbiting balls, mimicking the anemometer on top of a yatch’s mast[3].1Interesting as it is, the sculpture strongly reflects the effects of nature and the unseen winds, and is thrown into a frenzy of lights and motion. It is a passive structure, like many other kinetic structures, entirely reactive to its surroundings and exaggerating its effects.

3 Sapphire Aluminium Industries, ‘The Blowhole Sculpture’ (Australia : Sapphire Aluminium Industries, 2010)<http://www.sapphirealuminium.com.au/index.php?task=projects&num=52> [accessed 11 March 2014]

Blowhole Sculpture, DocklandsDuncan Stemler

10

A.1.2 ENERGY SENSITIVE DESIGN

Designed by New York based architecture and media firm Simone Giostra & Partners, the brightly lit facade of the Xicui entertainment complex in Beijing, uses sunlight to power the world’s largest LED display screen. What makes it so groundbreaking is that it has a 100% self-sustaining energy life-cycle via energy harvested and stored through photovoltaic cells from the daytime[4].1 The huge LED facade is also embedded with intelligent software that allows the skin to react to internal and external data, ever-changing according to the various events being run at the entertainment complex. The polycrystalline photovoltaic cells are laminated within the glass of the facade, allowing a fair amount of natural light to penetrate the interior during the day, thus, allowing a perforated skin that seperates interior and exterior. This interactive form of curtain wall is one-of-a-kind, that is not only experiential but also self-sustaining.

4 SGP-Architects, ‘Greenprix - Zero Energy Media Wall’ (New York: Simone Giostra & Partners Architects, 2014) <http://sgp-a.com/#/single/xicui-enter-tainment-center-and-media-wall/> [accessed 11 March 2014]

Xicui Entertainment Complex, BeijingSimone Giostra & Partners

11

A.2 DESIGN COMPUTATION

“The dominant mode of utilizing computers in architecture today is that of computerization; entities of processes that are already conceptualized in the designer’s mind are entered, manipulated, or stored on a computer system. In contrast, computation or computing, as a computer-based design tool, is generally limited.” - Kostas Terzidis

COMPUTERIZATION

Design by computerization suggests that the designer has already concieved an idea (in most cases pen has met paper) where computer modelling software and other rendering/drawing/design tools are later used to aid in visualisation. Most part of a design would have already been predetermined before any use of computers. This is a more traditional top-down approach when compared with computation methods.

Guggenheim Museum SketchFrank Lloyd Wright

12

Parametric design thinking focuses upon a logic of associative and dependency relationships between objects and their parts-and-whole relationships. - Rivka and Robert Oxman

COMPUTATION

Computation allows software and artificial intelligence to engage more directly with the design process, with the designer creating general guidelines and boundaries for the computer to abide by. This allows for further exploration in a more ad-hoc manner without a dominant preconceptualised plan. This approach to design contains a large amount of complexity, giving rise to emergent characteristics.

Tori Tori Restaurant Facade ExplorationsRobert Stuart-Smith Design

13

A.2.1 DESIGN BY COMPUTERIZATION

Proposal for Tokyo Olympic StadiumZaha Hadid Architects

14

This project is Zaha Hadid’s latest design proposal for the Olympic Stadium in Tokyo. The building volume sits gently on the urban landscape and is articulated as an assembly of stadium bowl, structural skeleton, caldding membranes and the museum, together forming an intricate structural composition that is both light and cohesive[5].1

There is no doubt a huge amount of computer aided elements in this design, but the underlying principles in its design stems from a preconcieved idea. Its complexity appears more preliminary and the extent to which artificial intelligence has intervened is superficial. This appears to be designed from a more traditional approach. I would consider this to be designed from a computerized process rather than computation. I personally feel that computers aid in the design procedure without any creative input or contribution, and is constrained to its role in terms of documentation, visual effects and the like. The genius of the architect, in this project, plays the more dominant role.

The proposal for the Tokyo Olympic Stadium suggests a top-down approach towards design. This long-established method towards contemporary architecture still falls under the well-accepted universal methods of building design. In this case, the creativity of the designer is independent of the software that has been used to achieve the end result.

5 Zaha Hadid Architects, ‘New National Stadium’ Zaha Hadid Ar-chitects, 2012, <http://www.zaha-hadid.com/architecture/new-national-stadi-um/> [accessed 11 March 2014]

15

The above images shows algorithmic explorations that give rise to the final design proposal for The National Art Museum of China.

This is a clear example of computation modelling where emergent forms give rise to free-form architecture. The tectonics of the building as well as its highly sophisticated detailing is suggestive of its distinct emergent composition. Conventional methods would prove inefficient and extremely tedious. Computers are superb analytical engines that can be used as a tool to compliment man’s rational and creative abilities, furthering us to greater heights[6].1

The human-initiated action empowers computers to create complex forms in some ways beyond the boundaries of a person’s imagination. This does not suggest that designers are incapable of concieving such a design from a traditional approach. The use of parametric software propells the designer to achieve certain results in a shorter period of time, as well as allow for more versatility during the design process. Relying mostly on intuition, experience and logical thinking, the designer can now rid himself of the mundane intricacies of a project.

In other words, when talking about conventional computer-adided design, computation substitudes the word ‘aided’ with ‘generated’. This is synonymous with digitalised architecture and digital design[7].2

6 Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, (Cambridge: MIT Press, 2004) p2.7 Oxman, Rivka and Robert Oxman, Theories of the Digital in Archi-tecture, (London: Routledge, 2014, p7-8.

A.2.2 DESIGN BY COMPUTATION

16

Proposal for National Art Museum of China, BeijingRoland Snooks and Robert Stuart-Smith

17

A.2.3 PARAMETRIC EXPLORATION

Urban Adapter, Hong KongRocker Lange Architects

A smaller scale project such as this provides a simpler framework to study or even replicate. Completed in 2009, this is one of the earlier parametric installations of its time that was actually built.

Using Grasshopper, i have attempted to ‘replicate’ a similar version of this design. The basic concept is straightforward, with various shapes and forms comprising individual plates that are easily fabricated and assembled together. The projections are extruded out to create the volumes of each individual plate, which then give rise to the overall form of the structure.

I especially like this way of form representation as it highlights each curvature and detail along the surface and provides the viewer with a better understanding of its dimensions; somewhat like a topographic map of the object.

Use of contours and projections,

Rhino and Grasshopper ExperimentsContours, Projections, Lofts, Extrusions

18

Based on a digital parametric model, this urban street furniture installation is a first along the streets of Hong Kong. At its core the model utilizes explicit site information and programmatic data to react and interact with its surrounding environment.

The project seeks to achieve an adaptive nature, where different site conditions and programmatic needs can be met. This design proposal for a contemporary city bench seeks to understand the concept of street furniture as a holistic design problem. Hong Kong’s undulating urban landscape offers opportunities for this project to display its versatility. Instead of offering only one single static design, this scheme suggests multiple varying solutions that meet specific fitness criteria[8].1Various seating arrangements can either encourage or discourage interaction between the users.

The intervention of computation modelling has allowed and assisted in the fabrication of the dynamic form of the installation. Individual plates can be manufactured and assembled on site, saving time and cost. However, this would only be practical if all installation sites had the same requirements for such benches to be ‘cost-effective’. Therefore, some drawbacks include the endemic nature of each site that requires new and precise configurations to achieve the desired result.

The same approach can be applied to other objects such as recycling bins, flower buckets, billboards etc. that creates a fluid and dynamic urban landscape. Thus, the concept behind this is not isolated to the function of a bench and therefore the opportunities for application are just waiting to be discovered.

8 Rocker Lange Architects, ‘Urban Adapter’ - Street Furniture Family for Hong Kong’, Rocker-Lange, 2014, < http://rocker-lange.com/index.php?/workproductdesign/urban-adapter/> [accessed 11 March 2014]

Urban Adapter ExperimentRocker Lange Architects

19

A.3 COMPOSITION/GENERATION

There has been a constant emphasis on the process on design, in terms of a new approach and method of thinking. Focusing on the natural phenomenon all around us instead of taking a deterministic approach and drawing from predecent works and teaching, we can compose forms beyond our imagination. The conventional wisdom of the primitive hut to antiquity, right down to modernism has become sidelined by the new age of design. Traditional ideas of design that give rise to compostion are no longer the only way to design, as a more generative approach, as argued proposes further possibilities to be explored.

In Michael Hansmeyer’s experiments, he suggests the distinct relationship of set algorthims in nature itself, primarly morphogenisis as his main point of the study[9].1Not biomimicry in particular, but rather the suggestive notions of specific patterns and relationships within our environment that should be addressed. Inherently, the ideas behind algorithmic thinking coheres with complex and intertwined relationships within nature - that that cannot be preconcieved and predetermined, and thus emergent in itself. Within the generatative qualities of parametric modelling, algorithmic thinking and scripting cultures, it is important to note that the designer directly influences the final outcome of the project.

9 Michael Hansmeyer, ‘Building Unimaginable Shapes’, TED, 2012, < http://www.ted.com/talks/michael_hansmeyer_build-ing_unimaginable_shapes> [accessed 24 Mach 2014]

Hansmeyer argues nature as the perfect product of design, and that the intricacies, sometimes beyond the limits of our human perception, carry the soul and character of an object.

Algorithmic relationships become the standard and become the singular language as a result of nature - logic and truth. Becoming forced into naturally occuring systems and ‘truth’ rather than impose our own digested interpretation of the architectural language in order to suit our needs, we free ourselves from the very rules that we have created around ourselves.

Looking at predecent compositional architecture, we see a trend - through rigorous studies and years of experience, architects have written literature and created built works that awe and amaze us. With these stylistic, tastefully composed structures already designed and built, what then, does generative architecture have to offer? Being able to rid ourselves of rigid forms, simple stacked repetition, isolated unrelated elements and segregation of function - Parametricism as the new age of design post modernism[10].

10 Patrik Schumacher, ‘Parametricism as a Style - Para-metricists Manifesto’, 2008 <http://www.patrikschumacher.com/Texts/Parametricism%20as%20Style.htm> [accessed 24 March 204]

20

Unimaginable Shapes, Subdivided ColumnsMichael Hansmeyer

21

A.3.1 PARAMETRIC PRECEDENCE (1)

‘Bloom’, USC School of ArchitectureDoris Kim Sung

The ‘Bloom’ structure is a 6 metre tall metal structure made up of 14,000 pieces of a special metal that responds to heat. Built in 2011, the installation mimics organic responses to the environment, breaking away from conventional static and nonresponsive ideas of building design.

This odd looking installation is a design initiative by Doris Kim Sung from the USC School of Architecture. The ‘Bloom’ project investigates a new material called thermobimetal, incorporating it into passive design approaches, and in this case made to resemble a blooming flower. With its form determined parametrically, it seeks to achieve a responsive action towards heat from the sun, with individual ‘flaps’ flattening out when cooled and contracting as it is heated up. The installation is a shading structure supported by a self-organising cellular panel system of laser cut custom fabricated sheet metal[11]. It is only in the recent years that the technology has been made available to custom fabricate this material for building purposes, though thermobimetal has been commonly used in everyday household appliances for the past decades.

11 3D-Dreaming, ‘Architecture from a Digital Point of View’, 3D-Dreaming, 2011, < http://www.3d-dreaming.com/2011/12/bloom-by-doris-sung-in-collaboration.html> [accessed 24 March 2014]

22

RESPONSIVE TECHNOLOGY: SOLAR/THERMAL REACTIVITY

Some possible applications from this project include passive sun shading devices and ventilation systems without the need for any other sort of control. This technology poses other possibilities for building systems - Sung is developing a glass panel that sandwiches a layer of thermobimetal and, like a shutter, automatically prevents the sun from penetrating the building by curling when heated. She is also working on bricks with tiny thermobimetal vents to let the breeze through, inspired by biological systems like insect spiracle and trachea systems[12].

The ‘Bloom’ project is an example of combining responsive technology with algorithmic design approaches in order to tesseallate complex surfaces into feasible building components. The engagement of parametric software goes beyond just fabrication methods, but also to compute highly efficient systems that is aligned to the objectives of the designer.

The sun is a source of infinite energy and harnessing this energy to create dynamic and passive systems bypasses conventional methods of an energy conversion cycle, converting solar power into an immediate response. Kinetic potential achieved without the need for any power source of mechanical intervention.

12 Archinect, ‘USC Architect First to Use Zero-Energy Build-ing Material That Reacts Smartly to Sunlight’, Archinect, 2012, <http://archinect.com/schools/release/268/usc-architect-first-to-use-zero-energy-building-material-that-reacts-smartly-to-sunlight/37493982> [accessed 24 March 2014]

In order to further utilise its material properties, computational methods are used to exploit its potential. However, this is a tedious and complex process due to multiple reactions and relationships between each and every part of the structure.

The computational approach is the development of parametric families of components and in the requisite control of data. The relevance lies in the relationships between the parts and the management of the changes in response to local performance requirements[13].2 This becomes even more necessary with the parts themselves are responsive to another factor - the external environment, and in this case, temperature fluctuations that is experienced at different magnitudes throughout the structure. Despite the obvious unique material properties of the skin, the essence of this project lies in the algorithmic relationships within the fabric of the design.

The ‘Bloom’ project examplifies the integration, application, and execution of parametric design with responsive technology.

13 Brady Peters, ‘Computation Works: The Building of Algo-rithmic Thought’, Architectural Design, (US: John Wiley & Sons Inc, 2013), p14.

23

A.3.2 PARAMETRIC PRECEDENCE (2)

Pedestrain Canopy, Kensington Market, TorontoViktor Kuslikis

works by orientating the surface normal of each panel to the desired altitude or azimuth angle. The program places a point in the model by translating the altitude and azimuth angles to Cartesian coordinates relative to a base reference point[14]. Each program is endemic to the site and is optimised to meet energy production objectives as well as to provide shading for the pedestrians. The canopy generates energy from the sun while still providing shelter for pedestrians. The drawback of this technology is that it is based on specific data sets that are provided for a localised area, and not instantaneous reactions to unforeseen environmental changes such as sudden cloud cover.

14 Viktor Paul Kuslikis, ‘Parametric Solar Architecture’, (Toronto: Ryerson University, 2010).

This pedestrian canopy is no ordinary shading device - the use of parametric modelling with photovoltaics to achieve a highly efficient energy production system in one of the sunniest places in Canada. Though similar to the ‘Bloom’ project at first sight, this design uses computerized systems that follow specific instructions that mechanically adjust the photovoltaic panels. Basically, the response of the structure is based on predetermined factors rather than thermo/light sensitive responsive materials.

The crux of the design lies in the the individual photovoltaic panels, that can rotate on two axes, allowing it to adjust itself to various angles. This parametric tracking system

24

RESPONSIVE TECHNOLOGY: SOLAR/THERMAL REACTIVITY

The pedestrian canopy illustrates another method of how a responsive system is realised through parametrics. The thermo-modelling diagrams provide a good idea of how well energy is harvested over the surface of the canopy, allowing the designer to make well-informed decisions in selecting the best solution for the given environmental conditions.

Computation exposes the designer to new forms of permutations and these solutions are emergent in nature, sometimes not easily concieved by the architect. Therefore, by combining sustainable technology (be it solar, wind, water or bio) with computational techniques, designers can expound on its productivity compared to that of conventional methods.

There is great potential for solar systems, such as evacuated tube systems, photovoltaics, solar ponds, parabolic troughs etc[15]. The question then, is what system to use and how do we maximise its potential through parametrics? Its through computation that we are able to fully realise their potential that can achieve for ourselves a sustainable future through building design.

15 Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renew-able Energy Technologies’, Land Art Generator Initiative, Copenhagen, 2014

25

A.4 CONCLUSIONS

When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture

- Brady Peters

Part A suggests strong advantages for generative design strategies for the contemporary architect. Combined with energy sensitive solutions such as sustainable technologies we can produce structures that are not only aesthetically pleasing and ‘correct’, but also beneficial to the environment.

I put forward the notion of parametric design being the most appropriate approach to the design brief, a method of design thinking that is most suited to innovative environmental building systems and the awareness of multiple relationships.

WHY?Parametric design thinking suggests focus on the relationships between subsystems within larger systems, aligned with the natural laws of complexity and emergence.

Construction methods and durations become more beneficial as computation becomes part and parcel with other fabrication systems, streamlining the entire process and reducing laborious human intervention.

Generative design emphasizes the process of design rather than traditional compositional methods, thus, allowing ad-hoc, unexpected results to maximise the potential endemic to each locality.

The paradigms of conventional design methods become less dominant, allowing designers and philosophers to break beyond traditional wisdom and is coherent with the term ‘there is no single method of achieving the same result’.

26

A.5 LEARNING OUTCOMES

Through this short introduction and submersion into the world of generative architecture, I have become more aware of algorithmic thinking and how natural principles are applied to architecture.

It is especially inspirational to me as i do not see it as artificial, but instead, feel that though computation we become more attuned to designing the way nature had intended. Being especially interested in how parametrics can optimise energy production, as described in A2.2/3, i find a value in this manner of design.

As for the technical aspect, i sometimes feel myself struggling to manipulate and skillfully create forms that I fully understand. However, I feel that i have come a long way from have zero experience with Grasshopper and merely mirroring tutorial videos to finally having the confidence to experiment with components to create definitions that make sense.

Then again, it is all about the process!!

27

A.6 REFERENCES

3D-Dreaming, ‘Architecture from a Digital Point of View’, 3D-Dreaming, 2011, < http://www.3d-dreaming.com/2011/12/bloom-by-doris-sung-in-collaboration.html> [accessed 24 March 2014]

Archinect, ‘USC Architect First to Use Zero-Energy Building Material That Reacts Smartly to Sunlight’, Archinect, 2012, <http://archinect.com/schools/release/268/usc-architect-first-to-use-zero-energy-building-material-that-reacts-smartly-to-sunlight/37493982> [accessed 24 March 2014]

Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (US: John Wiley & Sons Inc, 2013), p14.

Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’, Land Art Generator Initiative, Copenhagen, 2014.

Jason F. McLennan, The Philosophy of Sustainable Design: The Future of Architecture, (Missouri: Ecoton, 2004), p4.

Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, (Cambridge: MIT Press, 2004) p2.

Michael Hansmeyer, ‘Building Unimaginable Shapes’, TED, 2012, < http://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes> [accessed 24 Mach 2014]

Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture, (London: Routledge, 2014), p7-8.

Patrik Schumacher, ‘Parametricism as a Style - Parametricists Manifesto’, 2008 <http://www.patrikschumacher.com/Texts/Parametricism%20as%20Style.htm> [accessed 24 March 204]

Rocker Lange Architects, ‘Urban Adapter’ - Street Furniture Family for Hong Kong’, Rocker-Lange, 2014, < http://rocker-lange.com/index.php?/workproductdesign/urban-adapter/> [accessed 11 March 2014]

Sapphire Aluminium Industries, ‘The Blowhole Sculpture’ (Australia : Sapphire Aluminium Industries, 2010)<http://www.sapphirealuminium.com.au/index.php?task=projects&num=52> [accessed 11 March 2014]

SGP-Architects, ‘Greenprix - Zero Energy Media Wall’ (New York: Simone Giostra & Partners Architects, 2014) <http://sgp-a.com/#/single/xicui-entertainment-center-and-media-wall/> [accessed 11 March 2014]

Tony Fry, Designing Futures: Sustainability, Ethics and New Practice, (New York: BERG, 2009), p1.

Viktor Paul Kuslikis, ‘Parametric Solar Architecture’, (Toronto: Ryerson University, 2010).

Zaha Hadid Architects, ‘New National Stadium’ Zaha Hadid Architects, 2012, <http://www.zaha-hadid.com/architecture/new-national-stadium/> [accessed 11 March 2014]

28

The idea of having predetermined algorithmic patterns conforming to a surface is interesting. In this script, the octree triangulation is being mapped onto an irregular lofted surface. The result is entirely different from the original form, without any resemblance to the surface which is being ‘hidden’. By changing the parameters, the magnitude of the octree pattern is adjusted. I feel that this mode of generative design can create unique oranment on structural facades.

A.7 ALGORITHMIC EXPLORATIONS

29

- B - CRITERIA DESIGN

31

B.1

MATERIAL SYSTEMS:

BIOMIMICRY

Biomimetic architecture looks to nature as a model to imitate or take inspiration from natural designs and processes and applies it to the man-made, using nature as a measure of ecological standards to jusdge the efficiency of human innovations. Nature as a mentor means that biomimicry does not try to exploit nature by extracting material goods from it, but values nature as something humans can learn from.1 - Janine Benyus

Janine Benyus, Biomimicry: Innovation Inspired by Nature (New York: Perennial, 2002), p2.32

RESEARCH FIELDS

33

The Morning Line, ViennaMatthew Ritchie with Aranda\Lasch and Arup AGU

THE MORNING LINE

The Morning Line mimics and represents ideas behind the complexities of cosmological theories in a tangible sculptural form; to create an experiential space that speaks the language of the universe. The design process in itself is more relevant to such theories, and the fact the resultant object is one of such complexity and intricacies denote the continuum of endless motion surrounding our universe. Designed using parametric tools, the sculpture articulates an intangible and unimaginable idea within an entity such as a sculpture.

The Morning Line is an interdisciplinary platform where artists, architects, engineers, physicists, sound designers and musicians each contribute their own specialized information to create a new form: a mutable structure, with multiple expressions and narratives intertwining in its physical structure, projected video and innovative spatialized sound environments. [16] Multiple interactive systems have been incorporated into this scultpure, engaging with its audience, and at no point a stagnant piece of metallic aggregates.

16 Thyssen-Bornemisza Art Contemporary, ‘Launches The Morn-ing Line in Vienna’, E-flux, 2011, <http://www.e-flux.com/announcements/launches-the-morning-line-in-vienna/> [accessed 30 March 2014]

B.1.1 RESEARCH FIELD (1)

BIOMIMICRY

Biomimicry broken down to its main components, bio (living organisms) and mimicry (to copy), could simply mean to copy nature. However, biomimicry is more than just to imitate nature, but rather to expound on models, systems and elements of nature for the purposes of solving problems. After all mother nature is the most experienced designer; being in practice through course of time, endlessly evolving and adapting to refine itself to an ever-changing network of relationships.

To design with biomimetics means to draw on natural processes and applying these concepts to the man-made in an attempt to replicate them through interpretation and abstraction. Be it to solve specific problems or purely to express certain ideas, a biomimetic approach serves as a platform of inspiration.

34

MATERIAL SYSTEMS: BIOMIMICRY

PARAMETRICS

Built from an idealized ‘universal bit’ that can be reconfigured into multiple architectural forms, The Morning Line uses fractal cycles to build a model of the universe that scales up and down. The architectural and engineering systems capitalize on recent developments in parametric design developed by Arup AGU, and push them to their limits. There is no single way in or out, no final form. [17] The team of collaborators has designed the first semasiographic building. Semasiographic refers to a non-linear architectural language based on fractal geometry and parametric design that directly expresses its content through its visual structure. [18]2

These give way to an emergent form of structure that is not overtly representative of any specific algorithmic origins. In a sense, due to specific data flows from independent nodes to dependent nodes, this feedbacks between the design and the designer, and therefore creates a bilateral relationship between creator and creation. In this case, the order by which relationships are defined characteristic of the complexity of natural orders.

17 TBA21, ‘The Morning Line, Vienna 2012’, TBA21, 2012 <http://www.tba21.org/pavilions/103?category=pavilions> [accessed 30 March 2014]18 Art Pulse, ‘The Morning Line Launches in Istanbul’, Art Pulse, 2010, <http://artpulsemagazine.com/the-morning-line-launches-in-istan-bul> [accessed 30 March2014]

The generative process through parametric modelling results in a biomimetic form that connotates the ever-changing non-stop motion of the universe. With no true definition of form or end product, the design emphasizes its process over form.

With due diligence given to the logic that binds the design together, the process of relationship creation through formal notation highlights the idea of ‘design thinking’. [19] In The Morning Line, we see the ‘process’ rather than the final outcome of this process, though explicit credit is given to the aesthetic and experiential properties to the sculpture.

19 Robert Woodbury, ‘How Designers Use Parameters’, in Theo-ries of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), p154-155

35

B.1.2 RESEARCH FIELD (2)

THE ENERGY OF THE SUN [20]

Lukasz Gawlas and Krzysztof Leszczynski

This project exemplifies a straightforward system of girth patterning over a flat canopy. Our interest, however, is in its incorporation of sustainable systems within an parametric framework of design. The use of photovoltaics and hydroelectricity means green energy being provided round-the-clock. The cohesiveness between 2 or more systems can create for a more resilient energy system. In this example, there is still a gap in terms of using the tools of parametric design to solve and cater for architectural solutions, as it is merely a addition of sustainable systems with parametric design. This is something that my group is definitely trying to avoid.

The idea of an endless cycle and how nature does not fail to intrigue me. Purely relying on solar energy makes the

system vulnerable, and to some extent, uncertain and reliant on daylight hours. Although this site is situated in Dubai and might seem full proof, one cannot simply transfer the concept to another site. When considering our LAGI brief, we need to analyse the conditions endemic to the site, and therefore apply only the relevant advantages to our site.

Through a thorough investigation and setting out of a design criteria, we have set out some specific goals and opportunities that would benefit our design installation at Copenhagen. This design still has many aspects that have not been resolved in terms of design, and we intent to expound on the current concepts.

1

20 Lukasz Gawlas and Krzysztof Leszczynski , ‘The Energy of the Sun’, Land Art Generator, 2010, <http://landartgenerator.org/LAGI2010/808205/> [ac-cessed 31 March 2014]36

1 - WATER TOWERS- PUMP-STORAGE HYDROELECTRICITY- GRAVITATIONAL POTENTIAL ENERGY via water pumps- Water is stored in WATER TANKS - 80% ENERGY EFFICIENCY- PHYSICAL PROCESS, no chemical reactions/contamination

ADVANTAGESIncorporates the surrounding water bodies and fully exploits environmental conditions when paired with photovoltaic energy generation. Also provides for viewing platforms and adds some aesthetic value.

DISADVANTAGESStructurally difficult with slender column and heavy live load concentrated at the top of tower - expensive to build. Might not be economically viable and physically practical.

OPPORTUNITIESPossible to incorporate some form of hot water tube system considering Dubai’s harsh weather conditions.

2 - PHOTOVOLTAIC FIELD- Dubai : Most days are SUNNY- Application of GIRIH TYLE PATTERNS- Used as a LARGE SHADING DEVICE in a large expanse of desert

ADVANTAGESDepend of radiation from the sun eliminating the need for movable cells. Opportunities to be integrated into architecture.

DISADVANTAGESCan only generate electricity when there is sunlight. This shortcoming is made up for by storing generated energy as potential energy for later use (Water Towers)

OPPORTUNITIESEfficiency and form of photovoltaic orientations could be further developed.

37

B.2

Fractal FactorSegmentsScale FactorRadiusMirror Plane None





Studies on the fractal tetrahedras in The Morning Line

Type A

38

Fractal FactorSegmentsScale FactorRadiusMirror Plane Tetrahedra Surface Plane





Type B

Type C

CASE STUDY 1.0

39

Further studies on tetrahedras over interpolated curves

InterpolateSegmentsScale FactorRadiusHeight





Type D

Type E

40






Type F

CASE STUDY 1.0

41

Rotation Angle Scale FactorCull Vertices NoneRotation Axis x y zScale x y zTranslation Vec x y z

Translations on fractal tetrahedras

Type G

Rotation Angle Scale FactorCull Vertices NoneRotation Axis x y zScale x y zTranslation Vec x y z

Rotation Angle Scale FactorCull Vertices Rotation Axis x y zScale x y zTranslation Vec x y z



42

Type H

Type I






CASE STUDY 1.0

43

Fractal FactorSegmentsScale FactorRadius





Further studies made on the Voltadom

Type J

44






Type K

Type L

CASE STUDY 1.0

45

B.2.1 STUDY MATRIX

Recursive Fractals Fractal Arrays

46

Translations Fractal Arrays

47

B.2.2 DESIGN CRITERIA



- Natural forms and generative beginningsThis selection was based on its emergent characteristics that surprised myself for its strong organic form. Its strong resemblance to flowers is undeniable. This is an example of generative design, where surprising forms take shape with varying input parameters. However, the multiple overlapping and intersections make it difficult to forsee fabrication opportunities.

- Arraying individual modulesBuilding upon the previous technique, further explorations on different parameters give rise to this interesting form. In this case however, single non-intersecting fractal modules make it possible for fabrication. At the momement, it is difficult to find any aesthetic idea or architectural application.

- New parameters and translationsAchieved through mathematical sequences, that of translations, this iterations articulates the flexibility in form generation more than anything else. Though difficult to find any formal expression or application in this iteration, it demonstrates possibilities through new parameters.

- Fabrication and panelsPanelling opporunties is the strongest characteristic of this iteration. It is of particular interest to our theme as we seek to find solar applications in our design. There is no formal architectural ideal that is being put forward, and requires further exploration.

48

PRELIMINARY SELECTION CRITERIA

- INSPIRED BY NATUREProceeding on from ‘Biomimicry’ as our material system, we hope to cohere with the ideas and philosophies behind its definition. Therefore, we hope to look towards natural systems for inspiration and opportunities for innovation.

- ORGANIC FORMS AND DETAILWe believe that our resultant form should reflect the underlying principles and ideas that were set out. It should not stray too far away away from our initial inspiration. This does not mean that we should restrict the explorative characteristics of the design.

- BASED ON NATURAL OCCURING FRACTAL PATTERNSSince natural systems can be thought to be the most efficient sytems mother nature has to offer, we look to these ‘laws’ as a launchpad.

- EMERGENT CHARACTERISTICSAvoiding superficial ‘copy-paste’ methods, the design should express originality and an explorative process rather than an emphasis on final product. We seek to produce a design that has been through rigorous thought.

- CAN BE FABRICATEDConsiderations to be made for fabrication and construction viability.

- FLEXIBLE DEFINITIONS THAT CAN BE ALTERED TO SUIT VARIOUS PURPOSES The ability to adapt to different conditions and allowing for a network of concept to come into play will be an important factor for design. The purpose of this criteria is to avoid restricting ourselves to specific systems that may have created biases (i.e photovoltaic fields and water towers from 2010 LAGI example).

- ALLOWS ROOM FOR FURTHER EXPLORATIONAvoiding outcome-oriented design, with strong emphasis on the process of design and continual improvement.



49

B.3

CANOPYUnited Visual Arts

Inspired by the experience of walking through the dappled light of a forest, the Canopy is a 90-metre long light sculpture spanning the front facade of the building, using mass production and precise fabrication to evoke and reflect nature. Thousands of identical modules, their form abstracted from the geometry of leaves, are organised in a non-repeating growth pattern. [21] The Canopy uses artificial lighting during the night and filters daylight during the daytime.

The patterned modules are particularly interested as they were abstracted from the shape of leaves and though repetitive, are arrayed in perfect unison. The same way hexagons can be placed around each other, this simple shape achieves the same result. Despite looking like a randomized pattern from far, the singular module is actually rotated 4 times around an origin and repeated.

In the materialization of this project, the need for technology to help with digitally designing as well as manufacturing is crucial. Specially crafted surfaces, unique decorative reliefs and cut-out patterns create for dynamic and adaptive building skins such as this can only be achieved through modern technology.[22] The highly ornamental and evocative facade installation is an expression of a forest canopy though situated within an urban context. With relation to my groups specific interests in Biomimicry and solar energy, we see opportunities in this project that not only relates to our design criteria, but also serves as a precedent example worthy of investigation.

21 Design Playground, Canopy by United Visual Arts, Design Playgrounds, 2014, <http://designplaygrounds.com/de-viants/canopy-by-by-united-visual-artists/> [accessed 07 April 2014]22 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–2450

CASE STUDY 2.0

REPRODUCING THE CANOPY

51

B.3.1 REVERSE ENGINEERING

DIFFICULTIESReached a few dead ends especially with creating the surface panels of the canopy. The modules could not be capped and were only repeated to create a general pattern on the ‘Canopy’.

Rotations made arrangements of the modules even more complicated when the axes of rotations had to be aligned with every four modules.

The singular module had to be defined, including the capping, before it could be arrayed.

INTERESTING RESULTSTop view is especially interesting as organic patterns start to appear. Noting that there are no curved lines used, this phenomenon could be explored further.

The angles and aspects of surface panels could be further investigated to achieve interesting ornament or functional use such as photovoltaics.

Organisation of panels in the ‘Canopy’ mirror a non-repeating growth pattern - a concept that could possibly be applied into our design.

52

1 - CREATE CURVEDraw curve, geometry must be ‘tile-able’

2 - DEFINE MESHCreate mesh using initial geometry, defining interior and exterior edges

3 - EXTRUDE INTERIOR EDGES TO POINTDefine point from a corner and move in positive Z directionExtrude exterior edges to point

4 - LINEAR EXTRUDE EXTERIOR EDGESExtrude exterior edges in negative Z direction

5 - CREATE ‘REPEATEABLE’ PATTERN WITH GEOMETRYRotate module around central axis along XY planeRepeated four times

6 - LINEAR ARRAY IN X DIRECTIONAdjustable width of canopy

7 - LINEAR ARRAY IN Y DIRECTIONAdjustable length of canopy

53

B.4

TransitionSurfaces OddSurfaces EvenDivide - uDivide - vSurface Square (Planar)

TransitionSurfaces OddSurfaces EvenDivide - uDivide - vSurface Stretched Square

TransitionSurfaces OddSurfaces EvenDivide - uDivide - vSurface Loft through 2 curves

TransitionSurfaces OddSurfaces EvenDivide - uDivide - vSurface Cylinder

TransitionSurfaces OddSurfaces EvenDivide - uDivide - vSurface Cylinder

Tessallations on surfaces (Tatami, Cairo, Diagrid)

54

TECHNIQUE : DEVELOPMENT

Point xPoint yVertex xVertex yMirror None

Point xPoint yVertex xVertex yMirror True




Experimenting on Parabolic geometry

55

TransitionSurfaces OddSurfaces EvenDivide - uDivide - vPoint xPoint yVertex xVertex ySurface Inversed Parabola





56

TransitionSurfaces OddSurfaces EvenDivide - uDivide - vPoint xPoint yVertex xVertex ySurface Parabola



TransitionSurfaces OddSurfaces EvenDivide - uDivide - vPoint xPoint yVertex xVertex ySurface Parabola (inversed)


57

B.4.1 DEVELOPMENT MATRIX

58

B.5

60

TECHNIQUE : PROTOTYPES

PROTOTYPING THE STRUCTURE

Fabrication is the main objective of this prototype - The 3D model is unwrapped and each piece is notched. The pieces are then cut using computer aided fabrication techniques. The notching forges the main connection between each part, and therefore not requiring any additional adhesives.

The structure, mainly constructed and connected via notches is made up of two main parts. The parabolic dish that sits upon another inverted parabolic column is purposed as a solar collector.

This model is used to demonstrate the structural system that we hope to apply in our design. Each grid will allow for a solar panel or reflector to be embedded into it.

61

B.5.1 PROTOTYPING (2)

PROTOTYPING A REFLECTIVE TROUGH

The model demonstrates two main ideas, 1 - Reflective behaviour of light within a trough-like system2 - Panel configurations within a cairo grid panel

Strongly inspired by the parabolic solar trough technology of the LAGI field guide, we decided to reproduce our own version of a reflective trough. Even though the tessallated pattern is parametrically defined, it does not provide any practical application as of yet. The driver behind this idea, is to concrete light within a ‘bowl’, maximising the amount of internal reflection, and through this we hope to achieve an optimised solar dish that will be able to generate energy efficiently.

Another outcome that we were made apparent to, was the opportunity to incorporate an evacuated tube system within the grid structure. With concentrated amounts of light within the trough, it might be possible to have dual-sytem.

62

PHOTOVOLTAIC CELLS

EVACUATED TUBE/STRUCTURAL SYSTEM

CAIRO TESSLLATION

63

B.5.1 PROTOTYPING (3)

PROTOTYPING A DUAL-AXIS PANEL

A double-frame system is used to encase a square panel (solar panel or reflective panel), enabling the panel to revolve around an axis. By using alternating connections on each frame (main frame and sub-frame), the panel is allowed to rotate around two separate axes. This allows more flexibility in motion, with the purposes of capturing sunlight. The flat panel is able to rotate around a central axis in a three-dimensional manner.

Initially, the design was only limited to a square grid as it was difficult to create complex frames with multiple angles and sides. This simple prototype proved to be successful, but requires for more rigid connections along each axes. Here lies many opportunities, as it enables us to elude away from a parabolic trough design as the only method of maximising solar gain. Also an area to consider is the need to create very thin frames that are light, thin and rigid.

64

DUAL-AXIS PANEL ON CAIRO MODULE

The learned outcome from the previous prototype informed the design technique for unique patterns. In this case, with two axes perpendicular to each other, the shape of the panel becomes almost irrelevant.

Also, a deeper frame proved to be more ideal, as it provides for increased rigidity without a large surface area along the plane of the panel face. This module is also suitable (though on different scales) with the structural method that was experimented with in prototype 1 where notches were used to create a structural frame.

DUAL-AXIS SOLAR TRACKING

Single axis solar tracking seeks to follow the sun path from East to West. However, this does not account for the varying sun paths that vary across different seasons. For example, in Summer, the sun is higher up North, while lower down South during Winter. Therefore, with a dual axis solar tracking system, the panels can operate with increased sensitivity towards the actual sun path throughout the year.

65

B.6

66

PROPOSAL

Pump/system

Structure Frame

Hot water tubes

Re�ector Panels

Thermal Fluid Bulb

67

C l o u d o f p a t t e r n sE n e r g y p r o d u c t i o n s s y s t e m v i s i b l e a n d h o n e s t l y e x p r e s s e d‘ S h e l t e r ’

68

C l o u d o f p a t t e r n sE n e r g y p r o d u c t i o n s s y s t e m v i s i b l e a n d h o n e s t l y e x p r e s s e d‘ S h e l t e r ’

THE DESIGN STORYThe idea begins with the objective to maximising solar gain through an algorithmic approach. With a strong interest in solar energy, we decided to move beyond the confines of our design theme of biomimicry. Realising the inevitable need for solar or reflector panels, we found applications through tessallations.

Increased explorations on parabolas informed our design idea of ‘concentrating’ or ‘containing’ the sun’s rays. Our design comprises of two parabolas (a column and a dish), arrayed across the landscape to create a forest of free-standing solar collectors. The dishes form the intermediate layer of ‘clouds’ between the sun and the habitable space below it.

The arrangements of these ‘cloud structures’ are influenced by the access/circulation at the site and the prioritised views. The main driver, however, is the path of the sun and its variation between the different solstices.

THE INSTALLATIONEach dish is made a grid system, each housing a solar reflector. Each reflector is held in place with two frames, each rotating on opposite axes, allowing the panel to rotate on its own axis in a three-dimensional fashion. This will allow for a high degree of senstivity towards the sun path, tracking it accurately. Concentrating the radiation at a central thermal bulb, heating the thermal fluid to a high temperature.

USEA plan for an education and viewing pavillion will be incorporated in the design as the main function of the site. Users will navigate their way through the ‘cloud forest’, arriving at the pavillion that houses the power generators only to realised they have walk right past an entire solar field. The purpose is not only to inform and educate the public, but also to serve as collection of public art sculptures.

69

SUN PATH SOLSTICES

70

ACCESS PRIORITY VIEWS

71

B.7 LEARNING OBJECTIVES AND OUTCOMES

LEARNING OUTCOMES

Through this part of the project, skills in parametric design has been given practical application. Especially through prototyping and designing for a brief, I have become more aware of the practical applications of generative design.

Fabrication becomes a major factor when it comes to generative design, as the approach becomes hard to predict. Unlike conventional methods where the material and construction considerations come early in the design phase, generative design is not dictated by the construction method until much later.

Desiging according to data flows and mathematical thinking also becomes much more difficult when considering real world applications. Performance in virtual space can be very different to its real world performance - prototyping was a major challenge that really made this apparent.

INTERIM OUTCOMES

Having the parabolic concept as our starting point imposed certain restrictions on our design that inhibited our generative technique. Combining our current design with the dual-axis panel technology, it becomes inherently unnecessary to restrict the structure to a parabolic form. Though the form was algorithmically defined, it was confined within the parameters of the parabolic equations that we set. Through this interim submission we have been made aware of how the form of the structure can be redefined.

The method by which energy is being generated in the structure should also be further resolved and we should look into local applications within the site to make it more apparent. Rather than plainly feed produced energy into the grid, we can look into applications in its locality.

72

B.8

ALGORITHMIC EXPLORATIONS

For the next phase of our design, we intend to focus on the detail of the solar/reflector panel. Due to the specific criteria of a dual-axis frame, I have tried to recreate this algorithmically so that it can by incorporated into our future design.

These images demonstrate the rotation in each axes, and also an odd shape that might result from our future tessellation. In a sense, the same way a physical prototype was made, I believe this achieves the same result in the virtual world - a 3D model prototype.

Grasshopper has not only been used for generative design, but in this case, has provided a platform for experimenting with mechanical characteristics.

73

B.9

Art Pulse, ‘The Morning Line Launches in Istanbul’, Art Pulse, 2010, <http://artpulsemagazine.com/the-morning-line-launches-in-istanbul> [accessed 30 March2014]

Design Playground, Canopy by United Visual Arts, Design Playgrounds, 2014, <http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/> [accessed 07 April 2014]

Lukasz Gawlas and Krzysztof Leszczynski , ‘The Energy of the Sun’, Land Art Generator, 2010, <http://landartgenerator.org/LAGI2010/808205/> [accessed 31 March 2014]

Robert Woodbury, ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), p154-155

Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24

TBA21, ‘The Morning Line, Vienna 2012’, TBA21, 2012 <http://www.tba21.org/pavilions/103?category=pavilions> [accessed 30 March 2014]

Thyssen-Bornemisza Art Contemporary, ‘Launches The Morning Line in Vienna’, E-flux, 2011, <http://www.e-flux.com/announcements/launches-the-

morning-line-in-vienna/> [accessed 30 March 2014]

74

- C - DETAILED DESIGN

77

C . 1 D E S I G N C O N C E P T

ENVELOPE

To create an envelope was a major theme within our selection criteria where we sought to achieve through generative design. With multiple overlapping geometries that intersected and later merged together, we arrived at a plan that could provide for our agenda. We were strongly influenced by the precent studies on the ‘Canopy’, and wanted to achieve something of that nature but would have some dynamic characteristics towards the sun. A pure tessellated pattern was insufficient to drive our interest, and thus the incorporation of varying infill panels that each had its own useful purpose. The skin of the structure is strongly informed by the site characteristics and articulates the solar action through each cell having its own unique dimension and panel.

The enclosure consists of a double skin envelope that appears to ‘wrap’ around the user. This two-tiered approach provides for a transitional space form semi-private to private space. The idea of a ‘hearth’ is articulated through the overlapping skins that provide for a ‘hygge’ space.

SCALE

Scale was a major factor that influenced the boundaries of our installation - keeping it small compared to the site, in order to draw the users into a central gathering space. A deliberate move to create a cocoon-like envelope that is cosy and coherent with the hygge culture of the Danish.

Scale was also a major component that varied the parameters of our design constantly, from cell size and pattern to the shape of our primary geometries.

78

Feedback response from Interim Crit- Stray away from maximising energy production as being the main focus of the structure

- Refine the method by which energy is being produced

- Do not be constrained by a pure parobolic form and allow for more generative methods

- Continue working on dual axel rotation as it allows for versatility in the structural form

- Consider how the site attributes contribute to form generation

- Consider creating energy for the use of the site (experiential value)

- Consider experiential properties at the site that can be expounded on

CIRCULATION

We sought to identify and predict circulation patterns through the site and through this, try to shape these patterns according to points of interest around the site. A general principle of not axially related entrances was employed and overlaid onto the plan. For example, walking through the main entrance, the user will not be able to identify any obvious openings into the main hearth, but will have to make their way to another opening which is adjacent to the main entrance. Entrances are faced away from each other, forcing the user to meander through the structure as they experience enclosure and exposure.

79

N

ferry taxi

view to mermaid

solar tower

A FORM DERIVED FROM RELATIONSHIPS ON SITEUsing the views and access points as starting points of the design, we triangulated a central location between these points that would denote the position of our installation. By inputting various components and scripts and varying parameters according to these points, we finally decided on a form which cohered with our selection criteria (mainly, to provide for an envelope/canopy).

CIRCULATION

main access

t h e s t a r t i n g p o i n t

80

N

main access

DERIVING A STARTING POINT FROM KEY POINTS, GENERATING AXIAL RELATIONSHIPS

METALBALL AS AN EXPERIMENTAL FORM DEVELOPMENT STRATEGY ALONG KEY AXES

MERGING OF CURVES AND SMOOTHENING OF INTERSECTION EDGES, AND REMOVING UNWANTED ELEMENTS

REFER TO ‘ALGORITHMIC PROCESS’ FOR FURTHER DEVELOPMENT

81

CREATING THE ENVELOPE - ARC BETWEEN CURVES

TESSALLATIONS - CONTINUED FROM ‘CANOPY’ STUDIES

FRAME RIGIDITY - LOFTING ALONG CURVE NORMAL

‘REACHING TOWARDS THE SUN = EXTRUDING TOWARDS POINT ATTRACTOR

a l g o r i t h m i c p r o c e s s

82

t e c h n o l o g y : s o l a r t o w e r

In this type of concentrated solar thermal power, an array of mirrors at the ground level tracks the sun’s location in the sky and focuses sunlight onto a single collector positioned high atop a central tower pylon structure. The temperatures reached at the collector can become extremely high and create efficiencies of scale. By using a high heat capacity material such as molten salt in the collector (which transfers heat to water to run a steam turbine) energy can be stored to produce electricity even after the sun has set. [23]

In this design, the energy produced at the solar tower will be used to power heating coils within the structure as well as grid production.

thermal fluid in

thermal bulb

generator

energy to grid

heating coil

reflectors

gathering space

footnote 1

23 Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’, Land Art Generator Initiative, Copenhagen, 2014.

83

s o l a r a n a l y s i s

84

daylight hours (hrs)

months

months

AVERAGE DIURNAL DAYLIGHT HOURS

AVERAGE DIURNAL SOLAR INTENSITY

20

10

6

3

intensity (kWhr/m2/day)

High sun intensity

Moderate sun intensity

Low sun intensity

Negligible sun intensity

GENERAL INFORMATION

Average daylight hours = 12 hours 27 minutes

Average daily solar intensity (mean) = 33.9kWh/m2/day

Stronger and predominant solar incidence from the South

85

C . 2 T E C T O N I C E L E M E N T S

dual axels

reflector panels

sub-framecell

brackets/clips

Each cell with its own unique dimensions and relationship to a neighbouring cell. The ‘far reaching’ extruded cells are capped with reflector panels. The distribution of panels are closely related to the depth of the cell denoting the solar intensity across the skin of the structure.

86

infill panels

plywood frames (cells)

tinted perspex

steel brackets

sub-frame

reflector panel

dual axels

Constructing the prototype 1:5

87

structural plywood

tinted perspex

Due to the depth of the each cell, normal timber sheets cannot be used, therefore structural plywood sheets are used as an alternative construction material. Each cell is assembled before the whole structure is put together to ensure the overall correctness the tessllations.

The tinted perspex allows for light penetration and diffusion into the interior space of the envelope. Also, considering the cold climate, it allows for some greenhouse effect to some extent (placed on the north side to prevent excessive direct sunlight).

Construction Process

1 - Foundations and site worksLaying of heating coil and concrete slabTerracing of landscape

2 - Assembling cellsEach cell is assembled (offsite or manufactured individually)Ensures accuracy of each cell

3 - Connecting cells on siteEach cell is connected to each other on siteThis forms the structural skeleton of the installation

4 - PanelsInstallation of the three different panels (infill, tinted perspex, solar reflecors)

* Repeat steps 2-4 for the smaller structure (considerations for access)

m a t e r i a l i t y & c o n s t r u c t i o n

site works primary structure88

reflector panel

dual axels

More precisely called an electronic rotary actuator, these axels rotate the reflector panels in both axes to reflect sunlight accurately throughout the day. Smart technology enables the these axels to respond accordingly. The axels must be placed in a perpendicular manner to allow for precise three-dimensional rotation.

0.5mm thick flat, coated anodized aluminium panel reflector mounted on an insulated plate. Each of these non-parabolic reflectors can raise temperature up to 700degC. When more panels are focused upon a single point, temperatures will increase considerably.

secondary structure89

C . 3 F I N A L M O D E L

Building the primary structure at 1:50

Building the secondary structure at 1:100

90

Experimentation on lighting

91

C . 4 L A G I

DESIGNING FOR THE FUTURE

Our design aims at articulating the apparentness and need for a social response and awareness of the environment - to create a space that is not only experiential for the user but also one that provides for a practical and functional role. The overt dynamism of the installation (operable panels) seeks to inform the public in a more tangible and interactive manner, while still granting a space that speaks the culture of where it sits - ‘hygge’.

ENVIRONMENTAL IMPACTS

Like most construction projects, the initial environmental costs of this proposal include that of material embodied energy, operational energy as well as site works (terracing and excavation for slab).

Although the purpose of the design is to produce energy, we still seek to be able to build one that requires as little energy as possible. For example, when selecting our plywood material, sourcing environmentally responsible companies become of utmost importance. Also, the choice of our perspex is fully recyclable such that it can be restored to its original base raw material to be remoulded again. In short, we sought to build our design out of fully recyclable materials.

92

t h e i n s t a l l a t i o n

Solar reflector panels of total surface area of 206m

2, will be distributed

across the skin of the structure that recieves the highest sun intensity throughout the day. Made of 0.5mm thick flat, coated anodized aluminium panel reflector mounted on an insulated plate.

Structural plywood will be used for the framing as well as the infill panels. Each cell is uniquely defined in its dimension and is assembled with steel brackets. The depth of the cells are directly related to sunlight intensity across the structure (i.e. maximum depth of 2.2m at the point of maximum solar incidence).

Tinted perspex will be used for two main functions, as windows to allow for views out of the structure and as skylights for allowing natural light into the interior spaces. The ‘skylights’ are distributed in a manner by which indirect sunlight is recieved.

High sun intensityReflector panels

Moderate sun intensityTinted perspex

Low sun intensityInfill panels

93

e n e r g y p r o d u c t i o n

KEY FIGURES

- AVERAGE DIURNAL SOLAR INSOLATION

- TOTAL AREA OF REFLECTOR PANELS

- EFFICIENCY OF REFLECTOR PANELS

- EFFICIENCY OF ORC TURBINE GENERATOR 75%

95%

206 m2

33.9 kWh/m2

ANNUAL PRODUCTION 149 MWh

AVERAGE HOUSEHOLD USAGE(PER YEAR)

18 MWh

JAN FEB MAR APR MAY JUN JUL AUG SEP OCT NOV DEC

Solar insolationkWh/m2/day

0.62 1.26 2.48 3.94 5.35 5.57 5.3 4.44 2.91 1.58 0.76 0.52

Panel insolation (per day)kWh

128 260 511 812 1102 1148 1092 915 599 325 157 107

No. of days 31 28 31 30 31 30 31 31 30 31 30 31

Panel insolation (per mth)kWh

3959 7527 15837 24394 34165 34422 33845 28353 17983 10089 4697 3321

Sources:http://solarelectricityhandbook.com/solar-irradiance.htmlhttp://www.infinityturbine.com/ORC/ITmini_Radial_Outflow_Turbine.htmlhttp://landartgenerator.org/blagi/archives/127

per day = 596 kWhper month = 17, 462 kWhper year = 209, 551 kWh

TOTAL PANEL INSOLATION,

enough energy to provide for 8.3

households per year

94

C . 5 L E A R N I N G O U T C O M E S

FINAL PRESENTATION OUTCOMES

Feedback & ResponseSite has not been fully utilised, which is incoherent with our team’s objective to maximise solar gain and generate a substantial amount of energy. In response to this, the further development of the project would include populating the site with these installations. The current proposal takes up about 2% of the site surface area. The accompanying diagram illustrates 80% of site utilisation, meaning 40 times more energy produced.

Energy system was not fully resolved. During the design process, we did in fact stray away from the focus of energy production due to feedback from our interim presentation. However, revisiting the brief, we have come to an agreement that the organic rankine cycle would probably produce the highest efficiency at the given site. It is also important to note that the only waste heat produced in the system would be the heat loss at the turbine itself, as excess heat is fed into the heating coil of the slab.

heat source

thermal bulb

high pressure vapour

pump condenser

excess heat

slab heating coil

turbine generator

grid

96

LEARNING OBJECTIVES REVISTED

Through the semester, much attention has been given to the generative approach towards design and refining my competency in parametric modelling software. It is probably the most challenging aspect of the course, but has indeed widened my understanding of computational methods. The bulk of my time has been devoted towards experimentation and prototyping, trying to fabricate or recreate a virtual model in a tangible useable fashion in real-life. It was indeed challenging yet interesting to bridge the connection between virtual space and reality, and also to think of applicable construction techniques.

Through the rigour of generative design methods, I believe that there has been a tendency to neglect or overlook the specifics of the brief itself and to have our methods aligned strategically to it. Overall, i feel that the application of computational methods towards the brief has not not reached its fullest potential and can be further improved with deeper understanding and appreciation for the approach and its applications towards real world situations. I strongly believe that parametric design has many advantages that have yet to be fully exploited due to the lack of understanding as well as overtly apparent relevance. In other words, computational methods does not have any strict form of problem solving standard, but has the potential to tackle complex situations - this is both a advantage and disadvantage.

grid

97

R E F E R E N C E S

Clear Dome Solar, ‘ClearDome SolaReflex AA Mirror Surface’, Clear Dome Solar, 2014, < http://cleardomesolar.com/solareflexpanels.html> (accessed 2 June 2014)

Climatemps, ‘Sunshine & Daylight Hours in Copenhagen’, Climatemps < http://www.copenhagen.climatemps.com/sunlight.php> (accessed 2 June 2014)

eSolar, ‘Power Generation: Molten Salt’, eSolar, < http://www.esolar.com/applications/power-ms/> (accessed 2 June 2014)

Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’, Land Art Generator Initiative, Copenhagen, 2014.

Infinity Turbine, ‘Organic Rankine Cycle ‘, Infinity Turbine, 2014, <http://www.infinityturbine.com/ORC/ITmini_Radial_Outflow_Turbine.html> (accessed 6 June 2014)

Land Art Generator Initiative, ‘Total Surface Area Required to Fuel the World With Solar’, Land Art Generator Initiative , 2009, <http://landartgenerator.org/blagi/archives/127> (accessed 6 June 2014)

Mitchell Plastics, ‘Superior Performance’, Mitchell Group, (2005), < http://www.mitchellgroup.com.au/mp/products.aspx?productID=57> [accessed 22 May 2014]

PV Education, ‘Average Solar Radiation’, PV Education, 2014, <http://www.pveducation.org/pvcdrom/properties-of-sunlight/average-solar-radiation> (accessed 2 June 2014)

Solar Electricity Handbook, ‘Solar Irradiance’, Solar Electricity Handbook, 2014, <http://solarelectricityhandbook.com/solar-irradiance.html> (accessed 6 June 2014)

98

Tow Zacchaeus 581907

Documents

Transcript of Tow Zacchaeus 581907