Bae seongho 605311 part c

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DESIGN STUDIO

AIR 2014 Journal

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SEMESTER 2, 2014 SEONGHO BAE, 605311TUTORIAL 2, WED 1.15-4.15, BRAD ELIAS

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CONTENTINTRODUCTION

4 ABOUT ME

5 EXPERIENCE

CONCEPTUALISATION

8 A.1 Design Futuring

14 A.2 Design Computation

20 A.3 Composition & Generation

29 A.4 Conclusion

30 A.5 Learning Outcomes

31 A.6 Algorithmic Sketches

32 A.7 Bibliography

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My name is Seongho Bae and I am from Seoul South Ko-rea. My tertiary studies in Korea were in the field of Mechanical Engineering. Af-ter arriving in Australia in 2007, I completed a Diploma in Automotive Mechanics and was employed in this field. However, I later realized that my true passion was Ar-chitecture and enrolled in the Bachelor of Environments program at Melbourne Univer-sity.

From a very young age I have been interested in creative design and construction. As a child, I used to spend hours with my Lego set designing and building houses and city scapes. I hope to one day turn this childhood passion into a career to continue on to a Masters in Architecture to achieve this dream.

INTRODUCTION

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My previous studies in Korea has provided me with an inter-mediate knowledge of AutoCAD but my exposure to paramet-ric design software has been rather limited. I am looking forward to learning programs such as Rhino, Grasshopper, InDesign and Photoshop this semester.

Through the course of my Bach-elor of Environments degree I have been exposed to design, construction and modelling through “Construction envi-ronments” and “Construction design” subjects. Examples of my designs are illustrated next.

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A

Part A

CONCEPTULISATION

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A.1 Design Futuring

A.2 Design Computation

A.3 Composition & Generation

A.4 Conclusion

A.5 Learning Outcomes

A.6 Algorithmic Sketches

A.7 Bibliography

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A.1 DESIGN FUTURING> Tony Fry <

Human civilization is fast ap-proaching a perilous moment in its existence whereby the hu-man-centered “auto-destructive mode of being” of treating the earth as an unlimited resource at human disposal is taking the future away from ourselves and all other species that inhabit earth. Tony Fry terms this pre-carious situation of unsustain-ability “defuturing”.1

However, Fry argues that humans possess the unique ability to “prefigure what we create be-fore the act of creation” known as “design” which can be har-nessed to secure and reclaim our future.2 This idea of securing the future through sustainable design that minimizes negative impact of human construction on the environment is what Fry

terms “design futuring” as sus-tainable modes of living. According to Fry, design fu-turing needs to accomplish two primary goals.3 Firstly, slowing down the current rate of defu-turing. Secondly, envisioning more sustainable modes of liv-ing. With the advent of com-puter modeling software and the development of new technology the realm of possibilities has vastly increased in terms of de-sign futuring.

An interdisciplinary approach whereby artists, architects, engineers, and climate change/renewable energy specialists come together to develop sus-tainable, energy efficient de-signs and ways of living.

1. Tony Fry, Design Futuring: Sustainability (Ethics and New Practice, Oxford: Berg,2008), p. 1.2. Fry, p. 2.3. Fry, p. 6.

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A.1 DESIGN FUTURING> Supertree Grove <

This architectural project by Grant Associates consists of a grove of vertical tree-like structures 25 to 50 meters in height which are designed to mimic the environmental func-tions of trees.4 Like trees they provide shade during the day. Moreover, these Super-trees are embedded with photo-voltaic cells that harvest so-lar energy throughout the day, which allows them to light up at night which mimic the pho-tosynthesis process.

Just as trees absorb rainwa-ter for growth, Supertrees harvest rainwater for use in irrigation and aesthetically pleasing fountain displays.5

These Supertrees also take in and expel air as a part of the cooling system. The trunk of Supertrees are also covered by planting panels which form a living skin of over 162,000 plants covering more than 200 species of ferns and tropical flowering climbers.6

Fig 1 : OCBC Skyway bridge at Supertree Grove computing design by Grant Associates

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Fig 2 : Gardens by the Bay energy recycle concept diagram

Fig 3 : Supertree Grove entire view by computer image

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An essential design concept to emerge from this piece of infrastructure art, which re-lates to design futuring, is an example of a self-sustaining architectural piece that mini-mizes human impact on the en-vironment while adding to the aesthetic appeal of the city scape.

This architectural project, which emphasized sustainable design, received multiple awards and accolades includ-ing World Building of the year award in 2012 for cooled con-servatories at the World Ar-chitectural Festival of 2012 an the BCA Green Mark Plati-num Award for environmentally-friendly buildings.7

It has also become a primary attraction of Singapore add-ing value to the city scape. The Supertree grove project shows that self-sustaining.Aesthetically pleasing designs can largely add value to city scapes while minimizing the carbon footprint and fossil energy usage.

4. Gardens by the Bay, ‘Supertree Grove’, Gardens by the Bay (2014) <http://www.gardensbythebay.com.sg/en/the-gardens/attrac tions/supertree-grove.html> [accessed 20 August 2014]5. Gardens by the Bay6. Gardens by the Bay7. Gardens by the Bay

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A.1 DESIGN FUTURING> Generating Energy Floor <

- Pavegen -

Pavegen has designed a floor tiling system which converts the kinetic en-ergy from footsteps into electricity that can im-mediately power pedestrian lighting, GPS systems and advertising signage or be stored in a battery.

The topmost surface of the flooring is made from 100% recycled rubber and base of the slab is constructed from 80% recycled materials. The system can also easily re-place existing flooring.8

The Pavegen is most suited to high urban environments with high foot-fall and provides a tangible means for urban dwellers to en-gage with renewable energy generation.

Fig 4 : Sustainable Dance Floor installed in gallery (Top)Fig 5 : Diagram of kinetic energy to electricity (Bottom)

8. Pavegen Systems, ‘Technology’, Pavegen Systems (2014) <http://www.pavegen.com/technology> [accessed 20 August 2014]

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Pavegen has already launched the flooring sys-tem in a subway station, office complexes and in a sustainable dance floor environments in which the floor reacts and interacts visually with the dancer who generates kinetic en-ergy.9

Pavegen is currently look-ing into minimizing costs associated with the design in order to maximize util-isation and accessibility of the design so that they can be used widely in re-

tail and public spaces. The sustainable floor design provides great potential for energy self-sufficient cities in the future and en-visions a green city that is powered by those who walk in it.

This design could poten-tially counter the energy resource depletion effect associated with popula-tion growth given that more people walking in the city would mean more energy be-ing generated.

9. Pavegen System.

Fig 6 : Variety application with Pavegen systems

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A.2 DESIGN COMPUTATION

Architectural design is an activity that requires both analytical and cre-ative intuitive thinking to provide solutions to problems.10

The primary benefit of using computers in this process lies in the op-portunity to combine the creativity and intuitive thinking of humans with the superior analytical and memory capabilities of computers to create a “Symbiotic design system” that provides more effec-tive solutions to archi-tectural design problems.11

To this end, computational systems have been devel-oped to provide design-ers assistance in vari-ous stages of the design process from software to aid in drawing geometri-cal shapes to parametric shapes. Nowadays, three dimension computer design programs provide more so-lutions to designer.

10. Kalay. Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 2.11. Yehuda. p. 3.

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A.2 DESIGN COMPUTATION> DORIC COLUMNS <

Fig 7 : The world’s most complex architectural columns

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Michael Hansmeyer argues that computational algorithms not only assist humans but vastly expands the range of design pos-sibilities and redefines the realm of conceivable and achiev-able geometrical shapes. For example, Hansmeyer demonstrates how a computer algorithm can be coded to fold a basic three dimensional cube in repeatedly which results in 400,000 sur-faces within 16 iterations.12

12. Michael Hansmeyer, ‘Building Unimagenable Shapes’, TED Talks (2012) <http://www.ted.com/talks/michael_hansmeyer_build ing_unimaginable_shapes> [accessed 20 August 2014]

Fig 9 : example of how he built the columns

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Moreover, by specifying the po-sition of the fold and folding ratio within algorithm astound-ing physical forms can be cre-ated. In this instance, the architect does not envision or design the final form but rather the process that generates the form. This allows the architect to produce forms that are at the very edge of human visibility and conception which are impossible to draw by hand.

Using these algorithms, Hans-meyer has managed to create ex-tremely intricate pillar con-sisting of 16 million facades and 2700 layers which would be impossible without computation-al models.13 Though Hansmeyer’s project is still in the purely conceptual stage, it sheds light on the incredible ways in which computation processes can revo-lutionize architectural design processes and redefine practice.

13. Hansmeyer.

Fig 8 : close shot of complex architectural columns

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A.2 DESIGN COMPUTATION> Fiera Milano <

The “New Milan trade fair build-ing” designed by Massimiliano Fuk-sas is a built example of how com-putational tools have been used in the design process. The 700 million dollar architectural project con-sists of a Fiera that encapsulates a 2.1 million square feet area and stretches over nearly a mile.13 Giv-en the sheer size of the building, computational tools played a crit-ical role in preserving the conti-nuity of the fluid canopy structure that stretches the entire length of the building.

This freestanding canopy which appears to float over portions of the building swoops down to the ground level in a parabolic vortex. Moreover, the building fuses multiple geometric shapes, curvilinear facades poised on tree-like columns with triangular planes as well as flat parts with rhomboidal panes. The massive scale of the design, the conti-nuity of the design over a large area, fluidity of shapes within the design have been achieved us-ing computational tools.

Fig 10 : Swoop down canopy at Fiera Milano Fig 11 :Fiera Milano main street view

13. Archdaily, ‘New Milan Trade Fair / Studio Fuksas’, Archdaily (2012) <http://www.archdaily.com/248138/new-milan-trade-fair- studio-fuksas/> [accessed 20 August 2014]

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Fig 12 :Fiera Milano bird eyes view

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A.3 COMPOSITION & GENERATION

The increasing use of computa-tional tools in the design pro-cess also marks a shift towards parametric/generative design thinking rather than focussing on the composition or organisa-tion of geometric elements into planes like in compositional ar-chitecture.

Parametric design begins with an initial set of parameters and generates geometry based on the relationships between these pa-rameters. Algorithms are used to generate a hierarchical struc-ture of geometrical relation-ships which permit generation of designs which explore the entire range of design solutions that the initial set of parameters al-low.14

This process is heavily support-ed by the use of parametric mod-

elling software such as Rhino and Grasshopper. This shift in design thinking added an experimental flavour to the design process as a younger generation of archi-tects began to use algorithms to explore design possibilities.

Moreover, new design tools were also introduced to bridge the gap between the virtual design space and the physical fabrication pro-cess which enabled computer driven manufacturing. This allowed for a seamless transition between the design and manufacturing process-es which has rendered computation in architecture an “integrated art form”. Biomimicry constitutes a dynamic new are of parametric design which attempts to emulate naturally occurring forms and structures to produce sustainable design solutions that are in sync with the natural environment.

14. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, eds 2014), p. 2.

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A.3 COMPOSITION & GENERATION> The Dragon Skin Pavilion <

The Dragon Skin Pavilion in Hong Kong is an example of parametricism in practice. The pavilion is constructed from an innovative, environmental-ly sustainable material called “post-formable plywood” which can be easily bent without ex-cessive heat.15

Computational design tech-niques were used to generate the dragon skin design and dig-

ital fabrication methods were used to execute the construc-tion process without the need for conventional architec-tural communication methods such as plans and drawings. A computer programmed 3D master models generated the cutting files with algorithms enabling precise calculation of slots within each rectangular com-ponent so that the components could slide into each other.

15. Singhal. Sumit, ‘Dragon Skin Pavilion in Kowloon Park, Hong Kong by Emmi Keskisarja, Pekka Tynkkynen & Lead’, Aeccafe Blogs (2012) <http://www10.aeccafe.com/blogs/arch-showcase/2012/03/27/dragon-skin-pavilion-in-kowloon-park-hong-kong-by- emmi-keskisarja-pekka-tynkkynen-lead/> [accessed 15 August 2014]

Fig 13 : The Dragon Skin Pavilion in Hong Kong by Night

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Moreover, gradually shifting po-sitions and angles needed to be incorporated into the design so as to give the final assembled pavilion a curved form. This was accomplished using computationaltools and parametric techniques.

The final product was a free-standing light-weight structure accomplished entirely through digital design, fabrication and manufacturing technology.16

Fig 14 : processing of each dragon skin plywood panel

16. Singhal.

Fig 15 : Interior perspective images of Dragon skin pavilion

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A.3 COMPOSITION & GENERATION> C Wall <

Fig 16 : Hexagonal honeycomb pattern wall in biomimicry shape

25Fig 18 : Design process of C-Wall

Fig 17 : Hexagonal honeycomb model

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Fig 19 : use Voronoi component to create smooth finished joints to developed design

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The C wall is a honeycomb shaped design that readily adapts to different spatial needs. The ma-terial used in the design is a mixture of plaster and elastic fabrics which renders the entire structure highly pliable.17

Computational tools are used to adapt the structure to physical needs. For example, the paramet-ric software generates a cloud of points which are then turned into 3D cells. The Cells are then transposed on to two-dimensional sheets and cut using CNC technol-ogy and reassembled in a larger size.

The key feature of this design is the underlying concept of biomim-icry. Taking a cue from bee hives which freely adapt to the spatial restraints of their environment. The C wall uses honeycomb-like structures to form a flexible wall that adapts to the space in which it is located.

17. Susy Di Monaco, ‘Biomimetic in Architecture and Design’, Architectura Take Away (2010) <https://translate.google.com/translate? sl=auto&tl=en&js=y&prev=_t&hl=en&ie=UTF-8&u=http%3A%2F%2Farchitetturatakeaway.blogspot.com.au%2F2010_11_01_ar chive.html&edit-text=&act=url> [accessed 18 August 2014]

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“When architects have a sufficient under-standing 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 archi-tecture.”

BRADY PETERS

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A.4 CONCLUSION

In line with the design fu-turing ideology, sustainable designs that minimize the neg-ative impacts of human con-struction on environment and promote more sustainable mode of living will be a primary focus of my design approach. Given the LAGI 2014 emphasis on infrastructure art with generating clean energy.

I will also attempt to incor-porate energy generation ele-ments into my design taking a cue from public artworks like the Supertree Grove. Adopting the computational approach to architecture which encourages a symbiotic relationship be-tween the human designer and

computational algorithms to facilitate and enhance the design process, paramet-ric modelling computation-al tools such as Grasshop-per will be used achieve a design solution that meets the specifications set out by the LAGI initiative.

I will also attempt to learn design from nature and use biomimicry parametric tech-niques to produce a design that takes into account the unique environmental fac-tors of the Copenhagen site and blends into while add-ing value to the Copenhagen city scape.

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A.5 LEARNING OUTCOMES

During last 3 weeks, I learnt about algorithms and paramet-ric design and the reasons why designers and architects need to be able to use parametric software for their prospec-tive design projects. Before I started this subject, I did not know how to use paramet-ric designs with composition.

In previous studio subjects, I relied heavily on hand drawing and geometric model making in the design process which was restricted to geometric shapes such as flat, triangular or rectangular surfaces. A major limitation of this approach was that I was limited to geometric shapes in my designs and was not able to incorporate curvilin-ear elements into my designs. Therefore, I am very keen to learn software such as Rhinoc-eros with Grasshopper which would enable me to do this.

For the past three weeks, I have been learning basic Rhi-no and Grasshopper which is a

sub-program for Rhino to de-sign complex an accurate forms.A primary area of difficulty for me has been generating vec-tor concepts in 3D as I have no prior experience in this area. However, I am gradually gaining confidence in combining differ-ent forms and using curvilin-ear elements in complex design.

The weekly readings have provid-ed me with a clear understand-ing of design concepts and how a carefully thought-out concept underlies every major design.

From the outset of this sub-ject, the course readers and program tutorials have helped me improve my design skills and critical thinking skills required to transform design concepts into design projects. Therefore, I believe that this subject will help me develop my design skills immensely and I am looking forward to learning more sophisticated technolo-gies within the next nine weeks.

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A.6 ALGORITHMIC SKETCHES

So far, I achieve this stage from nothing but this is just begin of un-derstand about parametric software. It is very different concept com-pared to what I know about design programs. Basically, start with scale and depend on dimention to desigm something but Grasshopper is not the limited of scale so I just start

with design and reform to what I want scale by adjustable sliders. Also could save so much time when fix the size or change to different form. I am looking forward to explore and discover the possibilities of param-eties software to generate design which is linking to efficiency.

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REFERENCES

Brady, Peter., ‘Computation Works : The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), pp. 8-15.

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

Gardens by the Bay, ‘Supertree Grove’, Gardens by the Bay (2014) <http://www.gardensbythebay.com.sg/en/the-gardens/attractions/supertree-grove.html> [accessed 20 August 2014]

Grant Associates, ‘Gardens by the Bay – Competition’, Grant Associates (2012) http://www.grant-associates.uk.com/projects/gardens-bay-competition/ [accessed 15 August 2014]

Hansmeyer. Michael, ‘Building Unimagenable Shapes’, TED Talks (2012) <http://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes> [accessed 20 August 2014]

Monaco. Susy Di, ‘Biomimetic in Architecture and Design’, Architectura Take Away (2010) <https://translate.google.com/translate?sl=auto&tl=en&js=y&prev=_t&hl=en&iWe=UTF-8&u=http%3A%2F%2Farchitetturatakeaway.blogspot.com.au%2F2010_11_01_archive.html&edit-text=&act=url> [accessed 18 August 2014]Archdaily, ‘New Milan Trade Fair / Studio Fuksas’, Archdaily (2012) <http://www.archdaily.com/248138/new-milan-trade-fair-studio-fuksas/> [accessed 20 August 2014]

Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, eds 2014)

Pavegen Systems, ‘Technology’, Pavegen Systems (2014) <http://www.pavegen.com/technology> [accessed 20 August 2014]

Singhal. Sumit, ‘Dragon Skin Pavilion in Kowloon Park, Hong Kong by Emmi Keskisarja, Pe-kka Tynkkynen & Lead’, Aeccafe Blogs (2012) <http://www10.aeccafe.com/blogs/arch-show-case/2012/03/27/dragon-skin-pavilion-in-kowloon-park-hong-kong-by-emmi-keskisarja-pekka-tynkkynen-lead/> [accessed 15 August 2014]

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

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Part B

CRITERIA DESIGN

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B.1 RESERCH FIELD

B.2 CASE STUDY 1.0

B.3 CASE STUDY 2.0

B.4 TECHNIQUE DEVELOPMENT

B.5 TECHNIQUE PROTOTYPES

B.6 TECHNIQUE PROPOSAL

B.7 LEARNING OBJECTIVES AND OUTCOMES

B.8 ALGORITHMIC SKETCHBOOK

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B.1. RESEARCH FIELD> BIOMIMICRY <

Benyus18 defines the emerging disci-pline of biomimicry as “learning from and then emulating natural forms, processes and ecosystems to create more sustainable designs.” The field is founded on the idea that nature has already solved many design is-sues that human civilization is still grappling with, therefore nature can serve as a mentor in the human design process. In other words, biomimicry can be thought of as an applied sci-ence that attempts to provide design solutions to human problems by deriv-ing inspiration from natural designs. Kenny et al suggest that the attrac-tion of biomimetics for architects lies in the potential to generate more holistic designs by integrat-ing form and function more closely through biomimcry informed design.19

The most basic and straightforward level of biomimicry is the emula-

tion of form and function of natural designs.20 The key question associated with this level of design is “what is the design?” which requires paying attention to the physical shape of the design, pat-terns and structures that can be trans-ferred to human design. For example, Karapanou simulated the physical shape of a natural spider web in infrastruc-ture design as a parametric model made using Rhino software and the Grasshop-per plug-in combination with Kangaroo.21

A more advanced level of biomimicry in-volves emulating the processes that oc-cur in nature. The central question as-sociated with this level of mimcry is “how is it made?” and pulls apart the ma-terials, assembly and chemical process-es that play a part in natural design.

18 Janine M. Benyus, Biomimicry, (New York : William Morrow, 1997), p. 18.19 Desha. Kenny at al, Using biomimicry to inform urban infrastructure design that addresses 21st century needs. In 1st International Confer-ence on Urban Sustainability and Resilience: Conference Proceedings, (UCL London, London, UK, 2012)20 A. Karapanou, Spider web design:“Research and development on the application of spider silk and web typology in the building industry” (Doc-toral dissertation, TU Delft, Delft University of Technology, 2012).21 Karapanou

37(20)Gecko sticky robot

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B.1. RESEARCH FIELD> BIOMIMICRY <

A key obstacle for Karapanou22 in actualizing the aforementioned spider web inspired design was fabrication concerns associated with materials that emulate spi-der silk not being commercially available. However, Meyer and colleagues23 argue that the field of bio-inspired materials design is rapidly expanding and that with continued effort, knowledge gained from the study of natural materials can be applied to man-made structures and designs. Bio-inspired materials design employs material science and mechanics methodologies to insert synthetic materials and processes to improve structural capability while pre-serving key features of natural materials. Notable examples of bio-inspired material design in-clude Velcro which was inspired by the fastening properties of plant burrs, antireflective surfaces of solar panels inspired by insect compound eyes and self-cleaning surfaces inspired by the water proof surface of the lotus leaf. An example of new bio-inspired fabrication methods is the gecko foot-inspired adhesive tapes which use carbon nanotubes and poly-mer nanopillars to reproduce the structure of the gecko’s foot.24

A third, deeper level of bio-mimicry deals with mimicking of the systems that occur in nature. This deals with the question of “how does it all fit”. Everything is intercon-nected in nature and examination of processes reveals how systems co-exist and feed each other. For exam-ple, the process of self-assembly, whereby pre-existing components of a pre-existing system reorganize to form a new system is a funda-mental principal of nature. Nano-technology imitates this strategy of self-assembly and creates novel molecules with the ability to self –assemble into supramolecules.25

22 Karapanou23 M.A.Meyers, McKittrick, J., & Chen, P. Y. Structural biological materials: criti-cal mechanics-materials connections. Science, (vol 339,no. 6121, 2013), p.773-779.24 Meyer et al.25 Neal. Panchuk, An exploration into biomimicry and its application in digital & parametric architectural design. (University of Waterloo, Library, Canada, 2006), p. 35.

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B.1. RESEARCH FIELD> ICD/ITKE Research Pavillion <

The Stuttgart Pavillion reflects form, function and process levels of bio-mimicry. When architectural research-ers were analyzing different biological structures they realized that the skel-eton of the sand dollar (a sub species of sea urchin) provided the most fitting model for the pavilion structure. The shell of a sand dollar consists of a mod-ular system of polygonal plates which are linked together by calcite protru-sions that resemble fingers. This geo-metric arrangement of plates and join-

ing system creates a design with high load bearing capacity. Therefore, these design elements were transferred over to the pa-vilion structure. Polygonal timber plates made using plywood sheets that are 6.5, thick create a domed structure that emu-late the skeleton of a sea urchin. Thereby reflecting the biomimcry of form. The exterior plywood panels are also slotted together using finger joints, mimicking the way small protrusions of a sea ur-chin’s shell plates slot into one another.

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B.1. RESEARCH FIELD> The Esplanade theatre <

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The Esplanade Theatre aerial view The Esplanade Theatre internal view

Durian

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The Esplanade theatre situated within the commercial district of Singapore designed by DP ar-chitects and Michael Wilford takes cues from the multil-lay-ered durian fruit for both form and function. The Durian plant utilizes a semi-rigid pressur-ized thorny skin to protect the seeds inside. Emulating this form function combination, the Esplanade building exte-rior forms an elaborate shade providing layer which adjusts throughout the day to allow

sunlight in while protecting the interiors from over-heat-ing. This is achieved through responsive multilayered fa-cades with photorecactors that open and close depending on the rays of sun that land on the building which controls the level of sunlight and heat that enters the building.This is an example of biomimicry purely at the form and function level.26

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26 Stephanie Vierra, Assoc. AIA, LEED AP, Biomimicry: Designing to Model Nature, WBDG National Institute of Building Sciences, 2011, <http://www.wbdg.org/resources/biomimicry.php> [accessed 21 Sep 2014]

The Esplanade Theatre internal view The Esplanade Theatre external shell skin

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B.2 Case Study 1.0> BIOMIMICRY <

- The Spanish Pavilion / FOA -

The Spanish Pavilion FOA in Japan, External cladding

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The Spanish Pavilion was con-structed by Foreign Office Archi-tects for the 2005 World Exposi-tion held in Aichi Japan. The theme of the exposition was “Nature’s Wisdom” which focuses on ways in which the knowledge, wisdom and beauty embedded within nature can be emulated for human design with national and corporate pa-vilions expressing themes of eco-logical co-existence, renewable technology and wonders of nature. The Spanish Pavilion interprets this biomimetic theme of “na-ture’s wisdom” both in the sense of physical form emulation and in the more abstract sense of effi-ciency of construction. In terms of the physical form the Spanish Pavilion mimics a beehive; exhi-bition rooms are organized in a honeycomb structure within the pe-

rimeter enclosures. The cladding around these internal structures also emulates a bee hive with hol-low hexagonal components used in alternation with solid hexagonal components. The cladding is con-structed from ceramic and apaint-ed in the vibrant colours of the Spanish flag.27 At an abstract level, emulating a beehive design provides efficiency of design and construction. The hexagonal geo-metric pattern is the most effi-cient way to spread cladding over multiple surfaces. The hexagonal pattern completely envelops all five visible sides of the pavilion but internal vertices are shifted by groups of eight tiles to cre-ate irregularity of patterning.

27 Anna. Siria, Spanish Pavilion Expo, Foreign Office Architects, (Aichi, Japan, 2005), p. 109.

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B.2 Case Study 1.0> The Spanish Pavilion / FOA <

Detail image of the Spanish Pavilion cladding

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Experimentation using the Spanish Pavillion Design as a starting point. The Span-ish Pavilion uses a basic orthogonal grid in Grass-hopper to create alternating hollow and solid hexagons for the irregular pattern discussed above. During my experimentation with grass-hopper I changed the param-eters of the hexagons that had been originally used. Specifically, I experiment-ed with the length of the polyline edges using X and Y vector units in Grasshopper. This generated a variety of shapes that deviated from the original hexagon shape while retaining the original six polyline cell. Just like the original hexagonal pat-

tern, the patterns I generated could be spread out over large surface areas without the prob-lem of empty spaces in between.

In addition, I also used the “image sampler” tool in Grass-hopper to create a pattern of black and white images whereby black images showed solid cubes and white images showed hollow cubes. In my experimentation, I also used the “offset function “ to adjust the thickness and hollowness of the cubes. I also used the “point charge” func-tion with an “evaluate field” manipulation to make chang-es in the volume of certain parts of the overall shape.

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B.2 Case Study 1.0> MATRIX <

DIFFERENT IMAGESSPECIES

Flat surface Curved surface

1

A

B

C

D

E

2

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Jitter pattern on curved surface

Extrude polyline on curved surface

Extrude polyline on sphere

Extrude polyline on pipe and attractor point at one end

3 4 5 6

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B.2 Case Study 1.0> 4 selection <

1.A

4.D 6.B

3.B

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The first species like the original consisted of a flat surface. Five different im-ages were chosen from mul-tiple sources (self-drawn, logos etc), and superimposed on to a flat surface con-sisting of hexagonal shapes. 1A was chosen as the most successful iteration because it was image that had the most aesthetically pleasing balance of solid and hol-low elements in the group. Moreover, I was experiment-ing with a snake skin de-sign for the solar kart track’s tunnel-like outer surface. 1A was considered the design that most close-ly resembled a snake skin.The second chosen species consisted of experimentation with a floating surface with an uneven jitter pattern. The jitter pattern func-tion of grasshopper was used to make parameter changes. 3B was chosen as the most successful iteration be-cause this version created the fewest number of prob-lematic empty spaces within

the design while achiev-ing a satisfactory bal-ance of hollow and solid elements. The solid ele-ments could potentially house the solar panels while the hollow elements could allow sunlight in.The third species chosen was extruded polylines on a curved surface. This in-volved creating a float-ing curved surface with a series of extrusions us-ing the “extrude curve” function of grasshopper. 4D was considered the most successful iteration be-cause it consisted of a mixture of hollow cubic and solid cubic components which could easily be ad-opted for the proposed design concept. The hol-low components would bring sunlight into the design while the solid compo-nents would house the so-lar panels. This would create a mixture of open air and occluded elements creating an aesthetically pleasing final outcome.

The fourth species involved attempts to manipulate the “attractor point” and ex-trude polyline points on a pipe shape. The “point charge” technique was used to create bulges or volume changes within the shape. This allowed me to create an expanded form at the outer ending of the pipe shape. 6B was chosen as the most suc-cessful iteration because this consisted of the high-est number of hollow cubic components. I felt that this was the closest itera-tion to the design concept.

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B.3 Case Study 2.0> The ICD/ITKE research Pavilion <

- Introduction -

The project selected for the purposes of the second case study is ICD/ITKE research Pa-vilion at the University of Stuttgart discussed in the re-search field section below. The design intent underlying the project was to explore the architectural transfer of the biological principles un-derlying a sea urchin’s plate skeleton on to an experimental pavilion design. The key de-sign feature of interest was the geometric arrangement of polygonal plates on the sea

urchin’s shell with joining system that resembles fingers which provides high load bear-ing capacity to the design. The ICD/ITKE pavilion was ex-tremely successful in its bio-mimetic design and managed to capture the core design fea-tures it set out to recreate. In order to achieve this task, computer-based design and sim-ulation techniques were uti-lized as well as computer oper-ated manufacturing processes.

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computer generate graphic of tension force Side view of the pavilion

51

(28)

(30)

(31)

single element detail of dimension

Side view of the pavilion Internal view of the pavilion

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B.3 Case Study 2.0> Reverse-Engineer the project <

1. Create one sphere surface to start the ICD/ITKE Re-search Pavilion base shape.

2. Project hexagonal grid onto sphere surface.

3. Placed centre points at each hex cells.

53

4. Offset the centre points to out of the hex-agonal cells

5. Used point extrude tool for all hex grid cells to make hexagonal pyra-mid.

6. Final outcome that Trimed the extruded at specific high then deleted bottom half of the sphere. Trimmed area cover with planar.

54

B.3 Case Study 2.0> Reverse-Engineer the project <

- Vector linework -

Sphere Adimension

30 mm

Projecthexagonal

grid

Sphere Bdimension

38 mm

Projecthexagonal

grid

Sphere Cdimension

32 mm

Cut bottom half ofsphere

Cut bottom half ofsphere

Sphere Ddimension

40mm

Loft sphere C and

sphere D

Centre pointsat

each cells

Extrude cellsto

centre points

To m

ake

hexa

gona

l pyr

amid

To make solid bow

l shape

Solid trim to cut off hexagonal pyramid by solid bowl shape

Boundary surface at trimmed area then cut rest bottom half of primary sphere

55

B.3 Case Study 2.0> Grasshopper diagram <

In the original design hex-agonal cells had different dimensions with alternations between larger and smaller hexagonal cells. My design does not reproduce this ef-fect. Similarly, some hexago-nal polygons of the original design had a pattern of six empty spaces within the cell to ensure that sunlight comes through while others were sol-id. I was unable to recreate this effect. Another key dif-ference is the hollow arch spaces within the overall dome design that the original design

managed to achieve. My design retains the overall dome shape of the original but does not include the hollow arches that enables entry to the pavilion from multiple points as well as sunlight and ventilation. In terms of similarities, my design recreates the overarch-ing dome shape of the original design as well as the sea ur-chin shell-like protrusions. I would develop this technique further by trying to create different scaled polygonal within the design. Moreover, I would try to manipulate the

hollow spaces within the cells to create novel shapes. Cur-rently, all the lines within my designs are geometrical straight lines, therefore, I would try to achieve smooth curved lines that mimic con-tours of natural objects. The outlines of the designs I have created are somewhat rigid, in future designs I would try to incorporate fluid shapes that do not follow the surface shape of the ground level.

> Difference between my work and original <

(32) Grasshopper diagram

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B.4 Technique Development

U - 13, V - 12Geometric by Morph Box


UV value decrease

U - 13, V - 12Square surface lay on

curved surface

U - 47, V - 46Square surface lay on curved surface

UV value change

U - 25, V - 36Twisted box on the surface

rotated module


UV value change



UV value change


Height change

1 2 3

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7 8 9

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random scale

U - 120, V - 120Image Sampler

create circle+expression


create circle+attractor point

Contour distance 0.686 angle star geometric

Contour distance 0.68extrude curve to Z-unit : 0.5

Contour distance 0.68attractor point+extrude curve

Contour distance 0.68lofted Y-unit direction

U - 37, V - 39, circle=(0.25*x)+0.02Image Sampler

create circle

U - 37, V - 39, circle=(0.25*x)+0.02Image Sampler

create circle + extrude line

10 11 12

151413

16 17 18

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U - 8, V - 9Morph Box with geometric

south side open shell


hollow cylinder

U - 13, V - 16Hexagonal grid

extrude : 0.1

U - 13, V - 16Hexagonal gridpipe : 0.1 radius


pipe : 0.1 radius+extrude 1.0 to Z

U - 13, V - 16Y-unit contour

nuts

U - 13, V - 16Geometric on square grid

nuts


east side open shell


half coverd each cell

19 20 21

242322

25 26 27

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pipe : 0.1 radius+extrude 1.0 to Z

U - 10, V - 10Square grid with Extrude Point

Upside down by Flip

U - 10, V - 10Hexagonal grid with Extrude Point

down forward

U - 10, V - 10Hexagonal grid with Extrude Point

upforward

U - 13, V - 16Geometric on square grid

nuts

U - 25, V - 25Boundary Box & Map to Surfacebase hex grid+pipe : 0.1 radius

Rectangular created by Series and Cross Reference components

height controled by Curve Closest Point componet

limited height by Expression


Sphere on the grid points

U - 10, V - 10Square grid with Extrude Point

solid trim above the average plane

U - 25, V - 25Boundary Box & Map to Surfacebase hex grid+pipe : 0.1 radius

extrude to Z-unit : 1.0

Rectangular created by Series and Cross Reference components

height controled by Curve Closest Point componet

28 29 30

333231

3435 36

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U - 5, V - 5Surface Closest Point componentto creat different scale by a point

location

U - 5, V - 5Curved line change to pipes

use attractor point to adjust scale

Used Range + Graph MapperDivide curve : 29

Cull pattern : true, false


Cull pattern : true, false, false


Cull pattern : true, false, false, false, false

U - 12 V - 16Voronoi with Jitter to break

the order of pattern for unexpect-ing outcome

U - 12, V - 16Extrude No. 41

U - 5, V - 5Flipped No.37

U - 5, V - 5Replaced O’ring shape

with Np. 37

37

43 44 45

40 41 42

38 39

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Sound Barrier WallUsed Sound Capture componentwhich is could find in lunch box

add-on

5049

47 4846


Cull pattern : true, true, false, false, false, false


Cull pattern : true, true, false, false, false, false, true, false, false, true,

false, false, false


Cull pattern : true, false, false, true, false


Cull pattern : true, true, false, false, false, false, false, false

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4

31

25

38

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I experimented with numerous shapes that could potentially be adopted for the design of the proposed kart racing track. This process generated several different models that suited the purpose

Firstly, number 4 was created using the morph box component. I first de-signed a single geometric cell using Grasshopper and then applied this on a curved surface using domain. This is a very convenient way of generating com-plex surfaces when two or more sur-faces are joined. Therefore, this could be a potential solution that could be used to cover the bended loft area.

My second choice is number 25 which is a simple extruded hexagonal grid. This is an efficient structure that could be used as a semi-structure frame or skin because of the strength of the structure. Compared to other geometric shapes, this is the most resistant to compression and shear force. Further-more, this has the fewest number of par-titions for a wide, thin plane structure. Therefore, I would like to adapt this pattern for the skin structure. This pattern would completely envelop the entire structure and allow for chang-es in volume of surface and curvature

Third selection is number 31 which is a square section with hollow piles raised from the surface to sky. How-ever, not all the piles have the same length and they are controlled by one curved line. The brighter areas contain curved lines to reduce the length of piles around that area. Us-ing the curve closest points function in my design could change larger sur-faces in the proposed design compared to just controlling a smaller area using the attractor point function.

The final selection is number 38 which uses deep square shapes with reduced scale. This proved to be the first time in my experimenta-tion process where I was able to use more than one control point for a single object. Prior to this, I thought it was only possible to use only one control point for each ob-ject. This design will be useful for opening up spaces where the surface contains a bending point, especially compressed areas with curved lines.

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B.5 Technique: Prototypes

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I tried prototype mod-el in 1;1000 scale with plastic sticks and wires.Sprited the plastic stick into certain length and wire pass through out and tighten. Repeat this pattern to creat vor-onoi lines tunnel shape.

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B.6 Technique: Proposal> Site Analysis <

LEGEND

: SUN PATH

: SITE

: WIND

: ENTRY

SUMMER JULY

WINTER DECEMBER

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The LAGI site where is located industrial zone in Copenha-gen. There was used to house of shipyard owned by Burmeister and Wain till 1997. After that there is become warehouse area. Over there one site called LAGI is very flat large empty plane and it is located very important area as surround by harbour and industrial zone. Therefore, there should consider that sur-rounding landscape and so-cial recreation for local people.As the brief, a three dimen-sional sculptural form that stimulates and challenges visi-tors, should design sculpture in

dynamic floating surface and open area to intergrate with lo-cal culture rather than just en-closed and standing overthere.LAGI is very open area so greate effect to gain sun light to gener-ate renewable energy. However, it must be well consider to apply on the design to avoid strange outcome such as just put on curve area with flat solar panels.

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The design brief calls for a three dimensional sculptural form that stimulates and challenges visitors. In order to satisfy the requirements of the brief, I propose serpentine tunnel shaped sculptural form that envelops a solar panel kart rac-ing track. However, this innova-tive sculptural form is different from a tunnel in that its walls will not be solid but rather consist of large hollows embedded in the de-sign allowing sunlight and air to flow freely. This solar panel kart racing will extend in a snaking path covering the entire site for an approximate length of 950 meters. This design is innovative in that it is not only a sculpture to be viewed but also experienced in a more ac-tive sense. This is the key aspect of the sculpture that would be empha-sized in the interim presentation. Moreover, the interactive nature of the sculpture will be an excellent way of motivating children and ado-lescents who may not be attracted by a passive sculpture viewing ex-

perience. This would provide an ex-cellent opportunity to stimulate and challenge the minds of young people and raise awareness about renewable energy sources in a fun and inter-esting way. The site of a sculpture with a large number of solar pan-els and solar panel kart with large solar panels overhead would natu-rally generate discussion about re-newable energy generation and use.

A key limitation of the proposed de-sign lies in its technical complex-ity. As next pape images show, the proposed solar panel kart rac-ing track consists of a long tunnel shape that overlaps in the middle to create a complete tour of the site. However, this has proven difficult to design using assigned paramet-ric software. Further conceptual-ization and design efforts needs to be put into resolve these issues.

B.6 Technique: Proposal> Design for sculpture form <

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SOUTH SIDE ELEVATION VIEW

AERIAL VIEW

DETAIL VIEW AT MOST CURVED AREA

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B.6 Technique: Proposal> Energy generation <

A key component of the brief is that the proposed design should “capture energy from nature, con-vert it into electricity and store or transmit this energy”. The pro-posed energy generation technique for the current design is the use of solar panels in the exterior surfaces of the tunnel-like struc-ture, which constitutes the solar panel kart racing track. Solar pan-els, also called photovoltaic pan-els will be mounted on the external surfaces of the tunnel shaped solar panel kart racing track to capture energy from the sun and turn it into direct current (DC). The di-rect current from the entire sculp-tural form will be stored during

the day and then turned to AC power using an inverter housed in a safe external location and at night time to produce an array of lighting for the sculpture. The solar panel karts travelling inside the sculp-ture will be self-sufficient in terms of energy generation and will be powered by a large solar panel mounted above the kart as below im-age shows. The use of solar power generation means that no pollutant gasses are emitted from these power generation activities satisfying a second requirement of the brief.

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B.7 Learning Objectives and Outcomes

I feel that Air Studio has involved a massive learning curve for me in developing skills re-lated to parametric mod-eling software. I feel that I have pushed myself to achieve competency in using the Rhino soft-ware with the grasshop-per plugin within a short period of time in order to achieve learning out-comes for this subject. I believe that through this subject I am actively building a repertoire of computational techniques. However, I find that my confidence and fluency in using these software need to improve tremendously.By generating multiple iterations for designs closely following an original design and then deviating from this de-sign to produce a large range of innovative de-sign prototypes, I feel that I am fast developing the ability to generate multiple design possi-bilities for a particular brief. I have also been required to choose from

among multiple self-gen-erated design and make a strong case for my choices both in the form of a proj-ect proposal and interim presentation. The studio Air subject also required me to create a physical prototype of the proposed design which required fa-miliarity with three di-mensional media such as 3D printing software.The last my interim pre-sentation was several things issue that poor skill of render and lack of communication about de-sign explanation and dif-ficult to understand what I want to present with sliders due to not enough text. All this thing will re-consider for my final presentation and journal.

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B.8 Algorithmic Sketches

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REFERENCES

Benyus, Janine M., ‘Biomimicry’, (New York : William Morrow, 1997), pp. 18.

Karapanou, A., ‘Spider web design:Research and development on the application of spider silk and web typology in the building industry’ (Doctoral dissertation, TU Delft, Delft University of Tech-nology, 2012).

Kenny, Desha. at al, ‘Using biomimicry to inform urban infrastructure design that addresses 21st century needs.’ In 1st International Conference on Urban Sustainability and Resilience: Confer-ence Proceedings, (UCL London, London, UK, 2012)

Meyers, M, A., McKittrick, J., & Chen, P. Y. ‘Structural biological materials: critical mechanics-materials connections’. Science, (vol 339,no. 6121, 2013), p.773-779.

Panchuk, Neal., ‘An exploration into biomimicry and its application in digital & parametric archi-tectural design’. (University of Waterloo, Library, Canada, 2006), p. 35.

Siria, Anna., ‘Spanish Pavilion Expo’, Foreign Office Architects, (Aichi, Japan, 2005), p. 109.

Vierra, Stephanie., Assoc. AIA, LEED AP, ‘Biomimicry: Designing to Model Nature, WBDG National Institute of Building Sciences’, 2011, <http://www.wbdg.org/resources/biomimicry.php> [accessed 21 Sep 2014]

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Part C

DETAILED DESIGN

79

Part C

DETAILED DESIGN C.1 DESIGN CONCEPT

C.2 TECTONIC ELEMENTS & PROTOTYPES

C.3 FINAL DETAIL MODEL

C.4 LEARNING OBJECTIVES AND OUTCOMES

C.5 REFERENCES

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C.1. DESIGN CONCEPT> Design Brief <

Ability to stimu-late and chal-lenge visitors

Ability to store excess energy or transfer to a grid system

Ability to en-courage contem-plation about sustainable en-ergy solutions

Zero carbon emissions

3-Dimensinal sculpture

Ability to cap-ture energy from nature and turn it into electricity onsite

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C.1 DESIGN CONCEPT> Design Challenges <

A key challenge of the pro-posed design is that it need-ed to cover a large surface area while minimizing costs. The sculpture also needed to encompass a solar kart track but maintain a connec-tion between the inside and outside of the sculpture. Moreover, the boundary be-tween the track and recre-ational areas on the out-side needed to be maintained for aesthetics and safety reasons. In addition, the structure needed to be ro-bust as well as light weight.

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C.1. DESIGN CONCEPT

> Design Philosopy : Biomimicry <

Biomimicry is “learning from and then emulating natural forms, processes and ecosystems to create more sustainable designs.” - Benyus,1997 -

“Nature is like a catalogue of products with a 38 billion year research and development period to im-prove resource efficiency. Given the level of invest-ment it makes sense to use nature’s ideas” - Pawlyn, 2010 -

The biomimicry approach was useful in generating design solutions to the challenges described above. The primary principle of biomimicry is that more sustainable designs can be created by emulating forms, pro-cesses and eco-systems available in nature. As Michael Pawlyn argues in his 2010 Ted talk, 38 billion years of research and development has gone into nature’s resource efficient designs. For this reason, learn-ing from nature is an excellent way for architects to generate sustain-

able, resource efficient designs.

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C.1 DESIGN CONCEPT> Design Inspiration <

The transparent concept plane Airbus 2050 was inspiration-al in generating the skin of the solar speedway. The use of biomimicry is clearly seen in the fuselage of the Airbus 2050. Generally, the fuse-lage is opaque but in the Air-bus 2050, the fuselage is a transparent web-like network inspired by the bone-structure of birds. This design provides the benefits of a lightweight and strong structure able to carry tension when necessary and leave hollow spaces when needed. The empty spaces al-low for beautiful views of the outside creating a connection between the interior and ex-terior. Another key benefit is that the web-like struc-ture can wrap around large surfaces and particularly around curved surfaces. These design features are transfer-

able to the proposed design.

A second design example is the Voronoi Yacht by South Korean designer Kim Hyun-Seok inspired by the dragon-fly wing. The dragonfly wing design also features a light-weight network made up of hexa-gon shapes. The advantage of this design approach is that it creates a strong structure while minimizing material use. The transparent hollows embed-ded within the design allow for sunlight and ventilation. Moreover, the design also has the potential of extend-ing over large surface areas.

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Air Bus concept for 2050

Air Bus concept for 2050

Bird skeleton structurehttp://www.smithsonianmag.com/arts-culture/aircraft-design-inspired-by-nature-and-enabled-by-tech-25222971/?no-ist

http://www.asdk12.org/staff/vanarsdale_mark/pages/mrva/marine/seabirds.html

The transparent concept plane Airbus 2050 was inspirational in generat-ing the skin of the solar speedway. The use of biomimicry is clearly seen in the fuselage of the Airbus 2050. Generally, the fuselage is opaque but in the Airbus 2050, the fuse-lage is a transparent web-like net-work inspired by the bone-structure of birds. This design provides the benefits of a lightweight and strong structure able to carry tension when

necessary and leave hollow spaces when needed. The empty spaces allow for beau-tiful views of the outside creating a connection between the interior and exterior. Another key benefit is that the web-like structure can wrap around large surfaces and particularly around curved surfaces. These design features are transferable to the proposed design.

(33)

(35)(34)

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Bird skeleton structure

Dragonfly http://www.news.com.au/travel/travel-ideas/the-125m-voronoi-is-not-your-average-mega-yacht/story-e6frfqf9-1226067236396

Voronoi Yacht concepthttp://www.news.com.au/travel/travel-ideas/the-125m-voronoi-is-not-your-average-mega-yacht/story-e6frfqf9-1226067236396

A second design example is the Voronoi Yacht by South Korean designer Kim Hyun-Seok in-spired by the dragonfly wing. The drag-onfly wing design also features a light-weight network made up of hexagon shapes. The advantage of this design approach is that it creates a strong structure while

minimizing material use. The transparent hollows embedded within the design al-low for sunlight and ventilation. More-over, the design also has the potential of extending over large surface areas.

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(38)

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C.1 DESIGN CONCEPT LAGI COPENHAGEN

Inspired by the two exam-ples discussed above, the design concept of the so-lar speedway consists of a partially transparent tun-nel that wraps around solar kart track, which runs in a snake-like path across the entire site. Borrowing from the airbus 2050 design and the voronoi yacht design, the tunnel consists of empty hexagon-like spaces creating a partially transparent skin.

This creates a light-weight yet robust partially trans-parent skin structure, which can flow, in curved shapes. This structure also creates a boundary between the inte-rior and exterior while main-taining a visual connection. In addition, I attempted to change internal volume at most curved area using at-tractor point by Grasshopper.

87

LAGI COPENHAGENN

OR

TH 1 : 2500

88

C.1 DESIGN CONCEPT> Design Generation <

1.SITE AREA 2.BASE CURVE LINE

4.SPLIT CURVE LINE AND ALIGN PLANE ALONE VECTOR

7.GENERATE CONTOUR ALONG BASE CURVE LINE USE PATCH COMPONENT

10.CREATE THICKNESS FOR FRAMES BY WEAVER BIRD’S MESH THICKEN COMPONENT

11.CREATE SMOOTH SUR-FACE ON THE FRAMES BY WEAVER BIRD’S CAT MULL CLARK COMPONENT

12.TRIM THE FRAME BELOW GROUND LEVEL BY MESH DIFFERENCE

8.PROJECT 3D VORONOI LINE ON LOFT SURFACE

9.OFFSET EACH VORONOI LINE TO CREATE FRAMES

5.DRAW CIRCLES AT SPLIT POINTS

6.LOFT THROUGH CIRCLES

3.OFFSET CURVE LINE

89

C.1 DESIGN CONCEPT> Design Development <

The design at the interim pre-sentation stage consisted of an arched form that extended along the track with a six-meter gap between frames. Voronoi lines were wrapped around the arch tunnel then extruded to show the thickness. This design gave the impression that the voronoi shapes of the exter-nal walls were held up by steel frames. However, the frame was exposed in certain places of the design, which negatively affected the aesthetic appeal. By the final presentation stage, I had turned the Vor-noi lines from curved lines to straight lines. This was mainly due to fabrication con-cerns as metal pipes that held the structure upright were not available in fluid curved shapes. Therefore, the struc-

ture frame was now composed of straight lines rather than arches in the earlier frame. In order to ensure that structure frame was not exposed, offset lines and line thickness were manipulated to conceal the in-terior structures of the ex-ternal skin. This improved the aesthetics of the design. As the aesthetics and sophisti-cation of the design were key components of the feedback re-ceived during the interim pre-sentation, these design chang-es were aimed at enhancing the visual appeal of the sculpture.

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C.1 DESIGN CONCEPT> Energy Integration Proposal <

Kart solar panel

Kart battery

Electronic motor

ChargerBreaker Panel

Solar panel on the site

Legend : DC positive

: DC negative

: AC from power plant

: AC from solar panel

: DC positive

91

Breaker Panel

Electrical grid

Meter

Legend : DC positive

: DC negative

: AC from power plant

: AC from solar panel

: DC positive

Alignment of energy in-tegration proposal with design brief, the karts will be powered by solar energy generated on site by solar panels careful-ly placed to gain maxi-mum sun exposure. The expectation is that the solar panels will gener-ate sufficient energy to power the solar kart each day. The surplus energy will feed into the local grid system, which will ensure minimal wastage of energy when energy pro-duction exceeds needs. This will also allow for the solar speedway to operate efficiently dur-ing winter months when production does not meet enough energy needs. The proposed energy integra-tion method will ensure that energy will be gen-erated with zero car-bon emissions and sur-pluses and deficits will be managed effectively.

The solar panels will capture energy from the sun and turn it into di-rect current (DC). The DC will be converted to alternative current (AC) using an inverter housed in a safe external lo-

cation. At night, this current will produce lighting for the solar speedway. The solar karts will be self-sufficient in terms of energy but for cloudy days and win-ter months a recharge station will be available for karts to gain power from the grid system.A grid connect system helps reduce wastage by feeding extra energy into a main power grid. When the solar cells are unable to produce pow-er, for example at night or during winter, power will be supplied by the main power grid. The lo-cal solar energy retail-er will charge based on the energy used and de-duct from the bill for the energy supplied. The only consideration is that the electric-ity produced onsite is DC while the energy sta-tions use AC. Therefore, conversions need to be managed using invertors onsite as shown here.

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January

may

September

February

Jun

October

March

July

November

less than 3hr/day 9hr/day more than 15hr/day

C.1 DESIGN CONCEPT> Capturing Solar Energy <

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March

July

November

April

August

December

more than 15hr/day

A sunlight analysis of the site showed that during summer months the site gets over 15 hours of sun expo-sure shown in red in the heat map while in winter months the site receives less than 6 hours of sun expo-sure shown in blue used lady bug which is add-on software for Grass-hopper. This analysis also shows that dur-ing the summer monthes extra energy will be generated while over winter months there might be a problem generating enough en-ergy. The solution is connecting the site to the local grid system.

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C.1 DESIGN CONCEPT> Energy Integration <

January : Winter

July : summerHigh altitiude area

95

Winter : JanuaryLongest solar gain areas

Summer : JanuaryLongest solar gain areas

Whole yearLongest solar gain areas

Legend

High altitiude area

A sunlight analysis of the site shows that dur-ing summer months the site gets over fifteen hours of sun exposure while in winter months the site receives less than three hours of sun exposure (see hit map left). To capture max-imum sunlight in winter months the high alti-tude areas on the south-ern parts of the site, which receive the most sunlight over winter months, will be chosen as the locations for solar panel installation. The flat surface areas shown by the yellow hexagons will house the charging stations for the solar karts. The transformer will be housed in the space enclosed by the racing track. As the transformer will not be accessible to users of the speedway safety concerns are circum-vented and as it is hid-den from view the aes-thetic is not affected.

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C.2 TECTONIC ELEMENTS> Structure System and Fabrication Methodology <

1. FORM GENERATION

Wire frames are generat-ed by voronoi and then high-lighted red colour in frame 1A.

2. JOINING

Multiple pipes need to be joined together using welding method (2A). As my proto-type of the pipes consisted of timber sticks that could not be welded, 3D print-ing techniques were used to simulate the fusion of three pipes (2B). Changing axis pipes are joined to the structure using a nut and bolt system, which can be done on-site (2C). Metal plates were used in the joining process to improve the strength.

1A

1B

2A 2B 2C

2D

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3. MATERIAL SYSTEM

The fin structure outlined below allows uniform gaps to be main-tained between the ribs. The fins also hold the ribs in place preventing collapse. The fins are affixed to the ribs using in-terlocking notches (3A). A rib structure will connect the inter-nal pipes that hold the structure upright with the outer skin structure. The rib structure allows for a uniform space to be maintained between the outer skin and inner pipes. This also guides the shape of the structure (3B). Both structure use plywood

4. MATERIAL SYSTEM

The complex external surface of the solar speed way was split into planar surfaces to facilitate fabrication. Each seg-ment was laid out on a two-dimensional plane so that flat materials could be used for the construction. In developing the prototype of the skin, non-transparent white Perspex was used. The mesh was superimposed on the flat Perspex sheet and smaller shapes were cut out. The shapes were then connected using brass hinges with screws at underneath of the skins.

3A

3C 4B

3B 4A

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C.2 TECTONIC ELEMENTS> Parametric Joints <

Parametric structural intersection joint 1 : 10 model

Parametric structural joint at changing axis angle1 : 10 model

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C.2 TECTONIC ELEMENTS> Parametric Joints <

Intersection Joint

Changing axis angle Joint

In terms of joining the pipes together two methods are suggested. When multi-ple pipes need to be joined together this is done off site using wielding meth-ods. As my prototype of the pipes consisted of timber sticks that could not be welded, 3D printing tech-niques were used to simulate the fusion of three pipes.Changing axis pipes are joined to the structure us-ing a nut and bolt system, which can be done on-site. This helps the fabrication process as this ensures that components are not too large and can be delivered to the site using trucks. Round headed slotted Phillips nuts and bolts 1/8” into 25mm was used to produce the prototype shown left. As discussed earlier, I used wooden sticks in place of metal pipes in the struc-ture, as small metal pipes were not available to me. This caused challenges that would not be transferred on to the actual structure. For example, the strength of the wooden sticks was not sufficient to hold the sculpture weight by screws. Therefore, metal plates were used in the joining process as shown left. The actual structure also will be applied metal plates minimum 20mm thickness.

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C.2 TECTONIC ELEMENTS> Structure Members <

1 : 10 ModelReady for unrolling all segment onto 2D for laser cut-ting

1 : 10 ModelUnrolled parts ready for laser cutting

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RIP STRUCTUREA rib structure will connect the in-ternal pipes that hold the structure upright with the outer skin structure. The rib structure allows for a uni-form space to be maintained between the outer skin and inner pipes. This

FIN STRUCTUREThe fin structure outlined below allows uniform gaps to be maintained between the ribs. The fins also hold the ribs in place preventing collapse. The fins

also guides the shape of the structure. The prototype is constructed using plywood as this provides a thin, strong, lightweight, low cost material that can be recycled.

are affixed to the ribs using interlocking notches. In the prototype, the fin struc-ture is also made of plywood as shown above.

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C.3 FINAL DETAIL MODEL> Structure Members & Fabrication <

> Parametric Joint & Fabrication <

1. The intersection of lines in the design

6. Circles are trimmed according to the external volume that needs to be main-tained.

1. The intersection of three pipes is shown by creating three intersecting lines

2. Pipes are placed on these intersecting lines

3. The intersection of the three pipes is accomplished through welding

7. Holes are drilled into each plate at a uniform location to allow pipes to go through. In this process the actual thick-ness of the materials of plates in the intended structure is simulated.

8. Interlocking notches are generated at the edge of each plate

2. Pipes are placed along the lines shown above creating intersections

3. Pipes are split at uniform lengths to generate rips

1033. The intersection of the three pipes is accomplished through welding

4. Makes hollow joint to allow frames con-nect

8. Interlocking notches are generated at the edge of each plate

9. The rib and fin components of the de-sign are separated for fabrication pur-poses.

10. Notches are interlocked into the fin

3. Pipes are split at uniform lengths to generate rips

4. A circle is draw around each split plane and transformed into surfaces

5. The skin is placed on the structure to determine the length that needs to be maintained between the skin and ribs.

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1 : 10 SCALE MODELLASER CUT ON 3MM MDF

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C.3 FINAL DETAIL MODEL1:1000 SCALE SITE MODEL

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C.3 FINAL DETAIL MODEL1 : 250 SCALE PROTOTYPE MODEL

109CENTRE PIECES USED 3D PRINTING AND REST OF WEB LIKE PATTERN USED PLAS-TIC HOLLOW STICKS.

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C.3 FINAL DETAIL MODEL1 : 250 SCALE PROTOTYPE MODELNIGHT TIME LED ON

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LAGI COPENHAGEN SPRING & AUTUMN (MAY & ‘OCTOBER) SOLAR RADIATION

LAGI COPENHAGEN SUMMER (JUNE) SOLAR RADIATION

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C.3 FINAL DETAIL MODEL1 : 250 SCALE PROTOTYPE MODEL

LAGI COPENHAGEN WINTER (DECEMBER) SOLAR RADIATION

LAGI COPENHAGEN SUMMER (JUNE) SOLAR RADIATION

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PREPARE FOR STRUCTURE ELEMENTS

METAL PLATE PLACED EDGE OF PIPE WHERE AXIS ANGLE CHANING POINT

CONNECTED 2 PIPES WITH METAL PLATE AND BOLTS AND NUTS

ASSEMBLED PIPE, RIPS AND FINS

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CONNECTED 2 PIPES WITH METAL PLATE AND BOLTS AND NUTS

RIGHT SIDE EDGE CONNECTS INTERSECT JOINT

ASSEMBLED PIPE, RIPS AND FINS CONNECTED INTERSECT JOINT AT 3 PIPES GATHERING POINT

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C.3 FINAL DETAIL MODEL1 : 10 SCALE DETAIL MODEL

ALL STRUCTURAL ELEMENTS JOINTED WITH INTERSECT JOINTS, BOLTS, NUTS AND INTERLOCKING NOTCHS

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EXTERNAL WALL FABRICATED ON PERSPEX WHITE 2MM BY LASER CUTTING AND THESE WILL JOINT BY 25MM METAL HINGES TO ADAPT FLEXIBLE.

C.3 FINAL DETAIL MODEL> Structure Members & Fabrication <

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APPLY ON THE OUTSIDE OF THE STRUCTURE MEMBERS WHICH EARLIER ASSEMBLED.CHECKING THAT ANY PLACE NOT FITTING PROPERLY THEN GRIND OUT TO FIT ON IT.

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EDGE OF THE STRUCTURE IT IS SHOWING THAT HOW PIPE AND INTERLOCKED ELEMENTS ARE HOW TO CONNECT AND SUPPORT EXTER-NAL SKINS. THE EDGE SECTION SHOWS THAT BIRD BONE LIKE SHAPE (REFER TO PAGE 82)

THE BOTTOM OF THE MODEL WHERE I PUT 4 SCREWS ON THE PIPE TO HOLD ENTIRE OF THE MODEL WEIGHT. IT WAS KEEP SLOPING DOWN SO WHOLE SHAPE KEEP MOVED THEREFORE I USED SCREWS

OUTSIDE SKIN

INSIDE SKIN

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EDGE OF THE STRUCTURE IT IS SHOWING THAT HOW PIPE AND INTERLOCKED ELEMENTS ARE HOW TO CONNECT AND SUPPORT EXTER-NAL SKINS. THE EDGE SECTION SHOWS THAT BIRD BONE LIKE SHAPE (REFER TO PAGE 82)

THE BOTTOM OF THE MODEL WHERE I PUT 4 SCREWS ON THE PIPE TO HOLD ENTIRE OF THE MODEL WEIGHT. IT WAS KEEP SLOPING DOWN SO WHOLE SHAPE KEEP MOVED THEREFORE I USED SCREWS

OUTSIDE SKIN

INSIDE SKIN

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C.4 LEARNING OBJECTIVES AND OUTCOMES> Further Design <

During the final presentation, my tutor pointed out that the uniform density of the design was somewhat simplistic. To address this limita-tion, I used the line charge fea-ture of grasshopper to produce dif-ferences in density. Certain parts of the resulting design had wider frames while others had narrower frames. This made the tunnel shape

more pronounced and gave me more control over the transparency of the design. However, I personally do not feel that the resulting design is an improvement on the earlier ver-sion in terms of aesthetic appeal as it affects the balance between the exterior and interior I tried to maintain in the original design.

Controlled dense of the frame by line charge component

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C.4 LEARNING OBJECTIVES AND OUTCOMES> Further Design <

allow more light and air to flow in. To achieve this, I used the offset scale function on grasshop-per. This would be the recommended future development for the design.

A second attempt at developing the design was to make the frames skin-nier to minimize material costs and make the structure more light weight. In terms of visual appeal, this would open up the structure and

Controlled dense of the frame by line charge component by Bezier Graph mapper

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C.4 LEARNING OBJECTIVES AND OUTCOMES

Objective 1. “Interrogate[ing] a brief” by considering the process of brief for-mation in the age of optioneering”I examined the design brief closely to identify the client’s needs prior to de-veloping a design proposal. Key elements of the proposal that I identified were that a three-dimensional sculpture needed to be created in order to at-tract visitors to the site and stimulate thinking about green energy solutions. The design brief also required green energy to be generated on-site without producing any carbon emissions. A sustainable energy ef-ficient design was developed by extrapolating from the brief. Going above and beyond the requirements of the brief, my design also incor-porated an interactive element in the form of a solar speedway, result-ing in a sculpture that stimulated visually, physically and intellectually.

Objective 2. Developing “an ability to gen-erate a variety of design possibilities for a given situation” by introducing visual pro-gramming, algorithmic design and para-metric modeling with their intrinsic capaci-ties for extensive design-space exploration;As discussed in part B, by generating mul¬tiple iterations for designs closely follow¬ing an original design and then deviating from this design to produce a large range of innova¬tive design prototypes, I feel that I am fast developing the abil¬ity to generate multiple design possibilities using parametric modeling software. The use of parametric modeling software allowed me to explore the concept of space in ways that I had not conceived of before. Design possibilities were vastly expanded especially in the development of curvilinear elements.

Objective 3. Developing “skills in vari-ous three-dimensional media” and specifically in computational geom-etry, parametric modeling, analytic di-agramming and digital fabrication;Prior to the design studio air subject I had not encountered grasshopper or sim-ilar parametric design software. Therefore, this experience proved extremely novel and challenging. I spent countless hours watching online tutorials on us-ing grasshopper and experimenting with the software and learning by a process of trial and error. I now feel reasonably confident about my abilities to use the software to achieve design goals. However, I still feel that I need further practice especially in changing the density of subcomponents of the design. I feel I have a complete understanding of how parametric technology can be used to visual-ize site and material properties and develop design solutions that meet require-ments of the brief, overcome constraints and optimize the fabrication process.

Objective 4. Developing “an understand-ing of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;Air studio encouraged me to explore computational techniques that could produce smooth free-flowing surfaces. Prior to this subject, my stu-dio subjects had only led me to explore geometrical shapes with straight lines that followed the properties of the earth or ground shape. How-ever, the air subject allowed me to progress to a higher plane and ex-plore smooth free flowing designs that emulate the fluidity of air.

Objective 5. Developing “the ability to make a case for proposals” by devel-oping critical thinking and encourag-ing construction of rigorous and per-

suasive arguments informed by the contemporary architectural discourse.This subject exposed me to contemporary views of parametric architecture through a selection of challenging yet engaging readings. This helped me build an understanding of the ways in which computation and parametric model-ing can lead to innovation in the architecture profession. This also pushed me out of my comfort zone and stretched my design potential. During my design process, I also embraced the design philosophy of biomimicry, which pointed to nature as a source of energy efficient designs. which can be adapt-ed to suit the current design purpose with the aid of computational tools.

Objective 6. Develop capabilities for con-ceptual, technical and design analyses

of contemporary architectural projects;Previous designs provided a scaffolding, which guided my design explora-tions. My initial design iterations began with the templates provided by re-nowned architectural projects and by changing certain parameters to produce design prototypes. This process gradually evolved into my own individual designs that deviated considerably from the original. At a later stage, how-ever, I was able to take a step back and analyze these previous designs criti-cally and identify the key limitations or mismatches to the current purpose.

Objective 7. Develop foundational under-standings of computational geometry, data structures and types of programming;Through the Air design studio subject, I developed a foundational understand-ing of computational techniques such as Rhinoceros, Grasshpper and add on programs such as kangaroo , lunchbox , millipede and ladybug . This opened up my design vistas and expanded my personal range of design possibilities. I started to consider parametric design software as a tool for architects to turn simple geometric forms into complex forms. Moreover, computational software provided me with a way of testing out the feasibility of parametric design options. This experience also opened my eyes to the amount and ex-tent of self-learning involved in architecture as a profession. As more com-putational tools become available, design possibilities expand which pushes potential architects to engage in continuous self-learning to stay current.

Objective 8. Begin developing a per-sonalized repertoire of computation-al techniques substantiated by the understanding of their advantages, dis-advantages and areas of application.Initially(on week three or 4), I only understood the advantages of para-metric modeling at a theoretical level with reference to previous examples. However, at later stages the practical applications became apparent. The computational approach allowed me to change aspects of the design with relative ease and made the process from design to fabrication seamless. For example, the design produced using rhino can be immediately real-ized as physical model using 3D printing equipment. This created an un-precedented level of connection in my mind between the design and fabrication processes. A key disadvantage of the approach was the fid-dly nature of multiple components in the software. This made making small changes to the design somewhat tedious and cumbersome at times.

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C.5 ALGORITHMIC SKETCHES

1. VORONOI CELL SCALE : 0.27

3. VORONOI CELL SCALE 0.50


2. VORONOI CELL SCALE : 0.32


6. POPULATE GEOMETRY : 825

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C.5 ALGORITHMIC SKETCHES



11. LINE CHARGE : 96




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C.5 REFERENCES

Arsdale, Van., Chapter 5 : Seabirds, ‘Seabird systems’, 2014, <http://www.asdk12.org/staff/vanars-dale_mark/pages/mrva/marine/seabirds.html> [accessed 19 Oct 2014]

Benyus, Janine., TED’s talk, ‘Biomimicry in action’, 1997, <http://www.ted.com/talks/janine_be-nyus_biomimicry_in_action> [accessed 18 Oct 2014]

Kratochvil, Petr., Public Domain Pictures, ‘Insect Wing Structure’, 2014, <http://www.public-domainpictures.net/view-image.php?image=25113&picture=insect-wing-structure> [accessed 19 Oct 2014]

Pawlyn, Michael., TED’s talk, ‘Using nature’s genius in architecture’, 2011, <http://www.ted.com/talks/michael_pawlyn_using_nature_s_genius_in_architecture> [accessed 13 Oct 2014]

Rich, Sarah C., Smithsonian, ‘Air craft design inspired by nature and enabled by tech’, 2012, <http://www.smithsonianmag.com/arts-culture/aircraft-design-inspired-by-nature-and-enabled-by-tech-25222971/?no-ist> [accessed 18 Oct 2014]

Schneider, Kate., News, ‘The 125m Voronoi is not your average mega-yacht’, 2011, <http://www.news.com.au/travel/travel-ideas/the-125m-voronoi-is-not-your-average-mega-yacht/story-e6fr-fqf9-1226067236396> [accessed 18 Oct 2014]

Bae seongho 605311 part c

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