rena li 583008 air final journal

AIR | JOURNAL RENA LI 5830082014|S1

ABOUT ME

My name is Rena, studying bachelor of environ-ment (major in architecture) in The University of Melbourne. I am originated from Hong Kong and moved to Melbourne to continue tertiary study two years ago. I choose architecture as my major be-cause I think architecture is very COOL. The way of solving problems and the design outcome are fasci-nating. Also, I think architecture is something able to change peoples’ life, like improving peoples’ living standard. That’s why I am quite interested in archi-tecture for humanity. Hopefully by doing air studio, I can learn more about architecture and be inspired.

I did virtual environment two years ago. It required us to use rhino to design a lantern. Honestly, I think it is too hard for a year one student without any knowledge of architectural computer software and I didn’t think I have utilized rhino well in order to push the envelope for the design. So, doing air studio could be challenging but it could be rewarding. In the industry, it is essential to know how to use rhino and grasshopper well. Air studio is a good opportu-nity for us to master in rhino and it should quite fun since the design brief is very interesting. I look for-ward to this year design studio.

for the design. So, doing air studio could be chal-lenging but it could be rewarding. In the industry, it is essential to know how to use rhino and grass-hopper well. Air studio is a good opportunity for us to master in rhino and it should quite fun since the design brief is very interesting. I look forward to this year design studio.

In year one, I have done vritual enviroment, which involves using rhino to create a lantern. I found this interesting as how computer generates de-sign. Hopefully i can learn in the air studio.

PART A | CONCEPTUALIZATION

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We design a lot. We design in studio at uni, we de-sign what to eat at home and we design what to wear when we go out. All the situations above are designing for the present, how about for the future?

In the reading of Design Futuring, written by Fry, he talks about why and how to design for future. Nowadays, they are two main design theory: design culturally and economically and design something to deal with the environments. Latter one is about designing future. As human keeps on making even greater demand on the environments, we need to design with sustainability.

LAGI competition aims to implement sustainable design solutions by integrating art and interdisciplinary creative processes into the conception of renewable energy infrastructure. This is design futuring, designing something to deal with the environments. This could be challenging. In the past, we aim to create something aesthetically impressive or fulfil ambitious and crazy ideas.

DESIGN FUTURING For design futuring, apart from the aesthetic view, we need to consider the environmental impact thoroughly by integrating design into sustainable ideas. The whole way of designing has been changed. Using computational tools may help us to model and stimulate environmental impact on the design.

Tony Fry, ‘Introduction’, in Design Futuring: Sustainability, Ethics and New Practice, (Oxford: Berg, 2008), p. 1-10. Robert Ferry, Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, (2014).

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POWER PLAY!Despite of this, some energy generators look sculpturally elegant. I think using grasshopper could further develop the design ideas and make them more interesting.

Power play! Is a sculpturally stimulating and energy generating interactive kinetic-play space.4 The objective is to promote physical development andenvironmental energy generation. The design concept is to create a dynamic space for recreation use and can send energy back to the ground.

I think it is an interesting idea of inviting people to get involve in energy production. The overall concept isvery healthy and educational, but I doubt whether it works or not. The park needs to be special enough to attract people, which is very difficult. Peoples’behaviour needs to be taken account. And also, the park is made up of different pieces of energy generators scattering around. Individual pieces don’t have connection between one another, which make the design a bit confusing. Besides, we should try to make use of the site context, for example, having some energy generators follow the contour of the site. Otherwise, the energy generators could be put in any corners in the city.

REVIEW OF PAST YEAR LAGI ENTRIES

LAGI, ‘Power Play!’, (2012) <http://landartgenerator.org/LAGI-2012/PowrPlay/> [accessed 27 March 2014]

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THE BEAUTY OF RECYCLINGIn the design statement, they said the goal of the project is to avoid potentially endangering the existing engineered systems and infrastructure of the landfill. I appreciate their effort of considering the site context. For the upcoming project, the site context is important and it could change the design idea.

The beauty of recycling is a ”Twilight show” performed by solar energy collectors.5 The objective is to enforce the importance of recycling by creating solar energy collectors that not only harvest solar energy, but creates a spectacular light show during the twilight hours. The sphere-like collectors float on the surface of water, tethered to the riverbed by anchored pulleys. They collect sunlight in daytime and give out light at night for the twilight show.

I think the project looks aesthetically pleasing. The twilight show is quite attractive and I am sure it could attract people to go there once. However, is it good enough to bring out the message behind? People don’t know the project may think it is just a normal light show. And this kind of light show happens in lots of places, which the “Twilight show” nothing spectacular. This installation may be popular for first few months, but after that, It is likely to be abandoned as the site is quite far away from the city.

LAGI, ‘The Beauty of Recycling’, (2012) < http://landartgenerator.org/LAGI-2012/DE89B326/> [accessed 27 March 2014]

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HYDROSKIN

Architects of this project call it as meteorosensitive architecture. It responses to environmental changes, such as humidity, temperature and sunlight intensity. Normally responsiveness architecture is conceived as a technical function using myriad mechanical and electronic sensing, actuating and regulating devices. In contrast to this, the nature suggests a fundamentally different, no-tech strategy. The responsive system ingrained in the material itself, such venus flytrap. When an insect crawling around the leave contacts a hair, the trap closes. This project uses similar design strategies, responding to changes without using technical function.

The project explores the possibility of material. The pavilion’s envelope is an undulating skin with clus-ters of climate responsive apertures. Apertures re-spond to climate change. It adjusts the degree of openness and porosity, controlling the light trans-mission and permeability of the envelope. Using plywood as building material, change in moisture content in cells would alter the elasticity, which in turn controlling aperture. It is made possible with the use of computation.

Unlike other meterosensitive system, the pavilion is able to control and maintain an optimal climate by itself. This pushes the idea for future sustainabiltiy to a new level.

ArchDaily, ‘HygroSkin-Meteorosensitive Pavilion / Achim Menges Architect + Oliver David Krieg + Steffen Reichert’, (2013), < http://www.archdaily.com/424911/hygroskin-meteorosensitive-pavilion-achim-menges-architect-in-collabo-ration-with-oliver-david-krieg-and-steffen-reichert/> {accessed 26 March 2014]

Achim Menges Architect + Oliver David Krieg +Steffeb Reichert

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The design process evolves a lot due to the emerg-ing of computation technology. In the reading of Vitruvius Digitals, written by Rivka Oxman and Robert Oxmant, the relationship between computation and architecture has risen to a new era. Computation starts to get involved in design thinking and making.

New technologies encourage experiment on para-metric design. Professional units like Arup, has set up research units. Design demonstrating aesthetic and tectonic possibilities has been developed, such as Serpentine Pavilion by Toyo Ito. This is the era in ex-ploiting computation geometry. The first precedent study is Cleveland Medical Mart by LMN Architects. It will be discussed more in the precedent studies.

In less than 5 years, digital architecture developed into another era. Apart from computational geom-etry, people started looking into digital materiality. Using computation, material design has become part of the computation process. The nature pro-vides great inspiration. This cultural technological shift also reformed a strengthened creative collab-orative design relationship between the architects and engineers as union of design research.

DESIGN COMPUTATION

Rivka Oxman, Robert Oxman eds, ‘Introdcution’, in Theories of the Digital in Architecture, (London: New York: Routledge, 2014), p. 1-10.

How can it relate to design futuring? In one of my precedent studies, the Pavilion, it is responsive architecture. The aperture and material react to environmental changes. This make possible with the help of computational technology and digital fabrication. Digital architecture no longer stays in field of making impressive parametric design, it moves to create a sounder architecture with second nature. It is possible that in the future the building itself will adjust to environmental changes with the use of predesigned meterosensitive sys-tem.

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Cleveland Medical Mart (Med Mart) is extremely aggressive as there were only 8 months to complete pre-design, schematic design and design docu-ments, less than half of the normal construction period. With the help of tools like grasshopper, rhino and revit, their ambitious goal could be achieved.

LMN Architects wanted to develop a façade sys-tem with multiple layers of varied, unifying texture, legible from multiple scales. They started off using photoshop to change individual panels but it was not efficient enough. Grasshopper was used to solve the problem. They baked grasshopper surfaces onto rhino layers. They were able to explore iterations in short period of time. Final design was based on dif-ferent parameters.

They attempted to use precast concrete panel since it was cheap and fast in production. Manipulat-ing the surface texture of precast concrete panels could create interesting layers of façade. They had produced few design bases by playing with light. With limited time of execution, they sat up some ba-sic parameters (panel size, maximum texture depth) in grasshopper definition. Most of the concrete pan-els had different height.

This project is a good example of using computa-tion tool to realize ambitious design idea. Inputting basic parameters into grasshopper, such as size, width and height, lots of design options could be produced in short period of time. And design with complicated details could be realized. For LAGI competition, we could try to use surrounding data to set up grasshopper definition. Some interesting result may be happened. But before producing complicated design, it is necessary to have good knowledge of grasshopper.

LMN architects has a team responsible of com-putation tool development. Some of their work explore the possibiltiy of computation tools, such as exploring the acoustic reflective facade and fabrication.

CLEVELAND MEDICAL MART

LMNts, ‘Med Mart’, (2011).< http://lmnts.lmnarchitects.com/parametrics/mm-intro/> [accessed 27 March 2014]

LMNts

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The project for the Brooklyn Centre for Digital Centre was designed by architect Tobias Eglear. He used parametric and scripting methods to generate de-sign.

This project is based on the analysis of folding surfac-es in nature such as tree leaves, insects and tecton-ics. It also draws inspirations from origami to create form of the building and volume inside. He shows us how to utilize parametric design fully. He said folding is one of the processes to achieve stabil-ity. Folding is something can hardly be predicted. The form and volume created will be different by changing times of folding. Using rhinoscript, design options can be tested by altering parametric me-tres. People easily fall into the trap of predetermining the outcome. They want to use parametric models to achieve what they need, instead of exploring design option. It is not computation, it is just comput-erization.

I am not sure whether this project will be built or not but what makes this inspiring is the dialogue between the design concept and parametric modelling. Parametric modelling realizes the de-sign concept, and a good design concept can be brought into a new level by parametric mod-elling. For the LAGI project, hopefully a inspiring concept could be produced and be fulfilled by grasshopper.

THE BROOKLYN CENTRE

eVolo, ‘Origami-like Brooklyn Centre for Digital Creation’, (2010)<http://www.evolo.us/architecture/origami-like-brooklyn-center-for-digital-creation/ > [accessed 26 March 2014]

TOBIAS EGLEAR

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Shellstar pavilion was designed for an art and de-sign festival in Hong Kong. MATSYS used algorithmic approach to maximize its spatial performance while minimizing structure and material.

The temporary structure needed to be unique in ap-pearance so users would be attracted to it. MATSYS used a variety of parametric programs (grasshopepr, kanagaroo, python and lunchbox) to order to cre-ate a self-organizing system in six weeks.

Designers used vector to project planar surfaces bertically to form the intial the form. Surface optimi-zation was to ensure that the smaller planar form to wrap around the overall the structure. It was then sent for fabrication.

This project could be a good start point of think-ing about the LAGI design brief. It is aesthetically pleasing and acts as an architectural installation.

SHELLSTAR PAVILIONMATSYS

archh2o, ‘Shellstar pavilion’, (2013) <http://www.arch2o.com/shellstar-pavilion-matsys/> [accessed 10 June 2014]

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Computation redefines architecture. Architects could extend the abilities to deal with complex situations and generate complex order, form and structure. When architect has a basic design concept, further options can be developed through sketching by algorithm in programmes. They understand the results of generating code, learn how to change the code for new options, and discover more design potentials.

“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.”

We are moving from the era of computerizing to computing. Throughout history, architects use computer as a drawing tool to represent drawing, this is “computerizing”. However, with its increasing simulation capabilities, computer lets architects to predict and model how public engages with architecture in a more precise manner. Computation is not only representation, is about creation.

Computational tool is very powerful and it can go beyond designers’ intellect. However, as mentioned in the reading, we need to aware not to fall into trap of misusing tools. Some people are obsessed with the power of computational tool of creating amazing form. The design could end up with diverting from the real design objective and tools become creating something crafty instead of architectural.

COMPOSITION / GENERATION

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

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PROJECT DISTORTIONROYAL DANISH ACADEMY OF FINE ARTS & THE RENSSLEAR POLYTECHNIC INSTITUTE, NEW YORK

“Project Distortion” is parametric installation that mixes light, sound, space and infinity altered reflec-tions into fantastic reality.

It is a digitally fabricated and reconfigurable mobile pavilion. It is made up of individually tuned sound and light cones cut out from acoustic absorbing material. The structure is based on the behaviour of texiles. A physics engine was used to stimulate the behaviour of structures under different circumstanc-es. This was driven by parameters of space, acoustic performance and social interaction. The installation visited four music venues, each gave out distinctive experience. During the all-night parties, the structure with kaleidoscopic golden surface would reflect movement, light, sound and color.

The project is valuable as it truly speaks what is interactive architecture. Interactive architecture is something which allows people to engage in the installation, and have a unique experience. For LAGI project, if we want to make an interac-tive architecture, it is important it is able to attract people to engage in the design, instead of forc-ing them to interact with it. A intriguing form or a unique experience may be able to do it.

eVolo, ‘Project Distortion – Reality Altering Parametric Installation’, (2012)<http://www.evolo.us/architecture/project-distortion-reality-altering-parametric-installation/> [accessed 26 March 2014]

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PLAYGROUND IN BERLINMARYSOL KRAVIEZ & WU DIFENG

Playground in Berlin trully speaks what is paramet-ric design. It was designed by Marysol Kraviez and Wu Difeng under the tutorship at Dessau Institute of Architecture.

The objective is to create a space that dramatically affect the peoples’ perceptionm and implies anoth-er logic where there is no one fixed point.

The desginers created two shaes parametrically. The first shape changes from bumps to tentacles in a dynamic, soft and grdual way. Then, this shape is af-fected by another rhizometic one. This creates a ten-sion between two shapes and the ground, between tenacles and the existing surroudings.

By creating the tentacles that are flooding around, they blur the inhabitants perception as people inside will lose the sense of space. Users inside can interact with different elements of the design, and rediscover the relationship between the city and the them-selves.

This project sees parametric design in another aspect. Apart from creating something that look visually stiking, it also creates spaces with interest-ing elements. We see more potential given by parametric design.

archh2o, ‘Playground in Berlin’, (2013) <http://www.arch2o.com/playground-in-berlin-marysol-kraviez-wu-difeng/> [accessed 10 June 2014]

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BUSAN’S PEARL OPERASPAN ARCHITECTS

Busan opera house is designed by SPAN architects. The brief is to design a new cultural hub for perform-ing art, a new urban environment for connections and cultural exchange.

The design concept about the harnonious, contrast-ing image of historic heritage and innovative tech-nologies. They looked into classical precedents from Baroque period. The classical elements are replaced by organic compositions, curvillnear character and smooth oval surfaces.

Programmatic elements, parametric modeling and digital derivations determine the spatial allocation, circulation and transition through the ellpitical ele-ments of the interior. Visitors’ circulation is stimulated visually and physically through the implementation of parametric designed structure and walkways.

This project sees how parametric design applies to a building. From previous examples, parametric design applies to a pavilion or installation, or the facade of a building. They are more like a tempo-rary structure which does not the existing building types. This parametrically designed opera house fundamentally challenges the composition of a building. The spatial allocation, circulation and transition are determined by parametric tools, which differs from traditional approach. This could be an indicator on how parametric tools could be applied to building design Instead only making it visually awesome. it can also be spatially pleasing and a new experience.

archh2o, ‘Busan’s Pearl Opera’, (2013) <http://www.arch2o.com/busans-pearl-opera-span-architects/> [accessed 10 June 2014]

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Looking into precedents, they give me a better understanding of parametric modelling and design possibilities brought by them. Project Distortion inspires me a lot. It speaks what is interactive architecture. It is something I would to get engage in the project. A successful interactive architecture could present people a memorable experience and they may understand more about energy generator. The aim of the design is to create an interactive architecture that would provide an unique experience.

Computational tool is very powerful and it can go beyond designers’ intellect. However, as mentioned in the reading, we need to aware not to fall into trap of misusing tools. Some people are obsessed with the power of computational tool of creating amazing form. The design could end up with diverting from the real design objective and tools become creat-

CONCLUSIONIt is the first time that I really look into architectural computing and it is quite different from what I exptect. I thought architectural computing is drawing plans in a virtual environment and obviously it is not. Understanding the theory of architectural computing allows me to explore design possibilities with grasshopper. I would like to use this improve one of my past design. I used panelling tools of rhinoceros for this design. But I use rhinoceros to realize the design form in my mind instead of exploring new design options. If I can redo the assignment, I would like to set different parameters for the panelling tools and see how it looks like. crafty instead of architectural.

LEARNING OUTCOME

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REFERENCESA1 : Design futuring

Tony Fry, ‘Introduction’, in Design Futuring: Sustainability, Ethics and New Practice, (Oxford: Berg, 2008), p. 1-10. Robert Ferry, Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, (2014).

Power play: LAGI, ‘Power Play!’, (2012) <http://landartgenerator.org/LAGI-2012/PowrPlay/> [accessed 27 March 2014]

The Beauty of Recycling:LAGI, ‘The Beauty of Recycling’, (2012) < http://landartgenerator.org/LAGI-2012/DE89B326/> [accessed 27 March 2014]

Hydroskin: ArchDaily, ‘HygroSkin-Meteorosensitive Pavilion / Achim Menges Architect + Oliver David Krieg + Steffen Reichert’, (2013), < http://www.archdaily.com/424911/hygroskin-meteorosensitive-pavilion-achim-meng-es-architect-in-collaboration-with-oliver-david-krieg-and-steffen-reichert/> {accessed 26 March 2014]

A2: Design computation

Rivka Oxman, Robert Oxman eds, ‘Introdcution’, in Theories of the Digital in Architecture, (London: New York: Routledge, 2014), p. 1-10.

Med Mart: LMNts, ‘Med Mart’, (2011).< http://lmnts.lmnarchitects.com/parametrics/mm-intro/> [accessed 27 March 2014]

The Brookyln centre: eVolo, ‘Origami-like Brooklyn Centre for Digital Creation’, (2010)<http://www.evolo.us/architecture/origami-like-brooklyn-center-for-digital-creation/ > [accessed 26 March 2014]

Shellstar Pavilion: archh2o, ‘Shellstar pavilion’, (2013) <http://www.arch2o.com/shellstar-pavilion-matsys/> [accessed 10 June 2014]

A3: Composition / generation

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

Project distortion: eVolo, ‘Project Distortion – Reality Altering Parametric Installation’, (2012)<http://www.evolo.us/architecture/project-distortion-reality-altering-parametric-installation/> [accessed 26 March 2014]

Playground in Berlin: archh2o, ‘Playground in Berlin’, (2013) <http://www.arch2o.com/playground-in-berlin-marysol-kraviez-wu-difeng/> [accessed 10 June 2014]

Busan Pearl Opera: archh2o, ‘Busan’s Pearl Opera’, (2013) <http://www.arch2o.com/busans-pearl-opera-span-architects/> [accessed 10 June 2014]

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PART B | CRITERIA DESIGN

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GREEN VOIDLAVAGeometry provides the fundamental form of archi-tecture. From a single line to series of pattern, they all about geometries. Green Void by LAVA is a good example of showing the potential of geometry in installation. This sculpture is inspired by the relation-ship between man, nature and technology. This 3D lightweight sculpture is formed solely based on minimal surface tension, freely stretching between wall, ceiling and door. These is no attractive pattern-ing on the surface, but only the lightweight fabric design that follows the natural lines and surface ten-sion of the fabric,Using digital technology, the design shows a new way of digital outflow. It enables the generation of space out of a lightweight material that requires onsite minimal adjustments. The design is placed in Sydney Custom House, it shows intense visual contarst to the restored heritage interior of Custom House.

How can it apply to the LAGI energy generator?

The site of the LAGI project is located in Ref-shaleøen, Denmark. It used to be the home to shipyards. The abandoned house now becomes creative industries. Copenhell, a heavy music festival, was held there in 2013. All these activ-ies revived this historical site. The LAGI energy generator should be able to add interest to the site, like what Green Void did to Sydney Custom House. Its flexible sculptural form could be a start point of exploring the LAGI form. Also, the form of a flexible structure could be changed due to ex-ternal forces, such as wind and water. Users could have different spatial experience in the sculpture with changes in external forces. All this could be contributed to the LAGI energy genrator. Thus, the LAGI energy generator is not only an enery generator, but also an architectural sclupture with special architectural qualities.

LAGI, LAGI Competition 2014, <http://landartgenerator.org/competition2014.htm> [accessed 1 May 2014]Wikipedia, Refshaleøen, <http://en.wikipedia.org/wiki/Refshale%C3%B8en,_Copenhagen#Current_use>[accessed 1 May 2014]Archidaily, Green void lava, <http://www.archdaily.com/10233/green-void-lava/? [accessed 1 May 2014]

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GEOMETRY FORMATION

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Pipe surface Smooth meshRail revolution Oc-Tree

Radius : 8 Voronoi 2D Polar Array Branches

Cubic Mesh II Cubic Mesh IIICurve Loft Cylinder + Cube II

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How these iterations reflect selection criteria?

1st iteration: Its form fulfills the aesthetic criteria since the form is very unique. Spatial experience is pro-vided inside the tube.

2nd iteration: Its fluid and dynamic form would give lots of potentail to create interesting spatial experi-ence using kangaroo.

3rd iteration: It develops from a group of intercon-nected boxes. By relaxing the rigid components, special spatial quality is created inside the box. How-ever, the form is quite standard. Further develop-ment is possible to give more aesthetic appearance with reference to the rest iterations.

1. Form Fluidity / Dynamic

2. Spatial Quality

3. Aesthetical Quality

Design potential Our rough idea of the design is to how the ge-ometry of the form responds to the wind of the site. Kangaroo plug-in is helpful in relaxing rigid form, which in turn creates a more fluid, dynamic shape. In response to the pressure caused by wind, different spatial expereince inside the sculp-ture would be created. Also, the amount of wind entering the sculpture would be altered. Besides, a non-rigid geometry with smooth edges will pro-mote wind flow along the body of the strucutre. A irregular structure might be suitable in constrast to the regular shape of the site.

ITERATIONS ANALYSIS3 iterations are selected based based on following criteria.

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1 2

3

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The external parametric wall encloses the building. Parametric processes have been used to recreate the contours caused by the undualting nature of silk in the wind, which representa the sign of the past. The wall consists of small individual of concrete blocks. They are angled in a way to create an interesting fluid texture. Each of the indiviudals are rotated in some way to maximise the amount of light to get into the building.

Single module of the facade

Studies of wall facade under parametric approach

Archdaily, AU Ofiice and exhibition space, <http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/> [accessed 2 May 2014]

AU OFFICE AND EXHIBITION SPACEARCHI UNION ARCHITECTS INC

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Recreate the design using grasshopper

1. Create a series of points which forms the base of the geometry.

2. Connect points to form a curve and further divide it into segments. Then create lines in ver-tical direction and divide it up into segments again. A grid is created.

3. Form XY planes at the intersections of the grids

REVERSE ENGINEERING

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4. Arrange XY planes in different groups and create boxes on each plane.

5. Trim the boxes and merge them together.

6. Rotate the boxes in accordance to a vector.

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Final form

RESULT OF REVERSE ENGINEERING

The overall definition

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GEOMETRY PATTERNING VECTOR RELAXATION ANCHOR POINTS

Logic of developing iterations

Iterations are developed in accoradance to the logic above. For each step, we pick 2 with the most po-tential and carry them to next step and further develop with different focus.

Geometry means the surface where the boxes sit on. Patterning and vector are about the form and ar-rangement of boxes. Relaxation and anchor points play with the kangaroo plug-in.

DEVELOPMENT OF ITERATIONS

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GEOMETRY

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Planar surface Arc to vector 2 point

Arc tyoe 1 lofted surface Revolution

2 diverging lines with Arc SEDArc tyoe 2 lofted surface

Arc tyoe 3 lofted surface

Surface from a series of point

2 converging lines with Arc SED

2 similar lines with Arc SED

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PATTERNING

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Range (Domain 0.5-30)

Random (seed=50)

Scale to random (seed=50)

Dispatch (Height of boxes 1-10)

Dispatch (Height of boxes -10-10)

Range (Domain 0.5-30)

Random (seed=50)

Scale to random (seed=50)

Dispatch (Height of boxes 1-10)

Dispatch (Height of boxes -10-10)

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VECTOR

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RELAXATION

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rest length = 10

rest length = 30

rest length = 50

rest length = 70

rest length = 100

rest length = 10

rest length = 30

rest length = 50

rest length = 70

rest length = 100

50anchor points

ANCHOR POINTS

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ITERATION ANALYSIS

We tried to combine case 1 study and case 2 study by using kangaroo for the last 20 iterations. However, we found out that the outcome was not we expected. Using case study 1 as inspration, we wanted to design a flexible structure which would respond to wind force, and in turn create special spatial experi-ence to users. However, relaxing rigid boxes in case study 2 could not achieve what we want. That’s why for prototyping, instead of reproducing iterations, we decided to explore patterns and connections for paneling, in order to know more about the flexibiltiy of surface and hopefully can achieve what we are looking for.

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1st prototype: Using paper to create panel-like surface

Result: Not successful

Reason: Paper is too stiff for movement. Individual panels could not move as they were connected to one another.

PROTOTYPES

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2nd prototype: Using fabric for the structure, with arches at the end


Reason: Fabric is flexible enough to respond the wind. However, it is too soft to support even with the arches support at the end.

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3rd prototype: Sew at the corners to connect panels together


Reason: Good workmanship is needed of sewing the panels together which unfortunately we don’t have. Thus, panels did not respond very well under wind. Also, arches at the end restricted the movemen of panels.

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The first 3 prototypes focused on the overall form which did not give satisfied result. The following prototypes focused more on the connections among individual panels.

4nd prototype: Use tape at the corner of panels as connection, plastic film as panel material


Reason: Connecting at the corners restricted the movement of panels. Plastic film is too stiff for move-ment.

FURTHER PROTOTYPING

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Last prototype: Tape at the edges of panels, using thin plastic-like fabric for triangular panels

Result: Successful

Reason: Connection at edges allowed movement of indivduals. Thin plastic-like fabric is flexible for move-ment. Triangular panels enhance movement as the surface area is smaller.

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DESIGN PROPOSAL

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SITE ANALYSIS DESIGN INTENT PROPOSED DEISGN

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PROPOSED DEISGN

STRUCUTRE. MATERIALITY

STUDIES

ENERGY GENERATION

STUDY

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Wind studies

From the wind studies, it shows that normally wind comes from west and south-west direction. Range of wind speed is 4-21mph. Strongest wind occurs at wintertime.

Weatherspark, Kastrup, <https://weatherspark.com/averages/28823/Kastrup-near-Copenhagen-Capital-Region-of-Denmark> [ accessed 4 May 2014]

SITE ANALYSIS

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Site studies

Locating at the Refshaleøen of Copenhagen, a mixture of create companies, small craft, flea markets, storage facilities and cultoral recreational uses. Copenhell, a heavy metal music festival, was held in 2013. The site is very big, so the scale and position of design must be considered carefully.

Metalrules, Copenhell, <http://www.metal-rules.com/metalnews/2013/07/31/copenhell-festival-2013-refshaleoen-copenhagendenmark/> [acceseed 4 May 2014]

Wikipedia, Refshaleøen, <http://en.wikipedia.org/wiki/Refshale%C3%B8en,_Copenhagen> [ accessed 4 May 2014]

Google, Map, <https://www.google.com.au/maps/place/Revshaleoen/@55.695315,12.608392,2872m/data=!3m1!1e3!4m2!3m1!1s0x465252cfdfb201ab:0x3d9f3ed3ecb2c5d5> [ accessed 4 May 2014]

Map of the site

Storage facilities Copenhell

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DESIGN INTENT

The design responds to wind like how the inflatable man does.

Special spatial experience in the design. People can feel the power of wind.

Reflect the wind pattern. Revive the site like what Copenhell and other festivals did.

Wayad, Inflatable faq, <http://www.wavyads.com/advertising-inflatables-faq.php> [accessed 4 May 2014]

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PROPOSED ALGORITHMIC DESIGN

The design follows the principle of Decrease the radius of the tunnel, will give a more intense expereince when the density of wind increaes. Using randon command in grass-hopper, it gives a dynamic inorganic form.

Algorithmic definition of propsoed design

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PROPOSED DESIGN

At the east and north east of the site, some tall buildings are located. They may block the wind approach-ing the site. Thus, few tubes are removed. Also, the design is rotated in accordance the wind direction. The tube with the smallest radius is not facing south west directly, so the wind would hit on the facade of the tube.

Site plan

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DIGITAL PROTOTYPE

Plan view

Perspective view

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Perspective view 2

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PHYSICAL PROTOTYPE

After making the physic prototype, we realized the triangular panels are too big. Thus, we made an extra prototype to illustrate the facade.

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ARCHITECTURAL QUALITYUsing kangaroo plug-in, the architectural quality inside the tube can be visualized. Moving the slider could change the wind velocities imitate wind in all seasons.

Wind force changes the shape of the tube and in turn allows the user to experience different density of space.

Definition for wind stimulation

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PROPOSED STRUCTURE

The wire holding the tube will be in equilibrium with the absence of wind.

The wire holding the tube will be in tension with the presence of wind.

MATERIALITYQuantum tunneling composite (QTC material) is used as material for panels. It becomes conductor under pressure. So, it can transmit signals when wind presses on the panels. Also, it can be opaque, translucent and transparent. It provides more possibliy to the design.

The enginner, Smart dressing, <http://www.theengineer.co.uk/in-depth/the-big-story/smart-dressing/1015984.article> [accessed 4 May 2014] B1 B2 B3 B4 B5 B6 B7 |

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PROPOSED FACADE TREATMENT

With the discovery in B5 prototype, panels are held together with connection at the edges.

The facade moves under wind and gives fluidity to the form.

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POWER GENERATIONThe world is full of vibrating surfaces that could yield clean and sustainable energy. It’s called piezoelec-tric energy. It cocnverts mechnical strain to electrical energy. Piezoelectrical sensor can be installed in micro and nano scale. The Bolton scientists have developed a way weave piezoelectric capability into a flexible structure that leads to a wider variety of uses.

In our proposal, we would incorporate piezoelectric deviced at the anchor points of the tubes. Even when there is no strong wind, the device can still produce energy wih low speed airflow as it is very sensi-tive. Later, the signal would trnasfer through the transmiter that connect every panels to the device.

Green Optimisitic, Piezoelectric discovery, <http://www.greenoptimistic.com/2012/03/07/npl-uk-piezoelectric-discov-ery/#.U2G7xvQW1Uc> [accessed 4 May 2014]Live science, Good vibrations, <http://www.livescience.com/5652-good-vibrations-generate-electricity.html> [ ac-cessed 4 May 2014]Mitubishi electric, Spring, <http://www.mitsubishielectric.com/company/environment/ecotopics/vibration/spring/in-dex.html> [ accessed 4 May 2014]Ecofriend, Harness vibration, <http://www.ecofriend.com/cornell-research-group-harnesses-vibrations-from-wind-to-generate-renewable-energy.html> [accessed 4 May 2014] B1 B2 B3 B4 B5 B6 B7 |

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LEARNING OUTCOMEIn part b, we are asked to develop a particular system or tectonic system using computational metholds through case studies analysis, parametric modelling and physical prototypes. I think our group performed quite well for case study analysis. We were able to understand, remodel and develop the case studies. However, for case study 2. we picked the one which did not really fit our design intent as we wanted something flexibile and bricks are quite rigid. Even though of this, by looking at other pro-cedents, we could break the envelop and come up something interesting through protoyping and parametric modelling.

Using parametric modeling is very helpful especially in data related design. In our design, we wanted to stimualte the performance of tube under various wind velocities. Grasshopper allows us to do this eas-ily simply by changing the slider. It gives immediate result and we could change the design in accor-dance to this.

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For the presentation feedback, we were asked to reconsider the patterns of panels and tubes. There is a lot of design potential of the tube. It can be broken down into different parts, like different sizes of tube, tube without panels. It may enhance the spatial expereince. Also, the idea of “visual-izing the wind but not feeling the wind” is interest-ing. It could intensify the expereince as it is some-thing peopel would barely have in normal life.

B1 : Research Field

LAGI, LAGI Competition 2014, <http://landartgenerator.org/competition2014.htm> [accessed 1 May 2014]

Wikipedia, Refshaleøen, <http://en.wikipedia.org/wiki/Refshale%C3%B8en,_Copenhagen#Current_use>[accessed 1 May 2014]

Archidaily, Green void lava, <http://www.archdaily.com/10233/green-void-lava/? [accessed 1 May 2014][accessed 10 June 2014]

B3: Case study 2.0

Archdaily, AU Ofiice and exhibition space, <http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/> [accessed 2 May 2014]

B6: Design proposal

Site analysis: Weatherspark, Kastrup, <https://weatherspark.com/averages/28823/Kastrup-near-Copenhagen-Capital-Region-of-Denmark> [ accessed 4 May 2014]

Metalrules, Copenhell, <http://www.metal-rules.com/metalnews/2013/07/31/copenhell-festival-2013-ref-shaleoen-copenhagendenmark/> [acceseed 4 May 2014]

Wikipedia, Refshaleøen, <http://en.wikipedia.org/wiki/Refshale%C3%B8en,_Copenhagen> [ accessed 4 May 2014]

Google, Map, <https://www.google.com.au/maps/place/Revshaleoen/@55.695315,12.608392,2872m/data=!3m1!1e3!4m2!3m1!1s0x465252cfdfb201ab:0x3d9f3ed3ecb2c5d5> [ accessed 4 May 2014]

Wayad, Inflatable faq, <http://www.wavyads.com/advertising-inflatables-faq.php> [accessed 4 May 2014]

Materiality: The enginner, Smart dressing, <http://www.theengineer.co.uk/in-depth/the-big-story/smart-dress-ing/1015984.article> [accessed 4 May 2014]

Power generation: Green Optimisitic, Piezoelectric discovery, <http://www.greenoptimistic.com/2012/03/07/npl-uk-piezo-electric-discovery/#.U2G7xvQW1Uc> [accessed 4 May 2014]

Live science, Good vibrations, <http://www.livescience.com/5652-good-vibrations-generate-electricity.html> [ accessed 4 May 2014]

Mitubishi electric, Spring, <http://www.mitsubishielectric.com/company/environment/ecotopics/vibra-tion/spring/index.html> [ accessed 4 May 2014]

Ecofriend, Harness vibration, <http://www.ecofriend.com/cornell-research-group-harnesses-vibrations-from-wind-to-generate-renewable-energy.html> [accessed 4 May 2014]

REFERENCES

PART C | DESIGN PROPOSAL

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ACCESSING ON FEEDBACKThe feedback from previous presentation asked us to further explore the overal form to create different transitional space and spatial experi-ence using panels and the strucutre. In order to enhance the design concept, we looked into dif-ferent precedents to understand different param-eters in designing panels. Therefore, parametric tools can be applied in developing design effi-ciently and at the same time allow us to generate interesting forms we could not imagine before.

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HYPOSURFACE

Hyposurface explores the dynamic possibiltiy of the system to attain a fluid surface. The fluidity is created by waves that are controlled mathematically. It gener-ates a non-natural liquid effect. Our group is interested in the intriguing result of panels on surface. For the Hy-posurface, the ripple and wave effect are created by individual panels hold up by steel members, which will then move in a computerized mechnaism manner. In applying this to LAGI, we wanted to replace the com-puterized tool with the natural wind that is observed through our site analysis.

DECOI

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The whole idea of Scene sensor was to achieve an undulating landform, merging the artificial and natural landform as a whole. The facade will create thIs artificial undulating effect. The panel-facade is created by reflective metallic mesh, interwoven with piezoelectric wires. The wind force moves the pan-els which in turn generates mechanical forces, and then transformed it into electrical current.

SCENE-SENORThis precedent gave us a clear idea on how to create fluidity effect on facade. This projects incorporates the use of the energy generator mechanism into the design (piezoelectric) with the use of panels.

LAGI, Scenesensor, <https://www.youtube.com/watch?v=7mPvUaFPImM> [accessed 4 May 2014]C0 C1 C2 C3 C4 C5 C6 |

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DESIGN CONCEPTOur design focuses on the transition of space, a contrast of compacted, compressed space to a open, relaxed space. The design will respond to site features and to generate a site-oriented form. Referencing to various precedent studies. a form which engages energy generation will be creat-ed. Bringing the focus back to the brief of design futuring, the wind direction and intensity will be also considered.

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FORM GENERATION

With reference to site analy-sis, spatial experience and

wind studies.

SPATIAL QUALITY

To create interesting spatial expereince.

PANELS FORMATION

To determine panelling and opening on surfaces.

4.1. 2. 3.

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PANELS FORMATION

To determine panelling and opening on surfaces.

4.

STRUCTURE & CONNECTIONS

To assemble different components together.

ENERGY GENERATION

To incorporate energy generation into design.

5.

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FORM GENERATION

The overall shape and the scale of the form are determined by three major factors. They are major hu-man circulation on site, the optimal wind generated in site and the potential look out and gathering point.

Potential circulation

There are two potential entry points, which are the ferry texi terminal and along the Reshalevej Street. We wanted to create two welcoming enttrances at the potential entry points which can direct users to the structure.

Potential look out point

The structure could direct the users to the seaside to overlook the opposite view.

SITE ANALYSIS

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Optimal wind at the site

Most of the wind comes from the south and southwest direction. The facade facing the south will be the tallest in order to capture the wind energy.

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SPATIAL EXPERIENCE

compact

Given the feedback from Part B, the previous tubular design was not strong enough to create spatial ex-perience. Instead of creating a single tubular form, we used the concept of transitional space. Creating spaces from compact to open, this could inform the user the sense of space, and thus create interesting experience.

Entry point

open, relaxed

WIND ENERGY

Min 12m above the ground

With the previous wind studies at our site, we created a form which could collect the optimal amount of wind energy. After do some research on wind energy, the minimum height of 12m above the ground level is required for wind to be collected.

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FORM AFTER FORM GENERATION PROCESS

After considering the site, spatial experience and wind energy, an intial form was created. It would be further refined to enhance the spatial quality.

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SPATIAL QUALITY

Initial formcompressed and relazed space

Height adjustment

Depression

Final form

We adjusted the form in according to compressed and relaxed space, height variation. In order to add interest to the overall form, a dent (depression) was created to allow user to have fun with the space.

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Form on the site

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PANELS FORMATIONThe transitional space is carried through from various panels and openings to create a change from ran-domness to order and small to big openings. This will light up the interior in different way.

Entry pointoutlook

Panels near the entry point would have ran-dom openings. It can allow light to enter the interior in different manner and thus a intriguing opening.

Panels here are tied to one another to create a panel facade. It will move in ac-cordance to the wind. Gaps in between the panels will allow light to pass through. It serves as a transition from dark to bright later.

Panels here are at-tached to the cable at one side only so they will flap when wind hits the panels. This allows more light to go into the interior.

Less panels or nearly none panels are here. This part opens up the space.

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DIGITAL FORM CONSTRUCTION

CONTOUR

LOFTCURVE

1. With reference to site analysis, curved lines were created in rhino and loft into this form. Curves need-ed to rebuild with different control points to achieve the most satisfactory result.

2. The digital form was then scaled and capped the top part to prepare for contouring later.

CAP HOLESCALE

3. The form was then divided into parts by contouring. Some contoured lines were further away from other lines to create different spatial expereince.

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LOFT(main structure)

4. The main structure was placed at different spots. The profile of I-beam was drawn manually and then lofted along the contoured lines.

DIVIDE CURVE

5. Lines between the main structure were divided into equal distances and joined the points together

LINE

6. XY PLANES were created at the intersection points. The panels were created beforehand and inputted as geometry. They were being morphed on the xy planes.

XY PLANE

GEOMETRY(panels)

BOX MORPH

Panels to be morphed on the xy plane.

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LOFT CONTOUR

DIVIDE CURVELINEXY PLANEBOX MORPH

GEOMETRY(panels)

CURVE CAP HOLESCALE LOFT(main structure)

FINAL DIGITAL FORM

Overall definition

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STRUCTURE Structure is very important to the design as it gives the shape and the spatial experience. Using digital model as reference, the shape of the main structure is known. As the form looks very wavy, the main structure must be strong enough to stand on itself.

Structure

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We have made some prototypes to explore which structure fits the deisgn. Steel made I-beam seems fits the most. I-beam has greater design flexibiltiy than normal columns, thus the desired form can be created easier when compared to other structure.

I-beam prototype

I-beam shows design flexibiltiy as it can be shaped into desired form. In the prototype, the I-beam at the back is curved. Some existing projects also show the use of curved I-beams.

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Valentine engineering, Curved beam, <http://valentineengineering.com/valentineengineering/wordpress/wp-con-tent/uploads/2011/12/CurvedSteelPorchBeam2-940x360.jpg> [accessed 10 June 2014]

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Connections of panale are important as they affect the spatail quality inside the structure.

CONNECTIONS

The clamping system is used as the jointing system. The clamps are placed on the panels at various posi-tions. Tension wire is used to hold the panels, and then it is tied to the joint at the main structure.

Hole on the clamp to hold the tension wire

Tension wire to hold the panels and tie to the joint at the main stricitre

Clamp at the main strucutre

Clamp on the panel

By placing clamps on different position on the panels, different panel can be formed. The above one is for the flapping panel system. Two clamps are placted at the top of each panels. So the bottom part of the panel is free to move. The one below is for the panel facade. All the panels are connected together to move the facade.

Clamps on all edges of the panel

Tension wire to hold the panels

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ENERGY GENERATIONEnergy generation method needs to be considered at this stage as it may affect the panel connection. The piezoelectric energy is used for energy generation. The piezo patch is placed on the panels. When the wind hits the panel, it will cause the panel to move and the piezo paatch will be able to detect the motion. This kinetic energy is then converted electric current and carried along the tension cable (which also acts as the transmitter) to the energy generator somewhere else. The current can then be converted to electrical energy.

Piezoceramic patch on the panel

Tension wire to carry the electric current

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FABRICATION3MM thickness wood was used for fabrication for final model. To simplify the fabrication process, I-beams were not shown in the model.

Due to time pressure and complex structure of moving panels which require a lot of adjustment to be done for the structure and the facadem the model was not up to expectation in show-casing the overall form building in the digital rendering. In the physical model, we were also not able to show connection and how each panels move due to the size of the panels and time pressure.

As main design concept is about moving panels, we decided to make a large scale model to show the connections of panels and the strucu-tres.

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FINAL PHYSICAL MODEL

Scale: 1:250 (Except for panels)

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Site modelScale: 1:2000

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Model for flapping panelsScale: 1:5

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Model for panel facadeScale: 1:5

During the fabrication for the final model, we have encountered a lot of problem about connection of panels. The transition space of each section not only varies in size and height, but also the movement of the panels. Though the expected effect could be achieved, after making the model, we realized prob-lems like strucutral capabiltiy and workabiltiy to secure all the panels.

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FINAL DIGITAL MODEL

Site planScale: 1:15000

Perspective from the Little Mermaid

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South elevationScale: 1:1000

North elevationScale: 1:1000

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East elevationScale: 1:1000

West elevationScale: 1:1000

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Perspective view on site

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Perspective view on site

The wave-like structure responds to the surrounding sea. The whole design will arouse the sensory of visi-tors, which are touch, sight and sound.

Touch: Visitors can touch the mega steel structure and the flexible facade.

Sight: The design plays with transition from darkness to brightness. The openings and motions of panels al-low different density of light to go into the space. This creates a visual connection to the surrounding.

Sound: The motion of the panels is controlled by the wind. When wind passes through the openings on the facade, sound will be created.

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SPATIAL EXPERIENCE

Users are able to experience the variation of lights and shadow. Inter-esting light and shadow panels are created in the interior area fue to the panel systems.

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MATERIALITY

To prevent corrosion, the strucutral members will use galvanized steel. The facade will use reflective alu-minium alloy.

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ACCESSING ON FEEDBACKThere are a lot of refinements required after final pre-sentation. The feedback from final presentation has pointed out some major problems for the design.

1. The structure. The main structure is too curvy to the extent that it could not suppport itself. This must be rectified in order to realize the design intent.

2. Paneling system.Tension wire is not strong enough to hold up the panels. The weight of the panels will pull the main structure down which in turn collapses. Also, there are too many types of panels in the de-sign. We should focus on one panel.

3. Scale. The form is too huge to the site. The tall-est building around the site is only 4 storey. The highest facade of the current design is nearly 10 storey tall. It is too imposing to the site.

4. Energy generation. If the structure and paneling system don’t work, the energy generation system will not work.

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TAKE IT FURTHERAlthough a lot of refinements are needed for the design, we still want to keep the design intent, which is to create an interesting spatial experience. The new form will be developed from the old form.

Structure

We tried to use tension wire to tie the main structure to the ground. However, the result was not pleasing. So, instead adding something to the original structure, we decided to amend the structure.

The main structure The overly abstract main structure is replaced by linear structural components. The main frames are placed closer to each other. In order to create the different spatial quality, some main frames are made up of slanted columns.

Secondary structure is created to hold up the panels and prevent the main structure from falling over. More beams but smaller in size are placed in between the main frames.

Slanted column to create different spa-tial quality

Secondary structure

Main structure

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Curvy I-beam Linear hollow beam/column

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New form

The new form is created based on the new structure. The form is then being scaled down to fit the site. The highest point now is around 10m from the ground. More openings are created at the side to let users to leave whenever they want. The new form still attains the spatial quality by panels and structure.

Connection

As the form has changed, the connection method between beams will be changes. Beams will be con-nected using bolting.

Highest point: 10m

The south facade is perpendicular to the ground to maximize the amount of wind hitting on panels.

The north facade is not always per-pendicular to the ground as to create spatial quality.

Entrance point: 5m

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Paneling

After restudying the precedents, we realized using panel facade is very difficult to be achieved in the design. In Hyposurface, there is an extra strucutre to hold the panel facade, and the facade is moved by machine. It is very hard to achieve in our design as the form is not feasible to have another structure. Also, the wind as the site may not be to move the facade as the machine does. If the facade doesn’t move, the form cannot create the spatial experience that we want. Thus, we decided to focus on the flapping panel system.

Addition of secondary structure affects the paneling system. The connection needs to be reconsidered. Rollar system will be used as connection. It will clipped on the panels and the rollar connection allows the panel move when the wind hits on it. The joint is welded on the secondary structure.

Two anchor points panels

Four anchor points panels

Joint welded on secondary structure

Rollar joint

Joint clipped on the panel

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Two anchor points panel means the panel is connected to the secondary structure using two joints locat-ed at the top of the panel. It will be used on the facade facing south. The panels can flap under wind.

The rollar joint moves the panel

Four anchor point panel means the panel is con-nected to the secondary joint using two joints locating at the top and bottom of the panel respectively. It wll be used on the top of the struc-ture and the facade facing south. The panels can only osciliate.

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Energy generation

We still use piezoelectric energy. The piezoelectric patch will be attached onto each panel. The patch will be connected to electrical transmitter which runs through the joints to the secondary structure and down the main strucutre towards the underground energy generator. Singular pretective membrane is used to cover up the patches.

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Prototype

A prototype is made to illustrate the new form.

Main structure with slanted columns. It shows it is able to support itself.

Secondary structure (beams) are placed in between the main structure. It is used to hold the panels.

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The panels flap udner wind while the panels on top oscilate as they are attached on both end.

Shadows showing panel pattern form in the interior space. This shows the new form still maintains the spa-tial qualtiy as to play with ligth and shadow.

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LAGI STATEMENTThe main proposal for the design is to create a sculpture-like hub which brings users through a series of transitional space with relation to the site context. The final form is driven by the site analysis.

Our design concept is to create a series of space which transits from compacted space to relaxed outlook point. While user is walking through these spaces, they are able to experience the richness of the spatial quality created by the facade and the structure. The overall form represents the abstract art of wave tying back to the site context.

We want to utilize the wind on the site. Wind mostly travells from south-west and our design is directed to allow optimal wind flow onto the facade which can generate maximum energy.

We want to break away from traditional wind gen-erator, which is the wind turbine. We want to engage human interaction into the space. Users can experi-ence a sense of scale within.

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The main and secondary strucutre will be made up of steel while the panels are made up of alu-minium alloy. This is made with reference to the industrial area nearyby. The size of panels varies from 300x300mm to 600x600mm.

Our design will be using the piezoelectric gener-ating system. Wind is the source of energy. It will move the panel and the piezoelectric patch at-tached on the panels will emit the electric current and send it through the transmitting to the energy generator.

The maximum energy can be generated it when the panels flap and the piezoelectric patches deflect with 90 degree phase difference. A 6X6 panel array is estimated to be able to produce an output of up to 50W/m2. If all panels are fully operated, an average of 105000W can be gener-ated .

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LEARNING OUTCOMEThe main learning objective is to create an archi-tectural installtion which can generate energy in response to the LAGI brief. That’s why we have been looking at what is design futuring. Back to week 1, we looked into an article about design futuring. It is about design soemthing which is to design with the environment. Is design something which can generate energy considered as design futuring? I have been thinking about this throughout the whole course. I think design futuring is to design something which can deal with the everchanging environ-ment, like in the precedent studies. For our current model, it should be able to produce energy but not sure whether it is suitable like 2 years later. It would be interesting if the design can be further devel-oped. I believe design futuring will be the new trend for architecture as we start to emphasize on green architecture.

One of the feedback from the presentation is the design does not look very parametric. From the article studied in week 3, parametric design is using computation tools to design with reference some parameters. The initial form is generated from the site analysis and lofted in rhino. We used parametric tools for paneling. As the form is not generated from parametric tools, it does not look like parametric design. However, does paramet-ric design need to look like parametric design? If parametric design must look like a parametric design, then its design possibilties will be limited as we emphasize a lot on the form.

I would say this studio is the hardest that I ever had. Not only it is first time I use grasshopper, this time we need to consider a lot of factors, such as structure, energy generation and joints. Although it is a tough learning process, I have a lot from it.

C0 C1 C2 C3 C4 C5 C6 |

129C0 C1 C2 C3 C4 C5 C6 |

C0 : Accessing on feedback

Decoi, Hyposurface, <http://hyposurface.org/> [accessed 4 May 2014]

LAGI, Scenesensor, <https://www.youtube.com/watch?v=7mPvUaFPImM> [accessed 4 May 2014]

C2: Tectonic elements

Structure: Valentine engineering, Curved beam, <http://valentineengineering.com/valentineengineering/word-press/wp-content/uploads/2011/12/CurvedSteelPorchBeam2-940x360.jpg> [accessed 10 June 2014]

C5: LAGI statement

RPC, Wind power, <http://www.rpc.com.au/information/faq/wind-power/site-evaluation.html> [accessed 10 June 2014]

REFERENCES

rena li 583008 air final journal

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