STUDIO AIR JOURNAL 2014

studioair.an exploration of parametric design

by jingle chen #584256

semester 1, 2014

Many thanks to Bec, Mitch and Jay, my groupmates- without you I may not have survived this subject. You guys definitely made it fun, or at least, laughable especially during the times when we had a deadline looming, but no work done. Thanks for pulling all-nighters with me in Frank Tate, annoying the hell out of the people around us, eating them mint slices and talking shit in general. Thanks to Has and Phil, my Studio tutors for sticking with it and having faith in us. Frank Tate and those uncomfortable chairs, thanks for the permanent back and bum ache. And finally, to Darko- thanks for keeping me sane.

A003 CONCEPTUALISATION

B029 CRITERIA DESIGN

C097 DETAILED DESIGN

ABOUT

My name is Jingle.

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I’m just a girl studying and living it up in Melbourne. I’m your typical third-year archi-nerd who loves her polished concrete, minimalist interiors and white, rectangular boxes. (mmmmmmm, dat polished concrete TAODAO!)

To me, architecture is like an abusive lover. It keeps me up in the middle of the night- tossing and turning and swearing under my breath. It makes me cry. It makes me whither in pain; back sore and

fingers numb, scarred hands and permanent eye bags. And I swear I’ve spent more time with it than my boyfriend. But at the end of the day, you don’t choose what you fall in love with, and architecture just happens to be my passion.

“I’m bad at computers, “ is an understatement.. I may be slow, but I’m willing to learn. Really looking forward to improving my digital design skills this semester in studioair. Bring it on.

A1005. DESIGN FUTURING

007. Calorie Park009. Artificial Photosynthesis

A2011. DESIGN COMPUTATION

013. Ovo015. Sound Sculptures

A3017. COMPOSITION & GENERATION

019. Parametric Systems021. Jyvaskyla Art and Design Centre

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A4023. CONCLUSION

A5024. LEARNING OUTCOMES

A6APPENDIX

025. Algorithmic Sketches027. Bibliography

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“Architecture needs to be thought of less as a set of special material products and rather more as range of social and professional practices that sometimes, but by no means always, lead to buildings.”

-Williams, Richard (2005)

Design futuring is the idea that the consequences of our actions are unsustainable but we can change this through changing the way we design.In Tony Fry’s reading, he suggests there needs to be a change in design theory and design process to redirect us into becoming a more sustainable society.13 This reading has allowed me reflect upon the idea of “design democracy” and whether or not design should be open to everyone or only to those who are knowledgeable in the field because Fry suggests that our current state is a result of allowing unknowledgeable designers to build.

The role of computers in design is to enable us to achieve this idea of

a “sustainable building.” Computers open up a whole new array of design possibilities because it enables us to design with a new medium. In this fast-paced, digital era, using technology to design is the crucial answer to solving our problem, because most of our problems are a result of these rapid high-tech developments. The precedents I have reviewed this week all have an underlying purpose- from the Calorie Park competition entry to the technology of artificial photosynthesis; both these precedents look at how to push us towards a more sustainable future. Design should be purpose-driven and the purpose should be to create a more sustainable future, which is what the LAGI competition is about.

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DESIGN FUTURING

CALORIE PARK

The Land Art Generator Initiative (LAGI) is a competition to “design and construct pubic art installations that generates clean energy”.1 In 2012, the competition was held to redesign New York’s Freshkills Park, formerly the world’s largest landfill which is now being transformed into a public park.

Calorie Park is a 2012 LAGI competition entry by architect internee, Morteza Karimi. The concept of the Calorie Park is to use manpower (kinetic energy) to generate electricity. Karimi stresses that it is logical and more effective to use local energy sources; “solar panels are used in sunny regions and windmills in windy regions.”2 The main attraction of the design is the circular pods which form in clusters around the park and house fitness equipment (such as ellipticals and treadmills). Between the clusters, a “habitrail” is formed for exercisers. According to studies by researchers from the University of Berkeley, a cluster of 100 pods can generate 80mW/h.3 This is achieved through the use of an inverter which is attached to the fitness equipment, converting mechanical energy into useful electricity. More energy (17kw) can be generated by flexible solar

panels which are attached to the pods. 4

Although the aesthetic design of this competition entry is superb, there are several weaknesses to the design especially its relevance in responding to the brief: >The design is mainly powered by kinetic energy, which in New York, is currently an untapped source of energy but this form of energy is not consistently available. When the park has little or no visitors using the machines, only the solar panels are able to produce energy, but even then, inconsistent weather patterns can reduce energy production. >The design is not site- specific. The architectural form of the pods can easily be reproduced in other sites. There is not much integration with the surrounding landscape. >The energy produced (80kwh), is not sufficient to power “thousands of homes” as the brief states.5 American homes consume approximately 30kWh per day.6

Calorie Park is adequate in terms of innovation because it incorporates new technologies and ways to generate energy but I feel like it lacks the oomph, the extra icing on the cake that can set an entry apart from other proposals.

LAGI 2012 entry by Morteza Karimi

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“It is logical and more effective to use local energy sources; solar panels in sunny regions and windmills in windy regions.”

(1) Calorie Park FInal Rndering (Karimi, 2012)

(2) Calorie Park Hub Detail (Karimi, 2012)

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ARTIFICIAL PHOTOSYNTHESIS

Artificial Photosynthesis is a new technology which takes the plant process of photosynthesis, turning carbon dioxide, water and energy from the sun into oxygen and useful energy as the following equation shows:

6CO2 + 6H

2O ---> C

6H1

2O

6 + 6O

2

Artificial photosynthesis works by mimicking the process of photosynthesis in plants. An important part of the process is splitting apart water molecules.7 Because the molecules have such a strong bond, an energy input is needed and a catalyst is used to accelerate the process. 8 Plants use chlorophyll. In artificial photosynthesis, elements such as manganese, ruthenium, titanium dioxide and cobalt oxide are used. 9

This technology is beneficial because: > It is carbon neutral and has the potential to reduce greenhouse gases. As well as generating useful energy, the process also absorbs carbon dioxide. > It uses a source of clean, renewable energy; the sun > The added benefit of using plants is that they are already aesthetical and no further design is needed to be done to “hide” the “ugliness” of the generator in

some other cases of energy generation.

However, as this is a cutting edge technology, scientists are facing several problems: > During photosynthesis, plants produce chemical energy, but this type of energy is not able to be used by our human machines. Our houses, appliances and automobiles are powered by fossil fuels and electricity. In order to be useful, the output of the process must be hydrogen or methanol. The hydrogen can then be used as a fuel cell or direct liquid fuel. > Efficiency of generation. At night and during inconsistent weather periods there may not be enough solar energy to meet our energy demands. Furthermore, the technology itself is limited to 60% efficiency. 10

Currently technologies such as Photodimerization, Photoelectrolysis and the Photo electrochemical cell (PEC) are being developed.11 In a study done by scientists at the Massachusetts Institute of Technology, electrons are directly harvested from the plants themselves!12 Although this technology is still being developed, there is a huge potential in how plants can change the way we design and change the environment around us. Just think of Patrick Blanc’s vertical gardens! This is just the beginning.

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“Each material has its specific characteristics which we must understand if we want to use it…We must remember that everything depends on how we use a material, not on the material itself..”

- Mies van der Rohe

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DESIGN COMPUTATION

Using computers in design have come a long way: from first using computers to simply represent concepts in a digital medium (computerisation) to using computers in a way that changes the way we think and our design approach (computation). This shift towards more digital methods of design has created more creative opportunities: we are able to create in a more complex way, simultaneously incorporating multiple design parameters; we are able to shift our approach to a less formal, more generative approach, resulting in new forms that are responsive to the environment

However, there are many factors that limit the success of a digitally designed product. Firstly, there is still a disconnection between the design and constructability of a model, especially when materiality is not explored in the design process. As Mies van der Rohe once said, “Each material has its specific characteristics which we must understand if we want to use it…We must remember that everything depends on how we use a material, not on the material itself..” 18 There are no physical constraints when designing a virtual model, meaning designers often forget to include this crucial factor. This is evident in the precedents I have chosen for this week: Ovo. While the form is successful, it appears that materiality was not properly explored and experimented

with because plastic is the typical material used in 3D laser printing, the chosen method of production. While this method of production fulfils the design brief for this project, 3D printing technology has not yet been developed for the larger, “house-scaled” projects.

Furthermore, when architects are not experienced with the computer software they are using, they are limited by their lack of knowledge and skills in the tools. The symbiotic relationship that is ideal for creating a successful design19 is not able to be fostered. This is evident as more and more professionals from other disciplines are delving their feet into the architecture discipline. Sound Sculptures was not created by an architect, but rather, a computer engineer who is familiar with algorithmic thinking, who designed the software to create his artworks.

Finally, digital designs are immediately identifiable through their architectural language, which controls the aesthetic of the final form. The Blobitecture phenomenon is an example of this: how many more organic blobs, deconstructivist sculptures and triangulated surfaces can we take?! This is not necessarily a bad thing, but it obviously limits the aesthetic of the final form. Maybe this new architectural language is what we’re veering towards. Maybe this is the manifestation of the architecture of the post-modern, digital age.

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OVO

Fourfoursixsix architect’s big egg design, Ovo, is one of 209 eggs partaking in the Faberge Big Egg Hunt. It has been digitally designed and produced using 3D printing technology.

In the design of this egg, a parametric approach has been used to create three dimensional terrain which is based on how light and shadow responds to surface conditions. 14

As the architects put it, “The design motive was to use digital design tools and methods of digital fabrication to create an object which would make the public question its construction and materiality.” 15 The result is an intruiging design that shows intricate details on all scales.

‘Big Egg’ design by foufoursixsix architects for the Faberge Big Egg Hunt.

(4) Detail of egg, (Welham & Nicol, 2014)

The play between shadow and light, structure and materiality and transparency can be explored in my own designs for the LAGI competition, especially in regards to the landscape. Because artificial photosynthesis and biofuel production are potential choices for the design, solar light is an especially important part of the design. How light can be incorporated in a useful but aesthetically pleasing manner through the landscape is a significant point to consider. Another aspect of this design which can be incoporated into the LAGI project is the idea of scale. Appropriate use of details at different and multiple scales would be a point to consider.

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“We sought to demonstrate how these emerging tools can empower designers to challenge traditional conceptions of craft and in doing so reinstall form making with the delicacy and fragility that makes objects like these so alluring”

- Daniel Welham & Mark Nicol (Fourfoursixsix)

(4) Detail of egg, (Welham & Nicol, 2014) (5) The mutifaceted surface of the egg, (Soar, 2014)

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SOUND SCULPTURESA look into audio sculpted forms by Tony Broyez

In Tony Broyez’s Sound Sculptures, he uses real-time acoustics to generate digital sculptures using a program called S.A.R.A (Synchronous Audio Reactive Algorithms). 16 This is custom built computer software where the audio signal is captured and processed into virtual sculpted forms through a set of algorithms. 17

This idea of using algorithms as a means of capturing and translating information into something visual

is a significant part of this project. This is the type of process-driven, experimental artwork that I’m looking to utilise for the LAGI project, especially the ability to transform transparent data (sound) into something visual. This could be a precedent for how to translate other unseen information (such as wind and light) into a sculptural landscape form as these natural phenomenons (sound and light) often possess similar characteristics in their behaviour.

(6) Detail of sound sculpture, (Broyez, 2014)

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COMPOSITION AND GENERATION

There has been a dramatic shift in design from the process of composition, where designers use traditional approaches to the process of generation where the focus is on the process. Generative design opens up a new frontier of design space, allowing designers to create forms which solve design problems of great complexity, a task which cannot be achieved just using the human brain. Both of this week’s precedents, the Jyvasyla Art and Design Centre and Parametric Systems, use generative design techniques to achieve their outcomes. The similarity of their design process

to the process of growth and formation in nature means they are more likely to be responsive and assimilate to their surrounding environments. The idea of digital morphogenesis, of taking inspiration from natural processes is what I’d like to carry forward into the LAGI competition design.

This shift from analogue to digital has created many new opportunities in design and innovation. However, in order to successfully execute generative design, the designer must be able to keep up with the rapid pace of technologicaldevelopment and think in

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“We are now moving from an era where architects use software to one where they create software.”

- Brady Peters

algorithmic terms. Whilst this skillset can be acquired, for some designers their strengths lie in using their hands to represent ideas (me…possibly?). Furthermore, the aesthetical outcomes of generative designs are similar because the same design methods and tools are used. This is not a crucial problem but the overuse of the computer,

like the emphasis of the machine in the modern era, could result in a loss of the individuality and evocativeness of hand drawn representations.Both compositional and generative approaches have benefits and disadvantages and hold their place in architecture, but it is a balance of the two types of thinking that we need in this modern day and age.

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Diana Quintero de Saul, 2009

PARAMETRIC SYSTEMS

Parametric Systems designed by Diana Quintero de Saul, looks at how a new level of performative organisation can be bought to tall buildings. Growth algorithms and external forces were investigated and used as drivers in the design process resulting in a systematic approach to building, and organic forms which reflect the parameters set by the algorithms. 20

This generative approach could be incorporated into my own design process. Like Diana, I would like to investigate how a natural process like growth could influence my design. Nature is very efficient in terms of materiality, strength and structure so it would be wise to incorporate these features to maximise sustainability.

(8) Detail showing parameters guiding the design (Quintero de Saul, 2008)

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(9) Detail of the forms, (Quintero de Saul, 2008)

(10) Resulting forms of the generative process (Quintero de Saul, 2008)

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JYVASKYLA MUSIC AND ART CENTREA project by Ocean North Research group, 2004

In Ocean North’s design for the Jyvaskyla Music and Art Centre in Finland, a morphogenetic design approach was used to define geometrical, spatial, material and ambient articulation. 21 Morphogenesis, in biology, refers to the formation of the structure of an organism and processes of growth and differentiation in living tissues. Morphogenetic design mimics this natural process of growth, becoming more efficient in its use of materials, acting as an organism and essentially become a ”living building” which responds to its environment. This approach was applied to create the internal structural systems by parameters

which were influenced by materiality, light, acoustics, other functions and also the design brief. 22 As seen in the picture, the primary, secondary and tertiary structural systems were developed using this method.

This generative approach can be used to “grow” a building from a set of parameters. I would like to use this bottom-up approach for my LAGI design as I believe it would produce the most performative structure, while minimising the damage on surroundings and being the most efficient in terms of materiality and construction.

(11) Detail of the interior structure, (Ocean North, 2004)

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“Working with such processes in design is based on the realisation that the product of a bottom-up iterative growth process can become at each step more informed and its performance capacities increasingly interrelated in a coherent and synergetic manner”

- Ocean North, 2004

(12) The development of the interior structure using different paramters, (AD, 2004)

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CONCLUSION

Generative design is a recurring theme of the past few weeks. The significance of this type of methodology lies in that traditional design processes are no longer able to solve our ever-growing “wicked” design problems. In order to have a more sustainable future, we should change our design methodology to match this day and.

age, the digital age, and generative design seems to do just that

By using a generative approach to the LAGI competition, I hope to produce a design that not only generates energy, but also responds to the site and context as well as fulfilling a multitude of other criteria to make it a sustainable design..

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LEARNING OUTCOMES

Over the past few weeks, I have learned about the history of computers in architectural design, both in theory and practise. In theory, it alters the design process, presents new opportunities for design and innovation and has the potential to solve “wicked” design problems. In practise, I have learned how.

to use the Grasshopper software to create a generative process

These new skills will allow me to experiment with this contemporary medium and process, and influence the way I think about how I design. This is significant because after all, computers are a symbol of the present time and age.

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ALGORITHMICEXPERIMENTATION

The most interesting algorithms produced from Part A are shown below and to the right. The algorithm that was used for the below images use the contour

component while the images to the right are a result of using the Gridshell and 3 point arc components as well as playing around with and shifting list components.

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GridshellShifted list by small amount

3 Point ArcNo shift in list

3 Point ArcSwapped order of arcs

GridshellShifted list by large amount

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BIBLIOGRAPHY

1. Land Art Generator Initiative, Competition, 2014 (Roskildejiv, Denmark: Land Art Generator Initiative, 2014), <http://landartgenerator.org/competition.html> [accessed 8 March 2014] p. 1

2. Morteza Karimi, Calorie Park Project Proposal (Roskildejiv, Denmark: Land Art Generator Initiative, 2014), < http://landartgenerator.org/LAGI-2012/6713ke13/> [ accessed 8 March 2014] (p, 1)

3. Morteza Karimi, p. 4

4. Morteza Karimi, p. 4

5. LAGI Competition, 2014, p. 1

6. How many kWh does the average home use? (Berkely, USA: ask.com, 2014) <http://www.ask.com/question/how-many-kwh-does-an-average-home-use> [accessed 8 March, 2014] p.

7. Julia Layton, How Artificial Photosynthesis Works (North Carolina, USA: How Stuff Works, 2014), < http://science.howstuffworks.com/environmental/green-tech/energy-production/artificial-photosynthesis1.htm> [accessed 10 March, 2014] (p. 1)

8. Julia Layton, p. 1

9. Julian Layton, p. 1

10. Robert Ferry & Elizabeth Monoian, A Field Guide to Renewable Energy Technologies, (Pittsburgh: Society for Cultural Exchange, 2012) pp. 23- 24)

11. Robert Ferry & Elizabeth Monoian, pp. 23-24

12. James A. Foley, System To Make plants Generate Usuable Energy at the University of Georgia, (Nture World News, 2013) < http://www.natureworldnews.com/articles/1839/20130509/system-make-plants-generate-usable-electricity-developed-university-georgia.htm> [accessed 9 March, 2014] p. 1

13. Tony Fry, Design Futuring, (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

14. Hume Coover Studio, Ovo, (London: Suckerpunch, 2014), <http://www.suckerpunchdaily.com/2012/04/06/ovo/> [accessed March, 2014] p.1

15. Hume Coover Studio, p. 1

16. Tony Broyez, SARA Test Drive by Aoki Takamasa, (New York: Vimeo, 2014) <http://vimeo.com/84838545> [ accessed March 2014]

17. Tony Broyez, Tom + Shoshannah, (Flickr, 2014) < http://www.flickr.com/photos/22902725@N05/sets/72157636762786926/ > [accessed March 2014]

18. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

19. Mies van der Rohe, Speech at Illinois Institute of Technology, (Illinois: 1938), < http://architecture.about.com/od/20thcenturytrends/a/Mies-Van-Der-Rohe-Quotes.htm> [accessed March 2014]

20. Diana Quintero de Saul, Parametric Systems, (Wordpress, 2014) <http://www.dianaqsaul.net/2011/09/04/parametric-systems/> [accessed March, 2014]

21. Michael U. Hensel and Birger R. Sevaldson, Jyvaskyla Music and Arts Centre, (Ocean North, 2014) < http://www.ocean-designresearch.net/index.php/design-mainmenu-39/architecture-mainmenu-40/jyvylainmenu-68> [accessed March 2014]

22. Hensel and Sevaldon

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IMAGES

5. Timothy Soar, Foufoursixsix Egg, (London: Timothy Soar Archives, 2014), < http://www.verticalgardenpatrickblanc.com/realisations> [accessed March 2014]





1. Morteza Karimi, Calorie Park Project Proposal (Roskildejiv, Denmark: Land Art Generator Initiative, 2014), < http://landartgenerator.org/LAGI-2012/6713ke13/> [ accessed 8 March 2014]

2. Morteza Karimi, Calorie Park Project Proposal (Roskildejiv, Denmark: Land Art Generator Initiative, 2014), < http://landartgenerator.org/LAGI-2012/6713ke13/> [ accessed 8 March 2014]

3. Patrick Blanc, Vertical Gardens, (Paris, 2014) < http://www.verticalgardenpatrickblanc.com/realisations> [accessed March 2014]

4. Fourfoursixsix, Faberge Big Egg Hunt, (London: Fourfoursixsix, 2014) < http://www.fourfoursixsix.com/projects/Commercial/faberge-big-egg-hunt/> [accessed March 2014]




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B1RESEARCH FIELD

031. Parametrics033. Biothing Seroussi Pavilion

B2CASE STUDY I

037. Biothing Iterations045. Selection Criteria

B3CASE STUDY II

047. Materiality & Planning049. Space Pavilion

053. Calatrava057. Reverse Engineer of Calatrava

061. Shadow Pavilion063. Reverse Engineer of Shadow Pavilion

B4TECHNIQUE: DEVELOPMENT

065. Breaking the Definition Matrices071. Selected Outcomes

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B5TECHNIQUE: PROTOTYPES

073. Digital Prototypes075. Physical Prototypes

B6TECHNIQUE: PROPOSAL

085. Reconsidering the LAGI Brief087. Reconsidering the energy: Dye-Sensitized Photovoltaics

089. Design Proposal

B7LEARNING OBJECTIVES & OUTCOMES

089. Learning Objectives090. Outcomes

B8APPENDIX

091. Algorithmic Sketches095. Bibliography

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“The technological and aesthetic possibilities of spontaneous pattern formation, for example in materials science, architecture and the production of structurally and dynamically complex chemical systems, is only just beginning to be explored.”

-Philip Ball, 2012

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PARAMETRICS

What are parametrics? What is parametric design? How does it differ from traditional approaches? How is it used in architectural design? These are all questions that I will ask myself as we venture forth into the unfamiliar territory of Grasshopper and algorithmic thinking.

According to Weisstein, Parametrics are “equations that express quantities as functions using a number of independent variables known as parameters”.1 In order to communicate clearly with the computer knowledge of the scripting language and algorithmic thinking is important. New skills must also be developed to aid this communication including the ability to conceive data flow (lists in GH) to manipulate the algorithm, understand that all systems within the algorithm are interconnected, abstract thinking, understanding there are multiple ways to produce the same form and thinking mathematically, as parametric design is an application

of mathematics.2 Over the next few weeks my aim is to develop and improve on these skills and gain an understanding of how to incorporate parametrics into my design process.

Characteristics of parametric design include: the ability to change quickly, efficiency, control, soft forms as a result of gradation in elements and interrelated systems.3 In architectural application, these attributes can be used to optimise design to increase efficiency, such as minimising cost, materials and time taken in the design process to maximising daylight and material characteristics.

In the future I believe we will see an increase in architecture that has used parametric modelling. Not only is the efficiency and speed appealing, but as we begin to accept that design is complex and multi-dimensional, we will realise that we cannot afford to not use parametric design to solve these problems.

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Biothing is a research laboratory by Alisa Andrasek based on experimental, computation architecture.4 All structures are based on algorithms that incorporate electric charge fields, adaption to the site, and responses to angle, orientation, views, and the relationships of metal and glass components within each cell.5 This method of structure production is not derivative of organisation, but inspired by an autopoesis method found in the self-maintenance of living cells,6 where the systems are able to reproduce, grow and maintain itself. The Seroussi Biothing pavilion in Paris is an application of this method of structure production.

The material field this pavilion uses

is strips and folding. This type of design method takes the process of folding in nature resulting in organic forms. The structure also shares similar characteristics to systems in nature- such as self-organisation and adaptability resulting in a process and growth more harmonious with its surroundings.

Fabrication of this type of structure would not be difficult. The strips can be lofted into surfaces, unfolded and layed out flat. However, further exploration of different material systems would be essential to determine which material is most appropriate to accommodate the tensional stresses experienced created by bending and each connecting node.

BIOTHINGSEROUSSI PAVILION

Paris 2007

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1

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2

3

1. Detail2. The model showing the centre radii and charges which govern the structure3. Closeup of the model4. Another iteration of the model5. Finished model at Centre Pompidou, Paris

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5

4

MATRIX #1

Y: H

AIR

DEN

SITY

This matrix explores what happens to the resulting form when two variables are altered. The variable on the x- axis, direction, changes which direction the lines extend, up or down. The y variable, hair density, changes how dense the hairs are.

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X: DIRECTION

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MATRIX #2

This matrix is another exploration of what happens to the resulting form when two variables are altered. The y variable, number of radii, changes the number of point charges along each base curve. The y variable, spread, changes the strength of the charge attracting the hairs to the centre.

Y: N

UMB

ER O

F RA

DII

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X: SPREAD

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GRAPH MAPPER

The graph mapper function controls the profile of the hair. The following iterations explore how the form changes using different functions of the graph mapper.

Bezier I Bezier II

Perlin I Perlin II

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Bezier III Bezier IV Bezier V

Inverse Parabola Gaussian IIGaussian I

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BASE CURVE

These iterations explore how the structure changes when the base geometry is altered.

Straight Lines Circles

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Intertwine I Paths (LAGI Site) Intertwine II

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Paths (LAGI Site)Bezier III

Besier IVMedium Length Hair

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SELECTION CRITERIA

The following criteria were used to select the best iterations: >Interesting form >Structural performance- realistically, will it be able to stand? >Construction potential >How suitable it is for the energy production of choice aka biofuels (algae) and or photosynthesis >Potential for adaptability to site

The following iterations were all chosen because they successfully satisfied the selection criteria. In terms of form, they are all very interesting and shared similar qualities such as the curved organic lines and repetition of hairs which are reminiscent of processes in nature. In particular, the Medium Length Hair shows potential for development in form. In the plan view, it features interesting geometrical patterns at the centre, as a result of the convergence of each radii. Some forms are more suited to potential growth of plants on the surfaces- such as the Bezier IV. The

concave surface maximises surface area, meaning there is more area to grow plants and absorb light from the sun. In terms of structure, Bezier III is the most successful- when inverted, it has legs which can anchor the structure down and minimise lateral movement. In terms of site, Paths (LAGI Site) is the most adapted to the site. The lines that the radii are drawn from are traced from the paths on the actual LAGI site. All iterations are successful, but in different aspects of the selection criteria.

Setting specific goals can inhibit creativity. I am exploring the possibilities of Grasshopper and aiming to understand how the form was created through the algorithm. When creating iterations, the aim was to explore the possibilities of Grasshopper, the definition and how the form was achieved through the algorithm.

These iterations show potential to be applied in architecture. It is suitable for a pavilion style structure. or a landscape installation.

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“Ornament is the figure that emerges from the material substrate of embedded forces through the process of construction assembly and growth. It is through ornament that material transmits its effects” 7

– Farshid Moussavi, 2006

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MATERIALITY AND PATTERNING

This week’s topic is on the idea of the relationship between materiality and patterning. The concepts of ornamentation vs. decoration were explored, where ornamentation is the structure as a result of its function and decoration is purely aesthetical.8

In historical human cultures, ornamentation has always been an integral part of life as seen in the ancient cultures of Egypt and Mesopotamia.9

It is a reflection of the culture and traditions of a society and the basis of a symbolic architectural language.

In recent times, however, the modernist movement has attempted to remove ornamentation from its wake, resulting in minimalistic forms. Adolf Loos, in particular, was against ornamentation of any kind, stating that it had lostits function of communicating to a

modern society which rendered it unnecessary.10 It was this lack of décor which characterised the movement, but also became a contributing factor to the downfall. Ornamentation is humanising, it is a mode of communication, a transmitter of comfort and individuality in society.

The contribution of digital technologies is a quicker and easier way of pattern generation. Kai Strehlke, of the Herzog & de Meuron Digital Technology Group says that finding the right tools to design an idea or concept is important.11 Patterns should be a result of generative methods and not simply a façade that is pleasing to the eye. Form should follow performance.12 This entails using material in a way it is meant to perform, where its strengths lie and taking principles from nature which has optimised its forms after centuries of evolution

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The Space Pavilion is the winner of the Architectural Association’s Competition to celebrate the ten year anniversary of the Design Research Lab.13

The competition brief asked for a simple, but elegant form that could be constructed within a short amount of time, material efficiency and continuity between the seating and roof structures.14 I think the final design satisfied the selection criteria. It is simple, (if not too simple), and the seating and roof is connected as one large spiral shape. However, during the process from conceptualisation to construction, several major alterations were made to make the design buildable. 15

The idea of patterning as a result of

materiality is evident in this design. The chosen material is fibre-c glass, a type of glass and fibre reinforced concrete panel designed by Rieder.16 Although the form was not generated by properties of the material, the patterning and façade was. The material is sectioned into strips held together by notches, caskets and glue, so that the transparency of the pavilion changes when viewed from different angles. The tensile strength, the bending and joining of the material at intersections was an important parameter which influenced the length of each constructible section. Initially, the lattice grid was made up of horizontal sections. However, to make the fabrication and construction process easier, these were altered to be perpendicular to the planar surface.17

SPACE PAVILIONBy Alan Dempsey & Alvin Huang at Bedford

Square, London, 2008

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6

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8

7

6. The Paviliom at night7. initial model of the pavilion8. In construction9. Detail of roof10. Detail of lattice grid

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9

10

Santiago Calatrava is a Spanish architect known for his structural engineering, in particular, his design of bridges.His extensive knowledge of structure is also incorporated into his architectural design. Although his projects can be found on continents all over the globe, his work has many defining aesthetics. The primary features are the visible structural skeleton of trusses and vaults which gives the design a translucent quality and the patterns produced by

sectioning and creating strips.

The project chosen to analyse, reverse engineer and develop further is the Mediopadana Train Station in Reggio Emilia, Italy (pictures 11 & 12) because of its constructability18, 19, 20

and interesting, yet minimalistic appearance. Other distinctive designs include: The Athens Sports Complex, the Milwaukee Art Museum and Station Luik-Guillemins located in Liege, Belgium (pictures 13-15).

.

A look into the Spanish Architect’s designs and how he uses the techniques of strips and folding

SANTIAGO CALATRAVA

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Mediopadana Train Station in Reggio Emilia, Italy, (2013) 11. section and 12. persective

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12

11

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13

13. Interior of Milwaukee Art Museum (2001), showing lattice like structure.14. L’Agora at Athens Sports Complex (2003) A pavilion-like structure with ribs and secondary ribs15. Interior of Station Luik-Guillemins, Liege, Belgium (2009) showing sections/strips detail

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14

15

i ii ii

viivi

REVERSE ENGINEER IOur attempt at remaking Santiago Calatrava’s Mediopadana Station using parametric tools

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i. Create point defined by x, y and z values in grasshopperii. Define the number of points and density of points by defining the domain and number of points in the domainiii. Repeat steps to create 4 series of pointsiv. Move lines to create portal frame: 1 x in x-axis, 1 x in z-axis, 1 x in x-axis and z-axisv. Alter line shape by defining points using a sin(x) functionvi. Merge between sets of points to create portal framevii. Offset linesviii. Loft to create surface for portal frames

iii, iv v

viii

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LENGTH OF STRUCTURE

NUMBER OF PORTALS

TYPE OF CURVE:SIN (X)COS(X)TAN(X)

ADDITIONOR

SUBTRACTION

RANGE

DEGREES DOMAIN REMAP

ALGORITHMIC DEFINITION I

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POINTSERIES 1

POINTSERIES 2

POINTSERIES 3

POINTSERIES 4

MERGE POLYLINE

OFFSET PSHIFT

LOFT

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SHADOW PAVILION

Designed by Ply Architecture, constructed in 2009, located at the Matthaei Botanical

Gardens, Ann Arbor, Michigan

The Shadow Pavilion consists of an enclosure constructed of different sized aluminium conesTo anchor the pavilion to the ground, the lowest row is buried in the earth. The design strategy is to use the natural process of phyllotaxis.21 Phyllotaxis is the process of a spiral pattern formation seen in the growth of buds and cacti.22 The result is

a simple, yet effective structure that mimics a natural process to produce a microclimate inside.23 By reproducing the processes already ocurring in nature, the effect on the natural environment can be reduced. Other processes from nature can be analysed and reproduced for a similar effect..

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16

16. Diagram Sketches of the design17. The Shadow Pavilion in Winter18. Detail from the interior

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17

18

i. Create curvesii. Loft curves to create surfaceiii. Divide surface into gridiv. Create cone, reference into Grasshopper using Brep componentv. Distribute cone across surface using domain components and surface box

i ii iii

iv v

ALGORITHMIC DEFINITION II

Our attempts at recreating the Shadow Pavilion using parametric tools

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CURVES LOFT

SLIDER

SURFACEDIVIDE

BASE DOMAIN

DIVIDE DOMAIN

DECONSTRUCTVECTOR

BREP MESH MORPH

SURFACE BOX

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BREAKING THE DEFINITIONMatrix #1

Exploring the possibilities of the Calatrava definition by changing parameters. See nextpage for details

1

2

3

4

A B

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C D E

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Further exploration of the possibilities of the Calatrava definition by changing parameters. See next page for details

A B

5

6

7

8

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C D E

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Species 9 shows iterations formed using the Shadow Pavilion definition and Species 10 shows iterations created using the Hexagonal boundaries definition. Species 11 and 12 show the perspective and top views of a definition created by Jay.

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11

12

A B

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C D E

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SELECTED OUTCOMES

3A 4C

DESIGN: This is a dynamic design featuring randomly shaped frames reminiscent of abstract artworks such as those of Kandinsky. The shapes can create interesting shadows FABRICATION: The design can be easily constructed as portal frames that are anchored to the ground. A range of different materials can be used.ENERGY: There is potential for movement through the path and through the frames themselves. This could be used to channel wind for wind energy. INPUTS: The wind patterns on the site and views could determine the distribution and density of the frames.

The following four iterations were chosen based on the selection criteria discussed below

DESIGN: There is potential for development into an enclosed and covered space. The intersection frames creates a sculpture-like structure.FABRICATION: Problems may arise during construction in the area of the intersection. Furthermore, the length of each span may not be realistic.ENERGY: The intersection could house a wind turbine that wind is channeled to through the space in the poral frames.INPUTS: Wind patterns in area can determine the orientation of entry points and density of frames. Material strengths under tension and compression can determine the span of each frame.

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6A 9E

DESIGN: The twisted lattice shape creates interesting shadow effects. It has the potential to be a pavilion or tunnel walkway FABRICATION: Can be constructed of tubes of a material that bends and twists. Joints connecting up to 4 sections at nodes ENERGY: The tubes could be made of tubes of algae or solar or algae panels could be placed in the cavitiesINPUTS: The solar path could be applied to determine best orientation, material properties, in particular bending strength and factors affecting the growth of algae.

DESIGN: The dynamic design is an undulating form which can create different light and shade effects. It could be a landscape sculpture or a roof. structureFABRICATION: This surface could be triangulated and the triangulated panels could be connected together using joints and sealants.ENERGY:The hexagonal openings could be used to house solar cells or could act as moving wind turbines.INPUTS: The topology of the site, lighting, user vicinity, optimal views, wind patterns

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DIGITAL PROTOTYPES

The three models to the right were chosen to be made into physical models.

We wanted to create an aesthetically pleasing, minimalistic design which fits onto the site as a pavilion structure, interacts with its users and responds to the LAGI brief.

1 / DESIGN: Generated using 4 different sine curves that undulate 2 and a half times, the design is a dynamic form which acts as a pavilion structure. SUCCESS: elegant, repeating elements, dynamic, transitional, interaction with users at ground levelCHALLENGES: It is difficult to alter the algorithm so that the pavilion follows a curve. This may limit how the design is integrated onto the site.

2 / DESIGN: This design is a very simple series of frames flowing along a curved line. It is a static design because there is no undulating trigonometric curve SUCCESS: Creation of a large space inside can attract people to use the spaceLIMITATIONS: Too basic and simple, there is little variation in the iterations.

3/ DESIGN: This apparantly random set of lines was defined using a tangent curve. The random angular frames are reminiscent of Abstract artworks, such as those of Kandinsky.SUCCESS: Aesthetically pleasing.LIMITATIONS: Sharp edges may be a safety hazard. Aesthetics may

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Prototype 1

Prototype 2

Prototype 3

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PHYSICAL PROTOTYPES

Currently being printed at the Fablab, will be ready to construct by Monday 28th April

The three digital prototypes that were chosen were unrolled and sent to the fablab to be printed and laser cut on 3mm perspex to replicate the look and properties of glass, our chosen.

material. These initial properties are going to be used to study the material properties of glass and to assist with the process of design suitable details for construction.

Sheet i

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Sheet ii

Sheet iii

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20

22

23

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24

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30

29

We used the physical prototypes to test materiality, lighting and shadow and form.

The test produced some successful form studies, helping us select the sine curve iteration as the most interesting in terms of light refraction. The perspex mimicked the properties of glass in

l the creation of shadow patterns and. ight refraction as demonstrated in the photographs which we will use to inform the placement of our solar cells.

Our models were limited because they did not test for actual construction methods and joints

PHYSICAL PROTOTYPES

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2014LAGISITE

32

THE LAGI BRIEF

The LAGI Brief was interrogated to see what direction we had to take our design.

The Brief asks for a public sculpture which reflects the surrounding social context, is aesthetically pleasing and also harnesses clean energy from a renewable source.25 The site is located at Refshaleoen, a man-made island in the centre of Copenhagen which was a ship-yard up until 1996.26 Today, a mixture of craft and flea markets, warehouses and cultural and recreational venues surround the

site.27 Other features of the site include the harbour and the iconic Little Mermaid statue to the east, and a water taxi terminal on the site.

The social, historical and cultural background of Copenhagen will be investigated for inspiration. The environmental factors such as wind, wave and sun patterns of Copenhagen will also be investigated and incorporated into the design.

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DYE-SENSITIZED PHOTOVOLTAICS

We are reconsidering our choice of energy generation to suit the location of the design.

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Dye-sensitized photovoltaic cells also known as DSSC are a renewable solar technology that works in a way similar to photosynthesis.29 It consists of a transparent panel containing a light sensitive dye which reacts with sunlight to generate electricity. 30

These solar cells are used because of their efficiency, cost and aesthetic appeal. Their conversion efficiency is approximately 9-11%, which is relatively higher than other thin-film photovoltaics.30 Production is cheap and easy, which consists of a simple process of printing, baking and packaging.31 They also have lower embodied energy than other solar technologies and function better in lower light levels,32 making them very appealing to environmentally friendly designers everywhere. Furthermore, the semi- transparent qualities of the technology and the choice of different coloured dyes ranging from red or black (most efficient) to yellow,

orange, grey and brown give it a lot of potential to be included into architectural projects. The Swiss Tech Convention Centre is a precedent which shows how the technology has been used to create a visual, but also environmental effect. Over 300 square metres of the dye sensitized solar cells have been installed on the western façade of the building, producing an interesting lighting effect inside, similar to that of stained glass window.33

Aspects to take into account when designing using this technology include: orientation of the structure and angle of placement of the cells for maximum energy production, the daylight hours and daylight intensity of the site in Copenhagen, the size of the panels, the type of dye used in the panels and the type of lighting effect we want to produce. These could all be set as parameters to optimise our design for energy production.

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The Swiss Tech Convention Centre pioneering this technology 33. Detail of the solar cells34. The western facade showing the effects produced when light shines through.

33

34

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DESIGN PROPOSAL

Our proposal is to construct a parametrically designed structure that will successfully integrate our energy technology of choice- dye-sensitized photovoltaic cells and harmoniously fit in to the site at Refshaleoen.

In terms of aesthetic, we would like to create a transitional, sculptural structure that meanders through the entire site and attracts people to the site, namely from the Little Mermaid across the harbour. We want it to be simple, but elegant, reflecting the beauty of clean energy production, to show that energy generators are not limited to traditional bulky, noisy, visually unappealing systems. We

would like to make the sculpture interactive with its users to inform them of the energy generation process. This will be achieved by using the energy generator to create visual effects: through the combined use of light, shadow and the translucent qualities of the solar cells, a refracting, kaleidoscope effect will demonstrate how energy generation can be beautiful.

Furthermore, the structure should integrate the physical and environmental features of the site such as solar paths, wind patterns, wave patterns and orientation. Using these to inform our design will result in a more cohesive, unique to site design.

35. Rendering of the structure on the site36. The Kaleidoscope effect

35

36

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LEARNING OBJECTIVES

For Part B, the practical side of algorithmic design was explored through the use of Grasshopper to aid our design. I have developed skills in using the program through the exercises of reverse engineering precedents (see Calatrava and Hexagon definitions) by understanding the functions of components, their data structures and computational geometry. Definitions were manipulated to create multiple iterations (see matrices of iterations) by altering lists, parameter inputs, base geometries and the use of other Rhino plug-ins such as Lunchbox (hexagon definition).

It is a difficult task to switch from the thought process of traditional, formal design to a more generative approach. The advantages of algorithmic design are obvious- it is more efficient, a new, unexplored design territory (relatively) and has the potential to solve complex problems. However, it also has its disadvantages. The tools at hand are a limitation when the user is not familiar with them and there is too much focus on the experimentation stage, resulting in a form that does not respond to the brief or site, but is defined by the algorithm alone. In Part C, the next step will be to incorporate parameters from the site and brief.

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OUTCOMES

Our next steps in Part C will be to develop our selected prototype further to create a form that responds to the brief and is generated from the site and our selected energy generation technology. Aspects to consider will be:

the site itself, view to and from the site, the constraints of the dye-sensitized photovoltaic cells, optimisation of materials and energy production and to feedback the results from our findings to improve our design proposal.

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ALGORITHMICEXPLORATION

The following algorithmic sketches were selected from my sketchbook because they are either relevant to our chosen research field of strips and folding, show the most potential for development or are beautiful to me in some way.

Potential Pavilion structure with a series of lines extruded onto surface

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Beautiful web-like structures using a combination of graph mapper, Voronoi and Cull pattern components

Pipes created using golden ratio

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Point Charges to create swirl patterns

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BIBLIOGRAPHY

1. Stanislav Roudavski, 2014, Lecture 4 Parametrics, The University of Melbourne Studio Air, lecture p. 3

2. Robert F. Woodbury, 2014, ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170

3. Stanislav Roudavski, 2014, lecture pp. 1-54

4. Seroussi Pavilion, Paris, 2007, (Repository of Computational Design, 2010) <http://www.biothing.org/?cat=5> [accessed 1 April 2014]

5. Hassan Mohammed Yakubu, Serroussi Pavilion- Biothing, (arch2o, 2013) <http://www.arch2o.com/seroussi-pavilion-biothing/> [accessed 2 April 2014]

6. Marc Fornes, Biot(h)ing, (Scripted by Purpose, Wordpress, 2014) <http://scriptedbypurpose.wordpress.com/participants/biothing/> [accessed 2 April 2014]

7. Farshid Moussavi and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), p.8

8. Farshid Moussavi I & Michael Kubo, 2006, pp.1-12

9. Stanislav Roudavski, 2014, Lecture 5: Materiality and Patterning, The University of Melbourne Studio Air, lecture

10. Farshid Moussavi & Michael Kubo, 2006, p. 7

11. Brady Peters, (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61

12. Branko Kolarevic & Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24

13. deZeen Magazine, [C]Space Pavilion by Alan Dempsey and Alvin Huang, (deZeen Magazine, 2007) <http://www.dezeen.com/2007/11/04/cspace-pavilion-by-alan-dempsey-and-alvin-huang/> [accessed April 2014]

14. deZeen magazine, 2007

15. Alan Dempsey, [C]Space- DRL10 Pavilion, (Blogspot, 2010) <http://cspacepavilion.blogspot.com.au/> [accessed April 2014]

16. deZeen magazine, 2007

17. Alan Dempsey, 2010

18. Danny Hudson, Santiago Calatrava: Sneak Peak at undular Mediopadana Train Station in Italy, (designboom:architecture, 2013) <http://www.designboom.com/architecture/santiago-calatrava-sneak-peak-at-undular-mediopadana-station-in-italy/> [accessed April 2014]

19. Kristin Hoover, Mediopadana Station l Sanitago Calatrava, (arch20, 2013) <http://www.arch2o.com/mediopadana-station-santiago-

calatrava/> [accessed April, 2014]

20. George Frazzica, The Perfect Wave: New High Speed Train Station in Italy, (Detail: Das Arkitekturportal, 2013) <http://www.detail-online.com/architecture/topics/the-perfect-wave-new-high-speed-train-station-in-italy-021674.html> [accessed April, 2014]

21. Andrew Michler, Shadow Pavilion informed by Biomimicry l Ply Architecture, (eVolvo, 2011), <http://www.evolo.us/architecture/shadow-pavilion-informed-by-biomimicry-ply-architecture/> [accessed April, 2014]

22. Eric W. Weisstein, “Phyllotaxis.” (MathWorld--A Wolfram Web Resource, 2014) <http://mathworld.wolfram.com/Phyllotaxis.html> [accessed April, 2014]

23. Andrew Michler, 2011

24. Marios Tsiliakos, Parametric Honeycomb Boundary/ 3D print, (Digital[substance], Wordpress, 2011) <https://digitalsubstance.wordpress.com/tag/honeycomb/> [accessed April, 2014]

25. Robert Ferry & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 – 10

26. Robert Ferry & Elizabeth Monoian, 2014

27. Robert Ferry & Elizabeth Monoian, 2014

28. How DSC works (Dyesol, 2014) <http://www.dyesol.com/about-dsc/how-dsc-works> [accessed May 2014]

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IMAGES

14. Ava Babili, Agora, (Flickr, 2008), <http://www.flickr.com/photos/50183570@N00/2723521566/> [accessed April 2014]

15. Andre Roosenburg (Flikr, 2014) <https://www.flickr.com/photos/andreroosenburg/sets/72157633694202584/> [accessed April 2014]

16-18 Andrew Michler, Shadow Pavilion informed by Biomimicry l Ply Architecture, (eVolvo, 2011), <http://www.evolo.us/architecture/shadow-pavilion-informed-by-biomimicry-ply-architecture/> [accessed April, 2014]

19. Marios Tsiliakos, Parametric Honeycomb Boundary/ 3D print, (Digital[substance], Wordpress, 2011) <https://digitalsubstance.wordpress.com/tag/honeycomb/> [accessed April, 2014]

20-23 Mitchell Ransome & Jingle Chen, Prototype A, 2014

1-5 Seroussi Pavilion, Paris, 2007, (Repository of Computational Design, 2010) <http://www.biothing.org/?cat=5> [accessed 1 April 2014]

6-10 Alvin Huang, Synthesis, (Archinect firms, 2014) http://archinect.com/synthesisdna/project/c-space-pavilion- [accessed April 2014]

11-12 Gianluca Giordano, Calatrava, Mediopadana Station, Reggio Emilia, (Floornature, 2013) >http://www.floornature.com/architecture-news/news-calatrava-mediopadana-railway-station-reggio-emilia-8791/#.Uf-wn7-qAvc> [accessed April 2014]

13. Milwaukee Arts Centre, <http://livelifeelectric.files.wordpress.com/2012/10/tumblr_m62n4oi9bl1qie8fko1_1280.jpg> [accessed April 2014]

24-28 Mitchell Ransome & Jingle Chen, Prototype B, 2014

29-31 Mitchell Ransome & Jingle Chen, Prototype C, 2014

32. LAGI Competition 2014, Aerial Photos, <http://landartgenerator.org/designcomp/> [accessed May 2014]

33, 34 ArchDaily, Richter Dahl Rocha develops innovative façade for Swiss Tech Convention Centre, (ArchDaily, 2014) <http://www.archdaily.com/491135/richter-dahl-rocha-develop-innovative-facade-for-swisstech-convention-center/> [accessed May 2014]

35. Jingle Chen, Rendering of the site, 2014

36. Jingle Chen, Kaleidoscope, 2014

Note: All algorithmic sketches by Jingle Chen on Rhino using Grasshopper plug-in

31. Dyesol, Advantages of Dye Solar Cell technology, (Dyesol, 2014), <http://www.dyesol.com/about-dsc/advantages-of-dsc> [accessed May 2014]

32. Dyesol, 2014

29. Dyesol, 2014

30. Robert Ferry & Elizabeth Monoian, A Field Guide to Renewable Energy Technologies, (Pittsburgh: Society for Cultural Exchange, 2012) p.13

33. ArchDaily, Richter Dahl Rocha develops innovative façade for Swiss Tech Convention Centre, (ArchDaily, 2014) <http://www.archdaily.com/491135/richter-dahl-rocha-develop-innovative-facade-for-swisstech-convention-center/> [accessed May 2014]

C1DESIGN CONCEPT

099. Site Analysis101. Reconsidering the Design Concept

103. Prcedent: Swiss Tech Convention Centre105. Dye-Sensitized Photovoltaics107. Design Development (Part I)

108. Section drawings109. Initial Renders

113. Solar Panel Design114. Energy Calculations

115. Algorithmic Technique

C2TECTONIC ELEMENTS

117. Prototype #1: Light Model121. Prototype #2: Site Model

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C3DESIGN DEVELOPMENT

125. Design Development (Part II) & Response to Final Crit127. Precedent: Gardens by the Bay, Singapore

131. Optimisation of Form, Layout and Panels137. Solar Analysis139. Final Renders

153. Section, Plan and Elevation Drawings157. Construction Details

159. Exploded Construction Diagram160. Circulation Diagram

161. Construction Drawings165. Site Model

169. Detailed Model

C4LAGI BRIEF REQUIREMENTS

173. Den København Udestuer175. Energy Generation177. Material Selection

179. Environmental Impact

C5REFLECTIONS

181. Conclusion183. Learning Outcomes

185. Bibliography

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SITE ANALYSIS

By analysing the surrounding regions of the site we are able to get a better understanding of how to integrate our design into the existing Copenhagen urban context.

The suburb of Refshaleon is a reclaimed site which was previously a shipyard that closed in 1996.1 This maritime history is still evident in areas of the site. The suburb is now home to many industrial sites, old warehouses, flea markets, small craft venues, recreational facilities, and location of annual music festivals such as the Scandinavia Reggae Music festival and Copenhell (metal music festival).2 Other features specific to Refshaleoen include a paintball warehouse, a sewage water treatment plant, and a water ski hire park. 3

The neighbouring suburb to the south, Christiana, is home to many of Copenhagen’s bars, cafes and restauraunts. We did not want to create something similar because we wanted to provide the Copenhagen public with something unique and different to the existing attractions in Copenhagen.

Copenhagen is a very energy conscious city, with it’s aim to become carbon neutral by 2025 with the Copenhagen Climate Plan.4 Already, to the north of the site, giant wind turbines have been built to harvest the wind blown inlnd from the direction of the ocean. Obviously energy generation and consciousness was an important factor in our generation of our design direction.

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LAGI 2014 SITE

THE LITTLEMERMAID

Wastewater Plant, Existing Wind Turbines, Water Ski Hire

REFSHALEOEN

CHRISTIANABars, Restauraunts, Cafes

DirectionAccessWaterLandExisting Buildings

KEY

Our aim is to transform the Refshaleon industrial site into a site of clean energy generation through a series of greenhouses which use dye-sensitized solar cells to produce energy. From the little mermaid, the forms created should.

RECONSIDERING THE DESIGN CONCEPT

be colourful and eye-catching, to attract tourists and locals alike The greenhouse forms should be informed by the process of energy production, influenced by the performative aspects of the design and aim to educate users about the beauty of clean energy.

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REFSHALEOEN

LAGI 2014 SITE

2

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SWISS TECHCONVENTION CENTRE

Located at the University of Lausanne in Lausanne, Switzerland. By Ritcher Dahl Rocher & Associates,

Completed in 2014.

It is no wonder that the world’s first commercial architectural project featuring dye-sensitized photovoltaic cells is located at the home university of Michael Graetzel, the creator of DSCC’s. This colourful, electricity producing building was the result of a collaboration between EPFL, Ritcher Dahl Rocher (the architects), Solaronix (the solar cell producing company) and Catherine Bolle (the artist that designed the layout of the panels).

This project uses over 300 square metres of colourful solar cells located on the

western facade, which encompasses a length of 35m and a height of 15m.5 The panes are arranged into 65 columns consisting of 1-2.5m modules. There is an active area of 200 square metres which produces approximately 2,000kWh of electricty annually. 6

How the architects have seamlessly integrated the technology into the design intent of the building is an example how we, too, can incorporate the technology into both the functional and aesthetical parts of our concept.

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3

4

3. Interior of Swiss Tech Convention centre showing stained glass effect4. Exterior showing solar modules

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DYE-SENSITIZEDPHOTOVOLTAICS

A look into the constraints of this technology

Dye sensitised Photovoltaics (also known as DSSC) is a fairly new technology, pioneered by Professor Michael Graetzel in the late 80’s which work in a similar way o photosynthesis. 7

Only recently has the technology been produced at a commercial scale and ready for the market. It features an electrolyte, a sensitising organic dye and a catalyst which is sandwiched between two panels of semi-conductive glass which act as an anode and cathode, and sealed at the edges (see diagram to right). Photons hit the panels, exciting electrons in the dye which acts in a similar way to chlorophyll in plants and a current is produced which is collected at one of the glass panels which acts as a cathode.8

The benefits of this technology include:

- TRANSLUCENCY AND AVAILABILITY IN A VARIETY OF COLOURS. This

aesthteic quality makes it appealing for architectural design

- FLEXIBILITY. The cells are able to be produced on glass substrates of any size

- GOOD PRICE: PERFORMANCE RATIO AND LOWER EMBODIED ENERGY. The cells are produced at lower temperatures and using an existing printing technique making them quick and easy to produce- EFFECIENCY AT LOWER LIGHT LEVELS. Although the efficiency of these cells currently sits at approximately 15%, studies have shown that the cells work as long as there is visible light. They do not need direct sunlight like traditional solar cells do. This means they are active and producing energy over a longer period of the time and able to work in adverse weather conditions.9

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CATHODE (+) GLASS WITH SEMI- CONDUCTIVE LAYER

ANNODE (-) GLASS WITH SEMI- CONDUCTIVE LAYER

CATALYST (PLATINUM OR GRAPHITE)

TITANIUM OXIDE LAYER

SENSITIZING DYE

ELECTROLYTE (REDOX COUPLE)

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DESIGNDEVELOPMENT (PART I)

We wanted our design to be informed by the Copenhagen landscape in order to fit in with the existing urban context. The layout was informed by the exisitng organic landforms of the area, in particular, Utterslev Mose, a series of large lakes to the noth east of the city centre. Furthermore, the greenhouses are arranged to maximise circulation throughout the site and so that the paths merge at an area in the centre where users can gather and have equal access to all greenhouses. The agenda for the greenhouses is for each to house plants

from different climates around the world; a forest, tropical jungle, arid- desert and vege patch garden. The aim is to make the greenhouses an attraction, particuarly in the cold Winter months where tourists and locals alike can not only seek shelter, but also be enlightened and educated.The pattern of the panels is informed by the sun and how it hits the structures. Darker, more effecient panels are located at the peaks on the southern and western sides, where there is more sunlight and gradates away to the bottom where less sunlight reaches the structure.

5. The shape of the lakes, Utterslev Mose, informed the shape of our initial concepts.

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Rendered sections showing the vegetable patch, the pine forest, the flower meadow and the tropical jungle (not to scale).

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Above: Initial Rendering of the inside of the vegetable patch.Below left: Elevation from west and below right: Elevation from south.

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Above: Initial Rendering of the inside of the vegetable patch.Below left: Elevation from west and below right: Elevation from south.

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Test renders showing our initial concepts:1) The interior of the pine forest greenhouse2) The cenre meeting point of the four greenhouses3) The exterior of the flower meadow greenhouse4) View of the greenhouses from Refshaleon side

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9571

462 1580 216

899 956 619

1355 1450 1296

18,404PANELS

IN TOTAL

SOLAR PANEL DESIGN

8,833COLOURED

PANELS

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ENERGY PRODUCTION

6. AVERAGE MONTHLY DAYLIGHT HOURS IN COPENHAGEN

2000kWhThe annual energy production of the Swiss Tech

Convention Centre, with 200sqm of active panels. Thus, 1sqm of panels produces 10kWh of energy 10

44,260kWhThe annual energy production of our

greenhouse proposal

33The number of households our design can power

in a year based on statistics in Copenhagen where each individual used 1,340kWh of energy

anually in 2010 11

22,460kgThe amount of carbon emissions our design can offset based on Copenhagen statistics from 2010, where each citizen produced

680kg of CO2 emissions per year.12

300HOURS

150HOURS

0HOURS

JAN

UARY

FEB

RUA

RY

MA

RCH

APR

IL

MAY

JUN

E

JULY

AUG

UST

SEPT

EMB

ER

OC

TOB

ER

NO

VEM

BER

DEC

EMEM

BER

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ALGORITHMIC TECHNIQUE

Create Points Connect Points to

form Line

Repeat to create three lines

PSEUDO SCRIPT FOR DEVELOPING OUR FORMS IN GRASSHOPPER

LADYBUG DEFINITION FOR SOLAR RADIATION ANALYSIS

Download and open epw weather file

Day

Hour

Month

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Divide lines tocreate X segments

Create arc between lines

Sweep Rectangle around curve

Loft Quad Panels (Lunchbox)

Cumulative Sky Matrix

Analysis Period

Radiation Analysis

Input Geometry

Selected Sky Matrix

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PHYSICAL PROTOTYPE #1

We constructed this prototype to test the lighting effects that the dye-sensitized cells would produce both in the interior space and exterior space. We used cellophane covered glass panels, which were slotted into columns made of balsa wood (see pictures to the right. The results showed that the

light produced both in the inside and outside of the structure are colourful, and give a playful, whimsical feeling, which is consistent with our concept. The slotting technique seemed successful because it produced a clean edge. This is a construction technique that we can adapt for our final model..

Test for light and structure

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PHYSICAL PROTOTYPE #2

Site model to test forms

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We created this site model mainly to test the form of our design and its context in the urban landscape. The underlating curves create an interesting elevation from all access points of the site. The arcs represent the primary structure of the design and

create interesting shadows on the ground, which has potential to be a design feature.

We constructed it by unrolling on Rhino and laser cutting the ribs on boxboard. This was an appropriate material for this type of construction.

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DESIGNDEVELOPMENT (PART II)

From our Part B crit, we realised for the next section of this project, we needed to:

• Use more data from the actual site itself to drive the form of our design. This will be achieved by reconsidering the brief and generated in Grasshopper using a variety of different inputs. We derived our greenhouse shapes from the heights of plants inside, for example, the highest greenhouse is to house pine trees, while the low, flat one is to house vegetables.

• Use our chosen energy source to influence our design. The primary function of our concept is to generate clean energy. The secondary function is to create a n internal conservatory, making use of the duality of the glass material to be both an energy producing source and a n appropriate surface material for a greenhouse.

• Decide on the type of form created e.g. sculptural, transitional, monumental etc. We

In this section we reviwed the feedback from our crit for Part C and decided on our design direction

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decided to create an attraction that is both sculptural in form and functional and transitional, creating paths that lead users to certain areas.

• Optimise the performance of chosen energy source (dye-sensitized solar cells) by researching the cell and its constraints. This is done through the use of modelling programs such Ecotect and the Ladybug plugin.

• Make physical and digital prototypes which test performance and architectural qualities, feedback the data into our designs to enhance their forms

• Produce renderings that acuarately depict the how the users will use and experience the site. This will be achieved through the use of rendering programmes such as V-ray and photoshop and taking into account aspects such as scale and lighting..

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GARDENS BY THE BAY

This series of environmentally friendly greenhouses in Singapore’s Marina Bay area desgined by Grant Associates and Wilkinson Eyre

Architects is a precedent for our project

Gardens by the Bay in Singapore was constructed in 2012 and features two of the world’s largest greenhouses which we will be using as a precedent for our design.13

The cooled conservatories include the Flower Dome which stands at 58m high with over 12,000 square meters of glass and 2,577 panels and the Cloud Dome which stands at 38m high with over 16,000 square meters of glass and 3,377 panels. 14 Inside, are plants from a variety of different environments around the world which cannot exist outside in the tropical Singaporean climate (see diagram on next page).

The sheer monstrosity of these greenhouses is an aspect we would like

to explore in our own design. What is and is not possible to be construted, keeping in mind the restraints of our chosen materials, steel and glass, is something we would like to explore. The Gardens by the Bay conservatories is an example of what IS possible. The construction technique of using primary ribs, steel hangers and a secondary structure15 is a precedent to how we might realise our concepts.

Furthermore, the interior of the space is something we would like to emulate- that feeling of being enshrouded in greenery, of entering a completely different environment where is it not difficult to imagine being worlds away from where you actually are.

This is escapism, to say the least.

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8. The interior gridshell of the Gardens, 10. Section showing the Flower Dome

8

10

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9

11

9. The primary arches and steel gridshell structure on the exterior, 11. Section of the Cloud Forest

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OPTIMISATION OF FORM

Tests were performed on various forms using the environmental Grasshopper plug-in, Ladybug, to test which forms received the most sunlight annually, and therefore

have more potential to generate the most energy.

Plan

Pers

pect

ive

Double Arc The C Arc Portal Frames>11401042945847749652554456369261<163

KEY: Radiation Analysis, kWh/m2

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Sinuous Portal Frames Single Arc SlugRectangular Portal Frames

In conclusion, the forms that were a more curved, organic shape had more surface area had the potential to produce more energy (as seen in the single and double arc forms), whereas the geometrical, angular forms had a more

uniform radiation absorption but produced shadows on the north sides. Furthermore, the forms with more surface area facing the south, and entrance/exit points facing the east or west, are more effective.

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Plan View

OPTIMISATIONOF LAYOUT

Different layouts were tested using Ladybug to see which orientations would maximise the amount of radiation received and therefore, the amount

of energy able to be produced.

Various layouts were tested to see which would optimise the solar intake. It was logical that the more surface area facing the south and western sides, the more sunlight would be received. Furthermore, a gradient which increased in

>11401042945847749652554456369261<163

height towards the north-eastern. side showed how structures in these areas should be higher to maxmise sunlight intake. The diagrams to the right show our final form, which was selected using the help of the ladybug plug-in for Grasshopper

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North eastern side

South western side

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OPTIMISATION OF PANELS

The sizes and shapes of different panels were tested to create the most effecient result using the Lunchbox for Grasshopper plug-in. We wanted to optimise the

panels by creating the largest surface area using the minimal amount of frames and materials, whilst maintaining the curved shape of our form.

Hexagonal Diamond Rectangle

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Triangle I Triangle IIRandom Rectangle

According to these tests, triangular or rectangular panels are the most appropriate for our form. They are able to be tessellated easily to maintain the form we want, compared to the diamond shaped panels which

discontinues at the bottom edges. Furthermore, the triangular and rectangular configurations are in vertical strips which can provide room for the primary supports of our form.

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SOLAR ANALYSIS

Using the Ecotect tool, we anaysed the solar radiation of our forms and their shadows for different months of the year. As predicted, more shadows were produced during the Winter

months of the year.

January April

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August December

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DEN KØBENHAVNUDESTUER

LAGI 2014

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SECTION1: GREENHOUSE A

SECTION 4: GREENHOUSE D

SECTION 2: GREENHOUSE B

SECTION3: GREENHOUSE C

SECTIONS

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PLAN

B

A

C

D

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GREENHOUSE D SOUTH

GREENHOUSE A SOUTH

GREENHOUSE B SOUTH

GREENHOUSE C SOUTH

ELEVATIONS

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GREENHOUSE D WEST

GREENHOUSE A WEST

GREENHOUSE B WEST

GREENHOUSE C WEST

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CONSTRUCTION DETAILS

Below shows the diagram of the tectonics of our design, and how we propose it will be constructed

1. PILE FOOTINGSRibs will be the primary transferer of loads to pad footings which will sit above bored piles. Piles are the chosen type of footing because of the instability of the reclaimed site

and it’s proximity to water.

2. UPSTAND AND DAMP-PROOF COURSE

Where the structure meets the ground, there will be a rebate

at the edge of the concrete slab below, the gridshell structure

will be fixed and sealed with a waterproof sealant to prevent

water ingress.

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DOUTH ELEVATION

4. SECONDARY STRUCTURE& SOLAR PANELS

Panels at 3.6m x 3.6m will slot into recycled aluminium C-channel frames which attach to the steel

gridshell. Wires carrying electricity will run from the edges of the

panels through hollow steel tubes to hangers.

3. PRIMARY RIBS& HANGERS

Primary ribs made of steel square hollow sections are attached to steel hangers which hold up the secondary structure- the steel gridshell. A C- channel will be

attached to the top of the rib for maintenence purposes. Wires will run from the hangers through the

hollow section of the rib.

SOUTH ELEVATION/158/

EXPLODED CONSTRUCTION

STEEL ARCS

DYE SENSITIZED SOLAR PANELS

VEGETATION

SITE

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CIRCULATION

GREENHOUSES

VEGETATION

CIRCULATION PATHS

ACCESS TO SITE

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STEEL GRIDSHELL & SOLAR PANEL CONNECTION

CONSTRUCTION DETAILS

100MM

ANNODE

SOLAR CELL

C-CHANNEL FRAMING

RHS FOR WIRINGWIRING

CATHODE

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GALVANISED STEEL SQUARE HOLLOW SECTION ARCH

SETDOWN, COLUMN BASE PLATE, BOLTED INTO FOOTING,

COVERED WITH GROUT

REINFORCED CONCRETE PAD FOOTING

STEEL MESH REINFORCEMENT IN BOTTOM THIRD

DRIVEN PILES TO BEARING DEPTH (CONCRETE AND

STEEL CAGE)

PAD FOOTING & PRIMARY STRUCTURE CONNECTION

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3700MM

5400

MM

STEEL ARCH AND GRIDSHELL CONNECTION

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3700MM

GALVANISED STEEL SQUARE HOLLOW SECTION ARCH

C- CHANNEL FOR MAINTENANCE

RECTAGULAR HOLLOW SECTION & WIRING

STEEL HANGER

GALVANISED STEEL GRIDSHELL

HOLLOW ALUMINIUM SECTION FOR WIRING

STEEL ARCH AND GRIDSHELL CONNECTION- DETAIL

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SITE MODEL

SCALE 1:500

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This model was constructed to observe the form and materiality of our design and in particular, how light reacts to the surface. The greenhouse material was constructed of a thin, clear plastic which acts the same way as light and thick, cardboard ribs

hold the plastic shell upright.

PROTOTYPE MODEL

SCALE 1:200

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DEN KØBENHAVN UDESTUER

We propose to construct den København Udestuer (The Copenhagen Conservatories) at the Refshaleøn reclaimed site in Copenhagen centre, which features a series of environmentally friendly greenhouses.

Each of the four will house different plant different species from around the world, catering for all tastes in plants and nature, including a forest greenhouse, a flower meadow, a tropical jungle and a vegetable garden. The greenhouses are orientated not only for maximum solar gain but also so that there is easy access

from the entry points and the circulation paths formed will converge at a centre meeting point, where users can gather and hang out. Greenhouses will provide a pleasant interior space, particularly in the Winter months to tourists and locals alike. The aim of the greenhouses is to educate visitors about clean energy production, by allowing them to be in close contact with the panels, and enabling them to see how energy production can be translated into something beautiful. Also, the design aims to reconnect urban residents with nature by enshrouding them with greenery and providing recreational spaces to relax or go for a walk.

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The technology we will be using to produce energy is the dye sensitized solar cells (which were discussed earlier). These will generate clean electricity that will be fed back into the Copenhagen grid system to power the city. The greenhouses are panelled so that the colour of the panel is directly related to how much sunlight each part of the surface will receive- the darker, more effective panels located at the peaks where there is more solar radiation, and lighter coloured panels depending on the location on the surface. The colour choice and translucency of the panels will create a colourful, kaleidoscope effect in

the interior, creating different shadows when the light is refracted, as shown in our renders. The colourful outside appearance will stand out from the existing Copenhagen skyline and attract users to the site from the Little Mermaid across the harbour and the Refshaleøn entrance. Overall, our project will feature 27,416 square metres of solar panel, with 2304 panels in total and each greenhouse consisting of 576 panel.

Our design will generate approximately 306, 892kWh of energy per year based on the calculations shown in the demographic to the right.16

ENERGYGENERATION

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Galvanised Steel Square Hollow Section arches

Concrete Pad Footing with Steel Reinforcement

Dye Sensitized Solar Cell- Double Glass Panel with Sensitizing Dye

Glass Module with 100 Panels

MATERIAL SCHEDULE

500MM

50MM

3200MM

5400

MM

500M

M

3000MM 3000MM

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Wiring with waterproof layer. Length as needed

Vegetation to suit appropriate greenhouses

Galvanised Steel Gridshell with Triangular Sections

Deep Concrete Pile Foundations with Steel Cage Reinforcement

100MM

100M

M

TO S

PEC

IFIED

B

EARI

NG

DEP

TH

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Our greenhouses are constructed to generate energy and offset carbon emissions harnessing the solar radiation captured with the dye sensitized solar panels and by increasing green coverage and vegetation in the area. The amount of electricity we are able to produce cleanly is enough to power 60 homes per year and offset 163,200kg od carbon dioxide (see diagram on previous page).

DSSC are low in embodied energy compared to their traditional photovoltaic counterparts because they are manufactured at lower temperatures. DSSC are produced at 500 degrees C compared to traditional which is produced at 1000 degrees C. 17 Overall the thin film DSSC has almost a quarter of the embodied energy of traditional monocrystalline PVC panels.18

Where possible, in the gridshell frames, recycled aluminium has been used to

further minimise embodied energy. Aluminium when produced from scratch has a high embodied energy but when recycled the embodied energy is significantly lower. Also, the lighter material means that less energy is used for transportation and installation. See the diagram to the right for a comparison of the embodied energies of different materials. Highlighted are the materials selected for our project.

Other materials used are steel and concrete which are both relatively high in embodied energy. However, for the system to be structurally sound, these materials are essential. However, we hope the carbon footprint we offset by covering 18,928 square metres in vegetation will help to reduce our overall footprint and create an attraction which complies by Copenhagen’s clean energy agenda, whilst encouraging visitors to be more environmentally friendly in their personal lives.

ENVIRONMENTALIMPACT

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SteelStainless Steel

AlumniumCopper

TimberPlastic

ConcreteMasonry

GlassFabricPlasterStone

Ceramics

11. EMBODIED ENERGY (GJ)

0 50 100 150 200 250

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Over the past few weeks, I have learned how to integrate the techniques I have learned in the first half of this course into what would seem like a traditional design studio. Using parametric tools has both been rewarding (that feeling of finally getting something to work) and disheartening (when nothing works), but this course has taught me that parametric tools are a valuable skillset which will definitely come in handy in future design studios.

The design project added an extra layer of complexity to the already complex process of designing using computational methods. This is because during

the initial parts of the design process we did not consider the brief at all, but rather, just focused on experimentation using parametric tools, making it difficult to integrate our experimentations with the brief itself. It is evident that a mix of traditional and generative methods is essential when creating a successful design because parametric designs are often arbitrary and obscure. We interrogated both the brief and our initial concepts to arrive at a point where the design has a dual function of both creating energy (meeting the brief) and using parametric tools to generate the design.

CONCLUSION

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I have learnt how to create, manipulate and design using parametric tools ONLY when there is an agenda in mind. My parametric modelling skills are limited and I am not yet at the stage where I have the skills and materials to be able to experiment. I am a novice who is equipped with a paintbrush and paint, but doesn’t have the painting techniques necessary to creating a masterpiece. At the conclusion of this project I noticed many other groups ended up with similar forms, with similar algorithmic definitions despite differing energy proposals so it is evident that a), we are all just amateurs of parametric design, and b), we are creatively limitedby the tools we are using

Parametric Modelling is useful when there is an agenda in mind, for example, for real-life simulations of performance, fabrication of a model, for making quick changes to the design. We used a variety of Grasshopper plug-ins to test different functions- Ladybug to test solar radiation capture and Lunchbox to effectively and quickly create panels.

Overall, this subject has been an invaluable learning experience. Parametric tools are important because they will be used more and more often to generate forms and increase efficiency in design in this modern world.

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1. DESIGN FUTURING Our innovative design idea is to incorporate the new technology of dye sensitized photovoltaics into a greenhouse design, so that the glass panels can be used effectively and in an aesthetical manner.

2. DESIGN COMPUTATIONOur entire project is generated through computational design. Our design is influenced by earlier experiments we conducted using Grasshopper which demonstrated the potential and methods of computational design which we incorporated into the final project. All elements were constructed using Grasshopper, giving us full control over the parameters and enabling us to tweak the design to a high precision.

3. COMPOSITION/GENERATIONThrough our computer experiments, I found that Grasshopper is a very effective tool if you know how to use it but if you don’t know then it’s not much use to you.

4. PARAMETRICSIn our model, our arches were created by using Grasshopper definitions. Realistically though, our forms could have been created with a basic knowledge of Rhino. The time taken to learn a new program is not worth the efficiency it has the potential to provide especially in a situation where grades are on the line.

5. MATERIALITY & PATTERNINGTo integrate energy, materials and geometry into a performing pattern, we input all these aspects as different parameters. The information was translated into a numerical value to enable the clear communication between human and computer. For example, heights were influenced by sunlight angle and resulting shadows from forms while the panelling pattern was influenced by efficiency of materials. The final form generated is a result of the parameters of these different aspects.

LEARNING OUTCOMES

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6. FABRICATIONComputation is a tool to accelerate the speed of fabrication of a model. Compared to using analog methods, the computational method is definitely more efficient. For example, unrolling, creating joints such as tabs, notches, puzzle pieces, holes etc. are much quicker and more accurate than doing it by hand. Furthermore, there are programs which can simulate the effectiveness of a joint system to identify whether the design is structurally sound before construction.

7.ANALYSIS & SYNTHESISWe used many Plug-ins to analyse performance and guide our design decisions. Ladybug and Ecotect are the environmental analysis plug-ins we used to determine the amount of solar radiation different forms received, since solar radiation is integral to our chosen technology. These analysis tools were quick, easy to read, easy to use and Optimisation pages)

provided a platform to feedback the information to make our designs more energy efficient. (See Optimisation pages)

8. DATA MANAGEMENTAdvantages of our digital data workflow include being able to quickly resolve problems creating a greater efficiency in the design process, a new medium to work with meaning the potential to create new forms and methods.

9. DATA VISUALISATIONLadybug is an example of how computation can be used to extract numerical and visual evidence that is not obtained with paper-based workflows. Advantages are that it is immediate whereas analyses done analogically is extremely slow. The results created can further guide alterations to your design.

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BIBLIOGRAPHY

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17. Chu, Yinghao, Review and Comparison of Different Solar Technologies, (Global Energy Network Institute, 2011) <http://www.geni.org/globalenergy/research/review-and-comparison-of-solar-technologies/Review-and-Comparison-of-Different-Solar-Technologies.pdf> [accessed June 2014]

18. Chu, Yinghao, Review and Comparison of Different Solar Technologies, (Global Energy Network Institute, 2011) <http://www.geni.org/globalenergy/research/review-and-comparison-of-solar-technologies/Review-and-Comparison-of-Different-Solar-Technologies.pdf> [accessed June 2014]


IMAGES

1. Aerial Photos, (LAGI, 2014) LAGI http://landartgenerator.org/designcomp/ [accessed May2014]

2. Aerial Photos, (LAGI, 2014) LAGI http://landartgenerator.org/designcomp/ [accessed May2014]

3. Richter Dahl Rocha Develops Innovative Façade for SwissTech Convention Center, (Archdaily, 2014), http://www.archdaily.com/491135/richter-dahl-rocha-develop-innovative-facade-for-swisstech-convention-center/ [accessed June 2014]

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Note: All algorithmic sketches, renders and photographs taken by Jingle Chen, Mitch Ransome, Bec Mahoney and Jay Cheong

5. Utterslev Mose, (Google Maps, 2014), https://www.google.com.au/maps/place/Utterslev+Mose/@55.7169171,12.5062419,15z/data=!4m2!3m1!1s0x46525221fc9bc997:0x27c9d1bc77599760 [accessed May 2014]

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11. Gardens by the Bay, Singapore, (Wilkinson Eyre, 2014) http://www.wilkinsoneyre.com/projects/singapore-gardens-by-the-bay.aspx?category=sport-and-leisure [accessed June 2014]

12. Embodied energy in building materials, (Australian Greenhouse Calculator, 2014) http://www.epa.vic.gov.au/agc/r_emissions.html#/ [accessed June 2014]

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