Wall of Energy

parametric modeling
Arch655

The Wall of Energy is a 63-metre long, 4- 6 meter height street façade enclosing the new energy center. The glazed ceramic tiles reflect light and movement from the clouds in the sky, and the hustle and bustle of pedestrians and cars on the streets. The tessellated interlocking lozenge tile pattern evokes the dynamic energy of earth’s movements, as seen in patterns left in the sand by ocean waves. The 31 different tile types produce undulations that increase in height, across a total of 1373 tiles. Contained within a structure inspired by nature, the technological working of the new energy center hall can be viewed through a long ribbon window.

Modeling Process

Step 1: I started by dividing a curve into evenly spaced points using a slider to control the number of divisions. Then, I dispatched these points into two separate lists, creating an alternating pattern. To add variation, I applied a transformation by moving the points vertically using a factor slider. Finally, I used the weave component to combine the points into a rhythmic arrangement, forming the foundation for the tile design.

step 2: Next, I created a rectangular grid, adjusting its size with a slider to define the base structure for placing the tiles. I manipulated the geometry of each tile by scaling and rotating it to fit seamlessly within the grid. To further refine the design, I calculated the area of the tiles, ensuring they were appropriately scaled and aligned.

step 3: To enhance the tiles, I controlled their movement and deformation using amplitude sliders, allowing precise adjustments to their positioning. I then used a slider to determine the total number of tiles, ensuring the grid was adaptable to various scales. Finally, I applied a deformation curve, introducing smooth, wavy distortions across the tiles to create a more dynamic and intricate surface.

Step 4

In this step, I layered the logic for generating the tiles by introducing branching patterns, which added variation and complexity to the overall design. I also applied a vertical displacement vector, giving the tiles different heights to achieve a textured 3D effect. Each tile’s position was fine-tuned to ensure alignment and a cohesive pattern.

step 5:

In this step, I integrated Python to generate a sequence of geometries. Using the sliders labeled "Start," "Step," and "Count," I controlled the starting point, increment value, and the number of steps for generating a series of transformations. The "GeometryGroup" node received the input geometry and applied translations based on the calculated steps, creating an organized yet dynamic grid of repeated forms.

The script first validated and converted the input geometry into Breps. Next, I combined and duplicated the Breps, ensuring each iteration maintained its integrity.

Step 7: geometries from the earlier stages are processed through a Python script. This script takes a base vector, a start value, step increments, and a count to scale and translate the geometry iteratively. The results include both transformed geometries and their respective vectors, visualized within Grasshopper.

I combined the outputs from multiple components and scripts to achieve the final arrangement of geometries. Each geometry was placed based on the translation vectors generated in the Python script, ensuring a seamless and consistent pattern. The resulting array is visualized and prepared for final rendering or application.