Daniela syela 568991 journal

studioAIR

ARCHITECTURE DESIGN

S Y E L A D A N I E L A . 5 6 8 9 9 1

JOURNAL

studioAIR

02T A B L E O F C O N T E N T

02 - 03 TABLE OF CONTENT04 INTRODUCTION

PART A: CONCEPTUALISATION

A.1. DESIGN FUTURING06 - 07 LOUISIANA STATE MUSEUM AND SPORTS HALL OF FAME08 - 09 MUSEO SOUMAYA

A.2. DESIGN COMPUTATION10 - 11 ICD/ITKE RESEARCH PAVILION 201012 - 13 BOXEL PAVILION

A.3. FROM COMPOSITION TO GENERATION14 - 15 SHELLSTAR PAVILION 16 - 17 ICD/ITKE RESEARCH PAVILION 2011

18 A.4. CONCLUSION19 A.5. LEARNING OUTCOMES20 - 23 A.6. APPENDIX - ALGORITHMIC SKETCHES

PART B: CRITERIA DESIGN

26 - 29 B.1. RESEARCH FIELD30 - 35 B.2. CASE STUDY 1.036 - 41 B.3. CASE STUDY 2.042 - 49 B.4. TECHNIQUE: DEVELOPMENT50 - 57 B.5. TECHNIQUE: PROTOTYPES58 - 61 B.6. TECHNIQUE: PROPOSAL62 - 63 B.7. LEARNING OBJECTIVES AND OUTCOMES64 - 65 B.8. APPENDIX - ALGORITHMIC SKETCHES

PART C: DETAILED DESIGN 70 - 83 C.1. DESIGN CONCEPT84 - 101 C.2. TECTONIC ELEMENTS102 - 105 C.3. FINAL MODEL106 - 112 C.4. ADDITIONAL LAGI BRIEF REQUIREMENTS112 - 115 C.5. LEARNING OBJECTIVES AND OUTCOMES

116 - 117 IMAGE REFERENCES117 - 118 BIBLIOGRAPHY

04I N T R O D U C T I O N

Designing my own house has always been my dream since I was a little kid, and therefore, be-coming an architect is my decision. Although, I always have interest in interior design as well. However, I always have in mind of what Frank Lloyd Wright argued, “In Organic architecture then, it is quite impossible to consider the build-ing as one thing, its furnishings another and its setting and envrionment still another.” [1]. My perspective is that architenture and its interior, and even its landscape design should be one uni-ty. Simple because they are interrelated to each other.

After researching some precedents, I found that Rhinoceros 3D and Grasshopper are able to not only design an installation, but also architecture and also interior design. In the end, the designer should be the brain to control and lead what the design is going to be, not the computer.

Learning 3D modelling, to me, has been a chal-lenging yet exciting experience for me. I still remember my first semester of universitiy struggling with my first ever experience with Rhi-noceros 3D in Virtual Envrionments. However, my hardwork was enough paid.

Another 3D modelling software that I have been using is Google SketchUp. The software is not able to accomodate parametric design and production of NURBS surfaces. Nevertheless, it is the software that is used by many archi-tectural companies to actually produce the 3D digital model of their projects. During my sum-mer internship in Indonesia, my home country, I learned to build 3D digital model of some of the companies projects by using SketchUp. It is actually quite surprising to me how such simple software like SketchUp is able to produce such complicated 3D digital model.

However, for me, learning Rhinoceros 3D and Grasshopper is very inspiring and i would like to learn more and more since I know that those are a few of the fundametal softwares that ar-chitects are required to master before apply-ing for achitectural jobs in architecture offices. Grasshopper and Rhinoceros are able to create parametric design that is impossible to be done with SketchUp or Revitt.

S Y E L A D A N I E L A

06P R E C E D E N T S

L O U I S I A N A S T A T E M U S E U M

A N D S P O R T S H A L L O F F A M Eby T R A H A N A R C H I T E C T S

This inspiring project was finished in 2013 by Trahan Architects, located on a 28,000 sqm land in Natchi-toches, Los Angeles, United States [2]. The architects merge a nineteenth century courthouse and the two contrasting collections formerly placed in a university coliseum, intending to allow the visitors to experience both [2].

To me, the most interesting aspect of this project is that the architects harmoniously combine the two contrasting concept, very simple façades and a very futuristic interior; the old structure and the new one. The interior space is curvaceous, flowing into one an-other, eliminating the definition of the vertical and horizontal planes. The ceiling seems to be one with the wall, and the floor as well. The flowing interior space creates a sense of mystery and also a sense of futuristic ambience because of the material chosen, which are the pleated copper panels. Moreover, it is very clever that the architect uses the natural light, as well as the artificial light to enhance existence of the curvaceous surfaces. D E S I G N F U T U R I N G

07

SECTION

FIRST FLOOR PLAN

The exterior facade is done in a traditional way, it is covered by uniform sized timber. Whereas, the interior is designed using parametric design and each of the pleated copper panel is different from each other, fol-lowing the flowing surface. Thus, it must be a challeng-ing task for the designers to consider the fabrication of the panels, since every of the panel is unique, distinct to each other. The fabrication of the panels should be done piece by piece and this will cost a lot of time, money and material. On the contrary, even though the exterior facade is more traditional, the timber cladding is mostly uniform and thus, it is more material efficient and more sustainable since timber naturally preserves carbon in it.

Additionally, through 3D digital modeling, we can also predict the amount of material that we are going to use and thus, we can calculate the predicted cost.

The important lesson for the studio air project is, to consider about whether to take a risk by having a de-sign that requires every piece of material to be fab-ricated uniquely or to be material-intelligent, by de-signing uniform panels that is more time-, cost- and material-efficient.

Also, it is very important to consider how the design created in the digital world, would be experienced by the users in the real world. Perhaps, the natural as-pects, such as daylight, can also assist in enhancing the design concept. Instead of making the sunlight as a passive parameter, we can make the sunlight as an interactive parameter that can communicate with the occupants.

08P R E C E D E N T SD E S I G N F U T U R I N G

M U S E O S O U M A Y Aby F R - E E / F E R N A N D O R O M E R O E N T E R P R I S E

Museo Soumaya was built in Mexico City, Mexico in 2011 on an area of 17,000 sqm [3]. It is a museum sur-rounded by public space, which functions as an infor-mal plaza [3]. It’s facade is made of 16,000 hexagonal mirrored steel tiles, as a reference to the traditional colonial ceramic-tiled building facade [3]. The skin uniquely presents multi appearance according to the weather and the audiences’ perspective; and the skin also is durable and preserves the entire building [3].

The uniform hexagonal mirrored steel tiles are very ef-ficient in covering the whole building. Besides the abil-ity of the hexagonal shape to fit into the curvaceous surface, it is also material-intelligent. This is because, by having groups of uniform panels, the fabrication process will be easier, cheaper and faster since they are mass-produced rather than customly-made piece by piece. Moreover, the hexagonal shapes are very material-wise since multiple hexagonal shapes can fit into any kind of shape. It was also mentioned by Fry [4] that designs should be material-intelligent and sus-tainable because we are now lacking of resources. A design should be material-efficient and sustainable in a way that it is durable and recycable.

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This project is a breakthrough to use uniform materials that can be mass-produced, other than bricks and tiles of course, to clad the building interestingly without wasting a lot of materials.

Moreover, the interior itself is complimented by natu-ral light that is brought in through the ceiling. During the day, natural ligjt can be utilized and therefore, it saves more energy, thus, it is more sustainable for the environment as well.

It is very important to think about the influence that our design bring to the world’s perspective and to the environment. Architecture speaks to the community and the community will reflect themselves on the ar-chitecture. Therefore, it is the architects’ responsibil-ity to make a difference for the future, to make hu-man lives more future-minded and sustainable. Not to think of only the aesthetic look and the present needs, but also to think about how the design might influence the future and how can the design be a positive contri-bution to the present and to the future communities.

10P R E C E D E N T SD E S I G N A N D C O M P U T A T I O N

I C D / I T K E R E S E A R C H P A V I L I O N 2 0 1 0

by I N S T I T U T E F O R C O M P U T A T I O N A L D E S I G N ( I C D ) a n d T H E I N S T I T U E O F B U I L D I N G S T R U C T U R E S

A N D S T R U C T U R A L D E S I G N ( I T K E )

11

This pavilion is designed by using material-oriented computational design, resulting from the bending-active structure of ultra thin 6.5 mm elastic plywood strips [7]. The innovative design showcases an unusual approach to computational design since the form gen-eration process is not separated from the structural design process [5]. The form is generated directly from the data obtained from the physical behavior and ma-terial properties of the birch plywood strips [5]. This approach is entirely the opposite of the preceding architecture approach, which forms are generated by the idea from the designers’ brain, transferred to pa-pers and then translated to the digital model.

The structure is totally driven by the elastic bending behavior of the plywood and the force collected in each bending part of the strip and preserved by the corresponding tensioned part of the adjacent strip, increase the structural capability of the system sig-nificantly [5]. To study the structural capacity of the pavilion, the model is based on a FEM simulation [5]. This allows the designer to integrate the design com-putation and materialization, to generate a form that is not only based on an abstract idea or sketch on a paper, like Frank Gehry’s works, but is resulting from an actual data on site or the actual data of the mate-rial used. It is indeed a different approach that is very revolutionary.

12P R E C E D E N T SD E S I G N A N D C O M P U T A T I O N

B O X E L P A V I L I O N

by S T U D E N T S f r o m T H E U N I V E R S I T Y O F A P P L I E D S C I E N C E

i n D E T M O L D , G E R M A N Y

This eco-friendly pavilion is made of 2,000 beer crates obtained from the local brewery [6]. The pavilion was a temporary structure as the beer crates will be recy-cled after the pavilion is disassembled [6]. In relation to the design futuring theme, it is a smart solution to choose the materials that are obtained locally and it is also a smart idea to make us of used resources that can be recycled in the future. It is clever to be material-intelligent, and to think about how the materials can be treated in the future: recycled, not simply disposed.

The Boxel Pavilion was designed using parametric software to study the structural performance, such as where to position each box in relation to the whole ge-ometry [7]. Parametric software allows the designers to calculate the exact amount of the boxes required, and to predict the real construction process that has to be undergone. It is so much better faster and smarter than to do the task manually with pen and papers.

Furthermore, to simulate the structural concept, the students used FEM-software to test the shearing and bending tests based on the material’s physical charac-teristics [6]. Softwares allow us to not actually do the tests by ourselves but to let the computer do it for us, by telling the computer what to do. We can also use the actual data obtained, such as the strength of the material, the shearing and bending force of the ma-terials, to then be transferred to the computer so that the computer can do the calculation for us.

To construct the pavilion, the students used a simple system of slats and screws to achieve concealed and flexible joints [6]. The upper part of the boxes are braced to provide stiffness to the modules [7]. To ac-commodate the structural load transfer, concrete-lined boxes were assigned to be the foundations of the pavilion, located at the three base points [6]. It is very important to consider the joining of the material in the real construction. This can be done by making prototypes and by testing the joints by using the real materials.

14P R E C E D E N T SF R O M C O M P O S I T I O N T O G E N E R A T I O N

Shellstar Pavilion was located at Wan Chai, Hong Kong, built temporarily for the event Detour art and design festival in 2012 [9]. It was designed to be an iconic gathering location for the festival visitors [9].

The construction of the pavilion was temporary, light-weight, inexpensive and efficient [9]. The pavilion con-sists of 1500 individual cells that can be bent to per-form the curved form [8]. The cells are made of 4mm flat translucent coroplast sheet, tied up with nylon ca-ble ties, based with steel foundation, structured with PVC and steel reinforcement arches [9].

It was designed using a variety of parametric soft-ware: Grasshopper, Kangaroo, Phyton, Rhinoscript and Lunchbox [10]. The design process took only 6 weeks, and it was was divided into 3 parts [9]:1) Form finding (The form was generated from a digi-tal iteration process using Grasshopper and Kangaroo to make the form self-organizing to be catenary-like thrust surfaces that are aligned with the structural vectors and minimize structural depths)2) Surface optimization (By using a custom Phyton script, every cell is optimized to minimize any interior seams and to make them as flat as possible to simplify the fabrication process. “Maximize its spatial perfor-mance while minimizing structure and material” was the aim of this project)3) Fabrication planning/panelization (To prepare for fabrication, every cell was unrolled flat, labeled auto-matically and rotated to align the flutes of the Coro-plast sheet with its principal bending direction)

The form of each cell is not randomly generated but they are generated based on the bending capability of the material and their forms are made as efficient as possible to minimize the material use. Additionally, in relation to the theme of design futuring, this idea is very material intelligent, it contributes to the material sustainability as well.

The parametric softwares enable the designer to fin-ish the design, fabrication and assembly process in such short period of time, only 6 weeks. With manual craftsmanship, it is impossible to do so. The paramet-ric softwares allow the designers to come up with many different iterations and to instantly change the design to suit the requirements. Also, the softwares al-low the fabrication process to be very quick since the software can be commanded to do the arrangement and labeling of each panel automatically. However, the assembly process of the pavilion was done manually and perhaps the assembly process was the longest one among all. It is actually possible for the assembly process to be automated, done by robots. Automated assembly process might be the next step to bring this project to another level.

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S H E L L S T A R P A V I L I O N

by M A T S Y S

16P R E C E D E N T SF R O M C O M P O S I T I O N T O G E N E R A T I O N

I C D / I T K E R E S E A R C H P A V I L I O N 2 0 1 1

by I C D / I T K E together with S T U D E N T S

of the U N I V E R S I T Y O F S T U T T G A R T

This temporary bionic research pavilion was initiated by the Institute for Computational Design (ICD) and

the Institute of Building Structures and Structural De-sign (ITKE), together with students at the University

of Stuttgart in summer 2011 [11].

This project studies the application of biological prin-ciples of the sea urchin’s (Echinoidea) plate skeleton

morphology to architecture [11]. Sea urchin’s skeletal shell is a modular system of polygonal plates, linked

together at the edges by finger-like calcite protru-sions [11]. The bionic principles were translated into a range of different geometries through computational

process [11].

Moreover, the structural design was based on com-puter and simulation control, followed by digital fabri-

cation method [11]. The finger joints were fabricated by a robot [11]. The pavilion was constructed with

extremely thin sheets of plywood that is only 6.5mm in thickness [11]. However, as a result of the geomet-ric arrangement and joining of the panels, high load-

bearing capacity is achieved [11].

17

Being inspired from the natural environments does not mean copying the nature. This pavilion does not look like sea urchin at first glance, however the struc-ture is inspired by sea urchin. The designers translate only the structural principle of the sea urchin’s skeletal system into architecture by using computational pro-cess, not copying the shape of sea urchin.

Parametric design softwares allowed the designers to design a structure that is buildable and feasible in real-ity. Those softwares also helped the the designers to adjust the shape of each panel to suit the structural requirements in a very short time. In other words, the form generation and the composition of the overall pavilion can be itterated in a very short time, to suit the requirements. If there are changes needed, the designers can fix them spontaneously with the soft-ware.

In relation to studio Air project, it is very important to be inspired by the site context or the natural environ-ments existing on site. However, it is also important to not literally copy the nature but to use the data ob-tained from the site context, and then input it to the computational process to achieve a form generation that is not manually feasible.

18C O N C L U S I O N

To conclude, as future designers, it is very important to think forward. It is true that our future will be affected by our present circumstances. Therefore, design-ers have to be material-intelligent when designing their projects. Being material-intelligent means to use less material in our design, to use local materials and to

use sustainable materials so that we can have a sustainable future. Also, tradi-tional method of designing relies on human imagination to initiate the design idea

and uses manual craftsmanship for fabrication. However, as future designers, we could use the computational design process to generate a form that is unimagina-ble by human at first and to use parametric software to assist us in the fabrication process. Moreover, rather than copying the nature’s objects, we could be inspired

by them instead. We could study nature’s behaviour, structure or even their pat-terns to get inspired.

Furthermore, energy generators are usually unattractive, restricted only for the authorised personnel and visitors are not allowed to be involved. Thus, it will be

very interesting and innovative to engage the visitors in the energy generation process while educating them as well. The main design intent of this project is

therefore “to design an iconic art installation that generates sufficient energy for domestic scale and interactively educates the visitors”. The art installation will

also be material-intelligent, using local sustainable materials, inspired by the site’s nature and the design process will be assisted by the parametric software so that

it will be more time-,cost- and material-efficient.

As a result, it will benefit the designers as well since there will be less time, cost and resources that are required for this project. Choosing local resources as the

material will also result in decrease in the time and cost for transporting the materials. Moreover, the local people will also appreciate the project more since

their local resources are appreciated and promoted in the art installation; and they are allowed to be involved in the energy generation process. It raises a sense

of belonging of the people to the art installation as well.

19L E A R N I N G outcomes

In the beginning of this subject, all I know is that a good designer should initiate the design process by using pencil and paper. Well, that was quite true according to most of the prominent architects. I still believe that as well. However, Studio Air has introduced me to a new way of designing. That is to use the latest technol-ogy that we have, to utilize computational design.

Using computers in architecture does not mean relying entirely on the ‘computer intelligence’. Yet still, we as human have to rely on our own intelligence to drive the technology to the design process for us. However, throughout the subject I realized that there is some things that human cannot do manually without the as-sistance of technology. Computational in architectural design process really helps us a lot in terms of practicality. Parametric does not only helps us in the designing process, but also in the fabrication process.

In the previous subjects, such as Virtual Environments, we did not utilize the Grasshopper software to help us in the fabrication process. It took us quite a long time to arrange and label each piece one by one. After learning how to operate Grasshopper, I realized that it would be so much more efficient if I had known how to use Grasshopper to assist in the fabrication process.

However, I also learned that parametric design also have some drawbacks. Firstly, it is hard to share our script to others because it can be very complicated and thus, others have to go through it step by step and learn it from the beginning to figure out what we are trying to do with our script. Also, it is hard to keep track on the changes that we make to our design. Small changes are sometimes not recorded but they actually can make a huge difference in the real model.

Additionally, a good design is not only valued based on the visual appearance. A good design also considers how the design would interact with the occupants, the community and the environments; and how will the design impact on the future. A design may have a very appealing visual look yet during the fabrication process, it might have wasted thousands of trees in the wood, which is not be sustainable for the future. This is because the resources that we use always require quite some time to reproduce. Therefore, it is important to consider about how our design would affect the future environments and the future generations as well.

20A L G O R I T H M I C sketches

USING BI-ARC AND GRADIENT COMPONENTS

These sketches are chosen because not only they look the most interesting to me, but also I found potential development that can be further studied and experi-

mented. Usually, the tutorials only play with shape and patterns. But the gradient component actually allowed

me to play with colours as well; which is new and dif-ferent from what others have done.

The different gradients of colours can be used to fur-ther develop my design ideas. The colours can be used

to respond to the actual site condition. For instance, the different sunlight rate received at different spots can be represented in different colours. Or perhaps,

different wind velocity passing through each arc can be the parameter (input) to change the colour (output) of each of the arc. There are many other potential design ideas that are inspired by these Grasshopper sketches of experimentation with the bi-arc and gradient com-

ponents.

These design ideas was unimaginable for me at the first time before I know about the computational

design process. However, the computer assisted to generate the form for me and to generate the colours

as well. And thus, the form generated by the computer inspire me to come up with many different ideas. The

computer has the ability to translate the commands that I input into the computer. However, the design

ideas for the development and the creative ability come from the human brain and human creativity.

22A L G O R I T H M I C sketches

23

USING SCALE NU COMPONENT

These sketches show my experiments on varying the sizes of the box according to the navigation of the point. The point can be moved around the coordinates and the sizes of the boxes correspond to the position of the point. The boxes closest to the point will be scaled down to 0, while the furthest will be scaled up to 1. As the point move, a new pattern comes up.

I choose these sketches because this sketches inspire me to develop the design idea more. Since the size of the box reponds to the naviga-tion of the point, the point position can be the parameter of the size of the boxes. The point can be a representation of a person. As the person navigate around the boxes, the boxes sizes can vary. Thus, an interac-tive design can be created. However, this is not a final idea and it can be developed more. Other parameter can also be used. For instance, the size of the boxes can vary according to where the sunlight is directing to, where the wind is blowing, etc.

Therefore, the pattern is generated not based on a random sketch, but the pattern actually is generated based on the real data on site or the real things that happen on site.

Moreover, it is possible that the ideas from the sketches are combined with other ideas from my other experiments to result in more interest-ing outcomes. Thus, the ideas will be explored and experimented more in the next part of this journal.

Part B

26R E S E A R C H fieldT E S S E L A T I O N

Tessellation is a material system that has been used even in traditional architecture. Tessellation (‘tessera’ in Latin means small stone cube) is basically an arrangement of repeated shape or form [12]. However, in architecture, the term refers to tiled patterns on buildings and also digitally defined mesh patterns [13].

Usually digital 3D forms are modeled with NURBS and meshes. NURBS allow us to build smooth surfaces while mesh method uses polygons (such as triangles and quadrilaterals) and subdivisions to define smooth surfaces [13]. Polygons and meshes are tessellation that makes digital models feasible to be fabricated with sheet materials. Iwamoto [13] also states that tessellation becomes more relevant to built environments since architects often aim for large and complex forms and surfaces but constructing them with standard-size sheet of industrialized materials.

Tessellation approximates surfaces, often single or double-curved, with polygonal meshes [13]. This allows curved surfaces that are complex and expensive to be constructed, to become flat and easier to be fabricated, while still achieving a smooth surface.

Moreover, tessellation consists of repetitive panels that can be homogenous or heterogeneous. By using digital-manufacturing technology, architects can actually fabricate their own desired panels without being dependent on materials that are available commercially [13], like what students do in fabrication laboratory. Both of the Voussoir Cloud and the VoltaDom projects have heterogeneous panels differing in size and shape according to where it is located within the structure [14,15]. This might cause the architects to face some problems during fabrication since each type of panels have to be lablled one by one to prevent confusion during assembly process. Homogenous panels or at least a few of homogenous panels in one project would be more time-, cost- and material-efficient.

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Furthermore, the assembly process of this material system can be done manually or by robotic machine. Fabio Gramazio and Matthias Kohler, had proved that digital assembly is feasible by using computer-aided robotic machine [13]. They constructed three-dimensional tessellated wall (The Programmed Wall) with bricks and the bricks were assembled by the robots. However, some shapes and materials of fabrication might not be feasible with robots. As can be seen on the image, Voussoir Cloud project and the VoltaDom project have different size and shapes of pieces and they are connected in different ways. Human intelligence and craftsmanship is needed in those projects during the assembly process. Therefore, it is still sometimes a contentious issue that the parametric design allow tessellation to become an efficient design process as it allows instant modification and instant result; however, the assembly process of the model sometimes take quite a long time, even longer than the design process.

Nevertheless, there are some concerns with this material system, which is the structural integrity of this material system. Will the panels be able to structurally support themselves? Or should there be any other external elements that support them to be in proper structure? Although, architecture today starts to use a tectonic system that integrates the skin and the structure to become one unity. The structure is not hidden yet showcased as part of the design concept. One of the examples is Smithsonian Institution in Washington D.C. (2004-7) by Fosters + Partners. The roof pattern is based on parametric design and the tessellation is actually the structural members themselves [13]. The Voussoir Cloud and the VoltaDom projects have panels that are digitally arranged in a particular way that they can create their own strengthening ribs; however, they actually rely on the walls on their sides to obtain compressive force to maintain the overall structural integrity [14,15].

In relation to the project that we are doing in Studio Air, since we have to design an installation that is interactive and is able to generate energy, there should be further considerations on this. There are some potential ideas that can be integrated into the design. Since tessellation consists of panels, perhaps the panels can be integrated with photovoltaic cells that can absorb the heat energy from the sun during the day. Moreover, it is potential that the installation can become an interactive feature that interacts with the users. Perhaps, the panel can move or change colours during the dark as the users walk through the installation; or, perhaps the panel can move according to the sun angle. Moreover, the tessellation which has gaps in between can cast interesting shadow during the day, and this would be visually appealing to the users.

Gramazio and Kohler’s Programmed Wall

Assembly process of VoltaDom project

Smithsonian Institution, Washington D.C. (2004-7)

28R E S E A R C H fieldS E C T I O N I N G

Bookshelves by Jakob + MacFarlane for Loewy Bookshop (2001).

BanQ Restaurant by Office dA (2008).

Digital Weave by graduate students at the University of California, Berkeley (2004).

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Sectioning, in digital fabrication, refers to orthographic projections such as plans and sections as representational tools [16]. It is basically dividing a lofted surface into several compartments. Thus, rather than building the whole surface, it is more efficient to section the surface by using series of the profiles of the surface. Sectioning can be done digitally by producing series of curves along the lofted surface; then the curves will be the information transferred to the machine to cut a planar surface of material []. And finally, we will receive a series of cut planar surfaces that can be assembled manually or digitally to create the preferable shape.

Nevertheless, there are also some fabrication concerns to sectioning method. One of them is the joinings of all the pieces together to achieve the final outcome desired. For instance, the Digital Weave designed and built in 2004 by the graduate students at the University of California, Berkeley. The joints are required to give a desired finished shape to the design, which is the wavy woven ribs. To join the ribs together they use clear acrylic compression rods to give shape to the overall volume [16]. Different type of desired finish will require different joints. Different types of joining will determine the overall shape as well. Thus, this become one of the major concerns of sectioning method. The other concern is the sizes of the pieces that should be fabricated. Sectioning a large surface will result in large-surfaced-sectioned as well. Large surfaces will contribute some difficulties to the fabrication process since mass-produced material sizes are not always that large. As a solution to this issue, the sectioned surfaces should be further sectioned into several pieces. The joining of these pieces should also be considered; whether, we aim for joints that allow movement or just rigid joints.

There are several advantages by using sectioning method. One of them is, sectioning allows fabrication of double-curved surfaces. This method is used by airplanes and ship builders to section the double-curved airplanes and ships bodies into flat surfaces [16]. Another one is, sectioning method allows the cross-section curves to become rigid structure for themselves. This does not apply to all types of sectioning but to some types it does. For instance, as can be seen on the project done by Jakob + MacFarlane for Loewy Bookshop in 2001, bookshelves made of waffle-type sectioning. The waffles provide rigid structures for themselves to stand. The other advantage is the usage of minimal material. Rather than constructing the whole three-dimensional shape, it is much more efficient to section the shape into series of flat surfaces and then assemble them to become the three-dimensional shape that we are aiming for. Also, sectioning allows much more lightweight structure compared to building the whole three-dimensional shape [16]. It is also considered to be more aesthetic as it is a shift from volumes into series of fluid shape made of profile curves of the three-dimensional shape [16]. This can be seen on one of the projects that use sectioning method: BanQ Restaurant. Sectioning allows the ceiling form to be achieved with minimal angular edges so that it allows the overall form to have a curved fluid finish.

Our team’s project is aiming for a structure that allows movement, thus, the joints should allow movement to occur. The movement is intended to produce kinetic energy that will be transformed into electric energy, that will then be transferred into light. Therefore, the joint consideration should be considered carefully and this wil be discussed in later part of this journal.

Additionally, our selection of sectioning over tesselation is due to our design idea of kinetics energy generation that require movement in lateral direction, which is not feasible with tesselation. Tesselation causes movement in several directions unlike sectioning which allows movement only to occur in lateral direction.

30C A S E S T U D Y 1.0I T E R A T I O N M A T R I X

SURFACE SOLID

LINES

GRAPHMAPPER

DRIFTWOODPATTERN

SECTIONINGWITH CURVES

30C A S E S T U D Y 1.0I T E R A T I O N M A T R I X

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SECTION PLANES DENSITY

INCREASEDINPUT

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32C A S E S T U D Y 1.0I T E R A T I O N M A T R I X32C A S E S T U D Y 1.0I T E R A T I O N M A T R I X - H Y B R I D S

LINES &GRAPH MAPPER

LINES &DRIFTWOOD PATTERNS

LINES &CURVES

LINES & LINES

LINES & PLANES

LINES & PLANES

3333

LINES &CURVES

GRAPH MAPPER &DRIFTWOOD PATTERNS

GRAPH MAPPER &CURVES

3434C A S E S T U D Y 1.0S E L E C T E D I T E R A T I O N S

03

01 02

04

35

The 4 most successful outcomes are chosen based on:

-How far has the model become manipulated and result in surprising outcome-The opportunities or design ideas that the form shows -The aesthetic of the compositional form -Whether the forms can be applicable to be used for any purpose-Also, the most important criteria is how the form can generate design ideas that are related to the main concept of the project

Iterations 01, 02, 03 and 04 are selected because they show what further sectioning can do. They show how sectioning is not only done in vertical or horizontal way but sectioning can be done in accordance to the curve that we create by ourselves.

Moreover, the selected iterations are chosen not because of the aesthetic or the compositional form that are considerable, but those iterations stimulate design ideas that further can be developed. And those design ideas relate to the energy generation process that is aimed for.

Iteration 01 can be a kinetic roof of a pavilion that closes or becoming dense at certain part where the sunlight is intense but open up at certain part where the sunlight is less intense.

Iteration 02 can be a circulating pavilion where people can walk through. The pipes can be filled with wind and thus the movement of the wind through the pipes can generate kinetic energy that can be transformed into electricity, then into light.

Iteration 03 can also be a pavilion that is made of flexible material that will allow the visitors to interact with it, causing movement that generates kinetic energy. The other iterations may also generate the same idea, however, the compositional form that is generated that can be considered unique. The intersecting lines can generate a more rigid form than just having either vertical or horizontal lines. Iteration 04 is chosen, as it is a unique composition of section planes and section lines covering the planes. The section planes can provide structural rigidity to support the intersecting pipes that are covering the planes.

Overall, it is not only the aesthetic that should be the consideration of the selection criteria. It is also very important to think of how the iteration stimulate an idea to us and how far can we develop the idea. It is even better if the iteration can be considered to be construction-wise feasible. However, it does not mean that the chosen iteration is the final product. It is only a basic idea for the designers to develop it even further.

S E L E C T I O N C R I T E R I A & D E S I G N P O T E N T I A L

36C A S E S T U D Y 2.0R E V E R S E E N G I N E E R I N G - P R O J E C T I N T R O D U C T I O N

D U N E S C A P E

by S H o P A R C H I T E C T S

37

The executed reverse engineering is based on a 12,000 square-feet, built project called Dunescape by SHoP Architects. This project is lcoated in Long Island City in New York and was completed in 2000. Dunescape won MoMA/P.S. 1’S Young Architects Program in 2006 [16]. Dunescape is selected for the reverse engineering because it has a concept that suits our design intent. Our design intent is to create a landscape that stimulates the visitors to interact with it, while generating the kinetic energy. Similarly, the Dunescape is an architecturalized landscape [16]. It is built as series of parallel lumber [16] that are stacked alternating to each other in a true-false pattern.

The project has been successful not only because it has won a award. It has successfully achieved fluidity of structure that is created using rigid material. Also, it has been successful in creating a rigid structure that holds each other in place properly using the true-false pattern that is feasible by using Rhino and Grasshopper. This project methodology was entirely digitally different but the assembly was performed with manual labor [16]. Therefore, it has proven that the assembly of this type of pattern is feasible to be done by students’ own hand, without any help of machine. As a result, since the feasibility of this project seems to be shown its success in the digital making and in the manual assembly, this project is worth selecting.

Additionally, this project has shown the efficient way of joining timber strips; that is by arranging the timber strips alternatively so that it is easier to join all the timber strips together and align them in one line.

38C A S E S T U D Y 2.0R E V E R S E E N G I N E E R I N G - P R O G R E S S I N S E Q U E N C E

STEP 01 STEP 02 STEP 03

DRAWING SOME CURVES TO BE CONTOURED

CONTOURING THE CURVES WITH POINTS

CONNECTING THE POINTS THAT HAVE THE SAME NUMBER OF ORDER

ALONG THE EACH CURVE

39

STEP 04 STEP 04 STEP 05

CREATING TRUE-FALSE PATTERN OF THE LINES THAT WERE CREATED ON

THE PREVIOUS STEP

EXTENDING THE LINESTO CERTAIN DISTANCE THAT IS REQUIRED

EXTRUDING THE LINES TO SHOW THE MATERIAL PROPERTIES (THE WIDTH

OF THE TIMBER STRIPS)

40C A S E S T U D Y 2.0R E V E R S E E N G I N E E R I N G - R E S U L T

4240technique: D E V E L O P M E N T I T E R A T I O N M A T R I X

DENSITYVARIATION

CURVES

4341technique: D E V E L O P M E N T


CULLPATTERN

SURFACEPATTERNING


HYBRIDS

4846S E L E C T E D I T E R A T I O N S

03

01 02

04

technique: D E V E L O P M E N T

49

The 4 most successful outcomes are chosen based on:

-How far has the model become manipulated and result in surprising outcome-The opportunities or design ideas that the form shows -The aesthetic of the compositional form -Whether the forms can be applicable to be used for any purpose-Also, the most important criteria is how the form can generate design ideas that are related to the main concept of the project

Iteration 01 inspires a design idea to make a pavilion that has various density accross the length. The parts that are denser creates a more private space, while the parts that are less dense could be the semi-private or public area. So the denisty of the sectioning defines the privacy of the space.

Iteration 02 is chosen because the result shows how cull pattern can generate a very interesting pattern that is totally different from the original pattern. It reveals the potential of sectioning method that can create an interesting pattern. This could be the design for a roof or for a facade that opens at certain parts that needs more sunlight and closes at certain parts that needs some shades. The opening and closing of the panels generate kinetic energy that could be transformed into electricity.

Iteration 03 shows that sectioning is not only sectioning with lines, but curves are also feasible. The curves are lso feasible to be fabricated as they are actually flat surfaces that has curved cutting outline. However, this kind of design needs structure that supports the roof.

Iteration 04 is chosen because it shows how sectioning method can pattern some surfaces which is visually aesthetic and once the density is varied, it becomes more interesting.

Generally, these four iterations do not entirely represent the final design but they contribute some inspirations on how to treat the sectioning method and how to maximize its potential for the generation of the final product. Some of the iterations still need to be resolved in terms of their structural rigidity. But at least they are good starts to come up with the final product.

S E L E C T I O N C R I T E R I A & D E S I G N P O T E N T I A L

technique: D E V E L O P M E N T

50technique: P R O T O T Y P E S A S S E M B L Y S E Q U E N C E

P R O T O T Y P E 1 . 0

P R O T O T Y P E 2 . 0

P R O T O T Y P E 3 . 0

51technique: P R O T O T Y P E S P R O T O T Y P E 4 . 0

1. Each of the cut piece is taken off from the 900x600 MDF board

2. The joints (holed circles) that will keep the space between each piece

3. The bigger circles are put at the bottom, while the smaller ones are put at the sides

4. Each of the pieces has numbers on it, so they are arranged according to the order of their numbers. Also, each of the prototypes is joint in different ways:-PROTOTYPE 1.0: The three holes are aligned with three elongated rubber bands.

-PROTOTYPE 2.0: The two holes at the sides are aligned with rubber bands, while the holes at the bottom are joint with a rigid joint (rigid PVC pipe).

-PROTOTYPE 3.0: The joints are similar to Prototype 2.0. However, the number of the pieces are doubled. Therefore, each of the pieces are arrranged alternating to each other. The order is 0a, 0b, 1a, 1b, 2a, 2b, ..., 29a, 29b.

5. The end of the rubber band should be tied to prevent the pieces from coming off. The rigid PVC pipe is also tied with the circle joints, glued to the cut pieces. This is to prevent the assembled pieces from coming off.

PROTOTYPE 4.01. Each of the cut piece is taken off from the 900x600 MDF board2. Each piece has two holes, one on each side. Holes on each side are joint by using rubber band.3. The pieces are arranged aleternatingly, according to the true-false pattern desired. 4. The end of the rubber band should be tied to prevent the pieces from coming off.

52technique: P R O T O T Y P E S

PROTOTYPE 1.0Aim: The aim of this prototype is to test how rubber band can hold all the pieces together and produce movement once it is stimulated with pressure.Variable: Each piece of the prototype has three holes at three points, one located at the bottom of the piece and two located at the sides. The holes are all aligned and then the pieces are joint together by putting in elongated rubber band into them. Result: However the result is that it lacks in rigidity and it becomes wobbly. Thus, it needs further development, as it needs external structure to hold them and give them stability. Basically, it needs to be rigid at certain point but it has to be flexible at some other points so that the movement is more controlled. It needs bone to hold the stability and rigidity, and it also needs elastic joint to cause movement.

PROTOTYPE 2.0Aim:The aim of this prototype is to develop further Prototype 1.0; to test the structural stability of the new variable. Variable:At the bottom, the holes are joint by using a rigid material that prevents movement in vertical direction. However, at the sides, the holes are joint by using rubber band, which causes the overall structure to become flexible to move in horizontal direction. Therefore, each of the piece is able to move up and down in lateral direction. Result:The structure now is more rigid and controlled, thus the movement can also be controlled. The lateral direction of the movement of each piece can cause each piece to give pressure to the ground. As we install the piezzo-electric on the ground, each piece that touches the ground will give pressure to the piezzo-electric and stimulate it to turn lights on. However, the shape of the overall prototype still needs further development to suit the site and to suit the users as well.

PROTOTYPE 3.0Aim: To test how the structure will be if they are combined together, and also to come up with unique shape as the two pieces are joint together. Variable:This prototype consist of two of the Prototype 2.0 joint together at one side, acting like siam twins. Result:This prototype results in unique shape. However, the movement is more constrained, as there are two rigid bones at the bottom.

A I M . V A R I A B L E . R E S U L T

53

PROTOTYPE 1.0 PROTOTYPE 2.0

PROTOTYPE 3.0

54technique: P R O T O T Y P E S P R O T O T Y P E 2.0 - T W I S T E D


PROTOTYPE 4.0Aim: To recreate the Dunescape structure in a miniature way, and to test the structural stability of the true-false pattern.

Variable:This prototype is made of strips with holes on each of the sides, connected with rubber band.

Result:As this prototype form a structure, they lack of structural stability. It needs structural support to support the roof part, otherwise it will collapse. When further analyzed, the Dunescape has structural support as part of their pattern. Thus, the structural support has to be included in the digital model as well. While making the digital model, the pattern cannot be separated from the structure. They should be one unity. If movement is desired, there should be joints that are rigid but there should also be some joints that are flexible to allow movement. However, it is also very important to control the movement. It is for the safety of the users and also for the efficiency of the energy-generation that is one of the aims of our team’s project.

A I M . V A R I A B L E . R E S U L T

57PROTOTYPE 4.0

58technique: P R O P O S A L

DESIGN INTENTEnergy generation process is usually restricted to public and only authorized personnel are allowed to be involved with it. The process is usually considered as dangerous to public, especially to children. Therefore, the aim of this project is to create an art installation attracts the visitors to interact with it and be involved in the energy generation process. Also, this project is intended to be educative to the visitors and it should be safe for adults and especially for children.

SECTIONING & KINETICSTo achieve those aims, sectioning was chosen as the material system and the energy generation process chosen is: transforming kinetic energy to electricity to light by using piezzo-electric plates. The reason for choosing sectioning as the material system is because it allows us to have pieces that are able to move in lateral direction (only either vertical or horizontal), so that it could be easier to stimulate the piezzo-electric plates to generate energy. This is because the piezzo-electric can be stimulated with pressure that is given by lateral movement. Whereas, the other material systems such as tessellation that was discussed at the beginning of Part B, does not allow movement only in lateral direction. Tesselation causes movement in various direction.

Additionally, to create awareness of the energy-generation process to the users and to add a little but of fun to the energy-generation process, the electricity that is produced by the kinetic energy, will be used to turn on the lights during the night. Each spot on the installation will have different colors of lights as well, depending of how far the distance of each section to the ground.

DESIGN CONCERNSThere are several concerns that were discussed during the preliminary presentation with the guess judges. There seems to be a safety issue with this type of material system – sectioning. This is because there are gaps between each section that could be dangerous as people are walking on it, especially the children. However, the sectioning method still is more preferable as it allows only lateral movement to occur and that lateral movement works best for the piezzo-electric devices to generate energy more efficiently.

This safety issue will be well resolved in further development of this project. Possibly, filling the gap with some other materials, such as polypropylene or simply eliminating the gaps are the possible solutions. Another solution is perhaps by controlling the degree of movement. This is not only to solve the safety issue but also to achieve the most efficient energy-generation process; by calculating the most efficient degree of movement to generate the most energy from it.

Additionally, another solution is by restricting the movement by only sitting, not walking because it could be dangerous to people as they might get slipped into the gaps between each section. However, it is designer’s task to deliver the message of the ‘movement restriction: sitting only’ to the users, just by the form of the design. Therefore, if only sitting is allowed, then the art installation should be designed properly so that the users can only sit on it, not walking. Also, the seats should be comfortable so that the ergonomics of the sitting area should be considered.

59

Piezo-electric that uses kinetic energy from stretching.

Piezo-electric that uses kinetic energy from pressure.

Energy kinetic from pressure, transformed into electricity, then transformed into light.

One example of piezo-electric.

Conceptual Diagram

60technique: P R O P O S A L

61

Imag

es c

ourt

esy

of R

efsh

aleø

en H

oldi

ng

The design site boundary encompasses the Sønder Hoved pier

section of Refshaleøen and some of the surrounding waterways.

The pier is an old landfill that is partially comprised of material

from buildings that used to exist on the now empty site.

There are no LAGI 2014 design restrictions on foundation depth or

type. The proposed artworks can exist anywhere within the site

boundary, but must not break the plane of the site boundary at

any height. The design proposals must not exceed 125 meters in

height at any point (height measurement is not an average but an

absolute limit).

There are some other design considerations to note. At the

southwest corner of the site there is a water taxi terminal

which is to remain. There are plans to develop the waterway

to the south of the site with houseboats, and boat access into

the channel north of the site must also be maintained. More

information about the context of the Refshaleøen site is available

on the competition website for download.

reused buildingmaterials

Earlier, this was a bassin. It materials from the former buildings on the site, that were torn down.

sonder hoved

concrete

Inside this area, has been buildings, and the old foundations are probably still in the ground.

Sect

ion

Belo

w

Site Section

Black dashed line represents design site boundary

The Little Mermaid

landfill

Sønder Hoved

Earlier, this was a basin.It has since been filled with materials from the former buildings on the site, whichwere torn down.

There were buildings inside this area and the old foundations are probably still in the ground.

Detailed Site Plan

landfillreused building materials

Water Taxi Terminal

LAGI 2014 DESIGN SITE

Imag

es c

ourt

esy

of R

efsh

aleø

en H

oldi

ng

The design site boundary encompasses the Sønder Hoved pier

section of Refshaleøen and some of the surrounding waterways.

The pier is an old landfill that is partially comprised of material

from buildings that used to exist on the now empty site.

There are no LAGI 2014 design restrictions on foundation depth or

type. The proposed artworks can exist anywhere within the site

boundary, but must not break the plane of the site boundary at

any height. The design proposals must not exceed 125 meters in

height at any point (height measurement is not an average but an

absolute limit).

There are some other design considerations to note. At the

southwest corner of the site there is a water taxi terminal

which is to remain. There are plans to develop the waterway

to the south of the site with houseboats, and boat access into

the channel north of the site must also be maintained. More

information about the context of the Refshaleøen site is available

on the competition website for download.

reused buildingmaterials

Earlier, this was a bassin. It materials from the former buildings on the site, that were torn down.

sonder hoved

concrete

Inside this area, has been buildings, and the old foundations are probably still in the ground.

Sect

ion

Belo

w

Site Section

Black dashed line represents design site boundary

The Little Mermaid

landfill

Sønder Hoved

Earlier, this was a basin.It has since been filled with materials from the former buildings on the site, whichwere torn down.

There were buildings inside this area and the old foundations are probably still in the ground.

Detailed Site Plan

landfillreused building materials

Water Taxi Terminal

LAGI 2014 DESIGN SITE

THE SITEThe site is located at Refshaleoen Island in Copenhagen, Denmark. It is a manmade island located in Copenhagen’s harbor. The site boundary itself contains patches of land that has different content, as can be seen on the figure on the right. The site area is around 54,000 square meter. It is surrounded by water on its north, west and south sides. Also, there are two significant features located near the site. Outside the south boundary, there is a Water Taxi Terminal. The second one is The Little Mermaid statue located approximately 400 meters outside its West boundary.

HOW IT RELATES TO THE SITERefshaleoen Island, the site, is a manmade island and this is a significant identity of the island. Energy generation process can be utilizing natural energy like wind and water. However, as an iconic art installation of the island, it has to represent the identity of the island. Therefore, it will be interesting if the art installation involves the manpower to generate the energy. So it is the man, the visitors themselves that help to generate energy. As the visitors cause movement to the art installation, they generate energy at the same time.

The size and the form of the art installation will be resolved and further developed so that it suits the design concept and the site characteristics.

62L E A R N I N G objectives & outcomes

63

As we start producing iterations, we start to understand what we are able to do with sectioning methods. The iterations start to stimulate design ideas. However, in selecting a few iterations out of all, our main design concept should relate to the iterations selected. They should not be selected randomly. Also, these iterations should be made into physical prototypes to test the feasibility of the structure and how it will work in reality because sometimes the digital prototypes do not allow us to do so.

As the prototypes are constructed, we start to see what our designs are lacking at. Structure and stability are a few of the concerns. Moreover, the way they move can also be dangerous to the visitors, thus the movement should be controlled. Also, the energy-generation efficiency is also one concern. Piezo-electric seems to be more efficient as the pressure or movement is directly produced right on its surface. Thus, placing them on the ground may not be as efficient as putting them on the flexible strings and allow the stretching movement to produce more kinetic energy. As a solution to the structural and its movement issue, it is possible that this project should make use of the parametric modeling more to model the structure and the movement as well. Therefore, the structure should be part of the digital model and the movement could also be simulated in the digital world first before than practiced in the real world.

Moreover, the shape of the surface that we generate is also very important, as it will affect the way they move and the way users interact with it. Ergonomics and users safety should also be considered. Otherwise, the art installation will not attract users to interact with it once it is too dangerous or not comfortable for them. Perhaps this is where the parameter should take control. The ergonomics or the degree of movement can be the parameter to produce the shape.

Furthermore, it is very important to be site-specific. The art installation should represent and belong to Copenhagen. It should not look like an installation that can be placed anywhere in the world. Therefore, this project will be further developed to become more site specific, possibly by its shape, its energy generation process and its materiality. The site should contribute a significant impact to the design of the project.

Additionally, the way designers present their ideas is very important as it affects the understanding of the viewers. Our presentation should be very clear and self-explanatory even without verbal explanation of the presenters. It is essential to become professional presenters so that the audiences understand the presentation clearly without any misunderstandings. This is because no matter how great our idea is, it will never become great if the deliverance of the idea causes misunderstanding.

Overall, it is very important to not constrain ourselves with our own ideas but to be open-minded to any possibilities and suggestions. Design is an on-going process and there must be more and more options to develop our ideas to become better and better.

64A L G O R I T H M I C sketches64A L G O R I T H M I C sketches

65

Besides the iterations on the two matrix, other types of sectioning are also explored. The one on the left is waffle sectioning. It is done by intersecting two sectionings. Also, the density (controlled with graph mapper) of the sectioning is varied to create more interesting pattern.

The one below shows how sectioning can be done by using image sampler component on grasshopper. So the height of the sections are determined by the darkness of the image sampled. The lighter parts means higher, while the darker parts means lower extrusion.

These sketches are chosen because they show potential ideas of what sectioning can do, that might be useful for the development of this project. Those types of sectioning are not revealed while doing the iterations for the matrix because when doing the matrix we are restricted to the categories of iterations that we have determined at the beginning. However, as we explore more by ourselves, we are able to reveal more potential of what sectioning can do.

Moreover, these sketches show how sectioning can help us construct curvy surfaces by using planar surfaces. These planar surfaces are shaped in curve but they are planar so they can be fabricated by using flat materials.

Part C

68C.1. D E S I G N C O N C E P T C O N C E P T F I N A L I S A T I O N

The aim of this project is to create an art installation attracts the visitors to interact with it and be involved in the energy generation process. Also, this project is intended to be educative to the visitors and it should be safe for adults and especially for children. The design concept is to create a landscape that encourages the movement of people on it to generate as much energy as possible, to transform kinetic (Danish: kinetisk) energy into electricity to turn the LED lights on at night. Therefore, the title of the project is KINETISKAPE.

KINESTISKAPEKINETICS

LANDSCAPE

MOVEMENT

INTERACTIVE

ENERGY GENERATION

PEOPLE

69

INTERIM PRESENTATION

FINAL PRESENTATION

PRE - INTERIM PRESENTATION

POST - INTERIM PRESENTATION

POST - FINAL PRESENTATION

Design process is an ongoing process and there will always be improvements to be done before and after the design is finally constructed. This project has several steps during its design process and every step gives an opportunity to further develop the design. At this stage, post-interim presentation, the design is better developed based on the feedbacks received during the interim presentation.

There were some feedbacks delivered by the guest judges during the interim presentation that were worth considering:

F E E D B A C K S I M P R O V E M E N T S

1. The structural integrity of the form, especially the canopy, has to be further developed for safety reasons. 2. The distance between each sectioned component has to be considered for safety assurance of the visitors despite of the activities they do on site.3. Degree of motion of the moving chair should be controlled so that it is safe for the visitors.4. Integrating a more parametric approach to the design. Form generation should not be random but parametrically generated.

1. The canopy should not be moving but static and should have a structural system that support it.

2. The distance between each sectioned component should not be more than kids feet size.

3. Degree of motion is controlled.

4. The overall form is generated parametrically, but still considering it to be site-specific and the functionality.

70C.1. D E S I G N C O N C E P T S I T E P L A N

74C.1. D E S I G N C O N C E P T D E S I G N P R O C E S S

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

01. 4 MAIN ATTRACTION POINTS ON SITE:- 2 ACCESS POINTS- WATER TAXI TERMINAL-THE LITTLE MERMAID STATUE

02. PULL AND REPEL - MAGNETIC FIELDS

03. PATH CONNECTING EACH POINT 04. ITERATIONS OF THE MAGNETIC FIELD GENERATED

75C.1. D E S I G N C O N C E P T

04. ITERATIONS OF THE MAGNETIC FIELD GENERATED

05. SELECTED ITERATION

06. SIMPLIFICATION

07. THE FINAL PLAN

765

C.1. D E S I G N C O N C E P T D E S I G N P R O C E S S - 3 D REPRESENTATION

01. 4 MAIN ATTRACTION POINTS ON SITE:- 2 ACCESS POINTS

- WATER TAXI TERMINAL-THE LITTLE MERMAID STATUE

02. PULL AND REPEL - MAGNETIC FIELDS

03. PATH CONNECTING EACH POINT

04. ITERATIONS OF THE MAGNETIC FIELD GENERATED

05. SELECTED ITERATION

06. SIMPLIFICATION

03. PATH CONNECTING EACH POINT

775

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

78C.1. D E S I G N C O N C E P T D E S I G N P R O C E S S

01

01

01

01

02

01

0303

01

02

03

79C.1. D E S I G N C O N C E P T

As can be seen on the left image, the plan is divided into parts that are categorized into 3 groups:01. Static02. Dynamic03. Pavilion

However, during the final crit, there were some feedbacks regarding the forms and the fabrication concerns.

Firstly, the pavilion part requires a very large timber sheet to be cut, which is rare in commercial use and it will cause some burdensome to the transportation process to the site.

Secondly, by having these curves to generate the form for the very large site does not really show the dynamism of the overall form. Our team should have tried other method of sectioning.

Thirdly, the shape and the size of the curves will take a lot of space on the cut sheet and it is not material-efficient.

Therefore, as a solution, we looked back into our reverse-engineering precedent, The Dunescape by SHoP Architects. The project is able to utilize almost uniform straight-cut timber to create such a dynamic form. In other worlds, it is very material efficient yet very innovative.

Moreover, we also created a more functional space for people to interact and to relax at some point of the journey. It is a circular sitting area that is connected to the moving bench. Therefore, the overall form will be more dynamic, as well as more functional for the visitors.

These changes will be elaborated in the later part of this journal.

Nevertheless, even though at the previous partof this journal, part B, we had explored different types of sectoning, the only type of sectinioning that fits our purpose (movement in perpendicular direction), is only the technique of sectioning with straight lines. Therefore, other types of sectioning can be integrated only into the static part of our design, not the dynamic ones.

The interior space of the Dunscape by SHoP Architects.


FINAL PRESENTATION




80C.1. D E S I G N C O N C E P T C O N S T R U C TI O N P R O C E S S

[1] -SITE CLEARING-IN-SITU REINFORCED CONCRETE ON THE GROUND

[2]

-ALL MATERIALS TRANSPORTED TO SITE-STEEL ROD LAID ON TOP OF THE CONCRETE

[3]

-THE TIMBER PIECES ARE ARRANGED ALONG THE LINE, GROUPED ACCORDING TO THEIR FUNCTIONS

81

01

DYNAMIC

STATIC

PAVILION

01

01

01

01

02

01

0303

02

03

[4]

-ALL TIMBER PIECES ARRANGED ACCORDING TO THEIR FUNTIONS, THEN JOINTED ACCORDING TO THEIR DIFFERING CONSTRUCTION SYSTEMS, ELABORATED ON THE NEXT PAGES

82C.1. D E S I G N C O N C E P T C O N S T R U C TI O N P R O C E S S


[2]


[3]


[4]

-ALL TIMBER PIECES ARRANGED ACCORDING TO THEIR FUNTIONS, THEN JOINTED WITH ELASTIC BAND TO EACH OTHER TO ALLOW MOVEMENT BETWEEN EACH PIECE

D Y N A M I C P A R T

83

S T A T I C P A R T


[2]


[3]


[4]

-ALL TIMBER PIECES ARRANGED ACCORDING TO THEIR FUNTIONS, THEN JOINTED WITH BOLTS TO PREVENT MOVEMENT BETWEEN EACH PIECE

84C.2. T E C T O N I C E L E M E N T S C O R E C O N S T R U C T I O N E L E M E N T S

01STATIC


FINAL PRESENTATION




GALVANIZED STEEL ROD

COATED PINE TIMBER SHEET

STEEL BOLTS

REINFORCED CONCRETE

SLAB

METAL PLATE & BOLTS

85C.2. T E C T O N I C E L E M E N T S

DYNAMIC02

METAL PLATE & BOLTS

ELASTIC BAND



86C.2. T E C T O N I C E L E M E N T S C O R E C O N S T R U C T I O N E L E M E N T S


FINAL PRESENTATION




PAVILION03

METAL PLATE & BOLTS


STEEL BOLTS



DYNAMIC - STATIC04


ELASTIC BAND

METAL PLATE & BOLTS


88C.2. T E C T O N I C E L E M E N T S C O R E C O N S T R U C T I O N E L E M E N T S : S E A T I N G A N D G A T H E R I N G A R E A [ S T A T I C - D Y N A M I C ]


FINAL PRESENTATION




GALVANIZED-STEEL ROD


STEEL BOLTS

REINFORCED CONCRETE

SLAB

REINFORCED CONCRETE

SLABGALVANIZED-STEEL ROD


METAL PLATE & BOLTS

METAL PLATE & BOLTS

ZIG-ZAG TIMBER JOINT

01DYNAMICSTATIC

02

89C.2. T E C T O N I C E L E M E N T S C O R E C O N S T R U C T I O N E L E M E N T S : S E A T I N G A N D G A T H E R I N G A R E A [ S T A T I C - D Y N A M I C ]

After the final presentation, there were some partial changes to the overall form. Therefore, there are some changes to the core construction elements as well.

There were a concern about how the sections were too large and will cause some problems during fabrication and transportation. Firstly, the fabrication issue is, it will be very difficult to find a very large timber sheet that suits the required size. Also, the “C” curve takes a lot of space in the cut-sheet and therefore it is not material-efficient. It will also cause some problems to the laser-cutting process as the machine has to work harder and longer. Secondly, in terms of the transportation issue, it will require a lot of workmanship, a very large transporting device, a lot of time and cost, in order to transport such big pieces.

Therefore, as a solution, as can be seen on the diagram on the left, each of the section has to be segmented to be 3 parts, so that it is easier to be fabricated and transported. The 3 parts will be assembled on site, connected to each other with zig-zag joint, glued with timber glue and then fastened with metal plates and bolted.

The curves of each section are also modified so that they result in a more dynamic overall form and a more functional form (gathering space, seatings and moving bench). This can be seen on the images on the right.

90C.2. T E C T O N I C E L E M E N T S C O R E C O N S T R U C T I O N E L E M E N T S : P A V I L I O N


FINAL PRESENTATION




There was also a concern about how the curves created can be material inefficient. Therefore, we looked into one of our precedents, as well as our reverse-engineering project, the Dunescape by SHoP Architects. It is very material-efficient because all the pieces are in straight lines and those straight pieces of timber can be laid out efficiently to use up the most of the timber sheets. Yet, with those straight pieces, it can still achieve a very dynamic form. One drawback of this system is that it does not allow movement. Otherwise, it will be very dangerous if movement is applied because this system does not allow movement in lateral/perpendicular direction. Therefore, this system is used in the static part of our design, that is the pavilion and the static walkways.

On the right and on the next page, is the diagrams of the construction process of one part of the system, in sequence.


[01] CUT SHEETS PREPARED, PIECES ARE NUMBERED,

TAKEN OFF FROM THE SHEETS ONCE THEY ARE CUT



FINAL PRESENTATION




Our final site model was intended to show the overall form. However, there are some negative aspects shown on that model that need to be improved. One of the issues was: the curves take up the cut sheet inefficiently; thus, this results in material

inefficiency. Especially when it comes to the real fabrication process.

Therefore, as we looked back to our reverse engineering precedent on part B, Dunescape by SHoP Architects, we fixed the pavilion part of our model and used straight timber sheets instead. This results in much more efficient material use because

those timber strips can be laid out side-by-side accordingly on the cut sheet, without wasting much materials.

This reates back to the Design Futuring topic that we learned on Part A, the previous part of this journal. Designers have to be resourceful and sustainable, by using the most efficient way of using the materials. Material waste is not oly not

sustainable to the environment, but the production of such inefficient process is also time and cost-consuming.

MATERIAL INEFFICIENCY

MATERIAL EFFICIENCY


MATERIAL EFFICIENCY

[01] CUT SHEETS PREPARED, PIECES ARE NUMBERED, TAKEN OFF FROM THE SHEETS ONCE THEY ARE CUT



FINAL PRESENTATION




[02] PIECES LAID ON THE GROUND, BOLTED

[04] SLANTING PIECES ARRANGED, INSERTED INTO THE STEEL ROD


[03] STEEL ROD AS SUPPORT FOR THE SLANTING PIECES

[05] SLANTING PUT IN BETWEEN THE HORIZONTAL PIECES, ALTERNATING TO

EACH OTHER

[06] SLANTING PIECES ARE BOLTED

96C.2. T E C T O N I C E L E M E N T S P R O T O T Y P E S

CONNECTION OF STATIC AND DYNAMIC PARTS DYNAMIC PART - CONNECTED BY ELASTIC BANDS, MOVES AS IT IS GIVEN PRESSURE


DYNAMIC PART - CONNECTED BY ELASTIC BANDS, MOVES AS IT IS GIVEN PRESSURE

STATIC PART:- TIMBER PIECES ARE

ALLIGNED USING STEEL ROD- CONNECTED TO EACH OTHER WITH BOLTS- ANCHORED TO THE CONCRETE BASE WITH

METAL PLATES AND BOLTS`


THE LED LIGHTS WILL LIGHT UP AS THE PIEZOELECTRICS ARE GIVEN PRESSURE



FINAL PRESENTATION





This prototype is to show a more dynamic form that is based on the ergonomics rules, and to show the connection between the dynamic and the static seating area. It is also a more functional space since it performs as a gathering space as well as a

seating area.

However, the disadvantage of this type of prototype is it wastes material and not feasible to be constructed in reality. This is because the timber pieces will be too large and cause troubles in the fabrication and transportation process. To be more

material-efficient in reality, the solution is to punch hole in the middle of the curves and to segment each section into 3 parts, as can be seen on page 88. The construction elements are also shown on page 88.

102C.3. F I N A L M O D E LP R O D U C T I O N P R O C E S S

103C.3. F I N A L M O D E L

The production of the site model is meant to show the overall form of the installation to the viewers. However, this model lacks in many aspects. Even though it shows how the overall form is, it does not show the quality of different

type of sectioning and it does not demonstrate what the project is about. Partial prototypes could be more useful and more engaging to the audience as well, so that the design intent (kinetics, movement) is shown more clearly.


After the final presentation, there are some additions and changes to the overall form in order to respond to the constructive feedbacks given by the judges.

[1] The pavilion: changed into different type of sectioning, similar method used by Dunescape (by SHoP Architects).

[2] The dynamic and the platform part: changed into a gathering seats area, connected to the moving bench.


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106C. 4. L A G I B R I E F R E Q UI R E M E N T S


KINETISKAPE is an energy-generator art installation that transforms kinetic energy into electricity. Energy generation process usually utilizes natural energy to generate the energy and the process itself is usually restricted to the authorized workers. On the other hand, KINETISKAPE is not only an art installation of aesthetic value but also to educate the visitors and to encourage them to participate in the energy generation process.

To transform the kinetic energy into electricity, KINETISKAPE uses a device called piezoelectric, placed at the top-fourth of the reinforced concrete base. To create awareness to the people about the energy-generation process that occurs during their activities on the art installation, there will be LED lights in between each timber pieces that light up where ever the visitors are.

KINESTISKAPEKINETICS

LANDSCAPE

MOVEMENT

INTERACTIVE

ENERGY GENERATION

PEOPLE

LED LIGHTS

PIEZO-ELECTRIC

PLACEMENT OF THE LED LIGHTS AND PIEZOELECTRIC


ENERGY USE OF THE LED LIGHTS


ENERGY GENERATION CALCULATION

Energy Produced Per Person/Hour

-->Ranging from 1-7 W/s-->60-420W/m-->3600 - 25200 W/h-->3.6 - 25.2 kW/h

Assuming there are approximately 100 people/h interacting with the installation in peak hours

3.6 - 25.2 kW/h (In relation to their body mass and actions) x 100 = 36 - 252 kW/h

Assuming the installation is used up to 10 hours per day, it can produce 35 ~ 252 Kwh /day

Energy produced annually : 12775 - 91980 kW/year

5kW of energy can light up a 15W LED for 252 Hours --> 15 Days

120 Kw is needed to light up a 15W LED for a Year

91980Kw can cater for 766 LED for a Year

900 kW is the average usage of a house for a month, so approximately 9000kW per year. The more visitors and the longer they stay at our installation, the more energy it produce. The energy can then be expanded not just to sustain our design but can be stored to cater the energy needed to light up nearby facilities and environment.


Most of the forests in Denmark are owned privately and they own them for their family generations. Forests in Denmark are considered as family legacy(Conservation and Production values). Therefore, the Danish have much appreciation on timber usage since they grow the trees and preserve the forest by themselves. Therefore by selecting timber as the main material, we help to raise the sense of belonging of Danish people towards this art installation.

MATERIALS

Local timber used in Denmark:

- Oak

- Pine

- Beech

- Norway Spruce

Coated Pine Sheets- Coated with intergrain wood oil (natural coating): oil finish penetrates deep into the timber grains, preventing it from weathering

Other materials:- Galvanized steel rod- Bolts- Elastic Band (ruber and latex)- Metal Plates- Concrete- Reinforcement bars

% OF FOREST OWNERS IN DENMARK

There were a few types of timber that are locally available in Denmark. Pine is chosen as the main material of our art installation because when treated and coated well, it can be a durable material for outdoor furniture.


ENVIRONMENTAL IMPACT

By using timber as the main material, there are several positive impacts on the environments.

1. Reduced greenhouse gas emissionA study shows that significant greenhouse gas emission savings can be achieved by the optimization of wood products usage [17]. Therefore, by using pine timber as our main material, we help to raise an awareness to the visitors how we can help to reduce greenhouse gas emission by choosing wood as the material of our furniture or building materials.

2. Carbon footprintGrowing trees absorb carbon from the atmosphere and the carbon will remain stored in the wood products during their usage, before sent to landfill [17]. Thus, as long as the installation is not demolished, it helps to store carbon inside the timber.

3. Low embodied energyWood products production require relatively low fossil-fuel-based energy in their manufacture and extraction, compared to other building materials [18]. Therefore, by using timber as the main material of our project, we contribute to minimize embodied energy required for the manufacture process.

4. Waste and RecyclingAt the end of their first life of usage, timber usually will be reused, recycled or removed to waste. However, there are many ways of recycling timber and we can obtain recycled timber varying from their second, third or fourth life [18]. Thus, when this temporary art installation has to be removed or demolished, it does not go to waste directly. Yet, it can be recycled and be reused for other purposes.

5. Sustainable energy generation awarenessAdditionally, this art installation can help to raise the public awareness of energy generation process, that is not only feasible by using natural resources like wind, water, heat, etc. In fact, we can actually help to generate energy unconciously during our daily activities, like sitting, walking, or even when we are laying down on the ground. We also help to raise awareness that we have to be responsible for our energy use, not wasting them for nothing like turning on the lights when it is unnecessary, etc.

112C. 5. L E A R N I N G objectives & outcomes


FINAL PRESENTATION




The final crit was not the final stage of the design process, yet it was a stage where there is a chance for us for a further development to finalize our design concept and design process. There were some feedbacks mentioned during the final crit:

[01] The size of each section was too large and it will cause problems to the fabrication and transportation process.

[02] The pavilion part does not really show any purpose, plus, the shape is not very dynamic.

[03] The sectioning techniques explored in Part B should have been applied and further developed in Part C for the final design.

[04] The site model does not really show what the project is about. There should be more prototypes shown to demonstrate the movement and to show what the project really is about.

After the final crit, our team attempted to improve our design by changing and adding some elements to our design:

[01] The large piece of each section is segmented into at least 3 parts and they are connected together by the joint system mentioned in the previous part. Another solution is by looking at one of our precedent, Dunescape by SHoP Architects, in terms of its material efficiency and its innovative way of using straight cut timber to create such dynamic form.

[02] There are some additional parts to our design, to replace some of the existing parts. The circular sitting part shown in the image on the right, consists of curves that are shaped so that they are more functional (sitting area) and more dynamic in shape.

[03] Some of the sectioning techniques explored in Part B was not applicable to our design concept, which requires movement in perpendicular direction. However, the other techniques can still be utilized in some of the static parts of our design. For example, the Dunescape project has a different sectioning method that can be used to create the shape of the pavilion.

[04] To demonstrate our project more clearly, some more prototypes are built.

Design process is not like mathematics where there is a summation or an end to one problem. Yet, design process is an ongoing process and there is always an opportunity for improvements and development.

F E E D B A C K S I M P R O V E M E N T S


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FINAL PRESENTATION





Furthermore, the learning objectives of Studio Air have been a benchmark to evaluate ourselves as students, as future designers. This subject has assisted me to have a broader perspective in the design process. It has shown how form generation is not only a process done manually by human craftworks, but it is also possible to be done digitally. By given an opportunity to generate the form digitally using parametric design, indeed there are some constraints but there are also some new opportunities. However, given some constraints, we have to be able to see any design possibilities within that constraints. We have to be creative and innovative at the same time.

Also, by learning parametric design, we are able to modify the form instantly and forecast the amount of materials needed as well. However, skills and experience is crucial in parametric design. The grasshopper script can be very complicated and difficult for others to understand, thus it is difficult to be shared to others.

Moreover, parametric design might not always be suitable to any architecture or design style. Some clients might require classic architecture style that does not require parametric design. Thus, parametric design is not always applicable to any design. Yet, it can be a tool to help designers to design contemporary architecture, in terms of instant change, and cost and material efficiency.

Moreover, in parametric design, iterations are very important because it is very easy to modify the form and the changes are worth recording for future reference. However, the designers have to have their own selection criteria in order to select one or some of iterations to lead them to the final design. In selecting some of the iterations, it is important to think about the constructability, the scale and how the selection relate to our main design concept.

Furthermore, parametric design can create some very interesting shapes that might not be feasible to be constructed in reality. For instance, the selected iterations that our group had on the left. They may look complicated, dynamic and composed in an aesthetic way. However, the constructibility of the forms are questioned. They need extra support to make the form possible in reality. Therefore, when designers are designing using digital tool, especially parametric design, they have to consider the structure and the constructability of the form they have created. This is where prototypes are very useful. Not only to test the constructability but also to demonstrate the mechanism of the project to others. Nevertheless, sometimes prototypes do not always demonstrate the real issues that might happen on-site during the construction. For example, in our project the pieces of each section will simply be too large in reality but it is not shown in the prototypes. It is also not visible in the digital model. Therefore, designers have to always think forward of any possible issues that might have to be encountered in the next stages.

Overall, the opportunities and advantages presented by parametric design could outweigh the difficulties as long as the designers are able to use it effectively.

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[06] http://www.archdaily.com/428122/louisiana-state-museum-and-sports-hall-of-fame-trahan-architects/

[07] http://www.archdaily.com/428122/louisiana-state-museum-and-sports-hall-of-fame-trahan-architects/ (all images)

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[15] http://www.arch2o.com/shellstar-pavilion-matsys/

[16] http://cobagonzo.blogspot.com.au/2011/10/temporary-pavillion-structures-2.html

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[26] http://www.iwamotoscott.com/VOUSSOIR-CLOUD

[27] http://www.designboom.com/cms/images/andrea02/pike07.jpg http://www.sjet.us/MIT_VOLTADOM.html http://coveredstreet.files.wordpress.com/2010/04/smithsonian_institute_f090808_nigelyoung_12.jpg

[28] http://www.archdaily.com/42581/banq-office-da/ http://ambrosecklo.files.wordpress.com/2010/10/21.jpg http://www.designboom.com/cms/images/erica/-----jakob/e01.jpg

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[41] http://www.shoparc.com/project/Dunescape-at-MoMA-PS1

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http://www.piezo.com/prodbm8dqm http://www.youtube.com/watch?v=laSQ6yd7jaE

I M A G E R E F E R E N C E S

118B I B L I O G R A P H Y

[1] Wright Frank Lloyd, ‘Organic Architecture’ in Collected Works (Cambridge Mass: MIT Press, 1970), p. 25.

[2] ‘Louisiana State Museum and Sports Hall of Fame / Trahan Architects’, Archdaily, (2013) <http://www.archdaily.com/428122/louisiana-state-museum-and-sports-hall-of-fame-trahan-architects/> [accessed 11 March 2014]

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[15] <http://arts.mit.edu/fast/fast-light/fast-installation-skylar-tibbits-vdom/> [accessed 2 April 2014]

[16] Iwamoto Lisa, ‘Sectioning’ in Digital Fabrications: Architectural and Material Techniques (United States: Princeton Architectural Press, 2013), pp.10-34.

[17] Ximenes, Fabiano, and Tim Grant. ‘Quantifying the greenhouse benefits oof the use of wood products in two popular house designs in Sydney’, Australia. Vol. 18. Sydney: Springer-Verlag Berlin Heidelberg, 2012.

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