Du meng 372196 partb

ARCHITECTURAL DESIGN STUDIOAIR

PART B. CRITERIA DESIGN

With new research into optical illusions and effects, materials advances, progress in com-puting and other visualisation technologies we can now further expand the ranges of pattern we design to include more critical intangible, immaterial, dynamic, invisible, virtual and conceptual and spaces. This will then yield more valuable and significant multidimensional, multiscalar, multivari-ate, performative and meaningful kinds of spatial patterns. Loos was wrong: a new kind of ornament, through pattern, is not impossible, for through this new kind of future spatial pattern design, a different future is being patterned in the pres-ent.

Garcia, M. (2009), Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design. Archit Design, 79: 6–17. doi: 10.1002/ad.974

Dear Bradley:My writing on B1 in basically jist a draft listing all the references, because I have done quite a bit of research on this part and I still do not have time to reorganise all this information yet. So it is still not a mature peiece of writing and would be very hard to read. If you do think this part is important, I guess you can skip it. But if you can give me any advice for refining this part, I will appreciate it!

PART B. CRITERIA DESIGNB.1. RESERCH FIELD

PATTERNING

B.1. RESEARCH FIELD

PATTERNINGPatterns are omnipresent in the world we lived in, though they go inconspicuous most of the time.

It’s through the emergent powers of the pattern that we transcend.The power of patterns to endure goes beyond explicitly self-replicating systems, such as organisms and self-rep-licating technology.

Ray Kurzweil, The Singularity is Near, 2005, p478

It is the invisible, immaterial, dynamic, intangible, conceptual and virtual patterns of space that constitute its (spatial design’s) future.


The presence of patterns is not just an ontological phenomenon (ref Ray Kurzweil, The Singularity is Near, 2005, p478). The pattern is far more important than the material stuff that constitutes it (Ray Kurzweil, The Singularity is Near, 2005, p478).

Behind the appearance of a pattern, always lies a rigorous logic. And modern technology grants us with an un-precedented chance to gain such an insight of understanding the internal logics beyond the superficial recogni-tion and production of patterns. With this insight, there is an opportunity of innovation.

Historically, pattern has always had a role to play in the symbolic realm to serve for the cultural affect. Tradi-tionally, pattern has always been always been associated with style, detail, ornament, decoration, adornment, embellishment, etc (Garcia, M. (2009), Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design. Archit Design, 79: 6–17. doi: 10.1002/ad.974).

Contemporary practices show a focus on the aesthetic role of patterns as is developed from the traditional rep-resentational way of design thinking. (further research in modern architecture studying patterns for aesthetic affect).

However, current practices in architectural design presents us with new opportunity in the study of pattern and suggests it should go beyond mere representation in either the symbolic or aesthetical realm.

It is clear that in a multicultural and increasingly cosmopolitan society, symbolic communication is harder to enact as it is difficult to gain a consensus on symbols or icons. Representational tools are less coded and unable to produce convergence with culture.Against the symbolic interpretation of culture by Postmodernism, the dynamic nature of culture requires that buildings each time define their own grourjd and develop an internal consistency. It is precisely through these internal orders that architecture gains an ability to perform relative to culture and to build its own system of evaluation.

Farshid Moussavi, The Function of Ornament

The concept of patterns always is referred to such definitions as “a sequence, distribution, structure or pro-gression, a series or frequency of a repeated/repeating unit, system or process of identical or similar elements”, (Garcia, M. (2009), Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design. Archit Design, 79: 6–17. doi: 10.1002/ad.974).

This multiplicity of meanings points to the manifold roles of pattern in the creation, reproduction, evolution and processes of space.


This suggests power of pattern in producing performative architecture. Pattern in performance architecture (eg material, responsive architecture)

B.1. RESEARCH FIELD

PATTERNINGWhy pattern? The power of pattern(if architecture is to make meaning, generate new discourse)

Internal logic –

As process (method, technique) and as product (object, material form), patterns, like typologies and programmes, are also repeated and human-imposed spatial design solutions, concepts and effects. Each theory, design and space has its own unique identity patterns that record and fingerprint index the different kinds of spatial patterns that constitute its histories and forms of habitus and territorialisation. This is partly why and how pattern can also become, or be made to be, logo, brand, icon and place.

Garcia, M. (2009), Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design. Archit Design, 79: 6–17. doi: 10.1002/ad.974. .

They may produce indirect analogies, but their primary purpose is to render the invisible forces in contemporary culture visible.

Architecture needs mechanisms that allow it to become connected to culture” in contemporary world. It achieves this by continually capturing the forces that shape society as material to work with. Architec-ture’s materiality is therefore a composite one, made up of visible as well as invisible forces. Progress in architecture occurs through new concepts by which it becomes connected with this material, and it mani-fests itself in new aesthetic compositions and affects. It is these new affects that allow us to constantly engage with the city in new ways.


Against the symbolic interpretation of culture by Postmodernism, the dynamic nature of culture requires that buildings each time define their own grourjd and develop an internal consistency. It is precisely through these internal orders that architecture gains an ability to perform relative to culture and to build its own system of evaluation.


If architecture is to remain convergent with culture, it needs to build mechanisms by which culture can constantly produce new images and concepts rather than recycle existing ones.Farshid Moussavi, The Function of Ornament

Stan Allen suggests that meaning in architecture is constructed as an encounter between architecture and the public.9 If so, then it does not matter what design tool or technique was used in the design of a building; however, the choice of tools does have an impact on the design. Throughout history, the work of an architect has been linked to the use of drawing as a design tool.10 Like drawing, architects working with computers and with computation still work through a medium of representation. However, with its increasing simulation capabilities, the computer lets architects predict, model and simulate the encoun-ter between architecture and the public using more accurate and sophisticated methods. In this way, computation makes possible not only the simulation and communication of the constructional aspects of a building, but also the experience and the creation of meaning.Brady Peters, The Building of Algorithmic Thought

Architecture in generating new discourses (pattern as a media with symbolic affect, generating and communicating meaning to general public)

Regarding the project, iconic landmark for new discourses on green transition.

Why pattern? The power of pattern(if architecture is to make meaning, generate new discourse)

Internal logic –

As process (method, technique) and as product (object, material form), patterns, like typologies and programmes, are also repeated and human-imposed spatial design solutions, concepts and effects. Each theory, design and space has its own unique identity patterns that record and fingerprint index the different kinds of spatial patterns that constitute its histories and forms of habitus and territorialisation. This is partly why and how pattern can also become, or be made to be, logo, brand, icon and place.

Garcia, M. (2009), Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design. Archit Design, 79: 6–17. doi: 10.1002/ad.974. .

They may produce indirect analogies, but their primary purpose is to render the invisible forces in contemporary culture visible.

Architecture needs mechanisms that allow it to become connected to culture” in contemporary world. It achieves this by continually capturing the forces that shape society as material to work with. Architec-ture’s materiality is therefore a composite one, made up of visible as well as invisible forces. Progress in architecture occurs through new concepts by which it becomes connected with this material, and it mani-fests itself in new aesthetic compositions and affects. It is these new affects that allow us to constantly engage with the city in new ways.


Against the symbolic interpretation of culture by Postmodernism, the dynamic nature of culture requires that buildings each time define their own grourjd and develop an internal consistency. It is precisely through these internal orders that architecture gains an ability to perform relative to culture and to build its own system of evaluation.


If architecture is to remain convergent with culture, it needs to build mechanisms by which culture can constantly produce new images and concepts rather than recycle existing ones.Farshid Moussavi, The Function of Ornament

Stan Allen suggests that meaning in architecture is constructed as an encounter between architecture and the public.9 If so, then it does not matter what design tool or technique was used in the design of a building; however, the choice of tools does have an impact on the design. Throughout history, the work of an architect has been linked to the use of drawing as a design tool.10 Like drawing, architects working with computers and with computation still work through a medium of representation. However, with its increasing simulation capabilities, the computer lets architects predict, model and simulate the encoun-ter between architecture and the public using more accurate and sophisticated methods. In this way, computation makes possible not only the simulation and communication of the constructional aspects of a building, but also the experience and the creation of meaning.Brady Peters, The Building of Algorithmic Thought

Architecture in generating new discourses (pattern as a media with symbolic affect, generating and communicating meaning to general public)

Regarding the project, iconic landmark for new discourses on green transition.

B.1. RESEARCH FIELD

PATTERNING

How pattern

Pattern and perception and illusion

These affects may start with found imagery or iconography as raw cultural material. However they do not re-main as pure acts of consumption, but rather are disassembled and reassembled to produce new sensations that remain open to new forms of experience. It is in this way that they are contemporary and committed to pro-gress. Operating through direct sensations, they bypass the need for the modification of language and are able to shift across space and time. They may produce indirect analogies, but their primary purpose is to render the invisible forces in contemporary culture visible.


PART B. CRITERIA DESIGNB.2. Case Study 1.0

B.2. Case Study 1.0

The project chosen for Case Study 1.0 here is the Spanish Pavil-ion, designed by Foreign Office Architects (FOA) in Expo 2005 held in Archi, Japan. Every Expo, which is also called World’s Fair, aims to provide its visitors with a chance to explore exotic cultures beyond their everyday experiences, and therefore each pavilion becomes a cultural icon for a country. The Spanish Pavilion for Expo 2005 was one of the most outstanding ones. Because, instead of a mere housing space a Spanish cultural exhibition, this courageous design by itself demonstrated an in-telligent dedication as an innovative synthesis combining elab-orated cultural elements and advancing technologies resolved at both constructional and material levels. The innovation not only fulfilled the ambition in articulating a architectural pro-duction “relating to both western and oriental culture”, which is one of the most critical issues for the 2005 Japanese Expo, but also provided impressive and interesting spatial and visual experience to the visitors as well as distant viewers.

While looking for an appropriate cultural expression for the pavilion, the designer group found within their own culture a typical feature that resonated with the major theme as an integration “relating to both western and oriental culture”. This parallel feature is the dualism of Islamism and Christianity, an interesting and crucial attribute within the Spanish cultural landscape. Hence, a set of architectural languages was devel-oped by elaborating the converging elements existing in both Islamic and Christian cultures prominent in Spanish environ-ment for both the interior space and exterior façade.

B.2. Case Study 1.0

To create an internal space encouraging free flows of circulation rather than a linear path between dif-ferent areas, spatial elements such as nave, chapels, courtyard, cloister et cetera and structural elements such as Gothic vaults, Islamic cupolas and so on were chosen and reinterpreted to form a series of interlocking free-formed spaces, each of which was to house different activities. Instead of literally replicating the traditional architectural languages, the design of the pavilion presented us with an innovative integration of the cultural traits to fulfill the functionality of the space while aesthetics was attained at the same time and in the process of executing a coherent design intention that was to express a harmonious relationship between eastern and western culture.

In the revision of the pavilion, Anna Sirica wrote: “ The building allows the country’s history, traditions and view of the future to dialogue in its interior through a revisitation of historic models, typical of Spanish architectural and figurative culture, which can then generate new models.”

B.2. Case Study 1.0

However, the culminating and most exciting point in the realization of the design intention might be the evocative perforated façade composed of colorful irregular ceramic blocks. This façade is going to be studied in details with the assistance of the Grasshopper plugin in Rhino here, as it shows how to envision and dive into the all the con-structional details while it is still in the design stage in the realization of a design intent. And it shows the power of computational design in terms of generating unexpected forms and resolving the form making at both constructional and material levels once fabrication informa-tion in concern is provided.

The whole façade with ceramic blocks, seemingly massive and robust though, was supported by a sub-structural system constructed by aluminum frame. This introduced an interstitial space between the fa-çade and the main structure. This space was deliberately designed so as to house a transitional space for circulation and shading between the inside and outside. In the meantime, it was a reminiscence of not only the arcade popular in the traditional western architectures, but also the engawa, a typical in-between space for filtering in the Japa-nese traditional architectures such as temples.

In the interstitial space, an interesting and dynamic pattern of light-ing and shading was introduced as a result of the vibrant façade con-stituted of irregular elements. The design technique utilized here was modular units with dynamic pattern within each unit, which can be achieved by parametric designing tools. And with the modular units and digital information, it became easy for prefabrication and on-site assembly

B.2. Case Study 1.0

In terms of form finding, the façade was developed from two basic parameters. The first parameter is the irregular pattern for each modular unit that was developed from a set of hexagons. The source of inspiration for this modular hexagonal unit also lay in the elements from the Christian-Islamic culture. As a highly abstracted geometry evolved from Islamic celosias, Gothic traceries, the modular unit composed of six hexagons was adopted for as the designing team found the lattice constituted by such a module was common in Spain, thus reflecting the fusion of Christian and Islamic architecture. At the same time, the six different blocks could be coated in different colours, mainly yellowish and reddish ones, in resonance with elements distinctive in Spanish culture: wine, rose, blood, sun, sand etc. Again, in stead of a simple synthesis and repetition of conventional elements, the designing team went further to elaborate the regular hexagonal base to produce a fluid visual effect throughout the facade by manipulating the modules via computational technologies to explore the potential of irregular pattern. On top of that, they created even more complex pattern by generating irregular pattern for perforation over the whole façade. Hence, it ended up with an innovative and intriguing façade with non-repetitive elements varied in both colours and geometries.

The second parameter was the materials. Ceramic was chosen for the hexagonal blocks as it was a popular and intimate material both in Spain and Japan. To chain and fasten the blocks, steel wires and detailed junctions were also developed for the assembly of the irregular hexagonal blocks.

In conclusion, the Spanish Pavilion for Expo 2005 showed a dedication in realizing an integrated design intention that encompassed architectural ideas, con-structional techniques, material prefabrication and computational technologies. It is a successful attempt in producing a mature architectural product that expressed its cultural identity and captured the zeitgeist of the information age, generating new discourses.

In terms of form finding, the façade was developed from two basic parameters. The first parameter is the irregular pattern for each modular unit that was developed from a set of hexagons. The source of inspiration for this modular hexagonal unit also lay in the elements from the Christian-Islamic culture. As a highly abstracted geometry evolved from Islamic celosias, Gothic traceries, the modular unit composed of six hexagons was adopted for as the designing team found the lattice constituted by such a module was common in Spain, thus reflecting the fusion of Christian and Islamic architecture. At the same time, the six different blocks could be coated in different colours, mainly yellowish and reddish ones, in resonance with elements distinctive in Spanish culture: wine, rose, blood, sun, sand etc. Again, in stead of a simple synthesis and repetition of conventional elements, the designing team went further to elaborate the regular hexagonal base to produce a fluid visual effect throughout the facade by manipulating the modules via computational technologies to explore the potential of irregular pattern. On top of that, they created even more complex pattern by generating irregular pattern for perforation over the whole façade. Hence, it ended up with an innovative and intriguing façade with non-repetitive elements varied in both colours and geometries.

The second parameter was the materials. Ceramic was chosen for the hexagonal blocks as it was a popular and intimate material both in Spain and Japan. To chain and fasten the blocks, steel wires and detailed junctions were also developed for the assembly of the irregular hexagonal blocks.

In conclusion, the Spanish Pavilion for Expo 2005 showed a dedication in realizing an integrated design intention that encompassed architectural ideas, con-structional techniques, material prefabrication and computational technologies. It is a successful attempt in producing a mature architectural product that expressed its cultural identity and captured the zeitgeist of the information age, generating new discourses.

B.2. Case Study 1.0

Trial 1

Exploration on two-dimensional planar modular panel

Modular panel comprised of regularly arranged triangular-patterned units

Manipulation of internal units within the modular Panel to produce irregular pattern

Culling random units from the modular panel extending the potential in producing irregular patterns

Randomly culled modular panel with the centre of each unit carved


Potential of manipulating the density of units within a modular panel

Carving the center of each internal unit to produce a frame-work, offering the potential for acutual installation such as a glassed facade

Caving the centre parts of certain units within a randomly culled modular pan-el further extending the pool for pattern exploration

Variation in the size of carved area in each unit to produce more interesting patterns, also suggesting the potential in controlling light penetration if used in a facade

B.2. Case Study 1.0

Trial 2

Exploration on three-dimensional modular panel based on the devel-oped pattern

Modular panel comprised of triangu-lar-patterned units deformed in Z-axis


Culling random units from the modular panel extending the potential in producing irregular patterns

Randomly culled modular panel with the centre of each unit carved


Potential of manipulating the density of units within a modular panel

Carving the center of each internal unit to produce a frame-work, offering the potential for acutual installation such as a glassed facade

Caving the centre parts of certain units within a randomly culled modular pan-el further extending the pool for pattern exploration

Variation in the size of carved area in each unit to produce more interesting patterns, also suggesting the potential in controlling light penetration if used in a facade

B.2. Case Study 1.0

PART B. CRITERIA DESIGNB.3. Case Study 2.0

B.3. Case Study 2.0

The Spanish Pavilion was for sure an intelligent innovation of reinterpreting traditional architec-tural elements to house the current needs in both such as functional, aesthetic aspects and achieved the ambition as an iconic artefact of cultural capital.

However, at the same time, the development of the pavilion, especially the façade, is obviously a form-oriented design and emphasizing on the ornamental affect. Though as a result, the design solution finally offers good shading and lighting effect and a circulation space with interesting spa-tial experience.

On the other hand, the early decision on materiality and form does inform and facilitate the later detailed design in terms of prefabrication of the modular units off site as well as construction and assembly techniques on site.

So far as it can be observed after the exploration on the algorithm for the Spanish Pavilion design, the particular design and construction techniques employed were modularly assembly for con-struction and manipulation on the irregular pattern within each module to produce dynamics as a whole.

Hence, in case study 2.0, the ICD/ITKE Research Pavilion 2005 is chosen for further study as it utilized similar constructional technique, the modular assembly as well and with these modules, it also ends up with a dynamic and interesting form. But the technique was executed at a different lev-el. In Spanish Pavilion, the module was consisted of six cells, which as a whole formed a stable out-line for each panel, though internally, dynamic affect was produced by the deformation of the six hexagons. Basically, this irregular pattern developed from the composition of six-hexagonal mod-ules was designed for a flat façade and was not powerful enough in terms of informing an organic space. However, what I am more interested in is to utilize dynamic modules to inform an organic form which can never be expected and therefore achieve a dynamic and evocative space that would encourage impulsion visitors to explore. The ICD/ITKE Research Pavilion 2005, small though, is one of the typical precedents that present me with this insight. Instead of forming a module with multiple planar units, the ICD/ITKE Research Pavilion 2005 use every unit as a module by itself and the module is developed as a compartment-like cell instead of a planar pattern, therefore each module is stiff in itself and can perform as a structural element and at the same time by composing these dynamic “compartments” together seamlessly, an organic space would evolve automatically.

B.3. Case Study 2.0 BIOLOGICAL SYSTEM

The project aims at integrating the performative capacity of biological structures into architectural design and at testing the resulting spatial and structural material-systems in full scale. The focus was set on the development of a modular system which allows a high degree of adaptability and performance due to the geometric differentiation of its plate components and robotically fabricated finger joints. During the anal-ysis of different biological structures, the plate skeleton morphology of the sand dollar, a sub-species of the sea urchin (Echinoidea), became of particular interest and subsequently provided the basic principles of the bionic structure that was realized. The skeletal shell of the sand dollar is a modular system of polygonal plates, which are linked together at the edges by finger-like calcite protrusions. High load bearing capacity is achieved by the particular geometric arrangement of the plates and their joining system. Therefore, the sand dollar serves as a most fitting model for shells made of prefabricated elements. Similarly, the tradi-tional finger-joints typically used in carpentry as connection elements, can be seen as the technical equiva-lent of the sand dollar’s calcite protrusions.

MORPHOLOGY TRANSFER

Following the analysis of the sand dollar, the morphology of its plate structure was integrated in the de-sign of a pavilion. Three plate edges always meet together at just one point, a principle which enables the transmission of normal and shear forces but no bending moments between the joints, thus resulting in a bending bearing but yet deformable structure. Unlike traditional lightweight construction, which can only be applied to load optimized shapes, this new design principle can be applied to a wide range of custom geometry. The high lightweight potential of this approach is evident as the pavilion that could be built out of 6.5 mm thin sheets of plywood only, despite its considerable size. Therefore it even needed anchoring to the ground to resist wind suction loads.

Besides these constructional and organizational principles, other fundamental properties of biological structures are applied in the computational design process of the project:Heterogeneity: The cell sizes are not constant, but adapt to local curvature and discontinuities. In the areas of small curvature the central cells are more than two meters tall, while at the edge they only reach half a meter.Anisotropy: The pavilion is a directional structure. The cells stretch and orient themselves according to mechanical stresses.Hierarchy: The pavilion is organized as a two-level hierarchical structure. On the first level, the finger joints of the plywood sheets are glued together to form a cell. On the second hierarchical level, a simple screw connection joins the cells together, allowing the assembling and disassembling of the pavilion. Within each hierarchical level only three plates – respectively three edges – meet exclusively at one point, therefore assuring bendable edges for both levels.

B.3. Case Study 2.0

COMPUTATIONAL DESIGN AND ROBOTIC PRODUCTION

A requirement for the design, development and realization of the complex morphology of the pavilion is a closed, digital information loop between the project’s model, finite element simulations and computer numeric machine control. Form finding and structural design are closely interlinked. An optimized data exchange scheme made it possible to repeatedly read the complex geometry into a finite element program to analyze and modify the critical points of the model. In parallel, the glued and bolted joints were tested experimentally and the results included in the structural calculations.

The plates and finger joints of each cell were produced with the university’s robotic fabrication system. Em-ploying custom programmed routines the computational model provided the basis for the automatic gen-eration of the machine code (NC-Code) for the control of an industrial seven-axis robot. This enabled the economical production of more than 850 geometrically different components, as well as more than 100,000 finger joints freely arranged in space. Following the robotic production, the plywood panels were joined together to form the cells. The assembly of the prefabricated modules was carried out at the city campus of the University of Stuttgart. All design, research, fabrication and construction work were carried out jointly by students and faculty researchers.

The research pavilion offered the opportunity to investigate methods of modular bionic construction using freeform surfaces representing different geometric characteristics while developing two distinct spatial en-tities: one large interior space with a porous inner layer and a big opening, facing the public square between the University’s buildings, and a smaller interstitial space enveloped between the two layers that exhibits the constructive logic of the double layer shell.

B.3. Case Study 2.0

My Focusesn Terms of Reverse Engineeing ICD/ITKE Reseach Pavilion 2011

Though this is an attempt to reverse engineering the Case Study 2.0, I am not going to replicate exactly the same form.Instead, my major focus will be on the structural details such as joining details and modular constructional tech-nique that support and inform the whole organic shape.

A) Ensure at each joining point, only 3 surface meet with each other

B) Dynamic shaped Cell (instead of hexagonal shaped cell in the studied case)

C) Organic Form informed by the assembly of individual irrepetitive cells

B.3. Case Study 2.0

Trial 1

Though generally a spherical form, but this algorithm outcome shows the possibility of forming dynamic fluid forms with irregular pattern resulted from random-shaped cells. The random shaped cells were achieved by popping the circle with random points and using Voronoi Mesh to generate the irregular planar pattern around the points. The fluid form as a whole is achieved by exerting tension force on each line and upwards forces at joining points respectively which is introduced by Kangaroo plug-in. After that, with the component of Cumulation from Weavebird plug-in and trimed the “pyramid” with related plane, a similar form composed of small “rooms” as in the case of ICD/ITKE Research Pavilion 2005 is achieved. However, further exploration on this algorithm suggests that after exerting the forces to deform the mesh forming a spherical space, the base of each cell was not a planar one, thus it is not achieving the goal of joining only three surfaces at each joinging point and can create difficulties for later manipulation on each modular cell. On the other hand, further explorations also are also necessary for creating opening and generating more organic forms by playing with the anchor points and the simulation of forces in Kangaroo plug-in.

Though generally a spherical form, but this algorithm outcome shows the possibility of forming dynamic fluid forms with irregular pattern resulted from random-shaped cells. The random shaped cells were achieved by popping the circle with random points and using Voronoi Mesh to generate the irregular planar pattern around the points. The fluid form as a whole is achieved by exerting tension force on each line and upwards forces at joining points respectively which is introduced by Kangaroo plug-in. After that, with the component of Cumulation from Weavebird plug-in and trimed the “pyramid” with related plane, a similar form composed of small “rooms” as in the case of ICD/ITKE Research Pavilion 2005 is achieved. However, further exploration on this algorithm suggests that after exerting the forces to deform the mesh forming a spherical space, the base of each cell was not a planar one, thus it is not achieving the goal of joining only three surfaces at each joinging point and can create difficulties for later manipulation on each modular cell. On the other hand, further explorations also are also necessary for creating opening and generating more organic forms by playing with the anchor points and the simulation of forces in Kangaroo plug-in.

B.3. Case Study 2.0

Trial 2

By changing the circular base into irregular form, a more organic form starts to evolve. And by carefully filtering the anchor points, openings are created and thus a space can be open up for visitors to explore. However, as is discussed in the previous attempt, the base for each cell on the deformed mesh is not planar, this creates difficulties for further development in each cell and adds extra complexities in the algorithm that takes huge amount of calculation, a heavy workload for the computer. Different algorithmic techniques such as lofting, extruding, offsetting, thickening mesh etc. were explored, but it was proved to be difficult to derive a proper arrangement of the cells. On one hand, it is hard to define the surface by these mesh lines due to the complexity of the data tree for each line. On the other hand, once they are deformed to form a volumn, it is easy for them to intercept with each other, which was proved to be hard for human-eyes to distinguish and creates difficulties for prefabrication, assembly and construction in reality.

By changing the circular base into irregular form, a more organic form starts to evolve. And by carefully filtering the anchor points, openings are created and thus a space can be open up for visitors to explore. However, as is discussed in the previous attempt, the base for each cell on the deformed mesh is not planar, this creates difficulties for further development in each cell and adds extra complexities in the algorithm that takes huge amount of calculation, a heavy workload for the computer. Different algorithmic techniques such as lofting, extruding, offsetting, thickening mesh etc. were explored, but it was proved to be difficult to derive a proper arrangement of the cells. On one hand, it is hard to define the surface by these mesh lines due to the complexity of the data tree for each line. On the other hand, once they are deformed to form a volumn, it is easy for them to intercept with each other, which was proved to be hard for human-eyes to distinguish and creates difficulties for prefabrication, assembly and construction in reality.

B.3. Case Study 2.0

Trial 3

Considering the difficulty of creating planar cells in a deformed mesh in the previous two attempts, in this trial, the base mesh was created by Delaunay Mesh instead of Vonoroi Mesh, thus each cell is triangular rather than irregular. But as a whole, it is still an irregular pattern. As three points define a surface, after the mesh is deformed, each of the cell still remains planar, therefore it is easier to manipulate each cell and fur-thermore, reduce difficulties for later prefabrication, assembly and construction as well. But the anchor points for the forces to act on needs to be carefully selected to ensure the triangular shape especially at the edg-es of the openings. This to some extent deforms the floor plan for the whole structure at the fringe. However, this fails my initial intention in terms of forming irrepetitive shaped modules as all of the cell are basically triangles. Hence, based on the previous attempts, I tried to generate Vonoroi Mesh on each cell to formulate the randomly shaped pattern in each cell. Hence each triangular cell indeed is a modular composition of several cells, which is the technique employed in the Spanish Pavilion, where each module consisted of six cells. And the planarity of each irregular cell is ensured and easy for later manipulation as well as fabrication and construction. With Weavebird’s Mesh Window component, it is possible to generate volumn in each cell as in the case of ICD/ITKE Research Pavilion 2005 by offsetting the “window”. But the resulting form of this technique is not ideal as the “window” somehow deformed and is not matching the base cell. The lofting surface derived from the offsetted “window” and the base cell would be twisted rather than smooth and flat surface.

Considering the difficulty of creating planar cells in a deformed mesh in the previous two attempts, in this trial, the base mesh was created by Delaunay Mesh instead of Vonoroi Mesh, thus each cell is triangular rather than irregular. But as a whole, it is still an irregular pattern. As three points define a surface, after the mesh is deformed, each of the cell still remains planar, therefore it is easier to manipulate each cell and fur-thermore, reduce difficulties for later prefabrication, assembly and construction as well. But the anchor points for the forces to act on needs to be carefully selected to ensure the triangular shape especially at the edg-es of the openings. This to some extent deforms the floor plan for the whole structure at the fringe. However, this fails my initial intention in terms of forming irrepetitive shaped modules as all of the cell are basically triangles. Hence, based on the previous attempts, I tried to generate Vonoroi Mesh on each cell to formulate the randomly shaped pattern in each cell. Hence each triangular cell indeed is a modular composition of several cells, which is the technique employed in the Spanish Pavilion, where each module consisted of six cells. And the planarity of each irregular cell is ensured and easy for later manipulation as well as fabrication and construction. With Weavebird’s Mesh Window component, it is possible to generate volumn in each cell as in the case of ICD/ITKE Research Pavilion 2005 by offsetting the “window”. But the resulting form of this technique is not ideal as the “window” somehow deformed and is not matching the base cell. The lofting surface derived from the offsetted “window” and the base cell would be twisted rather than smooth and flat surface.

B.3. Case Study 2.0

Trial 4

Based on the last attempt, I further refine the algorithm to explore modular constructional possibility by irregular cells with volumes as in the ICD/ITKE Research Pavilion 2005. However, by using the Offset Mesh technique in Weavebird plug-in, it seems the computer fails to recoginize the face direction of each cell, thus the offsetting direction of each cell is not of the same direction. Therefore, some of the cells warp inwards and others outwards. Though it increases the randomness, resulting in even more interesting pattern, it diverts from my intention in terms of reverse-engineering the assembly technique of “compartment” modules in ICD/ITKE Research Pavilion 2005. Therefore, I tried to offset the “window” in both direction and finally come up with a “compartment” in each cell which to a hign extent resembles the pavilion that I am pursuing. But for sure this is a dumb way to deal with it as the joining point between each of the two “compartment” cells will simply be a line which leaves no space for further join details. This would be proved to be hard for construction in reality. And indeed, this attempt stills fails my initial intention in the exploration of develop a form which only three surface joining each other at the a joining point.

Based on the last attempt, I further refine the algorithm to explore modular constructional possibility by irregular cells with volumes as in the ICD/ITKE Research Pavilion 2005. However, by using the Offset Mesh technique in Weavebird plug-in, it seems the computer fails to recoginize the face direction of each cell, thus the offsetting direction of each cell is not of the same direction. Therefore, some of the cells warp inwards and others outwards. Though it increases the randomness, resulting in even more interesting pattern, it diverts from my intention in terms of reverse-engineering the assembly technique of “compartment” modules in ICD/ITKE Research Pavilion 2005. Therefore, I tried to offset the “window” in both direction and finally come up with a “compartment” in each cell which to a hign extent resembles the pavilion that I am pursuing. But for sure this is a dumb way to deal with it as the joining point between each of the two “compartment” cells will simply be a line which leaves no space for further join details. This would be proved to be hard for construction in reality. And indeed, this attempt stills fails my initial intention in the exploration of develop a form which only three surface joining each other at the a joining point.

PART B. CRITERIA DESIGNB.4. Technique: Development

B.4. Technique: Development

Matrix 1

Exploration on the definition developed from Trial 2 in terms of dynamic forms and manipulation of cells

Exploration on the definition developed from Trial 2 in terms of dynamic forms and manipulation of cells

B.4. Technique: Development

PART B. CRITERIA DESIGNB.6. Technique: Proposal

B.6. Technique: ProposalMaterials to interact with: Transparent solar cells

OverviewMIT researchers are making transparent solar cells that could turn everyday products such as windows and electronic devices into power generators—without altering how they look or function today. How? Their new solar cells absorb only infrared and ultraviolet light. Visible light passes through the cells unimpeded, so our eyes don’t know they’re there. Using simple room-temperature methods, the researchers have deposited coatings of their solar cells on various materials and have used them to run electronic displays using ambient light. They estimate that using coated windows in a skyscraper could provide more than a quarter of the building’s energy needs without changing its look. They’re now beginning to integrate their solar cells into consumer products, including mobile device displays.

A novel designInspired by Lunt’s idea, the team developed a transparent PV cell. The schematic figure below shows its components and how they work together. The thickest layer (toward the left) is the glass, plastic, or other transparent substrate being coated; the multiple layers of the PV coating are toward the right. At the core of the coating are the two active layers—the absorptive semiconductor materials that get excited by sunlight and interact, creating an electric field that causes current to flow. Sandwiching those layers are electrodes that connect to the external circuit that carries the current out of the device. Since both electrodes must be transparent—not the usual reflective metal—a layer on the back of the cell can be added to reflect sunlight of selected wavelengths, sending it back for a second pass through the active layers. Finally, anti-reflective coatings can be used on both outside surfaces to reduce reflections because any light that reflects—potentially as much as 10% of the total—doesn’t go through the device. “We use a combination of molecular engineering, optical design, and device optimization—a holistic approach to designing the transparent device,” says Barr.

http://mitei.mit.edu/news/transparent-solar-cells

This schematic diagram shows the key components in the novel transparent photovoltaic (PV) de-vice, which transmits visible light while capturing ultraviolet (UV) and near-infrared (NIR) light. The PV coating—the series of thin layers at the right—is deposited on the piece of glass, plastic, or other transparent substrate. At the core of the coating are the active layers, which absorb the UV and NIR light and cause current to flow via the two transparent electrodes through an external circuit. The reflector sends UV and NIR light back into the active layers, while the anti-reflective (AR) coatings on the outside surfaces maximize incoming light by reducing reflections.

OverviewMIT researchers are making transparent solar cells that could turn everyday products such as windows and electronic devices into power generators—without altering how they look or function today. How? Their new solar cells absorb only infrared and ultraviolet light. Visible light passes through the cells unimpeded, so our eyes don’t know they’re there. Using simple room-temperature methods, the researchers have deposited coatings of their solar cells on various materials and have used them to run electronic displays using ambient light. They estimate that using coated windows in a skyscraper could provide more than a quarter of the building’s energy needs without changing its look. They’re now beginning to integrate their solar cells into consumer products, including mobile device displays.

A novel designInspired by Lunt’s idea, the team developed a transparent PV cell. The schematic figure below shows its components and how they work together. The thickest layer (toward the left) is the glass, plastic, or other transparent substrate being coated; the multiple layers of the PV coating are toward the right. At the core of the coating are the two active layers—the absorptive semiconductor materials that get excited by sunlight and interact, creating an electric field that causes current to flow. Sandwiching those layers are electrodes that connect to the external circuit that carries the current out of the device. Since both electrodes must be transparent—not the usual reflective metal—a layer on the back of the cell can be added to reflect sunlight of selected wavelengths, sending it back for a second pass through the active layers. Finally, anti-reflective coatings can be used on both outside surfaces to reduce reflections because any light that reflects—potentially as much as 10% of the total—doesn’t go through the device. “We use a combination of molecular engineering, optical design, and device optimization—a holistic approach to designing the transparent device,” says Barr.

http://mitei.mit.edu/news/transparent-solar-cells

The installation of transparent solar panel glass based on my the prototype I have developed

B.6. Technique: ProposalWind Analysis derived via Grasshopper plug-in Ladybug and Honeybee

Analysis and manipulation on information derived from local wind data for the generation of form

Considering the fact that, from our common experience, a flat high rise facade com-posed basically of glass panels usually take up a substantial load from wind acting on them. At the same time, instead of a simple flat facade, I prefer a dynamic form that offers interesting space for visitors to explore. And such a spatial exploration should encourage people to have a closer interaction with the sun, the solar-power-generating panel. Thus I come up with this idea as finding a organic form by the study of the wind under the conditions of local climate which not only creates dynamic spatial experi-ence, but also reduces windload acting on the facade by shifting the surface according the direction of the wind.

Wind Analysis derived via Grasshopper plug-in Ladybug and Honeybee

Analysis and manipulation on information derived from local wind data for the generation of form

B.6. Technique: Proposal

Proposal 01

Proposal 02


Comparison between Proposal 01 and Proposal 02

Proposal 01

Proposal 02


Internal Space developed based on proposal 02

Internal Space 01

Internal Space with supporting framing 02

PART B. CRITERIA DESIGNProgramme

Programme: Sun Bathing Maze

The site sits beside the sea, previously industrialized with man-made fillings. But what I am interested in is that in the long run, what the site would be changed into if minimum man-ual maintainance is needed. So think of an open widespreading landscape on the coastline, as is generated or influenced by natural forces, what it will be like after a few hundreds years? I come up with the image of a beach. As a space for public use, what people usually do on a beach? Sunbathing.

I love this idea of sunbathing because it converges with the project brief as a power generator harnessing solar power and the a culture that is fond of sun.

Issue:A) Architecturally, the play of open and enclosed space: facade?B) Circulation, how people travel around the site and use the space: maze?B) Seasonal change

Site Conditions

* Open landscape

* By the sea

* Access to sun and wide sea views (statue of little Mermaid)

* Previously industrialized

* Relatively high latitude with limited access to sun throughout the year Copenhagan: 55.7° N, 12.6° E (Melbourne: 37.8° S, 145.0° E)

Project

* Energy Generator: Solar

* Public Space

Culture

* A love for the sun

* A community strive for green transition

Du meng 372196 partb

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Transcript of Du meng 372196 partb