Journal by stephanie anton

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furthermore, my High School years was when I began to familiarise myself with the concepts of Perspective drawings, drawing up plans, conventions, using CAD programs and also touching on the Adobe suite. Undertaking Visual Communication and Design thought my schooling assisted me and prepared me to some degree for what was ahead of me. I have learnt many skills throughout my time at university but I feel as though my passion for Architecture grew with work experience in the work force. I have worked at both a small and large scale practice and have also dealt with many clients through my ongoing job in my parents engineering business.

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Both my first and second years at University only strengthened my passion and love for Architecture. From the open ended Design Studios to the Strict guidelines of construction subjects and the many readings in Architectural History Subjects I have been able to gain a deeper and more sound understanding of what it takes to be successful in the long run.

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Hi im Stephanie and I am third year Architecture Student studying at Melbourne University that has been passionate about Architecture for over 7 years. Throughout my life I have constantly been exposed to the construction, engineering and architecture fields through my family. I found a strong passion for architecture very early and begun collecting books and endless amounts of photos. I love traveling and seeing architecture from all ends of the globe. Most recently I travelled to Thailand and was able to experience the beauty of many Temples that inspired me.

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Overall the project highlights the surroundings and does not become obtrusive to the landscape by its internal moement paths and the mirrored and transparent facade. The proposal “situates itself at the intersection of flows joining and separating opposing landforms: as a channel screen, harnessing the flows of wind through the tidal artery, and as vantage points, staging crosswise pedestrian flows through the park, the two acting in combination as a mirrorwindow, reflecting and revealing the scene of Freshkills’ fluctuating landscape b a c k t o i t s e l f ” 1. T h e s e e l e m e n t s a l l a r e working together not only to generate energy but to celebrate the landscape in which it is situated. Furthermore, the captivating lights set upon the mesh of the form “replace reflections of the daylight, displaying a m e m o r y o f t h e g e n e r a t e d e n e r g y ” 2. T h i s i s a beautiful combination of how the form regulates itself, gererates energy and again celebrates the natural world and the energy that can be harvested from it. This form is the combination of the natural and artificial worlds coming together to work in harmony.

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T O N E / / S E N S O R : N G S O C I A L O L O G I C A L

T h e m a i n g o a l o f t h e L a n d A r t G e n e r a t o r I n i t i a t i v e ( L A G I ) i s t o d e s i g n a n d c o n s t r u c t p u b l i c a r t i n s t a l l a t i o n s t h a t h a v e t h e a d d e d b e n e f i t o f l a r g e s c a l e c l e a n e n e r g y g e n e r a t i o n 3

1 Murray. Land Art Generator Initiative 2014 2 Murray. Land Art Generator Initiative 2014 3 LAGI Land Art Generator Initiative 2014 4 Murray Land Art Generator Initiative 2014 5 Oh et al. Inefficiency can be Beautiful | LAGI2012 2014

I N E F F I C I E N C Y C A N B E B E A U T I F U L ‘Inefficiency can be Beautiful’5 is based around the idea of clean energy. The design cleaverly informs those on the site of the stepd they must take to create a carbon nautral environmnet. In comparison to the winning team from USA have created a low energy generation rate within their design questioning the adressing of the brief.

Unfortunately, in contrast to many of the designs, ‘Inefficiency can be Beautiful’ has looked at the site as a whole and also at the effect of the design on the users of the site. This is what I hope to take into my design for the 2014 LAGI Competition.

However, my main reasons for choosing to look into the project is the fact that the design ideas reflect the history and geology of the site within their thinking. Not only have they adressed the way in which to attract users but also the previous usage of the site – a landfill. Furthermore, the site works in coherence with the climate whereby the solar panels change transparancy depending on the temprature range on site. In considering this years competition, the idea of site seems key to sucsess.

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PUMPED HYDRO One of the most widely-embraced forms of energy storage is currently pumped hydro. 1

Energy is used to pump water up a hill and then when energy is needed, the water is released to flow back down the hill. It is cost effective as the water is pumped at low-peak times and drops at high peak. GRAVITY STORAGE2 This method of energy generation uses a pump and water with the power of gravity to create energy. Instead of using a hill, the energy is generated in a similar way below the ground. A large piston that stores or returns energy when hydraulically moved up or down by water. The water is simply a hydraulic fluid.

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a type of energy use could be a constant energy source for mobile, wearable and ubiquitous devices or even a wireless energy transfer. todays age is consumed by technologies that are in desperate need of ‘recharge‘ hence a docking station or recharge hub is a possibility that may be sucsessful in many ways.

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The idea behind geothermal energy is drawing heat from the Earth's crust. this heat can be used for geothermal pools or even for electricity generation. Geothermal power plants use steam produced from reservoirs of hot water found a few miles or more below the Earth’s surface to produce electricity.

1 Forcey Pumped hydro energy storage 2013 2 Bartlett et al. Gravity Power 2014 3 Mok Sun-Collecting, Parametric “Skin” 2014

W e a r e t a k i n g c h a l l e n g e s a n d t u r n i n g t h e m i n t o o p p o r t u n i t i e s b y d e v e l o p i n g h o m e g r o w n , l o c a l e n e r g y p r o d u c t i o n t o b e c o m e i n d e p e n d e n t f r o m f o r e i g n s o u r c e s . M i t c h

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S U N C O L L E C T I N G P A R A M E T R I C S K I N Students from Chinaâ&#x20AC;&#x2122;s Tongji University created an interesting prototype for a prefab house that combines both passive and active energy strategies for the European Solar Decathalon, h e l d i n M a d r i d , S p a i n 3. T h e p a r t i c u l a r aspect which caught my eye was the use of a parametrically designed faĂ§ade that allowed for thin film solar panels to be embedded within each opening as well as a vertical garden within. Not only is this method of great advantage in terms of energy generation but an additional aspect of green space within the ventilated faĂ§ade is achieved.

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Today’s age is consumed within technology and this reliance on a system based approach has seen the progression of technology, in particular computer programs, skyrocket. In simple terms, the limits are endless. Architectural design processes are made easier with the click of a mouse however the approach in which it is done may not be so simple. In a digital based age, we are forced to create a connection between computation and architecture. This ‘man1 machine’ connection creates ‘symbiotic relationships between the formulation of design processes and developing technologies’2 where time is even more precious, deadlines have become tighter and projects become more competitive.

Today, what may have been considered a complex form can be generated in under a day however questions can be posed of how realistic or stable this form may be? However this is where the structural side of things comes into play with many pavilions and forms made possible through parametric design and structural analysis. Yes many forms and pavilions such as the Boxel Pavilion and the Starshell Pavilion can be generated and produced, but how many forms can take place like these in a rigid structural standing building holding and distributing loads?

1 Oxman Theories of the Digital in Architecture (London; New York: Routledge 2014) 2 Oxman Theories of the Digital in Architecture (London; New York: Routledge 2014) 4 Graz BIX Media Facade 2013 5 Photography by Peter Cook and Colin Fournier 6 Photography by Peter Cook and Colin Fournier

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Taking a closer look at the parametrically designed form Kunsthaus Graz, it is clear that there are various elements which are unable to be designed physically due to the fact that t h e y a r e n o t s e l f - s u p p o r t i n g 4. I n example, bricks are laid to create the extruded forms in order to lay the metal clad as a skin to create a structurally sound system. The form is contradicting to the futuristic approach that peter cook has tried to achieve which in turn questions the structural degree of parametric design. Indeed this form is generative however not so much of an arrhythmic form.

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D E S I G N C O M P U T A T I O N P R E C E D E N T S P A V I L L I O N S

B O X E L P A V I L L I O N The boxel pavilion is a simple grasshopper form that has been created as a meeting space for various events within the University o f A p p l i e d S c i e n c e s i n D e t m o l d 1. I chose this example as a reference of innovative thinking however the simple nature of the idea seems unresolved. The fabrication of the product was created using old beer boxes thus multiple attempts to create a structural self-supporting form was eventually achieved and a 1:1 mock up was created. Led by Prof. Marco Hemmerling, the students were able to explore, generate and produce a physical model for the design.

In reference to the Semester I believe the Boxel Pavillion is a starting point for the exploration that is possible in tools such as grasshopper. As Terzidis questions, â&#x20AC;&#x153;is it possible to claim that a designers creativity is limited by the very programs that are supposed to free their i m a g i n a t i o n â&#x20AC;? 6, I b e l i e v e i t i s t h e designer that chooses whether he or she will challenge the limitations as computational design is as boundless as the designer makes it.

1 Jordana BOXEL / Students of Detmolder Schule 2010 2 Kudless Shellstar Pavillion 2010 3 Photograph by Dennis Lo 4 photograph by Dirk Schelpmeier & Marcus Brehm 5 photograph by Dirk Schelpmeier & Marcus Brehm 6 Brown Introduction to Algorithmic Thinking (Berlin Heidelberg 2006)

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D E S I G N C O M P U T A T I O N P R E C E D E N T S P A V I L L I O N S

S T A R S H E L L P A V I L L I O N The shellstar pavilion2 is a lightwiegh pavilion again much like the Boxel howver it is a form that has gone into more detail and used various algorythms in order to create a patterned surface. Created for a festival, the form is located on an empty lot within the Wan Chai district of Hong Kong. The design emerged from a need to create a spatial focal point whereby visitors would feel drawn into the pavilion centre. The pavilion unlike the boxel is not fully structural hence there are supports at the bases of each end in order to keep the form rigid and secure. In a sense, the form itself again has not been thoroughly thought out however from sketches to final product was a short duration of six weeks. Again the weak point of the project is the lack of thought into the structural integrity of the form. if â&#x20AC;&#x153;algorithmic thinking is the ability to understand, execute and create a l g o r i t h m s â&#x20AC;? 6, t h e n t h e r e n e e d s t o b e a deeper analysis and process shown into the complexity of the design. Often due to a strong emphasis on aesthetics, the integrity of the form is lost and this is where problems begin to arise. 1 Jordana BOXEL / Students of Detmolder Schule 2010 2 Kudless Shellstar Pavillion 2010 3 Photograph by Dennis Lo 4 photograph by Dirk Schelpmeier & Marcus Brehm 5 photograph by Dirk Schelpmeier & Marcus Brehm 6 Brown Introduction to Algorithmic Thinking (Berlin Heidelberg 2006)

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C O M P O S I T I O N & G E N E R A T I O N

C O M P O S I T I O N T O / / T H E P R O C E S S Today’s age is shifting to a parametric based world of algorithmic thinking. We are placed in a position whereby we must move into a different realm of the ‘digital age’1 that surrounds us. Being taught the traditional means of design, people such as myself are in a position of both complexity and a new opportunity. However this idea can be contradicted by programs such as ‘pictomere’2 where children create commands without knowing how to read and write. Although a very different situation, it can be taken into account that in terms of an algorithmic way of thinking, it’s just a set of commands that one must understand in order to design parametrically.

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However as mentioned above, the designer must be familiar with such programs and be aware of how to think algorithmically in order to take a step into the digital world of parametric design. Then again, it is not only the designer but the technology to physically build many parametric designs that are far too detailed and complex even for a machine such as a 3D printer.

As a growing form of design, computational processes are faster and somewhat endless in the forms that can be generated. A complex problem faced by the architects of the past can now be explored and experimented with the aid of ‘Computational Works’ as suggested by Bradley P e t e r s 3. 1 Kalay Architecture’s New Media (2004) 2 pers. comm, Dr. Stanislav Roudavski 2014 3 Peters Computation Works: The Building of Algorithmic Thought (2013) 4 Hansmeyer TED Talk 2012 5 Image by Michel Hansmeyer

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First and foremost, the TED talk by Michel Hansmeyer4 was very suiting to this weeks topic. Hansmeyer discussed the idea of folding and creating complex beautiful forms from a small geometric shape. The beauty of computational design is that the thinking and analysis is undertaken by the computer calculating information such as the curvature and length of spans on a abstract object. Hansmeyer however highlights the disconnect between the virtual and physical worlds when it comes to his column design. Although a computer may calculate 16 million facets within 35 seconds, the manual labour and time it takes to create a model of these parametric designs can take days, weeks or months depending on the project. Further to this, the question of stability and structure is brought forward.

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C O M P O S I T I O N & G E N E R A T I O N

1 photograph by Vlad Tenu 2 photograph by Vlad Tenu 3 Tenu MINIMAL COMPLEXITY LONDON 2012 – VLAD TENU 2014

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A generative process involves efficiency and the creation of complex surfaces and this is exactly what Vlad Tenu has d o n e i n h i s ‘ A w a r d W i n n i n g s c u l p t u r e ’ 3. T h e i d e a o f m i n i m a l complexity is echoed throughout the design through algorithmic processes using nature as an influence. The idea of the form is based around repletion and through this, a generation of complex surfaces have been created. As made clear, the model is constricted to the digital fabrication available today whilst also acknowledging that the form must be structurally sound and self-supporting. Through a process of prototyping, the team were able to source a way in which the model could be erected in order to save both money and time.

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“WE ARE BEGINNING TO UNDERSTAND THAT GEOMETRY IS DIRTY -IN TWO SENSES. GENERATIVE SCRIPTING IS IN ESSENCE UNREFINED. ITS FORMAL LANGUAGE IS HIGHLY STRUCTURED BUT ITS APPLICATION IS IDIOMATIC AND ROUGH, ITS LOGIC ALWAYS LOCAL” PETER MACAPIA

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C O M P O S I T I O N & G E N E R A T I O N

1 Macapia ARCH’IT files / Turbulent Grid. Dirty Geometry 2007 2 Photography by Peter Macapia 3 Photography by Peter Macapia 4 Macapia ARCH’IT files / Turbulent Grid. Dirty Geometry 2007

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Peter Macapia talks of geometry in its basic form and goes on to describes the computational approach by which the shape is manipulated, patterned and created into a s u r f a c e 1. T h i s I b e l i e v e r e a l l y e n c a p s u l a t e d b o t h t h e j o u r n a l topic and the algorithmic sketchbook for the week. In particular his project ‘Dirty Geometry 1’ – used as a reference point in his article -addresses not only the idea of computational design, algorithmic thinking and generative form but he also covers the idea of site and purpose. Moreover, his article discusses the idea of geometrical expression emerging at a ‘time when the very notion of design is increasingly experiencing new political, social, a n d e n e r g y d e m a n d s ’ 4. T h i s c o n c e p t i n s h o r t e x e m p l i f i e s the changing nature in which we see architecture - ‘as a f u n c t i o n , a f u n c t i o n o f g r i d s , o f n e t w o r k s , o f g r a d i e n t s ’ 5.

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C O N C L U S I O N & L E A R N I N G O U T C O M E

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“Problems can not be solved unless they are confronted” Tony Fry – a perfect beginning to concluding the Part A assessment. We must understand, in today’s age of limitless options to design, that it is crucial to asses all elements in the brief or world around us such as climate change and energy generation - before generation, exploration and modelling. The initial three weeks of the semester have indeed given me a sense of direction for which I need to take within my LAGI energy project. Although all very different, the precedents were a starting point in the understanding of digital design and this key differentiation between computation and computerisation. The limitless nature of parametric design intrigues me and I hope to take the experimentation and unique nature of algorithmic thinking into my idea generation and physical forms.

Of all aspects, fabrication and structural integrity is crucial to a successful design and I hope to emulate this within the physical forms I create through the semester. I hope to inform those on the site and engage with them through my knowledge of algorithms. Through lectures, readings, studios and research, I have developed a brought and insightful knowledge of Part A. I hope to address various ‘problems’1 brought forward by Tony Fry through my design whilst also addressing the idea of climate change and the necessity for a greener cleaner world. I believe this option not only is innovative but also is a approach which considers the future generations to come in terms of climate change and sustainability.

1 Fry Design Futuring: Sustainability, Ethics and New Practice 2008 2 Stefanov Experimental Computational Design 2014

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If there is one thing I can say, is that my knowledge of grasshopper has indeed opened up so many new doors and opportunities for me. The course content too has allowed me to explore new realms and areas of Architecture in a new and exciting light. Back in week one, research for the LAGI energy competition was undertaken and I feel as though this was a solid foundation to the course as it exposed positives and negative aspects of previous attempts to create an energy generating design. In then being introduced to the idea of design thinking and computational design I was able to see much clearer the faults in many of the entries where by the site context and form was not suitable to the proposed area. I believe the initial week was necessary in informing and exposing the demands for a greener and more sustainable future in the eyes of architects and designers.

Within the second week, focusing on the contrast between computational and computerisation gave insight into the downfalls of my past years at the University as I was unaware of the boundless nature and innovative nature of computational design. The need for architects to become more aware and educated in such programs is the key to future design in my opinion. We are rapidly moving into a digital age and it is only a matter of time to see majority of structures parametrically designed. Following smoothly through to week three, the idea of generative designs within the realm of computational design is another element focusing more on the idea of growth and natural design. This in turn allowed me to see a more innovative way in which to approach the task at hand of creating a form which is both original and creative.

1 Stefanov Experimental Computational Design 2014

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"YOU NEVER CHANGE THINGS BY FIGHTING THE EXISTING REALITY. TO CHANGE SOMETHING, BUILD A NEW MODEL THAT MAKES THE EXISTING MODEL OBSOLETE." BUCKMINSTER FULLER

A L L A B O U T B I O M I M I C R Y Sourcing from nature in design is something that has been utilised over many years - dating back to times where technologies were yet to be discovered. Looking at nomads and pre-historic hunters, there was a need for refuge and security. This is the key role nature plays in creating temporary huts made from their surrounds. There is something very mellow and pleasant about a form derived in some way from nature â&#x20AC;&#x201C; something that captivated and inspires us. However Biomimicry is something slightly more advanced a concept that takes nature and manipulates not simple copies it. With todayâ&#x20AC;&#x2122;s advancements in such a technological world, we are often too literally presenting nature within our designs. I will explore the beauties of designing with Biomimicry and the processes in which architects take to create such forms. 1 Pawlyn Biomimicry in architecture 2011

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As of this week, we hope to take a path that leads us to an energy generating compelling design that will attract the masses, informing them of the beauty and possibilities of energy generation. By looking various precendents, we aspire to take ideas of how to sucsessfully produce a form that is both biomimetic and reflective of our chosen design concept (yet to be selected). As a means of research, Biomimicry was introduced and our understanding of this concept will guide us through our uncovering of a design that we hope will fulfil the criteria of both our ideas and the LAGI brief.

“FASCINATED WITH FRACTAL GEOMETRY, SMALLER PARTS THAT COME TOGETHER TO FORM LARGER WHOLES, THIS DUO OF BENJAMIN ARANDA AND CHRIS LASCH INVESTIGATES THE REALM OF STRUCTURE AND SPACE, FORMING CRYSTALLINE DESIGNS FOR BUILDINGS, INSTALLATIONS AND OBJECTS 1 THROUGH COMPUTATION”

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‘The Morning Line’ is an example of Biomimicry using generative parametric design. The design explores the interdisciplinary interplays between art, architecture, mathematics, cosmology, music, and science. Aranda and Lasch have opted to use a basic geometry and multiply this geometry in order to create an intricate and styled form. They are Architects who love to use parametric design and are indeed “particularly fascinated with modular s y s t e m s ” 1. The form itself is an interactive one that encompasses a story of the universe with no beginning or end. It is an example of a true parametric form whereby there is no limit in size, movement and geometry. The options are limitless.

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The designers have really pushed the boundaries and this is an admirable quality. On top of that, The Morning Line also has a unique “interactive multi-spatial system”2 designed by Matthew Ritchie and the Music Research Centre at York University which creates an instrument again pushing the boundaries. Being a parametric based design, any altercations in venue use or cultral changes over time allow the form to have a sence of flexibility and can “can adapt to a changing program of c o n t e m p o r a r y m u s i c ” 2. T h e forms interactive system detects movement within and outside the form. This movement and data is collated and generates unique forms of music creating “new stories c r e a t e d b y e v e r y v i s i t o r ” 2.

1 MAD MAD Professional Development for Teachers 2014 2 Thyssen-Bornemisza Art Contemporary 2014 3 Hurnaus The Morning Line Vienna 2014

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V O L T A D O M The VoltaDom project by Skylar Tibbits was constructed for MITâ&#x20AC;&#x2122;s 150th Anniversary Celebration & F A S T A r t s F e s t i v a l 1. T h e form aims to emulate the idea of the traditional Gothic cathedralâ&#x20AC;&#x2122;s vaulted ceilings. Furthermore, the designers aimed to emulate the process by which cellular systems grow and multiply within their design of the VoltaDom. The form plays with the idea of views and light with its randomly positioned openings throughout the form as well as creating a unique experience for the

The fabrication and assembly of the project would be relatively easy and indeed cost efficient. The ideas and process behind the computational side of the project assist in a wider understanding of the grasshopper tools. A platform of knowledge was gained through the research of the project as it allowed again for a altered perspective on the idea of Biomimicry and computational design

1. SJET VoltaDom 2014 2 SJET VoltaDom 2014

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The criteria by which I choose my species was based on the idea of a flowing and repetitive nature which mapped out the idea of growth. The four selected offspring of the species are both innovative and unique in design. Not only do they emulate the idea of a repetitive growing form, they are captivating designs that intrigue the users of the site. The reason we saw the following species as successful was due to the fact that they represented a vibrational form that seemed to capture the essence of Biomimicry and tessellation. First and foremost, by creating vibrational geometry, the aim was to test and experiment with various species in order to create a successful dominant offspring. In looking at the four final species, there is a clear succession of our dominant choice however overall, the four represent the features of what we would like to achieve within our design thus merging the three designs could be a possibility.

The overall outcome was something that is beautifully complex. It allows for a base for further analysis in the coming weeks. I hope to use these elements as possibly a patterning technique or as inspiration to my project. The effect created by such a form would be intriguing and would stand as a unique form. I believe it would also sit in context with a landscape and could become a point of great attraction to the users. However in saying this, the form would have to be simplified in some way for fabrication purposes. However in creating a form that can be fabricated, the design and aesthetics should be as equally strong.

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Week 4 Iterations W e e k 4Lasch I t e r- aThe t i o Morni ns Aranda W e e k 4 I t e r a t i o n s Tet with Aranda Experimenting Lasch - The Morni W e e k 4 I t e r a t i o n s Tet Aranda Experimenting Lasch - The Morni with Aranda Experimenting Lasch - The Morni with Tet

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e kr a4t iIotn e sr a t i o n s ehda k- The 4Lasch I tMorning e r- aThe t i o Morning nLine s Line ekr 4 a t i o n s with Tetrohedrons ementing I t e r a t i o n s with Tetrohedrons da Experimenting Lasch - The Morning Line ech t i o Morning n sLine The ekr-4 a tIitoeMorning nr-saThe da Lasch Line Experimenting with Tetrohedrons rimenting with Tetrohedrons da Lasch The Morning Line Experimenting with Tetrohedrons ch The Morning Line erations

rimenting with Tetrohedrons Experimenting with Tetrohedrons

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“We extended the design concepts of the garden by looking closely at the cellular structure of plants and their processes of growth to inform the design’s development. The final structure was designed using computer algorithms that mimic natural growth and is intended to allow visitors to experience the patterns of biological structure at an unfamiliar scale. The primary structure is timber sourced from sustainable spruce forests with a glass panelled roof.”1 - NEX Principal Alan Dempsey The eureka pavilion is a design that has been created to demonstrate a commitment to science and reflecting the focus of The Times monthly science magazine, Eureka. The design of the pavilion and the surrounding garden work together to attract visitors and to assist in creating a context or a setting to their design. The project represents literal

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cell growth in leaves which is more of a representation rather than a mimic of a process in nature. Although this may be a downfall of the project, the overall rigidity and structure is commendable and I believe that these elements can be taken into account when creating our project. The plant species – site specific – were carefully selected and distributed around the pavilion. This idea forces people to reflect on the function and importance of plants in our society, furthermore assisting in the realization of the design. The designers in this case have created a beautiful computational design that suits very well in its context and that can be seen as a successful small scale project.

1 Barnett TIMES EUREKA PAVILION 2014

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1 A basic voronoi pattern was understaken in order to create a basis for manipulation and reverse engeneering. this unfortunately was a failure due to the overlapping intersections 2 The grasshopper algorythem was altered in order to create a perfectly offset and intersecting form. 3 Each geometry was listed as an idem and thus a individual surface was assigned to each section. next, a grid of points was set up within each geometry howver this was not sufficient for voronoi patterning. 4 The populate 2D component did not work as it was creting a grid of points for a rectangular geometry.

5 The populate 3D component did not work as it was creting a grid of points for a rectangular geometry. 6 Then a wall was hit untill the populate geometry component was discovered and sucsessfully sat within the boundry of each surface 7 Then the points were evenly distributed in each geometry to even out the appearance 8 The voronoi component was then added to the populated geometries 9 The offset was adjusted to create a more suitable design that now can be used to fabricate and test

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Taking a look at the original project, the outcome was quite similar to that of the original project and I believe that the process by which it was to create such a form took time and effort. The process of trial and error was very obvious within the project as elements were always coming to a dead end. In terms of differences, the project in our grasshopper file is much more linear however the idea of the form is indeed translated. This project is a voronoi derived form however we want to manipulate and morph the idea above and

beyond. We plan to test and fabricate to understand light patterns, the angle in which optimal sunlight is captured and even analyse the ways in which solar elements can be used to create a form that is both aesthetically pleasing and energy producing.

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Through analyzing a broad amount of iterations, we were able to gain a better understanding of where to take the project. Although many of our iterations were complex and unable to be fabricated, we really pushed the limits of each iteration, we tried many grasshopper definitions and we also used various plugins such as lunchbox tools to attain a surface that we could alter and play around with. The processes which were undertaken in the Grasshopper program can be found in week six of the Algorithmic Sketchbook. Our aim was to bridge the gap between computational design and cell growth and I believe that our final iterations encapsulate the idea of the growth and division. In saying this, there is also room for change and alterations to make the design stronger and more suited to the beautiful landscape of Copenhagen.

Many of our iterations could be seen as a success however the ones with tubes, holes and extrusions seemed to catch our attention due to their potential as energy generating forms. These forms have flat surfaces that can catch wind thus allowing for a form that can collect energy through the use of wind and rain on site.

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TESTING LIGHT

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Our models as an overall process developed consecutively from idea to concept. We were able to analyse the performance of our models by testing one main element in each prototype. Creating a pavilion calls for structure and the element that all our models had in common was the ability to stand freely but also to be a structural system. Although only sketch models, our intention was to think structurally not only creatively. Our material choices were experimental and dependant upon the element being tested. Our models cosidered the ways in which we could intergrate piezo and solar into our design. our progression to a tubular form with flat panels was found to be the best option to generate the highest amount of energy as a system.

Growing: Our first prototype was based on our vector line work produced within the grasshopper program for our reverse engineering of The Eureka Pavilion. This was achieved by laser cutting each panel and gluing them together. This was only a starting point but gave us the inspiration to look at light patterns produced through shadows and the way that a shadow changes through time and seasons. Stretching: through considering our next prototype, we wanted to test the boundaries and possibilities on a curved surface. We took three main pieces of wire, tied them together then applied string on the surface through weaving and knotting it to each of the wire ribs. This technique was a more developed phase of the â&#x20AC;&#x2DC;growingâ&#x20AC;&#x2122; prototype.

Structure: next we wanted to test the stability and strength of a formation that interlock within itself. This was achieved through the use of paper through its bendable properties. Stuck together seamlessly, this form took on a very pure and beautiful form that inspired us to move further forward Bending: Taking a step into a new direction, we began testing more rigid forms for fabrication purposes. In taking this step, we found that we lost the organic nature of the form but replaced it with something that could be used as a skeletal structure. In testing this form, bending was prevented and this element is something that could be considered in the construction of our final model in coming weeks.

Texture: after assessing the base requirements, we began to look at the idea of a surface and how we could represent this. By using a material that is grid like but has some sort of depth to it, we could represent the idea of growth and space. This prototype provided a quality that was captivating. It really did help inform our designs and was a success in mapping out shadows and light manipulation. Perspective: our final prototype was a representation of many elements; light, shadows, structure and importantly perspective. This prototype was an amalgamation of the design concept and the experience of the user. By taking the photo within the form, the experience of the users was captured.

“ A R C H I T E C T U A M Y T H I C A L I T H A S T O I T C A N ’ T

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W E C A N D R A W E C A N M A O F I T , B U T I B E E X P E R I E C O M P L E T E W M A Y A

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a growing cell muliplying and creating one entity

growing knowlage of a carbon neutral area

C O P E N H A G E N l o o k i n g t o w a r d s a c a r b o n n e u t r a l f u t u r e In order to satisfy the LAGI brief, as a group we seeked to create an installation that was relevant to the site. In order to create something that was relevant we conducted extensive research on Copenhagenâ&#x20AC;&#x2122;s people, climate, current environmental issues as well as some design and energy precedents for inspiration.

1 photograph by Vlad Tenu

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REFSHALEØEN IS A FORMER INDUSTRIAL SITE IN THE HARBOUR OF COPENHAGEN. FOR MORE THAN A HUNDRED YEARS, IT WAS HOME TO THE SHIPYARD BURMEISTER & WAIN WHICH CLOSED IN 1 9 9 6 1. THERE IS A STRONG SHIP MAKING CULTURE IN THIS CITY OF COPENHAGEN AND MUCH OF THE LAND WAS RECLAIMED AND DOESN’T HAVE ANY D I S T I N C T I V E P U R P O S E 2. THIS IS WHY WE ARE AIMING TO ATTRACT PEOPLE TO THE SITE AND THROUGH THE CREATION O F M AS S IV E TO W ER S T H A T ARE BOTH SCULPTURALLY INTRIGUING WHILST GENERATING ENERGY AS WELL. 1 Unknown Refshaleøen History 2014 2 Unknown Refshaleøen History 2014

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Piezoelectricity is the collection of energy though the compression of a material. The material from which it is made from is not only cheap but very strong and durable. The use of this type of energy collection has been chosen due to the conditions on site. With strong winds and heavy rains in winter, the piezoelectric systems will collect optimum amounts of energy at those times. In order to catch optimum wind for energy generation, the piezoelectric material will be installed vertically. Our final design will strive to adapt to these conditions to collect the most amount of energy dependent upon the season.

In coherence with our adaptive design concept, we are aiming to allow the proposed design to collect just as much energy in summer as it does in winter. The solar energy system will utilize flexible strips which will be laid out along the sun path of Copenghagen in order to allow all elements of the form capture the sums rays. A possible design element to consider is panels that follow the sun throughout the day. Creating a self maintaining form that adapts to its surrounds is our desired outcome.

â&#x20AC;&#x153;8.4 WATTS OF USEABLE POWER CAN BE ACHIEVED FROM A PZT MOUNTED IN A SHOEâ&#x20AC;?2

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Austrian architects Coop Himmelb(l)au have designed an energy-generating canopy for a passageway in Perugia, Italy. Called Energy Roof, the structure will consist of three layers: photovoltaic cells at the top, structure and wind turbines in the middle, and a g l a z e d u n d e r s i d e 1. T h e design is suited to the city and the varied layers will be able to capture the optimum amount of energy due to their research on materiality, sun paths and wind direction.

1 Etherington Energy Roof Perugia 2010 2 Sodano Estimation Of Electric Charge Output For Piezoelectric Energy Harvesting 2004

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Throughout the subject thus far, I can confidently say that I am consistently learning new and interesting things. My knowledge of grasshopper has indeed progressed and I am now able to better understand the concepts of the program much more fluently. The course content has allowed me to explore new realms and areas of Architecture in a new and exciting light. Overall I believe that the LAGI project has also enriched my knowledge of new and emerging technologies and how I will be integrating these technologies into my design. Researching built computational forms using Biomimicry was indeed the most valuable task I accomplished within the past four weeks. These precedents provided scope and a reference point to creating our own form both computationally and in our design concept. I believe that researching designs that have been successfully placed on site and that generate energy or emulating a biomimic process assisted us in better understanding how to tackle our task at hand.

Looking back at the past few weeks, I can see that the quality of the form had slightly faded in terms of its unique qualities. In accordance with the feedback that we received, our form will need to be further assessed and altered by considering the energy generating techniques more closely. Moreover, we will need to consider the site and the form on an equal scale. As an overall analysis, our design can be pushed in a positive direction by looking at adaption over a seasonal period rather than a 100 year span. I believe the steps prior to proposing a design were innovative concepts that we will have to reference back to in order to reconsider our final design. Although it seemed that our changes would have to be drastic, we quickly realized that this was not the case due to our strong understanding of where we will need to concentrate our focus in order for success. As a group we will also aim to calculate the given amount of energy produced within our form to adhere to the LAGI brief requirements of a design that generates energy to be sent to the grid.

In conclusion, I hope to progress smoothly into the final few weeks of the semester to create a coherent and suited form for this project. The position which we are in currently will be used as a platform for further prodotyping, time-lapse photography (to depict how our energy is generated), testing, researching and further computational generation. Overall, the boundless nature of computational design has been a rich addition to my scope of understanding within this project. The need for architects to become more aware of such programs is the key to future design in my opinion. We are rapidly moving into a digital age and it is only a matter of time to see majority of structures parametrically designe. The last few pages of my Algorythmic Skectchbook provided a deeper understanding of the direction that i would like to push our model to step away from a basic form in order to showcase our skills and understanding of the computational world.

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D E S I G N C O N C E P T In order to satisfy the LAGI brief, as a group we sought to create an installation that was monumental and expressive on the site. Extensive research was conducted on Copenhagenâ&#x20AC;&#x2122;s people, climate, current environmental issues and interesting energy production systems in order to achieve an intriguing design. We optimised our design using sun path diagrams and digital simulations in order to achieve a well resolved and rationalised design.

Throughout the designing process, there was a heavy emphasis placed on biomimic systems and how many lessons can be learnt from them and furthermore applied to design. The Concept was generated by combining the idea of a growing cell, gradually multiplying to create a single entity, along with fostering knowledge of a carbon neutral city.

S I T E C O N T E X T Refshaleøen is a former industrial site in the harbour of Copenhagen. For more than a hundred years, it was home to the shipyard Burmeister & Wain which closed in 19961. There is a strong ship making culture in this city of Copenhagen and much of the land was reclaimed and doesn’t have any distinctive purpose2. This is why we are aiming to attract people to the site and through the creation of massive towers that are both sculpturally intriguing whilst generating energy as well. 1 Unknown Refshaleøen History 2014 2 Unknown Refshaleøen History 2014

P R O J E C T R E F I N E M E N T F O R M D E V E L O P M E N T In assessing our interim design ideas, we came to the realisation that our design was not refined enough, the research behind our form was not strong enough and our consideration of the

site was not very well thought through. We moved to a form that was monumental instead of low lying in order to make a statement and to create awareness to those travelling to the site.

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The aim as we begun to develop our ideas was to create an environment that not only fostered growth in the idea of a carbon neutral environment but that ironically depicted the chaos or hardship that will occur if carbon emissionscontinue to pollute our precious world.

Although we made numerous changes and developed our ideas countless times, the route of our concept â&#x20AC;&#x201C; growth â&#x20AC;&#x201C; stayed constant throughout the process.

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T O W E R S In assessing the forms of the individual towers, we had a set of criteria in which we stood by though the process.

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Criteria 1

Collect a sufficient amount of energy to power a significant amount of Copenhagen

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The tower is to be tall in appearance to make a statement to the visitors

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It is to be structurally sound and use a method in which does not require an additional structural system

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Assist in lowering factory production by sourcing recycled materials

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Transportation to site made easier through the development of panels that can be broken down

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Variational heights to create a dynamic sculptural atmosphere in contrast to flat reclaimed land

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Variational shapes to collect optimum amounts of solar power through the site

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Variational shapes also should reflect biomimicry in the sense of a growing ever-changing form

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Streamlining the towers in order to maximise wind paths along the forms (circular instead of square)

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The holes in the towers are utilised to reduce the risk of the tower collapsing in high wind situations

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More holes toward the top in order to reduce selfweight and higher structural integrity toward the base

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looking at an evolution of the process, the refined features are evident through the progression of a final form and grasshopper algorythem

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structural integrity

energy collection

creativity & innovation

citeria standards

area for solar panels

very poor design for solar, but intresting ideas

still a poor design for solar, but again an intresting idea of using the holes within the design

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works great for solar and structure but lost all its creativity

works great for solar and structure. Gaining back the creativity, however holes must be thought out

sructural, effienct solar collection, an innovative form, holes are positioned on the downward facing panels

P R O J E C T R E F I N E M E N T T O W E R S In the process of generating our layout, we looked at an arrangement with smaller scattered towers howver, this was not the desirable outcome as the form became clustered and took away from the strong influenece of the towers. Our project stands to inform people of the both the surrounds and the towers themselves. by adding smaller towers not only does it resrict flow through the site but also prevents clean views of the surrounding landscape. Hence, we chose to keep our design to a count of ten towers instead of twenty as shown below and to the right.

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P R O J E C T R E F I N E M E N T T O W E R S As a final design, we decided to keep to our ten final towers which stood to represent both the idea of a future if carbon emmisions do not decrease but that in turn is assisting the movement into a carbon neutral Copenhagen. This strong relationship between Carbon Nutrality and the impending future is emulated within our chosen design. Furthermore, the chosen layout allows for ease of movenet, captures the surrounding views and leads people from both the main entrance points and the Ferry terminal. Overall, the asthestic of these monumental towers can be seen from all angles of the

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Curve created to form a Loft

Triangulation to create Structure

Amount of folds dependant on height

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Panels culled to create holes

Variations produced through altering sliders

Holes are created to minimise wind loads

Holes are determined by Offset Number and radius to create curvature within the triangle panel

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T O W E R S

In a rapidly advancing environment, we are faced with a problem of how to be efficient. Our project successfully takes the idea of efficient energy saving looking towards a carbon neutral environment. In addressing this issue, the panels were created on the most efficient areas of the model at the most appropriate angles. Sitting flat or at 90 degrees is almost useless so our design allows for the thin â&#x20AC;&#x2DC;Power Filmâ&#x20AC;&#x2122; solar film to be placed on the open faces of the steel structure. The strips of film come on a roll however can be custom made to suit a particular structure such as ours. Furthermore, our steel structure is 25mm thick prefabricated steel colourbond panels which will be joined on site with Limcon Angle Cleat connections for structural integrity.

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M A T E R I A L S

D I M E N S I O N S 25mm thick galvanised steel Prefabricated Panels 20mm thick above 20m tall B i g g e s t : 2 4 . 8 x 1 5 . 7 3 x 1 6 . 9 1 m ( 1 3 1 . 4 4 m 2) Smallest: 4.88x4.28x3.72m ( 7 . 6 5 m 2))

Colourbond finish Black Low Sheen Weathershield Expansion joints Along ridges Limcon Angle Cleats

Power Film O r g a n i c P h o t o v o l t a i c F i l m Customised 0.3 wide x 730m long 3 1 Steel Solutions Steel Suppliers 2014 2 Steel Solutions Steel Suppliers 2014 3 PowerFilm Flexible Solar Panels By Powerfilm 2013

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We researched structural efficient ways of combining form with function and found that the Yoshimura pattern utilises interesting folds that were both structural and aesthetic. This concept ties back to the idea of efficiency explicit in biomimic systems and how design can adopt form and function equally and simultaneously. Patterning that is visible in highly complex biomimic systems was adopted through the use of the Yoshimura diagonal diamond pattern to create an extremely efficient structure that also has necessary surface area for solar skin sheets to produce energy. Our structural system and design aesthetic are integrated to form one efficient entity. 1. Tachi and Miura Rigid- Foldable Cylinders and Cells 2012 2. Tachi and Miura Rigid- Foldable Cylinders and Cells 2012 pp2

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“WE EMPLOY THE POSSIBILITIES OF PARAMETRIC MODELING SOFTWARE AND CUSTOMIZED MASS PRODUCTION MACHINERY TO DEVELOP A DESIGN FOR ADAPTABLE MULTIFUNCTIONAL TEMPORARY MEDIUM SIZE BUILDINGS MADE FROM RECYCLABLE LIGHTWEIGHT MATERIALS AND BUILD A PROTOTYPE FROM CARDBOARD. WE DEVELOPED A GRASSHOPPER SCRIPT THAT CONTROLS THE GEOMETRY OF A SELFSUPPORTING ARC MADE FROM A FOLDED PLANE.”1 1 Heike and Ljubas Parametric Origami: Adaptable Temporary 2010 2 Heike and Ljubas Parametric Origami: Adaptable Temporary 2010

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The Technical University of Darmstadt in Germany was involved in a project run by Heike Matcha and Ante Ljubas. The project was aimed to maximize efficiency yet at the same time use a structural system that did not require additional steel bracing. There integration of a beautiful faĂ§ade and a structural system using the Yoshimura approach is on that we admire as a group due to the similarity in nature to our project. Furthermore, this idea ties back into our biomimic approach by looking at an efficient system that is coherent and succinct. Through creating a system that offers structure and appearance as a coherent system, the efficiency is indeed increased in terms of material usage and costs. We believe that within our project, recycles metals sourced from surrounding factories can be utilised in order to create the towers. This will allow for, lower embodied energy, a lower pollution rate - through the decrease of factory produced steel â&#x20AC;&#x201C; and will also reduce costs of steel transport from kilometers away from the site. In order to improve on our statement structures, we plan to paint them black using a colourbond coating. The choice of black is related to the idea of carbon emissions. Currently, the world produces far too many emissions and OUR PROJECT aims to assist in informing people of the overwhelming effects of carbon emissions that is to come if we do not take the steps to head to a carbon neutral environment.

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The elements to construct the tower will be broken down in order to suit a truck tray â&#x20AC;&#x201C; which is the way in which our materials will be delivered on site. Each of these individual panels will be welded and connected with cleats to form the strips in which each layer of the tower will be assembled. In this process, cranes will need to be present on site to lift the panels and allow for safe and fast assembly on site.

1 Heike and Ljubas Parametric Origami: Adaptable Temporary 2010 2 Heike and Ljubas Parametric Origami: Adaptable Temporary 2010

“WE AIMED TO INTRODUCE PARAMETRIC DESIGNING AND BUILDING TOOLS, AND MOST OF ALL PARAMETRIC THINKING: HOW TO FORMALIZE A DESIGN INTO EXPLICIT RULES THAT ARE DEPENDENT ON CHANGEABLE PARAMETERS AND THEREBY DEFINE NOT ONE SPECIFIC OBJECT BUT A LARGE FAMILY OF SIMILAR BUT STILL DIFFERENT OBJECTS”1

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T E C T O N I C S Although our model for our tectonics displays the bulk of the construction process, it does not seem feasible as the panels are much too large for assembly or transportation to site. This is where we begun to address the smaller details within each metal panel through the site. Each panel – varying in area – will be subdivided and cleats connected before it is to be welded together on site.

This construction detail, trialled the use of a silver colour as the finish, although we found that choosing such a colour would make the towers to reflective, not as bold and ultimately wouldn’t represent our design intent correctly. Theidea of using coloured transparent solar film was also explolred although was soon abandoned as the colours detracted from the concept behind the towers.

Prefabricated Galvanised Steel Panel Power Film Organic Photovoltaic Film Customised

Underside of Prefabricated Steel Panel Power Film O r g a n i c P h o t o v o l t a i c customised film Transparent conductor P-I-N device Back metal contact Limcon Angle Cleats

Limcon Angle Cleats Welding of prefabricated panels

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

DIVISION OF INDIVIDUAL PANELS The panels will be subdivided into smaller sections for ease of construction and maximised structural integrity. we have devaloped a system in which these panels will sit tightly within one another using cleats and on site construction and welding. The main objective is to allow easy transportation and a smaller crane that can hold the strength of the panels. As well as using recycled materials, further strengthening of this material will need to be conducted in factoried before transportation and assembly on site.

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P R O T O T Y P E TESTING:

UHU vs PVA Tab Sizes Colour of Colourbond 300 vs 200 GSM card Size of holes Positioning of holes T a p e r i n g o f s t r u c t u r e s f o r stability and live wind loads

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FINDINGS Our prototyping stage allowed us to test the structural integrity of the form. We were able to realize the potential and errors within our design. We found many ways to both evolve and refine our design. Only after the prototyping stage did we think back to our previous design to improve our towers further. We then began to test out various patterning and placement on site in order to better understand the ways in which our monumental towers will behave in reference to collecting energy. Moreover, greater surface area and exposure to sunlight was key in our design thinking in order to produce ten towers of vibrational heights and shapes throughout the given space.

Primarily, structure was a problem as the holes within the form were too big and also were at the base of the form â&#x20AC;&#x201C; which created weak spots. We decided through this finding that our holes will be above the bottom three layers of the towers to maximize structure and loading capacity. The towers were also built and designed to deal with the wind loads of Copenhagenâ&#x20AC;&#x2122;s winters by using a streamline approach.

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S U N P A T H S H A D O W S In order to assure our design was sucsessfully collecting solar power, we used both Rhino and our knowlage to map out the paths of the sun and the shaddows cast in order to assure that the forms aligned perfectly and did not overlap eachother.

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We also used this information to test the asthetic appearance of the shaddows cast on the site which would further attract visitors.

SUN PATH DIAGRAM

Used to determine exact height and path of sun so that towers could be positioned accordingly.

The image above shows a series of overlayed photos that were taken and then placed on top of one another using photoshop emulating the same course that a sun would take. This task was executed both in the sun simulation feature in rhino as well as physically later on with the models. In the photo above it is visible that the various shadows casted also have different intensities this is due to the variation of the suns strength and exposure mostly suring midday. The photo depicts a lower opacity in the shadows at the top and bottom wheras the middle shadows are darker and more distinct.

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SHADOW CASTING PROTOTYPE Site Model Prototype in order to test the shadow distance in order to determine arrangement of towers

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In this model trigonometry was used to work out the shadow cast by each of the towers in accordance to the sun, in doing so spacing between towers could be determined. This is the draft plan of the tower arrangement on site.

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S U N P A T H S H A D O W S SHADOW CASTING RENDER

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This simple render depicts how it would be like to experience the site during the day and the patterns that begin to be seen on the ground throughout the day. These holes also enhance peoples experience when inside the towers giving users a sensation of awe and wonder. The spatial and light qualities are emphasised by the scale of the towers giving people a different experience in each one. Since the draft plan towers were shifted slightly to navigate people from and to the different entrances/ exits.

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F I N A L M O D E L

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E N E R G Y S O L A R F I L M PowerFilm is the first and the only company now that use roll-toroll manufacturing process to fabricate flexible solar panels. These panels consist of several layers: transparent conductor, P-I-N device, back metal contact, and polymer substrate.

The Collectors are welded to the steel forms and all link to an underground grid which is then connected to the main grid of Copenhagen

The polyimide substrate used for the panel makes panels flexible, lightweight, and as thin as 0.025 mm.

1 Global Reach Internet Productions Powerfilm 2013 2 PowerFilm Flexible Solar Panels By Powerfilm 2013

SURFACE AREA & ENERGY OF PANELS IN TOWERS

946.55m2

2743.78m2

Tower 5

Tower 10

1076.62m2

Other towers

TOTAL AMOUNT OF POWER PRODUCED BY TEN TOWERS PER ANNUM = 14,093,488 kwh / yr = 1300 standard residential houses / yr (assuming each household uses 10,837 kwh / yr) TOWER FIVE (the largest tower) can power 258 standard homes

258

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E N E R G Y

C R I T E R I A C H O S I N G T H E B E S T P A N E L L A Y O U T Our method of chosing our most succsessful outcome was to see not only what generated the most amount f energy but to also consider the suns movements at times throgh the day. looking to the right, less panels are used in version three than two and then less in version two than one. this method lead us to conclude that if the panles were placed as in version two collecting sun from sunrise to sunset, the efficiency rises once again. Our choice to select version two was clear due to its output of everygy and deduction in costs.

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E F F I C I E N C Y O F

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Looking at the three versions located on the previous page, it is clear that through carfeul consideration, we choose the area of the tower that was collecting the optimum amount of sunlight through the day. Our panels were based on the direction at which was to collect optimum amounts of sunlight. All panels facing the sun on a low angles were used also considering the suns movement throughout the day.

P A N E L S

In copenhagen, strong summers and winters allow for sunlight to be collected however the panels have been primarily aimed at collecting the summer sun which will further prevent any losses due to poor management of pin pointing locations.

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C OVS.MNUMBER P A R IPANELS S O 120N EFFICIENCY OF O F E N E R G Y P R O D U C T I O N

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0 Version 1 Version 2 Solar Panels collecting energy

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LARGEST VS. SMALLEST PANEL 0

ENERGY PRODUCED IN 10,000 KWH

HOMES SUPPLIED

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AREA COVERED

The following graph analyses our smallest and largest solar film panels through calculating the: - Energy Produced by our proposal - Homes supplied by our proposal - Area covered by our proposal

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L A R G E S T

P A N E L

131.44m2

S M A L L E S T

P A N E L

7.65m2

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E N E R G Y A R E A O F

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AREAOF OFPANELS PANEL AREA

1200 1200 1000 1000 800 800 600 600 400 400 200 200 0 0

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TOWER 1 TOWER 1

TOWER 2 TOWER 2

kWh/yr

E N E R G Y B Y 4000000 4000000 3000000 3000000 2000000

S O L A R

F I L

TOWER 3 TOWER 3

TOWER 4 TOWER 4

TOWER 5 TOWER 5 AR ARE

P R O D U C PRODUCE E D ENERGY PRODUCE M P A N EENERGY L S

2000000 1000000 1000000 0

0 TOWER 1

TOWER 1

TOWER 2

TOWER 3

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TOWER 5PR ENERGY

ENERGY PRO

LS INTOWERS TOWERS S IN

REA EA

TOWER 6 TOWER 6

TOWER 7 TOWER 7

TOWER 8 TOWER 8

TOWER 9 TOWER 9

TOWER 10 TOWER 10

ED IN TOWERS ED IN TOWERS

TOWER 6

TOWER 7

TOWER 8

TOWER 9

TOWER 6 RODUCED

TOWER 7

TOWER 8

TOWER 9

TOWER 10

ODUCED

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P L A N 1 : 5 0 0

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Points of Access

Access from Land

Access from Ferry

Access from Yachts/ Smaller

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E L E V A T I O N

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B A L U S T R A D E

S Y S T E M

1.4m galvanised black railing for safety reasons

W E B F O R G E S Y S T E M F O R P L A T F O R M openings close to platform coverd in mesh for safety reasons

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P I L E

S Y S T E M

Depth of the piles dependant upon the geotechnical report under the Engineers approval

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L I G H T H O U S E L O C A L I T Y P L A N

L I G H T H O U S E

The light emitted by the lighouse tower is powered by the energy gained from the sun. In this sense people are shown an immediate outcome of the energy that is generated. By doing this people are given faith that our site does actually produce energy and will hopefully inspire them to make their own efforts to move towards a carbon neutral future. The image above depicts a users experience being inside the lighthouse and looking up toward the sky to see the sun speckled interior.

“THE LIGHTHOUSE IS SITUATED CLOSEST TO THE RIVER OUT OF THE TOWERS AND SERVES AS A SHINING BEACON SYMBOLISING A LIGHT TO THE CARBON NEUTRAL FUTURE.”

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P R O J E C T D U R I N G

T H E

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P R O J E C T P L A T F O R M

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S T E P H A N I E A N T O N O P O U L O S M A T K O M A T K O V I C A N N A J I A N G

S U M M A R Y O F P R O J E C T L A G I

B R I E F

R E Q U I R E M E N T S

In addressing and refining our forms for final submission, it was essential to take into consideration the comments generated through the final crit in week twelve. First and foremost, the renders were regenerated within Lumion to gain a realistic perspective of the forms as they should be quite an experiential and beautiful experience allowing individuals to feel compelled to visit the site. Furthermore, numerous tower arrangements were analyzed and information better explained in order to create a clear description of why our selected arrangement was the best for the site’s energy generation and adherence to the LAGI brief. Overall, the construction detail, trialled the use of a silver colour as the finish, although we found that choosing such a colour would make the towers to reflective, not as bold and ultimately wouldn’t represent our design intent correctly. Furthermore, the idea of using coloured transparent solar film was also explolred although was soon abandoned as the colours detracted from the concept behind the towers. We opted for our current monumental towers and colour them black representational of the struggles that current carbon emissions will bring to our future, yet ironically

providing energy for Copenhagen both to the grid. As a representation of our Energy generation, we created the lighthouse which is representational of our bright future – lit by the energy generated on site. The amount of energy that our proposal will produce every year sums up to to 14,093,488 kwh / yr, which is equivalent to 1300 standard residential houses / yr (assuming each household uses 10,837 kwh / yr). Our towers are able to generate this much energy due to the large spans of solar film that are used to clad the panels, The largest panels span up to three meters allowing for lots of energy collection which is then sent to the main grid to be used to supply energy for the houses in Refshaleøen. Our design produces remarkable outcomes through our thorough research of the capabilities of the product, our materials and the maximum sizes of our sculptural design. The main materials used in the project are 25mm thick galvanised steel Prefabricated Panels and 20mm thick above 20m tall on any given tower. The largest steel panel is 24.8x15.73x16.91m (131.44m2) and the smallest is 4.88x4.28x3.72m (7.65m2). The finish used for these steel prefabricated panels is the Colourbond black low sheen weather shield finish which protects

the steel from the salt particles â&#x20AC;&#x201C; derived from the fresh water. A low sheen coating was used to make the structure more comfortable to look at for visitors, Limcon angle cleats coupled with expansion joints have been used as the joining method on the structure and the power film is also integrated into the structure at appropriate angles. Our proposal attempts to bring people to the LAGI site and think about the implications that the land sculptures might have. By simultaneously generating energy they are implying that energy can be collected through simple and elegant design, which is slim and lightweight. The proposal sees us looking towards the future which is the clear intention of the brief. Our use of the solar Power Film is a new and emerging technology that supports both our design and athletics. Through our designs we aim to actively show people on the site that our design is generating copious amounts of energy through our symbolic lighthouse and our innovative ideas.

The models were nicely made and helped express the proposal. The renders however lacked realism and did not capture the attractive, experiential qualities of your proposal. Work on communicating why the designs are arranged on site they way they are using diagrams and scaled drawings. Diagrams & drawings are also required to communicate why the towers look the way they do. Realistic images presenting the various experiences that your proposal achieves are essential. The forms and arrangements should be driven by your energy generating technology and also be expressive of how it is working. Assess your towers and arrangements with this in mind. Clear plans showing the solar gains and shading are key; showing how you have tested other towers & site arrangements against your performative criteria. You should consider exploring smaller scale towers or structures to vary the experience across the site. Finally, details of the structure, individual panel breakups & solar panels should be explored & resolved in drawings & models all the way to a 1:5 scale. More consistent and considered treatment of the materials/textures/colors of your towers would also help. Haslett and Phillip

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O U T C O M E S

Through learning and utilising grasshopper as a parametric tool, I was able to slowly but surely produce digital designs that were suited to both a compelling form and the important LAGI brief. Using the LAGI brief was indeed a motivational push with an interesting objective and boundless opportunities that guided our group in the correct direction. Although we found ourselves almost lost following the interim submission, we pushed through and produced something we were all equally proud of as a final product. I do think that the subject provides students with a challenging task that does test not only our patients but our ability to work as teams. Yes, some groups fell apart and others – like us – had our moments where we felt like going our own ways but we took a step back, got some sleep and started up again the following day. After completing our design process, I do feel as though we could have explored our form further

“Problems can not be solved unless they are confronted” Tony Fry – a perfect full circle in refuring back to our very first submission. We must understand, in today’s age of limitless options to design, that it is crucial to asses all elements in the brief or world around us - such as climate change and energy generation - before generation, exploration and modelling. This was key in confronting our design in order to achieve the results we were after. Through completing the semester, studio air has taught me many valuable lessons as I have been exposed to a new way of communicating and designing both computationally and parametrically. The ideas and processes of the subject have proved to be beneficial in dealing with constant issues or problems that needed to be addressed. Studio Air was indeed a challenge, however completing the subject has been a fulfilling experience that I am both proud and happy

with - however time was not on our side. I believe that majority of my time was spent learning about grasshopper rather than generating iterations and designs. The tools offered within such parametric programs could have been explored further however, I am confident about the standards and research conducted behind our current design. Through the sleep deprivation, the hours spent watching grasshopper tutorials, screaming at rhino every time it freezes, spending more time making my journal look presentable than writing text, worrying over what to wear to the crits and somehow hoping to shock the tutors with our â&#x20AC;&#x2DC;perfectâ&#x20AC;&#x2122; design, it was indeed a memorable semester that taught us all a new way of designing as well as bringing friends closer to the point where we would be seeing each other daily, living off KFC and having Studio Air conversations at almost every social event and gathering.

PROBLEMS can not be S O L V E D unless they are

CONFRONTED Tony Fry

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O F Q U E T S I O N S

S U M M A R Y S E M E S T E R

P O S E D

Design Futuring - What is the innovative idea of your project? Our project as mentioned throughout my journal is unique through its scale and imbedded message. Users of the site are faced with a clear intentionally large sculptural park that allows them to understand and analyse the who what when where how and why. Allowing the users to ponder the site and its reason behind the colour, the size, the lighthouse and many other features allows for a successful and innovative design in itself. We have aimed to create a space where individuals feel inclined to ponder over so many questions â&#x20AC;&#x201C; subconsciously drawn to the site through curiosity and we hope to see people realise the connection between Carbon Neutrality and the serious situation we might be in within our future if action is not taken. Design Computation - how does computing define your project? Our project is one that involves both precision and detailing. Computation has influence our design both structurally and aesthetically. Without the influence of a computer our forms would not have taken on their forms in such a complex yet beautiful way. I also believe that computation has also brought forward a sence of fast paced work that the Digital

Age presents. This semester has seemed to fly past and just like our project, it has been a journey that will influence our futures as we are thinking in very different ways to how we may have thought at the inception of the course. Composition/Generation what did you find through your computer experiment? Many hurdles were encountered along the journey and I believe that this taught me so much about my patience and understanding. I was able to explore new software that makes a task so much easier to undertake. Looking back, grasshopper would have been an amazing program to learn earlier in my Architecture course at the University of Melbourne. This semester, during my spare time I have indeed enjoyed using Grasshopper and I believe i have been able to push my limits and test many different ways of creating as depicted within my Sketchbook. Parametrics - what in your project was only achievable through parametric modelling? Parametrically, the holes within our design could only be achieved in grasshopper as by hand is almost impossible and never accurate. Furthermore controlling the heights, offsets and radius of both the towers and the holes is paramount to our design and this

indeed was a task that can only be done parametrically. Overall, I think that the main element that a parametric model acquires is the ability to have a constant update on the original form and not have to start from scratch if one mistake was made at the onset. Materiality/Patterning - how do you integrate energy, materials and geometry into a performing pattern? Overall, aesthetics reign supreme and in our case our structural system integrated with solar panels creates a beautiful pattern to which users and people of Copenhagen are intrigued by all facets of our towers. Our overall forms are a fantastic example of the integration of energy, materials and geometry in a sophisticated coherent manor. Through the research of various methods, we were able to find a way to smoothly integrate these elements through various construction methods Fabrication - how do you use computation to automate specification, scheduling, manufacturing and assembly of your model? Model making is an accurate and simple process if done correctly with the correct knowledge. Laser cutting is the option we chose and this was a process whereby the forms were unrolled and laid out on a rectangle of A1 size and sent off with the correct score and cut lines. In order for the precision and quality of the model to be high, we conducted various tests with different glues, sprays, adhesives and even different Stanley knives to get the best possible result. Although it took a bit more time, we were pleased with the results and felt like we had correctly represented the design and concept within our model.

Analysis/Synthesis - how do you use computing to analyse performance and synthesise design decisions? In terms of analysis, we conducted intensive research into calculating the energy generation of our towers. We also attempted to use Ladybug for Grasshopper however we found that it was not accurate and there were immediate cold and hot spots almost right next to one another. I am one to believe that computational design can also have its downfall and I felt like our calculations done by hand were much more accurate and believable than that of the computer. However, the Advantages of our data workflow was the time in which it took to generate and calcite sums that the human mind may take hours or days to achieve manually. This is a clear advantage and many see this as the reason why we are increasingly relying on computers â&#x20AC;&#x201C; however what does this mean for us? Will we move into a world fully reliant on technology? This is where I believe a line needs to be drawn. As I did this semester, it is always great to utilise computational programs however exercising the mind and stepping away from these digital methods can also do us the world of good â&#x20AC;&#x201C; well thatâ&#x20AC;&#x2122;s what I believe. Overall, I agree that a program such as Grasshopper can provide us with tasks and shortcuts that are almost and sometimes physically impossible for a human to process and create on their own. In saying this I also believe that Old School can also be an enjoying experience for those that are up for an extreme challenge.

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