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However, we were facing a dilemma between energy optimisation and aesthetical value of the sculpture. It is a tricky part to maximise energy production while at the same time, the sculpture could remain its aesthetical value. At the end, we made a commitment by increasing the height of the sculpture, this indirectly increase the amount of panels, which in return, produce more energy. The extremely high sculpture would eventually become the attention grabber among the buildings surrounding. Somehow, it seems to be irrational to build this ‘high-rise sculpture’ simply by the huge I-beam structures on a single level. There is even no secondary framing structure such as bracing or nogging as support to the primary structure. Panels is the main focus on our design proposal. We want the panel to stay simple, the only different is the way it reacts to the wind effect by exploring some alternatives to connect them to the long cable, so that the panel design would not steal the attention of its dynamic response towards wind. It was a big mistake that we did not consider the scale of the cable Through the prototypes we made, it tends to sway when we stick the panels onto it, which spanning from two frames that far apart to each other. Besides, small size of piezo patch behind every single panel would not optimise the energy generation that could supply to the housing area. This is an important issue that we forced to bear with to prevent overloading of the panel that burden the cable. Finally, we realised that to be a good designer, we should learn to give up something in order to reach the ultimate goal. From what we observed through the prototypes and reflection on the feedback from tutors, we decided on leaving the idea of whole-skin movement, simply focus on the flapping panels. Hence, the cable could be replaced with the secondary structure that holds the panels. Furthermore, the primary structure is stabilising itself by spanning in two opposite directions, which result in the grid-like pattern. In this case, since we only use the flapping concept, hence, we now shift the focus from type of connection to the type of panel’s geometry. We did experiments on how the surface area and shapes of the panels respond to the wind. Meanwhile, to optimise the energy generation, we also fully utilise the ground by incorporating the piezo-generative flooring system. Although the transitional experience created by different connections of the panel could not be realised in our sculpture, we tried to impose the dynamic effect with the fixed form and expose the structure so that people from inside could view the flapping panels in a different way from exterior. At last, the transition of panel sizes is being visualised by the change in density in responding to the wind intensity.


C.1. B.3. B.2. Design Study Concept 2.0 1.0 .21Case Design Computation


Tan yeeyin 560654 journal final submission  

final journal studio air