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G AYA N M U NA S I N G H E SEMESTER 01, 2014

AIR STUDIO


STUDIO AIR G AYA N M U N A S I N G H E SEMESTER 01, 2014 TUTORS - ROSIE AND CAM


CONTENTS introduction 4 part a- conce p tua l isation 5 a . 1 - design f uturing 6 a . 2 - design com p utation 1 0 a . 3 - com p osition / generation 1 8 a . 4 - conc lusion 2 2 a . 5 - l earning outcomes 2 3 a . 6 - a p p endi x - a l gorithmic s k etches 24 part a re f erences 2 6 part b - criteria design 2 7 b . 1 - research f ie l d 3 0 b . 2 - case study 1 . 0 3 2 b . 3 - case study 2 . 0 3 8 b . 4 - techni q ue de v e l o p ment 4 0 b . 5 - techni q ue : p rototy p es 4 6 b . 6 - techni q ue : p ro p osa l 5 0 b . 7 - l earning o b j ecti v es and outcomes 54 b . 8 - a p p endi x - a l gorithmic s k etches 58 part b re f erences 6 0


INTRODUCTION

H i , my n a m e i s G a y a n Mu n a s i n g h e a n d I a m 2 0 y e a r s o l d . I w a s b o r n i n Ne w Z e a l a n d a n d h a v e a S r i L a n k a n b a c k g r o u n d a n d I h a v e b e e n l i v i n g i n Me l b o u r n e f o r 1 8 y e a r s . I a m c u r r e n t l y i n my t h i r d y e a r a t t h e Un i v e r s i t y o f Me l b o u r n e s t u d y i n g A r c h i t e c t u r e . I h a v e b e e n i n t e r e s t e d i n a r c h i t e c t u r e f o r m o s t o f my l i f e , e s p e c i a l l y modern architecture. As a child, I liked to draw and design dream homes thinking one day I would like to become an architect. My d e s i r e t o b e c o m e a n a r c h i t e c t w a s i n s p i r e d e v e n m o r e w h e n my p a r e n t s d e c i d e d t o b u i l d a h o u s e a n d a n a r c h i t e c t d e s i g n e d the new house. I got to see the process of design and creativity produced by the architect and knew that I wanted to do the same i n t h e f u t u r e , s o h e r e I a m o n my p a t h t o b e c o m e a n a r c h i t e c t . I h a v e m o s t l y d o n e d e s i g n t h e t r a d i t i o n a l w a y. Wi t h p e n a n d p a p e r a n d h a v e n’t d o n e m u c h c o m p u t e r d e s i g n i n g a p a r t f r o m u s i n g R h i n o i n f i r s t y e a r f o r Vi r t u a l E nv i r o n m e n t s . I d i d f i n d i t d i f f i c u l t a t f i r s t , however once I got familiar with the software, it was amazing to see what outcome you could achieve. I am looking for ward to using Grasshopper and explore the different ways of computer design.

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PART A CONCEPTUALISATION


A.1 - Desig n F uturin g

Wi t h o u r p o p u l a t i o n g r o w i n g b y t h e d a y, w e n e e d t o l o o k t o w a r d s w h a t we can do in the future to keep our s o c i e t y r u n n i n g . We n e e d t o d e s i g n i n a way to create a sustainable future. We n e e d t o d e s i g n f o r t h e f u t u r e . C u r r e n t l y, w e a r e u s i n g r e n e w a b l e resources for energ y 25 per cent faster than it can be renewed1 and with the population expected to increase in the

future, soon the planet with not have enough renewable resources to be used. The future of designing can be seen having objects such as artwork not only ser ve as visual entertainment pieces but encourage human interaction with the artwork which may ser ve as a method of generating energ y for use within local areas.

‘sway’d’, 2010, salt lake city, utah, usa, daneil lyman

Interactive public artwork has been a recent trend throughout the world giving the users a different aspect and view of the artwork. The interactive artwork can give users different feelings and interactions and can sometimes create stories and adventures especially to children. A p i e c e i n S a l t L a k e C i t y, Ut a h , U S A , b y D a n i e l Ly m a n g i v e s t h e u s e r s a s e n s e of exploration and nature and scale in t h e c i t y. T h e i n t e r a c t i v e p u b l i c a r t w o r k w a s c a l l e d ‘S w a y ’d’ a n d w a s i n s t a l l e d in 2010. The installation consists of o v e r 1 0 0 0 m o l y f i l l e d ny l o n r o d s w h i c h each are over 10 feet tall and are quite flexible.2 The idea of the artwork is

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to represent grass which sways in the wind and to give the users a unique experience and adventure.3 The sense of scale of the artwork gives the users a place to wonder and get lost within the city and interact with the public art. This type of public art is not only just appreciated from v i e w i n g i t a s y o u g o p a s t b y, b u t attracts the public to interact with the art by walking through and touching the artwork. Interactive artwork can bring happiness and joy to users especially in city as it acts as a place to escape the busy city and get lost in the t a l l g r a s s s u c h a s ‘S w a y ’d’.


simon langton grammar, 2013, kent, england, pavegen Designing for the future brings new technologies to explore and new ways to utilise methods of producing clean e n e r g y. D e s i g n i n g a s u s t a i n a b l e f u t u r e can be done in a way that the users might not be aware of what they are c o n t r i b u t i n g a n d g e t t i n g i nv o l v e d i n . L i t t l e d o t h e y k n o w, t h e y c a n b e helping the city be more sustainable and also lower the use of renewable r e s o u r c e s a n d p r o d u c e c l e a n e n e r g y. On project that has done this is a s c h o o l i n Ke n t , E n g l a n d . It i s t h e students at Simon L angton Grammar that are making an impact to the f u t u r e o f s u s t a i n a b i l i t y. T h a n k s t o n e w t e c h n o l o g y, t h e s t u d e n t s s i m p l y w a l k down their school corridors and at the same time are generating energ y which is captured. The new technolog y is c a l l e d ‘ Pa v e g e n’, n e w c a r p e t t i l e s w h i c h are made from recycled truck tyres use the footsteps of the students to capture t h e k i n e t i c e n e r g y a n d u s e i t a s p o w e r. 4 This installation not only teachers the students about saving electricity and being sustainable, it also encourages the students to be active and walk through the corridors knowing it is helping the school and is also helping them be active.5

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T h i s t e c h n o l o g y c a n b e u s e d i n m a ny cities and buildings to simply produce c l e a n e n e r g y. I n t h e f u t u r e , t h e s e t y p e s of technolog y installations can be used in high foot traffic areas such as busy city footpaths, and the result will help design a sustainable future for clean energ y and also will lower the cost of electricity in the future. This power generating technolog y could also be installed in household homes for families, which will definitely lower the costs of electricity but collecting the kinetic energ y being produce by the footsteps on these technological floor tiles. P r o j e c t s l i k e ‘ Pa v e g e n’ a t S i m o n L angton Grammar have potential to make a trend to future designing and can have a significant impact to c h a n g e t h e w o r l d . Us i n g s o m e t h i n g l i k e kinetic energ y we humans just produce ever yday just by walking around, can change the world to producing cleaner energ y and also save money on electricity use.


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A.2 - Desig n com putation

Design has come along far in the last couple of years due to the rise in t e c h n o l o g y. C o m p u t e r s h a v e a d v a n c e d and new software has been developed to assist in designing and to model possible outcomes. C omputers are superb analytical engines which never tire, make no silly mistakes and can store large amounts of information.1 Design computation has changed the way and process of designing. Design is a purposeful activity aimed at achieving some well defined goals.2 Design can be done by two particular

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ways. C omputerisation design and C omputational design. In most cases, especially with architecture, computerisation design is the common method. B efore the c o m p u t e r s a r e i nv o l v e d , d e s i g n i s planned out and rough forms are created on paper to make sure you h a v e a s u c c e s s f u l d e s i g n . It i s l a t e r where the design is put into computer software from the designed form and m a n i p u l a t e d t h r o u g h c o m p u t e r.


flinders street station shortlist, 2013, melbourne, zaha hadid architects

A project that has followed computerisation design is the Flinders Street Station Shortlist design in 2013 by well known architect Z aha Ha d i d . T h e p r o j e c t w a s t o d e s i g n a new station that was the central hub o f Me l b o u r n e . 3 T h i s p r o j e c t w o u l d definitely be well planned on paper before it was worked on the computer as it was a station which needed careful planning of spaces and form

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b e f o r e a ny c o m p u t e r d e s i g n c o u l d b e done. After a design form is created, it can then be put into computer designing software to be manipulated a n d c h a n g e d a r o u n d . We c a n s e e t h a t the design can change in form a bit and can develop interesting facades within the computer software. C ontinuing the project on computer makes it faster and easier to do changes which are benefits of computer designing.


Doing design on paper first then on computer i s o n e w a y. T h e o t h e r, c o m p u t a t i o n a l d e s i g n is all done on computer from start to finish. C omputational design gives freedom to the d e s i g n a n d c a n t a k e a ny f o r m b y p l a y i n g a r o u n d o n t h e c o m p u t e r. It i s m o s t l y e x p e r i m e n t a l t r y i n g various outcomes which can be quickly produced on the computer faster than doing it by hand.

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cliff house, 2012, nevada, usa, roland snooks

A project that used computational d e s i g n w a s R o l a n d S n o o k s , C l i f f Ho u s e f o r Ne v a d a , U S A . T h e p r o j e c t w a s f o r experimental purposes for composite fibre architecture. The geometr y negotiates complex behaviours such as structure and ornament.4 C omputational design has impacted on the range of geometr y that can be designed. The geometr y created i n t h e C l i f f Ho u s e p r o j e c t l o o k s v e r y different and abstract and could have never been designed by hand.

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Design computation gives unique opportunities and innovation to design projects and takes them to another l e v e l . Wi t h t e c h n o l o g y s o a d v a n c e d these days, it is quite possible to c o n s t r u c t a ny c o m p u t a t i o n a l d e s i g n . Fa b r i c a t i o n d e s i g n s h a d n o w e m e r g e d as a leading technological tool to prototype and construct these complex d e s i g n s . 5 It i s s i m p l y a m a z i n g w h a t technology can do to change design to t a k e i t f u r t h e r.


A.3 - composition/generation Design software allows the users to go further than before to experiment and manipulate design with the aid of algorithms. Algorithms act as a recipe, a method, a technique for doing something through computational design with logic.1 Architects have used algorithmic thinking to go beyond with their design which could not have been achieved with pen to paper or simple CAD programs.

Pa r a m e t r i c m o d e l l i n g s o f t w a r e s u c h as R hinoceros and in conjunction with Grasshopper can produce unique and interesting design outcomes by following some simple algorithms. Design computation gives architects the opportunity to generate complex o r d e r, f o r m a n d s t r u c t u r e i n t h e s e software and generating these designs can be achieved.2

son- o- house, 2004, son en breugel, netherlands, nox T h i s p u b l i c p a v i l i o n i n t h e Ne t h e r l a n d s has unique form and structure and has combined that with the use of m a t e r i a l i t y. T h e S o n - O - Ho u s e i s an interactive architectural piece and shows how parametric design and algorithms have been used to create the form and materiality shows

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the generation of the project. The structure is fabricated with ribbed steel forming the complex shapes of the design and shows the parametric m o d e l l i n g d o n e o n t h e c o m p u t e r. The mesh steel acts as a skin for the skeletal rib structure and shows the f o r m o f t h e d e s i g n n i c e l y.


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tori tori restaurant, 2011, polanco, mexico, rojkind arquitectos

Pa r a m e t r i c d i g i t a l m o d e l l i n g c a n j u s t be used for part of a design for a b u i l d i n g . I n t h e c a s e o f t h e To r i To r i R e s t a u r a n t i n Me x i c o, a l g o r i t h m i c thinking was used to generate a outer skin to the building. As well as designing a parametric outer skin for the building, the architects wanted to make the design possible to be f a b r i c a t e d i n Me x i c o. T h e a r c h i t e c t s experimented with digital design as well as fabrication. They wanted to

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translate complex geometries into simple drawings that benefited local manufacturing.3 These new ways of producing complex designs with the use of algorithms and parametric modelling is making an i m p a c t o n a r c h i t e c t u r e . It i s m o v i n g from an era where architects use software to one where they create software.4


A.4 - CONCLUSION

L o o k i n g b a c k a t t h e p r e c e d e n t s f o r Pa r t A , w e s e e how computational design has made an impact o n a r c h i t e c t u r e . Ye a r s a g o, w e c o u l d n o t h a v e h a d imagined producing designs with such complex geometries and to later fabricate them and it is all thanks to computer software giving architects the ability to use parametric and algorithms to produce and construct such designs. When following computational design, I think it is q u i t e i m p o r t a n t t o b e f r e e a n d e x p e r i m e n t m a ny p o s s i b i l i t i e s . Wi t h n e w t e c h n o l o g i e s a v a i l a b l e t o d a y, i n n o v a t i o n i s i n c o r p o r a t e d i n t o d e s i g n to produce outcomes that benefit the future. For the L and Art Generator Initiative project, experimenting and exploring design ideas is crucial to benefit the future of Copenhagen. Designing for the future incorporating with energ y generation with architecture can be experimented through parametric modelling and computational design to produce unique and interesting outcomes for the project.

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A.5 - LEARNING OUTCOMES

Studio Air has given me a great insight to computational design and how computer t e c h n o l o g y h a s i n f l u e n c e a r c h i t e c t u r e t o d a y. It i s a m a z i n g h o w a r c h i t e c t u r a l c o m p u t a t i o n looks so different to traditional architecture w i t h c o m p l e x f o r m s a n d g e o m e t r y, y e t h a s l o g i c behind the design with the use of algorithms t o m a k e t h e d e s i g n b e a b l e t o b e f a b r i c a t e d . It was important to look at past projects to see how computational design has been used and also looking into generating energ y which is i m p o r t a n t f o r t h e p r o j e c t a h e a d . No w k n o w i n g about using algorithms and computation, past designs could definitely be improved and taken further with this technolog y and design method.

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A.6 - APPENDIX - ALGORITHMIC SKETCHES

WEEK 1

WEEK 2

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WEEK 3

It h a s b e e n v e r y i n t e r e s t i n g u s i n g G r a s s h o p p e r t o d o a l g o r i t h m i c d e s i g n . It c a n b e r e a l l y f u n o n c e y o u k n o w h o w t o u s e t h e c o m p o n e n t s a n d s o f t w a r e a n d c a n p r o d u c e m a ny d i f f e r e n t o u t c o m e s w i t h a f e w simple clicks. There are times that things do go wrong which can b e f r u s t r a t i n g . S o f a r, I h a v e b e e n a b l e t o f o l l o w t h e t u t o r i a l s , b u t h a v e n’t g o n e f u r t h e r s i n c e I a m n o t s u r e s o m e t i m e o n h o w t o t a k e the design further due to lack of software experience and time.

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PART A REFERENCES a.1 1 . To ny, F r y, D e s i g n F u t u r i n g : S u s t a i n a b i l i t y, Et h i c s a n d Ne w P r a c t i c e ( O x f o r d : B e r g ) , ( 2 0 0 8 ) , p g 4 2 . Na s t a s i , A l i s o n , 1 0 P l a y f u l P u b l i c Wo r k s o f A r t ( 2 0 1 2 ) < h t t p : / / f l a v o r w i r e . c o m / 3 2 8 2 0 8 / 1 0 playful-public-works-of-art/7/> [accessed 10 March 2014] 3 . S WAY ’ D I n t e r a c t i v e P u b l i c A r t I n s t a l l a t i o n / D a n i e l Ly m a n ( 2 0 1 1 ) < h t t p : / / w w w. a r c h d a i l y. com/142763/sway%E2%80%99d-interactive-public-art-installation-daniel-lyman/> [accessed 10 March 2014] 4 . Wa i nw r i g h t , O l i v e r, T h e f l o o r h a s e a r s : t h e s c h o o l c a r p e t t h a t g e n e r a t e s e n e r g y a n d t r a c k s p u p i l s’ e v e r y m o v e ( 2 0 1 3 ) < h t t p : / / w w w. t h e g u a r d i a n . c o m / a r t a n d d e s i g n / a r c h i t e c t u r e - d e s i g n - b l o g / 2 0 1 3 / sep/06/school-carpet-energ y-tracks-pupils> [accessed 10 March 2014] 5 . S i m o n L a n g t o n S c h o o l 2 0 1 3 ( 2 0 1 4 ) < h t t p : / / w w w. p a v e g e n . c o m / s i m o n - l a n g t o n - s c h o o l - 2 0 1 3 > [accessed 10 March 2014] S WAY ’ D i m a g e s f r o m h t t p : / / w w w. a r c h d a i l y. c o m / 1 4 2 7 6 3 / s w a y % E 2 % 8 0 % 9 9 d - i n t e r a c t i v e - p u b l i c - a r t installation-daniel-lyman/ Pa v e g e n i m a g e s f r o m h t t p : / / w w w. p a v e g e n . c o m / s i m o n - l a n g t o n - s c h o o l - 2 0 1 3

a.2 1 . K a l a y, Ye h u n d a E . ( 2 0 0 4 ) . A r c h i t e c t u r e’s Ne w Me d i a : P r i n c i p l e s , T h e o r i e s , a n d Me t h o d s o f C o m p u t e r- A i d e d D e s i g n ( C a m b r i d g e , M A : M I T P r e s s ) , p g 2 2 . K a l a y, ( 2 0 0 4 ) , p g 5 3 . Fu r u l o, A l i s o n , T h e F l i n d e r s S t r e e t S t a t i o n S h o r t l i s t e d P r o p o s a l / Z a h a Ha d i d A r c h i t e c t s + BV N A r c h i t e c t u r e , ( 2 0 1 3 ) , < h t t p : / / w w w. a r c h d a i l y. c o m / 4 1 2 8 3 7 / t h e - f l i n d e r s - s t r e e t - s t a t i o n - s h o r t l i s t e d proposal-zaha-hadid-architects-bvn-architecture/> [accessed 17 March 2014] 4 . C l i f f Ho u s e , ( 2 0 1 2 ) , Ko k k u g i a , < h t t p : / / w w w. k o k k u g i a . c o m / c l i f f - h o u s e > [ a c c e s s e d 1 7 M a r c h 2 0 1 4 ] 5. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; Ne w y o r k : R o u t l e d g e ) , p g 5 F l i n d e r s S t r e e t S t a t i o n P r o p o s a l i m a g e s f r o m h t t p : / / w w w. a r c h d a i l y. c o m / 4 1 2 8 3 7 / t h e - f l i n d e r s - s t r e e t station-shortlisted-proposal-zaha-hadid-architects-bvn-architecture/ C l i f f Ho u s e i m a g e s f r o m h t t p : / / w w w. s u c k e r p u n c h d a i l y. c o m / 2 0 1 4 / 0 2 / 1 9 / c l i f f - h o u s e /

a.3 1 . D e f i n i t i o n o f ‘A l g o r i t h m’ i n Wi l s o n , R o b e r t A a n d F r a n k C . Ke i l e d s ( 1 9 9 9 ) . T h e M I T Encyclopedia of Cognitive Sciences (London: MIT Press), pg 11 2 . Pe t e r s , B r a d y. ( 2 0 1 3 ) ‘C o m p u t a t i o n Wo r k s : T h e B u i l d i n g o f A l g o r i t h m i c T h o u g h t’, A r c h i t e c t u r a l Design, 83, 2, pg 10 3 . To r i To r i R e s t a u r a n t / R o j k i n d A r q u i t e c t o s + E S R AW E S t u d i o, ( 2 0 1 1 ) , < h t t p : / / w w w. a r c h d a i l y. com/187115/tori-tori-restaurant-rojkind-arquitectos-esrawe-studio-2/> [accessed 24 March 2014] 4 . Pe t e r s , ( 2 0 1 3 ) , p g 1 0 S o n - O - Ho u s e i m a g e s f r o m h t t p : / / w w w. e v d h . n e t / s o n o h o u s e / To r i To r i R e s t a u r a n t i m a g e s f r o m h t t p : / / w w w. a r c h d a i l y. c o m / 1 8 7 1 1 5 / t o r i - t o r i - r e s t a u r a n t - r o j k i n d arquitectos-esrawe-studio-2/

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PART B C R I T E R IA DE SIG N


B.1 - R E SE A RC H F I E L D â&#x20AC;&#x2DC;te ss el l at i onâ&#x20AC;&#x2122; The research field of tessellation allows to design to have a complex form overall but have a logical order to its construction. The concept of having a single or several modules that interact with each other to create a set of rules to form interesting patterns simply by repetition can give unique outcomes.

VOUSSOIR CLOUD, 2008, CALIFORNIA, USA, IWAMOTOSCOTT ARCHITECTURE

T h e Vo u s s o i r C l o u d b y Iw a m o t o s c o t t Architecture uses tessellation to create a form in pure compression with the use of lightweight material.1 The vaults of the project follow the Delaunay tessellation which gives interesting patterns within the cells and also gives the project a structural component. The module of the tessellation is based on a petal that is dependent on its adjacent modules. The petals were easily fabricated using a laser cutter

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and was folded along cur ved edges that gave a lip to be easily connected to the next module. The fabrication process is simple and effective to achieve this unique design. The gaps between the modules gives spectacular lighting experiences when viewed from below and has clever use of shadows. Te s s e l l a t i o n h a s g r e a t o p p o r t u n i t i e s t o be used in future designs as interesting and unique design can be fabricated quite easily by using simple rules and modules.


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B.2 - C ASE ST U DY 1 . 0 Attractor Influence

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A=0

A=1

A = 0.6

A = 0.7

A=1

A = 0.7

A = 0.5

A = 0.3

A = 0.3

A=1

A=1

A=1


Triangle Panelize

U = 10 V = 27 A = 0.2 F = 0.1

U = 11 V = 41 A=2 F = 0.187

U = 10 V = 27 A = 0.2 F = 0.5

U=4 V = 50 A = 1.225 F = 0.312

U = 10 V = 27 A = 0.3 F = 0.7

U = 21 V=5 A = 0.15 F = 0.161

U = 10 V = 27 A = 0.3 F = 0.7

U = 38 V = 14 A = 0.2 F = 0.032

U = 34 V = 33 A = 1.225 F = 0.312

U = 48 V=2 A = 0.425 F = 0.813

U = 40 V = 37 A = 0.525 F = 0.343

U=7 V = 12 A=2 F = 0.448

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Diamond Panelize

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U = 10 V = 10 A=1

U=3 V = 22 A = 10

U = 15 V = 15 A=3

U = 20 V=2 A=2

U = 30 V = 30 A=5

U = 30 V = 21 A = 1.5

U = 40 V = 40 A = 10

U = 50 V = 50 A=5

U = 10 V = 12 A=8

U = 50 V = 50 A = 10

U = 10 V = 30 A = 10

U = 29 V = 12 A=7


Kangaroo

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Selection Criteria Easy to fabricate Has potential Diverse Abstract Surprise Random

Design has potential for a strong and pleasing to the eye structure.

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Design has potential an abstract structure which has diversity and surprise.


Design has potential for easy fabrication and pleasing to the eye.

Design has surprise and random and potential for an abstract structure.

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B.3 - C ASE ST U DY 2 . 0

Boxel, 2010, germany, students of detmolder schule The B oxel project showcases the use of a module to pattern onto a free form geometr y with the use of parametric design. The project is based on a minimal surface and consists of over 2000 boxes that are structurally c o n s t r u c t e d t o g e t h e r. 2 T h e p a v i l i o n like structure demonstrates the use of material and construction methods to use the box as a module to tessellate onto a form. This project shows how a simple module can be repeated onto a form to create a unique structure.

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Reverse Engineering

Create a brep

The B oxel project can be taken further and developed by testing out different module forms that fit together to tessellate onto a form to create an interesting unique structure.

Create a box module

Create points at corners of brep

Divide brep with 3D point grid

Move box modules to points

Dispatch into two lists and select outside to show boxes on brep

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B.4 - technique development

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41


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This design has potential to use a module to tessellate and rotate to form a tower which can be used to capture wind for energ y generation.

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This module de potential as it c fabricated and a for a wind turbi which generates the module.


sign has can be easily allows space ine to be fitted s energ y within

This module design has potential as it is abstract but has a form that can direct wind into the centre of the module to collect wind energ y and is not a complex module to fabricate.

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B.5 - technique: prototypes Fabrication of Module 1

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Fabrication of Module 2

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The prototyping of module 1 was fairly easy to fabricate. however the module was not as strong as it could be shifted in shape quite easily and would need to have strong rigid material in real scale. Another issue with module 1 was the connections to the next modules were highly irregular and had no specific l o g i c o r s y s t e m f o r t h e c o n n e c t i o n s . Ev e n t h o u g h t h e m o d u l e had potential to house a turbine, the relationship with the neighbouring modules would not work. The prototyping of module 2 was slightly harder to fabricate than module 1 as there were some cur ved surfaces. While fabricating, the issue of the tabbing system within the module was evident and the locations of the tabs needed to be refined. This module was much stronger and had better connections than module 1 and was the chosen module to proceed in the design.

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B.6 - technique: proposal ‘d e c o n s t r u c t e d t u r b i n e’

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To f u l f i l l t h e L AG I b r i e f , t h e d e s i g n has considered the location and requirements to develop a potential structure for the site. The design â&#x20AC;&#x2DC; D e c o n s t r u c t e d Tu r b i n eâ&#x20AC;&#x2122; u s e s i t s inspiration from the surrounding wind turbines to mimic the function into a renewable energ y generating structure. Knowing the fact the site has good wind har vesting potential by the

surrounding wind turbines, the design allows wind har vesting to be used within a parametrically designed structure. T h e s i t e f o r L AG I i s f l a t w i t h n o verticallity in the area, so the design breaks the horizontallity and goes up to make a landmark in the area but also give a higher potential for energ y generation.

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To i n c o r p o r a t e r e n e w a b l e e n e r g y i n t o the design, the module has a wind turbine inside which collects wind energ y and generates electrical energ y for the surround area. The module a l l o w s w i n d f r o m a ny d i r e c t i o n t o funnel into the centre of the module where the turbine sits.

eco friendly and has the structural elements to support the design on site. To f u r t h e r e n h a n c e t h e r e n e w a b l e energ y generation, the structure will be coated in new technolog y of solar painted, thus adding the designs energ y generation content with the wind turbines.

The design must withstand high winds as the structure is vertical and high i n t h e a i r, s o t h e s t r u c t u r e i s t o b e built with recycled steel which is

The principles of tessellation and rotation have been used in the design to create a public art structure which g e n e r a t e s r e n e w a b l e e n e r g y.


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B.7 - learning objectives and outcomes

Up o n r e v i e w f r o m t h e d e s i g n p r o p o s a l , the design is ver y vague and does not c a t e r f o r t h e L AG I b r i e f w e l l a n d t h e renewable energ y technique is not refined or practical within the design. The concept of public interaction was not addressed well in the proposal design and did not have much site specific relation apart from breaking the horizontallity and mimicing of the current wind farm. The direction of the design needs to b e a l t e r e d m o r e t o m e e t t h e L AG I b r i e f and site as well as having practical

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r e n e w a b l e e n e r g y. Us i n g p a r a m e t r i c m o d e l l i n g t o t a k e the proposal design further can be used with simple site analysis to gather information on where certain points c a n b e m a d e o n s i t e . It i s f r o m t h e s e points, that can generate the form and also meet the brief. Prior to the proposal, the site was not thouroughly analysied and was seen c l e a r l y. A l s o t h e r e q u i r e m e n t o f p u b l i c interaction was seen not possible with the prior design, but acted as a landmark instead.


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The direction of the design will look back at previous precedents and systems and will work around using features of them as the prior design d i d s t r a y a w a y f r o m a ny p r i n c i p l e s looked at before. For the structure to be interactive, the precedent from B.3, B oxel, is good to get a form genration to make a design that is interactive to the public. Ha v i n g a f o r m t h a t c a n a l l o w u s e s to walk along and interact with the design will also give the users a better experience of the site. B a c k i n A . 1 , t h e S w a y â&#x20AC;&#x2122;d p r o j e c t u s e s public art as interaction for the public. Wi t h n e w t e c h n o l o g y, t h e p r i n c i p l e of the rods can also be used as the designs renewable energ y generator

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w i t h t h e u s e o f Wi n d s t a l k s . Wi n d s t a l k s generate energ y that is captured by the rods swaying in the wind and does n o t n e e d a ny d a n g e r o u s b l a d e s t o h a r v e s t w i n d e n e r g y. 3 T h e w i n d s t a l k s can be modelled onto the form using panels that would be arranged in a tessellation pattern of the form. The design would also need to have a support structure as it will be interactive and something that is easy to fabricate and put together must be designed to meet the brief. Ta k i n g t h e d e s i n g i n t h i s d i r e c t i o n is much better to be on track to satisf y the brief and site where p r i o r, t h e d e s i g n d i d n o t m e e t s o m e requirements.


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B.8 - APPENDIX - ALGORITHMIC SKETCHES Over the past weeks, the use of G r a s s h o p p e r h a s i m p o r v e d s i n c e Pa r t A. The understanding of the software is more knowledgeable and can be used to produce some interesting design outcomes which could not be done p r i o r w i t h o u t t h e u s e i f G r a s s h o p p e r. The exercises of producing iterations was ver y useful to see what parameters can be changed slightly to alter the design. Wi t h m o r e e x p e r i e n c e w i t h Grasshopper in the future, the design can be taken even further to new limits.

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PART B REFERENCES B.1 1 . Vo u s s o i r C l o u d , Iw a m o t o s c o t t A r c h i t e c t u r e , < h t t p : / / w w w. i w a m o t o s c o t t . c o m / VO U S S O I RC L O U D > [ a c c e s s e d 7 Ap r i l 2 0 1 4 ] I m a g e s f r o m h t t p : / / w w w. i w a m o t o s c o t t . c o m / VO U S S O I R- C L O U D h t t p : / / w w w. t r i a n g u l a t i o n . j p / 2 0 1 1 / 0 6 / v o u s s o i r- c l o u d . h t m l h t t p : / / w w w. a r c h d a i l y. c o m . b r / b r / 0 1 - 5 4 0 2 4 / v o u s s o i r- c l o u d - i w a m o t o s c o t t - a r c h i t e c t u r e - b u r o - h a p p o l d / v o u s s o i r- c l o u d _ 1 3 0 7 1 2 0 3 2 6 - i s a r- v c - d e t a i l - b a c k /

B.3 2 . B OX E L / S t u d e n t s o f D e t m o l d e r S c h u l e , < h t t p : / / w w w. a r c h d a i l y. c o m / 7 3 1 7 3 / b o x e l - s t u d e n t s - o f d e t m o l d e r- s c h u l e / > [ a c c e s s e d 1 4 Ap r i l 2 0 1 4 ] I m a g e s f r o m h t t p : / / w w w. a r c h d a i l y. c o m / 7 3 1 7 3 / b o x e l - s t u d e n t s - o f - d e t m o l d e r- s c h u l e /

B.6 I m a g e s f r o m h t t p : / / w w w. g e e k . c o m / n e w s / s o l a r- p a i n t - c o u l d - p o w e r- y o u r- f u t u r e - h o m e - 1 4 5 2 6 1 5 / h t t p : / / w w w. s c r a p m e t a l s y d n e y. c o m / s t e e l - r e c y c l i n g - d r i v i n g - t h e - w o r l d /

B.7 3 . Wi n d s t a l k , A D NA , < h t t p : / / a t e l i e r d n a . c o m / m a s d a r w i n d s t a l k / > [ a c c e s s e d 3 M a y 2 0 1 4 ] Diagram from http://atelierdna.com/masdar windstalk/

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Munasinghe gayan 586139 partb pages sfs