Tan yeeyin 560654 part b by Yee Tan

studio air journal TAN YEE YIN (560654)

PART A: CONCEPTUALISATION A1. DESIGN FUTURING 3-8 A2. DESIGN COMPUTATION 9-14 A3. COMPOSITION/GENERATION 15-20 A4. CONCLUSION 21 A5. LEARNING OUTCOMES 22 A6. APPENDIX 23

PART B: CRITERIA DESIG B1. RESEARCH FIELD 25-26 B2. CASE STUDY 1.0 27-34 B3. CASE STUDY 2.0 35-37 B4. TECHNIQUE: DEVELOPMENT

B5. TECHNIQUE: PROTOTYPE 46-

B6. TECHNIQUE: PROPOSAL 56-73

B7. LEARNING OBJECTIVES AND OUT B8. APPENDIX 76-77

38-45

-55

PART C: DETAILED DESIGN C1. DESIGN CONCEPT C2. TECTONIC ELEMENTS

OUTCOMES 74-75

C3. FINAL MODEL C4. APPENDIX C5. LEARNING OBJECTIVES AND OUTCOMES

REFERENCES

Montreal Biosphere: The other example has shown that how a geometrical form speaks for its architecture. This huge geodesic dome is constructed with simply repetitive frame of steel pipes enclosing some acrylic panels. The transparent skin of the pavilion allows the inner structure of the building to be seen from outside. Moreover, this huge spherical form would transform into a sparkling jewel that dominating the landscape during the night. This form reminds me o how important is a basic geometry of my sculpture could be in order to be outstanding at the flat undisturbed surface.

San Gennaro North Gate by SOFTlab : An interesting piece that operates quite similar to LAVA -Green Void, with the flexible fabric as the material. In addition, this design has the unique repetitive patterning on the fabric with the different colours that further enhance the design.

Australian Wildlife Health Centre at Healesville Wildlife Sanctuary: The idea of â&#x20AC;&#x2DC;form follows functionâ&#x20AC;&#x2122; is applied. The space is organized in such a way to enhance the view of visitors to the animals. The magnificent central space allows visitors to witness series of activities about the animals whilst the roof form is also designed in a descending way to floor level in order to enclose the central space in which enable visitors to view the multimedia effects onto the its surface.

Canton Tower by Information Based Architecture: It is simply generated by two ellipses, one at foundation level and the other at a horizontal plane at 450 metres, which produced a tightening effect by the rotation between two of them. The slenderness appearance is formed by the positioning of straight vertical structures in angle to each other.

o of

By looking at the precedent projects, we found out that simply playing with geometries could come out with different approaches of the structures that form it, the materials used and decide on how the spatial relationship to be emphasized. It seems to be served as the very first conceptual idea for designers in order to further proceed their designing ideas. In our concern about the parametric modelling, experiments in regrading to the relationships between the very basic inputs such as curves, lines and points could result in many interesting geometrical outcomes. With the preferred form, we could later decide on the choice of materials used, whether we want it to be flexible, responsive or rigid. Structure always to be the concern for designers when it comes to the decision-making phase of what material to be used. Rigid materials such as brick can act as the structure itself but if flexible and soft materials like fabric, an additional structure is needed to support them. However, with the existing form, it would restrict the exploration of materials and structures since they have to be designed in such a way that to form the geometry we want. Fabrication would be a hard task when it comes to irregular forms. Nevertheless, none a design can perform best of all the aspects, it just depends on which aspect you would like to emphasize on and enhance them with the other aspects. For our group, we would like to highlight the spatial experience of the users in our sculpture and hence, geometry is the research stream that we want to focus on. Geometry provides a fundamental form for architecture. From a single line til the pattern of wall allocation, all are relating to the geometries. The spatial quality that can be derived from the use of dynamic geometrical form of the sculpture. This could not only produce a sensational effect to the users but also allow a control of wind flow throughout the sculpture. The design site is locating at a happening place, which surrounded by buildings such as theatre, music recording studio and etc. In addition, the Copenhagen Opera House is made up of simple rigid geometrical form with light coloured façade. Thus, in order to allow the sculpture to be outstanding whilst standing next to this massive attention catcher, it has to show a contrast to it, with its dynamic form covered up by unique façade.

Unlike conventional technology which we have to do heaps of copy and paste command in order to edit a small part of our design, with the use of parametric tool likes Grasshopper, it enables us to do a lot of testing and changes that are not permanent, so that we can easily retrieve back the original form by the algorithmic process. In addition, with some plug-ins such as Weaverbird and Kangaroo, it further enhances the geometrical form such as the use of relaxing command in Kangaroo. This applied in the LAVA-Green Void design, which performs a dynamic outcome that is eye-catching.

LAVA-Green Void: This sculpture is inspired by the relationship between MAN, NATURE and TECHNOLOGY. The key visions of the design are focusing on sensual, green and digital. With the intelligent digital thinking, LAVA-Green Void managed to be produced with the fabricated 2D surfaces, which later being connected to form a whole sculpture. This concept of detail as a whole allows a transformation from an emphasis of a single unit to a ‘whole’ pattern of geometrical form that we want by multiplying the single unit. This simple green sculpture mainly focuses on its geometry. With the idea of MORE IS LESS, this sculpture uses the minimal surface to occupy the large area of the atrium of Sydney Customs House, which spanning across the five levels of the building. There is no attractive patterning on the surface, but only the lightweight fabric design that follows the natural lines and surface tension of the fabric. Similar to my previous precedence of the Mythread Pavilion, they both are considered as sustainable sculpture with the least use of structural components by mostly relying on the tensional forces of the fabrics. Not only that, they are portable and could be dismantled in order to relocate at other places. In term of visualisation effect, LAVA-Green Void shows the contrast to the Sydney Customs House, from the historical features of the building to a digital component; from a building locating at the heart centre of the city to the so-called ‘green forest’. The green colour sculpture manages to grab the attention of the users with the contrasting white colour of the interior of this building. “We wanted to see how far we could take the idea of creating more space with less material, filling 3000 cubic meters, the equivalent of 8 million cola cans, with a minimal surface of 300 square meters weighting only 40 kg.”, emphasises Tobias Wallisser Director of LAVA Europe and professor of Digital Design at the State Academy of Fine Arts Stuttgart. [1]

1 ArchDaily, GreenVoid-LAVA/ Chris Bosses, Tobias Wallisser & Alexander Rieck (2013), < http://www.archdaily.com/10233/green-void-lava/> [accessed 28 APRIL2014]

B.1. Field .21Research Design Computation

ll of the categories in the material systems listed in fact most of them are related to each other. The patterning that shapes the form is supported by the structure; the stripping/folding idea defines an interesting outcome of geometry and so on. After discussion, our group decided to start the project by working on geometry.

B.4. B.2. Technique Study Development 11.0 n Computatio Design .21 Case

cube

SIMPLE GEOMETRY

cylinder

lofting

mesh

sphere

number of sides number slider

number of divisions node size radius

changes

anchor point

polyline (branches)

EXO-SKELETON polar array

kangaroo

rest length

addition

mesh triangulation (voronoi 2D)

relaxation

x-direction changes y-direction

LOFTING OF CURVES mesh utility exo-skeleton addition

surface freeform (pipe) revolution oc-tree

B.2. Study 1.0 .21Case Design Computation

DEFINITION EXPLORATIONS GREEN VOID-LAVA

From the very beginning, we started to experiment with the combination of basic geometries such as cube, cylinder and

so on in order to produce some unique forms. With the use of given definitions, we further explored the exoskeleton component as well as the lofting of the curves. By simply changing the values of the sizes, sides, divisions and radii, the outcomes of exo-skeleton component, as well as addition some of the component options in the definition, the outcomes are very different from each other. As what we had learnt in the research field, with the alteration of curves, lines and etc., designers can come out with many types of interesting forms. Moreover, we also did some experiments on the Kangaroo plug-in in the definition by changing the intensity of the relaxation, the rest length as well as the position of the anchor point. We observed that the positions of the anchor points affect the spatial quality of the relaxed model. This could be paramount for us to decide where the fix structures should be located without reducing the spatial quality due to relaxation/ flexibility of the dynamic surfaces. Besides, when the rest length increases, the shapes become more irregular and crumpleâ&#x20AC;&#x201C;like forms. Refer to the Hookeâ&#x20AC;&#x2122;s Law, the force exerted by a spring is directly proportional to the amount its length differs from its rest/natural length. This shows the relationship of the stiffness of the spring to its rest length, which usually springs with a natural length of zero are often useful. For example minimal surfaces can be approximated by treating all the edges of a mesh as zero-length springs.1 This would be important for our future investigation on the length of the tunnel spanning in order to intensify the flexibility of its surface.

Limitations: For the lofting of the curves, it is quite restricting since the curves are a collection of the curves created in Rhino, hence they are not adjustable with inputs such as number slider and the use of mathematical components. The alternatives are to set another set of curves created in Rhino into the provided case-study definition or simply alter the points of the curves. Besides, I tried to add some new components into the definition such as OCtree, revolution and etc. and they turned out to be very different from each other. Brep component has great potential to be further explored as it explodes the brep into faces, edges and vertices that could be inputs for the next components. However, once they are converted to the meshes, they are no longer could be altered with additional grasshopper components. This would be a limitation when we want to zoom into a single mesh in order to make a change on it. This issue affects the exoskeleton definition even worse since the output of exoskeleton automatically turns to meshes. Thus, what we could manage to change is values of the variables with the control over the number sliders. For kangaroo plug-in, it could only work on a whole geometry but not for those made up of few breps.

MATRIX

GREEN VOID-LAVA

B.2. Study 1.0 .21Case Design Computation

Cubic Mesh II

Curve Loft

Radius : 8

Voronoi 2D

Pipe surface

Rail revolution

Cylinder + Cube II

Cubic Mesh III

Polar Array

Branches

Smooth mesh

Oc-Tree

Further Exploration of One Iteration from Each Category with Kangaroo Plug-in:

B.2. Study 1.0 .21Case Design Computation

B.2. TCase Study 1

B.2. Study 1.0 .21Case Design Computation

SELECTION CRITERIA FORM FLUIDITY/DYNAMIC SPATIAL QUALITY AESTHETICAL VALUE

or the case-study Green Void-LAVA, it provides two different grasshoppers definitions of producing the sculpture, which are from the lofting of curves and by the use of exo-skeleton component. Throughout the iterations we had made for each alternative, we realised that by lofting the curves, it allows a broader scale of exploration rather than exo-skeleton. This is due to its output in a mesh form, which is the final state. The two iterations chosen are being evaluated through our selection criteria as listed above. Aesthetical value is a must for a sculpture to be an attention-grabber. Besides, since our rough idea of the sculpture is to focus on how the geometry of the sculptural form responds to the wind source of the site, form fluidity and dynamic motion is the crucial part to be considered. This characteristic of the geometry would hence define the unique of the spatial quality of its interior space. Our ideas could be assisted with the use of Kangaroo plugin by relaxing the rigid component of the original form, adjusting the rest length of the spring as well as changing the positions of the anchor points in order to get the best fluidity performance of the sculpture. Generally, it enhances the spatial quality of the sculpture, thus creating a more dynamic pattern. Different spatial quality in response to the air pressure will allow different experience of wind speed into the sculpture. Besides, a non-rigid geometry with smooth edges will promote smooth wind flow within the body of the sculpture. In related to the flat rectangular surface of the site and well as the rigid blocks of the buildings, the irregular sculpture would be outstanding amongst them, and hence brings

The choices are made due to the form fluidity which seems to provide a smooth flow of interior spatial quality. Different intensity of the spatial qualities could be experienced within the sculpture in a continuous relationship, unlike others which the spatial inequalities are obvious in a random way. They seems to have large openings at the ends and gradually smaller along the body. Along the creation of geometric variations, we played with the forms at the openings as well as the spatial experience along the body.

To applied these to our wind-energy generative sculpture, a creative spatial relationship that enhances the wind and user

AU OFFICE AND EXHIBITION SPACE Location:

Newly formed artistsâ&#x20AC;&#x2122; complex, Jungong

History context:

Old warehouse that was used to store fabrics.

Function:

As an office and exhibition space.

Design Intent:

Spatial Relationship: Consists of three identical warehouse spaces, which the central warehouse is converted into an outdoor recreational space and there is an entrance lobby leading to the exhibition hall and the studio.

Treating the background culture as the main focus, the idea of using parametric processes in order to superimpose the contours and definition of silk undulating in the wind had been practiced. In Grasshopper, this could be done by the use of image sampler and vector 2 point to set the rotation. Looking at the plan, the parametric wall seems to be only served as decorative purpose by covering the structural wall of the building at three sides. The wall is built up of concrete blocks, each of them are angled to create the effect of the texture, which hence created the aesthetical effect due to the intensity of light penetrating into the building.

B.3. B.2. Study 1.0 2.0 .21Case Design Computation

SITE STUDIES

B.3. B.2. Study 1.0 2.0 .21Case Design Computation

1 SERIES OF POINTS

2 INTERPOLATE CURVE

3 DIVIDE DISTANCE

4 LINES IN Z DIRECTION

5 DIVIDE DISTANCE

6 ALIGN XY PLANE AT EACH POINT

7 DISPATCH

8 CREATE BOXES

9 BOX TRIMMING

10 VECTOR 2 POINT

11 REMAP AND ROTATE

12 BAKE THE OUTCOME

B.3. B.2. Study 1.0 2.0 .21Case Design Computation

REVERSE-ENGINEER

AU OFFICE AND EXHIBITION SPACE

he parametric wall is a made up of repetitive arrangement of bricks. To reverse-engineer the project, we start with analyzing the inputs needed for the final outcome, which is the box component in grasshopper. Both “Box 2 Point” and “Centre Box” need the base plane as the common input. To form the base plane, we need the point reference. Hence, we decided to begin the algorithm by creating a series of points in horizontal direction and connecting them by a curve. In order to form the bricks in a uniform repetitive way, we divide the curve with a preset distance between the points. We realized the difference roles played by “ Divide Length” and “ Divide Distance”, which in this case, since the bricks would experience rotation at the end, “Divide Distance” would be a more better solution. This is because if using “ Divide Length”, some of the blocks may overlap each other after being rotated since the centre points are equal in length of the curve itself but not the distance.

Divide Length

Divide Distance

Afterwards, we form straight lines with defined length in the vertical direction from each of the points along the curve. Later, we repeat the same step by dividing the lines into equal distance in order to form sub-points along each of the lines. Hence, now we have the intersecting points which can act as the origin point of every single XY Plane. We align them to ensure they follow the curvature of the curve. By looking at the case study, the bricks are arranged in such an alternating way from level to level. Hence, in order to create this outcome in grasshopper, we have to dispatch the planes in both horizontal and vertical directions in order to group them in respective to x and y directions.

With the dispatched groups, we formed the “Center Box” that are alternating to each other in respective to the columns and rows. Next, we build a smaller box in the original box and “Solid Trim” it in order to form the hollow boxes. Lastly, to create the rotating effect as produced by the parametric wall of Au Office and Exhibition Space, we make the individual boxes rotate in according to a point by the “Vector 2 Point” command. The outcome seems to be very similar to the precedenceParametric Wall of Au Office and Exhibition Space. However, we used different approaches to form the definition. Rather than use the silk texture as the image sampler as the reference, we simply rotate the bricks in according to its relationship to a fixed point. As a result, the patterning effect formed by these rotated bricks is less interesting compared to the case study. Besides, we found out that after the boxes being trimmed, they are no longer a closed defined volume. From this reverse-engineer process, we understood that as a parametric designer, we have to learn how to think backwards. In this case, we knew what we want to produce; hence, we have to explore the definition in the reverse way by thinking what input are necessary to produce the outcome and slowly linking them to the origin of the definition. A deep understanding of how the mathematical components and the sets work are also paramount in assisting us to reach the output we want.

For the next step, we would like to further explore this definition by applying the idea of repetitive patterning on the surface of the geometry Kangaroo plug-in would be used intensively in order to produce a flexible and dynamic

Patterning outcome of our definition

Patterning outcome of the case study

GEOMETRY

PATTERNING

VECTOR

RELAXATION

ANCHOR POINT

The technical development aims to create possibilities in order to get the potential design outcome for our project at Copenhagen. At this stage, it is the further step of the reverse-engineer for case study 2. We want to study the relationship between the geometry and the patterning field by exploring a range of possibilities in a sequential basis. We started with the creation of various forms and examine how they manage to fit with the patterning component. We chose best two out of ten in order to proceed to the next iteration and this continuous until the experiments with Kangaroo Plug-in.

B.4. B.2. Case Study Development 1.0 .21Technique Design Computation

GEOMETRY

Planar surface

Arc to vector 2 point

Arc type 1 loft surface

Revolution

Arc type 2 loft surface

2 diverging lines with Arc SED

Arc type 3 loft surface

2 converging lines with Arc SED

Surface from a series of points

2 similar lines with Arc SED

B.4. B.2. Case Study Development 1.0 .21Technique Design Computation

PATTERNING

Domain start: 20 Domain end: 0.5

Seed: 50

Height of surface box : 10 Height of surface box :1

Height of surface box : 10 Height of surface box :-10

Range

Random

Scale to random

Dispatch

Domain start: 20 Domain end: 0.5

Seed: 50

Height of surface box : 5 Height of surface box :1

Height of surface box : 5 Height of surface box :-5

B.4. B.2. Case Study Development 1.0 .21Technique Design Computation

VECTOR

Dispatch and Rotate

Vector 2 point (holes)

Rotate

Dispatch and Move

Vector 2 point

B.4. B.2. Case Study Development 1.0 .21Technique Design Computation

RELAXATION

Rest length:10

Rest length:30

Rest length:50

Rest length:80

Rest length:100

B.4. B.2. Case Study Development 1.0 .21Technique Design Computation

ANCHOR POINT

Anchor short

Anchor all except 4 edges

Anchor long axis

4 edges with in x on surface

Anchor surface

4 edges with diagonal on surface

Anchor 4 edges

Anchor 4 corners

B.4. B.2. Case Study Development 1.0 n Computatio Design .21 Technique

BRIEF REQUIREMENTS

REFSHALEøEN, COPENHAGEN, DENMARK

F he design site boundary encompasses the Sonder Hoved pier section of Refshaleoen snd some of the surrounding water-

ways. The pier is an old landfill that is partially comprised of material from buildings that used to exist on the now empty site[2]

Restrictions: There is no restriction on foundation depth or type. The artwork must within the site boundary and could not break the plane of the site boundary at any height. • Must not exceed 125 meters in height at any point (not an average but an absolute limit).

• •

Considerations: A water taxi terminal at southwest corner to be remained. • Plans for waterway development to the south of the site with houseboats, and boat access into the channel north of the site to be maintained.

•

Criteria:

• •

• • •

3D sculpture that able to attract visitors to the site. Manage to generate electricity from nature energy and have the ability to store , and/or transform and transmit the electrical power to a grid connection point to be designed by others. Not create pollution and greenhouse gas emission. Be pragmatic and employ technology that can be tested and scalable. Be well informed by the site context of Refshaleoen, Copenhagen, Denmark.

44 2 Land Art Generator Initiative, 2014 Design Guidelines(2014)

B.4. B.2. Case Study Development 1.0 .21Technique Design Computation

RE-CONSIDER SELECTION CRITERIA

ased on Kalay’s reading, there are four basic phases of design process are very useful in aiding us to brainstorm the design ideas and judge on how realistic it is to be constructed: • • • •

problem analysis solution synthesis evaluation communication

At the problem analysis stage, we referred to the restrictions of the brief given as well as getting information of site conditions such as the weather, topography, views and proximity to existing buildings. We found out the North and East parts of the site are blocked by buildings and hence, the only broader views are from the West to the South of the site. Besides, the flat site allows a wider opportunity for the designers but somehow, there is a restriction of no more than 125 meter in height of the sculpture. In regarding to the weather, we have to concern on the effect of strong wind to the sculpture, whether to use it as our design enhancement or to protect our design from being destroyed by it. At the end, we came out with the idea of using the impulse of the strong wind onto our geometry’s surface in order to create the dynamic effect that we would like to have in our design. Due to the restriction of view, we decided only would focus on the South and West parts of the site.a new atmosphere to this huge historically industrial site.

For the development of our technical definition, we slowly evolve the definition starting from geometry, patterning, vector, rest length and lastly anchor point. This is to investigate the relationship between different geometries and the patterning onto it when there are some external variables such as the location of the fix structures (anchor point), the wind force ( vector) and etc. Looking at the final state of the iterations we made, we realised that it is hard to put rigid patterning form on a relaxed surface. Overlapping would occur at some points. Nevertheless, in term of spatial quality and aesthetical value, they are much captivating compared to the initial ones. Thus, when reached the evaluation phase, we have to think rationally and a trade-off has to be made for the design’s betterment. For our rough idea, it seems to be contradicting to have a moving geometrical form with patterning on it, since there would be no constant position for the surface to fit the patterning material. As what the iterations shown, it is impossible to use the rigid patterning material similar to case study 2 on the flexible geometrical form of case study 1. Thus, we shifted the idea of instead treating the patterning material as an additional component, we prefer to make it as the skin of the geometry itself.

At the next step of solution synthesis , we looked through few precedence. We intended to integrate the geometrical idea of case study 1, Green Void-LAVA and the patterning effect of case study 2: AU Office and Exhibition Space. This could provide a unique aesthetical sense to our sculpture. When the users view from outside, the attractive patterning would grab their attention; When they view from inside, the dynamic movement of the façade would create an interesting spatial quality due to the movements of the geometry.

B.5. B.4. B.2. Case Study Development Prototypes 1.0 n Computatio Design .21 Technique

B.5. B.2. Case Study Prototypes 1.0 .21Technique Design Computation

To start with, we simply used a clothing fabric to represent the wholeness of the geometryâ&#x20AC;&#x2122;s skin. However, the outcome is not as what we thought due to the type of cloth we used was too heavy to be moved when there is a wind blow. We later found an alternative to replace it with the much lighter halftransparent table cloth and this resulted in what the effect we would want to see, so that could imagine how the patterning panels would react in according to the wind blow direction.

By looking at this prototype, we observed that the material would have bigger movements if its spanning between the structure is larger. After this, we began to experiment the connections of small panels with one similar material, which is ivory card . Later on, we did experiments with the use of different materials.

B.5. B.4. B.2. Case Study Development Prototypes 1.0 n Computatio Design .21 Technique

CONNECTION PROTOTYPING

CONNECT FOUR PANELS WITH A SINGLE JOINT OF FISHING LINE There is no a smooth and continuous flow of the panels when the air is blew onto them.

CONNECT IN HORIZONTAL DIRECTION WITH THE USE OF THREAD

HALF-CUTTING ALONG THE EDGE OF THE PANEL

This turn out to be what we want for, the panels are moving in a smooth flow due to the continuous connection in horizontal way. Besides, thread are softer compared to fishing line and thus, less restrictive to the movement.

This could not work out the effect we would like to see, which most probably because of the inflexible jointing method as well as the quality of the material.

B.5. B.2. Case Study Prototype Prototypes 1.0 .21Technique Design Computation

CONNECT FOUR PANELS WITH A SINGLE JOINT OF STAPLER PINS Same result with the first method due to the pattern of connection as well as the hardness of the joint material.

CONNECT FOUR PANELS WITH A SINGLE JOINT OF DOUBLE TAPE

CONNECT THE EDGES OF THE PANELS WITH DOUBLE TAPE

It work out the same effect as the one with thread and this is much easier and faster to joint them rather than sew them one by one with thread.

At this stage, this connection seems to be the most effective as it is fast to join, firmer and allow flexible movement to wind blow.

B.5. B.4. B.2. Case Study Development Prototypes 1.0 n Computatio Design .21 Technique

MATERIAL PROTOTYPING

12 IVORY CARD

13 TRACING PAPER 112GSM

Less flexible

We tr the d there

B.5. B.2. Case Study Prototypes 1.0 .21Technique Design Computation

14 CLEAR-LAY ACETATE

15 YUPO STENCIL PAPER 100GSM

More flexible

ried to get a variety of soft, light and thin materials to be experimented with. Other than Ivory card, the rest seems to work well with dynamite. However, we prefer the Clear-lay Acetate due to its translucent characteristic. We want our ‘tunnel’ to be transparent, so that e is an interaction between the interior and the exterior spaces.

B.5. B.4. B.2. Case Study Development Prototypes 1.0 n Computatio Design .21 Technique

FORM FLUIDITY/DYNAMIC

fter gone through the prototypying process, we came out with a wide range of factors that affect the flexibility of the skin membrane: •Panel size •Panel shape •Structure •Spanning of the skin membrane •Material that make up the skin membrane •Angle between the wind direction and the surface •Panel size For smooth fabric texture it could be work out the dynamic effect when it consists of a large piece. However, if we use the slightly harder materials such as paper and acetate, the smaller group of panels would work out rather than the big ones. •Panel shape A tetrahedral grid mesh allows a better connection for an irregular geometry compared to quadrilateral gird mesh. This is due to the number of vertices of the triangular shape provides a better potential to form the irregular forms.

•Spannig The spanning of the skin from a structure to the next will also affect the flexibility of the skin. This could be understood with the rest length and relaxation effect on the grasshopper model due to the positions of the anchor points. The longer the spanning of the skin membrance across the structures, the more flexible of the movement is. •Material In term of materials, as long as it is soft, thin and light enough, most of them could perform well with the use of correct jointing method as well as an appropriate size . •Wind Direction We observed that the skin membrane would only vibrate greater when the wind direction is in a steep angle to the surface rather than perpendicular or directly blow into the tunnel.

•Structure Structure is a paramount role in supporting the feasible skin but at the same time, is not over control until they lose their potential to create movement. Amongst the prototypes, we found out that however flexible material and connection are, once they are stick to the structures at both ends, they would lose their dynamite potential even strong wind is being blown onto them. Hence, not only flexible connection is needed in between the panels but also from the skin to the structure as well.

B.5. B.2. Case Study Prototypes 1.0 .21Technique Design Computation

SPATIAL QUALITY

hereare a few feature s that have to be take into account in creating a unique spatial quality: •Panel connection •Panel design •Structure •Material that make up the skin membrane •Panel connection The connection pattern would define the quality of the interior spatial experience. When they connected in a continuous way, or connecting four panels with a single joint; both different jointing methods would affect the movement of the skin membrane when there is wind blow and thus create a very dissimilar spatial quality in its interior space. Besides, if the panel is connected like the half-cutting ivory card prototype, it would provide an enclosed interior space. However, if it is connected like how the prototype being sewed by threads, there would be holes in between that expose the interior spaces to the exterior.

•Structure If the structure is built hidden under the skin membrane, it would acquire some of the interior space, which hence further reduces the limiting interior space. Not only that, it also becomes a blockage for the users to experience the great spatial quality when inside the tunnel as well as when they are looking towards outside. Thus, critical and creative thinking has to be applied in order to ensure the positioning of the structure will not give bad impact on the spatial quality. •Material Material is an important factor for spatial quality. We want the skin membrane to be made up of transparent material, so that the users from inside could indirectly feel the strength of the wind by observing the dynamic movement of the skin membrane but in fact, they are protected under the shell of the skin membrane.

•Panel Design If refer back to case study 2, the holes of the bricks allow natural light to be penetrated into the interior space. The design of the panel would define the spatial experience inside the tunnel. If a gradually change in the design is applied, the spatial quality would be enhanced by this gradually changing atmosphere.well.

B.5. B.4. B.2. Case Study Development Prototypes 1.0 n Computatio Design .21 Technique

AESTHETICAL VALUE

culpture is a form of art, thus, aesthetical value must never be neglected in the design. In our wind generative sculpture design, it can be expressed through the use of: •Material •Panel Design •Structure •Geometry •Material More than half of the sculpture is made up of skin membrane, and the rest are the structures to support it, Thus, the material of the skin needs to be carefully picked in order to ensure its relationship to the sculpture, site context and so on. It would bring the message that the designers want to speak to the public through their aesthetic sculpture. In recent, the hidden potential of the conventional materials have been discovered such as the translucent quality of concrete and wood. With the use of creative materials like these, the sculpture would look prettier and fascinating. In the prototypical experiments, we tried different opacity level of materials such as the acetate, tracing paper and the total opaque stencil paper. They are create their own aesthetical values to the sculpture.

•Panel Design As explored in the iterations of the case study 2, there are many attractive ways of patterning design could be performed. The way the panels are arranged in relation to each other or the form of the panel itself could produce interesting aesthetic qualities to the sculpture. •Structure The design of the structure and how we are going to locate it is important. Since we decided to use transparent material as the skin membrane, we would hence allow the structure to be exposed to the outside world. This is an interesting idea to the site, which most of the buildings are in rigid and enclosed form, with the installation of this structural expossive and transparent sculpture , the site would has another fresh influence. •Geometry Other than patterning, the geometry itself also has to be considered. For our design intent, the geometry is not fix but rather changing in constant due to the wind response. This hence creates a lively effect to the sculpture but not simply in a constant state. This is definitely a good idea to bring a contrasting atmosphere to the site which surrounded by rigid buildings. tunnel.

B.6. B.2. Case Study Proposal 1.0 .21Technique Design Computation

INPUT PARAMETERS WIND STUDIES

Wind Speed

e use the wind data as our data input for the parametric model by setting a range of the wind speed at each direction across the year. These results would be

16 Wind Directions Over the Entire Year

In reference to the average weather statistic of Copenhagen, Denmark, the wind speeds are varying from 4mph to 21mph and rarely exceeding 30mph.Throughout the year, winter would experience the highest average wind speed of 14mph, at which time the average daily maximum wind speed is 21mph. In contrast, the lowest average wind speed would be occur during the summer period, which is around 10mph, at which time the average daily maximum wind speed is 15mph.[3] Apart from seasons, the strongest wind mostly comes from west (24%) and the least is from north-west and north-east (7%). From spent most from

Fraction of Time Spent with Various Wind Directions

the diagram that indicates the with various wind directions, of the time the people would the west and the least would

fraction of time it shows that experience wind be from north.

These information are very useful for us not only as the input parameters, but also enable us to consider the positioning of our design according to the wind direction. Generally, the threshold of a typical wind generator is around 10mph. The average wind speed of Copenhagen along the year has the minimum value of 10mph, which indicates that it manages to generate wind energy consistently throughout the year. The only consideration is how much electrical energy could be generated by the generator. Hence, since our ideal sculpture would extend in horizontal way, we thus have to create a larger dynamic surface that could generate more energy since the wind speed is lower as it is nearer to the ground.

3Cedar Lake Ventures, Inc, Average Weather For Kastrup near Copenhagen, Denmark (2014), < https://weatherspark.com/aver

B.6. B.2. Case Study Proposal 1.0 .21Technique Design Computation

SITE ANALYSIS

REFSHALEOEN, COPENHAGEN

COPENHELL: There is a annual Copenhagen’s metal festival, COPENHELL. It is an outdoor festival that acclaims the metal and rock genre and offers dedicated metal-fans a serious festival in Refshaleoen, Copenhagen.[4]

HISTORICAL CONTEXT: A former industrial site in the harbour of Copenhagen, Denmark. In contrast, Refshaleoen is frequently used as a venue for events and festivals.

BIKE IN COPENHAGEN: Practically, everyone rides a bike. There are more than 300km of bicycle lanes and many guided bicycle tours.

NEIGHBOURING CONTEXT: A mixture of creative entrepreneurships, small craft, flea markets,storage facilities and culturaland recreational uses. The site is surrounded by rigid, tall and enclosed buildings

GREEN COPENHAGEN: Climate-friendly hotels, organic eateries and sustainable transportation the world’s most liveable cities – Copenhagen has much to offer the eco-conscious traveller.

TOPOGRAPHY: A giant flat land which the site boundary encompasses the Sonder Hoved pier section of Refshaleoen and some of the surrounding waterways.

59 4Wonderful Copenhagen, VisitCopenhagen (2014), <http://www.visitcopenhagen.com/search/editorial/global?keys=copenhagen%20copen-

B.6. B.2. Case Study Proposal 1.0 .21Technique Design Computation

DESIGN INTENT

WIND ENERGY-GENERATIVE SCULPTURE

Our design intent is inspired by the “Inflatable Air Dancer” which always being used for advertising purpose. Its volume is

formed by the air that flowing through its body, due to the difference in the air speed of its interior and exterior, the “Dancer” ables to make funny movements. It is only be supported at the bottom and therefore, the movements is not restricted at the top opening. It inspired us with its dynamic movement, which we want this characteristic to be applied to our design. We don’t want a fix sculpture that is not responsive to the users as well as

The dynamic flow of the skin membrane of the sculpture creates an interesting spatial quality for the users who are inside the tunnel. This makes the users at interior space could visualise the effect of high speed wind onto the surface but never feel it from interior.

However, rather than in the vertical direction, we want our sculpture to extend in the horizontal way. This horizontal elongating sculpture would like a tunnel, allowing both wind and users to enter. Somehow, in order to produce a dynamic effect as the “Dancer”, we need to provide a differential value between the air that penetrate into the tunnel as well as the air that hits on the surface from exterior. Due to this reason, we position the sculpture in such a way that the wind would hits on its surface at a steep angle. This strong wind will hence create pressure onto the surface, which the interior normal wind speed is lower.

1 SERIES OF POINTS

2 FORMING LINES

3 XZ PLANES & CIRCLES

4 LOFTING

5 MOVE AND ROTATE

6 GET RID OF EXTRA TUNNELS

B.6. B.2. Case Study Proposal 1.0 .21Technique Design Computation

PROPOSED ALGORITHM WIND ENERGY-GENERATIVE SCULPTURE

e used the range of the wind speed at different directions as the input parameters for creating a series of points. For the directions that emerge in diagonal angle such as north-west, south-west and etc, the same parameter would be the input for both x and y coordinates of the point. Similar to the approach of case study 2, we create a line that links all the points together, which each of the point becomes the origin for the XZ plane. We built circles on each of the vertical plane which the radii are in random order, which the range is defined by the relationship equation shown. This is because the wind would speed up under pressure formed by small openings. For those in diagonal directions, an additional Rotate 3D component was being used. After that, we lofted all the circles that in a straight line in order to form the tunnel. Later, we moved the tunnels towards their origin. Since we want the wind hits on the tunnel in angle, hence we rotate all the tunnels in 45 degrees from the original directions. Here is the final outcome, which we at last decided

PROTOTYPE PROPOSAL DIGITAL MODEL Perspective View 3

Perspective View 1

B.6. B.2. Case Study Proposal 1.0 .21Technique Design Computation

Plan View

Perspective View 3

Perspective View 2 Perspective View 4

B.6. B.2. Case Study Proposal 1.0 .21Technique Design Computation

PROTOTYPE PROPOSAL PHYSICAL MODEL

Architectural Qualities in Relation the Space

B.6. B.2. Case Study Proposal 1.0 .21Technique Design Computation

PROPOSED STRUCTURAL FRAMING & FACADE TREATMENT From the previous prototypes, we learnt that it is impossible to allow the skin membrane to move in a flexible way when there is a wind impact if we connect it to rigid structures. Similar to the precedence of the “Inflatable Air Dancer”, which at least one side should leave freely. Thus, we came out with the idea of using tensional springs to hold the skin membrane to rigid frames. This allow the skin membrane to move within the limit of the tensional spring. When wind blows onto the surface, the tensional force will pull the skin membrane, hence, the channel will reform. When there is no wind, the spring will be at its equilibrium state. The circular frame acts as the anchor point of the form, it links the skin façade to the spring.

In the physical proposal prototype, the skin membrane is not flexible enough in respond to wind blow. At first we thought by changing a more suitable material, we might can get an ideal result by the connection half-cutting along the edge. We even alter the quadrilateral mesh panels to tetrahedral shape. However, this proved that the half-cutting method would still unsuccessful due to its inflexible connection. Hence, we tried connect the tetrahedral mesh panels with the double tape as shown. This alternative comes out with the result that we want. In real world, we will explore some flexible and elastic joinery in order to connect the panels of the sculpture.

B.6. B.2. Case Study Proposal 1.0 .21Technique Design Computation

PROPOSED MATERIALS

QUANTUM TUNNELLING COMPOSITE (QTC MATERIAL) Quantum Tunnelling Composite are composite materials made up of metals and non-conducting elastomeric binder, used as pressure sensors.[5] When the skin membrane is facing pressure by the wind force, this material would switches from being a near-perfect insulator to being a conductor. This hence could fasten the generation of electricity energy by the piezoelectric generator. This technology not only being helpful in energy transmission, but also enhance the sensuality of the users since it is sensitive to both touch and pressure. Currently, a translucent characteristic of this material had been invented, which hence best fulfilling our idea of creating a transparent tunnel.

5The Engineer, Smart Dressing(2013), <http://www.theengineer.co.uk/in-depth/the-big-story/smart-dressing/1015984.article>

Creative use of Piezoelectric effect:

Engineers at Stony Brook University in New York Creation of Mechanical Motion Rectifier (MMR) can harvest 200 watts of electric energy from train-induced deflections.

Graduate Student Jian Shi and Engineering Assistant Professor Xudong Wang at the University of Wisconsin-Madison A new device consists of plastic microbelt that could be used to capture energy from human respiration.

6 c

B.6. B.2. Case Study Proposal 1.0 .21Technique Design Computation

POWER GENERATOR PIEZOELECTRIC EFFECT

he world is full of vibrating surfaces that yield a rich trove of clean, sustainable energy. Itâ&#x20AC;&#x2122;s called piezoelectric energy, which formed by the conversion of mechanical strain into electrical, a charge is created when certain crystalline structures are subjected to stress or pressure. The device can be used to harvest energy from micro to macro scales, which from relatively small vibrations to many surfaces that are subjected to variable pressure such as highways and dance floors. The Bolton scientists have developed a way to weave piezoelectric capability into a flexible structure that lends itself to a wider variety of usages.[6]

Wind Energy

In our proposal, we would incorporate piezoelectric devices at the anchor points of the tunnel. Even when there is no strong wind, the device still can produce energy when lowspeed airflow passes over it and vibrate. Later, the kinetic energy produced would be transferred along the string that connects every panel to the device. Piezoelectric effect fulfil enable the moving skin of our sculpture to produce energy, it generates electrical energy from the kinetic energy formed by the skin of the sculpture due to the wind impact. One of the advantages of this technology is such that it does not require a big place to locate the energy generator. This can save the space for enhancing the spatial quality of the sculpture.

Kinetic Energy

Electrical Energy

73 6 Office of Technology Licensing, Piezoelectric Energy-Harvesting System That Can Generate Electricity From Vibration, <http://technologylicensing.research.ufl.edu/technologies/13608_piezoelectric-energy-harvesting-system-that-can-generate-electricity-from-vibration> [accessed 4 MAY 2014]

B.7. B.4. B.2. Technique Case Study Outcomes Development 1.0 n Computatio Design .21 Learning

After given suggestions by tutors, our group decided to further explore the patterning on the surface. Rather than a simple repetitive pattern, we would like to make a gradual change effect along the tunnel, which hence enhance the spatial experience of the users inside. The skin membrane does not necessary to be single repetitive flexible material, we want to explore more different materials that could be put together and generate an attractive outcome of the sculpture. Besides, we also want to play around with the natural light penetration into our form by making holes in some of the panel. This could be done in grasshopper with the scale component in deciding which panel to put holes. Furthermore, there is one important point mentioned by the tutors, which as designers, we have to make the decision whether or not the sculpture to be a kind of shelter or we want it to be exposed to weather. During exploring the panelling connection, this issue has to be addressed in order to decide whether we should leave gap in between the panel, or we have to provide a base layer behind the panel to protect the interior part of the sculpture to be exposed to rain and so on. In addition, we should start to do more experiment on how to generate energy through the piezoelectric effect. The results gained would definitely affect our idea concepts since error during the transmission, the location to store and generator and etc may will occur.

BIBLIOGRAPHY 1 ArchDaily, CantonTower/ Information Based Architecture(2010),

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3Cedar Lake Ventures, Inc, Average Weather For Kastrup near Copenhagen, Denmark (2014), < https://weatherspark.com/aver ages/28823/Kastrup-near-Copenhagen-Capital-Region-of-Denmark> [accessed 1 MAY 2014] Land Art Generator Initiative, 2014 Design Guidelines(2014)

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7 Office of Technology Licensing, Piezoelectric Energy-Harvesting System That Can Generate Electricity From Vibration,

<http://technologylicensing.research.ufl.edu/technologies/13608_piezoelectric-energy-harvesting-system-that-can-generateelectricity-from-vibration>

8 The Engineer, Smart Dressing(2013),

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9 Wikipedia, Monstreal Biosphere/ Buckminster(2014),

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10 Wonderful Copenhagen, VisitCopenhagen (2014),

<http://www.visitcopenhagen.com/search/editorial/global?keys=copenhagen%20copenhell%20gdk421979http%20cphnews%20mediajungle%20dk%20archives%202314> [accessed 1 MAY 2014]

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