Tony Yu - AIR 2014

A I R 2 0 1 4 T O N Y Y U

A R C H I T E C T U R A L D E S I G N S T U D I O

INTRODUCTION vPART A 01 A.1 DESIGNING FUTURING 03 A.2 DESIGN COMPUTATION 08 A.3 COMPOSITION/GENERATION 14 A.4 CONCLUSION 20 A.5 LEARNING OUTCOMES 21 A.R PART A REFERENCING 22PART B 27 B.1 RESEARCH FIELD 28 B.2 CASE STUDY 1.0 29 B.3 CASE STUDY 2.0 34 B.4 TECHNIQUE: DEVELOPMENT 38 B.5 PROTOTYPING 44 B.6 PROPOSAL 52 B.7 LEARNING OBJECTIVES &OUTCOMES 61 B.8 APPENDIX 62 B.R PART B REFERENCING 64PART C 67 C.1 DESIGN CONCEPT 68 C.2 TECTONIC ELEMENTS 90 C.3 FINAL MODEL 100 C.4 LAGI 104 C.5 LEARNING OBJECTIVES &OUTCOMES 111 C.R PART C REFERENCING 118

CONTENTS

v

INTRODUCTION

Tony YuThird Year Architecture Student

I dislike introductions like this

No knowledge of digital design theoryLittle knowledge of digital design tools

01

CONCEPTUALIZATIONP A R T A

03

If something exists, one can’t interpret it without understanding. Meaning escapes when meaning is not comprehended. However, one can’t understand without interpreting. Comprehension is also not possible without understanding.1 Being is a paradoxical circle.

Design is one form of being, design is designed, and the design also designs.2

Design futuring, and design intelligence are ideas that encourage the encompassing effect that the cur-rent model of democratic design has, yet it is something that has been trivialized to mere aesthetics.3 Design designs; imagine what design could be if there was more consideration in the input.

DASEIN‘Being.’

A.1 DESIGNING FUTURING

04

K nown for its desert climate of extreme heats and scorching sun, Decker Yeadon proposed a solar farm to harness the poten-tial of the intense sun present in the UAE for the Land Art Generator Initiative 2010.

The design consists of a total of 40km rib-bon of organic photovoltaic sheets of 10m in width, totalling 80,000 square meters which is articulated six meters above the ground surface by a series of slender columns. The configuration of the shape is attributed to waveforms that evoke natural landscape for-mations of the desert coastline, signifying the liquid properties of sand and water. The col-umns themselves are a reference to nomadic style tents, raised above the scorching sand, the optical effects of diffusion and inversion on the horizon level are complimented by the reflective translucency of the photovoltaic ribbons, evoking the hypothetical of a real mirage.4

‘Lightness’ is the main feeling evoked from this piece, the rigidity of the width lends to a solid piece of geometry that rises and ‘floats’ above the sand. There is some majesty in the way it appears to do so. The uncertainty of vision in the desert landscape aids in such an expression. However, the complexity of the wave-like wrapping appears to be more er-ratic than the rationalized properties of sand and water, while the colour itself does lend to its arid context. The appreciation of such form would be difficult given the scale and perspective. The raising of the photovoltaic ribbons also supports the current ecosystem and waterways to remain undisturbed.

The configuration aiding in the capture of sunlight though it can be argued that these ribbons, while translucent, still produce a shadow that will not always be rectified by a high sun. Furthermore, organic photovol-taic sheets have a mere efficiency of 5 to

10%, but the same configuration would not be achievable given a different technology at this point in time.5 In the context of design futuring, there is an engagement with factors that transcend just aesthetics, with aesthetics similarly produced by the raw material itself that synthesizes with the land. On the flipside, the formal qualities and especially the reason the elevated ribbons is also ambiguously ar-bitrary.

While the concept of the water and sand in-spired configuration of the ribbons may be at a scale too large for the perspective to be clear about the idea, Light Sanctuary is ma-jestic in the way it appears to be a solid that seamlessly floats and contextually evokes of the colours of the desert while harmonizing with the effects of the desert heat and land-scape.

LIGHT SANCTUARYDecker Yeadon

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1 Light Sanctuary: Proposed Solar Farm, Decler Yeadpm6

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OurWorld 2.0 Hachiko Vibrational Energy Sheet (2008)Kohei Hayamizu On the ground of Hachiko Plaza in the Shibuya precinct of Tokyo, lies the first experiment of piezoelectric vibration harnessing in a public setting. It exists as a small one square meter of labelled paving of piezoelectric technology, developed by Kohei Hayamizu at Keio University.7

The premise for this experiment is in introduc-ing the possibility of a future where all forms of ground travel; roads, bridges and sidewalks are lined with such technology. The vibrations produced by cars and people alike converts a city into its own electric power station.

Hachiko Plaza is one of the world’s busiest pedestrian areas, with the main station hav-ing a daily commute rate of 900,000 people.8 However, in reality, not even a fraction of that amount would actively walk about a panel.

Hayamizu calculated that over the course of its implementation period of 20 days, the one metre squared area of effect would generate enough electricity to power 1,422 televisions for one hour. It was calculated that the aver-age person of 60kg weight with a total of two steps to traverse the square would generate a mere 0.1 watt.9

Langton Boy’s Grammar School, Canterbury (2013)Laurence Kemball-CookA corridor at the Langton Boy’s Grammar school in Canterbury has been covered in 12 meters of tiles that will generate energy through the piezoelectric effect. Over the period of one year, the energy generated from the tiles is expected to be enough to fully charge 853 mobile phones and power a single light bulb for two and a half years, or around 5000 kWh annually.10

Biodegradable Piezo-Art Pavilion (2011)3XNIn contrast to the efforts of the piezoelectric technology introduced in Shibuya and Lang-ton Boy’s Grammar school, 3XN’s Piezo-Art Pavilion bolsters a biodegradable fibre com-posite with cork as a core and photovoltaic solar energy harvesting, on top of piezoelec-tric energy.11 Furthermore, this piece was introduced to be interactive, with curves that encourage the model to be walked on, in con-trast to the passive nature of the Shibuya and Langton school. The photovoltaic cells also generates electricity to light up the pavilion at night, which would have been a natural deter-rent to interact with the piece, now invites the usage of the space at a time that would have been put to waste otherwise.

W ith the rise of devices that require remote sources of electric power, the piezoelectric effect was one possible source and recently, piezoelectric technology has seen an increase in efficiency with the evolution of electronics that are consuming lower amounts of energy. The piezoelectric effect offers an environmentally friendly prospect of harnessing the potential electrical energy of mechanical vibrations.

PIEZOELECTRIC ENERGYHarnessing the energy of mechanical vibrations

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2 Piezo-Art Pavilion, 3XN12

3 Hachiko Vibrational Energy Sheet13

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Piezoelectric energy by itself is a very whim-sical technology which depends on the will-ing interaction of humans. There is however potential in integrating the technology into existing activities that garner movement, or by attracting people to engage with it.

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A.2 DESIGN COMPUTATION“For the first time

perhaps, architectural design might be aligned

with neither formalism nor rationalism but with

intelligent form and traceable creativity.”

T he concept of sustainability is an elu-sive one; the sheer intricacy of the relation-ships between parts of the larger whole is as complex in its own components as it is in relationship with the other parts around it in a way that there is a large amount of uncer-tainty that can’t be modelled by theories and mathematical approximations as generations before do.1 The unpredictable qualities of ac-tions on one component and how it propa-gates across a system; the complexity of sustainability its emergent qualities is the rea-son for its Holy Grail status. In a time where humans’ anthropocentric existence has re-alized that there is a point of finitude in our existence, it calls upon design to be handled ‘intelligently,’ where there needs to be a larger engagement with the future in a way that will delineate our unsustainable path.2

The current paradigm of design exists as a dialogue between designed solutions and determined goals; goals feed into possible solutions which uncover opportunities and limitations that would then influence goals for better or worse.3 Analysis becomes a key in the solution integration area where quantita-tive objective properties, as well as qualitative subjective properties such as aesthetics and

Kostas Terzidis, Algorithmic Architecture

(Boston: Elsevier 2006), xi.

09

spatial experiences needs to be evaluated. In developing goals, the context dependent predicament similarly drives the realiza-tion of parameters that can meet the end.4 Traditional design is then a long process of cross-referencing proposals to a goal. Com-puterization is an extension of this process that just requires the aid of a computer to resolve the feasibility of a solution that has been designed and in agreement with goals set. However, design has been criticized of being trivialized; it is working against the idea of ‘futuring’ and importantly: sustainability.

The concepts of emergent theory, intelligent design and the goal of sustainability however, all intersect at computational design. Compu-tational design is formed on a symbiotic re-lationship between human creativity and the rationale of computers.5 The basis of compu-tational design is ‘research by design;’ in con-trast to traditional design of a dialogue-based build-up to reach a solution, design can be made efficient.6 The means justify the end and the results of computational design are revered for their unknown nature. Formation precedes form and design is logical through algorithm.7 The emergent power of computa-tional design is in its ability to be an associa-tive algorithm that links elements in a schema of logic, regardless of how big of a role they play in the project, which allows any variability along the algorithm to be instanced to affect a greater whole. This concept however is something that is built from the bottom up, and the uncertainty that propagates throughout in itself is a key idea in the emergent theories of computational design. As building blocks are manipulated through algorithm, architectural elements like materiality and structure are the

parameters that constrain the design in the way that traditional design chooses the best solution.8 However, when processed through algorithm, the design is rendered efficient not only in time, but the ability to integrate perfor-mance analysis and digital materiality allows for outputs to be a responsive and tectonic system in regards to an a plethora of contexts as a fully integrated and contextually suitable solution.9 On the other hand, parameters by themselves are still constructs of and are limited by human creativity and parameters that are, and which will forever be a matter of subjectivity; design aesthetics, socio-political and cultural aspects, also in terms of sustain-ability, still limit computational design to an expression of its human input.10

Ultimately, there is still power in the emergent qualities of computational design that reflects design intelligence as a means to make sense of things that humans may overlook, and try to bring control into a field that can pave the way for sustainability by engaging in multiple aspects of the built environment, as long as the users themselves can embody the complexity required to translate.

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S tudents from the Bartlett School of Ar-chitecture’s Plethora Studio conceptualized this game as an exploration of user gener-ated architectural expressions as well as new design thinking. The ‘game,’ though it is more comparable to a design simulator, re-volves around the construction of a structure which collects, stores and distributes wind as energy, using a set of parts akin to building blocks with each block given a specific func-tion, such as the collector, the storage battery and the transmitter which lights up to show the path which energy takes.11

Strictly speaking, these parts are computer-ized components, individually they exist as parts that only serve a functional and aesthet-ic purpose as the virtual space of the game is made apparent. The generative design and emergent qualities of this project exists as the game itself. The building blocks that players are to use can be seen as the parameters that both limit and generate and because it is the people that ‘play’ this game, they are the emergent factors purely based on the fact that they are human. Human beings are all different, with different thoughts and mindsets and this is the driving force of emergent de-sign; players will have different biases and goals when they engage with this game.12

There are players who will tackle this prob-lem from a purely functional point of view while there will be some who engage with the lighting effects generated from the en-ergy pathing and some players aim to create incredibly large sculptural pieces. In the end however, the aim of the game remains to be a wind energy harvester despite the various paths taken. The designs that emerge from human players become the emergent design outcomes.

As a virtual project, the level of engagement would of course not be the same in the real world, but this is an interesting emergent con-cept, like Lego, that allows everyone to be a creator if the feedback remains the same.

It is however, a way to visualize the ideas of emergent design.

WIREFLIESPLETHORA STUDIO

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CIRRIFORMfuture cities lab

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C irriform by Future Cities Lab engages with the applications of performance architec-ture as an interactive façade. The algorithm behind the light and kinetic display of these abstracted ice crystals is a kind of responsive computation of the latent light energies in its context to produce pusalting auroras and the flow of the crystal.16 Different to light instal-lations of the past which would have been pre-rendered and pre-configured works of display, the computational aspect of Cirriform allows it to remain site-responsive given that its only input of light is available. Responsive installations such as this one of-fer a different experience and an emergent quality of communication. As conditions change, the display responds in return and despite being coded by a human with intent, the merit of a computational algorithmic pro-cess lends itself to a self-intelligence and an unexpected outcome which is not something that is directly in control by the artist. In a dis-play of the pre-rendered kind, like a movie or a play, there is a deliberate direction of drama where there is a single experience. In con-trast to this, responsive architectural installa-

tions, due to the emergent outputs, relieves the artist of control, the experience in itself is then emergent in its quality and the interac-tive nature of it becomes another facet to the experience.

In the discourse of architecture and the great-er being of design futuring, performance and interactive architecture is still young. The dy-namics of responsive architecture could con-tribute to enriching architectural space, and as a theory, the idea of being able to respond to inputs through the interaction of algorithms expands the ideas of input parameters. As a kinetic light display, while in its own a pow-erful exhibit of autonomy and computational design, it is a small but important step forward in realizing the future. In an era of ever-ex-panding complexity in almost every field, the theory of being able to respond to the factors such as the environment and users, while design of architecture could equally be as re-sponsive to a plethora of complexity in design such as performance, spatial requirements and configurations, integrated processes and the urban setting.

CIRRIFORMfuture cities lab

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4 Wireflies: Design, Plethora Studio13

5 Wireflies: Components, Plethora Studio14

6 Cirriform, Future Cities Lab15

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T he Institute for Computational Design and the Institute of Building Structures and Structural Design’s 2012 research pavilion is a shelter characterized by its distinct double curvature and cladding which consists of the wrapping of a carbon and glass fibre. ICD/ITKE 2012 pavilion is take on biomimeticism; ‘second nature;’ coding and abstracting prin-ciples of a Lobster’s exo-skeleton. The prin-ciples of its shell, which consists of a softer and harder naturally occurring morphogenic shell due to a difference in protein arrange-ment at the cellular level, was adapted into the arrangement of the fibre composite ma-terial and its qualities of being a structural material.17

The computational process of the design involved the parameters of the material, the configuration informed by the exo-skeleton and the robot control limits that would fabri-cate the pavilion. The qualities of the fiber-composite allow the structure to be a study of materiality as well as a structural tectonic process as the form of the pavilion emerged as the most suitable structure that would al-low the winding of the fibre to be optimal in strength. Normal fibre composites used in the

aerospace field require the use of a substruc-ture in the laying of the fibre, but by optimizing the qualities in certain arrangements allowed by the double curvature of the pavilion, the fibre becomes self-sufficient in acting as its own substructure.17 The pavilion was fabri-cated on site by the robot which wound the fibre composite on site.

This pavilion is an example of the extent of computational design can go from the initial design idea to fabrication. Computational design lends to the power of the computer to be able to resolve the structural properties of the fibre composite and in addition to that, resolve the fabrication process by including the parameter of the robot, allowing for un-rivalled precision in realizing such a complex generated arrangement. The control that the human plays in this dialogue is in the input of the algorithm where in which one of the itera-tions under all the parameterized constraints is feasible. Together, the efficient realization and evolution of the fibre composite to a great structural component is the epitome of the generative power of computational design.

ICD/ITKE 2012 RESEARCH PAVILIONICD & ITKE

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7 ICD/ITKE 2012 Research Pavilion, ICD & ITKE18

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ICD/ITKE 2012 RESEARCH PAVILION

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D asein and design: the philosophical idea behind the paradoxical circle is one of timelessness, yet it is something that needs to be considered intelligently, something that has not been adopted as a whole. Democrat-ic design is another paradoxical existence in the greater whole of futuring when democ-racy results in the stripping of sustainability. Design should then not be at the ‘edge,’ but at the very centre of design as a redirective force to engage intelligently with the circle. Ar-chitecture can no longer be isolated as it has been since the 17th-century Enlightenment model.1 The line between observer and the observed is dissipating in the Dasein sense, the complexity of the built environment is an integrated part of the complexity of the world and not something to separate from the circle.

“The future is already here, it’s just not evenly distributed”

A.3 COMPOSITION/GENERATION

-William Gibson, 1993

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The advent of generative design was a radi-cal shift in thinking about design. Design, as a product, which revolved around the idea of being unknown was a radical shift from the old, the top-down approach of composition: rationalizing goals and representing them in an overall design, is reversed by generation. Generative design is based on the theory of design through research, and in doing so; the emergent aspect of design renders ideas with an ‘undraw-ability.’2 The human input of then making sense of the various outcomes and seeking out and post-rationalizing the archi-tectural qualities is then exemplified as an-other aspect of creative ingenuity apart from the initial algorithmic design, and as part of the discourse, the unknown nature of genera-tion can also be said to be the unknown in terms of its application as well. The very idea of relying on an unknown, despite the control that a human has, is still relying on agents to conduct an input idea and turn it into some-thing which has been abstracted into the aesthetic style that is attributed to computa-tional design. The logic lies in the formation and the unknown factor can only be surmised as risky, but realistically, is there really a large shift in the discourse with generative design?

Yes and no.

The radical shift came as a burst of new possibilities which called for new fabrication methods. Algorithms, parametric modelling and scripts such as Swarm Intelligence of-fered new ways of designing and represent-ing of data while simulation technology of such allow the exploration of materiality and tectonics. The design themselves are some-thing unimaginable due to its nature but the gap introduced with new technology is in the means of realizing the designs that emerge from the virtual space. Fittingly, the role that generative design plays in the discourse is still in its infancy. Ultimately, generative design is no different to composition as it is still under the design discipline, ultimately a choice has to be made, and it is a choice that still needs to be evaluated to meet a design problem; it still needs to respond to the Vit-ruvian firmitas, utilitas and venustas, which ironically, computational design is much closer to rule based than modern composi-tional design.3 Generative design is a way to engage in the complexity of architecture and in dealing with all of its environmental, but it does not simplify it; socio-cultural and political aspects but that in itself is limited to the scope in which the architect can cover.4 While in theory, the possibilities are wide, there are similarly as hard to traverse; given the correct constraints, design can be fully integrated in context and remain suitable, but the scope of such is large indeed.

Therefore, in its infancy, computational design is still something that is mainly explored in tiny aspects through small projects or mere digital research; there are a plethora of pavilions out there that merely engage the aesthetics5 of computational design and there are a variety of projects that explore various computational design outcomes which can’t be fabricated in a feasible and ultimately useful manner. Yet by ‘aesthetics,’ it only means the exploration of one facet of complexity in the built environ-ment which can be boiled down to something that is stripped of real world function and ap-plication. They engage to the fullest individual areas like structure, materiality and tectonics, form generation, as seen with the ICD/ITKE Research Pavilion 2012 discussed in A.2, but even then they are important steps in ad-vancing this discourse.

While there is an active and large engage-ment in the area, the distance between the virtual and reality is clear, the potential of generative design is there, but at the moment it remains in its infancy. By furthering the dis-course, only can ‘the future’ be ‘distributed.’ After all, design designs.

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H ansmeyer’s Columns embody the es-sence of the emergent qualities of computa-tional design and its means as an end. With the end being something that is unimaginable in form and complexity and intricacy: the un-known. Hansmeyer advocated biomimicry in its most abstract state: the mimicry of the prin-ciples that make up nature.7 The micro-scale folding and subdivision processes of nature were adapted into algorithm. Whilst paper craft, such as Japanese origami is something approachable to humans, the folding of three-dimensional geometry is testament to the symbiotic relationship between the ingenuity of human and the analytical power of comput-ers, which allows for end results which cannot be fathomed. Using a traditional Doric column of the five orders, the column was subject to many folds, with the human control being the point of folding, to produce the many columns of the collection which differ in design. The columns are intricate in both its overall form but also in its detail, which were formed by further folds in small localised areas.

Hansmeyer sets out to redefine the column through engaging with new computational techniques, but these columns also exists as a dialogue of the limits of computational de-sign and the shallow stylizing of the design process. In reference to the quote, Hans-meyer’s goal was to look at the application of a natural process as an aesthetic genera-tor, and only as that, which indulges in the ‘computational aesthetic.’

The emergent qualities can exist as much as a limit as it is an opportunity, where the out of the months of designing the columns, many parametric inputs resulted in useless forms. The unpredictability of the process in a way also requires the control of the human to weed out ‘usable’ forms as defining such an abstract concept is impossible to a machine when the generation of form is the means for an end. Iterations would need to be tested individually when there exists no constraints, which ultimately in the end returns the design back to human limits.

The gap between digital modelling and the means to fabricate them was a problem that Hansmeyer encountered in his endeavours with a first prototype being the stacking of fab-ricated thin horizontal sections, which was as time-consuming and material intensive as the time to design the columns. These columns ultimately can’t function as a column would or should in dealing loads because they are card. The second iteration involved the 3D-printing of the columns which while it bridged the gap between the digital and reality, the columns required a steel beam inside to be of any use.8 Hansmeyer’s attempt at the column can be seen as an exploration of the aesthet-ic qualities of computational design, a shallow configuration which has limited application. Its contribution to the discourse as a whole is in its representational beauty of computa-tion, but it speaks to the unviability of the digital design process and the rendering of the process as a means for aesthetics given the lack of real world parameters that Hansmeyer engages with. While this was his intention from the start, it offers little substance in the issues of design futuring.

subdivided columnsMICHAEL HANSMEYER

“I propose we look to nature, nature has been called the greatest architect of forms, and I’m not saying we should copy nature, I’m not saying we should mimic biology, instead I propose that we can borrow nature’s processes, we can abstract them to create something that is new.“ -Hansmeyer 20126

8 Subdivided Columns: Collection of 4, Michael Hansmeyer 9

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TAIPEI PERFORMING ARTS CENTREKOKKUGIA

K okkugia’s proposal is a generative de-sign that addresses standard public space and performance venues. The parameters that Kokkugia took with them into the algo-rithm include both geological and cultural direction; the firm looked back at history at a 19th century watercourse to generate the erosion process that ‘carves’ out the public spaces, foyers, plazas and access points from a solid monolithic block. Onto this, the environment of an adjacent night market was parameterized as a subdivision algorithm to further punctuate the space. This same frac-tal technique was also used to give auditori-ums ornamentation and generated acoustic qualities that would suit their usage. By input-ting in geological processes and night market spatial behavioural patterns, the final floor plan of the building is an emergent result of the direct inputs. The roof structure of the building however is only partial computa-tional design where there was a loose initial geometry.10 Kokkugia makes use of their Swarm Intelligence system; a system which

self-organizes agents into a flexible equilib-rium. The system organizes agents to a state which is in pseudo-equilibrium of a coalesc-ing semi-stable state.11 With the roof, the ini-tial geometry was re-organized by the Swarm Intelligence system on the basis of material behaviour and the underlying structural tec-tonics to form a network which maintains some original geometry where as other parts were radically altered, while still a seemingly continuous surface.

As a computational design, the project makes use of geological and cultural spatial usage and generation in the formation of an emer-gent floor plan. While this makes the process efficient due to the lack of human power in the process in the actual generation of such (to a degree,) it remains a questionable choice of the parameters. Arguably the choice of parameters is a superficial relation to context. In addition, cultural and historical representa-tions in design are such abstract conditions that they are not something that appears ob-

vious like aesthetics. While the design could be an emergent result based on relevant factors, the abstraction process that the com-puter goes through shows itself, aesthetically, as geometrical subdivision. The dynamic roof structure is also ultimately ambiguous in its form and is employed for its dynamic quali-ties. The lack of a clear cultural aesthetic, while it is there in an abstract form in the night market generated parameter, was something that was noted in the design and this remains a persistent problem in using computers as design generators.12 There has yet to be a shift in perception in the masses, where the aesthetics of architecture can transcend the physical sense of beauty, which is one of the limits of computational design as a discourse. In the complexity which plagues architecture in such a volatile environment subject to the notion of unfuturing, there is a risk of compu-tational design employed for its aesthetical qualities; for the notion of that which is un-known, instead of further engaging aspects of sustainability; the supreme problem that

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TAIPEI PERFORMING ARTS CENTRE

design should tackle. While materials have been made efficient, the disconnect between the roof structure and the floor space is an-other aspect of the complexity of parameters in the design space.

The Taipei Performing arts pavilion can be seen as a vague abstraction of ideas that engages more with the ultimate stylization of computation, and in that regards it is a

powerful statement of generative design in its ability as simulation to resolve structure and as an exploration of materiality and struc-tural tectonics, which at this point, is what the discourse needs to further challenge and en-gage design intelligence through using com-putation to dissect complexity.

9

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9 Taipei Performing Arts Centre, Kokkugia13

10 Taipei Performing Arts Centre: Roof, Kokkugia14

11 Taipei Performing Arts Centre: Roof Structure, Kokkugia15

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D esign Designs. The paradoxical circle is the way to break out of the path of unsus-tainability and one way to approach it is for design to be a redirective force that focuses on design intelligence; the critical thinking of the future in terms of a product and wider and further in terms of scope. While there are projects that tend to use computational design at the moment for its aesthetic style, there is great achievement in the explora-tion in specific branches of the discipline, embracing the efficiency and the unknown of emergent generative design. Sustainability is a complex idea, and an elusive one at that; computational design is a way of incorporat-ing complexity and managing its parameters with the creativity of a human and the analytical superiority of the computer.

Energy generation can be beautiful, as an architectural installation of art, yet at the same time, it can function as more than just for energy. Just as computational design is multi-faceted and is driven by parameters from which the algorithm takes over for designs to emerge, so too should energy generation engage in more than an installation. With the intention of sustain-ability, it is important to consider the context and engage in materiality and tectonics for efficiency and as well as an environmental consideration and most importantly, the idea of longevity. Thinking beyond the idea of land art by bringing in people not as an audience, but as players, considering interactivity of a design as a space, and the people as a further proponent for energy is also something that is intended. A design where the design enriches the site and the people, while the people similarly feed back into the design would be one way of ‘design futuring.’

A.4 CONCLUSION

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T he juxtaposition of theory and the prac-tical was insightful on the extent of which the tools can achieve. Starting with little-to-none knowledge in the potentials and aspects of computational design, the introduced theory was very focused on the positive possibilities while the precedents provided the context of these possibilities, which for the most part, shows that computational design is still in its infancy in terms of application in a larger scale. This comparison similarly fed back into the practical of learning to use the tools as very quickly; there was an experience of the barrier between human and computer. The experimentation in itself was, as with the ‘creed;’ ‘design through research,’ a way of realizing the parameters, and with it, came the excitement of being able to influence an input, and have the output change accord-ingly in both failure and success. Realizing that, as a design tool, computational design is as much of a limit as it is an opportunity, it presents itself as a challenge that needs to be overcome.

A.5 LEARNING OUTCOMES

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A.1 REFERENCES

1 Anne-Marie Willis, “Ontological Designing – laying the ground.” Design Philosophy Papers Collection 3 (2006): 81-83.

2 Willis, “Ontological Designing,” 82.

3 Tony Fry, Futuring: Sustainability, Ethics and New Practice (New York: Berg 2009) 6-12.

4 Light Sanctuary,” Decker Yeadon, Land Art Generator Initiative, accessed 11 March 2014, http://landartgenerator. org/pdf/LAGI2010Comp.pdf.

5 Robert Gerry and Elizabeth Monoian, “Photovoltaic: Thin Film Organic Photovoltaic Cell (OPVC),” A Field Guide to Renewable Energy Technologies: Land Art Generator Initiative, (2014): 14.

6 Decker Yeadon, Light Sanctuary, 2010, Architectural Renders, http://inhabitat.com/light-sanctuary-a-field-of- solar-ribbons-rises-in-the-desert.

7 “Let’s Generate Electricty by Walking!” Luis patron, Tokyo: United Nations University 2008, accessed 11 March 2014, http://ourworld.unu.edu/en/lets_generate_electricity_by_walking.

8 “Let’s Generate Electricty by Walking!” Luis patron, Tokyo: United Nations University 2008, accessed 11 March 2014, http://ourworld.unu.edu/en/lets_generate_electricity_by_walking.

9 “Japan Harnesses Energy from Footsteps,” Julian Ryall, The Telegraph, accessed 11March 2014, http://www. telegraph.co.uk/earth/energy/3721841/Japan-harnesses-energy-from-footsteps.html.

10 ”‘Run, Don’t Walk’: The School that gets Pupils to Generate Electricity,” Richard Gamer, The Independent, last accessed 11 March 2014. http://www.independent.co.uk/news/education/education-news/run-dont-walk-the school-that-gets-pupils-to-generate-electricity-8798961.html

11 “Amazing Biodegradable Piezo-Art Pavilion by 3XN Generates its Own Energy,” Tafline Laylin, Inhabitat: Design will Save the World, accessed 12 March 2014, http://inhabitat.com/amazing-biodegradable-piezo-art-pavilion-by- 3xn-generates-its-own-energy/.

12 3XN, Pavilion, photograph, http://inhabitat.com/amazing-biodegradable-piezo-art-pavilion-by-3xn-generates-its- own-energy/.

13 ASCII, Shibuya Piezoelectric Pad, photograph, http://ascii.jp/elem/000/000/195/195085/.

A.R PART A REFERENCING

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A.R PART A REFERENCING

A.2 REFERENCES

1 Silvio Funtowicz and Jerome Ravetz, “Post Normal Science – Environmental Policy under Conditions of Complexity, Robust Knowledge for Sustainability, http://www.nusap.net/sections.php?op=viewarticle&artid=13.

2 Tony Fry, Futuring: Sustainability, Ethics and New Practice (New York: Berg 2009), 12.

3 Yehuda Kalay, Architecture’s New Media: Principles Theories, and Methods of Computer Aided Design (Cambridge: MIT Press), 13-17.

4 Kalay, Architecture’s New Media, 20.


6 Rivka Oxman and Robert Oxman, ed., Theories of the Digital in Architecture (London; New York: Routledge, 2014), 4.

7 Oxman and Oxman, Theories of the Digital in Architecture, 3.


9 Oxman and Oxman, Theories of the Digital in Architecture, 6.

10 Kostas Terzidis, Algorithms for Visual Design Using the Processing Language (Indianapolis: Wiley 2009), xx.

11 “Wireflies,” Angeleopoulou Dimitra, Karantaki Meropi and Diamanti Vasiliki, SuckerPunch, accessed 18 March 2014, http://www.suckerpunchdaily.com/2013/12/16/wireflies/.

12 “Wireflies,” Angeleopoulou Dimitra, Karantaki Meropi and Diamanti Vasiliki, SuckerPunch, accessed 18 March 2014, http://www.suckerpunchdaily.com/2013/12/16/wireflies/.

13 Plethora Project, Wireflies, 2013, computer render, http://www.plethora-project.com/studio/wireflies-ucl-2013/.

14 Plethora Project, Wireflies.

15 Future Cities Lab, Cirriform, 2012, computer render, http://www.future-cities-lab.net/cirriform/

16 “Cirriform,” Future Cities Lab, Future Cities Lab, accessed 23 March 2014, http://www.future-cities-lab.net/cirriform/.

17 “ICD/ITKE Research Pavilion 2012,” ICD Institute for Computational Design and ITKE Institute of Building Structures and Structural Design, Universitat Stuttgart, accessed 22 March 2014, http://icd.uni-stuttgart. de/?p=8807.

18 Roland Halbe, ICD/ITKE Research Pavilion 2012, 2013, photograph, http://www.aasarchitecture.com/2013/05/ Research-Pavilion-2012-ICD-ITKE.html.

24

A.3 REFERENCES

1 Rory Hyde, Future Practice: Conversations from the Edge of Architecture (New York: Routledge, 2012), 49.

2 Building Unimaginable Shapes, Michael Hansmeyer (TEDGlobal, 2012), Internet Video.

3 Ipek Gursel Dino, “Creative Design Exploration by Parametric Generative Systems in Architecture, METU 29 (2012): 212.

4 Gursel Dino, “Creative Design,” 219.

5 Gursel Dino, “Creative Design,” 216.

6-8 Building Unimaginable Shapes, Michael Hansmeyer (TEDGlobal, 2012), Internet Video.

9 Michael Hansmeyer, Subdivided Columns, 2010, architectural render, http://www.michael-hansmeyer.com/ projects/columns.html?screenSize=1&color=1.

10 “Taipei Performing Arts Center,” Architizer, accessed 18 March 2014, http://architizer.com/projects/taipei- performing-arts-center/.

11 Neil Leach, “Swarm Urbanism,” Architectural Design 79 (2009): 62-63.

12 “Taipei Performing Arts Center,” Architizer, accessed 18 March 2014, http://architizer.com/projects/taipei- performing-arts-center/.

13-15 Kokkugia, “Taipei Performing Arts Center,” 2010, architectural render, http://architizer.com/projects/taipei- performing-arts-center/.

27

CR ITER IA DESIGNP A R T B

28

B.1 RESEARCH FIELD

In direct contrast to the deconstructivist ideas of a “logic’ focused on “conflict and contradic-tion,” which expressed itself as a form of con-trolled chaos, folding acts as the antithesis, focusing on a logic of fluidity and connectivity1. ‘Folding’ in itself is however, a subset of the greater ‘Fold’ aesthetic and thought process which describes the spatial construct of topol-ogy; the relationship is emphasized between spaces, and not the specific spatial qualities2. Transitional spaces and the blurring of inte-rior and exterior are defined by curvilinear forms and surfaces and a general ‘smooth-ness,’ and with it, marked a departure from the realm of Euclidean geometry which was allowed by the introduction of digital model-ling techniques; conceiving, developing and manufacturing too was made possible3. The curvilinear forms however still present them-selves as a challenge to construct, though modelling processes that simulate structure can alleviate this problem and similarly, there would be material constraints.

While Folding is expressed as an expres-sion of curves, it is important to not disregard the thought process of spatial relationships, which should drive the performative circum-stances as the context surrounding the proj-ect. The potential for this technique shows itself in its inherent curvilinear logic, which could aid in the creation of integrated spaces which possess a natural aesthetic when com-pared to traditional Euclidean form; the curve is an element of transitional space.

FOLDING / STRIPS

29

B.2 CASE STUDY 1.0

SEROUSSI PAVLIONBIOTHING

This pavilion consists of self-organizing elec-tro-magnetic fields (EMF,) which guides the formation of curves as strips through vector patterns1. The plan of the pavilion is formed by such magnetism and the third dimension is achieved through structurally modelling a sine function. The pavilion is noted to be para-metric in nature, with the ability to adapt to the physical site, views/lighting and the ability to engage in different styles of exhibitions.

Curvilinear form and the idea behind Folding is present to a certain degree in this pavilion, strips allow light and natural surroundings to permeate into the interior, which effectively blurs the relationship between the inside and the outside, but internally as plan, it appears that the strips merely act as walls. The nature of a pavilion however, is as a structure, acts as an enclosing agent, which could be seen as an ambiguous form without context if not

properly integrated into the surroundings; the curvilinear ‘invitation’ is lost in the connection to the physical ground. As a computational design project, it seems to have reached early modelling stages only, so actual struc-ture and materiality seems to have been ne-glected.

The power of the basis of this definition lies in the EMF generators; which acts as a po-tential in controlling generation, but also as a possible limit due to the unpredictable pre-dictability and complexity of actually control-ling this parameter.

Mapping graph data is an efficient manner of regulating curves.

BASIC EXPLORATION

Original

Curve Division

Circle RadiiInteresting Pockets

Height

Curve ChangeLimiting Parameter

Field Decay Low

Field DecayLowest

Inverted Field DecayLow

Inverted Field DecayLowest

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NORMAL

SECOND ATTRACTOR

FIELD DECAY

INVERTED FIELDS

SPIN FORCE

RCR

RSA RL

AFD 0SFD 2SA A

RFD 2SFD 0SA R

SFRBFD 0

R

RSA R

RFD 0CR 20

RFD 0SFD 2SA R

SFRFD 2CD 4CL

RH

RFLSA RFD 0

AFD -2HC

AFD -2C

SFRBFD 2HE E

FURTHER EXPERIMENTATION

CR Circle Radius L Location FD (X) Field DecayCD Curve Division R Original Field: Repel FL Field LengthH Height A Original Field: Attract SFD(X) Secondary Point DecayC Curve Changed SA A/R Secondary Point A/R SF Spin Force

31

RCD

RFL 2x

AFD 0C

AFD -2LSFD 0SA A

SFRBFD 2HE SF

AC

ACRC

AFD 0

AFD -2LC SINE

SFRBHE EJ

AL

AFD 0CRC RDM

AFD 0LD

RFD 2SA RSFD2HE RDMD

RFD 2SA RSFD2HE RDMD

CR Circle Radius L Location FD (X) Field DecayCD Curve Division R Original Field: Repel FL Field LengthH Height A Original Field: Attract SFD(X) Secondary Point DecayC Curve Changed SA A/R Secondary Point A/R SF Spin Force

HE Curve Height Finder D Data Structure Change E ExpressionRDM RandomJ Jitter

32

POTENTIAL CRITERIA

Infrastructure art automatically suggests two facets which would need to be considered: fabrication/structure and art, and in addition, there needs to be an integration of sustain-able energy in some form. Context should also be considered as with any architectural installment with considerations of space, and as art, the formal qualities should also be ex-pressed. These factors are made even more

important given the foundation logic of the technology of Folding.

Through exploring the Biothing Sessouri Pa-vilion definition, limits as well as potentials of the definition itself and the potentials of the potentials were considered and analysed in accordance to the criteria mentioned above.

“Renewable Energy can be Beautiful” - Copenhagen Land Art Generator

Initiative 2014

FOLDING AS SCULPTURAL ARTThis miniscule area of this larger form was an interesting product of the whole. It looks like a scribble but it could potentially serve as an abstract centre piece or even as form. As a centre piece it is a very deliberate and mainly aesthetic representation.

If it could be simplified and further abstracted, it could be potentially fabricated and perhaps house panels in some way to incorporate energy generation needs. However, it still re-mains an abstract form that needs to be given context past justifying it as an installment.

F O L D I N G A S S T R U C T U R EThis experiment bears resemblance to a for-est of telephone poles, so similarly it can be structurally perceived as one as well with cur-vilinear trunks that span into ‘cables,’ which could act as energy collectors; possibilities include standard panels of by introducing a piezoelectric system focused on wind.

Depending on scale, spanning could be achieved through standard wire, though this form is not really an engagement with the idea of folding aside from a possible curvilin-ear aesthetic. The form has been so contort-ed that space, let alone spatial relationships in the traditional sense of enclosures has been lost. That could also be a form of space but similarly, is arbitrary and lacks context in the way that it is generated.

FOLDING AS SPATIAL COMPOSITIONThis iteration is again, another one that could be abstracted down. Formally it is a series of cut sine curves that are attracted to a centre point. There is potential in this form as a pavil-ion space; out of all the examples, this itera-tion possibly engages the most with the idea of Folding, the sine curve which can be seen as growing out of the ‘ground,’ acts as the mediator between exterior and interior space. The central attraction of the curves creates a roof structure that would cast a gradient of shadows along with the transition between the open and the less-open structure.

Structure could be alleviated due to the pla-narity of the curves yet housing an energy source would be limited to panels, and to the width of the strips. Context is again some-thing that would need to be considered.

33

As it was generated, this iteration is noth-ing noteworthy, but on a smaller scale: The arrangement of the curves has allusion to works of architect Zaha Hadid, with the tran-sition of ground planes to other horizontal planes. This ideology of Folding could pos-sibly be further explored by the application of this technique, and this was explored by developing a definition based on the ideas of Seroussi Pavilion.

Logic:Curve is attracted indiscriminately by a mag-netic field; the generated curve is extruded by a graph. Repeat.

With this experiment, structure and energy generation is not considered in exchange for spatial composition and form generation. A way to approach land art could be in the con-touring and landscaping of a site to create a plethora of spaces for the public.

This experiment shows potential in engaging the natural dynamics associated with curves and Folding that is the transition of spaces but is like the rest, arbitrary, and that too is a limit of the input space. Perhaps the data that draws the lines is a reflection of the sea below, perhaps the attractors could be gener-ated from movement leading to the site. Simi-larly, the graph mapper is also an arbitrary representation lest the data can be some way given context.

FOLDING AS FORM AND SPACE

Initial Bezier Curve

Contouring: From Middle Ground Contouring: From High Ground Contouring: Space

Contouring: Overhead Passes

Contouring: From Ground Plane

Staggered Bezier

Perlin Conic

Sine Sum, Sqrt, Parabola Potential on Site

34

B.3 CASE STUDY 2.0

A student project under the studio name Hyperbody MSc2, directed by Marco Verde. The studio was focused on generating archi-tectural form through simulation experiments of growth, time, mutation, evolution, branch-ing1. The generated form appears to be like a bridge, consisting of layers of spikes which pseudo-close and form the internal passage ways.

As a piece of generative architecture and as a student project, it appears limited in context and possibly not attuned to any particular site apart from conditions of it being a thorough-fare across water. As criticized in Part A.3, the stylization of Computational design is something that the discourse needs to steer well clear of if futuring is to be considered. Given the lack of information surrounding this project, the extent of these considerations are hard to critique, but it appears to have a

tectonic and experiential focus at first glance; there is a simple triangular form which is re-peated along curves. Where two triangles meet between two boundary curves there is a lightness in the way they meet due it seemingly being a mere point. For fabrication purposes, those very joints would need to be rectified in one way. However, while there is repetition in geometry, it isn’t the same geom-etry due to the variety in shape and size.

As mentioned, this project is a simulation on very broad fields with countless representa-tional methods which makes it impossible to pinpoint any of those ideas in the final idea, but there is of course an aesthetic of para-metric design present. Disregarding the gen-eration itself, the final aesthetic is reminiscent of an exploration of patterning in the way that the triangles come together at one point to form the structure.

DEEPFORMATIONS 2 HYPERBODY MSc2

35

REVERSE ENGINEERING

The primary structure appears to be a series of curves; one of the parameters.

The patterning aspect of this project is however the formation of the triangles along these curves. In addition to the primary structural triangles, there are also the triangles outside of the curve; together they form a spine-like geometry to be layered across. This element was isolated as the bounding curves are seemingly arbitrary to the pattern.

Initial Definition

Simple bounding lines Points generated Points shifted for intersection lines

Outer bounds generated by point attractor Geometry formed

Limits: Magnetic fields are simple, but also hard to vary

Refinement 1

Intersection point mapped Z-axis mapped

Length of Vectors MappedBottom graph

Top

Bottom

Top

Bottom

Vectors formed from intersection lines,Z-axis mapped for variability

Top graph

Refinement 2

Variability of the outward generated spikes was still not enough, vectors were fed through a graph which would scale them by a factor of 0-1 and in the positive and negative direction

Refer to Algorithmic Sketchbook p. 26-28

36

Refinement 3 - FINAL A

Top

Bottom

Top

Bottom

For further variability, the way the bounding curves are divided was also fed through a graph for vary-ing results

The parameters whichcan be controlled:

TOP:

Point distribution

X, Y, Z of vectors

Length of spikes

BOTTOM:

Point distribution

X, Y, Z of vectors

Length of spikes

Intersect Point

Refinement 4 - FINAL BAll parameters could actually be controlled by the placement of a outer bounding curve...

The complexity of the algorithm was greatly reduced from Final A, but at the same time, the amount of fidelity was also decreased.

Advantages of A-Greater fidelity with the orientation of the outer spikes due to control over vectors

Advantages of B-Much simpler-Knots are enabled

37

REVERSE ENGINEERING ATTEMPT

Due to the lack of information as to what exact technique was used to generate this student project, as mentioned, this attempt at reverse engineering was an application of only the aesthetic of the project.

Singling out a module which consists of these arrayed spikes, ensuring an appropriate amount of fidelity for this pattern was crucial. And that is also the main point of similarity and difference with this reverse engineering experiment.

Overall, the form of the project was easy to replicate, as the logic that was employed was the laying out of the pattern along a series of curves. One of the challenges was in the ar-rangement of the spikes, and that is the main point of difference: spacing and thickness could relatively be controlled by a graph map-

per definition which allows a certain degree of controlling how the curve is divided. However, the reliance of the geometries on the other curves to generate the spike proved difficult in attaining the correct angles; after the completion of one set of geometries, the data that defines the spikes which other curves rely on is essentially locked and unal-terable. While this is an inherent logic of the design due to the way the spikes protrude out both sides from a curve, it is neverthe-less probably restricted by the confines of the graph mapper.

38

B.4 TECHNIQUE: DEVELOPMENT

From B.1 and B.2, there was a focus on the parametric manipulation of curves, and from B.3, the recreating the patterning of the design, which depended on curves. Relating these ideas was then, a logical next step in developing a proposal. For this step, development was focused on developing these two separately.

THE SPINEUpon further development, it was deemed easier to experiment around one curve than it was two, as used in B.3 and there was a realization that it was more like a spine, which was allowed as a limit. Spines, in the bodily

sense is one of the most important elements inside humans, it has qualities of strength, connections and importantly, repetition. Rep-etition has been a major architectural element since Vitruvius: eurhythmy1 described the

harmony of building elements, contributing to the monolithic nature of the ancient temple form. Repetition in the present context how-ever, alludes to coherency and modularity.

OFFSET RECTANGLES

BRANCHING 1

BRANCHING 2

BRANCHING 3

KINETIC 1

KINETIC 2

DNA 3

KINETIC 2

DNA 1

DNA 3

VOLUMETRICTRIANGLES

BRANCHING 4

Refer to Algorithmic Sketchbook p. 31

39

THE CURVE

The curve was further experimented with as form-finding development, drawing on from the criteria discussed in B.2; the development process was approached with the mindset of searching for techniques, as opposed to ac-tual forms. Conceptual and Sculptural poten-tial came first, with an interest in the logic of folding. In addition to this, forms that allowed showed potential in making use of the spine in unexpected ways were also considered.

SURFACE 1

PATTERNED SURFACE

SPIRAL 2

SURFACE 2

EXPERIMENT 1

WAVE SURFACE

SPIRAL 1

PATTERNED SPHERE

MESH EXPERIMENT

EXPERIMENT 2

LEGEND

Repel RAttract AField Decay FD(x)Multiple (type) M(A/R)Secondary (type) S(A/R)Radial FRVector VLength FL(x)

Cellular Automata CALocation LRandom Points RPDivide Curve No. DN(x)Divide Circle DC(x)Jitter JPattern P

40

R

RFL

RSRR

RPSRED

AMAD

RFD

RFDLG

ADCFD

ASADN

RSASRDN

RL

RFLSR

RPSRE

AMAFD

FRJ

800

0

-2

20

100

100

800

0.1

ITERATIONS: FORM FINDING - CURVE MANIPULATIONRefer to Algorithmic Sketchbook p. 36

41

PVP

VRRFD

AFDDN

CAFLD

CAMAMRV

PFR

FLFDL

ADDNPD

CAFLD

CAMAMRV

ASAFD

PCDPD

CA

CAAFR

CAFRCRDN

-2

0.1200

6000.4

3001

86

-2

42

1013

ITERATIONS: FORM FINDING - CURVE MANIPULATION

42

This iteration presents itself as a sculptural piece, almost gravity defying in form. On the LAGI site, it could possibly be a double-edged sword as any sculptural piece is when balancing contextual qualities and aesthetics.

Architecturally, the way the structure meets the ground could be engaging. Where there are areas which overhang help creates spaces, and in between various tendrils there also exists the possibility of creating pseudo-spaces which are semi-open/closed. The way it seems to form it self from the ground up is also a concept in itself.However, there could be potential in energy generation through this form, if one could imagine a lightweight arrangement of tendrils that deal with piezoelectric cells as a skin or lofted fabric to harness wind.

The inputs of the spinal patterning could be informed by wind vectors but at the same time, the curves that form it are arbitrary at this point in time, but could possibly be in-formed by curves generated from data on site.

This second iteration could potentially be very site responsive and that consists of both context and what would be its architectural qualities.

Cellular Automation informs curves, and these curves were remapped to what could be spatial and formal devices, this way, the parameters of the design could potentially be things like views and pathways, which could be simplified into interactive curves.

The spinal pattern experimented with in this iteration could house panels or even be free to rotate (to an extent) along an axis to maxi-mise mechanical energy from the wind

SPECULATIONPOTENTIAL

RP SR E D

CA MA MR V

Refer to Algorithmic Sketchbook p. 39

FORM

43

SPECULATIONPOTENTIALSPINE

Chosen for its simplicity in constructabil-ity due to the complexity of the forms that showed potential, this rectangular spine was also one of the more appealing spines with enough parameters to be flexible. Ultimately, the deciding factor for choosing this form re-lates back to the Vitruvian idea of rhythm and repetition, pure geometry has those effects, and there is a sense of architectural rigidity in the form. At the same time, when combined with the plethora of floating curves, this Spine presents an interesting level of complexity without rendering the design unreadable.

Inspired by the forms of kinetic sculptures, this choice assumes a more formal ap-proach. The possibilities for the form are not to be constrained by this choice however, but instead, there could be potential in exploring further the shapes that could resonate with the rest of the design and design intent.

To elaborate from before, coherency and modularity could compose interesting, as well as functional architectural effects when used with the curves. Modularity in the real world also means easier and cheaper construction. If the design is anything as dynamic as the curves presented here, the spine element would be a way to control the chaos of the curves by instilling repetition. When reading curves, propagating the concept of the spine along them helps enhance the scale. With repetition comes certainty, and with certainty comes an expectation can be translated into a form of scale. Predictability adds to the diminishing effect in distance where the de-sign could be experienced for this very effect.

In the same way, repetition could also add complexity, contrary to the loaded negativity of repetition as possible boredom, repetition can confuse and misdirect when arranged in more complex ways that deal with elements like intersection and crossroads (Refer to Al-gorithmic Sketchbook p.39)

The formal experimentation branches with two main options, though techniques of other variations would most likely make their way into the final approach. The choice listed first makes use of an unpredictable algorithm based on Expressions, but there is more in-terest in the second choice due to its emer-gent possibilities and site adaptability.

CONCLUSIONS

44

B.5 PROTOTYPINGAs with the previous section, this section is again split into looking at the formal aspects as well as the Spines. As a note, the progress of the prototyping did not occur in the order presented in this section; the order has been reworked for sensibility and ease of access.

The page opposite is an exploration of the algorithmic limits and possibilities of the Ex-pression logic used to generate this form. This experiment was conducted to further extrapolate along this logic to reveal fur-ther sculptural and functional possibilities. Through consideration of the Folding logic and an interest in an architecturally functional response, a technique that engages in the creation of space was ideal and such; this Expression logic was developed in order to find these qualities.

T he energy generation technology that was decided upon was kinetic energy, with piezoelectric technology harnessing vibra-tions as the main idea with considerations to our design direction and site considerations. Along the development of the Spine, the idea behind the form could be conceptually simplified to panels, and such, a technology that would allow for easy integration with the spine were considered.

From conventional energies, sunlight would not be efficient due to the lack of winter sun, while there’s access to the sea, har-bour waves would not be strong enough for in depth hydropower systems and wind turbines are strictly wind turbines. However, wind energy makes up the most of the energy generated in Copenhagen and is the highest percent generated in the world2. Also, near the LAGI site is a large-scale wind turbine system3.

Despite the wind resource being unexcep-tional, the site has the advantage of being flat, large and open, combined with it being next to the water and the lack of major surrounding wind obstacles such as tall buildings means that wind energy has potential. The direction of the Spine design however does not allow for the installation of wind turbines for they have to be spaced properly for efficiency. Ki-netic energy was then considered.

Looking back at A.1, the case study of the piezoelectric examples which harness the mechanical energy of human movement could be applied. However, the piezoelectric element would be the Spine element itself, capturing mainly the mechanical energy of the environment: wind, rain and snow, which are predicted to increase in the future4. The same Spine constructs could then similarly capture the kinetic energy of human interac-tion as well in the way of architectural ele-ments are used.

Hachiko Piezoelectric Sheet1

45

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1218-1.35239.0731601.9-1601.9

1283-214510160-0.01-2401.5

2139-1.35239.0731601.9-179.91.9

12671.53566.6435371.60708.5

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N #of RandomPoints S Seed of PointsD Field 1 DecayS Seed of VectorR Circle RadiusC Division Count

F Field LengthD Field 2 DecayZ Z AttractorY X/Y MultiplierZ Z Factor

((x^#)/y) (Base Expression)

=(sin(x^#)/tan(y))

=cos(x)/tan(y^#))

Refer to Algorithmic Sketchbook p. 39, 41

46

D eeply interested in creating a functional usage for the spine as well as just energy generation, the qualities of the spine that were most experimented with was its ability to cope with the curve and as well as energy generation. Modularity was a key focus dur-ing the prototyping process in trying to solve the possible construction details that would allow for a minimal cost in the actual fabrica-tion. At the same time, testing for architectural qualities was also another focus for Spine in the appropriating of the same modular piece as interactive elements such as walkways, seating, fencing, wall elements and roofing elements in hopes of being able to generate

PROTOTYPE ONE

an interesting formal to functional feedback which presents itself in a way that isn’t fixed, but transitional as allowed by the logic of the Spine being rotatable. The idea of folding comes back into this idea, with its inherent focus on the idea of not segregated volumes of space, but the transitional elements which are allowed by the curve. Following this same idea, the rotary aspect of the Spine allows for this transition, function is blurred and ren-dered transitional. However, function does not follow form, nor does function follow form, in the sense of using a modular piece, the idea is that form and function are one and the same by using the same module for all these aspects.

47

This prototype is focused on the formal quali-ties of a spine, influenced by the qualities of kinetic sculptures. The ability for this formal approach to be almost biomimetic is not nec-essarily negative due to the possible visual qualities of the rotational aspect.

There was a focus in the creation of shapes which are modular which could then be em-ployed for various architectural elements.

Formally, the transitional qualities of the spine almost rising out of the earth, and it transitioning between various elements was something that was experimented with in the development of this prototype.

Exploring the modular aspect of shape in regards to its formal qualities and possibilities

Experimentation with a different shape: performance issues aside, usage variation increases

Prototype to explore its adaptability to the curve

Prototypes exploring the rotary effects

48

A more curvilinear form would be more invit-ing than something rectilinear, also, it would engage with the idea of the transition much easier due to it’s volumetric capabilities. Spaces would also potentially be much more interesting, going back to the reason for modularity was the more holistic computa-tional way of removing redundancy yet in a way, something formal like this, while elegant can hardly be material related and is more of a formal approach for form’s sake. On the practicality level, this module appears to be much heavier due to having more volume, and if it were to be of some of these spinal modules shown, it would have performance issues in regards to kinetic wind.

SPECULATIVE ENERGY GENERATION

Energy generated from strain, tension ties (highlighted,) hold the form of the Spine around a pivot structure. Spinal elements are to be coated in a layer of piezoelectric cells.

Upon interaction with the wind, elements which are pushed are then forced to pull along elements with it, much like a kinetic sculpture. The kinetic force that this prototype would use would then be strain.

Parametrically model developed along side the changes to simu-late various aesthetic effects

Refer to Algorithmic Sketchbook p.41

Tension Ties

Energy through Strain

49

PROTOTYPE TWO With a focus on reaching at an energy gen-eration module, this prototype was actually experimented with first, but finished second.

These experiments revolved around finding a method of construction to apply to real world situations.

This first method of construction experi-mented with was interlocking, there was no resolution of joints but it was concluded that this module would not actually be effective. It would be difficult to reach heights and it does not deal with curves well.

Realistically, an interlocking method would defeat the purpose of a modular system due to the variety of angles that would then need to be custom done to achieve the curving.

The second idea which was experimented with was the introduction of a wire; which in real life would be some kind of custom steel structure or composite pipe.

This prototype opened up ideas to such as housing of circuitry inside the pivot structure, lightening the panels and allowing the energy generated to travel down a central system to a storage system.

The possibility of Kinetic Energy was also raised due to the rotary aspect, but structur-ally this prototype would not hold as the pan-els slide, and a pure Kinetic Energy system is still missing.

INTERLOCKING

PIVOT STRUCTURE

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Ultimately, this system would have to be semi-modular due to the custom Pivot Struc-ture that would be needed.

Similar to the last prototype, this structurally would not hold, nothing was holding the main panels in place.

This prototype introduced the side panels in an attempt to convert rotary action into kinetic energy, but these were fixed to the panel above which would mean that the formal ro-tation would not be possible.

SIDE PANELS

The idea of a the side panels being fixed in to a separate element between each panel would be structurally sound, but in turn this also restricted the formal rotation of the Spine.

A dampener would be required, and thus piezoelectric springs would be included in between the side panels and main panel to convert the rotary force into energy.

FIXED SIDE PANELSSPRINGS

CUTOUT

This idea was entertained for the possibility of suspending piezoelectric cells instead as a form of wind diagramming, this would how-ever mean less force, rendering the rotary action mute but also it could mean that the modules are just completely fixed. A cutout would mean that the module would not be able to perform functionally though.

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This speculative system is similar in concept to the factors of handling in automobiles: the brake and the suspension. This system deals with the transfer of kinetic energies a way that disperses it from the rotating wheel, stopping the car: the brakes stop the wheels while sus-pension softens the load. In the same way, the two side panels act as a barrier to receive and capture the kinetic energies, while at the same time it orientates the form. Springs loaded in between the main panel and the side panels dampen the rotatory force by capturing the kinetic energy. (Refer left)

The main energy generating components involved are the piezoelectric components fitted on the main panel to capture the me-chanical strain of force on the panels, and piezoelectric springs which can capture the rotary action of the main panels as energy.

THE SPINE

The module was resolved into this arrangement of panels. A fixed element between each main panel will act structurally to keep pieces in place, and at the same time, the side pan-els will orient and restrict the main panels.

Strain to Energy

Car Brake5


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B.6 PROPOSAL

P arametric design does not simplify com-plexity, but it does allow it to be manageable1. Following this concept, an idea that was ap-pealing was this engagement with the meta-physical architectural constructs of complex-ity interwoven with context.

Context, as an architectural construct, can be related to coherency with culture and it can be expressed in a variety of abstracted ways. Consistency and the ability to transcend time and subjectivity is the aspect of the affect: objective (arguably) qualities of architecture that are then translated into subjective ef-fects3. These qualities are expressed as or-namentation, but not in the sense that it was stripped because it hid in modernism or in the sense that postmodernism adopted the idea to hide, but in honesty. Ornamentation should exist in the form of materiality and make vis-ible the invisible of culture and technology4. Interweaving the ideology of computational design and parametric design into this aspect is then the consideration of a holistic func-tional approach to materiality in the way that it can minimise impacts while at the same time produce affects and effects. The complexity then increases when considering these quali-ties of performance-driven5 architectural lan-guage, layered upon design intent, the brief, and ultimately a personal architectural goal.

“In general, self-organized patterns can be regarded as a kind of computation performed by the interactions of physical particles.” -Phillip Ball 20122

Architecture should not be differentiated be-tween its formal qualities and its economic, political and environmental function. To re-iterate, in addition to sculptural qualities and energy generating performance stated by the LAGI brief, a personal interest: a design intent and direction focused on generating a usable and functional design that transcends an experience drove the form-finding and prototyping processes. Context, to add to the complexity, in the way of these interactions should then drive the design process further than only consideration, but full integration. Therefore, this proposal is to render the invis-ible visible, to render the invisible metaphysi-cal and all-encompassing physical interac-tions of complexity and context, visible.

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CONSTRUCTION: THE SPINE

The pivot centre is the only element that needs to be custom fabricated to the curves.Side panels are fixed to the pivot, no move-ment is allowed. These side panels orientate the main panels to comply with the form, while also limiting movement.

Main panel to be constructed of a material capable of withstanding strain

Piezoelectric cells, which can generate five times the amount of traditional cells are hooked up to the main panel6.

A membrane covers the piezoelectric cells for protection, this membrane, while perfor-mance driven, is also an architectural effect along with the piezoelectric cells, possibly be-ing tactile as well as interacting with sunlight as the member moves with the wind.

Piezoelectric springs loaded between the side panel and the main panel to capture rotary force, they also function as dampen-ers and also limit the movement of the panel, which maximises kinetic strain.

Shape of the panels is simple, but optimal in receiving wind loads due to the flat surface area.

Shape is also appropriate for architectural elements such as seating and shelter, walls and pathways.

Modular and simple panel element allows for easier interlocking of elements if needed.The offsetting of the panels is necessary to guarantee that they can follow the flow of the curve without self-intersections and clipping.

1

2

3

4

5

6

1

23

4

5

6

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As opposed to relating the design to con-text, the design itself should encapsulate the complexity of the metaphysical and physical context, it should be the context. The focus on form-finding through curve manipulation opened up possibilities to a plethora of ma-nipulation techniques, which feed in to this idea of allowing the design to be completely manipulated by the context.

The logic behind the proposal is that data is introduced as curves which are given an al-gorithmic logic to interact with other elements in the system; the curves that are then gener-ated are hopefully context sensitive with the aim of bringing this metaphysical idea into the physical realm. These curves are then what the spine propagates along, and along the same lines, the energy generation process is geared to be receptive of the multiple facets of the environment with the ambience, wind and rain.

EXAMPLE

TECHNIQUE PROPOSAL

DATA

CURVES/POINTS

ALGORITHMIC LOGIC

MANIPULATOR

MANIPULATED

OUTPUT

WALL

CIRCULATION

CURVE

ALGORITHMIC LOGIC

MANIPULATOR

MANIPULATEDWALL

A sculptural and energy generating de-sign which functions as an architectural composition of space as a visualization of the complexity of the context.

PROPOSAL

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POTENTIALThe following is four arbitrary curves demon-strating the potential of this approach.

As a system trying to simulate complexity, the interactively of elements is geared to produce what should be contextually aligned curves.

The emergent quality of this algorithmic ap-proach dabbles the surface of the ability of the computational design to deal with complexity. Feeding in contextual curves and letting the logic take over presents interesting forms.

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Increasing complexity: a more contextual demonstration of the algorithm. Note that this still arbitrary at this state.

*Nothing is to scale

WIND

MOVEMENT

COPENHAGEN MAIN ROADS

WAVES


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SPACEPockets of space generated have aspects of transitional spaces, the curves blur the lines of start and end while the makeshift walls similarly only offer a semi-closure.

FORMThe formal qualities invoke a sense of growth, as the spine, from the ground plane, seem to come together and rise up, conceptually simi-lar to a tree trunk.

FUNCTION AND USAGETo maximise efficiency, the modular Spinal elements, fundamentally, it can be split into four areas. The Folding transitional aspect of the vari-ous functions is exaggerated by repetition.

HIGHEST LEVEL MID LEVEL SEATING LEVEL GROUND LEVELThis level would feature the standard module with full kinetic receptive abilities.

Wind might be too weak at this level to really contribute, and too high for human interactivity, these will be fixed with-out any rotary action to act as shelter.

At the seating level, the seats should be fixed as rotary action would be uncalled for as a seat. This level should retain the springs and piezo-electric component to accept human kinetics.

The ground level would need to be structurally sturdy to consolidate the beginning/end of a section by perhaps using the module as a means to stability be-neath ground level.

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COMPLEXITY IN REPETITIONThe abundance of similar forms can even al-lude to a sense of confusion, wild orientation attributed to the spinal movements aestheti-cally represents this image to attribute with the metaphysical complexity demonstrated by the form.

ARCHITECTURAL AFFECTSStrain of the modules against the wind can be visually seen with the change of reflected sunlight off the membranes covering the cells.

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The limits of this design approach exists as the approach itself. This non-representation-al approach relies on the complexity of the context to generate its form, in a way, it is a double edged sword.

Similarly, being a student in Architecture, a lot of data will not be handled professionally and could ultimately be speculative at best.

Another limit with this technique is that it only exposes the complexity of the context at one given time frame, and that is the dynacism and perpetual interactions of elements along time which can not be translated into a still sculpture.

LIMITS

The focus of this design proposal in the generation of a sculptural and a functional space. Instead of bringing in context partially as a means for coherency, full coherency is evoked here in not only the formal sculptural design, but in the spinal elements too, which again echoes a representational form of co-herency.

The modular aspects were chosen for this very effect of being a transitional space, which are also performance, informed by the required energy system as well as the constraints of the technique. Different ener-gies will be harnessed at various levels, from wind, snow, rain to human kinetic energy.

Starts and ends are similarly not explicit with the idea of the structure starting below ground and raising up. The artistic notions be-hind this proposal focuses on these aspects of the implied generative and complexity as an aesthetic that unifies the whole.

SUMMARY

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MOVING FORWARDFEEDBACK RESPONSE Issues to address in the furthering of this

design mainly revolve around the scale of interactivity, and scale to the appropriate technology. While getting rid of a degree of modularity would mean higher costs, increas-ing the variation of the panels to a higher de-gree could mean for a better suited variety as opposed to the module suggested so far.

The speculative energy generation method also needs to be addressed to inform a more convincing argument.

To further explore the contextual complexity, engagement with the Cellular Automation, addressed before, will also inform the next step in design.

B.7 LEARNING OBJECTIVES AND OUTCOMES

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The basis of the design is derived from very simple techniques, and such that is why this approach of something unlike a pavilion, but a site-wide unconfined approach was chosen to add more depth into the material. Interpre-tation of the brief, along with the case stud-ies resulted in a technique which is arguably rich enough to demonstrate an adequate un-derstanding of the flow of logic (see B.6). A variety of iteration was presented in B.4, with many decisions then informing some of the final design itself. (O1, 3, 5, 6, 7, 8, i)

Parametric space for the approach that was taken functions differently to how parameters would normally work. The variety in which is given through the parameters were com-putationally too light to render any change. The approach to the matrices reflects this (B.2 and B.4,) as there was not a paramet-ric advancement, but instead, advancement in logic that was used until it needed a reset. The traditional matrix approach however was used to explore the parameter side of an ex-pression, where changes made would reflect large changes.

The split that was taken in the design ap-proach similar resulted in a different un-dertaking of the tasks; constructability and prototyping to test a speculative energy generation technique was given priority over material effects, as material effects should be informed then, by the performative aspects of the material constrained by the energy. This progression can be observed in B.5 and B.6. (O2, 3, 4, 6, 7, 8)

On the theoretical side of the content, the disconnect that exists in this method of teach-ing computational design was some what bridged by the theoretical elements. Under-standably, the idea behind an approach that starts with no direction fits in with the idea of the computational design, but arguably not in the attuned studio mindsets of traditional design progression. To mend the disconnect between the styles of design approach were the theoretical material which gave remind-ers as to the ultimately performative qualities needed by the design, and this in turn helped frame the design approach.

LEARNING OBJECTIVES & OUTCOMES

B.8 APPENDIXReferences to the algorithmic sketchbook progression is in the form of the thought pro-cesses behind the weeks. Specific examples are referenced throughout Part B for clarity.

Objectives abbreviated to ‘O-X-’Reverse Engineering abv. ‘i’

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B.1 REFERENCES

1 Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spoon Press, 2003),4.

2 Kolarevic, Architecture, 6.

B.2 REFERENCES

1 “Seroussi Pavillion Paris 2007,” Biothing, Last modified 24 March 2010, http://www.biothing.org/?cat=5

B.3 REFERENCES

1 “Evolutionary Patterns deepFormations,”, Matthujs la Roi, Last Modified 2010, http://www.matthijslaroi.nl/cnc-manufacturing/ evolutionary-patterns-deepformations-part-2/

B.4 REFERENCES

1 Marcus Pollio Vitruvius, The Ten Books On Architecture, Translated by Morris Hicky morgan, PH.D./ LL.D. (Cambridge: Harvard University Press, 2006), 14.

B.5 REFERENCES

1 ASCII, Shibuya Piezoelectric Pad, photograph, http://ascii.jp/elem/000/000/195/195085/.

2 City of Copenhagen, “Copenhagen: Solutions for Sustainable Cities,” City of Copenhagen (2011), www.kk.dk/klima

3 Niels Jernesvej, “Copenhagen, Denmark, CASE-03” The World of Wind

4 City of Copenhagen, “Carbon Neutral 2025 Copenhagen Climate Adaptation Plan,” City of Copenhagen (2011), www.kk.dk/klima

5 Ferrari Cars, Brakes, Accessed 3rd April 2014, http://www.ferraricars.org/img/ferrari-360-spider/suspension-02.jpg,

B.R PART B REFERENCING

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B.6 REFERENCES


2 Philip Ball, “Pattern Formation in nature: Physical Constraints and Self-organizing Characteristics,” Architectural Design 82 (2012): 26.

3 Farshid Moussavi and Michael Kubo, eds., The Function of Ornament (Barcelona: Actar, 2006), 9.

4 Moussavi et al. Function of Ornament 9.

5 Peter Brady, “Relising the Architectural Intent: Computation at Herzog & De Meuron,” Architectural Design 83 (2013): 58.

6 “Georgia Tech’s Self-Charging Piezoelectric Power Cell Can Harvest 5x More Engergy From Footsteps,” Timon Singh, Inhabitat, Last modified 2014, http://inhabitat.com/georgia-techs-self-charging-piezoelectric-power-cell-can-harvest-five-times-more-energy-from- footsteps/

B.R PART B REFERENCING

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DETA ILED DESIGNP A R T C

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C.1 DESIGN CONCEPT

S tudio Air, as for many students, is their first experience with computational design, and a dramatic shift from traditional studios at that. Reflecting on parametric design versus traditional design methods, the disparity be-tween the traditional designer being one that dictates the end result through the realization of a specified design narrative, and a com-putational designer which curates a direction, synthesizing as much as they can into a de-sign: which is now not a result, but a means to reach the result, brings into the light the topic of discussion in part A.2. Synthesis, the orchestration of a complex data flow which can realize a design was the main challenge leading up to this point, however, what deter-mines this process? Time and time again, the material introduced in this course harkens the possibilities of computational design, and rightfully so, the sheer power of a computer should be advocated, but at the same, in the analysis and study of material throughout, what is the focus of these precedents? The computational result and the data crunching behind it.

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The integral part of computational design however, one can argue that it is not the com-puter; it is the human (obviously). However, the delivery of computational design has such an overwhelming focus on computers that the human curation part of the equation is over-shadowed. This realization re-emphasizes the practical limits of computational design: the potential of a design process, the scope of a design process and the context is still very much left up to the designer: the impli-cations of such are called into criticism when evaluating data which cannot be, and never will be justifiable with number. Concepts such as aesthetic effects (as opposed to affects,) cultural aspects and socio-political context, all remain factors which cannot be optimized, however, they can be justified. On the other hand, in the interest of harnessing and man-aging complexity for environmental concerns, it is also left up to the human designer, to inte-grate, to synthesize and curate the necessary algorithmic design decisions to formulate a cohesive project. These decisions should be the parameters that then dictate the genera-tion of the design.

At the same time, parametric tools can also be used to analyse and evaluate the design, which then should either feedback or drive further processes. Theoretically, this iterative loop is an efficient method of quickly iterat-ing; analysis and re-synthesis, but what stops this is the tool at hand: feedback looping is impossible, rendering the process tedious by having to break the functions down into com-ponents, which can act as a double-edged sword. Through this course, the importance of meeting a coherent logic was constantly challenged by simply being human: given time constraints, the continual redefining of logic to make it more efficient to meet a de-sign intention and aspiration was met with an inability to properly gauge what was needed and therefore, an engagement of all the logic required to be synthesized to fully make ef-ficient a design process was missing.

The designer remains at the heart, it is far from a computer-human duality. PART C: Detailed Design explores this facet of the project.

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To render the metaphysical context of the site into an experience of complexity.

In the traditional sense, this proposal was contrived from a goal in the form of an experience. This intention gradually changes throughout C.1 with the progression of the project: along the way, the process and project will be critiqued in relation to computational design and the role of the designer, a limit which ran deep throughout.

DESIGN PROPOSAL

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Following the feedback from the previous, the direction that was taken ensued in what a debate of the computer versus the human. The work produced in this time can be found in the Algorithmic Journal. Going along the lines of rectifying an experience created by the two logics of this project’s system: the curve and the spine, brought into question at the time: what is the balance between human involvement and the computational process? This was a very critical point in evaluating the mindset stepping into this part of the project involving the integration of context: along the way, algorithmic logic to this point had been designed, designed to incorporate some form of context to generate a design. But then, what become the objective qualities that the computer is supposed to bring? It this not still one step short of complexity?

In the end, what is scientific fact? Is it not still a result of a human-driven process of research? Then to approach something like environmental sustainability and complexity remains a matter inherently driven by human opinion, which then drives the computer. Ultimately, design still remains a very hu-man driven idea and it is important to accept that scope is not something to resolved by

the computer, but is limited to how well the designer themselves can curate a narrative that is at best1, supported by computational tools. Subjective concepts as well, cannot be ‘optimised’ for a set of parameters either, so where is this balance in curation? Along with this question came the hurdles of the algorith-mic techniques and resulting designs.

One of the directions taken after feedback was to consolidate the design intent for its aesthetic and experiential qualities into the spine algorithm in response. In hindsight, this step could perhaps be too skewed towards the top-down design of traditional design processes, and the resulting design was un-necessarily chaotic and uncontrolled. This however, informed this notion of human/com-puter balance, which while hard to describe, but conceptually, in the scenario this direction taken, the result was too much of a predeter-mined aspect, which while it is still parametri-cally controllable, made it very unsusceptible to change. The project was then guided to-wards another direction.

ONE STEP BACK

Refer to Algorithmic Sketchbook pg. 45.

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Spine Logic

Spine Implementation

Part B

Re-Define

One Step Back Site Analysis

Design Generation

Curve Algorithms

Exploration

Experimentation

Design

Evaluation Design Proposal

C.2

PROCESS

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THE SPINE

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THE SPINE

From the previous failed experimentation, The Spine construct reached this point of parametric flexibility by integrating the con-cept of chaos back into the previously pro-totyped rectangular geometry which was considered to be most suitable for the vari-ety of functions that we required. This spine however, can be parametrically controlled for a variety of effects for differing qualities: the idea of chaos feeds parametric randomness, which generates the variety in the sizes in the substructure and the fin, with the choice.

The variability of the spine and requiring only a curve to propagate along, makes it quite adaptable as an energy generator with sculp-tural qualities.

The one on the far right is the chosen spine arrangement which correlates with the design intent and performance criteria of this project, this will be covered later along with the en-ergy generation details.

The Spine consists of three parts:-A Central Core

-The Fin Substructure-The Fin

ALGORITHMIC LOGIC

A curve makes up the core

Curve to be segmented

Fin lengths divided accord-ing to segment, in relation to degree of randomness

Fins generated in relation to degree of randomness and rotated along curve

Substructure generated in relation to degree of randomness

The Spine

Refer to Algorithmic Sketchbook pg.48-51

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Continuing to explore the algorithmic logic behind the curve generation, there were ini-tial issues that seemed to completely stop progress where the algorithm was very picky; it was quite picky with the curves that were fed in. It had a hard time generating coher-ent and interesting forms and required lots of curve tweaking to get it to work.

This was the first major change in the project, the curves generated by Rabbit, which would feed into this algorithm produced undesirable results which were too chaotic and nonsensi-cal and hard to work with at the same time. Therefore, the decision was made to just abstract curves which would work, it was deemed necessary to continue in this direc-tion. A combination of being dependent on site and context, and the limits of the technol-ogy; with the inability to properly bridge the output of Rabbit and curating it to work with

the input, resulted in this shift to curating the Rabbit output into a more coherent and inter-esting experience. The complexity of design logic can only be as complex as the designer can manage.To find this goal, it was back to experiment-ing with various possibilities of the algorithm, however, this was not as much of a formal exploration as it was an experimentation to curate the functional and experiential aspects in regards to the type of curves required for usage.

PavilionHeight: 20 m (5m, 10m)Lengths: 1:3:9 Level 3: 900 m Level 2: 323 m Level 1: 128 mSize: 1:2:3 Energy Fin Size: 1.5

100,000 kW/Year

TunnelHeight: 100 m (10m, 20m)Lengths: 1:2:12 Level 3: 1500 m Level 2: 270 m Level 1: 125 mSize: 3:3:2 Energy Fin Size: 0.7

5,000,000 kW/Year

ParabolaHeight: 80 m (8m, 20m)Lengths: 8:7:5 Level 3: 500 m Level 2: 700 m Level 1: 800 mSize: 1:2:3 Energy Fin Size: 2

3,000,000 kW/Year

Notes:Height means over-exposure.Intent skewed due to top heaviness.Structurally, arches could work.Functionally not interesting.

Notes:Good balance of three levels, can see this ratio providing for the functions required.Formally quite interesting at the ground level for how it runs along it.

Notes:Height seems to be appropriate for realiza-tion of design intent.Ratio of curves is skewed, top-heavy, doesn’t perform as enclosure and station space. Fin Sizes seem to be aesthetically dynamic and large enough at this size and at this scale.

EXPERIMENTATION

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SinglesHeight: 8m (1.5m, 3m)Lengths: 3:1:3 Level 3: 60 m Level 2: 20 m Level 1: 60 mSize: 3:3:2 Energy Fin Size: 0.2

8,600 kW/Year

Growth 1Height: 15 m (2m, 8m)Lengths: 3:2:2 Level 3: 500 m Level 2: 500 m Level 1: 750 mSize: 3:3:2 Energy Fin Size: 2

300,000 kW/Year

Growth 2Height: 15 m (2m, 8m)Lengths: 1:2:2 Level 3: 1500 m Level 2: 1500 m Level 1: 750 mSize: 3:3:2 Energy Fin Size: 1.5

400,000 kW/Year

Notes:Structurally impossible due to wind loads on vertical unbraced members.Not high enough for adequate wind.Start of heights at eye level, 1.5m, would be the most engaging.

Notes:Reaching a good balance.

Notes:Space created too large without any spatial resolution. Base ratio required to be much larger after all.Appropriate height and fin size for experi-ence.

Growth 3Height: 20 m (1.5m, 6m)Lengths: 2:2:1 Level 3: 350 m Level 2: 700 m Level 1: 700 mSize: 3:3:2 Energy Fin Size: 2

200,000 kW/Year Refer to Algorithmic Sketchbook pg. 52-53

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SITE ANALYSIS

Energy - WindWind on site is dominant due to it being an open harbour, with dominant winds from the south and west. Copenhagen currently at-tains 22% (highest in the world) of their en-ergy from the wind due to its consistency2. Harnessing wind energy is appropriate due the openness of the site; hydropower is weak due to the relatively still water, and the climate of Copenhagen calls for sun-less winters. As discussed in Part. B, other kinetic energies which can be harnessed include human, snow and rain, which is predicted to increase3.

SunSun is from the south, with daylight for as long as 17 hours during the summer, but a mere 7 for the winter. In the case for function, shading would be a necessary component of the design, while at the same time, during the summer, it can provide for warm, open spac-es. In the winter, Copenhagen is susceptible to snow, rendering the Solar useless.

Site ViewThe site has an advantage being from across the Little Mermaid, therefore it was reasoned that the project be placed right by the har-bour for maximum impact when viewed from across the harbour. This would hopefully draw people to the site and adds possibility for interactivity.

At the same time, discounting the construc-tability of a tall project, the height should not overwhelm this region of Copenhagen, where buildings are kept generally quite low. At the same time, it should balance having enough of an impact.

0 100N̂

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Water Taxi Terminal

Focusing on impact, a suitable region for in-tervention would be the corner with the water taxi terminal. Creating the function of some-thing like a station would invigorate the site potentially expand the function of the terminal doubling as an attraction. From the harbour and the water, the focus is impact. Basic needs then, of a station include:-Shelter-Waiting Area

FOLDINGTracing the site access routes, stimulated the idea of Folding and the concept of transitional space. Growth would become an integral idea to this project in the way geometry would emerge from the ground and snake their way towards the densest region of the station. The nature of curves to guide would then be this engaging aspect that draws people inwards. From the site, the focus is attraction.

Spaces attributed to Folding also fall into a category of transitional space; where there is no clear ‘in’ or ‘out,’ this too was an idea adopted in the generation of spaces to inspire regions of different intimacy.

TYPOLOGY: STATION

0 50 100N̂

Wind SimulationRabbit

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THE CURVE

RABBIT The move to use Rabbit: a cellular agent based on rules, goes strongly with the goal integration with the context. From critique of computational works in Part A, it was noted that the future of Parametric Design diverges into two, into a style or not3. Context, defined by the Critical Regionalism Architectural ‘style’ has urged performative aspects and suitabil-ity to site. As an excerpt into the discourse of Architecture, this project aims to push Para-metric Design away from becoming simply a style, the design intent as well, reflects this. The resulting aesthetics of this project, to be explored later, is however, but the designer’s curated vision, generated and made possible via the computer. Thus, there was doubt in approaching the design in this way, for after all, what is context? How can parametric de-sign reflect the context of the area?

THUS, REDEFININGThis question was purposefully avoided.

In the interest of addressing the topic of com-plexity and sustainable systems, liberty was taken again, in the abstraction of this concept into a design aesthetic; an affect. Complex-ity and complex systems is the metaphysical that lies beyond immediate context, and this was the driving force behind the physical ar-rangement of form: the curves, which would populate the site.

The juxtaposition explored is chaos and sim-plicity: the juxtaposition between the count-less agents of the ground level, and the free-ness of the sky. Ironically, the principle behind this project was reduced to actually make it manageable, despite the goal be-ing an exploration of complexity, ultimately, time constraints and a limit in technical knowledge led to this compromise. Again, computers are limited by the human capac-ity. Rabbit aided in this abstraction process, with the site, water and movement simulat-ing the ground level, and the wind simulating the sky.

Refer to Algorithmic Sketchbook pg. 46-47.

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ExplosionThe algorithm generates the form of the design by exploding the base curves in relation to the ‘sky.’

GrowthThe beginning formation of pathing and instill-ing the idea of growth. Nodes act as forces that generates the idea of growth via pushing and pulling.

CirculationCirculation patterns push apart to form paths, archways and depressions.

Space generationSpaces resolved by push and pull nodes. The complexity of the spaces is expressed via the labyrinth nature of the curves. Entry/Exists sim-ilarly created by push and pull functions based on nodes.

Clean upCurves cleaned up overall, and pathway cleared around the most straightforward ac-cess to the water taxi terminal.

Curves abstracted from a Rabbit simulation, along the lines of rendering the metaphysical complexity of the context as a physical construct: the base is generated from a combination of site paths and wave patterning. The inner teal curves express the wind, together this system is a juxtaposition of the ground level context versus the context of the sky.

FORM GENERATIONRefer to Algorithmic Sketchbook pg. 54-55

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ScaleWith reference to Experiment Growth 1 (pg. 77), the space was much too large, thus the curves were rescaled, pushed towards the terminal as that is the main focus. Spaces re-generated via nodes.

FinalExtension of the program to incorporate the site and the generation of a variety of spaces. This extends the ratio to a 4:2:1, completing the spatial experience of the guiding growth, into a dense complex of chaos.

FORM GENERATION

Spine Propogation- THE DESIGN-

“Rendering a metaphysical juxtaposi-tion of the system behind the context as a physical Chaos into Simplicity.”

The emergent nature of the Explosion algo-rithm resulted in a naturally chaotic tangle around the ground level, with free-flowing arches overhead, correlates with the this projects contribution to the idea of systems thinking. The space, while functioning as a sculptural energy generating instalment that

doubles as a station area, is to be an insight into the quality of chaos and simplicity. The ground level is an intricate playground popu-lated by the randomness of the spine, physi-cally it is an affect of complexity and chaos; this transitions into the gracefulness of the orderly spine above, a total of three levels. The height and contrast of the upper level is an affect of order.

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PLAN

PERFORMANCE BASED DESIGN However, this project’s chaos is not uncon-trolled and wild, as an attempt to contribute to the discourse in an engagement with complex systems, another fundamental goal of this design is for it to function as a station typology. Along these lines, and along the idea of design designing, it is critical that the immediacy of formal composition is not all that computation becomes, as this project attempts.

Performance-based design is the determin-ing of performative aspects and reconciling them in the generation of the design, though this will be critiqued more in-depth in C.5. C.1 Experimentation explores this idea of the shift from ‘making form’ to ‘finding form,’ This project however is not fundamentally driven by one of more important performative as-

pects of structure (though it should be,) but in its energy generating possibilities, which can quantified, and its performance as a function; a qualitative aspect, which arguably are as of much relevance, especially to context, as is the quantifiable aspects4.

As a station typology, though very much in a non-traditional sense, the areas that this proj-ect was interested in was the creation of the station space, and the path towards it, waiting areas and shelter. Analysis was carried out on the design then, not only for this human interaction and use aspect, but also for the energy generating levels as well in terms of their orientation from the ground plane, this then determined their function, this then fed back to the parametric spine element to con-solidate the functional aspects and spatial qualities of the various areas.

Plan view of the final result with the spine ar-rangement propagated along., creating differ-ent intimacies/

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LEVEL 1

LEVEL 2

LEVEL 3

Wall element (>65)Between Seating element (<30)

Framing: 54%Seating: 46%

Horizontal elementsVertical elements

Horizontal elementsVertical elements

Horizontal: 35%Vertical: 65%

Optimal Fins: 75%

This level is concerned with the functional as-pects and the creation of a variety of spaces which also function. Wall elements were evaluated to be important leading up to and around the water taxi terminal as an expres-sion of space. Dense areas were primarily given seating,

Level 2 acts as the transitional level, this level exemplifies the chaos by framing chunks of mess. The densest region should then be a mix of vertical and horizontal, with horizon-tally orientated planes framing the simplic-ity above, while vertical frames framing the structure around.

Due to wind energy being the energy of choice, the fins depend on being perpendicu-lar to wind, however, coherency in the spine must be kept so this region was balanced to the interweaving principle of the spine. Hori-zontal fins could however make use of uplift.


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SITE SECTIONView to, from harbour and from on-siteImpact from across the harbourAttraction from on-site

0 50 100

RYGSøJLENDanish for “Spine”

The ground plane of chaos is what visitors in-habit - contrast the immediate chaos with an unattainable order above. The design is to in-voke this idea as a representation of the con-text as a complex system of human involve-ment, suggesting the very state of the system of sustainability and the role that humans play in it. Ideologically, it is a fitting concept in the leading green city of Copenhagen.

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SITE PLAN - GROWTH

SECTION A - A’ - GROWTH

SIMPLICITY& TRANSPARENCY

0 50

0 50 100N̂

A A’

B

B’

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SITE PLAN - FUNCTIONFocus on addressing the station area, exist-ing circulation was morphed along with the site while maintaining the spaces which they framed. Old paths to be grassed over again so that the transitional nature of the curves takes over to circulate movement.

SITE PLAN - CIRCULATIONMorphed circulation to conform with the new typology of the site. Major access points are addressed by the curves to direct people fur-ther into the site.

SITE PLAN - PROGRAMThe spaces of this site are what expresses the design intention. There is a relation be-tween intimacy of structure and the type of space, made for different tastes and func-tions. The openness of the site is kept undis-turbed in areas, while other areas have been populated to make it more usable.

ENCLOSED

FRAMED

PSEUDO

0 50 100N̂

A A’

B’

B

A A’

B’

B

A A’

B’

B

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SECTION B-B’ -PROGRAM

SECTION B-B’ -WIND

SECTION B-B’ -SUN

Different spaces of different qualities, rang-ing from enclosed, semi to open.

Spine rotated along itself so fins make the most of the south and west winds

Semi-shelter

0 50

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C.2 TECTONIC ELEMENTS

PROTOTYPING3

C.1

Energy

DetailingConstruction Logic

Part B

Structural Analysis

Prototyping

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PROTOTYPING3

PIEZOELECTRICITY

The fins of this project are to simulate piezo-electric pressure pads1, where compressive forces stimulate the ions in a piezoelectric membrane, generating energy. To adopt this technology one for one is not possible though; piezoelectric membranes are not flexible enough to bend in the wind: where the majority of the energy will come from, and it contradicts the aesthetic outlined in C.1, so to account for this, as opposed to a piezoelectric membrane, piezoelectric cells are substituted for the membrane.

Georgia Tech’s piezoelectric cells2, due to the increased efficiency can replicate the area of a membrane. Each cell is roughly 1cm in diameter, with fives time the efficien-cy it can be assumed that one cell per 5cm would then be substitutable.

Therefore there will be around ~200 cells per metre squared.

Accounts for:-Wind-Rain-Snow-Human Interaction

There was further prototyping done to ex-plore various ways to layout the piezo cells among a given geometry. Through simple tests such as blowing on the fins because as a constraint, there is a gap in the techni-cal repertoire that could be filled with more in-depth simulation techniques. So disre-garding precisely the energy efficiencies, the main criteria for selection was in represent-ing the notion of simplicity while maintaining coherency in design aesthetics. Further cri-teria to be met is with the prototype’s ability to conform to the curves of the design with consideration of any potential clipping and width of the joint in between segments to ensure they can handle the most extreme of angles.

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FABRICATION While computational design lends itself to being fabricated via computer processes by being able to be transferred directly to the machine or by being converted into accu-rate drawings, the assembly process, while accurately supported by the computer, is a process in itself.

Prototype 1 + Prototype 2Reverting to an aesthetic explored in Part B, these were discarded due to the emphasis on length, making it hard to incorporate into the overall scheme of the Spine, where fin widths can be as long as 3m.

Prototype 3The concept of an aerodynamic shape was considered, protection for the core structure was also something that was looked at. The bulbed shape of this prototype has the potential of expelling wind.

Prototype 4The almost representational depiction of an actual spine is aesthetically too much.

Prototype 5One of the few explorations involv-ing separating out the fin into a wind chime-esque concept, each smaller panel would vibrate in the wind. But as with Prototype 4, aesthetically too busy.

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One system tested for it’s ability to be shaped into the curves required by the design. This fin design is aesthetically too complicated with the repetition of substructure however.

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The fin design above was chosen for it’s sim-plicity and balance in the scheme.

FIN DESIGN-ENERGY: STRAIN TO ELECTRIC

The shape of the fin acts as a stop for the bending of the fin, for without strain, there would be no energy converted. At the same time, the bending of the fin is to shed exces-sive wind so that there is minimal damage. The shape of fin casing is to be aerodynamic, directing the wind loads towards the bending fin for energy generation.

The fin generates energy through the con-version of strain on the cells, caused by the bending of the fin, into electrical energy. Much like the walking pad discussed previ-ously.

Due to the fluttering nature of normal wind, the visual effect of the fins will be akin to that of vibrating as wind hits it at an irregular rate and from different micro-directions.

Resting State Bending State

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Hollow recycled PVC casing to act as a stop for the bending fin, clipped internally to a pro-truding bolt.

Pre-fabricated bolt holes for the core CHS

Small steel bracket, to minimize weight, to be bolted to the core

Steel bracket holds the mount for fins, bolted on

Layer of Georgia Tech piezoelectric cells sandwiched between 3M’s waterproof trans-lucent plastic sheeting

Wires of piezoelectric cells to be visible through sheeting, directed through a space through the fin mount and into the core struc-ture, to be directed away

Piezoelectric cells are self-charging, possible to directly mount a LED that lights up upon energy generation

PVC casing to seal the structure, providing an aerodynamic shape for shedding wind

CONSTRUCTION DETAIL1.

2.

3.

4.

5.

6.

7.

8.

1

2

3

5

4

6

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The movements of the wind and how it constantly berates the fin to vibrate can be envisioned during the night with LEDS that activate upon strain, so where cells gener-ate energy, a small portion of that energy could be routed to a LED to blink, whereas continuous strain would allow for longer dura-tions. Piezoelectric cells are to be arranged in a random configuration for a more dynamic display.

VISUALIZING THE WIND

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JOINT DESIGNThe next issue tackled was the construction method regarding the curves. For construc-tion to occur at least 10m above the ground, it would be best to go with an efficient method. Prefabricating the entire curve assembly would be expensive and challeng-ing, at the same time and transport would be an issue. Welding on site would also be dangerous and inefficient due to the angles involved and the heights required.

A modular approach was considered, with the designing of a joint that can accept all 3 planes of rotation. The resulting joint is as shown. In terms of the construction process, as mentioned in the Construction Detail of pg. 95, the core structure would be a prefabricated module of a CHS with bolts. On site, this could be quickly assembled via the insertion of the joint, rotating it and then mechanically locking it into place. Ultimately, the joint is to resist all movement.

Refer to Algorithmic Sketchbook pg. 57 for the joint analysis; necessary measurements for construction can be extracted from the data flow of processes which generate the design; as opposed to CAD, all data is refer-enced and ordered to start, parametric flex-ibility allows the alteration of design and inte-grated analysis such as these will follow suit.

JOINT ANALYSIS

A

AB

C

A: Angle from horizontalB: Angle from previousC: Rotation from previous

Digital Joint Drawing4

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SPINE MATERIALITY

LEVEL 0 - FOUNDATIONS

LEVEL 1 - BASE

LEVEL 2 - TRANSITION

LEVEL 3 - ENERGY

-Standard reinforced footing for where the core structure meets the earth.-Steel RHS-PVC cladding-Wicker

-Standard reinforced footing for where the core structure meets the earth.-Steel RHS-PVC cladding for steel-Main functional level, wicker as seating to be laced with piezocells to make most of human interaction, rain and snow.

-Substructure at this level to become support columns if they touch the ground.-Steel RHS for columns, otherwise, light steel bracket for PVC cladding to maintain design coherency to lighten where steel is not needed.-Detailed like the fin detail of pg.95, except with less piezocells as there is less wind.

Refer to Construction Detailof pg. 95.-Steel brackets-PVC cladding-3M Weatherproof plastic sheeting

PVC cladding used through-out to maintain coherency with the third level detail.

Reinforced footing used in Levels 0, 1 + 2

Wicker

Plastic Sheeting

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Excavations done first to establish column substructure and their appropriate footings.The structure primarily depends on these ele-ments.

Core structure and rest of the fin substructure is fitted between the columns.

Begin construction of the upper levels, fixing joints to cores, rotating into place, locking and moving on.

Alignment of the prefabricated core would be crucial in realizing the rotary elements of the spine.

In accordance to the Construction Detail out-lined on pg. 95, the energy generating fins will be attached.

Complete assembly of the lower levels with the insertion of the fin material.

Component finished.

CONSTRUCTION LOGIC1.

2.

3.

4.

5.

6.

7.

STRUCTURAL ANALYSISAnother aspect of Performance Based De-sign, to simplify the process, a single spine construct was examined on its own, without the load of the fins, to test for constructability. Without even going through this experiment, it is obvious that the upper levels will not hold, but this evaluation step was not taken until very late into the process. This will be critiqued in C.5.

In the end, this aspect of the design has not been resolved, in an ideal world, the mechan-ical locking of the joint detail would guarantee that the upper levels can even be construct-ed, but in the real world, that is unfortunately not possible.


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INITIAL TEST250x150x5 RHS200x7 CHS6.7 Deflection

200 Diameter CHS was deemed acceptable, but obviously it would not hold the upper lev-els.

700+ CHS required to even hold up the up-per levels unsupported, this was of course, impractical on many levels.

TEST #1250x150x5 RHS200x7 CHS0.5 Deflection

Adding more support columns proved to be an easy way to alleviate the support issue, however, this was deemed too ungraceful and in blatant contradiction to the design in-tent and overall scheme.

TEST #2Subjected to Windload of 2.3kN250x150x5 RHS200x7 CHS1.5 Deflection

If there was a way to use the other curves in the system to support the structure it would work. For this simulation, the 2.3kN load is the estimated force of the wind. At this point, while it barely works to meet the acceptable 200 CHS, as discussed throughout C.2, where unnecessary, steel should not be used to reduce weight.

AIMRESULT

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C.3 FINAL MODEL

101

C.3 FINAL MODEL

1:5 MODELFIN + JOINT DETAIL1

ROTATION REST2

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1:1000 SITE MODEL3


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C.4 LAGI

Depicted: The spine, as curves, acts as an attracter towards the densest region of the design, it also functions as wall and seating element as space.

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RYGSøJLEN is an energy generating instalment derived from the physical manifestation of the metaphysical behind the context: complex systems. The complexity of a human system, a quality of chaos, is generated on the ground level, with the simplicity of the wind forming the graceful arches above. The instalment aims to primarily create a space for use in conjunction with the water taxi terminal, functioning as a station. In addition, a variety of spaces of differing levels of in-timacy are framed, divided and generated by the Spine that propagates around the site.The installment primarily generates energy at the upper levels, unimpeded wind is cap-tured by the fins which convert mechanical strain into electrical energy through the piezo-electric effect. To make use of the human use and interactivity of the site, falling snow, and increasing rain amounts, piezoelectric systems are also used among the instalment below as well.

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Chaos Versus Simplicity. The base level is almost playground like, what is accessible, what is not, this question ultimately enlivens the experience.

As a Station Terminal

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Different degrees of openness

Technology: Piezoelectricty -Georgia Tech Piezo Cells

Precedent: Piezoelectric Pressure Pads

Energy Estimation1: 250 FINS TOTAL AREA: 601.234 M2

P = 1/2 x C x A x d v3 where, P is the power generated C is the efficiency coefficient = 63.5% A is the area = 601.235 m2

d is the air density = 1.225 kg/m3

v is the wind speed = 5 m/s

P = 0.5 x 0.635 x 601.235 x 1.225 x 53 = 29,230W

Annually: 247,776kWh

Copenhagen Residentual Consumption ~ 1340kWh / year

~185 Residences Supported

Only Level 3 fins included in this estimate, potentially more energy generated when considering the bottom levels as a result of mechanical strain by humans, rain and snow.

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MATERIAL LIST

200x7 CHS 2596m

250x150x5 RHS ~300m

Piezoelectric Cells x200,000 + Wiring + Battery

3M Waterproof Membrane 1200m2

-Translucent -Sizes vary

3M Waterproof Membrane 2190m2 -Semi-Opaque -Sizes vary

White Wicker 4180m2

-Sizes vary

Recycled PVC 12600m2

-For fabricated cladding

View from The Little Mermaid

Night View - A Cloud of Light

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View from The Little Mermaid

THE SP INE

RYGSOjLEN

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C.5 LEARNING OBJECTIVES AND OUTCOMES

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ADDRESSING FEEDBACK

STRUCTUREStructure was an unresolved component of the design, going back to it, the concept of the system supporting the system was intro-duced into the simulation. The most problem-atic curves: the curves of the densest region were computed to the following result.

181x43x10 RHS200x10 CHS3.27 DEFLECTION

This proves that the structure is indeed plau-sible, but this is not without its own problems. Curves were fundamentally changed, which means a change in the spatial qualities, this however, is an unsolvable feedback loop.

The next step, ideally would be to resolve this loop into something that can make the best of both worlds. But within the scope of the technical limitations, there are still a range of acceptable variations produced by the simulation, and one could surely be curated. Ultimately, there is still little change in the ar-chitectural experience, but formally, some of the distinctive character of the levels is lost through the resolution of structure.

If given more time with the project, more con-sideration would given to these aspects:

Ground Plane: The existing idea is that the curvature expressed via the spine would roughly frame circulation paths as along the idea of chaos, not directly leading people seemed appropriate.

Materiality: At the moment, the whiteness of the material is attributed to the PVC cladding over all of the steel members for coherency with the fin details to mask the industrial at-mosphere of steel. Material honesty then could be expressed instead to be more fitting with the atmosphere of chaos.


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Spine Logic

Spine Implementation

Part B

Re-Define

One Step Back Site Analysis

Design Generation

Design Proposal

Curve Algorithms

Experimentation

Exploration

DetailingConstruction Logic

Structural Analysis

PrototypingEnergy

Design

Evaluation

ON DESIGN DATAFLOW &PERFORMANCE BASED

DESIGN

Evaluating this project, it is obviously not fully resolved in terms of structure. On a detailed level, the connection Joint should act as a weld joint that resists all movement, but as a mechanical lock, it probably cannot be count-ed on. Due to a lack of vision, which again, attests to the practical limits of the designer in the computational design process in the way of synthesizing what is necessary, Per-formance-based objectives could have been added much earlier into the equation.

The first point of intervention (highlighted) would be at the evaluation process where the technology restricts raw feedback loops of data, while this would not change much with the design, it would make detailed tweaking easier to evaluate as a whole. The major point of intervention (highlighted) would be in the Structural Analysis stage, as shown on the previous page, a fully resolved structure potentially has its own problems and poten-tial, aesthetically, it remains the same, but the potential for space generation and the experi-ence of those spaces changes as well.

Critically, the lack of an earlier integration of Structural Analysis would not have affected the project as a whole, but on the note of Performance Based Design, and complex systems (covered over the page,) the con-sideration of structure could have been much earlier to realize the concept in a more ho-listic manner. Structure would behave as another parameter in this design. Practically however, the algorithmic logic behind the pro-cesses would be impossible to solve due to another feedback loop. Curves resolved for certain configurations would be altered to be resolved structurally, thereby ceasing to be architecturally resolved and vice versa, repeat. Ultimately, perhaps other technol-ogy, perhaps Swarming computation used by Kokkugia (as critiqued in A.2) would be a way to generate a structurally and architecturally attuned form, though with added layers of complexity to incorporate context, could be used instead, for the limits with the technol-ogy studied would only allow for one or the other.

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T his journal began with the paradoxical concept of being: Dasein. The basis of this idea in the field of design is in relation to ‘de-sign futuring;’ design which considers more than trivial aesthetics, design which tackles issues that in turn, can encourage more in-tellectual design. The narrative introduced in this journal is one that engages with the idea of systems thinking and complexity, the idea behind environmental sustainability. Through this design journal, the idea of complexity had been critiqued through the ideas of computa-tional design: the potentials of computational design are evident. As opposed to traditional design and its process of direction into evalu-ation as an iterative process of refinement, the fundamental aspect of computational de-sign is its ability to potentially synthesize eval-uative processes into parameters which then generate a series of controlled design ideas. On a basic level, computational design is a system. But, successful computation howev-er does not lie on the power of the algorithm, but ultimately the designer, who is the one that controls the level of complexity. At the same time, computational design is a way to harness systems thinking, but it still requires human input, which at the same time, can be said about traditional design methodology. It depends on the designer in the end, except computational design is one way to integrate many facets of the design very early. In a way, it is similar to multidisciplinary design teams. At the same time, the scope allowed by com-putational design is also severely limited by the technologies and knowledge of the de-signer in the field.

This project’s input into the discourse, as a principle of Dasein, could it then be consid-ered an adequate one? As critiqued, the human aspect of computational design is a severe limit, whilst the project attempted to be an engagement with systems thinking, the design logic behind the design did not resolve all aspects in a fully integrated man-ner. Specific problems were at the points of Rabbit, where the technique could not be fully adapted, and had to be abstracted in-stead. The evaluative processes could also have been integrated earlier into the process. While this project makes a start, more time with it could, but unfortunately within the limits of the designer’s capability, of managing all possible considerations that design needs to take. However, the project’s physical mani-festation, as an idea of turning the complexity of the context into a quality of the experience, is a push to consider the intricacies of con-text, which is the way design should inno-vate: towards projects which are much more complicated to deal with sustainability. At the same time, it is quite ironic that the aesthetic itself is simply of chaos and simplicity, what is depth in that case? The shortcomings of this projects scope can inform the thinking behind other projects.

Theoretically: this project started with an interest in systems thinking, it produced an aesthetic quality representative of that, but the processes driving it were not fully synthe-sized and integrated. Of course, in the real world, how this project gets compromised would be something of a completely different nature involving its own realm of unexplored techniques and technologies given the struc-ture of the design. But this journal started as has been an exploration of the computational discourse and it ends as a resolution of the project in the digital landscape.

CRITIQUE

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LEARNING OBJECTIVESObjectives abbreviated to ‘i-viii’

Studio Air has been a challenging experience. It was the first studio that required active cri-tique and consideration of the discourse, and how individual studio work then reflected or confronted the theory reconfirmed positions. This journal critiques this play between ideals and the practical work that resulted (i, iv, v, vi).

The project itself was an exploration of com-putational techniques, but the shortcomings of the practical result compared to the initial ideology speaks for the limits of the designer, where the work flow is not fully integrated systems thinking, but that being said, the project does engage in these aspects, albeit individually and not holistically (C.1 Evalua-tion and C.2 Structural Analysis).

While the bridging of different processes into one coherent one was unpolished, individu-ally, the processes quite well, the final design and its high fidelity and flexible attests to the possibilities in flexible design provided by computation (Part C - ii, iii, vii, viii).

The advantages of computational design also has an advantage concerning the actual con-struction logic, as the data is generated on the computer, tectonic elements can be resolved through simple analysis that would then detail construction processes (C.2 Joints, vii, viii).

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C.R PART C REFERENCING

C.1 REFERENCES


2 City of Copenhagen, “Copenhagen: Solutions for Sustainable Cities,” City of Copenhagen (2011), www.kk.dk/klima

3 City of Copenhagen, “Carbon Neutral 2025 Copenhagen Climate Adaptation Plan,” City of Copenhagen (2011), www.kk.dk/klima

4 B. Kolarevic, “Computing the Performative,” in Theories of the Digital in Architecture, eds. Rivka Oxman and Robert Oxman (London; New York: Routledge), 105.

C.2 REFERENCES

1 “Traffic Intersection Powered By Footsteps Concept,” Rue Liu, Last modified 22 March 2011, http://www.slashgear.com/traffic- intersection-powered-by-footsteps-concept-22141875.html.

2 “Georgia Tech’s Self-Charging Piezoelectric Power Cell Can Harvest 5x More Engergy From Footsteps,” Timon Singh, Inhabitat, Last modified 2014, http://inhabitat.com/georgia-techs-self-charging-piezoelectric-power-cell-can-harvest-five-times-more-energy-from- footsteps/

3 Group member Liheng Qu, Digital Models for Fabrication, 2014.

4 Group member Liheng Qu, Joint, 2014.

C.3 REFERENCES

1-3 Group member Liheng Qu, Various Model Photographs, photograph.

C.4 REFERENCES

1 Xiaotong Gao, “Vibration and Flow Energy Harvesting using Piezoelectric” (PhD., Drexel University, 2011)

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END

C.R PART C REFERENCING

Tony Yu - AIR 2014

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