Air part abc, mitchell ransome 587295 issuu

Design Studio

AIRJournal

Mitchell Ransome - 587295

CONTENTS1 - 2 / Introduction3 - 4 / Part A5 - 10 / LAGI11 - 16 / Technologies17 - 30 / Parametric Precidents31 - 38 / Computational Precidents39 - 42 / Reflection43 - 46 / Algorithmic Experiments47 - 48 / Part B49 - 60 / Biomimicry61 - 76 / Biomimicry Reverse Engineer77 - 88 / Strips and Folding89 - 110 / Strips and Folding Reverse Engineering111 - 120 / Itterations121 - 136 / Fabrication137 - 142 / Direction143 - / References

Hi I’m Mitch, and I like to party.

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Part A

Land Art Generator Initiative

Land Art Generator Initiative 2014The Land Art Generative Initiative or LAGI is a global initiative for design-ers and architects to come together and put forth their indeas for sus-tainable design in the form of large scale installations able to produce clea energy at a large scale . The LAGI competition is a motivator for many to think outside the box and develop a new way of using the technology we have for gathering green enrgy in a new smarter and aesthetically pleasing way, to show that sustainable design can be a beautiful thing for people all around able to capitalise off of; as well as provide a positive space for the city.

This year is the 4th year the LAGI competition has been running with a strong postitive respose with in the global community. The site for the design initiative to take place is in the city of Copenhagen, Den-mark. The site in particularly is of iterest as it sits on one of the city’s many water ways on a retro fitted industrial area turned market and arts and crafts hub; bringing many people of diferent walks of life to the area already. The design should endevour to rejuvinate the Sender Hoved Pier and bring sustainable design to the now empty site.

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Land Art Generator Initiative 2014Design guidelines dictate that the proposed execution should be a three dimentional sculptural form, able to create its own energy as well as provide a space for the pub-lic of Copenhagen to come, think, understand and challenge them. In-sight a way of thinking towards sus-tainability delivering a perception of the technology ad how it works. A respect for the natural environment and ecology that already exists in the site as well as a comprehention of the site’s industrial past.

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Fresh Hills

The Fresh Hills design entry to the 2012 Land Art Genera-tor initiative which came run-ner up to the ‘wind sheet’, I feel is a more appropriate and aesthetically pleasing design take on the environ-mentally sustainable design motif which has a strong emphasis on the design and architecture industry today.The ideology behind the Fresh Hills I particularly find motivat-ing as how they approached the design task designing according to the renewable energy demands, respond-ing to the site in a physical why by graphing specifically the wind map of the land-scape which in turn devel-oped the form of their design.

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The design has an incred-ibly strong foundation upon the renewable; describing through their analysis that at all times at least 8 out of the 20 wind turbines will be involved and produc-ing free clean energy as well as removing CO2 from the air via chemical filters placed behind the turbines.Furthermore the turbines are cased in a bamboo shell which not only is incredibly strong in compression and tension is vastly sustainable and eas-ily replenish able, being one of the fastest growing woods.At the centre of the turbines is a greenery park growing not only natural vegetation but also bamboo that can be harvested for the repairs to the turbines providing a sus-tainable replacement mate-rial when the bamboo encas-ing the turbines weathers.

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F r e s h k i l l sB i o f i l l

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The Biofill entry to the 2012 LAGI competi-tion is a good representation of the types of generative desgns that can be brought about through the site’s dispositions and short comings and capitaliasing on them rather than following social norms of so-lar generated green power and so forth. The design entales using the sites exist-ing toxic waste that has been built over nd using it as the power source for the

prposed hot spring development on the banks of the river. The design team of Yoon-Young Hur, Matthew Baird, Margot Otten, Rushyan Yen, Hernan Garcia and Tucker Douglas (Matthew Baird Archi-tects), Kenneth Sauer and Ryan Deshar-nais (Engineering Consultant) have come up with a positive adaptation that can bring people into the site and keep them coming.

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Technologies14

Algae Biofuel

The development of biofuel from the harvesting of algae has become one of the most recent success stories in modern sustainable design. The pro-cess of cultivating the algae is very low cost with very little to no damage to the environment, The process of growing the algae is extremely good for the environment due to the sim-ple chemical reaction of photosynthe-sis that occurs durng its exposure to the sun, this chemical reaction turns harmful CO2 into breathable Oxygen. The constant exposure to the sun grows the algae quite quickly with in the glass tubing llowing for quick har-vesting and turn over for the produc-tion of biofuel. The best part about the gae biofuel is that it doesn’t add to the already poor air quality as it is a carbon nuetral product; meaning what CO2 it takes out of the air from the cultava-tion process is what it will return to the air when it is burned for energy in a car engine or to run an industrial process. The algae biofuel initiative is not a com-pletely perfect idea as it does produce carbon back ino the atmosphere but it is a resource for the future as it is easy to harvest and grow as well as the po-ental to counter the fossle fuels in the oil market and develop a cleaner future.

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PAVEGEN

The Pavegen system is quite ingenious as it is simple in it’s execu-tion. It maximises the wasted kinetic energy of human traffic that pass-es through our streets every second of every day in a massive scale. I works simply by hav-ing a spring system un-der the tile which when pushed down upon like when walked over will trigger an electric re-action sending a small surge to the battery or grid producing free ener-gy created by passer’s by.Installation of these at in the LAGI site will promote an active functionality for the site and encour-age people to produce their own ‘green’ energy.

The VIVACE (vortex in-duced vibrations for aquatic clean energy) technology is a devel-oping technology from Michigan which has the potential to produce an unlimited supply of clean energy to almost all water ways in the world where it was previously impos-sible due to a slow cur-rent of less than 5 knots. This would be ideal for the water current pro-duced within the channel where the LAGI site is . Further more the technol-ogy is not seen by peo-ple and will not disrupt water traffic up above.

VIVACEThe technology was has been developed over the last 25 years by Michael Bernitsas a professor of aqautic architecture; inspired by fish as when they swim they cre-ate a vortex of potential energy. pricing for the energy system per kWh is the cheapest across the board at 5 cents per kWh. Bernitsas then goes onto say that even if we manage to harvest 0.1% of the oceans potential energy output we would be able to provide the energy needs to a stag-gering 15 billion people.

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PARAMETRIC PRECIDENTS

moistSCAPE

moistSCAPE The moistSCAPE designed Freecell Architects llc, exhibited in the Henry Urbach Gallery, NYC 2004; shows a strong influence in it’s desgn through computation and paramet-ric modeling in collarbaration with a susatinable environment. The installation shows an interconec-tion between natural and artificial with the mossy planes within the physical frame of the steel matrix. The matrix poses a unique and un-worldly perception when standing in front of it, a series of floating land-ings of mosses hovering weight-lessly over a feildof recycled rub-ber juxtaposing the whole situation. The differing sizes and heights of the of each moss platform pro-vides a uniquely different encoun-ter for each different vantage point; furthermore the lack of a given path to follow through al-lows people to explore a they will and find spaces to call their own.

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Beer C

rate

Pavilion

The University of applied science in Detmold, Germany, built a summer pa-vilion made entirely out of used beer crates recycling them into a para-metric form that feels like it comes di-rectly from the ground it stands on. The form is unique in its way showing the vast usability of reclaimed objects.

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NEGATIVE SPACE

Japanese artist Yasuaki Oishi has created a float-ing landscape in the middle of a plain stark room, using a plastic sheet and black hot glue. The instal-lation shows a natural parametric landscape cre-ated through controlled yet random occurrences.Furthermore it shows how a parametric like land-scape can create an ‘other world’ feeling for one to experience and play with the senses.

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King Fahd National LibraryThe King Fahd National Library in Saudi Arabia; designed by German firm Gerber Architek-ten and completed construction in 2013 is a marvel of mdern ingenuity in the relm of com-puter aided design . In regards directly to 3D modelling programs; the library looks to be completely covered in a parametric array guarding it’s interiors from the harsh desert sun, in fact sun exposure and the extreme temperatures in the desert country have led to this shaded design which only lets through at any time 7% direct sunlight with in the con-fines of library walls; tackling the problem of extreme indoor heat behind the curtain wall. Gerber‘s architects have developed the design for the twisted square membranes to be the optimum design shape to apporpiately deflect the sun’s light with out blacking out the light completely and ensuring that the curtain walled building doesn’t act like a greenhouse they have put a two metre gap to allow the defected light and heated air to cool in between keeping a temperate environment with in the complex.

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King Fahd National Library ‘The rythem of the facade dictaded everything else ... the grid of struc-tural elements and the interior space’ -Thomas Lücking,

Gerber manager

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The Japan PavilionThe Japan pavilion [2000], designed by Shigeru Ban Architects, the winner of the 2014 Pritker prize; for the Hanover Expo 2000. The pavilion is an early example of a niche feild of architectual design termed ‘paper architecture’ which en-tales the building or structure be built from paper material tempered to with stand the elements.

The concept behind the pavilion design was to produce as little industrial waste as possible for a temporary stucture such as the Japan Pavilion which would be dismanteled after the exposition. smoothly together allowing for a stronger design able to resist the lateral forces placed on the entire 74m length of the pavilion

The pavilion uses a simple hatched contour prametric algorithm to de-velop the membrane of the intercon-nected lattace that undulates through out the length. The pavilon does not use any physi-cal joint system holding down the curved paper arches but indentations in the arches for them to slot in. 28

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Digital Grotesque

The ideology behind Benjamin Dillen-burger’s Digital Grotesque [2013] was to create a balance between the artificial and the physical; to create a connec-tion between the virtual and the archi-tectual. Dillenburger was influenced through digital modelling technologies, to understand using artificially created building blocks for the purpose of build-ing completely out of it. His absence of traditional building materials in favour of three dimentionally printed blocks through his modelling shows that he has a]gauged the possibilities of the computational method of designing. He desicribes playing with algorithms to create this ornate and rather intricate almost gothic styled enclosure as the human mind would not be able to com-pletely understand the fullness of the construction or it’s intricacy. His process of pulling apart the form piece by piece constanly deconstructing to further polish the shapes to what they are was through a process of developing over 260 million surfaces through out the entire structure. The model was printed through a pro-cess of sand printing using fine grain sand stone and resin to bind it due to restictions on three dimentional plastic printers. The process took one year to design, one month to print and one day to as-semble, showing a true testiment to the comuter aided design method as a competitior to traditional architectual methods of building.

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Computation Precidents

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The entrance to the Zaha Hadid at the Danish Architecture Centre in Copen-hagen creates a unique and surreal landscape inside a black echo. The in-stallation created in collaboration with Zaha Hadid, Kollison, CAVI and Wahl-berg produces a unique parametric design where people are trust into a different world almost; as they walk through the black curtains hiding it. The installation uses funnels that react to people movent through the space to rise and fall gradually illuminating themselves behind the elastic screen that hide mask them. The calming blue lights act as in a way as though it dances across the ceiling like a starry night sky in effect drawing people in closer passively getting them to in-teract with the installation and even stand under the lamps forcing them to come down upon peoples heads. The success of this installation is clear through it’s direct interplay with peo-ple and ability to engage with them.

Night Sky

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Night Sky 34

Rainforest Guardian

The computational concept of the Rain-forest Guardian has been inspired by the ever present dange of a desolate land-scape from the ravinous deforestation effecting the amazon rainforest in to-day’s world. The design of the Rainforest Guardian directly references the form of a lotus flower as it spans out over the green forest landscape below acting as a funnel through the dangled pipes that petrude from the underside of the fanned out lotus shape.

The design hasa strong focus t sustain-ablity as well as an emphasis on devel-opment and the bettering of future de-velopments in the jungle landscape. The designers Jie ZHuang, Jin Wei, Qiaowan Tang, Yiwei Yu and Zhe Hao from China wanted to design a structure that could cover the most surface area like that of a cloud to maximise the collection of rain-fall and store water for the dry season, this is how the development of the lotus flower design came about.

The design’s organic features show a dro down pipe system that will deliver water down to the bottom dwelling plants which conversely look like a sus-pended root system floating above. Fur-ther more the design will be completely self sufficent in its collection of green energy through wind turbines and solar panels that will gther enough energy to run the scientific research centrean and the eductional centres.

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Interactive Playscape for Children

The playful learning landscape for children designed by J. Mayer H architects for the Volkswagen Auto-stadt visitor centre in Wolfsburg is a good example of the computational method of design. J. Mayer H describes the process of designing and creating the childrens space with the idea of a safe and inviting area for children to explore their motor skills and their imagination; which has been achieved through the use of abstract forms of solid wood curved to flow like a imaginary landscape. The design entailes a com-ples three dimentional structure that was designed through two dimentional concept that were then perfected through CAD progarams to the fom that we have today.

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Reflection

Understanding the need for designing for the future is a key element in the furthering of the human race as Terry Fry describes in his article “Designing Futuring” [2009], the article going onto detail about the inevitable apocalypse that we all will face as the future of the human race unless we the design-ers of our generation can re-invent a sustainable way of living through de-sign. The act of designing futuring is key for the future and although Fry posts a bleak look out for the future of the human race he does raise points suspect to further investigation; how can we slow the rate we devour our own natural resources? And if we can what substitute is there? The world is slowly changing and moving towards a sustainable initiative but not dra-matically fast, technology still lacks but every little bit helps in prolonging

our comfortable existence which is where the Land Art Generator Initiative is a positive endeavour for the better-ment of the human race. Designers, architects, engineers, environmen-talists and many more all over the world come together motivated to put forth their ideologies for a better fu-ture, in sighting thinking for the future. The LAGI competition has enabled even me to reflect back onto sustain-able design and what option there are for a green energy substitute. Biofuel from the harvesting of algae, piezoe-lectric generators from simply walking over tiles and vortex generated energy in almost still water, all are possible technologies for altering the destruc-tive path of global warming; although they have their short comings but when applied appropriately they can per-form phenomenally well even showing

Designing for the future does not have to entail just sustainable development but also means to design not accord-ing to the traditional methods of prac-tice. The use of computer aided de-sign in the field of design has come a long way since it was first developing and now enables the designer quick-er more complex outcomes through intricate algorithmic modelling; two possible ways of designing now ex-ist through the aid of computers, one being parametrically and the other computational design. Computational design is a rationalisation of the tradi-tional method of design through com-ing up with an idea or a basic shape and polishing it further through the aid of computation. The way of parametric modelling removes the understanding before the design and using complex algorithms to create the design and the

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idea with out any before hand design-ing, this method is emerging more and more in the industry with many design-ers opting for parametric to clad build-ings with complex mathematical reso-lutions; undulating surfaces, complex geometry and gravity defying forms all possible through the aid of parametric modelling. An extension of the human mind as with out it the human mind could not possibly comprehend the in-tricacy of the computer aided design. Possibilities seem endless with com-puter aided design forms and out-comes seem achievable, in associa-tion with the LAGI competition to create a sculptural form usable by people to reflect and think but also promote sus-tainable living and a sustainable future.

Algorithmic Experiments

These were probbly the most interesting attempts at working with alogrithmic modelling through the grasshopper and rhino modelling programs. They show th possibilities of the programs in terms of three dimentional design and fabrication. The many surfaces needed in the putting together of a form. Looking at the drift wood example the ability to cut though a form and produce many cross sec-tions in a matter of seconds enables one to under-stand the form in a more intimate manner, discov-ering the inside factions and how it flows through. Furthermore the latice mesh below enables the build-ing process of the forms to become a reality as well as how everything should intersect with each other.

The voronoi series piece above shows the building properties of creating a geometric connecting surface which in the real world is extremely helpful with developing facades and skins for building forms, The ease that was in-volved in hanging the shape and baking it over and over to produce many variants enables the designer to alter and polish the final exactly how they like.

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Part B

Biomimicry

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“The natural structure provides a clue to what is useful in mechanism” - Andrew Parker

The roof system displayed here is from the Palazzetto del-lo Sport stadium in Italy, built in 1958, before the revolution of computer aided design by Pier Luigi Nervi. The quite complex and intricate design of the roof was motivated by the vein sys-tem seen on the underside of a lily pad, not only for its detailed and interesting design but also for its structural ability to even-ly spread the load of the roof through the whole system, which like in the lily pad enables it to avoid disaster and collapse.

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Biomimicry is a new discipline of design in regards to its approach the overall aes-thetic and process in which a product or structure is made. It involves taking ‘na-tures best ideas’ [Biomimicry Institute] to motivate the design outcome for the prod-uct or structure as well as help solve hu-man problems. By adaptations promoted through nature; which have been tried and tested. The basis for biomimicry at its core, is that nature in itself adapt to situations in the most appropriate and efficient ways to deal with the complications presented. In effect it has had billions of years to perfect itself through natural selection and further perfect itself.The Biomimicry Institute provides prec-edents for biomimic design from influenc-es such as how to better harness the light gathering capacity from the natural design of a leaf, or building ceramic structures from the design of abalone [Biomimicry Institute]; all to enrich human life and the function of design. In the case if involving biomimicry in the field of design and architecture, one would look to how nature structures itself; from anything from the molecular level to life sized physical adaptations. It focuses on the physical make up or struc-turing of the natural occurrence rather than the process of how it was built to out put a design from its physicality.Tom Muller from National Geographic magazine wrote an article on Andrew Park-er a biomimicry specialist, and describes the field in his article as pulling the best aspects of natural selection and perfecting them further in the world of design.

Furthermore John Frazer a Bimimicry ar-chitect describes in his book “An Evolution-ary Architecture” [1995], describes in detail the function of biomimicry within the world of architecture as a modern way of design-ing, he idealises biomimicry as a ‘funda-mental form making process’ [p.9] as you look at the ‘theory of morphologies’ [p.9] in the natural world. The physical biomimi-cal architectural forms respond to the dy-namic climate and environmental changes posed upon it and will thrive in the context they are adapted to through the specific isolation of adaptations that natural selec-tion provides to the field of biomimicry. As Frazer describes it as the collaboration of ‘symbiotic behaviour’ [p.9] and ‘metabol-ic balance’ [p.9] to produce a successful model from the natural process.Through technology we are now able to de-velop dittos of the natural process through the artificial building systems we have at our disposal, enabling the modern world to incorporate the these structure with in the modern world all by a way of algorithmic modelling. Frazer describes biomimicry as the ‘future’ [p.9]. That nature is a source of inspiration to architectural motivation so much so that architecture is becoming part of the natu-ral environment so much so that architec-ture is taking over much of the developa-ble land there is; incorporating itself with in working ecosystems. Frazer is only furthering the thinking of or-ganic architecture from the teachings of Le Corbusier and Frank Llyod Wright in the effort to use nature as the primary motiva-tor of the form as opposed to a metaphoric intent.

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The ICD/ITKE research pavilion [2011] in Stutt-gart Germany, exemplafies the genius in natu-ral design and biological mak up and adapting that to architectual design. Based off the plate skeleton of a sea urchin to come up entirely with the basic patterened form tht cases the pavilion, the students of the University of Stutt-gart had to then look further to the form and un-derstand the intersections of the many faces of the dented geometry that made a sea urchins shell; which then resulted in the dovetail joints as a way to connect the pieces cleanly. The assignment was intended to be teach the stu-dents the almost infinite possibilites of compu-tational design and the advancements it has made in the modern world; clearly indicating the ability to capitalise on the natural make up of things and the abiliy to replacate complex forms nature builds with ease but that also provides a unique perspective into building advancements and structural improvments. In particularly with the shell presented as the pre-cident has incredible structural resistance and rigidity to external forces wih loads evenly dis-tributed along the polygonal forms extruded from the base surface. The versatility and ad-vancement of biomimicry is only begining to be developed and understood to it’s full poten-tial and the ICD/ITKE research pavilion clearly shows the possibilities of the concept.

ICD/ITKE Research Pavilion

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The Morning Line, designed by Matthew Ritchie, Aranda/ Lasch and Arup AGU is a massive intricate anti-pavilion as described by Thys-sen-Bornemisza Art Contemporary website; posing itself somewhere between that of a monument and a ruin due to it’s large dynamic per-ferations that make the interesting and intriguing shapes and forms of the struture unique. The basis of the design was to create an open and intentionally broken structure to

create an open enclosure that re-ally pushed the entire nature of the computational process to the ex-treme, as well as redefining com-putational architecture precidents. The basis for intent behind The Morning Line was through the ex-plorations of Paul Steinhardt and Neil Turok in their explorations of cosmological theory and the un-derstanding of the radical and ran-dom nature of the universe.

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The Morning Line

The Morning line is an interactive installation thatvreacts to the sur-ouding environment in prticularly human movmnt about the site, cre-ating a unique mood with in the en-closure. Furthermore the structure literally breaking the boundaries of form placed upon it agitating the di-ciplines of architecture, mathamat-ics, cosmology, and art as it apears to be creating itself and in turn con-tradictory to common nature also destroying itself in the same

process as it grows and collapses through its challenge of conven-tion.

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1.

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Working the biomim-icry definition was in my opinion limiting to an extent as you were only able to break the definition into triangu-lar fractal geometry to geometry which i feel is a bit boring really. Fur-thermore when applying the definition to other geometry just seems to destroy the computer system crashing it due to the intensity of the al-gorithm and the surfac-ing of the fractal geom-etry on different breps. I have then chosen these four outputs as they are the most interesting of the bunch.

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The show how bor-ing the algorithm is though in my eyes, 1 and 2 show the de-constructive nature of the defintion on a polygon with three sides and then one with five, 3 shows the intricacy of the line work in the definition which outputs and 4 shows the sam ex-cept with a broken up linework that distorts the linework creating a weird oergrowth of lines sprawling eve-rywhere.

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Informed Engineering:Biomimicry

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Shadow Pavilion

The Shadow Pavilion by PLY Architecture devel-oped explores a unique understanding of biologi-cal aesthetic through biomimic design using par-ametric design. The structure of cocoon cavities is self supported by the connective nature of the cones made from light weight simple aluminium to produce a simply constructed and interesting space. The nature of the pavilion’s execution is one of a culmination of art and space, as when viewed it seems to defy the understanding of structural integrity as one would assume through heavy masonry as the cones simply connect through their outer edges. Interestingly though, through the understanding the biological nature of phyllotaxis; which is the patterning of forms (like cacti and flowers) through successive lay-ering the PLY Architecture group has created a unique and outer worldly environment inside the pavilion through the manipulation of shadows and light that is filtered through. More over through the physical understanding of the structure the cones also provide a perplexing experience of sound as it amplifies through the cones creating an eerie experience with in. The pavilion shows an understanding of the na-ture of biological process on a minute scale and unifies it with our own world understanding; devel-oping a simple geometric structure that unnerves our own reality.

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The reverse engineering of the Shadow Pa-vilion by PLY Architects worked out pretty well even though it was quite a simple al-gorithm. The form created connected in the same way that the Shadow pavilion did in the physical creation through connections at the ends of the cones. This algorithm though in the end is limited by its ability to change, as the only types of it-terations possible are through the changing of the surface shape or the intensity ofn the amount of points that encompass the whole of the surface.

Reverse Engineering

curve loft divide

brep mesh

square box

morph geometry

v-10

u-20

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Honeycomb Boundary

The Honeycomb boundary by Digital sub-stance, is only a conceptual and 3D print-ed form at the moment which induces the ideology of biomimicry through its integra-tion. Quite literally the design aesthetic re-sembles that of a honeycomb found with in a bee hive but on a much larger physi-cal scale able to be interacted with

by the user. The project has been de-scribed as providing transparent wall that filters light through in sighting a mixed use space able to find a simple equilib-rium between the aesthetic and the static criteria. The project had gone through rig-orous parametric assessment through the design stage as they needed to create

something that fulfilled the mixed use brief; finally after the honeycomb structure evolved from digital to a physical repre-sentation through 3D printing which took about 127 hours to reproduce. The hon-eycomb is key to look at and understand as it represents the testing of these digital creations.

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xz plane hex grid

x-1

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point move

rotate

rotate

rotate

rotate

rotate

rotate

polyline

xz planesize-4

degrees-60

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radians

extrudey1

offset

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loft

cap holes

cap holes

solid difference

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brep

curve loft divide

mesh

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morph geometry

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Reverse Engineer

When trying to reverse engneer the Honeycomb Boundary by Digital Substance my first attempt at defin-ing the algorithm resulted with this as an outcome. The definition didn’t completely turn out as expected and the hexagons when made would panel the surface as hex-agonal pipes instead of a hegaon perferated skin as in the predecent earlier. This however was not a

complete failure as it did create some interesting panling of surfac-es; and in retrospect to the brief if these pipes could house some sort of algae for biofuel with in a clear perspex which would produce a unique world with in the enclosure of the surface below. This would definately endow a crowd gathered at the site to understand the need for a sustainable future.

Reverse Engineering

This attempt at trying to make the Hon-eycomb Boundary a second time ap-propriated to a more ‘like’ form closer to the precedent. The algorithm used the plug-in lunch box to use the hexagon cells button and the attractor wave but-ton, The algorithm follows the direction of the attractor point that can be placed in any direction in space and will draw the extruded honeycomb shapes towards it. The algorithm although simple works in a way where the complexity of the hex-agonal shape dominates the space as an intense surface; it creates an interesting form with all the perforations and plays on light that come through invigorating the space below. The interaction that the shadows produce can satisfy the LAGI brief of construction a space of thought and deliberation. Problems with hexagonal honeycomb surface arose when the surface was rounded to make a cone shape as op-posed to just a simple open form as the hexagons didn’t meet up all round and created a seem line down the surface which detracted from the overall out-come and success of creating a closed surface.

curve loft surface

hexagon cellsu-15

v-15

point

curve

attractorwave

scale

intiger division

amplitude

factor-0.59

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graft

graftloft extrude

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Strips and Folding

The Loop_3 project designed by the Loop_3 design team being a group of students from the University of Bologna , in order to provide a paramet-ric installation for the architectual Biennale of Thessaloniki [2012]. The design was creatd through computational design using cmplex mathamati algorithms to decipher a unique free flow form, paying homea-ge to the relentless quest for understanding of context and environment that architects do on a basis to further their understanding of the expres-sive nature of the building form.

LOOP_3

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The Loop_3 was designed to be a self sanding intsallation through which it objectfied the aesthetics of mathamatial trigonometric design intent through parametric modelling, The design insights explorations of spacial awareness, interation and un-derstanding through its sleek curves and distorted shape. The students explored through parametric design and exploted through curvature not only the aesthetic properties but also the structural qualities it provided to the main form of the installation.

The installation comprises of a tri-faced planar farme system that

interconnects seemlessly with each component working inconjunction for the overall stability of the structure, The frames then allow for the strips to be added on top and connected to the edges of the frame, This way of con-struction where frames slot into each other with out the use of adhesive is also quite sustainable and quick in a small and large scale, with the instal-lation being put together in a day. The next thing was to add the sheets con-necting the strips which furthered the sleek nature of the structure adding a thin white skin and hiding the frame from view furthring the aesthetic ap-peal, of new, modern and futurist.

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BIOTHING

The Seroussi Pavilion designed by the Biothing group with principle designer Alisa Andrasek for Paris in 2007. The design was ‘grown’ [Biothing] through the computational process of manpulation of mathamatical vectors based off of electro mag-netic feilds [EMF]. Using this as the basis for their design intent the team devloped an algorithm from the definition of EMF as a way of justifying the logics of attraction and repulsion through strips and fold-ing forms.The way of designing entirely through the computer aided programs enabled unprecidented possibilities for the project to tragect towards and allowed for an infinite number of outcomes, just like the unknown outcomes of pulsing EMF waves. The agorithm following the pulsing of an EMF, cre-ated internal cocoon spaces which allowed for easy habitation of the spaces and allowed for the structure to become a working pavilion rather than a sculptural element with in a space. Allowing the utilisation of the space in a literate method where an understanding of spacial reltionhip was realised.

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The layout of the forms follow the cure to the left; placing floating domes all over space.

Manipulation of form

While experimenting with the Biothing algorithm above and here it became obvious the unique and almost end-less changes that were possible to apply to the algorithm as one delved into the inner workings of it. Changes in shape size and intensity were easily manipulated and produced minor changes; what really was interesting however was the changes possible when one altered the curves of the algorithm in turn changed the form dra-matically blowing it out, or forming pointed pinnacles really distorting any resemblance of the original dome forms at the beginning. In turn one is also easily able to change the basic shape of curves that the forms follow in turn allowing the shapes to form in any direction or float in a weird algorithmic relationship somewhere in the in-ner workings of Rhino 5.

86

I have chosen these four as I feel they show the most interesting outputs of the grasshopper definition given for the Biothing by Alisa Andrasek. The defini-tion allowed for the user to manipulate the sliders as well as line curve to get a desiered shape for the coccoon

shapes which then produced these elongated forms like in 1 as the form drooped lower creating great dome spaces with in. Number 2 was chosen because of the interesting shaoe that it had created through the use of maipu-lating the line curve which allowed for

1.

2.

3.

4.

the bulging nature of the coccoon shapes athough very awkward look-ing somehow produce an evocative shape that appeals to me. 3 shows the coccoon shaoe being pulled through to a point and not being dipped inside further identifying the range of

versatility in the definition. 4 embeds that showing an extreme verson of 3 as well as completely being the inverse of the original file showing the complete change from start to finish.

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Informed Engineering:Strips and Folding

domain-1

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654

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The strip geometry created here was designed when we were experiment-ing with strips and folding with no pre-cident to inform the design. It helped us gather an un-derstanding of the generative algo-rithms but we felt it was to limiting in its applications.

z-9point xyz

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Likewise with the it-terations above we did not think that these strips would be adiquite for the LAGI brief but it furthered our understaning of the algorithmic mod-eling program.

[C]Space Pavilion

The Space Pavilion is a designed tempo-rary pavilion in Bedford, London, by DR-L1O. The [C]Space Pavilion uses a strip and folding design aesthetic generated through parametric modelling, the pavil-ion as described by DRL1O was formed through the surface of a discontinued shell structure that was constructed out of thin light weight concrete sheet strips. They describe the joining of the concrete strips through the interlocking

generated pieces alowed for the tensile strength of the reinforced concrete to be exploited. The firm described the computational method of design as rather liberating in a sense as it enabled them to modify the 850 individual surfaces with ease which would not have been possible if they had designed the pavilion through the traditional method, as well as enabling them to model the joins and groves into

Best Vines

the surfaces with precision to produce a pavilion that perfectly fits together in unison as well as ensurig structural con-tinuality. This type of intiricacy would not be able to be produced through tradi-tional designing and building methods. Through reverse engineering the pavil-ion here we were able to re-enforce our knowledge of the computational meth-od of design and it’s advantages over traditional architectual design through

the unlimited range of design applica-tions and the almost inifinite alterations and itterations that are possible through parametric modelling and scripting. We were able to create the same aesthetic of the [C]Space Pavilion and its com-plex strip layout in a relatively short time which solidified the abilities of paramet-ric modeling.

9844

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curveoffset

seriesextrude

zstep-0.8count-43

curve loft

u-17

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extrude

Peace Bridge

The Peace bdge by Santiago Calatrava built in the city of Calgary in Canada, features the design style of what we tried to create in he grasshopper algorithm. The 126m long bridge fatures a criss crossing strip astheic that follows along four main sructural posts running the length of the bridge; in trying to create the bridge by revre engineering the structure we encountered a problem which was the diamond shape crossed members that make th form as we were only able to create straight members. Even though it still shows the basic form of the bridge and the attempt to create the essence of the build.The in its physical form however in Calgary does enthrall a sense of forwardness and direction as the criss crossing motion of the non structural aes-thetic posts along the side of the strucure mark the destination at the end of the bridge subcon-senciously luring the person crossing to reach the end. The bridge is a distinct landmark in the city connecting the urban city centre and the memo-rial drive, making it encompass a lot of foot traffic through the zone, the directionality of the form is then functional as it seems to guide people along their travels crossing over the river. Calatrava has created a unique bridge aestheic and endevours to break the status quo of being heavy and stout with a delicate structure from a simple strip form.

10246

47

The algorithm for the tubular creation is able to be modified further, able to create many different itterations as you rotate the sliders on the point shifts which rotates the curve di-rection around in turn rotating the whole form. The twisting motion then created by the slider changes however distorts the overall aesthet-ic of the form and disrupts any aesthetic ap-peal of the tube design.

curve

curvesweep 1 surface

divide

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v-7

explodetree

explodetree

shift

shift

shift

5

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flip

flip

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104

The Mediopadana train station, in Northern Italy by renound architect Santiago Calatrava births contempoary strip architecture into the rustic landscape of grassy hills at the roots of the alps, The design of the Mediopadana train station is simple in form and concept but complex in a matter of everything else; as the entire structure spans an astounding 483 metres along the mo-torway to the side. The building, now in the initial stages of con-struction will feature a stripped design aesthetic that endows towards the flowing hills of the en-vironment around as the strips following a sim-ple undulating algorithm. The design follows true to Calatrava’s own unique design styling as his play on light, space and shadow through the forms of simple thin strips, the interior of the space is then basked in light and sharp shad-ows that contort the whole interior portal creat-ing a strange fluid arangement inside.The Mediopadana train station is a key prec-edent to understandng the formal qualities of a strip building in the physical sense that isn’t a pavilion of sorts, the interior space created is astounding to comprehend; and the elegance of the white and glass configuration attribute to a light and weightless structure.

48

Mediopadana Train Station

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49

range

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2.473.622.782.602.534.10

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loft preview

preview

Itterations

Fabrication

The first model we made was through the tan curve which pro-duced the random array of lines. The model was rather interesting and featured a unique light array from the shadow that were pro-duced from it, But in retrospect it would be impossible to produce this as a real life source of produc-ing solar energy as the surface are would be limited and the random angles of the arches would be too hard to model and get consistant and efficent solar energy gain.

126

This model showed potential in the way of gathering solar energy gain as you can position the angle of the walkway to be set to the most effiecent and it would out put the most energy for the site, but we feel it lacks in the ‘wow’ factor and doesn’t produce a form worthy of inter-est from the people of Copenhagen due to its rather boring angular form.

130

The forms created through the addition of the sine curve in the definition algorithm pro-duced a rather interesting model here. We feel that this is the design direction that we would choose through the out-put shape and light acpturing capabilities when merged with the dye-sensitized solar cells which would be placed on the upward peaks of the form that are able to gather optimal solar gain through out the day. Fur-thermore the form mixed with the solar cells would produce a kalidascope effect that would be of interest for the people of Copenhagen and draw them to the site.

136

Direction

138

Dye Sensitive Solar Cells

50

51

We have chosen Dye Sensative Solar Cells as out energy generator for the LAGI site as it is the most versatile en-ergy generator as well as one of the most interesting and fittin energy gen-erating technologies out there. CSIRO have been researching the technolo-gies for developing the solar cells and have found them to have many posi-tive advantages over traditional solar cells, such as; their low cost vs their efficency and energ out put, the fact that the technology is transparent and can be coloured as wished to satisfy the architectual intent for and interest-ing form on the LAGI site, they are in-credibly easy and simple to produce enabling a much better economical standing over traditional solar panels and finally they are made from sus-tainable materials to avoid damaging the environment (CSIRO) and leaving

big carbon foot print which would con-tradict the LAGI brief. These dye sensative solar cells have been implimented in the SwissTech Convention Center as a working ‘green’ facade which are quite appeal-ing architectually through their subtle colour grade patterning repeating the dark to light over to produce an inter-esting shadow effect inside the mas-sive exhebition space. Futhermore the solar cells are able to act as a barrier to the penetrating sun light to stop the massive 3000 seat theatre from over heating.

140

52

Reflecting on part B of the journal it is cler now the direction that the computional method is taking us as a group as well as the direction we need to head in; being able to motivate our design through the energy generating dye sensative solar cells and the sun path of Co-penhagen to then create the most efficent as well as beautiful LAGI design we can whils also satisfying the brief completely. The process of first playing around with the already cmpleted algo-rithms in relation to the precidents that we had chosen as biomimicry and and strips and folding, enabled me in my experience to unerstand the basics of grasshopper much more as it furthered my undertand-ing of some of the workings with in the complexity of the plug-in. Then reverse engineering the designs from whatever precident that we found interesting that involved par-ametric design as well as the com-putational method brought forth a challenge to us, we definately took explored many options through creating our own definitions which each produced different results, but in the end deciding on the Cal-atrava styled strip styled output due to the interesting forms it was able to produce. In doing this though we have run into some trouble with the algorithm which does stall our pro-gress, which is the fact that we

would like for the form to curve around the site so we can create specific outlets for the people to re-treat to. When attempting to get the sine curve points to follow a base curve of direction the sine curve has to be eliminated giving very simple forms of one pitch, the un-dulations are lost which is the main point of interest for our form and the energy generator cells. We have realised the limitations of our generated algorithm and need to further develop the definition to produce our concept for the LAGI brief.In the furture for the final output of part C we would hope to produce a winding path around the rather bor-ing flat site in which then we would place the solar cells on specific ridges of undulations that were ef-fective for solar gain, moreover the solar cells would hopefully be col-oured in an assortment to produce a kolidascope effect for the passers through to be entranced by the beaty of this green technology. Part B has been challenging to the group but I feel we are now on the right track for the final product of design.

142

Part C

Adaptation

What drew us to the idea of having greenhouses with in the structure that houses the dye sensitive solar panels was the understanding of what would draw people to the site? Why would people from Copenhagen go to the site through the year to see some sort of boring structure that did nothing apart from house the frame work for some coloured solar panels. The site of the abandoned land that is being used for the LAGI brief is cur-rently known for it’s restaurant, bar and maritime aura that it gives off. Along the main canal waterway that runs down the city centre are fronts of cafes, res-taurants and bars with a lively feel to them, cobble stones line the little lane ways that act as arteries to the city. The city district of Christiania is marked as the hotspot of the whole of Copenha-gen being central to everything, the district is just south of the Refshaleon where our site is situated. Knowing this instantly we decided we didn’t want our site to house any form of bar, res-taurant or cafe as, first it is boring and unimaginative, but because the rest of Copenhagen is filled with these world class venues like ‘Noma’ which has been named the best restaurant in the world in 2010, 2011, 2012 and 2014. Looking at specifically what our site at Refshaleon there is a paint ball arena in one of the massive warehouses not being used by industry, there is also a cable park and a water ski hire place on the canal, among other things that already make up the site like the craft markets.Knowing this we marked them off our

list of possible functions of the site; what we were left with understanding the area to house the annual heavy metal festival known as ‘Copenhell’ in the area of Rofhshaleon so the idea of a public stage we felt was a nice idea to capitalise on this but there were still restrictions on the overall use of the site when it wasn’t playing a show. Next we thought of using the site as a public skate park as skaters are the ones that use the available architec-ture to its fullest, it also brings along a space that can be used all year round by skaters; unfortunately it then make a space that is unsafe for the solar cells as they are glass and fragile. The idea of a greenhouse then came around as a way of maximising the transparency of the solar cells as well as creating a space that isn’t already in Copenhagen, something different from the average space which will bring people from all over to visit and experience through out the year in all weather conditions. The greenhouse seemed like the ultimate community hub for a sustainable design in es-sence as it promotes a green way of living, the idea of providing four differ-ent spaces with in the sites boundaries we found was a good way of dividing up spaces for different greenhouse spaces for plants of differing climates; a forest greenhouse, a meadow and an exotic greenhouse as well as a community vegie garden.

Reflection

Reflection

Gardens By The Bay

We were heavily influenced by the Gardens by the Bay project in Singapore, completed in 2012. The project was Singapore’s way of changing the aesthetic of the Garden city to that of a ‘City with in a Garden’; which is only reinforced by the immense scale of the total build. In particular to the design process of de-signing the greenhouses on the LAGI site we have paid particular attention to the Cloud For-est and the Flower Dome that run along the harbor side over looking the sea; they both together cover a massive 2 hectares of land 0.8 to the Cloud Forest and 1.2 to the Flower Dome, with them reaching insane heights of 38m and 42m respectively. In perspective with our design intent and under the premise of the whol site in Copenhagen our greenhouses will be along the same sort of scale as the Gardens by the Bay domes.

The Swisstech Convention Centre as mentioned before in the journal, is opening its doors this year in April 2014. The buildng promotes a sustain-able way of powering itself through green design aesthetic and state of the art technology as described through its use of the dye sensative solar cells. The SwissTech building boasts a massve interior space sep-erated from the exterior world by a massve curtain wall facade which is coverted with the dye sensative so-lar cells on the West facade of the buildng. The building is a key preci-dent to the energy gathering capa-bilities of the solar cells that we also are panning to use in our design to power the grid in Coenhagen, One of the resoundng qualties that attracted us to the dyed solar cells were their transparent faces which can be dyed any colour that we see fit; in the case of the SwissTech building they have

opted of a repeated gradient of red orange and yellow, which creates a unique and different experience with in the space seperate from a tradtion-al glazed window almost like a mod-ern sustainable version of the stain-glass window from medieval times. The solar cells are said to cover no less than 300m2 of the west facade with panels sized at 30cm x 50cm with a gathering capacity of approximate-ly 8,000 KWh whichin reality isn’t that much compared to the sillicon coun-terparts; but due to the cloudy nature of the context the dye solar cells are better peformers as well as the fact that they do not have to be angled di-rectly, the work in any available light. The SwissTech centre is the first ma-jor build to include te dye solar cells in the construction and design pro-cess and it has effectively promoted the qualities of the new technology.

SwissTech Convention Centre

Experiment

Dye Sensitive Solar Cells

The Dye Sensitive Solar Cells or Gratzel cells as developed by Michael Gratzel are not a new phenominon recently developed. Gratzel has been developing these solar cells since the mid 1980’s and over time ad-vanced them to where we are now in the technological process of today’s sunstain-able concious age of design; the Gratzel cell has not been widely developed as the silicon cells through the years as they have repeatedly over time produced less impres-sive solar gain and solar conversion. Where the silcion cells today are producing solar conversions of about 25% the Gratzel cells are only producing about 15% which is considerabley less in terms of KWh anually when dealing with the LAGI site as we have potentially tens of thousands of individual panels that cover the active solar areas of the greenhouses. The reasoning behind the decision to move to the dye sensitive solar cells as opposed to the traditional silicon solar cells has been in favour of all the benefits that the silicon solar cells do not provide, such as the over-all lower embodied energy involved in the manufacturing of the solar cells through the organic materials used in the cells, the ability to be more efficent at gathering solar power in cloudy and indirect light which is ideal in Copenhagen, as well as the main selling point being the transparency of the solar cells and their ability to change the environment inside creating a surreal expe-rience though.

Cathode (+)

Catalyst

Electrolyte

Sensatised dye

Titanium oxide layer

Anode (-)

Understanding Site

Forest Section

Exotic Section

Meadow Section

Vegie Section

curve dividedivide Arc

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Experimenting

Elevation

North Elevation

South Elevation

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West Elevation

Site Model 1:500

Reflection

Reasons why our first design didn’t work re-volved around the feedback we had gotten from the Part C presentation. In the presenta-tion the main faults of our design were the lack of justifaction for the site layoutting as we had originally dictated the by the lake system that existd in Copenhagen of Utterslev Mose, was to literal for a design conideration and was not infomed by an algorithmic generation in grass-hopper. The forms were created though a se-ries of 5 curves that we had dictated to follow the appearence of the lake system, we had then abstracted these curves further to forms that were more site and user friendly creating a communal hub in the centre for circulation of the greenhouses as purely a way of allowing easy navagation of the four geenhouses from one singular point. The second problem with our presented de-sign was the way we paneled the form, it was based off of our general knowledge of the sun path in Copenhagen which informed where we placed what coloured panels where upon the sub-surface. Our plan was to use ecotech and ladybug to inform where abouts to place the panels based off of a colour gardient to make the most of the dyed solar cells and their array of colours that we could make it; but because w had techncal diffculties in the process of get-ting thee programs to work we were unable to get the propper solar array. instead we had col-oured the pnel individually to give the same ef-fect that these program would as a substitute. Furthermore we didn’t have a reasoning for the set of colours that we had chosen for the pan-els on each greenhouse to justify their shades. We had then worked after the presentation to imporving our idea to maximise the solar gain as well as justify forms and gradients.

Realisation

København Udestuer

JANUARY APRIL AUGUST DECEMBER

We used the grasshopper plug-in La-dybug to generate the placement of the dyed solar cells along the form of the greenhouses which informed the gradient of colour that we have here as a way to panel in response to the solar intensity directed specifically to the forms. The colour gradation of the green-houses works in a way where the sun hits the form at a more intense angle it produces a darker shade of red all the way down to the blue on the back halfs of the forms that don’t see the sun at any stage during the year in Denmark specifically. We feel that this method of colouring the greenhouses would be a more ef-fective way of panelling the dye panels as it shows where they will be most ef-fective, as well a simple way of inform-ing the public that come to visit the site as to the solar qualities of the structure and where abouts the energy is being generated.

GREENHOUSES

VEGETATION

CIRCULATION PATHS

ACCESS PATHS

237.87m

N

ForestMeadow

Vegie Garden Exotic

3700 mm

ALUMINIUM CHANNEL FOR WIRING

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STEEL HOLLOW SECTION SUPPORT ARCH

C- CHANNEL FOR GLASS CLEANING AND MAINTAINANCE

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ALUMINIUM CHANNEL FOR WIRING


HOLLOW ALUMINIUM SECTION FOR WIRING

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STEEL HOLLOW SECTION SUPPORT ARCH

C- CHANNEL FOR GLASS CLEANING AND MAINTAINANCE

We have developed a hager system for our green-house structure, this divides the main structure of the arcs from the body of the solar cell modules. We be-lieve this will create a more stucturally sound design and also a cleaner design aesthetic, We know the de-sign will hold as a similar component was installed in the Gardens by the Bay build.

100 MM

DYE SENSITIZED SOLAR CELLELECTRICAL ANODE

ELECTRICAL CATHODE

C- CHANNELWIRING CHANNEL

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Pile footing connect-ing the arc to the ground

100 MM

DYE SENSITIZED SOLAR CELLELECTRICAL ANODE

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WIRING CHANNEL

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5400 MM

1:50 SCALEScale 1:50

Frame for the solar cells

Solar cells, two 10x10 modules

Construction Detail

Glass Copper Wire Recylced Aluminium

structural Steel Concrete Vegetation

For the construction of the Greenhouses based off the most sustain-able as well as the most structurally sound build we have decided on these as the following materials that we would like to construct with. The sheets of glass making up the main form of the build for the skin of dyed solar cells can be made from any type of clear glass available on the market, the sizing is about 360mm x 360mm. The copper wire being used although it has a relatively high embodied energy need to be used to transfer the gathered power from the solar cells and trans-fer them to the grid, these will be recycled be more sustainable. We have decided to use recycled aluminium as the framing for the solar cell modules as a way to produce a strong and light skeleton, and as it’s recycled it will cut the embodied energy considerably. In the case of the arcs we have opted for structural steel as it has a relatively low embodied energy and is extremely strong and versatile as a structural material which would make it ideal for our arcs. Finally reenforced con-crete will be used to act as the foundations of the greenhouses due to its versatility and great compression and tensile strength.

South Elevation

North Elevation

West Elevation

East Elevation

Exotic Section

Meadow Section

Vegie Section

Forest Section

Thoughts

Learning Objectives

Designing Futuring - Our idea is to make a greenhouse sanctuary on the LAGI site and to wrap it in a skin of dye sensitive solar cells as a way of gathering solar energy.

Design Computation - We were able to create quite versatile forms through the rhino computation method and then modify them further through the grasshopper plug in.

Design Parametric - The whole design is parametric apart from the base curves that make our forms for the greenhouses, and furthermore the solar analysis.

Fabrication - We were able to quickly make a line diagram of the unrolled forms and lay them out t be cut by the laser cutter which cut the time of cutting and mapping out manually dramtically.

Analysis - We were able to acurately model the solar intensity accurately through the Ladybug program, which just proved what we already knew that the sun hits the south facade in Copenhagen.

Workflow - There are very few advantages you lose all intimacy with the design pro-cess and only create repeated forms that have already been made by talentless fool.

København Udestuer is a place where the people of Co-penhagen can commune on any day and experience a fresh and new landscape experience with in their vibrant and sustanable city; the design includes four inreractive and seperate greenhouses which contain a variety of species of plants and vegetation producing an array of landscapes ranging from a misty pine forest, an exotic and temperate jungle, a fresh meadow and a commu-nity vegie garden. The variation in species and genus of the different plant types will bring a new sort ofnexpe-rience unbenounced to the Danish public with forgein species growing in the cold climate comfortably. The greenhouses have been constructed using para-metric modeling and computation as a way of producing the most versitile form that grows out of the ground of the reclaimed land of Refshaleøen juxtapositioning strongly against the industrial buildings and warehouses that dot the context. The forms are organic and undulating as a way of creating an interesting form as well as maximis-ing the surface area of the whole form to act in advan-tage for the energy generating dye sensitised solar cells that panel the form’s sub-structure. We have used dye sensitised solar cells as a way of cre-ating a new exciting and vastly different environment in-side the forms with a gradation of red to yellow as a way of meauring the solar intnsity on a particular section or portion of th forms, The panels although they produce less energy compared to the more widely used silicon cells work in any tye of available light which is a signifi-cant advantage under the cloudy and overcast skys of Copenhagen; further more because of this particular advantage over the silicon cells enables them not to be placed at the angle of between 45 - 55 degrees but all over the forms enabling maximum solar cell cover-age and the ability to produce more energy through the whole site. Based off of this we have come to the conclusion that we are able to produce a rough estimate of 306,892 KWh anually through the thousands of panels that we have covering the site forms. We are basing the sizing of the modules off an avaerage paneled section of the forms of about 3.6m x 3.6m and dividing the are into a 10 x 10 grid of solar cells. These will slot in between the main struc-tural arcs with 18 of them on each form each divided by

Response to LAGI

a 7m distance, with metal only able to span a maximum of 9m we feel that this is an appropriate width apart with out comprimising stability as well as maximising visibl surface area where the cells go as opposed to covering the forms with arcs and hiding the solar cells. Our arcs are 500mm x 500mm in dimention and some span up 30m into the sky. The materials being used are glass, ti-tanium and dye for the solar cells, structural steel for the arcs, recylced aluminium for the solar cell frames, and concrete for the footing system tht holds the greenhouse forms to the reclaimed land.

Thinking about our environmental impact we decided to use recycled aluminium as it has a considerably less em-bodied energy compared to making the aluminium from scratch and mining and smelting. Furthermore because we have chosen to use the dye sensitised solar cells as opposed to the silicon cells we have considerably low-ered the embodied energy there as they are cheaper as well as more environmentally freindly to make as they use standard materials and orgnaic dyes, The cop-per wiring we can’t not have as it carries the electricity gained to the grid even though the embodied energy is quite high. We feel the offput of the the energy that the solar cells will create will eventually balance out the em-bodied energy that went in the building process as anu-ally our greenhouses as through the powering of 60 Co-penhagen homes a year we are able to offput a massive 163,000 kg of CO2.

And a special thanks to Rebecca, Jingle and Jay for work-ing with me during the semester. You guys have been slick.

References

References*

LAGI design brief - http://landartgenerator.org/designcomp/downloads/LAGI-2014DesignGuidelines.pdf

LAGI Fresh Hills - http://landartgenerator.org/LAGI-2012/8Y8B8U8R/

LAGI Biofill - http://landartgenerator.org/LAGI-2012/BIO-FILL1/#

Algae Biofuel - http://www.csiro.au/en/Outcomes/Energy/Powering-Transport/biofuel.aspx

Pavegen - http://inhabitat.com/award-winning-pavegen-floor-tiles-will-use-energy-from-footsteps-to-light-up-uk-shop-ping-center/pavegen7/?extend=1

VIVACE - http://www.renewableenergyworld.com/rea/news/article/2008/12/new-vivace-system-draws-renewable-ener-gy-from-slow-water-currents-54188

moistSCAPE - http://www.designboom.com/design/moist-scape-by-freecell/

Beer Crate Pavilion - http://www.treehugger.com/sus-tainable-product-design/a-summer-pavilion-made-from-2000-beer-crates.html

Negative Space - http://www.juxtapoz.com/current/yasuaki-oishis-negative-space-reverse-of-volume-rg-installations

King Fahd National Library - http://www.architectmagazine.com/cultural-hprojects/gerber-architekten-unveils-both-form-and-function_o.aspx?dfpzone=home

Japan Pavilion - http://www.architectmagazine.com/pro-jects/view/japan-pavilion-hannover-expo-2000/3843/

Digital Grotsque - http://www.michael-hansmeyer.com/pro-jects/digital_grotesque_info.html?screenSize=1&color=0#undefined

Night Sky - http://www.dezeen.com/2013/07/03/parametric-space-by-zaha-hadid-architects/

Rainforest Guardian - http://thecreatorsproject.vice.com/blog/a-lotus-shaped-concept-skyscraper-could-save-the-amazon

Interactive Playscape for Children - http://www.archdaily.com/489192/j-mayer-h-designs-interactive-playscape-for-children/

Biomimicry Institute - http://www.biomimicryinstitute.org/about-us/what-is-biomimicry.html

Palazzetto dello Sport - http://biomimicron.wordpress.com/2012/11/23/the-5-great-biomimicry-applications-series-plants-4/

National Geographic - http://ngm.nationalgeographic.com/2008/04/biomimetics/tom-mueller-text

John Frazer - http://www.aaschool.ac.uk/publications/ea/00_intro.pdf

ICD/ITKE Research Pavilion - http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/

The Morning Line - http://www.tba21.org/pavilions/49/page_2?category=pavilions

Shadow Pavilion - http://www.evolo.us/architecture/shad-ow-pavilion-informed-by-biomimicry-ply-architecture/

Honeycomb Boundary - https://digitalsubstance.wordpress.com/tag/honeycomb/

LOOP_3 - http://www.co-de-it.com/wordpress/loop_3.html

Biothing - http://www.biothing.org/?p=24tt

[C]Space Pavilion - http://synthesis-dna.com/project-exam-ple-1/ and - http://archinect.com/synthesisdna/project/c-space-pavilion

Peace Bridge - http://www.designboom.com/architecture/santiago-calatrava-peace-bridge-in-calgary-canada/

Mediopadana Train Station - http://www.designboom.com/architecture/santiago-calatrava-sneak-peak-at-undular-me-diopadana-station-in-italy/

Dye Sensative Solar Cells - http://www.csiro.au/Outcomes/Energy/Renewables-and-Smart-Systems/dye-sensitised-solar-cells.aspxand - http://www.archdaily.com/491135/richter-dahl-rocha-develop-innovative-facade-for-swisstech-convention-center/5335e4f3c07a80848900022b_richter-dahl-rocha-develop-innovative-fa-ade-for-swisstech-convention-center_img_8084_dxo-jpg/

Gardens by the Bay - http://www.gardensbythebay.com.sg/en/home.html

1-3 : http://landartgenerator.org/designcomp/downloads/LAGI-2014DesignGuidelines.pdf

4-9: http://landartgenerator.org/LAGI-2012/8Y8B8U8R/

10-11: http://landartgenerator.org/LAGI-2012/BIOFILL1/#

12-13: http://www.designboom.com/design/moistscape-by-freecell/

14: http://www.treehugger.com/sustainable-product-design/a-summer-pavilion-made-from-2000-beer-crates.html

15: http://www.juxtapoz.com/current/yasuaki-oishis-nega-tive-space-reverse-of-volume-rg-installations

16: http://www.architectmagazine.com/cultural-hprojects/gerber-architekten-unveils-both-form-and-function_o.aspx?dfpzone=home

17-18: http://www.architectmagazine.com/projects/view/japan-pavilion-hannover-expo-2000/3843/

19-20: http://www.michael-hansmeyer.com/projects/digital_grotesque_info.html?screenSize=1&color=0#undefined

21-22: http://www.dezeen.com/2013/07/03/parametric-space-by-zaha-hadid-architects/

23-26: http://thecreatorsproject.vice.com/blog/a-lotus-shaped-concept-skyscraper-could-save-the-amazon

27-30: http://www.archdaily.com/489192/j-mayer-h-designs-interactive-playscape-for-children/

31: http://biomimicron.wordpress.com/2012/11/23/the-5-great-biomimicry-applications-series-plants-4/

Images

32: http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/

33-34: http://www.tba21.org/pavilions/49/page_2?category=pavilions

35-36: http://www.evolo.us/architecture/shadow-pavilion-informed-by-biomimicry-ply-architecture/

37: https://digitalsubstance.wordpress.com/tag/honey-comb/

38-39: http://www.co-de-it.com/wordpress/loop_3.html

40-43: http://www.biothing.org/?p=24tt

44-45: http://archinect.com/synthesisdna/project/c-space-pavilion

46-47: http://www.designboom.com/architecture/santiago-calatrava-peace-bridge-in-calgary-canada/

48: http://www.designboom.com/architecture/santiago-cal-atrava-sneak-peak-at-undular-mediopadana-station-in-italy/

49-51: http://www.archdaily.com/491135/richter-dahl-rocha-develop-innovative-facade-for-swisstech-convention-center/5335e4f3c07a80848900022b_richter-dahl-rocha-develop-innovative-fa-ade-for-swisstech-convention-center_img_8084_dxo-jpg/

All other images are the work of my group or myself

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