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SDESIGN STUDIO AIR

JOURNAL

TABLE OF CONTENTS

Introduction

Part A. Conceptualisation

Part B. Criteria Design

Part C. Detailed Design

References

02 - 03

04 - 15

15 - 36

69 - 71

05 - 08

17 - 18

09 - 11

19 - 20

A.1 Design Futuring

B.1 First Case Study

C.1 Design Concept

B.5 Technique: Prototypes

C.5 Learning Objectives and Outcomes

A.2 Design Computation

B.2 Second Case Study

C.2 Tectonic Elements

B.6 Technique: Proposal

A.3 Composition and Generation

B.3 Reverse Engineering

C.3 Final Model

B.7 Learning Objectives and Outcomes

A.4 Conclusion

B.4 Technique: Development

C.4 Additional LAGI Brief Requirements

A.5 Learning Outcomes

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30 - 35

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41 - 56

57 - 64

65 - 67

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INTRODUCTIONI’m always up for trying new activities.Except bungee jumping. And anything to do with spiders. My other main hobbies are photography and reading.

It was through my travels as a child that I discovered my interest in architecture. We would regularly go away for a few days or a week somewhere in Europe and end up visiting multiple middle-age castles and wandering through the historical cities. My parents would always lose me in the rooms where the architectural drawings were displayed.

My name is Rhiannon. I am a third year student at the University of Melbourne, majoring in Architecture. I was born in England, however I only lived there for four short years. I grew up in Belgium, which I now consider my home. I was educated in French. I also speak Spanish and Dutch.

I have a deep love for travel, I thoroughly enjoy learning about other cultures by visiting their cities and getting lost in unknown places. I also love being able to meet new people, trying new foods and.

Or if I went looking for secret passageways.

When I got a bit older we travelled further abroad, where I got to be in contact with cultures and architecture that were fundamentally different to what I’d previously been exposed to. I found it exciting to witness how people lived differently and how their ways of life were reflected through their buildings.

Finally, it was due to a year’s volunteer program with an NGO called “Le Défi Belgique-Afrique” that I decided to study architecture. We spent a year meeting up regularly on week-ends and having discussion where people would come and talk to us about their living conditions in Africa. We covered topics such as the woman’s situation, woman’s health, children’s health, education, the economy, how Europe is portrayed to them, how they give up everything to go to countries such as Belgium and then endup with nothing when they get there...

The year ended with a three week trip to Burkina Faso where we got to meet the locals and work together in planting trees to fight the advancing desert, go teach in schools and live the simple life. When I came back from that trip, the western civilisation seemed so rich, wasteful, complicated, unhappy. That’s when I decided I wanted to do something that could influence people’s lives. However I did not see myself as capable of being a doctor or a teacher. I eventually remembered my love for architecture and decided it was the right choice for me.

My only experience with digital design is Virtual Environments in first year, where we were required to create a lantern using Rhino. Although I found it hard at first to get my head around the computer program and the commands, I did enjoy being able to create something digitally. I found it amazing how you could modify their design in ways that you wouldn’t necessarily imagine if you restricted yourself to designing by hand. The best part for me was definitely being able to print out the model and build it. The joints were so crisp and clear, it all fit together perfectly, giving the lantern a real astonishing finish.

PART ACONCEPTUALISATION

“Conceptualization begins to determine WHAT is to be built [...] and HOW it will be built.”1

A.1 DESIGN FUTURING

“Design Futuring - Sustainability, Ethics and New Practice” by Tony Fry (2008).

‘Problems cannot be resolved unless they are confronted and if they are to be solved it will not be by chance but by design.’We have to ask ourselves how we are going to solve the problems of the future through design. We want freedom. We want a future. Therefore we need the ability to sustain ourselves, to provide for ourselves. We currently are living in an unsustainable way; nature alone cannot sustain us.Design futuring is a new design intelligence. We can no longer maintain the ideal that people have a power of deciding how they want to live and changing their environment to accomplish it. We need to look at our environment and live accordingly by making critical decisions. We cannot afford to reduce design to its aesthetical facet.

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Power Bubble is a design that uses two types of renewable energy: the sun and the gasses emitted by landfill (principally methane).Power Bubble is a live system that is continuously changing. It reacts to the quantity of gas released as well as the amount of sun captured by the solar panels. This makes it interesting for visitors and can entice them to visit multiple times. Additionally, the bubbles are alight at night time.

Solar panel technology is used to convert solar energy into electrical energy in an efficient way.In addition to this, the methane is collected and turned into energy or used for boilers. If methane is let into the atmosphere it can be harmful, however reusing it can be very beneficial for the environment.

A1.01

The Swirling Water Park is a design that is based on water vortexes.The description of the design is unclear as to how the park would function fully but it mentions that there are vortex machines, swirling large volumes of water around creating water motion. This can then be used as a river or for water

slides. The tops of these machines can be used as bird nests which is good for the biodiversity of the site.

If the energy created by these water vortexes could be harnessed and turned into electricity, the water park would not only be providing its own energy but

supplying energy that can be stored on the grid.

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Pavegan are a company that create energy harvesting tiles that are activated by footfall. This means that every step that lands on a tile produces energy, 8W to be exact. The energy collected by the tiles can be used immediately or stored for future use.The tiles are most effective in areas where many people will be walking as it is each step that creates energy.The tiles are made of rubber and recycled

materials. They can be placed in already completed floorings or made especially for a particular project or design.The slabs are durable and created to resist harsh weather conditions. They are therefore functional outdoors as well as indoors.The drawback is that the tiles do not provide a very large amount of energy, not enough to power a city for example.

Various case studies have already been conducted with the tiles. In 2013, the annual marathon in Paris had a sectionof the track covered in the tiles. 40.000 runners then ran across them collecting only enough energy to power a light bulb for five days5.The tiles were also used in Sydney6, in the Westfield shopping centre. The tiles permitted the Christmas tree lights to be lit uniquely through kinetic energy.

A1.03KINETIC ENERGY (PAVEGEN HARVESTING TILES4)

“Theories of the digital in architecture” by Rivka and Robert Oxman (2014).

In digital design it is performance that dictates form an permits architecture to respond to its environment.Digital architecture is a direct produce of digital design. Through the use of parametrics, one can modify the outcome of a design as a whole by changing its individual parts.

“Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design” by Kalay, Yehuda E.(2004).

When designing it is important to identify ALL the elements of a problem.Each step of the design must be re-evaluated as to whether it is solving the problem.

A.2 DESIGN COMPUTATION

The Sagrada Familia is a basilica situated in Barcelona, Spain. It was designed by Antoni Gaudi in 1882 and is an example of Catalan Modernism.The design of the building permits stone to appear as an organic and fluid structure.

However, the building is not yet completed. Today, Gaudi's work is continued by new architects who are using digital programs to visualise the final outcome of the temple. This permits more people to understand the complex geometries and organic forms of the building. Additionally, a video was recently created to show the world what the Sagrada Familia will potentially look like once complete7.

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Francois Roche’s house ‘Lost in Paris’ is all about a modern vision of nature. A nature that is created by humans and upon which we depend. Lost in Paris develops a type of ecological architecture through which technology is intertwined. The facade is overrun by plants turning it into a green monster. The objective of the house was to create a design that was great mechanically whilst being completely swamped by nature8. Bacteria is grown on the facade that kills the surrounding plants9.

Fancois Roche has been using computers to design since the first programs came out in 1995. The appeal was being able to metamorphose the design progressively, building upon the design.

Francois Roche specializes in architecture that flows, where the individual parts form a whole and are indistinguishable from one another9.

A2.02A2.02IT’S IN YOU NATURE, I’M LOST IN PARISIT’S IN YOU NATURE, I’M LOST IN PARIS

“Computation Works: The Building of Algorithmic Thought” by Brady Peters (2013).

Computational design is more that just creating fancy 3D models. It extracts the essence of architecture. It permits new design possibilities to be explored and performance to be simulated.Computation is not to be confused with computerisation. Where the later is simply putting a completed design into digital form computation is the process of design itself. It allows flexibility, permits the architect to push the boundaries and generate something complex. It also lets the designer predict how the final product will interact with users. Computation is also useful once the building is complete to update how the building evolves and changes according to feedback from users.

Definition of “Algorithm” in the MIT Encyclopedia of the Cognitive Sciences (1999).

An algorithm is made up of a finite set of rules that are clear and simple to follow applied to a set of ‘objects’ and is always computable.

A.3 COMPOSITION AND GENERATION

The cultural centre in Taiwan, also known as the Swallows Nest, was designed by Vincent Callebaut. The project tries to incorporate ecological and modern living into the building design.

The building incorporates photovoltaics for energy production. The environment of the building was taken into consideration as it is protected against earthquakes and typhoons.Its objective is to be a zero carbon emission building10.

Computational design was used to create this project. The complex geometry of the structure is produced by the continuous repetition of simple parameters11.The complexity of the design could not have been produced as effectively without the use of digital software to solve the algorithm necessary.

A3.01

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Elena Manferdini uses digital design to explore tectonics. She believes it is important to understand architecture as a whole but also as a sum of all its individual parts.Elena Manferdini has a particular interest in lace as there is a close interaction between the openings between the lace and the lace itself.

Atelier Manferdini appreciates digital design and is currently researching computer-aided design. Digitalization permits designs to be more subtle12.

The image on the left depicts a SCI-Arc Gallery installation that was about the investigation of the intricacies of lace making from 2008.

The image on the right is an image of the Malpensa Airport entry competition for Milan. The roof is formed by the repetition of the same form connected together13.

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To conclude part A. Conceptualization, it is important in a modern world to create architecture that is sustainable and that responds to its environment. It is vital to produce an architecture that is capable of adapting itself depending on the users and how different factors change over time. For this to be possible, the architect has to attempt to predict the different uses and how the building will age.

The architect can be aided at the designing stage by computation. Digital design permits the architect to push his or her known boundaries and to play around with the form of the building in a way that was not possible simply by drawing. The form of the building should now be determined by the use, environment and purpose of the building. The design process is starting from the other end.

Digital design also permits the designer to produce something that is a lot more fluid and flexible than if they were tackling the process manually.

Digital design does not only permit you to predict how the building will interact with its users but it can then be continued to be used once the building is occupied to see how the building evolves.

I now have a much better understanding of why digital design is used. At the start of the assignment I would have said I much preferred the manual development of design because it gives a more human feel to the design. I have now learned that computation can help produce designs that are more efficient and responsive to their environment.

I have also learnt that scary words such as parametric and algorithm aren’t actually that frightening and are actually very useful tools in making a complicated design starting with simple geometries.

A.4 CONCLUSION

A.5 LEARNING OUTCOMES

PART BCRITERIA DESIGN

B.1 FIRST CASE STUDYT

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Tessellation - when a surfaces is clad by a repetition of a geometric shape without any gaps or overlaps.

‘Voussoir Cloud’ by IwamotoScott14

Voussoir Cloud is a structure formed by a series of vaults and columns patterned with a Dalaunay Tessellation. Laminated wood is folded into individually shaped ‘petals’, which have been specifically calculated through computerisation in order for them to all fit perfectly together and create the overall form.

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Double Agent White is a structure composed of nine spheres that intersect each other. Computational design is used to create a complicated relationship between the pattern existing on the surface and the curvature of each sphere. This relation permits a small number of components to give freedom of shape and morphology.

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Strips and Folding - when a panels are used to clad a surface.

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The first step of the reverse engineering was to create a sphere.We then created multiple spheres and connected them together to create the base form of the Voussoir Cloud. By using the solid union command we could make it so that each sphere intersected its neighbor.

In order for the form to have a flat base we used a box to trim off the bottom of the brep.

B.3 REVERSE ENGINEERING

We then wanted to create patterns on the surface of the design. We tried dividing it into points and from there we tried using arc tool however the arcs just hung vertically around the curved surface. We then tried applying a triangular pattern to the surface and culling it so as to randomly remove sections. These solutions however were unsuccessful as they did not create random flat patterns on the surface of the spheres.

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25: Circles

A funky design created through the lofting of circles between the two offset layers of our Brep shape. The circles intersect creating a nice pattern on the surface. We have yet to decide how this could potentially renew energy, however it is extremely sculptural. Its sculptural nature is defined by the delicateness which the circles create.

43: Layering

Here, a feathering of layering is created. This design was selected for its delicacy and flexiblity. A possible direction would be using the petal-le layers to blow in the wind and create wind-energy. Another option would be to use magnetism to create a field as moveable parts draw near to each other.

19: Cones

This design was chosen for its point of difference in relation to our other examples in the matrix. Using a cone input we were able to move away from a spherical shape. A dynamic design was created through the intersection of these different cones. With further exploration of this design we believe that it has potential to be an interactive and sculptural from as dictated by the brief. We could perhaps make use of its pointed form when connecting it to our energy renewing. Many of the past years examples used a portion of the energy created to allow the structure to do something, usually in relation to light. We could make the tips of the cones light up when a certain amount of energy has been created. Another idea to explore is the possibility of the sides of the cone flattening and then rising throughout the day due to the magnetic force somehow created by site users. This will be further explored through prototyping.

33: Contours

Using contours with an attractor input for the distance between them an interesting form was created. It is extremely spherical, however the patterns created by the contour is of interest to us. Perhaps we could have disks on an axis, shaped like each contour, which move. As they move and bang into one another they could help to create the magnetic energy which we are trying to create.

28: Onion shape

An explosive design with lines protruding from a central sphere was created through a map-to-surface input. The shape created is unique and different; we find it extremely interesting and see lots of potential for further interpolation. The central sphere could be a gathering area for the site, the protruding elements a sculptural design. This would allow users to contemplate the design from within it. Possibly the design could be even more user friendly by allowing it to be climbed. A design such as this one would also allow us to cover a large amount of the site, which itself is actually quite large. The design could be turned on its side or created upright. This flexibility is appealing as it promotes further exploration.

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Prototype 1

This prototype explores the basic form that we have created in Grasshopper and Rhino. It also tests the interaction between spheres and how it would be possible to change the number of components in the overall form. This iteratative prototype is organic, which creates a soft and relaxed form. It would be an interesting paradigm change have an energy source that is delicate in form as opposed to a machine with harsh edges. Here we employed flexible twigs to wrap around a central spherical space. This natural material would be easily available at the LAGI site in Denmark, as Scandanavia is famous for its timber.

Prototype 2

In order to emulate the softness and delicacy of the form obtained in our explorations, we used black tissue paper. If this option were to be further explored

however, other possibilities would have to be explored. Thin slices of wood could be used to construct an incredibly beautiful piece. Other options could include using canvas or another waterproof material. An exciting possibility could be to use rubbish and junk from the surrounding waterways to create a space that produces energy and awareness of litter in the sea. This installation could be added to by people who use the site - in a way, a type of community art project.

Two different materials were tested in the creation of this prototype. Firstly a normal paper one, followed by a thicker card. Whilst the thicker card was a more durable and better looking outcome, with the thinner paper I was able to weave the strands into one another to create the form at the top. Both were made in the same fashion, by strips of paper being cut from the edge to the outline of a circle. Due to the issue with sticking the strips together at the top of cone we began think about incorporating the renewing of energy and making the design more user friendly. Perhaps we could design a moving structure where the strips folded down and up during the day dependant on certain factors.

Prototype 3

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Prototype 4

The central sphere in this design, we imagine, would be a gathering area for the site. The area would most likely need to be enlarged. With a rough site cut out (not to scale) we randomly created a nest pattern around the sphere roughly copying the grasshopper prototype we created. However, we turned the grasshopper design on its side when creating this prototype as we felt it would fit the brief better. The point of interest in this prototype is the large footprint of it. By using a random scattered pattern and perhaps increasing the number of domes around the site, most of the site could be incorporated into the design.

B.6 TECHNIQUE PROPOSAL

We decided to try and develop 33- Contours. For this we followed the principle form the AA Driftwood tutorial. We used our baked sphere as a brep and then used one of the inner contours to be offset and extruded vertically.

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We then created a physical model of the prototype, successfully creating the curved surface of the design. This design would potentially have worked with the vortex power we were originally considering using,

however in the harbour context of the site we feel this does not work.

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We developed 28- Onion Shape digitally and with a physical model. We populated a surface with points and created arcs between those points. There is a sphere at the centre that trims any arcs passing through it.

We developed 28- Onion Shape digitally and with a physical model. We populated a surface with points and created arcs between those points. There is a sphere at the centre that trims any arcs passing through it.

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For our final digital model we decided to fully move away from the spheres that were restricting us so much in the previous proposals. This design was created in Grasshopper using field attractors within a set box boundary. We then piped the lines so as to give them a thickness.

Due to the small nature of the elements of the design we decided that using the 3D printer would be the most efficient way of bringing the structure into the physical world. Some of the members were too slender and/or cantilevered too far out and therefore broke as they could not support their own weight. This issue needs to be address for the next part of the designing process.

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Winter Bath at Island Brygge

by BIG18

Situated in Copenhagen Harbour, just up stream from where the LAGI site is, the Winter Bath project can be found. The wooden deck is elevated over the harbour and permits users of the thermal baths and saunas to look out across the water.

Public baths have been important cultural places for centuries. This tradition continues to exist strongly today in Scandinavia (and other countries in the world too, but we are focusing on Denmark). The Scandinavians celebrate taking care of their bodies and embrace the water, all year round16. Public baths are usually highly ornamented and luxurious buildings. This shows the importance of the buildings17.

The LAGI competition brief states that the designs should permit users to engage with the project.We wanted our sculpture to produce the hot water for public baths, pools and saunas, situated in the cavity spaces of the structure. This permits the people to be completely emerged and at one with the project whilst also benefitting from the infrastructure.

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Tubular Solar Panels19

Concerning the choice of technology to use to produce energy on the site, we originally were planning on using hydraulics and vortex power. However this technology requires more current force than is available to us in Copenhagen Harbour and therefore is not suitable for the project in this site.

We therefore researched different possibilities that could function well with the design we have generated so far.We wanted something that could generate energy but we were still interested in staying connected with the water.

We found something called ‘Tubular Solar Panels’. This was perfect for our design in multiple ways. Firstly our structure is created by the curving of pipes and therefore the tubular form of these solar panels can happily be integrated into the design. Secondly, this technology creates electricity efficiently through the use of solar panels that are simply curved round. As they are circular, there is always a face of the tube perpendicular to the sun. Additionally, the photovoltaics can create electricity from the diffuse and reflected sun light from the site.Finally, as a by-product these tubes produce hot water. It is natural for solar panels to heat up in the sun and this diminishes their efficiency.

By passing water through tubes located in its centre, this excess heat is collected by the liquid, which is in turn being heated up.

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This diagram shows that we plan on using water from the harbour to be pumped around the tubular solar panels in order to cool them and optimize the energy production for the grid whilst also providing hot water for public baths included in the design.

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DIFFUSE AND REFLECTED SUNLIGHT

Tubular Solar Panels, being curved, are always perpendicular to the sun which optimizes energy production, as well as being able to use reflected photons. Water is pumped through the centre to cool the photovoltaics.

As the site is situated in a harbour it is important to consider the direction of the current: as the water enters and later exits the bay, pumping direction will have to be inversed.

B.7 FEEDBACK AND LEARNING OUTCOMESFe

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In order to go forward with our proposal we need to look more into the technology and work out how much energy will actually be produced and if there will be enough to heat up water for thermal baths. We also need to make sure our structure can support itself, without losing the overall feel of our design proposal.

This part of semester has been very hard for me. I find it extremely difficult to just ‘play around and have fun’ with the computer program. I get stuck on what I want it to do instead of trying to find what it can do for me. Luckily my group mates have been exceptional in helping me with this and have been very patient with my slow progress.

However, once we decided to break away from trying to get a pattern on those nine spheres, things were a lot more interesting as we had more freedom to explore more paths. And from that we were able to create an interesting design to propose. This then made us reevaluate the kind of energy to use for out project as vortex power was no longer an option and we discovered tubular solar panels which I find quite exciting as a concept. We then chose to use the 3D printer to

bring the design into the physical world. This was a first for me and I think its amazing the technology we have at our disposition.

PART CDETAILED DESIGN

PART CDETAILED DESIGN

C.1 DESIGN CONCEPTSO

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The LAGI contest site where the design is proposed to be situated is highlighted in blue in the two site images.

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Hybrid Tubular Solar Panels are a new age technology. They are still experimental however they were chosen as they are able to produce energy from solar power more efficiently due to its ability to heat water. Regular PV’s operate at a 20% efficiency rate and tend to stop producing energy efficiently after they have reached a certain temperature, typically 77degrees Celsius. The advantage of using the hybrid tubular system is its ability to cool itself down to continue to produce peak amounts of electricity. The water which flows through the vacuum tubes within the larger tube cools the tube down through transferring the heat to the water19. This water willthen heat the water of our spa’s.

The ideal temperature of a hot spring according to Peninsular Hot springs is 50 degrees20. The panels however can achieve temperature of 120 degrees Celcius and therefore the hot water will have to be continually mixed with cold water from the bay or mains. The water running through the tubes will be drawn from the bay and then released back into the bay. There could also be an issue with the salt in the water in the bay. For this reason it may need to be filtered.

Copenhagen has onaverage 18 hours ofsunlight in the summerand 7hours in thewinter. This gives anannual solar resourceof 975kWh per sq maccording to Gasmia21.

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In the ancient Nordic Cultureof Scandinavia when valuedpeople in society died theirgraves were marked with aburial stone22. This stone wasporous in texture and wereoften in scripted with runicelements on one side. Thistype of rock could be referencedin our design to tie it into theScandinavian culture.The porous material is deemedmore suited to our design dueto the exfoliating nature of it.Basalt is an example of porousrock which would be used.

We looked into this precedence when investigating how to connect our tubes together. In this precedence there are steel poles inside the glass tubes, a techinique we would like to replicate in our design so as to provide structural stability.

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87 hoops with a total of 3654 solar panels, producing 2996280kWh per year

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51 hoops with a total of 2141 solar panels, producing 1756440KWh per year.

This is the design we chose to print a model of using hte 3D printer.

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27 hoops with a total of 1134 solar panels, producing 929880KWh per year.

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We felt that our design had lost some of its emotiveness and fluidity and therefore decide to continue editing the graph in the algorithm in order to have a more dynamic and organic design.

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We continued editing the graph in order for the pipes to flow around the site and loop around each other. However this design was too fragile and loopy to be printed and was not a viable solution.

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We modified the previous design by reducing the multiplication in the graph and therefore making the design less curvacious and dramatic, providing a more viable design.

This is the design that we are submitting as our final project.

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Prototyping with glow sticks to see how the design would look at night. We also got a clearer idea of what the central connection would look like.

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We prototyped a 1:2 scale of the tubular solarpanel so as to visualize the technology and get a feel

for the size of them, they are muchthinner than we had anticipated.

Our original design turned into a prototype where we learned that the cantilevered nature of the design would need more support.

This was out interim design. We felt it lost a lot of its emotiveness and fluidity and resembled cages too much. It was structurally more viable than the precedent design.

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Prototyping the experiential feel of the baths on a larger scale (1:50)

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We attempted to have a single bath and its tubular wolar panel overhangs 3D printed however the design was too fragile to come to completion. We assume that our strudture would be able to hold itself up in real life as the middle would be made of structural steel, onto which the solar panels are wrapped.

C.4 ADDITIONAL LAGI BRIEF REQUIREMENTS

Sol Lagune is an exciting new project that we are passionate about and would like to present to you for submission to the LAGI competition. We wanted to create a design that would not only generate readily available energy to be used by the city of Copenhagen but also provide a place of community and opulence that could be used by everyone. We started by deciding that the design should have an organic, emotive form. We also wanted to make us of the sites location by using the bay water. We were able to combine those two desires once we discovered an interesting break-through technology called tubular-photovoltaic panels. The concept of the technology is a cogeneration system. This means there are two interacting systems. Firstly there are glass tubes of 120mm in diameter. These house silicon photovoltaic panels that curve around the inside of the tube.

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Secondly, situated behind the solar panels, are 50mm diameter glass pipes with water running through them. This whole system optimises the energy production due to four factors: (1) the curved surface focuses the light onto the photovoltaic panel. (2) The fact it is curved means that the panels are always perpendicular to the sun and therefore are always able to collect photons. (3) The curved shape permits the panels to collect diffuse and reflected light to create energy. (4) Cooling down the panels by having the water run behind them collecting excess heat. Indeed, it is normal for photovoltaic panels to heat up during the day, however this diminishes their efficiency.

In addition to this, the system provides a free source of hot water. This water can reach up to 120°C. We plan on using this free hot water for our public baths which will be incorporated into the design, situated amongst each collection of tubes producing energy. 120°C is clearly too hot for people to be able to bathe in comfortably so we plan on having a mixer regulating the temperature of the baths. The final aspect of the design will be to have the panels glow in the dark at night by using carbon nanotubes photonic crystals that collect photons from a broader spectrum of light wavelengths than common photovoltaic cells.

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Our design started out as an assembly of spheres with holes punctured in them, however we quickly moved away from this idea in order to make a more sculptural and free structure. The result was a large mess of pipes curling up, over and around the site as if they had a life of their own. Although we enjoyed the fluidity present in this design, it was not structurally viable.

We therefore continued to push our algorithm. At this stage the design consisted of a collection of 51 steel hoops set 9m in the air and located randomly over the site. It is from these hoops that the tubes containing the photovoltaic panels and water tubes spring out like waterfalls, hitting the stone base into which the baths are carved. There are 9 tubes per hoop, however 2 of these are structural and therefore made of steel. It is through these 2 pillars that the energy will be collected and directed to the grid.(see image below)

We then decided that this design was still not structurally viable and had lost part of its emotive fluidity from the previous design. Our current and final design is a combination of the two other designs, most of the tubes connect into hoops whilst there are still free-flowing pipes covering the site. This permits the tubes to all be at different altitudes. We have also added a steel section to the tubes so as to increase their strength and permit them to support themselves.

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Annual energy productionIn Denmark, a normal panel produces on average 100KWh/m². Tubular produces 45% more which is 145KWh/m² (annually). The panels are 1.5m long, and fit into 120mm diameter tube, and therefore have a perimeter of 377mm or 3.77m. To conclude, the area of the panel is 5.66m².Each panel produces 145*5.66 = 820KWh per year.

Our design: 51 hoops with seven tubes. Each tube is nine meter long and divided into 1.5m long sections of solar panels, so there are 6 panels per tube. There is therefore a total of 2141 panels over the site.Each panel produces 820KWh, so the site produces 1756440 KWh per annum.

Optimisation:a) 27 hoops with a total number of panels equalling 1134 and producing 929880 KWh per annum.b) 87 hoops with a total number of panels equalling 3654 and producing 2996280 KWh per annum.

It is obvisous that more panels technically produce more energy, however they also create more shade and will therefore block neighbouring panels reducing the amount of energy being produced. We decided to go with the middle option as it did not over-crowd the site, permitted easy access to the site and did not feel like we were locking the bath users into bird cages.

Dimensions and list of primary materials used in project.

Site covered in granite and carved out for baths. Site is +/- 54000m².Pipes: - glass tubes 120 mm diameter, 3213 m long- silicon solar panels, 3213 m long- glass water pipes 50 mm diameter, 3213 m long- structural steel legs 120 mm diameter, 918 m long- structural steel interior tubes around glass water pipes 70mm diameter, 3213 m long

Environmental impact statementSol Lagune aims to have a long-term positive impact on the site environment in Copenhagen. Solar energy is a clean and renewable energy source. Use of Solar Tubular panels allows for a greater energy production in comparison to normal flat PV panels. The 45% higher production rate is due to the tubular nature of the panel which also produces energy from refracted and reflected light. This will allow Sol Lagune to produce up to 1756.44MWh per annum as each panel produces 820Kwh per annum. Most of this energy will be sent to the grid to power Copenhagen; however a small amount of this energy, less than 1 percent, will be used to light the structure up. This would happen every night for about 4 hours. We imagine that the embodied energy for the production of these panels would be high. However, due to the high efficiency of them we believe that after a relatively short period of time energy production on the site will outweigh embodied energy. Furthermore we aim to have a positive impact on the people visiting the site and help them to understand the need and process of renewable energy. Solar energy production is familiar; therefore Sol Lagune may promote the people of Copenhagen to continue solar energy production on a residential scale.

C.5 LEARNING OBJECTIVES AND OUTCOMES

An accurate depiction of how I feel right now

Sol Lagune responds to the brief as it is a sculptural design that creates energy whilst providing a place where people can come and interact with the site and be in close proximity to energy generation. It also relates to the Scandinavian tradition of public bathing.During this process we generated a large number of different designs. We were not afraid of completely changing a design if it was unpractical, too simple, structurally unviable or aesthetically unpleasing.

Therefore our design has come a long way from the simple congegration of empty spheres we started with. We produced prototypes at each stage of the progress using different media. We hand modeled, used real life items, made use of the 3D powder and plastic printer, the Card cutter and the CNC router. This permitted us to grasp the complecations that digital design can impose umpon us. Indeed, just because a design works on screen does not mean that it is feasable in real life.

This forced us to reconsider our design on many occasions as it often looked cool but would not be possible in the physical world.In addition to this we were faced with the challenge of applying an existing technology to our design which dictates the size of members, which were a lot more slender than anticipated. This caused problems structurally. Trying to add in structural members whilst keeping the weightless aspect of the design was not simple.

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15. Escobedo, Jessica. “Double Agent White in Series of Prototypical Architectures / Theverymany”. 28 Jul 2012. eVolo. <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/> [accessed 11 April 2014].

16. Lee Braun, Margaret. “The Public Baths of Copenhagen”. April 2001. BudgetTravel. <http://www.budgettravel.com/feature/0103_Copenhagen_Baths,428/?page=2> [accessed 30 April 2014].

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19. Emspak, Jess. “ALTERNATIVE POWER SOURCES - Tubular Solar Panels Create Electricity, Hot Water”. 11 April 2012. <http://news.discovery.com/tech/alternative-power-sources/naked-energy-tubular-solar-120411.htm> [accessed 1st May 2014].

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