[1]

k a i y a n g 5 8 6 1 4 6 s e m e s t e r o n e 2 0 1 4

s t u d i o 1 6 c a m & v i c t o r

AIR

[2]

CONTENTS

SELF-INTRODUCTION

PART A: CONCEPTUALISATION

A1: DESIGN FUTURING

A2 : DESIGN COMPUTATION

A3: COMPOSITION/GENERATION

A5: LEARNING OUTCOMES

A6: ALGORITHMIC SKETCHES

PART A REFERENCES

4

6

7

13

19

27

28

30

[3]

32

33

39

49

52

59

62

76

78

80

82

83

100

108

124

126

128

PART B CRITERIA DESIGN

B1: RESEARCH FIELD

B2: CASE STUDY 1.0

B3: CASE STUDY 2.0

B4: TECHNIQUE: DEVELOPMENT

B5: TECHNIQUE: PROTOTYPES

B6: TECHNIQUE: PROPOSAL

B7: LEARNING OUTCOMES

B8: ALGORITHMIC SKETCHES

PART B REFERENCES

PART C: DETAILED DESIGN

C1: DESIGN CONCEPT

C2: TECTONIC ELEMENTS

C3: MODELS

C4: LAGI

C5: LEARNING OUTCOMES

PART C REFERENCES

[4]

[5]

Hello! My name is Kai, I’m a third year student ma-joring in architecture. My decision in choosing architecture was entirely impulsive, much like architecture itself as a dis-course. However, through studying this course and engag-ing in subject work, my interest in design and the built envi-ronment has increased exponentially due to the unexpected expected outcomes produced.

I have previously completed Virtual Environments where I was first introduced to Rhino, then refamiliarised with it dur-ing Studio Water. Rhino is a program that slightly frustrates me, due my inability of unleashing its full potential. Through Studio Air, I hope to improve my design computation skills as it will definitely benefit me, as a designer, in the future.

SELF-INTRODUCTION

[6]

PART A CONCEPTUALISATION

[7]

Since humans inhabited on Earth, they have disturbed the existing equilibrium through constant exploitation of the Earth’s natural resources. With the Earth’s resources gradually depleting due to human activity, our future as a race is bleak. It is now time for change, time for humans realise the implications of their actions and resolve this pandemic. Re-evaluating design approach has been preached as a solution to defuturing, as “de-signed things go on designing” ;1 in the past, sustainability of materials, of energy has been disregarded leading their consequences being simultane-ously overlooked.

Despite the general public’s wish, everyone and anyone are not design-ers. 2 Design and fabrication, requires more than a simply self-declaration of capability, it needs to be ethical and sustainable. It needs to correspond to site and contextual responses, to human behaviour of living, interac-tions and mind. A multidisciplinary approach is recommended as different background and insight on ideas allow investigation on the broader de-sign outcomes, hence perfects the product. Altering design habits for the future, such as through material and technology usage is also ideal as it limits resource waste and increases efficiency.

1. Fry, T, (2008)2. Fry, T, (2008)

A1 DESIGN FUTURING

[8]

The kinetic sculpture at the BMW Museum Munich (2008) explores through the art of form-finding in different variations, enabled through para-metric programming. This sculpture is composed of 714 metal spheres that are individually controlled by mechanical stepper motors through steel wire attachments. 3 The sculpture serves to educate the general public of the design process of five iconic BMW cars. Through its choreographed narration, the sculpture creates a dialogue between users and the history of BMW, thus encourages and engages users to appreciate the label. This portrayal is an act of sustainability as, if in the future this sculpture were to be taken down, the individual components can still be reused in future art displays and the disassembling of elements won’t require intensive labour and mechanical energy to do so. This design is seen as innovative as it allows users to actually participate in the act with visual dynamism of calamity and chaos; furthermore the incorporation of movement in artwork is also unprecedented. As this sculpture is gener-ated through parametric design, it undoubtedly foreshadows the practice of parametric design, being a regular design method, through its tran-scendence from large projects to small intricacies of our everyday lives. The incorporation of kinetic energy can be considered for the LAGI project, as it intensifies user engagement on site, through immediate interaction results.

3. Art+Com, 2008, Kinetic Sculpture, <http://www.artcom.de/en/projects/project/detail/kinetic-sculpture/>

BMW KINETIC SCULPTURE

[9]

Figure Three

Figure Two

[10]

The Para Eco House demonstrates qualities of passive and active en-ergy systems through parametric design. It is designed by the Tongji Univer-sity Team, which is thoroughly active in the green lifestyle and energy-saving scene,4 not by a self-proclaimed design team, hence the building’s functions corresponds to their sustainable belief. The building facilitates a multi-layer skin that defines spatial proximities and energy efficiency. The house features energy systems such as solar PV panels, vertical greenery, wetland water sys-tem, wind cooling and shading, which are embedded within the layers of skin, giving the house a seamless and aesthetic finish whilst being energy-efficient. 5 The Para Eco House responds to the needs of users, as it maintains the function of a house, and further upgrades user benefits, with its spa-tial flow, energy saving aspects and visual appeal. The house endorses intel-ligent material usage through its indulgent of bamboo, a highly renewable source that isn’t harmful to the environment. This house promotes the notion that sustainability and beauty can be simultaneously achieved, in a creative manner, as long as the techniques used are appropriate. After analysing the precedent of the Para Eco House, the notions of passive and active systems inspired me, as it enables user participation at different levels and intensity.

4. Tongji Green Campus, 2014, <http://www.tongji.edu.cn/scenglish>5. Archdaily,2012, Para Eco House / Tongji University Team, <http://www.archdaily.com/289503/para-eco-house-tongji-university -team/>

PARA ECO HOUSE

[11]

Figure Four Figure Five

[12]

[13]

Architectural design is an exploration of intelligent problem solving, where sus-tainability is the ultimate resolution. However, as sustainability is still a design objective that humans are trying to analyse and ideate, there is still improbability within process-es generated through the human mind. Traditionally, design was simply “constructed not planned” 6 , anyone could be a builder or designer, therefore a more rational, consistent and higher efficiency approach is needed. Design intent aims to achieve a design solution, and is defined through constraints. 7 Technology-assisted design popularised due its fast processing and ability to add constraints which limits the pos-sibilities of inaccuracies and confines design results to be of best fit.

Computerisation overcomes the capacity of artistic endeavours, and allows one to transform conceptual into practical. This practice doesn’t undermine the cre-ative mind as it doesn’t alter the original intent; it simply acts as a modern medium for communication and allows experimentation with existing parameters. Computer as-sisted work has progressed in usage as it notices human design errors and proposes coherent design solutions which eliminates these faults.

Computation represents a symbiotic relationship in which a project stemmed from an initial idea of the creative human mind and developed through technology and program engagement, thus gives rise to a range of potential outcome through spec-ulated constraints. Computational design functions solely from defined algorithm, hence is links architectural elements through logic. Complex geometries, form and structures 8 can also be derived through re-improving algorithms of pre-set param-eters, which can be created within seconds of input, in comparison to the inefficient human experiment that requires countless hours. 9

Construction precision is also allowed through concise computerised and com-putational documentation, which is the essence of design communication. Though one may argue that they butcher the original design intent, they’re undoubtedly a modern phenomenon due the theoretically rational yet visually irrational outcomes of beauty and function produced, that human knowledge alone is inept of formulating.

6. Kalay, E (2004)7. Kalay, E (2004)8. Peters, B(2013) 9. Ted Talks, 2012, Michael Hansmeyer

A2 DESIGN COMPUTATION

[14]

Frank Gehry’s rock ‘n’ roll inspired building stands proud in Seattle Center since 2000. Gehry worked with the constraints and context to complete his design while utilis-ing the art of computerisation to convey his idea of light reflectance and panelling. 10 Computerisation enabled this process as it incorporates the positioning of the 3,000 pan-els so it is actually structurally possible and stable. The need for computerisation is evident through this project as without technology this building would be impossible to fabricate within the same construction timeframe, or simply impos-sible to fabricate due to the structural and compositional details required. This is an obvious example of computeri-sation and not computation, as despite its linearity absence and computer generate surfaces; it lacks the intricacy of computational details, hence is solely created through the human mind and documented through digitalisation.

EXPERIENCE MUSIC PROJECT

[15]

Frank Gehry’s rock ‘n’ roll inspired building stands proud in Seattle Center since 2000. Gehry worked with the constraints and context to complete his design while utilis-ing the art of computerisation to convey his idea of light reflectance and panelling. 10 Computerisation enabled this process as it incorporates the positioning of the 3,000 pan-els so it is actually structurally possible and stable. The need for computerisation is evident through this project as without technology this building would be impossible to fabricate within the same construction timeframe, or simply impos-sible to fabricate due to the structural and compositional details required. This is an obvious example of computeri-sation and not computation, as despite its linearity absence and computer generate surfaces; it lacks the intricacy of computational details, hence is solely created through the human mind and documented through digitalisation.

EXPERIENCE MUSIC PROJECT

Figure Six

Figure Seven

[16]

Figure Eight

The Fibrous House, designed by Kokkugia which collaborated with Mitchell Lab, was engendered with the goal of imagining future, enabled through computation. The endless possibilities of ideation development enabled through computation are visible through this project, as it is an enhancement of a previ-ous project by Kokkugia, the Fibrous Tower. The Fibrous House was an experi-ment of the generation of volatile fibrous assemblages. Nature is commonly used as inspiration in computation due to its versatility in form and change. 9

Though the form of the building is entirely chaotic and non-linear which goes against the formal, conventional principles of form and hierarchy, it was originated from a single geometry, the strand of fibre. This crazy presentation, of complex geometries and form, was allowed through stages of detailed docu-mentation and intensive algorithmic improvement, via technology which limits the possibility of errors and maximises performance during design.

Computation defies the notion of a building fitting within its context, as it creates a distinctive identity of the building itself. Unlike architectural precedents’ general constraints of site topography, surrounding etc. and the Fibrous House doesn’t sit within the landscape, instead it emerges out of topography, respon-siveness isn’t only applied through site context but also through human behav-iour, hence forms intricate spatial proximities. Computation ultimately allows the generation and exploration of architectural spaces. 11

FIBROUS HOUSE

11. Peters, B (2013)

[17]

Figure Nine

The Fibrous House, designed by Kokkugia which collaborated with Mitchell Lab, was engendered with the goal of imagining future, enabled through computation. The endless possibilities of ideation development enabled through computation are visible through this project, as it is an enhancement of a previ-ous project by Kokkugia, the Fibrous Tower. The Fibrous House was an experi-ment of the generation of volatile fibrous assemblages. Nature is commonly used as inspiration in computation due to its versatility in form and change. 9

Though the form of the building is entirely chaotic and non-linear which goes against the formal, conventional principles of form and hierarchy, it was originated from a single geometry, the strand of fibre. This crazy presentation, of complex geometries and form, was allowed through stages of detailed docu-mentation and intensive algorithmic improvement, via technology which limits the possibility of errors and maximises performance during design.

Computation defies the notion of a building fitting within its context, as it creates a distinctive identity of the building itself. Unlike architectural precedents’ general constraints of site topography, surrounding etc. and the Fibrous House doesn’t sit within the landscape, instead it emerges out of topography, respon-siveness isn’t only applied through site context but also through human behav-iour, hence forms intricate spatial proximities. Computation ultimately allows the generation and exploration of architectural spaces. 11

FIBROUS HOUSE

[18]

12. Van Pelt, J (1902)13. Definition of ‘Algo-rithm’ in Wilson, (1999)14. Peters, B (2013)15. Peters, B (2013)16. Knippers, J (2013)17. Knippers, J (2013)

[19]

The design process has developed a lot since before the Renaissance, where projects were constructed without planning,6 to today’s organised fabrication of large scale projects. Traditionally, architecture was designed with a partial intent of visual trick-ery;12 today, through computational technique and parametric design, architecture now becomes an honest portrayal of elements. Parametric design has come a long way, from the initial scripting culture of computerisation, to the computation that is enabled by a series of algorithms, which defines operations13 gives design instructions as a code.

The fabrication of projects becomes more efficient through computational design as there is “no separation between design intent and computational technique” 14, with these two crucial steps of the design process being developed simultaneously, the amount of time spent on perfecting the project in terms of performance and materialisation would be maximised. Computational techniques ensure flexibility to design due to its responsive-ness to change and improvement. Inputs and elements can be modulated during the process hence revises output, however as the changes are bound within the marked parameters, the outcome remains logical and true to design brief.

Unlike traditional architectural design which focuses on singular details, parametric design endorses component design.15 This study investigates the “development of parametric families of components” 14, where connection between components is focused. Although focusing on individual components raises function and productivity is ideal, it is a tedious process as each detail is analysed successively. Therefore, the analysis of the connection between components allows us to study the project as a whole, which is how it would be finally, and logically be conveyed. Immediate performance feedback can be also be generated at this stage rather than waiting for the individual analyses, hence escalates efficiency. Computational also resolves limitations within structural systems of projects, as it opens up unprecedented building typologies through computational mechanics and simulation technologies. 16

Computation may be the to the problem of defuturing, as it introduces new techniques to achieving sustainability, as it “[breaks up] traditional design strategies” 17 which forbade sustainability, allows potential for innovation whilst creating a variety of spatial experi-ences.

12. Van Pelt, J (1902)13. Definition of ‘Algo-rithm’ in Wilson, (1999)14. Peters, B (2013)15. Peters, B (2013)16. Knippers, J (2013)17. Knippers, J (2013)

A3 COMPOSITION/GENERATION

[20]

Computational techniques allow new, innovative structural com-positions to be created. The façade of the Thematic Pavilion of the Yeosu World Expo is visually enabled through computation, and also structurally aided through computation. The façade and significant interior spaces features the pre-set parameters of the ocean’s duality and moving mechanisms, 18 which corresponds to the site context and shows original ideation in structural fabrica-tion. The building presents a compression force at the top and bottom of glass louvres, causing the conventional elastic defor-mation that is despised and deemed as failure in engineering 16 However, this opening and closing method is enabled despite tra-ditional building systems, through the discovery of computational techniques. The moving lamellae of the building and the structural supports geometry is only doable through precise designation through 3D-modelling of parametric design thus reinforces the importance of computation.

THEMATIC PAVILION

[21]

Computational techniques allow new, innovative structural com-positions to be created. The façade of the Thematic Pavilion of the Yeosu World Expo is visually enabled through computation, and also structurally aided through computation. The façade and significant interior spaces features the pre-set parameters of the ocean’s duality and moving mechanisms, 18 which corresponds to the site context and shows original ideation in structural fabrica-tion. The building presents a compression force at the top and bottom of glass louvres, causing the conventional elastic defor-mation that is despised and deemed as failure in engineering 16 However, this opening and closing method is enabled despite tra-ditional building systems, through the discovery of computational techniques. The moving lamellae of the building and the structural supports geometry is only doable through precise designation through 3D-modelling of parametric design thus reinforces the importance of computation.

THEMATIC PAVILION

Figure Eleven Figure Twelve

[22]

The BMW Welt was made possible by computation, as it ma-terialises the initial conceptual form into a tangible unit of architec-ture.19 The seamless presentation of the project is undeniably assists the tracery of the building, with its focus on more than just the singular details, through the development and usage of composite materials and hybrid systems. 20 The smooth transitions between surface and line propagated via these elements ultimately elevate the functionality of services within the building layouts. As the services are embedded throughout the layers of the building, therefore understanding the con-nection between floors and spaces enhances the experience on site.

19. Archdaily, 2009, BMW Welt/Coop Himmelb(l)au, http://www.archdaily.com/29664/bmw-welt-coop-himmelblau/ 20. Wiscombe, T (2011)

BMW WELT

Figure Thirteen Figure Fourteen

[23]

19. Archdaily, 2009, BMW Welt/Coop Himmelb(l)au, http://www.archdaily.com/29664/bmw-welt-coop-himmelblau/ 20. Wiscombe, T (2011)

[24]

[25]

Architecture is a discourse. Architecture has developed from the initial construction, to planning, to pencil drawings and finally to today’s digitalisation. However, simply grasping these design methods isn’t enough for our resource depleting homeland, to be sustainable and innovative through design and construction is the key. Architec-tural design requires the analysis of problem solving and finding the more efficient and most solution-generating way possible. Hence, re-flects the increase usage in computation.

Computation enhances an architect’s ability to produce logical work as it proposes solutions that can’t be generated by the human mind, however still fit within the design constraints and parameters. Though there are those who believe that computation limits design outcomes due to the parameter restrictions, computational techniques give room to constant experimentation and amendments during projects and tests out productivity, which is ideal for this project.

This LAGI project will indulge in the usage of computational soft-ware Rhino and Grasshopper, in order to engender pioneering forms through algorithms and parametric design. Kinetic energy and human movement would be endeavoured in, in this project as it promotes dialogue between user interaction and environment, as well as being the immediate response to change. With kinetics as a parameter for this project, through this constraint and constant prototyping and test-ing, hopefully an original and inventive form can be discovered.

A4 CONCLUSION

[26]

[27]

Before commencing this subject, architectural computing and para-metric design was the equivalent of chaotic, white work of Zaha Hadid, how-ever through engagement in lectures and studio work; parametric design be-came logical to me. Though computation appears to be a series of nodes, it is completely rational due to the pre-set parameters within algorithmic script-ing and successive step process.

Having discovered new knowledge and constantly updating skills in programs such as Grasshopper and Rhino, my past work in Virtual Environments could be vastly improved, and the time spent on sleep rather than doing things that I can now do on Grasshopper could also have increased. This is a real life example of how computation increases the efficiency of the workload of sleepless university students and designers. Thank you, Parametric Design.

A5 LEARNING OUTCOMES

[28]

[29]

A6 ALOGRITHMIC SKETCHES

[30]

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 32. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 6-73. Art+Com, 2008, Kinetic Sculpture, [accessed 27 March 2014], <http://www.artcom.de/en/projects/project/detail/kinetic-sculpture/>4. Tongji Green Campus, 2014, [accessed 27 March 2014], http://www.tongji.edu.cn/scenglish5. Archdaily, 2012, Para Eco Housee/ Tongji University Team, [accessed 27 March 2014], <http://www.archdaily.com/289503/para-eco-house-tongji-university-team/>6. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 77. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 1-258. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Archi-tectural Design, 83, 2, pp. 08-159. Ted Talks, Building Unimaginable Shapes, Michael Hansmeyer (filmed June 2012)10. The EMP Building, [accessed 18 March 2014], < http://www.empmuseum.org/about-emp/the-emp-building.aspx>11. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Ar-chitectural Design, 83, 2, pp. 1112. van Pelt, John Vredenburgh (1902). A Discussion of Composition, Especially as Ap-plied to Architecture (New York: Macmillan), pp. 913. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 1214. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Ar-chitectural Design, 83, 2, pp. 1415. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Ar-chitectural Design, 83, 2, pp. 1516. Knippers, Jan. (2013) ‘From Model Thinking to Process Design’, Architectural Design, 83, 2, pp. 7717. Knippers, Jan. (2013) ‘From Model Thinking to Process Design’, Architectural Design, 83, 2, pp. 8018. Archdaily, 2012, One Ocean, Thematic Pavilion EXPO 2012/soma, [accessed 27 March 2014], http://www.archdaily.com/236979/one-ocean-thematic-pavilion-expo-2012-so-ma/19. Archdaily, 2009, BMW Welt/Coop Himmelb(l)au, [accessed 27 March 2014], http://www.archdaily.com/29664/bmw-welt-coop-himmelblau/20. Wiscombe, Tom. ‘The Contemporary Art of Tracery’, Matter, July 2011, pp. 3, http://www.tomwiscombe.com/writings/pdf/MATTER_Text_Dec_26.pdf, [27 March 2014]

REFERENCES

[31]

Figure One. Kinetic Gallery, Munich. Retrieved from http://www.artcom.de/uploads/pics/kinetik_gallery_01.jpg 27 March 2014Figure Two. Kinetic Gallery, Munich. Retrieved from http://www.artcom.de/uploads/pics/kinetik_gallery_03.jpg 27 March 2014Figure Three. Kinetic Gallery, Munich. Retrieved from http://www.art-com.de/uploads/pics/kinetik_gallery_09.jpg 27 March 2014Figure Four: Para Eco House, Madrid. Retrieved from http://www.arch-daily.com/289503/para-eco-house-tongji-university-team/ 27 March 2014Figure Five: Para Eco House, Madrid. Retrieved fromhttp://www.archdai-ly.com/289503/para-eco-house-tongji-university-team/ 27 March 20141Figure Six: Frank Gehry Sketch. Retrieved from http://www.arcspace.com/CropUp/-/media/223564/emp_15.jpg 27 March 2014Figure Seven: The EMP Building, Seattle. Retrieved from http://www.emp-museum.org/about-emp/the-emp-building.aspx 18 March 2014Figure Eight: Fibrous House. Retrieved from http://www.kokkugia.com/fibrous-house 18 March 2014Figure Nine: Fibrous House. Retrieved from http://www.kokkugia.com/fibrous-house 18 March 2014Figure Ten: Thematic Pavilion, Yeosu. Retrieved from http://www.archdai-ly.com/236979/one-ocean-thematic-pavilion-expo-2012-soma/ 27 March 2014Figure Eleven: Thematic Pavilion, Yeosu. Retrieved from http://www.archdaily.com/236979/one-ocean-thematic-pavilion-expo-2012-soma/ 27 March 2014Figure Twelve: Thematic Pavilion, Yeosu. Retrieved from http://www.archdaily.com/236979/one-ocean-thematic-pavilion-expo-2012-soma/ 27 March 2014Figure Thirteen: BMW Welt, Munich. Retrieved from http://www.arch-daily.com/29664/bmw-welt-coop-himmelblau/27 March 2014Figure Fourteen: http://www.archdaily.com/29664/bmw-welt-coop-him-melblau/27 March 2014

[32]

PART B CRITERIA DESIGN

[33]

Throughout history, nature has been an inspiration to the aesthetic of our buildings and infrastructure, as they are often derived from physical forms of nature. Biomimicry is a notion that has been discovered through the capac-ity of parametric design. Biomimicry is innovative, as it allows the generation of forms through inspiration of biological processes, rather than the physical molecular forms.1 As it is not a literal translation from the existing shape, with the assistance of computation programs such as Rhino and Grasshopper, the outcomes are infinite. Bimimicing features, not only contribute to the design world, but also to ecopsychology 2 as they not only project vivid imagery, but they also have the capacity of embedding themselves into the recesses of human mind and senses, due to the relatable experiences and memories it evokes. Using biomimicry as the research system of our project, we hope to explore the natural aspects of emergence and regeneration.

B1 RESEARCH FIELDBIOMIMICRY

1. B iomimetic Architecture, 2014, What is Biomimicry?, <http://www.biomimetic-architecture.com/what-is-biomimicry>2. Naropa, 2014, What is Ecopsychology?, <http://www.naropa.edu/academics/gsp/grad/ecopsychology-ma/what-is-ecopsychology.php>

[34]

Figure 1

[35]

FALLEN STARAA DLabResearch PrecedentThe Fallen Star is synthesizedbased on the notion on the emergenceand regeneration processes of naturalelements, complex and stimulatingideas, which then establishes contextbetween biomimicry, interaction andperception. 3 Beginning with a wireframestructure, surfaces were createdthrough lighting projection modulationsthat result from the users’ sound anddigital manipulation. The production ofthe Fallen Star and its input parametersultimately reflect the emerging behaviourof nature, from being a singular seed toa flourishing tree, how it is versatile toalternations within its environment andcontinues to thrive and how nature canbe incorporated into the physical designwithout looking like for example, anactual tree, but more so emphasizing onthe principles. Using this example, wecan also investigate into incorporatingthe human senses as factors which cancontribute to the brief, whilst embodyingboth the tangible and the intangible.

3. suckerPUNCH, 2014, Fallen Star @ AA DLAB, <http://www.suckerpunchdaily.com/2012/08/16/fallen-star-aa-dlab/>

[36]

Figure 2

[37]

MODERN PRIMITIVESVenice | Miami

Aranda| Lasch, the architec-tural studio of American architects Benjamin Aranda and Chris Lasch ex-plores computational design through connecting the “cosmological to mun-dane molecular objects”.4

This example demonstrates the pro-duction of modularity, from the rational to the irrational. After producing indi-vidual foam pieces, they were assem-bled in the formation of users’ choice and can be continuously rearranged, showing the roughness of modular systems and their infinite variations.5

In this project they indulged in a sus-tainable core material, foam. 6 Foam can be an investigated material in our design and prototyping, as it is energy efficient due to its lack of machinery to fabricate and assemble.

4. The Creators Project, 2014, Making the Munda Cosmic: Meet Modular Designers Aranda|Lasch, <http://thecreator-sproject.vice.com/blog/making-the-mundane-cosmic-meet-modular-designers-arandalasch>5. Dezeen, 2014, Modern Primitives by Aranda|Lasch, <]http://www.dezeen.com/2010/08/30/modern-primitives-by-arandalasch/>6. Paperfoam, 2014, < http://www.paperfoam.nl/Sustainability.html>

[38]

Figure 3

[39]

B2 CASE STUDY 1.0

The Morning Line by Aranda|Lasch is an example of fractal network and recursive growth. Through examining the potential al-gorithmic expression, we discovered that it conveys scalar variances through its connections and components that despite difference in sizes in their individual functions are still the same, hence an example of fractal design. Fractal is the generating a series of replicas at dif-ferent scales from the same original object, creating a set of recursive forms. 7

Fractal geometries relay the message of nature having the potential to self-produce and self-sustain; its grouping organisation also justifies the fact that distribution is logical and organised through parameters, which is evident in the Morning Line. The continuous patterning on the individual surfaces can also be a notion a subdivision that can be explored in the future project. The structure is allowed by first fabri-cating a base shape which then enables structure to be tested out and extruded through surfaces and spatial proximities. This project is completely rational due its formulated growth, furthermore its assem-blage on site follows specific instructions which cannot be random-ized. The end points of the project features no clean edges, thus goes by Aranda|Lasch’s intent of “rough” design and modularity, where this is no definite end to a design, as infinite variations can be added, making it an open idea. 8 Modularity is enabled to through the prac-tice of fractal design, as, it allows clean separation and reconstruction through its visible individual components without fatal impact on the overall system.

THE MORNING LINESeville

7. Live Science, 2014, Design for Living: The Hidden Nature of Fractals, <http://www.livescience.com/42843-fractals-and-design.html>8. Benjamin Aranda, 2012, Scalar Invariance, <http://www.youtube.com/watch?v=VGCcqu4KhsE>

[40]

[41]

Figure 4

[42]

1 2

65

9 10

1413

[43]

2

6

10

14

7

3

8

4

15

11

16

12

[44]

17 18

22

25 26

3029

21

[45]

18

22

26

30

23

19

24

20

31

27

32

28

[46]

Figure 5: Tree Diagram depiction of recursion from two possibilities: surface and edge.

[47]

With recursive growth being the focus of our design scheme, outcomes 6, 14, 20 and 30 have been deemed the most successful. Outcome 6 delivers the Morning Line’s principle of fractal growth through branching with its clean, simple geometries. Outcome 14 offers a different direction of branching, as well as seamless connections between ele-ments, proposing a neat and rational formation. Furthermore, it features flat base surfaces, that can be used as anchoring surfaces for structures in the future. Outcome 20 shows ver-satility in the base geometry, as well as an intriguing form as it explores different amplitudes. Outcome 30 embodies the fractal geometry, and it also bears resemblance to a snow-flake, a molecular form, however it was not intended to do so, therefore it conveys the flexibility of natural processes and the symmetry between natural forms and natural pro-cesses.

These forms of recursive growth, are formed through exten-sion of elements, these augmented components are ideal of garnering attention on site due to the increase of occu-pation in surface area. Furthermore, the different layering of elements gives rise to an abundant range of structures, such as pavilions and sculptures due to the large possibilities of positioning.

[48]Figure 6

[49]

Nature gives rise to a diverse range of processes due to its varia-tions, which can be experienced through investigation in the material system of biomimicry. Maple Leaf Square’s Canopy, designed by United Visual Artists, seeks to speculate a dialogue between natural irregularity and man conducted rationality. 9 The Canopy mimics the experience of nature, through geometry of leaves by replicating light-penetration levels in an actual forest canopy and manipulating artificial light, to evoke a touch of nature. This presentation is perfected with its investigation in the different visual outcomes of both day and night, giving different experiences of dynamism. Through this precedent, we understand that the notion of biomimicry can be achieved not only through visual perception but also through the senses of feel and memory, as one can relate the Canopy to personal experiences of venturing within a jungle or walk-ing under a familiar tree.

The Canopy is formulated within a bounded space, from thousands of identi-cal modules, in a non-repeating growth pattern. This growth pattern is derived from the arrangement and connections between configured lines, defining boundaries hence synthesizing a composition of geometries. This distribution also relays the process of Natural order as Nature is born through a series of extensions from one element to the next, same or different element. This notion of Nature’s continuous growth can be experienced with in our design scheme, through rational, organised growth.

B3 CASE STUDY 2.0THE CANOPYTORONTO

9. Archdaily, 2014, Maple Leaf Square Canopy | United Visual Artists, <http://www.archdaily.com/81576/maple-leaf-square-canopy-united-visual-artists>

[50]

The Process

1. CREATING THE BASE GEOMETRY through ma-nipulation of midpoints and connection of polylines.

2. RECURSIVE GROWTH enabled through ‘moving/ the initial base geometry in two directions.

3 . Using CULL to explore the organisation of geom-etries, in hope of generating the layered effect, then EXTRUDE to give height

[51]

The project’s effect was achieved through the multiple layering of surfaces, where some surfac-es are removed and lights are installed, in order to create contrast during both day and night.

Following the steps listed earlier, the initial base geometry was created then replicated in both X and Y direction, which can then be baked, hence forms base points for the extruded surfaces. The extruded surfaces follow the Z axis which ulti-mately achieves the overhanging canopy effect.

[52]

1 2 3 4

9 10 11 12

17 18 19 20

[53]

4

12

20

B4 TECHNIQUE: DEVELOPMENT

5 6 7 8

13 14 15 16

21 22 23 24

[54]

41 42 43

25 26 27

33 34 35

49 50 51

[55]

45 46 47 48

29 30 31 32

37 38 39 40

53 54 55 56

[56]

[57]

The LAGI brief stimulates for a sustainable and aesthetic art form. Through the architecture of the structure, we ultimately wish to produce an ecopsychological reaction with the human senses, as our form would evoke thoughts and feelings within users. Kalay in-tends that for performance to be satisfied, designers must propose their own constraints, in order to successfully and rationally prob-lem solve. 10 As the constraint must reflect site conditions, an ideal constraint would be of sunlight - as it ultimately affects our energy system of algae fuel. The successful outcomes of Case Study 1.0 showcase different amplitudes which can regulated using controls of sun angle and intensity, in context of Copenhagen. Outcome 15, 16, 23 and 56 are successful iterations, that however still require future refinement. Outcome 15 and 16 are strong exam-ples of recursion, though the joints between elements lack the clean modularity in biomimicry processes. Outcome 23 features a smooth finished surface at varying heights which implies a well rounded sun exposure.Outcome 56 had been constructed with factors such as sun ori-entation into consideration thus exposure amongst surfaces have been maximised to suit function. However, once again, the modu-larity of growing components along frames must be tidied to em-brace the organised form of nature.

10. Yehuda, K. (2004)

[58]

Figure 7

[59]

B5 TECHNIQUE: PROTOTYPESThrough prototyping, we produced conceptual models and tested the visual appeal of our concept. We first tested the pos-sibility of achieving clean connection joints, from the recursive models that we already virtually have, see Figure 12 and 13. It is evident that after fabrication, our surface-edge/surface-surface connection theory needs to be polished first in order for as-sembly joints to take place, in order to save the time of physical assemblage and calculation. For this project, we chose glass to be the core material. Though we didn’t prototype with real glass, through the transparent perspex investigation we con-firmed the aesthetic element that we wish to transcend, that is providing a visually appeal facade to the users, through the transmittance of algae colour. As our glass pod structures will hold algae, it connection joint between the components must be comprised of water sealants, and is waterproof to ensure the composition remains structurally sound, as our prototype achieved the visual effect, however with the materials we en-gaged it, it failed to hold liquid. We also tested out the effect of LED lighting behind the structure, the structure then conveyed a more ethereal, and captivating image. The play of light can be an element explored in the future as it will definitely enhance the aesthetic appeal. LED incorporation also gives rise to new material choices such as translucent concrete, as this material depends on LED to complete its presentation.

[60]

Figure 8

Figure 10

Figure 12

[61]

Figure 9

Figure 11

Figure 13

[62]

Figure 14: Diagram of sun path on site

[63]

B6 TECHNIQUE: PROPOSAL

The LAGI projects aims to create a dialogue between art and sustainabil-ity, using infrastructure art to express the input the ideation of sustainability. Ref-shaleøen was once part of the industrial site of the Copenhagen Harbour and was erected as a shipyard. Turning the Copenhagen Harbour blue,11 swimming in the harbour of Refshaleøen, Copenhagen has been a 15 years young pursuit, as it not only improves Copenhagen’s factor of liveability, but also upgrades urbanism of the city, as it serves as a hotspot for locals and for tourists. Furthermore, it will contrib-ute to the economy of Copenhagen, with its effect on the real estate prices, on flats in the Harbour area and also adjacent to the Harbour area.

Therefore, utilising the wastewater of the site in the LAGI proposal, is a sustainable and beneficial approach. Algae fuel has been researched and practised recently, it is pioneering as algae converts biomass into fuel and energy.12 Microalgae is the ideal algae type, as it is less complex and smaller therefore would be easier to transport along site. 13 The harvested engery can be used to fuel the surrounding local facilities such as the Land Transport Facility and production companies, which will once again lower the cost and time of transportation, and it can be immediately used to benefit the This energy system reflects the function of biomimicry itself and simultaneously responds to the brief whilst providing a fun, sensational appeal.

Figure 15: Diagram of Algae Fuel process

11. LAGI, 2014, Solution for Sustainable Cities (pdf)12. U.S. Department of Energy, Biomass Program, 2014, <http://www1.eere.energy.gov/bioenergy/pdfs/algalbiofuels.pdf>13. Raphael, S. and Ausillio, B. (2013)

[64]

PROPOSAL ONETHE GRID (THAT DIDN’T HAPPEN)

Figure 16: Volume Changes during a standard Summer day

Figure 17: Volume Changes during a standard Winter day

Sun exposure to the algae, ultimately determines the success of the func-tion and the project itself. A grid plan was designed to stem the growth of the structure itself, as it would be controlled by the level of sun intensity, sun direction and sun transmittance. However, the growth of the structure is not fixed on the form, but on the volume it will actually hold. That is, that in sum-mer the structure will feature a larger number of pods that will encase the micro algae, and in winter, less pods.

This initial direction has proven itself as unsuccessful as the fluctuation in algae volume is impractical and the sun exposure properties intended have diminished, as pods generated from points along the structural framework did not reflect the sun influence of the time of day, hence is a form of irrational organisation; with factors such as self-hindrance also present which affects the sun exposure.

[65]

PROPOSAL ONETHE GRID (THAT DIDN’T HAPPEN)Sun exposure to the algae, ultimately determines the success of the func-tion and the project itself. A grid plan was designed to stem the growth of the structure itself, as it would be controlled by the level of sun intensity, sun direction and sun transmittance. However, the growth of the structure is not fixed on the form, but on the volume it will actually hold. That is, that in sum-mer the structure will feature a larger number of pods that will encase the micro algae, and in winter, less pods.

This initial direction has proven itself as unsuccessful as the fluctuation in algae volume is impractical and the sun exposure properties intended have diminished, as pods generated from points along the structural framework did not reflect the sun influence of the time of day, hence is a form of irrational organisation; with factors such as self-hindrance also present which affects the sun exposure.

[66]

Figure 18

[67]

[68]Figure 19

[69]

[70]

PROPOSAL TWOTHE GROWTH (THAT WILL HAPPEN)

Figure 20: An example of a recursive growth form

Alternatively, a form that is stimulated by recursive growth is rediscovered. The said form grows towards the direction of sunlight, from a reoccurring base geometry, in order to maximise sun exposure, which also improves performance of algae growth. As the growth is proportional to sunlight, the algae growth is also proportional, therefore a multi-colour algae pod structure can be achieved with the different levels of algae growth, which is also more visually captivating.

[71]

PROPOSAL TWOTHE GROWTH (THAT WILL HAPPEN)

Figure 20: An example of a recursive growth form

Alternatively, a form that is stimulated by recursive growth is rediscovered. The said form grows towards the direction of sunlight, from a reoccurring base geometry, in order to maximise sun exposure, which also improves performance of algae growth. As the growth is proportional to sunlight, the algae growth is also proportional, therefore a multi-colour algae pod structure can be achieved with the different levels of algae growth, which is also more visually captivating.

[72]

Figure 21

[73]

[74]Figure 22

[75]

[76]

B7 LEARNING OUTCOMES Sometimes, you do need a slap in the face to reassure yourself and to regain your sense of direction. Which is exactly what the Interim Review did. Often when utilising computational techniques, you immerse yourself within these techniques, and get lost within as they themselves are of a rational formula, which indulges you into also thinking that everything you do is also coherent for the matter. Then your purpose is lost. We concentrated on something that intended to be “rational” and “organised” but turned out to be the complete opposite, and all architectural integrity was lost. Which was really saddening. After getting to caught up in the point grid which failed to do anything, we must clarify our design direction once again. That is, to embrace the initial notion of recursive growth. Interesting forms that bear resemblance to actual natural compositions, which will guarantee functionality, architectural interest and over-all aesthetic appeal.

Having a virtual form, a design concept and having something that is pos-sible to fabricate and to actually function are two different things. After confirming the final design, it is crucial to be objective and to figure out whether or not fabrication is possible. As we wish to use glass in our final design, from now and final submission, investigating into the actual material as well as other more tensile materiality for joints, to convey the balance between algae fluidity and the capacity to be structurally sound.

Prior to confirming the final fabrication form, the efficiency of the energy system must also be measured. That is, to seek the calculations and data that indicates the energy production and how much of the actual site it can actually sustain to ensure investment worth. The efficiency of the project will determine the scale of fabrica-tion hence contribute to executing the final form. Overall, through this segment of the subject I have gained insight and skill into computational techniques, however, I still lack the innovation of forms within my personal outcomes, therefore, as we are now endorsing constraints such as the Sun Vector, hopefully this constraint will concentrate my exploration field and increase the amount of interesting productions.

[77]

[78]

Figure 23: A series of fracal explorations

Figure 24: Field exploration Figure 25: Amplitude exploration

[79]

B8 ALOGRITHMIC SKETCHESFigure 23 demonstrates the attempt of creating a variety of fractal shapes using dif-ferenct base geometries, as our recursive form is dependent on the initial base geom-etry in order to generate an interesting. After the base geometry is confirmed, a series of Python iterations will then take place to stimulate the branching of growth. Figure 23, commenced the indulgence in Grasshopper, endeavour and sleeplessness that comes with it, for me; and allowed the notion of drastic constrasting forms are pos-sible to create from the same “commands” thus is important.

Though we did not explore much into Field for our design, I found the Field exercise to be quite enjoyable, and it will be a useful tool in the late stages of our desgin refine-ment, just to brush up the direction of segments - whether or not it is to the direction of sun.

Figure 25 explores Cull tool and plays with different amplitudes. This is signficant as the Cull tool was used throughout our B4 explorations and introduced the concept of randomising within rational algorithms. The play wth with amplitude is crucial as our final structure will ultimately grow towards sun direction therefore featuring varied heights is imperative.

[80]

REFERENCES1. Biomimetic Architecture, 2014, What is Biomimicry?, [accessed 20 April 2014],<http://www.biomimetic-architecture.com/what-is-biomimicry>2. Naropa, 2014, What is Ecopsychology?, [accessed 20 April 2014], <http://www.naropa.edu/academics/gsp/grad/ecopsychology-ma/what-is-ecopsychology.php>3. suckerPUNCH, 2014, Fallen Star @ AA DLAB, [accessed 22 April 2014], <http://www.suckerpunchdaily.com/2012/08/16/fallen-star-aa-dlab/>4. The Creators Project, 2014, Making the Munda Cosmic: Meet Modular Design-ers Aranda|Lasch, [accessed 22 April 2014], <http://thecreatorsproject.vice.com/blog/making-the-mundane-cosmic-meet-modular-designers-arandalasch>5. Dezeen, 2014, Modern Primitives by Aranda|Lasch, [accessed 22 April 2014], <]http://www.dezeen.com/2010/08/30/modern-primitives-by-arandalasch/>6. Paperfoam, 2014, [accessed 22 April 2014] < http://www.paperfoam.nl/Sustain-ability.html>7.Live Science, 2014, Design for Living: The Hidden Nature of Fractals, [accessed 20 April 2014], <http://www.livescience.com/42843-fractals-and-design.html>8. Benjamin Aranda, 2012, Scalar Invariance, [accessed 23 April 2014], <http://www.youtube.com/watch?v=VGCcqu4KhsE>9. Archdaily, 2014, Maple Leaf Square Canopy | United Visual Artists, [accessed 24 April 2014], <http://www.archdaily.com/81576/maple-leaf-square-canopy-united-visual-artists>10. Kalay, Yehuda E. (2004). Archtiecture’s New Media: Principles, Theories, and Mthods of Computer-Aided Design (Cambridge, MA: MIT Press), pp 1-2511. Land Art Generator Initiative. ‘Solution For Sustainable Cities’, 2014, pp 14-15, http://landartgenerator.org/designcomp/, [18 April 2014]12 U.S. Department of Energy, Biomass Program, 2014, [accessed 24 April 2014 <]http://www1.eere.energy.gov/bioenergy/pdfs/algalbiofuels.pdf>13. Slade, R. and Bauen, A. (2013). Micro-algae cultivation for biofuels: Cost, en-ergy balance, environmental impacts and future prospect. Biomass and Bioenergy. Vol 53. June 2013. 20th European Biomass Conference. pp 29-38 http://www.sciencedirect.com/science/article/pii/S096195341200517X

[81]

[82]

PART C DETAILED DESIGN

[83]

C1 DESIGN CONCEPTThe LAGI competition, aims to incorporate art with energy gen-eration, in Refshaleoen, Copenhagen. We addressed this brief through designing a n e t w o r k o f s c u l p t u r e s spread across the site, which creates an attractive, leisure area with-in an open space. Through users’ exposure on the site, the concepts of energy efficiency and sustainability can be implant-ed through personal experience, hence be practised.

Algae biofuel is the appropriate energy technique for this site, as the fundamental elements which assist the algae growth and harvesting process are located nearby the site - the wastewater facility and the generator. Therefore the cost, time and energy required to enable material transference and to power process can be reduced.

The energy produced from the biomass at Refshaloeon, will ultimately be used to fuel the residential and public services sectors. Denmark’s energy consumption is dominated by the usage of transport and housing services. A transport system is located near the site, therefore energy transportation will be minimised and utilised more efficiently on site.

The service pipes which transport the wastewater and power to and from site will be held underground, after site excavation, to mask services so aesthetics can be maintained.

[84]

Train Statio

Bus stop

Urban Rail

Cycling Pat

Car Par

Cverland

Pedestrian Pat

Road

PowerplantWastewater Facilit

Regional Ferries

Ferries

Powerplant Generator

Figure 1: Site Analysis Diagram

[85]

ain Station

Bus stop

Urban Rail

Cycling Path

Car Park

Cverland Train

Pedestrian Path

Road

Powerplant astewater Facility

Regional Ferries

Ferries

Powerplant Generator

Through this, we discov-ered that the site is within a pop-ulated region that accounts for vehicles, cyclists and pedestrian usage. It is also one of the termi-nals for the local and regional fer-ries. Therefore, our design scheme is generate a dialogue, a physical platform between need and want, to provide an alternative solution of energy. To establish a park of en-gagement and recreation, where those who originally planned to traverse through, to stay; and those who planned their stay, will not regret.

The spread of the park acts as the connecting platform between the different methods of transportation and existing infrastructure.

SITE ANALYSIS

[86]

[87]

As our research field is biomimcry, a biomimic process in which we focused on is the Dif-fusion Limited Aggregation (DLA) process. DLA is a biomimic process as it does not imitate the physical forms of nature, but rather the for-mation procedures of nature. This process formulates from clustering of individual seeds, all at their own individual locations. These seeds traverse in randomised speed and direction, and when two or more seeds enter the same “field”, with-in a set proximity, they form an ag-gregate which continues to grow in the same manner.

DLA ultimately determined our lay-out and variations in sculptures.

DIFFUSION LIMITED AGGREGRATION

Figure 2

[88]

Power Grid

Power Generator Algae Pump Algae Collector

Wastewater

Figure 3: Sculpture de-rived from DLA constisting of 100 containers

[89]

Our energy technique is implemented through the transferral via containers. Local wastewater infiltrates the containers and enters the exist-ing algae containers, which continues to grow algae from this intake of wastewater - in con-junction with feed from the sun. As the algae continues to grows, it eventuates into biomass, which then biofuel is then extracted by the har-vesting pumps within the system and trans-ports the energy to the nearby power genera-tor, which converts the harvested energy into electricity.

ALGAE BIOFUEL

Figure 3

[90]

Transfer Containers

Support Containers

Optimal Containers

577 hours of optimal sun expsoure

1.5 m3 per sculpture

777.6 kg of Oil output per turnover

79,704 kWh of yearly raw energy content

6

+

=

=

=

Of 100 containers, the total volume of algae holds up to 1.5 cubic metres of biomass which constitutes 777.6 kg of algal oil. 1

This amount of biofuel gener-ates 79,704kWh of energy, however with th electricity gen-erator of 30% efficiency only 23,911.3kWh of energy can be readily used to power struc-tures, given that in Copenha-gen, the optimal conditions of algal growth is 18 degrees Celsius and at 3000 lux of lu-minance.2

This amount of energy is high enough to power 6 average households in Copenhagen for a year. 3

23,911.2 kWh of energy ready to be used

=

houses powered per year

1. Oilgae.com, 2014, Algae Oil Information, http://www.oilgae.com/algae/oil/oil.html >2. Food and Agriculture Organization of the United Nations, 1991, Algal production, <http://www.fao.org/docrep/003/w3732e/w3732e06.htm>3. Danish Energy Association, 2008, Danish Electricity Supply ´08 Statistical Survey, <http://www.danishenergyassociation.com/Soegeresul-tat.aspx?q=2008>

[91]

Transfer Containers

Support Containers

Optimal Containers

Figure 4

[92]

Figure 5

[93]

DLA was used to derived the for-mation of path and movement on site. This pathway directs users’ movement across the site, from the different main access ter-minals on site. This pathway also incorpo-rates podiums of different levels. The differ-ent levels also depict the different purposes and engagement levels. Some podiums house sculptures, where as some serve as areas for activities of low intensity - sitting, eating - and some as spaces of isolation and secrecy.

[94]

The different variations of sculptures derived from DLA via computational program Grasshopper. These forms are selected with the decisive fac-tor of spread and expansion, as they determine the level of sunlight exposure, which is crucial to the growth of algae. The selected forms are then incorporated into our scheme, as the sculptures erected on the assorted podiums.

Figure 6

Figure 7

[95]

[96]

Control One: Daily Sun Exposure of 1 hour

Control Two: Daily Sun Exposure of 2 hour

Control Three: Daily Sun Exposure of 3 hour

Algal Growth Over a Week

Figure 8 Figure 9

Figure 11 Figure 12

Figure 14 Figure 15

[97]

We investigated the growth of algae, after sugges-tions from the final presenta-tion by actually growing algae ourselves. Through this ex-periment, we confirmed our previous hypotheses, that the concentration of algae is deter-mined by the level of sun expo-sure, and the clustering during growth. The different concen-trations also demonstrate differ-ent colour profiles. These infinite variations of colour of algae, give variety, and stories to the experience on site which is what we what to achieve through the sculptures - to tell the story of sustainability and its limitless-ness.

Figure 9 Figure 10

Figure 12 Figure 13

Figure 15 Figure 16

[98]

1. Connect pipe to correspond-ing joint. (Pipe consists of algae pathway holes, number of holes is proportional to length.)

2. Plastic surfaces of containers are slot into designed fitting within pipes.

3. Repeat Step 1 and 2 until con-tainer assemblage is achieved

Figure 17: Construction Diagram

[99]

As our sculptures are ultimately formed by a se-ries of containers which pass through algae, the con-nection between these containers and the way through transport and store algae is crucial.

The connection system would consist of plas-tic joints and pipes, and transparent plastic sheets; all prefabricated then transported and assembled on site. These components are used in different variations, how-ever, the same component types - sizes and dimen-sions - are still uniform, therefore can be mass produced, hence limits the possibility of error during fabrication.

[100]

C2 TECTONIC ELEMENTSPROTOTYPE MODEL1:22mm Perspex3D Printed Plastic

[101]

Utilising perspex and 3D printed materials, we constructed our proto-type. The joints and pipes have proved to be sturdy and durable despite only using super glue, and the drying pro-cess was time consuming. However, during the actual fabrication process, construction adhesives would be uti-lised to ensure cheaper, speedy and secure connections, especially at nodes which link two separate containers, due to the increased efficiency in assembly time.

Silicon water sealant was used in the recesses of the joint and pipe connec-tions, in order to pursue water and air-tightness. However, the method of ap-plication of the selected sealant calls for a refinement, as it destroyed the proto-type’s model integrity.Figure 18

[102]

The support mate-rial during proto-typing at 1:2 scale had proved to be a difficult task, as its dense scaffolding was time-consuming to remove and often damaged the com-ponents. However, at a 1:1 scale, the re-moval process would be much easier and there would be less and the printed ma-terial would be easier to manipulate.

Figure 20

[103]

Figure 19

Figure 21

[104]

Figure 22

[105]

Figure 23

[106]

Figure 24

[107]

Figure 25 Figure 26

[108]

SITE MODEL1:5002mm Perspex

C3 MODELS S

[109]

Figure 27

[110]

[111]

Figure 28

Figure 29

[112]

FINAL MODEL1:503D Printed Plastic

Figure 30

[113]

[114]

[115]

Figure 31

Figure 32

Figure 33

[116]

[117]

Figure 34

[118]

Figure 35

[119]

Our design proposal, of a Sculptural Park incorporates an alternative en-ergy of algae biofuel, through func-tional containers which provides an attractive and engaging finish.

[120]

[121]

Figure 36

[122]

Figure 37

[123]

[124]

C4 LAGIMATERIALS Majority of the site will preserve its natural, grass lay-er to reduce the amount of human impact on site. Howev-er, concrete podiums and pavements will be established on site. Refshaloeon itself, is fairly flat, therefore with the sculp-tures standing on podiums of varying heights, the level of sunlight exposure can be manipulated. The podiums also serve as platforms of different dimensions to permit the variety of recreational activities and behaviours occurring on site. The concrete pavement acts on the path which directs users, of locals and tourists, along site; towards the different facilities and infrastructure surrounding the site. Concrete is the suitable material for the landscaping as can be easily formed into shape on site, therefore the potential errors during assemblage is limited. It is durable over time; fire, water and insect resistant hence is economical dur-ing to its long lifespan. Concrete is also a material of high compressive strength, hence it will not fail structurally even with the algae containing sculptures sitting above them. The sculptures’ containers are composed of transparent and solid plastics. Transparent plastic, is both functional and visual. Plastic, perspex at 4mm thickness, will be en-dorsed, as they enable algae exposure to sunlight due to its sheer opacity and encourages users to engage with the sculptures are the different concentrations of algae is visible thus attracts people to actually engage with the sculptures. Furthermore, it is also structurally capable to support the algae within its surface perimeters. White plastic is used for the structural and facilitating nodes, of joints and pipes, in which algae and wastewater within the sculptures travel through. The spherical joints have a diameter of 4 0mm, which also accommodate the pipes of varying lengths. The pipes allow matter to move through with its diam-eter of 16mm, and they’re at lengths of 215mm, 156mm, 123mm and 74mm. The transparent plastic is slotted into the planned gap of the pipes and joints, as the dimensions of the surface material are proportional to the pipe lengths; therefore extra connective components will not be required

PROPOSAL Copenhagen, is known to be a city of life and vi-brance, being saturated with “maratime and cosy” areas, restaurants and cafes. LAGI proposes Refshaloeon, zone of Copenhagen’s industrial past , as the site of this proj-ect. Our design scheme, ultimately connects Refshaloeon to the setting of urban lifestyle and activity. Appealing with a Sculptural Park, the site will serve as an area of recreation, engagement and connection. Sculptures containing algae, the sustainable biofuel, will be scattered along the site, thus it not only has aesthetic value but is also a generative form which promotes sustainability. Algae biofuel is the ideal choice of alternative energy for the site, as it utilises the readily available wastewater on site, ob-tained through the means of the Lynetten Waste Water Fa-cility, which conveniently allows algae to grow through sun exposure hence harvests carbon dioxide into biomass. Mi-croalgae is the type of algae that will drive this project, as it has a less complex structure, grows faster and has a higher oil production content. 60% of the harvested biomass can be turned into oil for biofuel, which can be employed in the surrounding infrastructure, such as the land transport facili-ties, and residential sectors which are the main energy con-sumers of Copenhagen.

The form of the sculptures is determined systematically by the direction and timeframe of optimal sunlight, as algae bio-fuel relies on the abundance of algae in order to fulfil its func-tion. The sculptures are composed of three categories of containers - Optimal, Transfer and Support containers. The Optimal Containers reside in areas of peak sunlight, hence it is where algae grows within the sculptures. The Trans-fer Containers host the rotation of algae, where it harvests then connects back to the generator, so biofuel can be dis-tributed and used in Copenhagen.The integrity of form and function is maintained via the Support Containers as they maintain the positioning of the other Containers so the bio-fuel process can continue.

[125]

MATERIALS Majority of the site will preserve its natural, grass lay-er to reduce the amount of human impact on site. Howev-er, concrete podiums and pavements will be established on site. Refshaloeon itself, is fairly flat, therefore with the sculp-tures standing on podiums of varying heights, the level of sunlight exposure can be manipulated. The podiums also serve as platforms of different dimensions to permit the variety of recreational activities and behaviours occurring on site. The concrete pavement acts on the path which directs users, of locals and tourists, along site; towards the different facilities and infrastructure surrounding the site. Concrete is the suitable material for the landscaping as can be easily formed into shape on site, therefore the potential errors during assemblage is limited. It is durable over time; fire, water and insect resistant hence is economical dur-ing to its long lifespan. Concrete is also a material of high compressive strength, hence it will not fail structurally even with the algae containing sculptures sitting above them. The sculptures’ containers are composed of transparent and solid plastics. Transparent plastic, is both functional and visual. Plastic, perspex at 4mm thickness, will be en-dorsed, as they enable algae exposure to sunlight due to its sheer opacity and encourages users to engage with the sculptures are the different concentrations of algae is visible thus attracts people to actually engage with the sculptures. Furthermore, it is also structurally capable to support the algae within its surface perimeters. White plastic is used for the structural and facilitating nodes, of joints and pipes, in which algae and wastewater within the sculptures travel through. The spherical joints have a diameter of 4 0mm, which also accommodate the pipes of varying lengths. The pipes allow matter to move through with its diam-eter of 16mm, and they’re at lengths of 215mm, 156mm, 123mm and 74mm. The transparent plastic is slotted into the planned gap of the pipes and joints, as the dimensions of the surface material are proportional to the pipe lengths; therefore extra connective components will not be required

ENVIRONMENTAL IMPACT STATEMENTThrough computational software ladybug, the optimal sun exposure time is 577hours. With each collective sculpture being of 15 cubic metres, the oil output would be 777.kg per turnover which occurs on average, approximately every three days. If this does occur, once algae sculpture would be able to power 6 average households in Copen-hagen for an entire year, with its yearly raw energy content of 79,794kWh. Algae biofuel is definitely an area worth researching and developing as it recycles waste, minimises greenhouse gases through its consumption of carbon diox-ide and lack of emissions. The Sculptural Park delivers this message of algae sustainability through its artistic form.

[126]

C5 LEARNING OUTCOMESThe outcome of this project is only achievable through computation. Our project, consisting of 10 sculptures, each having approximately 100 containers, of different form and of their own individual connection systems; would’ve been an absolute nightmare and disaster without computation. With the computational program Grasshopper, we were able to generate a variety of forms and discover the relevance of the the derived forms from Ladybug. Without these programs, individually arranging and deciphering material would be tedious, time-consuming and inefficient. Through this involvement of computational design, the efficiency and benefits of parametric was experienced, and would definitely be pursued in further practise. Though parametric design may not be extensively used now, but it is used for key and/or meticulous design features which also indicate the gradually embrace of computation.

Parametric modelling on programs allowed us to modulate desired factors of the projection in one succession, whilst giving immediate results. Algae biofuel was unanimously agreed on within our group, thus research of the energy system was enjoyable. Furthermore, parametric design also proved the possibility of design being compatible and determined by energy generation. Errors during fabrication were able to be detected, such as 3D printing software Netfabb, before any the actual fabrication occurs, therefore all potential printing errors are eliminated. The seamless-ness of our joints were made possible through parametric modelling, as connections can be verified.If given more time for this subject, scale could be an area of change with this project, as it was raised during the final presentation. The original concept with the existing project scale was to have a feature on the site that doesn’t interrupt in the original dynamic on the site, to have something seamlessly masking over the site whilst still being interesting and attractive. However, an increase in the scale was suggested, due to the enlarged perspective of the site attraction. Another area that could be improved would be more prototyping and experimentation of materials, as the form of the design would not be affected, but the structural feasibility can be reinforced.

This project was a task of critical thinking, as it is a multidisciplinary collaboration between design and science. Through this project, I realised the difficulty of meeting innovation with actuality. Designers indulge in research and ideation of their concepts and often neglect the feasibility of the projects. Though our scheme has been deemed possible, in terms of functional process, realistically it isn’t plausible due to the current limited investment in harvest-ing of algae biofuel. However, hopefully in the future, when sustainable design becomes a greater focal point of our priorities, this project can happen!

[127]

The outcome of this project is only achievable through computation. Our project, consisting of 10 sculptures, each having approximately 100 containers, of different form and of their own individual connection systems; would’ve been an absolute nightmare and disaster without computation. With the computational program Grasshopper, we were able to generate a variety of forms and discover the relevance of the the derived forms from Ladybug. Without these programs, individually arranging and deciphering material would be tedious, time-consuming and inefficient. Through this involvement of computational design, the efficiency and benefits of parametric was experienced, and would definitely be pursued in further practise. Though parametric design may not be extensively used now, but it is used for key and/or meticulous design features which also indicate the gradually embrace of computation.

Parametric modelling on programs allowed us to modulate desired factors of the projection in one succession, whilst giving immediate results. Algae biofuel was unanimously agreed on within our group, thus research of the energy system was enjoyable. Furthermore, parametric design also proved the possibility of design being compatible and determined by energy generation. Errors during fabrication were able to be detected, such as 3D printing software Netfabb, before any the actual fabrication occurs, therefore all potential printing errors are eliminated. The seamless-ness of our joints were made possible through parametric modelling, as connections can be verified.If given more time for this subject, scale could be an area of change with this project, as it was raised during the final presentation. The original concept with the existing project scale was to have a feature on the site that doesn’t interrupt in the original dynamic on the site, to have something seamlessly masking over the site whilst still being interesting and attractive. However, an increase in the scale was suggested, due to the enlarged perspective of the site attraction. Another area that could be improved would be more prototyping and experimentation of materials, as the form of the design would not be affected, but the structural feasibility can be reinforced.

This project was a task of critical thinking, as it is a multidisciplinary collaboration between design and science. Through this project, I realised the difficulty of meeting innovation with actuality. Designers indulge in research and ideation of their concepts and often neglect the feasibility of the projects. Though our scheme has been deemed possible, in terms of functional process, realistically it isn’t plausible due to the current limited investment in harvest-ing of algae biofuel. However, hopefully in the future, when sustainable design becomes a greater focal point of our priorities, this project can happen!

[128]

1. Oilgae.com, ‘Algae Oil Information’, [accessed June 10, 2014], < http://www.oilgae.com/algae/oil/oil.html >2. Food and Agriculture Organization of the United Nations, 1991, ‘Algal pro-duction’, [accessed June 10, 2014], <http://www.fao.org/docrep/003/w3732e/w3732e06.htm>3. Danish Energy Association, 2008, ‘Danish Electricity Supply ´08 Statistical Survey’, [accessed June 10, 2014],<http://www.danishenergyassociation.com/Soegeresultat.aspx?q=2008>

REFERENCES

[129]