ABPL30048 Architectural Design Studio AirYifei Xenia Xie Student No. 523385

2014 Land Art Generator Initiative

DESIGN JOURNAL

CONTENTSA.1. DESIGN FUTURING 042012 LAGI Second Place: Fresh Hills 2012 LAGI Entrance: Solar Baths Renewable Energy Generation A.2. DESIGN COMPUTATION 10Hyphae Table Lamp Nympha Cultural Center, Bucharest A.3. DESIGN COMPOSITION 14The New LACMA Campus Dubai Opera House

A.4. COMCLUSION 18A.5. LEARNING OUTCOME 18

B.1. RESEARCH FIELD 21B.2. CASE STUDY 1.0 22B.3. CASE STUDY 2.0 24B.4. TECHNIQUE DEVELOPMENT 28B.5. TECHNIQUE PROTOTYPES 32B.6. TECHNIQUE PROPOSAL 36B.7. LEARNING OBJECTIVE 40

Part ACONCEPTUALISATION

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2012 LAGI Second Place: Fresh HillsLand Art Generator Initiative (LAGI) is aiming to

incorporate site-specific public artwork with large scale clean energy generator. Before starting this year's design, I searched for previous competition entrances, especially those award winning works.

LAGI 2012 was hold on site within the former Fresh Kills Landfill in New York City. Freshkills Park contains various habitats for wildlife and vegetation. Winning projects all communicated their artwork with the site well and used the site's natural power to benefit the design.

The Second Place was taken by the design named Fresh Hills. I like this one the most because it fits the national park's natural topography and uses mound elements as the main form of the artwork. The artists raised up the landscape level not only to create the artificial turbine farm, but to increase the wind energy potential. It intended to create harmonious and direct relationship between energy and the land.

The wide surface of the artificial landscape directs the airflow towards the turbine. In the central hub of the other side of each mound, there is a low pressure system taking advantage of the airflow. Therefore, visitors enter any of the central hub like standing at the eye of storm. The hub then become guiding point for visitor to gather, play, explore and depart. As more people visit the hub, more energy will be generated.

Material usage is also been concerned. Native bamboo is used to form the main mound structure. It reduced the post production embodied energy of the structure by using local material to reduce the need for transportation and manufacturing.

This project is very site-specific and is able to link the visitors to the project with multifunctional usage. This project did not create a magnificent sculpture to assert the artist's personal fancy, but seek the common denominator and bring their work close to the heart of the design brief.

Artist Team: Matthew Rosenberg

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2012 LAGI Entrance: Solar BathsThe other project I had a close look is the Solar

Baths. This project used solar pond as the basic building block of the landfill. Four large ponds of salt water capture and store heat radiating from both the sun and the land on the southern of the North mound. Each pond is connected with a tall solar chimney which extracts the heat and converts it to electric energy. Various smaller ponds use the heat to create hot springs. The Solar Baths acted as man-made volcano. When sun radiation is received, the salt ponds would bring hot springs bathing culture to Freshkills Park.

It is an interesting idea to create artificial hot springs in the site of Freshhill National Park. However, there were still many problems unsolved and it was not as site-specific as award winning works.

Firstly, natural hot spring occurs when floating

water absorb the geothermal energy from the earth’s crust. Artificial hot spring faced problem of changing water in the bath. Even though the project proposal expressed the electricity production in detail and claimed that the Solar Baths can produce about 15kW of electricity on a continuous basis and can be self-support, it still required large amount of embody energy when constructing the project. Solar panels and other modern materials need to be brought to the site. Large construction was required which tended to damage the nature site. Four of the tall solar chimneys could be seen far away from the site. The designer suggested the chimneys would attract visitors to the site. However, the factory like chimneys looked discordant and did not fit the natural appearance of the site.

Artist Team: Ian Mackay, Steve Muza

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Renewable Energy Generation - Hybrid Hydro-Wind System on a Spanish Island - Unlike LAGI 2012’s natural site, this year, the

competition is hold on the city site of Copenhagen. Therefore, it becomes appropriate to use modern techniques and materials. I was interested in solar energy generations because the panel allows large span and the various combination in forms. Solar power is using solar thermal technology along with natural gas to generate electricity. 90% of the electricity is produced by sunlight. Sun shines into the glass panel which involves 94% reflective. The mirror automatically track the sun throughout the day.

As I further searched about Copenhagen’s climate, I found June as the sunniest month of the year with an average of 8 hours of sunshine a day while there are less than two hours per day in November and only one and a half per day from December to February. The extreme change in sunshine conditions limit the usage of solar energy generator as it will largely depend on the season. As the site is located at the Copenhagen harbor, wind power may be another considerable renewable energy. The site also allows conventional hydroelectricity to complement wind

power. When the wind is blowing strongly, nearby hydroelectric plants can temporarily hold back the water loss of energy and uses no more water.

Precedent is found on a Spanish Island where nearly 65% of the inhabitants’ electricity demand is met by hybrid hydro-wind system. The project is required to inject as much wind energy into the grid as possible to reduce diesel consumption. Wind energy itself is not tend to satisfy the demand as it is impossible for the wind power to be maintain all the time. Hydroelectric pumped storage is therefore used to absorb excess wind energy generated over demand, store and supply it back to the system when wind generation is below demand. It required hydro turbines to offer enough spinning reserve to respond to wind fluctuations and keep minimum hydropower to maintain the necessary spinning reserve as low as possible. The final production maximizes the wind generation capacity to supply electricity demand and minimizes primary energy losses by using Pelton turbine which acts as synchronous compensator.

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Hyphae Table LampAs computer technology developed, design

thinking and processes in architecture has been shifted. Computational design has been involved in architecture for more than five decades. The traditional crafting methods has moved towards computational processes. And now, not only as drawing machines, computer has been used as information processsor in recent years. Information and performance are associated towards programmatic, economic and environmental aspects. Instead of having a idea in mind then solve the problems to satisfy the demand, computational design allows designer to focus on the principles and generated different ideas. Designer are more like to form free shaped forms rather than combinations of geometries.

Hyphae Lamp was found as precedent using computational design in real production. The Hyphae lamp is a series of organic table lamps. It is

defined to be organic as it was inspired by the veins in leaves. Instead of copying the exact appearance of leave veins, the designer created the simulation which mimics the growth principles of leave veins. The lamps are grown in custom design software the Nervous System created. Starting from an initial surface and a few root points, hierachical network was grown. The lamp’s structure emerges through an iterative process as the roots grow into an auxin filled environment . Just as no two leaves are the same, no two Hyphae Lamps are the same. Each one of the lamp is printed by 3D-printer and artifacts constructed of rhizome-like networks. Unlike most of the computational design objects which are hard to be manufactured, the Hyphae lamps has been produced and is ready for purchase.

Artist Team: Nervous System

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Nympha Cultural Center, BucharestComputational design has also been used in

architectural projects. Nympha Cultural Center is a great example for this. Upgrade Studio suggested that each city has grown their own genetic characteristics in the urban tissue just like different people contains different genetic information. The development in architecture seems to neglect the unique identity of each city and starts to fit globalized new buildings to any place around the world. The Upgrade Studio claimed it could harm the cultural expression. Therefore, the Nympha Cultural Center was designed in relate to the urban tissue of Bucharest. The research of the studio used software based on mathematical models and algorithms to analyze the urban tissue in terms of dynamics and functionalities. This research determined that hybrid architecture could use to reanimate the urban tissue. The Nympha Cultural Center is an architectural hybrid mix of architectural functions being needed in the Bucharest urban tissue. It

involves a morphogenetic reaction to the state of complexity of the environment. The final design is inspired by the virculatory system ofthe leafs and the butterfly chrysalis as a reactive skin which protects the interior. The form of the cultural center is generated by computational design according to the parameters measured in wind, sun, temperature, circulations, structure, functional spaces urban attractors and accessibility. The building is aiming to operate as a living organism.

The network of veins merged into the body of the building acts as the structural element in the cladding. It collects rainwater and send it underground. Solar energy and light that penetrates inside the building are captured by the vein system as well. This system storing the water at medium temperature underground. There is no need for cooling and heating system as the vein system already provide the function.

Architect: Upgrade Studio

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Composition is all terms of art can be seen as the organization of visual elements in artwork. The core of composition design is to arrange lines, surface, color, texture, color, space and form as a harmonious whole work to achieve certain purpose.

In architecture, composition design should not only create a aesthetic appearance, but also satisfied the functional demand of users and visitors. As the primary element to communicate the building’s facade appearance and special arrangement, surface become especially important in architecture. Surface and surface decorations become essential aspect as it forms the internal and external walls, ceilings and floors. We rely on surfaces to constituted a building.

However, surfaces are initially composition of lines. People tend to forget line’s original beauty.

Fernando Herrera’s project for the new LACMA Campus challenged surface’s importance and is intend to reveal the aesthetics of line. The production of accumulated lines addresses the campus typology within the urban fabric. Ceilings are formed by gathering of lines which direct spots of sunlight into the building interior. As there are always gaps in between lines, Fernando creates building openness. Different spaces were formed by the density of the lines rather than the familiar wall separation. The line is presented as a vernacular spawn from surface.

The New LACMA Campus - Composition of Line and SurfaceArchitect: Fernando Herrera

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Other than the composition of lines and surfaces which formed the building space, architecture can also be considered as the functional composition of space and mass that arranged in a way to form art itself.

Zaha Hadid’s compositional design for the Dubai Opera House well demonstrated the fluid art form in building mass and space. All facilities are incorporated within the single striking structure. There are two peaks in the overall form which correspond to the opera house and the playhouse relatively. The fly towers are nested

under the peaks. The Dubai Opear House creates smooth slopes down to connect the landscape.

The winding form reflects the mountain and sand dunes of Dubai. The surrounding landscape gathered the mass and forms up to the main building. The building seem to emerge from under shell with the harmonious smooth mass format. While the silver white metal modern appearance distinct the building form the landscape.

Dubai Opera HouseArchitect: Zaha Hadid

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In previous experience, I’ve always looked at the design brief, knowing roughly about what the outcome would be. I’d normally have my design in steps. First, to have the general format of the building. Then solve the existing questions such as the materials, light performances and circulations. The final outcome will be similar to what I had in mind at the beginning.

However, this design subject, with computational composition design, challenged my processes of designing. Throughout the first 3 week study, I had viewed a range of different projects. They introduced me a more free and complex design method. Starting with a general principle rather than a fixed format and then developed using computational design may lead to a very distinctive outcome compare to that we have got at the beginning. Just like the Hyphae table lamp, every lamp start with similar base and a few root point. Figure out the pattern of how veins grow and let it maintain the organic format. Each lamp results in a different solution. Although computer technology is never my favorite, I’m looking forward to find out the outcome. It is excited to be uncertain.

So far, the study of algorithmic design via Rhino and Grasshopper, reading through provided articles and the precedents opened up mine mind. Design in general should be a developing process, not only problem solving, but also testing various possibilities. Computer techniques are always my weak point in doing the course. However, the video did help a lot in understanding the technical processes. Grasshopper, especially, might help generate a better solution in the first year’s Virtual Environment. This new technology to me also provides a new approach towards architectural design. Testing in different forms and layouts increase the potential of the future design.

Conclusion

Learning Outcome

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BibliographyE-Architecture, “Dubai Opear House”, 2014, accessed on 27/03/14, <http://www.e-architect.co.uk/dubai/dubai-opera-house>

EVoB, “New LACMA Campus Explores Designing a Surfaceless Sturcture”, 2012, accessed on 17/03/14, <http://www.evolo.us/architecture/new-lacma-campus-explores-designing-a-surfaceless-structure/>

LAGI, “2012 Second Place Award Winner - Fresh Hill”, 2012, accessed on 19/03/14, <http://landartgenerator.org/LAGI-2012/8Y8B8U8R/>

LAGI, “Solar Baths at Freshkils Park”, 2012, accessed on 20/03/14， <http://landartgenerator.org/LAGI-2012/lt388df2/>

LAGI, “The Land Art Generator Initiative 2012 Design Brief ”, 2012, accessed on 19/03/14, <http://landartgenerator.org/2012/LAGI2012DesignGuidelines.pdf>

Menges Achim, “Material Resourcefulness - Activating Material Information in Computational Design”, Architectural Design, 82, 2 (2012): 34-43

Nervous System, “Hyphae Lamps - An Infinite Series of Lighting Designs”, 2011, accessed on 24/03/14, <http://n-e-r-v-o-u-s.com/blog/?p=1701>The World’s #1 Renewable Energy Network for News, Information & Companies, “Creating a Hybrid Hydro-Wind System on a Spanish Island”, 2012, accessed on 25/03/14, <http://www.renewableenergyworld.com/rea/news/article/2012/10/creating-a-hybrid-hydro-wind-system-on-a-spanish-island>

Part BCRITERIA DESIGN

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B.1. RESEARCH FIELD

Parametrics has been involved in more and more disciplines including architecture. It provides a range of possibilities with given variables. With this technique, we are no longer focusing on the design of form and shape, but “a set of principles encoded as sequence of parametric equations1”.

Our group chose folding technique as our start point as we thought it presents a powerful and playful method in making various outcomes. Although folding expresses the possibilities of curve arrangements, it demonstrates special relationships with the intension of curvy lines. Internal and external spaces are created by the dense and scale of folded strips. Spaces formed by strip folding technique are capable to adapt site nature with factors such as lighting, views and circulation.

STRIPS / FOLDING

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B.2. CASE STUDY 1.0

SEROUSSI PAVILIONBIOTHING | Repository of Computation Design

Biothing focuses on the generative potential of computational systems for design2. It is a growing self modifying patterns of vectors based on electro-magnetic fields (EMF) The logic in developing patterns are written on plan and later lifted up via structural micro arching sections through different frequencies of sine function3. This helps analyze the self organizing and adaptive system which is able to be modified in various scales.

BASIC CURVE ORIGINAL DEFINITION INCREASING POINT DENSE NEGATIVE VALUE FOR THE FIELD LINE

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B.2. CASE STUDY 1.0

As a pavilion, it is necessary to create an enclosed shelter space. While the use of strips makes the boundary between internal and external area blur. Curvilinear strips not only state the form of the pavilion structure, but also act functional, as wall, ceiling and openings. The unclear definition between indoor and outdoor space allows the designer to bring natural elements into the built structure.

However, as a computational design project, Biothing Pavilion seems to concentrate on the digital development and have less consideration towards actual site construction. It is a good starting point for leaning parametric design but further attention need to pay on physical development of the structure.

CHANGE IN GRAPH MAPPER

POSITIVE MULTIPLICATION

SPIN FORCE OTHER DEVELOPMENTS

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B.3. CASE STUDY 2.0

HPPERBODY MSC2Evolutionary Pattern DeepFormations

Through Case Study 1, we’ve got the basic understanding of parametric design by using grasshopper as the main tool. This second case study is aiming for a further development in grasshopper technique.Our group selected Hyperbody MSc2 as our second case study project. It is a student project coordinated by Marco Verde. The studio focused on form finding strategies based on the topics of growth, time, mutation, evolution and branching4.

As a student project, it has limit in construction

STRAIGHT LINES REPRESENT THE SPINE STURCTUREDIVIDE LINES INTO SMALLER SECTIONS

MID POINTS ON LINKAGES LINESREPRESENT POINTS WHERE TWO TRIANGLES MEET

FLAT SURFACE CREATE BY THREE POINTSFORMING WALL STRUCTURE

SHIFT POINTLINKS SPINE STRUCTURE BY LINES

REVERSE ENGINEERING DIAGRAM

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B.3. CASE STUDY 2.0

details and does not refer to real site content. While because of the same reason, we found the project capable for further development. This design has clear spine structures to form a bridge shaped pavilion. Triangular pattern is used as the main connection in between each spines. Two triangles meet between two spines to form wall and ceiling. It creates space not only with the solid structure but also shading and lighting. Additional triangles are also present at the edge of the structure for no functional usage but aesthetic purposes. Pattern varies in terms of size and dense along

spine structure to create aesthetic appearance.

As mentioned before, the project is lack in construction details. No joints are seen in the image but nice artificial connection between each triangular pattern. It is almost impossible in real life situation. However, the relatively free spine structure provides potential in progressing form finding strategies which satisfied their studio requirement.

MID POINTS ON LINKAGES LINESREPRESENT POINTS WHERE TWO TRIANGLES MEET

ADDITIONAL TRIANGLES AS ORNAMENTS

FLAT SURFACE CREATE BY THREE POINTSFORMING WALL STRUCTURE

COMPLETED STRUCTURE

REVERSE ENGINEERING DIAGRAM

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B.3. CASE STUDY 2.0

FURTHER EXPERIMENT - GRAPH MAPPER REVERSE ENGINEERING PROCESSES

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B.3. CASE STUDY 2.0

1. CURVE LINE REPRESENT SPINE STRUCTURE

FURTHER EXPERIMENT - GRAPH MAPPER REVERSE ENGINEERING PROCESSES

4. EDGE OF ORNAMENTAL TRIANGLES

2. WALL STRUCTURE AND BOUNDARYS 5. ROOF STRUCTURE AND ORNAMENT

3. APPLY FOR TRIANGLAR PANELS 1. ADDITIONAL TRIANGLES AS ORNAMENT

FINAL OUTCOME

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B.4. TECHINIQUE DEVELOPMENTMATRIX DIAGRAM

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B.4. TECHNIQUE DEVELOPMENT

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B.4. TECHINIQUE DEVELOPMENTSELECTION OF FOUR ITERATIONS FOR FURTHER DEVELOPMENT

This iteration provides a landscaping sculpture outcome. Curve wall has potential in creating circulation. There is no clear definition between indoor and outdoor area. Spaces are formed by lighting and shading. Natural environment will be easily accessed.

Panels interlocked with each other along curvy line. This iteration may seem simply and a bit plain, but has large potential to be de developed to a great outcome. Shape, size, position, everything is able to alter which gives great possibilities.

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B.4. TECHNIQUE DEVELOPMENT

This is also a landscaping outcome. Everything emerged from the lower ground and a tower structure existed at the central place.

This is a spine structure we grabbed from case study 2. The spine provides structural ability in forming a tower sculpture. It is flexible in form. Panels on the spine is able to rotate and creating wavey pattern.

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B.4. TECHINIQUE PROTOTYPEONE - FORM FINDING

As our grasshopper iterations focus on both spine and pattern structure, two prototypes are set to consider both direction. We also pay attention to the design function and its ability of generating energy.

The first prototype is focusing on how different shapes of pattern can be applied to the spine in order to create certain functional usage. We intend to involve human interaction with the design.

PROTOTYPE - DEGITAL STEPS

PROTOTYPE - PHYSICAL MODEL

PROTENTIAL IN CREATING OPENING WALL SYSTEM WITH VARIOUS PANEL POSITION

ACHIEVEMENTThis experiment in physical model only represents a small section of our design proposal. It approved the possibilities in changing curve structures.

LIMITATIONThe exact size of each panel has not been figured out in order to allow people interaction. Each panle is able to rotate therefore the appearance of the design may be changed due to the wind or human action.

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B.4. TECHNIQUE PROTOTYPE

POSSIBLE TO CHANGE PANEL FORMFORMING PAVILION STRUCTURE

CHANGE IN POSITIONCREATING MORE INTERESTING SHAPE

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B.5. TECHINIQUE DEVELOPMENTTWO - CONSTRUCTION DETAIL

The second prototype considers design construability especially when combine with energy generators. We examined two ways to log the panels together.

Interlocking system provides fixed structure. It is able to form curvilinear form when locking joints are set to the correct angle. Only solar panels can applied to it if want to generate energy. However, Copenhagen only contain 2 hours daylight during winter time, solar energy is not appropriate for the site. Interlocking system will then no more considered for energy generation. It may be used to form the base of our design as it provides fixed and solid structure.

Central wire system has potential to generate kinetic energy as the panels are possible to rotate along the wire. As a flat and open harbor region, wind energy is most used in Copenhagen. When wind blows, panels rotate quickly. However, we want to maintain the design structure of the sculpture, rotation of the panels must be limit to certain angle. Vibrations therefore be applied instead of spinning wind energy.

INTERLOCKING

CENTRAL WIRE

APPLY PANELS TO CENTRAL WIRE

FIXED JOINTS IN BETWEEN EACH PANEL

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B.5. TECHNIQUE DEVELOPMENT

ROTATE PANELS TWO FIXED PIECES NEXT TOTHE JOINTS TO LIMIT ROTATION

PHYSICAL MODEL

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B.6. PROPOSAL

WALL WALL

CIRCULATION

OVERALLOur group is aiming to design a site responsible landscaping sculpture to generate kinetic energy.

STEPSIn order to create a site responsible design, we will first need to consider the site data, such as wind direction, ocean waves and noise volume. We will use degital techniques like grasshopper and kangaroo to generate collected data and form the initial curve of final design. Each line will be extruded and form the wall system.

Assumptions of circulations need to be counted for the second step. As a landscaping sculpture, fully closed structure will not be included in the design. We intent to create path ways which direct visitors to move around and lead the experiences when visiting the sculpture.

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B.6. PROPOSAL

WALL

CIRCULATION CIRCULATION

LOGIC

OUTCOME

WALL

LOGIC

The existing grass land will be maintained as natural elements surrounding the sculpture. Walls will be lifted up at each point where the circulation curve existed. It not only forms openings but also creates more puzzle like space.

Final outcome of our landscaping sculpture will be generated by various curvy wall system which is formed by the spine structure and vibrating panels. It generates kinetic energy not only by wind force but also people siting on or playing with the panel. It is not just a aesthetic structure, but with real functions in order to attract people to site.

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LIMITATION IN GENERATING CURVEAs said in out proposal, the design is fully relied on the site data. All of our curves are made by arbitrary data at this stage. It is very likey to get interesting curvy structure based on real site data, but we also face the danger in getting vapid results.

UNSOLVED SCALEWe intent to make the whole structure approachable by visitors which will need extra consideration of the overall scale of our final ourcome and of each panel size. All panels are in the same size and shapes at this stage for easy fabrecation, however, this may need to change in order to provide a more efficient result for energy generator.

B.6. PROPOSAL

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SELECTION OF ENERGY TYPEWe decided to use piezoelectric cell as our main technique to generate energy. The generator is based on work done in moving something. To generate piezoelectric power will involve massive force moving through a very small distance. It have been used most for transformers in magnetic transformers5. This technique matched our design with extra two pieces of joints to limit each panel’s movement within a small distance. The cell itself is small enough to be coded on panels.

B.6. PROPOSAL

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B.7. LEARNING OBJECTIVES AND OUTCOMES

Learning though criteria design, I further developed parametric technique via studying grasshopper. With this technique, I’m allowed to step out of form creation, and pay more attention to design logic which I have never tried before. At this stage, our group focus linking the required ability in generating energy with all other functional usage that a sculpture could contain. It must include site responsibility, landscaping format, gathering space and resting area.

In the prototype experiments, we used same sized panel to test the constructability of our digital model. This exercise starts to make us consider about material selection in real life construction. There are two main elements in the design, spine, panel. As the whole design is based on curvilinear structure, material for spine section need to be flexible enough to produce the curvy outcome. While at the same time, it needs to be strong in order to hold the structural form and support all load transference. The panel needs to be light in weight in order to vibrate more frequently when wind hits it. Panel system acts as wall which lead the movement and create space while each piece of panel has its own functional usage. Some of the panels need to be solid and hard to form seats,

some need to be light and thin which allows people to touch and play with, some may just be ornaments that make the whole structure consistent in layout and others generate energy. In other words, we will need to be careful with the design of panels in the next stage in order to achieve all functional usage and maintain the aesthetic appearance.

Our proposal represents the core of our design intent, however, the physical prototypes did not reflects all of our inputs. In the next stage, we will be focusing a bit more on the energy generation system and testing out different techniques via physical models. After the presentation, we realized that not every piece of the panel needs to generate energy, so size, scale and shapes of panel can all be varied along the curvy structure. We have not yet decided the final effect of the sculpture. This will be developed after a bit more research on energy generation.

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B.8. APPENDIX - ALGORITHMIC SKETCHES

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B.8. APPENDIX - ALGORITHMIC SKETCHES

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B.8. APPENDIX - ALGORITHMIC SKETCHES

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PART B REFERENCE LIST

B.1. RESEARCH FIELD1. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) pp. 17-19

B.2. CAST STUDY 1.02. "Biothing - a transdisciplinary lobratory founded by Alisa Andrasek", Daily Tonic, Accessed on 1 May, 2014, <http://www.dailytonic.com/biothing-a-transdisciplinary-lobratory-founded-by-alisa-andrasek/>3. "Seroussi Pavilion/Paris//2007", Biothing, Accessed on 1 May, 2014, <http://www.biothing.org/?p=24>

B.3. CAST STUDY 2.04. "Evolutionary Pattern Deep-formations", Matthijs La Roi, Assessed on 29 April, 2014, <http://www.matthijslaroi.nl/>

B.6. PROPOSAL5. "Can piezoelectric concept be used to generate electricity on a large scale", Physics Forums, Accessed on 4 May, 2014, <http://www.physicsforums.com/showthread.php?t=373327>

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