Final Journal AIR - Adela Saputra 617260

STUDIO

AIR

ADELA RISHA SAPUTRA [617260]

ABPL30048: STUDIO AIR 2015/SEMESTER ONE TUTORIAL 8 - BRADLEY ELIAS

virtual environments semester 1, 2013 hand lantern red cabbage x klein bottle

adela risha saputra DOB Place of Origin Current Position Major

March 11, 1994 Jakarta, Indonesia Undergraduate Bachelor of Environments (3rd Year) Architecture Ever since I was little, I was obsessed with art, particularly drawings with curvy lines and vibrant colors, and my parents were very supportive of my interest. By the time I was in elementary, I grew an interest in science subjects and I asked my teacher what job can combine the best of both worlds: art and science? She answered an architect.

That was probably the start of my determination to become an architect. Being educated in an Asian country, I was excited to begin my next journey in a Western culture, because everything was new to me. Unfortunately (or fortunately, it can go both ways), my first semester in University of Melbourne was experiencing Virtual Environments subject under the teachings of Samson Tiew (my tutor) and Paul Loh (subject coordinator). It was my first exposure of parametric design and software engineered rendering tool. I had only mastered Adobe Creative Suite as my tools of trade, and learning Rhino from practically zero to building something such in the left image in just 12 weeks was to me, one of the most amazing thing I never thought I could achieve.

At the end of my Virtual semester, I was honored to have my project exhibited along with 6 other amazing projects at the Wanderlich Gallery on the previous Architecture Building.

At the beginning of my summer 2014, I began my internship at a residential developer team in Tangerang, Indonesia.

My role was to draft plans and contributed in designing concepts for their commercial projects, including arranging spatial elements and proposed branding concepts.

TABLE OF

CONTENTS

4

CONCEPTUALISATION

5 6

A. CONCEPTUALISATION A.0 Design Futuring

10

A.1 Design Computation

14

A.2 Composition/Generation

18

A.3. Conclusion

18

A.4. Learning outcomes

20

B. CRITERIA DESIGN

22

B.1 Research Field

24

B.2 Case Study 1.0

26

B.3. Case Study 2.0

30

B.4. Technique: Development

34

B.5. Technique: Prototypes

36

B.6. Technique: Proposal C. DETAILED DESIGN C.1 Design Concept C.2 Tectonic Elements & Prototypes C.3. Final Detail Model C.4. Learning Objectives and Outcomes

CONCEPTUALISATION 5

A.0. ____design futuring precedents

embryologic houses

BY GREG LYNN 2000

FIG 0.1: PHYSICAL MODEL OF EMBRYOLOGICAL HOUSE AT CCA

In 2000, Greg Lynn made a breakthrough in the architectural world when he proposed a genetic approach to mass-customize building forms, instead of “kit of parts” models or mass-producing forms (DOCAM, 2001). His design development was the first to experiment with lots of variations to create each unique individuals that have different properties and strength to withstand any kinds of environments (Lynn, 2000). Therefore, the design can be programmed to replicate the form but with variations to maintain their own individuality, as oppose to working primitively which limits the amount of variations produced (DOCAM, 2001). However, this project was never built on site and therefore remained a conceptual architecture project documentated as physical models and digital data.

Lynn first experimented by creating the basic geometry of the embryo in Microstation, and establishing twelve control points which can be adjusted and affected accordingly.

After that, he imported those geometries to an animation software rendering called Maya, and began to animate a variation of geometries through parametric variation in a non-linear dynamic processes (Shubert, 2008; Kolarevic, 2003).

6

CONCEPTUALISATION

Lynn was inspired by the mutation of embryo, how it slowly dissolve boundaries thus creating this blurring of boundaries in the space. As seen in figure 0.3, the simple program could produce endless iterations that ideally adapted different environmental approach (Varma, 2012).

As mentioned by Lynn (2000), in this process he was not doing a selective method to determine which of the ones were perfect, because none of the iterations were ideal to any environment, but rather he provided the options that each have their adaptability properties to certain conditions.

Users can customize their own embryological house accordingly to their needs and that was what made Lynn’s project a breakthrough in construction and architectural world: a notion of genetic-induced approach to masscustomize forms.

FIG 0.2: VARITION OF ITERATIONS PRODUCED

The Embryologic Houses employ a rigorous system of geometrical limits that liberate models of endless variations -

- Lynn, 2000

FIG 0.3: SURFACE VARIATIONS FOR EMBRYOLOGIC HOUSES CONCEPTUALISATION 7

A.0. ____design futuring precedents

objectiles

BY BERNARD CACHE 1999

FIG 0.6: EXHIBITION OBJECTS (DOORS) FOR OBJECTILE

Objects are no longer designed but calculated.

- Bernard Cache (cited from Kolarevic, 2003)

FIG 0.4: EXHIBITION OBJECTS FOR OBJECTILE

8

CONCEPTUALISATION

Objectiles is a series of furnitures and paneling in nonstandard forms, simiilar to those occuring in nature, where everything varies and looked randomly ordered even though it has a certain program behind each pattern. These objects not designed, but calculated and computerized using softwares. Therefore, it is possible to make each individual objects differentfrom one another accordingly to the users’ functions and taste (Archilab, 1999).

FIG 0.7: EXHIBITION OBJECTS FOR OBJECTILE; SAND DUNES LIKE PATTERN ITERATED

According to Kolarevic (2003), Cache’s approach for mass-customizing these objects is the modification of parameters of design, then procedurally calculated in modelling software, allowing different sizes and random arrangement in the same series to occur. Thus, providing unlimited iterations for the ideal solution (Archilab, 1999).

This project was one of the pioneer of mass-customization along with Greg Lynn’s Embryological houses at that time. Computarized calculation made customization on industrial level possible, and the variations are unlimited.

(Kolarevic, 2003).

Architecturally speaking, the notion that producing customized individual buildings are made possible and economical challenges the modernist view of mechanically built structures. Designers can utilize technology to creatively program the variations, instead of using it to create more of the similar products (Kolarevic, 2003).

CONCEPTUALISATION 9

A.1. ____design computation precedents

FIG 1.1: MONOCOQUE 2, NERI OXMAN (2007)

monocoque 2

BY NERI OXMAN 2007

Nature is not modular and therefore it generates different forms every time.

I would like to reach such flexibility in architecture as well.

- Oxman, 2011

Most of Oxman’s work explore the growing of materials, how materials could be grown like in the nature instead of being exploited. How materials can be innovative and flexible just like organisms in nature, where it is adaptable to any environmental changes. She suggests exploring the world of material ecology, having materials to have vigorous properties by means of digital computation and fabrication (Dvir, 2011).

Monocoque is one of her early experiments that looked at the capability of the external skin to bear structural load, to promote heterogeneity such as having variaties in material properties.

In contrast to common construction practice, where there should be structural framing behind the skin layer, Furthermore, Monocoque is one of Oxman’s projects that demonstrates modifying material properties to accomodate environmental constrains (Dent, 2009).

Oxman realized Monocoque’s structural skin by applying voronoi algorithm, which provide enough veins and branches to bear the load of the material (Dent, 2009).

Her approach is to observe the behaviour of nature, such as how leaves can stand firm by itself structurally and even conduct photosynthesis. Next, she deciphered down the computation codes that she created herself (Dvir, 2011).

In Monocoque 2, pressumably similar to her previous project, Monocoque, she investigated the shear-stress and surface pressure in veins and arteries elements build onto the project (Oxman, 2010). She produced her project from a 3D printer which allowed a combination of multiple parts in materials to be combined as one (Dent, 2009).

Her research wants to encourage designers to reverse their design process to start with observing materials at hand and working its way from there, instead of putting out the form and figuring out the materials needed later in the scheme (Dvir, 2011). In conclusion, her work in Monocoque show how materials can be compute in order to achieve the adequate properties.

A.1. ____design computation precedent

the watercube

BY PTW ARCHITECTS 2008

BEIJING NATIONAL AQUATICS CENTER As the name stands, the watercube meant to form a built structure completely made of water. The means to achieve that was by taking the structure of water and began researching from there. PTW Architects looked at the state of aggregation of foam, and marveled at how it dematerialized the building (Bosse, 2008).

They began investigating the foam structure from history; Plateau’s geometry of soap bubbles (Fig. 1.2), magnifying the molecular structure of water (Bosse, 2008). Eventually, the solution to Watercube’s facade was from Weaire Phelan foam, where PTW applied their theory of connecting soap bubbles into plain regular geometries (Fig. 1.2) (Carfrae, 2006). From there, they began to computate the Weaire Phelan foam pattern to the Crystalline structure algorithm, which is a very fundamental arrangement in nature, in order to achieve the most efficient sub-division arrangement in a three-dimensional space (Bosse, 2008).

The Crystalline structure is basically how water molecules would join up when in groups. As seen from figure 1.4, it is highly repetition but produces an organic and randomized shapes across the surface (Boose, 2008).

Computation made this structure achievable through the algorithm of the crystalline structure. It was possible to recreate water on its facade and dematerialize the structure with its transparancy-like form.

As defined by Kostas (2006). computation expands the designers’ space to manage their disability. In this case, PTW Architects have limitations on generating the form derived from nature, because its behaviour has its own algorithm pattern and it is hard to design it without the help of machines.

FIG 1.2: (FROM LEFT): PLATEAU’S GEOMETRY OF BUBBLES; WEAIRE PHELAN FOAM IN PHYSICAL AND GEOMETRY FORMS

12

CONCEPTUALISATION

FIG 1.3: THE WATERCUBE, PTW ARCHITECTS (2008).

FIG 1.4: CRYSTALLINE STRUCTURE FORMATION IN DIGITAL FABRICATION

CONCEPTUALISATION 13

A.2. ____Composition/Generation precedent

icd/itke research pavilion 2011

BY ACHIM MENGES 2011

FIG 2.1: ICD/ITKE RESEARCH PAVILION 2011, ACHIM MENGES (2011)

Achim Menges work are known for its digital organic forms where he investigates organisms and applying them to built structures. ICD/ITKE research pavilion 2011 was no different, he applied the biological principals of sea urchin (sand dollar)’s skeleton structure and employing them to construct the shell structure of this bionic pavilion (Menges, 2011).

As seen from figure 2.2, Menges used computation to work out each of the shell components derived from sand dollar’s skeleton. From there, he work out the whole shell structure by applying the principles of heterogeneity; having cells that are not constant in size, but rather adapting its size to its function, anisotropy; a directional structure which follows the shear and stress direction, and hierarchy; where there are two separate layers of shells, with different method of joining (Menges, 2011).

14

CONCEPTUALISATION

FIG 2.2 (FROM TOP LEFT): SHELL STRUCTURE; (BOTTOM LEFT) INTERLOCKING JOINTS

Whereas for its joining method, the traditional fingerjoints was similarly programmed, and it was technically comparable to the sand-dollar’s calcite protrusions (fig.

12) (Menges, 2011).

Not only does it inspire architectural projects to derive its form from nature, the method of joining each cells does not require any structural steel to provide support (Fig 2.2). The shell can stand on its own using its continuous surface interlocking each other. Since cell arrangement was programmed, the interlocking program of the shell was also done (Menges, 2011).

CONCEPTUALISATION 15

A.2. ____Composition/Generation precedent

times eureka pavilion

BY NEX ARCHITECTURE 2011

The pavilion was commissioned to reflect the plant species chosen for Eureka Garden. NEX architecture expanded their research by magnifying the cellular structure of leaves and growth in plants (Lomholt, 2015).

Their algorithmic approach is using the grow of capillary branching and subsequent cellular division, mimics the growth of plants and their branches (Grozdanic, 2011).

Furthermore, according to figure 2.4, the cell arrangement is based on voronoi pattern, which gives them the randomized but repeatable distribution. Next, they began to randomize more points in between their cells, to recreate the leaf pattern by using voronoi algorithm (ArchDaily, 2011).

The end result was a structure constructed out of algorithmic program which imitates natural growth and envisioned the users to experience the patterns of biological structure at a much larger scale (Lomholt, 2015).

FIG 2.3: TIMES EUREKA PAVILION, NEX ARCHITECTURE (2011); CLOSE UP ON THE CELLULAR-LIKE CELLS

16

CONCEPTUALISATION

FIG 2.4 (TOP AND BOTTOM): LEAF PATTERN STUDY AND APPLYING IT TO BUILT FACADE

This project is achievable due to the existence of genetic algorithm, which allowed the designers to investigate the behaviour of nature and translating the “formula� to digital programs. Furthermore, it also allows designers to recreate nature, because nature is generated not composed, and it is modulus not constant. Previously, designers could not generate algorithmed patterns by sketch, it was nearly impossible. However, the presence of computational programs drives the design industry into a more biological approach, as the society are becoming more aware of nature and their surroundings.

CONCEPTUALISATION 17

A.3/A.4. ____Conclusion & Learning Outcomes

conclusion designers should become the facilitators of flow, rather than the originators of maintainable ‘things’ such as discrete products or images - Wood, John (2007) Design for Micro-Utopias: Making the Unthinkable Possible (cited from Lecture Design Futuring)

As the quote goes, it sums up why algorithmic architecture existed and why it is now being explored vigurously by designers. Generative architecture, in a sense is the product of algorithmic programmed structures, where the structure is meant to ‘live’ as in its skill to adapt and grow to its surroundings. Therefore, designers have the responsibility to push society into a better worldview, because currently only we have the capability to drive society into our own ideal way of living.

Personally, as I was researching for my precedents, the one that stood out for me the most was Monocoque 2 by Neri Oxman. In my research, she is one of the pioneer of

material ecology (the word she coined herself), that is to generate materials first and discover what form can be built from that. In oppose to creating a form and deciding the materials later. For me this idea is really interesting, and I intend to persue my design directions towards that organic approach. Her idea is to discover the properties of the materials needed for the project, and iterate as many forms possible, in order to achieve the most functional form. Furthermore, her initial approach to nature aligns with her organic view, how she looked at the behaviour of the patterns and translating the program instead of explicitly take the shape of nature.

Environmental change and limtited resources drive people to innovate ways going back to look at nature. Historically, people have always refer to nature since ancient Greek times, but as time goes, industrialization dominated the market and nature was left behind. As a part of this new world, it is crucial to look at building as an organism in a bigger urban ecosystem. What it means to be an organism is to have the ability of growing, adapting and decomposing.

Therefore, it is better to embrace the technology wave as means to develop more organic architecture rather than utilizing technology to create more and more.

learning outcomes In these short course of three weeks, Studio Air touched on history of digital architecture, that we are currently in an era where computarisation will slowly dominate the market and built structures are generated to become more like organism components in the city ecosystem.

Studio Air had given me a better understanding of why we are doing this subject. From the precedents that I researched, it amazed me how I never questioned why organic and algorithmic architecture are being practiced right now. It is always interesting to see the approach of each designers when developing their work, and currently I have known several methods from my previous studio work, and algorithmic approach is one of them.

18

CONCEPTUALISATION

What I like most about algorithmic is its element of surprise and not knowing what to expect. I am personally a visualoriented person and often not satisfied with what I come up with. However, in algorithmic method the program do that for me and it reduced the amount of time I had to think over a form and instead I can program the ‘formula’ and let the script work. Therefore, I am currently anxious and at the same time excited to begin exploring the world of algorithmic architecture for the rest of the semester.

A.4.1. ____END OF PART A: CONCEPTUALISATION

reference list Arch Daily, 2011, Times Eureka Pavilion / Nex Architecture, viewed in 17th March 2015, <http:// www.archdaily.com/142509/times-eureka-pavilion-nex-architecture/> Archilab, 1999, OBJECTILE, viewed in 18th March 2015, <http://www.archilab.org/public/1999/artistes/obje01en.htm#ressources> Bosse, C. 2008, National Swimming Center Beijing – Introduction, viewed 15th March 2015, <http://www.chrisbosse.com/watercube/introduction.txt> Carfrae, T. 2006, ‘Engineering the Water Cube’, Architecture Australia, vol. 95, no. 4, <http://architectureau.com/articles/practice-23/> Dent, A.H. 2009, ‘Interview with Neri Oxman’, MATTER Magazine issue 6.3, vol. 6, no. 3, <http://www.materialconnexion.com/ Home/Matter/MatterMagazine81/PastIssues/MATTER63/MATTERInterviewNeriOxman/tabid/699/Default.aspx> DOCAM, 2001, Embryological House – Greg Lynn, viewed in 17th March 2015, <http://www.docam. ca/en/component/content/article/106-embryological-house-greg-lynn.html> Dvir, N. 2011, Nature is a Brilliant Engineer, viewed 15th March 2015, <http://www.haaretz.com/weekend/week-s-end/ nature-is-a-brilliant-engineer-1.366511> Grozdanic, L, 2011, Times Eureka Pavilion – Cellular Structure Inspired by plants / NEX + Marcus Barnett, viewed in 17th March 2015 <http://www.evolo.us/architecture/times-eureka-pavilion-cellular-structure-inspired-by-plants-nex-marcus-barnett/> Kolarevic, B. 2003, Architecture in the Digital Age: Design and Manufacturing, (New York; London: Spon Press) pp. 53 Lomholt, I, 2015, Eureka Pavilion, London: Chelsea Flower Show Building, viewed in 17th March 2015, <http://www.e-architect.co.uk/london/eureka-pavilion> Lynn, Greg. 2000, ‘Greg Lynn: Embryological Houses’, AD “Contemporary Processes in Architecture” vol. 70, no. 3, (London: John Wiley & Son), pp. 26-35.

Menges, A. 2011, ICD/ITKE Research Pavillion 2011, viewed in 15th March 2015, <http://www.achimmenges.net/?p=5123> Oxman, N, 2010, ‘Structuring Materiality: Design Fabrication of Heterogeneous Materials’. Architectural Design, Special Issue: The New Structuralism: Design, Engineering and Architectural Technologies, Volume 80, Issue 4, pages 78-85, March/April Shubert, H. 2008, ‘What came first, The Chicken or the Egg?: Greg Lynn’s Embryological House’, Notation, (Berlin: Akademie der Kunst), <http://www.academia.edu/3589710/What_Came_First_the_Chicken_or_the_Egg_Greg_Lynn_s_Embryological_House> Terzidis, K. 2006, ‘Algorithmic Architecture’ Varma, R. 2012, The Embryological House, Greg Lynn, viewed in 17th March 2015, <https://rahatvarma.files.wordpress.com/2010/12/fs-final.pdf>

CONCEPTUALISATION 19

PART B. CRITERIA DESIGN

B.1. ____research field

geometry: minimal & relaxed surface

FIG 1.1: EXAMPLES OF GEOMETRY RESEARCH: TRIANGULATE DOME MEMBRANE

FIG 1.2: EXAMPLES OF GEOMETRY FORM: PARABOLOID SHELLS 22

CRITERIA DESIGN

FIG 1.3: GREEN VOID BY LAVA

The geometry research field focuses on exploring minimal and relaxed surface, thus enables the geometry to achieve high efficiency of material usage. Several design approaches are going to be explored such as paraboloids, minimal surfaces, geodesic, and tensility.

One of the precedents for relaxed surface is the Green Void by LAVA. Parametrically speaking, the Green Void used mathematical algorithmic spring forces to achieve minimal surface from its prescribed anchor points. It was achievable through flexible material that resembled those of spider webs and coral reefs (LAVA, 2008).

This particular research field is really insightful for my design brief, which is creating a â&#x20AC;&#x153;hammockâ&#x20AC;? or a relaxed surface through experimented geometries.

CRITERIA DESIGN

23

B.2. ____Case Study 1.0

LAVA Green Void

A 02

01

As mentioned previously, an interesting element of Green Void is the usage of plugged anchor points to different sides, thus allowing the surface membrane to relax and creating minimal surface. In this exercise, the initial form of Green Lava allows various iterations largely resolve around playing with the spring kangaroo definition, and the base curve of the form.

A01 A02 A03

A04 A05

Initial geometry Playing with anchor points and slider definitions More stiffness but less rest length; resulting in tube-like form Geodesic applied to base curve Curves are experimented with fields; resulting in ribs-like bone structure

B 01

24

CRITERIA DESIGN

02

03

05

06

04

03

05

04

B01 B02 B03

B04

B05

B06

Applied exoskeleton Variation of values in exoskeleton settings Voronoi pattern applied to the initial curve; and extruded with exoskeleton tool Joining base curves to create a web, applied exoskeleton and kangaroo forces to achieve minimum surface.

Applied 3D voronoi - resulting in a box of voronoi patterns with its initial curve inside.

Voronoi 3D pattern with kangaroo forces applied.

I found iteration A05 and B04 the most interesting out of all due to its nature of combining different techniques in one place.

A05 gives a fresh outlook on how the base curves on Green Lava can become apart from the similar geometry. For the time being, kangaroo forces does not seem to work well with this geometry because it is a series of curves instead of surface.

B04 gives me a glimpse of the idea for geometry: to relax a series of web surface. Therefore, I intend to explore this particular technique more with the second case study.

CRITERIA DESIGN

25

B.3. ____Case Study 2.0

Munich Olympic Stadium

BY FREI OTTO & GUNTHER BEHNISCH 1968-1972

In this large-scaled project, Frei Otto managed to transform a stiff simple tent into a lightweight, tensile membrane. He derived the form by experimenting with the geometry of soap bubbles (figure 5), to achieve the shape of the membranes. This project is worth noted because it was built when there were not any digital tools assistance available at that time (Kroll, 2011).

What is interesting in this building is the fact that the canopy membrane are entirely suspended by the vertical structures, and how the design allows for simple construction yet sophisticated outcome. Thinking about my own design, the vertical membranes definitely serves as anchor points that allows the form to float in the air.

Moreover, the tensile membrane allows for dramatic curves to occur across the site and building heights, giving dynamic contours sectionally as seen in figure 7 (Garcia, 1968),

FIG 3.1: MUNICH OLYMPIC STADIUM IN GERMANY BY FREI OTTO

26

FIG 3.3: SECTIONAL DIAGRAM OF MUNICH OLYMPIC STADIUM

CRITERIA DESIGN

FIG 3.2: (TOP) FREI OTTO PLAYING WITH SOAP BUBBLES GEOMETRY TO ACHIEVE FORM (BOTTOM) INSIDE THE CANOPY

CRITERIA DESIGN

27

B.3. ____Case Study 2.0

Reverse Engineering of Munich Olympic Stadium 01

01 Basic geometry is rectangle; with its width shorter than length as referenced to provide for wide tensile surface.

02 Transform the surface into a mesh and laying out its vertices and grid to provide connection lines for spring by deconstructing the mesh.

04

03 Bake the points in each intersection of vertices from Grasshopper.

04 The red points are picked as anchor points to provide stress to the surface. To pick the points, apply cull pattern to selectively select those points.

05 What Kangaroo definition does here is that it converts the vertices of the mesh into spring forces while being stretch by the selected anchor points. This surface will provide for the base.

07

06 Returning to the previous grid of points, pick the points at the center of the grid as tips for the vertical member to sit on the membrane. Referenced the points to Grasshopper and add it to the definition with the previous selected anchor points.

07 Apply the Kangaroo forces again and drag the new anchor points at the center to the z axis as seen in sectional view to achieve the tent-like structure.

08 Perspective view of the tensile rectangular grid. This gives us a base to achieve the semicircle form of the stadium.

Adjust anchor points while running the Kangaroo definition to achieve form 09a (perspective view) and 09b (top view).

28

CRITERIA DESIGN

09a

02 03

05

06

08

09b

CRITERIA DESIGN

29

B.4. ____Technique Development

Iterations : Series I 1

2

A

B

C

30

CRITERIA DESIGN

3

4

5

SERIES I Panelling exploration & Developing a network of spring connection

With experimenting there are trials and errors. Initially I was reconstructing San Gennero South Gate by SOFTlab as my second case study. However, due to geometry limitation, I decided to change it to Munich Olympic Stadium by Frei Otto. Therefore, this first series of iteration took the initial form of San Gennero South Gate and explore panelling surface to develop a web of connection.

A

B

C

Playing with panelling on curves and exoskeleton the ribs.

Putting it into Kangaroo definition to capture the tensility (species A4).

The first four of this row are mainly playing with the unary force Kangaroo definition (to z axis); I intend to experiment with the value of negative gravity in contrast to shrink the surface. This was done to achieve the base geometry for further development.

The first two of this row are made by accident; C2 was supposed to be a voronoi-panelled geometry with spring forces applied to each of the vertices. However, the anchor points were not set on the surface, resulting in infinity force applied at the end of the tube and twisting the form.

CRITERIA DESIGN

31

B.4. ____Technique Development

Iterations: Series II 1

2

D

E

SERIES II Single surface iteration & Tensile capacity testing

32

CRITERIA DESIGN

3

4

5

In this series, I intend to explore the tensile capacity of a surface to various anchor points. Moreover, I think it is interesting that in the reverse engineering process, the Stadium form was derived just from a single surface; which was how it was actually built. Therefore, in this process, my exploration was largely around iterating various forms from a single surface.

I found D4 interesting because it is derived from the same surface as others, however due to its twisted anchor points, it creates this valley-looking form.

This second row explores a surface I made referenced with the site condition (see B.6 for site analysis). Personally I found E2 interesting due to its maximal tensility surface; which is why I chose that form to be a testing ground for my prototype.

CRITERIA DESIGN

33

B.4. ____Technique: Prototypes

Early Prototypes

My first attempt in prototyping is based on previous tensile surface iterations. Using my site context as a reference, the sticks functions as trees that will be the anchor points of the surface. The net serves as the tensile surface. In this brief trial I intend to experiment about how far the surface can be manipulate until the sticks cannot support it anymore.

At this point, I still want to attempt to do more iterations because currently I do not see any of my iterations fit in the context. This is still an ongoing experiment.

34

CRITERIA DESIGN

CRITERIA DESIGN

35

36

PROJECT PROPOSAL

PART C. DETAILED DESIGN

PROJECT PROPOSAL

37

C.1. ____Feedback from Part B

Site Location

Brunswick East

Princes Hill

38

PROJECT PROPOSAL

Merri Creek

Roads for cars Pedestrians

Heavily used Moderately used Residents (passive)

Site access

Surroundings Traffic

Proposed Design AMPHITHEATRE

MERRI CREEK TRACK

PLAYSPACE

CERES Community Environment Park

PROJECT PROPOSAL

39

C.1. ____Feedback from Part B

Site Observation

PROPOSED DESIGN SITE

SECLUSION

Even though it is surrounded by active community space, this spot offers solitude and tranquility in the midst of it all. It does not have to be enjoyed only by one person, solitude can also be felt within close knit of groups; therefore founding community in seclusion.

AMPHITHEATRE Target users: Young adults and families Venue for events and festivals People seeking places to gather or having a picnic.

PLAYSPACE Target users: Children aged 4-7 Elementary students top spot for site visiting.

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PROJECT PROPOSAL

FRAMING THE VIEW

Near my proposed spot is a large preserved gully tree with short stream of river beneath it (as seen on photo 2). The sense of tranquility is unmistakeable compared to other spots of the river; the continous rushing sound of the water streaming through the rocks attract even passerby to stop and taking in the sound of nature.

PHOTO 1 The serene view (south view) from my intended installation spot, which is facing the old gully tree.

PHOTO 2 The rushing water stream beneath the old gully tree.

MERRI CREEK TRACK Target users: Young adults, bicyclists, joggers and senior citizens.

Main track for having casual strolling, running or bicycle riding.

HIGH TRAFFIC

Overall CERES is a frequent elementary school children site visit target, annually held festivals and daily events which attract families and young adults, and Merri Creek track that attracts daily users.

PROJECT PROPOSAL

41

C.1. ____Feedback from Part B

Design Proposals

01. TENSILE PANELS WHAT

Derived from Frei Ottoâ&#x20AC;&#x2122;s tensile roof stadium, this design proposed to have the surface membrane tensioned at various anchor points to create cone-like panels. The panels will cover the surface as a canopy and the users are intended to sit below the canopy.

Minimal surface membrane

Tensioned panels at various anchor points Figure C.1.1: Inspired by Frei Ottoâ&#x20AC;&#x2122;s Munich Stadium; canopy tensioed at various points

Trees as anchor points

42

PROJECT PROPOSAL

WHY IT FAILED Too hard to fabricate; Due to the nature of the form itself, it had to be manually fabricated and measured, the aid of computer programs will only go as far as producing renders of the structure.

Another alternative is 3D printing, however the down side will be no construction process involved.

Form is repetitive - bland Other than its apparent relationship with my case study building, the overall form is repetitive and dull; moreover it does not blend well with the surroundings.

Figure C.1.2: Repetitive tensioned panelling to be applied across the surface

PROJECT PROPOSAL

43

C.1. ____Feedback from Part B

Design Proposals

02. DROPPING WEIGHT

Figure C.1.4: 49th Biennale in Venezia installation

by Ernesto Neto

Taking the inspiration from Green Void by LAVA, this design proposed to stretch across 5 anchor points to serve as the surface membrane.

The design concept will resolve around finding community in seclusion, therefore the initial function of the membrane was to provide a space for gathering, where people could sit and lay down on the stretched surface with holes as point of entries.

Furthermore, the drooping pods served as a sitting space for one person (as seen in example figure C.1.3), resembling how one would sit on a bean bag, allowing them to take in their nature surroundings without any social disturbance.

My precedent for forming the drooping pods is from Ernesto Netoâ&#x20AC;&#x2122;s organic installation (figure C.1.4 above). The material he used for his installation was thin gossamer-like fabric that is elastic as well as light in nylon or cotton. More often he would use fine strings to attached the fabric to the ceiling, creating the tension to let the weight down and create the organic drooping forms (Designboom, 2006).

Figure C.1.3: How one would sit on a bean bag; 44

PROJECT PROPOSAL

01

FORM FINDING

02

01

The surface was created across four anchor points (in this design the trees), and mesh faces were selected to be the holes.

02

The selected mesh were removed from the surface.

03

By applying spring forces to the surface, the whole surface became stressed and formed this organic shape with the holes being stretched out in maximal width.

04

The drooping pods were intentionally created by literally dropping a weight and pulling down the surface to gravity.

05

After three weights being dropped on the surface, it proved to be unsuccessful due to the flat dimension of the surface itself. As seen in the diagram, the height of each anchor points must be higher to allow higher impact for the weight onto the surface.

06

The outcome result was a fully stressed surface with weights successfully pinning down several points of the surface.

03

04

05

06

PROJECT PROPOSAL

45

C.2 TECTONIC ELEMENTS & PROTOTYPES

46

PROJECT PROPOSAL

C.2. ____Tectonic Elements & Prototypes

Prototype 01 - Material Testing

MATERIAL TESTED

Cling wrap Tape Tulle fabric (gossamer fabric)

This prototype trial focused on the material capability to achieve the desired form. By using stiff wood to hold the stress from stretching out the surface, cling wrap was used to wrap the surface around because of its tensility and it easily sticks from one layer to another.

Tape was used to hold the wrap in place and also as a framing material due to its stiff yet tensile property.

The drooping pods were tested in a different fabric called tulle or gossamer. Unfortunately, it does not have the stretchy property that I was looking for in order for the weight to pull down the fabric.

FEEDBACK

Although using clingwrap is an interesting approach for this design, it can only form the membrane, and not the drooping pods due to its different material properties required.

From this prototype, I realized that I may have to work with two layers to achieve both the stretched membrane and the drooping pods.

To achieve the drooping pods form, the height of the membrane must be high enough to allow the weight to be pulled down; therefore my initial proposal to have people onto the surface was retracted due to constructibility.

Figure C.2.1: Photos of material testing prototype construction process from top to bottom PROJECT PROPOSAL

47

C.2. ____Tectonic Elements & Prototypes

Prototype 02 - Rigid framing

MATERIALS TESTED Polypropylene sheet Thin wire Wire straps

For the second prototype, the form was triangulated into smaller panels of triangles and taking the previous prototype into account, I intend to make the framing structure of the form using rigid but light material such as polypropylene sheet.

Afterwards the whole structure will be covered by thin gossamer fabric for the drooping pods to be attached onto the pulled down points in the surface.

3mm holes for joints Offset from the original faces

45

Number labels for each panels Cut out panels

Figure C.2.2: Triangle panels elements

48

PROJECT PROPOSAL

Each triangulated panels were offsetted outside to allow the 3mm holes for connections (as seen in figure C.2.2). The number labels were essential because the panels had to be joined individually with joints on each corners.

The panels were nested into 6 sheets of polypropylene and were sent to fablab for fabrication.

30

34

32

92

68

70

111

114

112

150

941

151

611

153

192

981

228

268

194

191

229

233

272

273

0

312

311

310

309

40

41

277

275 672

316

315

413

4

47

321

320

913

Total panels 323

31

11

01

21

53

51

49

84

64

45

43

318

713

8

3

42

279 872

9

6

5

322

239

238

237

7

2

1

313

323

199 891

632

472

308

197

235

432

271

851

691

132

270

159

157

651

195

391

232

230

269

155

451

251

190

188

119

118

117

115

311

148

79

87

67

91

110

83

77

75

37

17

109

39

37 63

72

96

108

35

33

13

47

28

05

25

44

80

87

82

81

83

85

48

120

122

121

1

06

281

280

243

59

94

55

244

51

246

542

285

682

20

81

247

173

271

212

012

249

842

252

290 982

21

23

22

771

292

291

26

25

72

58

60

912

62

61

64

36

65

66 76

75

96

98

99

79

136

392

42

56

137

138

001

931

71

104

102

101

105

106

145

146

107

301

141

144

143

241

147

187

181

1

178

176 571

312

253

251 052

288

08

174

133

211

209

782

041

134

171 071

802

206

284

283

531

54

861

207

282

132

502

16

14

169

166

204

302

242

131

130

361

201

142

129 821

167

164

202

240

127

126

561

200

39

521

162 161

Model scale 1:5

92

19

98 68

124

321

90

88

183

185

481

971

681

281 214

216

512

217

218

220

95

223

221 222

254

294

592

552

256

296

257 852

297

298

259 003

261

262

301

299 062

225

227

622

267

265

263 462

303 203

422

662

403

305

306

703

PROJECT PROPOSAL

49

C.1. ____Tectonic Elements & Prototypes

Prototype 02 - Rigid framing

CONSTRUCTION PROCESS

01 The panels were organized by their numbers for easier construction.

02 Each panels are joined in two-way connection by thin wire. As seen in the construction diagram, each pair of connection must be connected by a single wire and not continuous to other panels.

50

PROJECT PROPOSAL

03 Top view framework

of

the

completed

04 The pulled down structure from the surface was too shallow to serve as droopy pods. Therefore, the panels on these pulled down surface was removed to make space or the fabric to droop down.

CONNECTION DIAGRAM

Thin wires (not continuous seen as different colors in each holes) Flow of panel joining (only in one dimension, joined side by side)

Wire is tied up at the back

At intersections, each pair of connection must be joined by individual strips of thin wire.

05 The thin fabric was attached to the framing by tying a knot with thin wire from the holes.

06 The fabric successfully droop down from the holes due to gravity force and was still in form due to the rigid framing.

FEEDBACK

The materials used did not represent the quality of the design itself. Even though this method is easily constructible, it did not show the tensility of the structure nor the stress produced by the weight pulling down the fabric.

PROJECT PROPOSAL

51

C.2. ____Tectonic Elements & Prototypes

Prototype 03 - Materiality

MATERIALS TESTED

Spandex (Stocking fabric)

Similar to the first prototype, I used stiff balsa wood to restrain the fabric to achieve its maximum tensility.

For the stretched membrane, the fabric was an excellent material because it automatically shaped the desired form only by anchoring each sides to the wood.

However, in here the drooping pods were created by covering the membrane with another layer of spandex but with the fabric pushed down on the holes.

Because its on another layer, the drooping pods did not produce the stressed â&#x20AC;&#x2DC;skinâ&#x20AC;&#x2122; due to the weight.

Instead, it wrinkled on the sides of the holes, and refused to go down any further restrained by the force going from every sides on the surface (see figure C.2.3).

Force from drooping down (pulled gravity force) Force from stretching out to anchor points

Figure C.2.3: Force diagram on the surface

52

PROJECT PROPOSAL

C.2. ____Tectonic Elements & Prototypes

Application through final design

DESIGN CONCEPT : CHANGE

Responding to feedbacks from my previous design proposal, I realized that it lacked concept that can potentially give more depth to my design.

Therefore, I envisioned my design to be adaptable in its surroundings, to be dynamic and change its form according to the seasons, yet to be serene and still in response to its natural surroundings. The form will never look the same because it is organic in shape and behaviour.

Responding to my previous prototype trials, I realized that this particular surface can only be possible in higher points. Lowered surface will not make the drooping possible and any narrower will not stress the surface enough to create tensility.

Therefore, this form can only functions as a canopy instead of initially a hammock, due to its construction issue if built any lower to the ground.

PROJECT PROPOSAL

53

C.3

54

PROJECT PROPOSAL

FINAL DE TAIL MODEL

C.3. ____Final Detail Model

Construction Process

The form was again simplified for manual fabrication.

The holes punched through the surface were for the pods to be attached. Therefore, the new form does not have any idle holes on the surface.

01 Attaching the stocking fabric to the â&#x20AC;&#x2DC;treesâ&#x20AC;&#x2122; by using thin wire and tying it in a knot. The whole surface needs to be smaller than the actual dimension to allow the stretch.

PROJECT PROPOSAL

55

C.3. ____Final Detail Model

Construction Process : Drooping Pods

From top left to bottom right >> 01 Make sure the stocking fabric is folded on the bottom, so the weight will rest on the fold instead of the

02 The connection here is by sewing thread to the stocking fabric using blanket stitch method (as seen from figure C.3.1 and diagram below).

Seam on both sides

56

PROJECT PROPOSAL

03 Flip the fabric to cover the seam and make it more presentable.

Figure C.3.1: Blanket stitch method (via crafthub; http://www.crafthubs.com/blanket-stitch/46602)

04 The pods are able to look elastic because of the weight pulling them down on a continuous surface.

PROJECT PROPOSAL

57

C.3. ____Final Detail Model

Construction Process : Stretched membrane

05 After the pods are ready, they are attached to the surface by the same sewing method (blanket sewn).

06 The pods will be pulling down the membrane due to the weight applied.

58

PROJECT PROPOSAL

PROJECT PROPOSAL

59

60

PROJECT PROPOSAL

TOP

Giving the model a sense of scale as a canopy that is attached onto five 8-meter tall trees on the bank of Merri Creek river.

LEFT

The canopy as reflected on Merri Creek surface (in the model).

PROJECT PROPOSAL

61

C.4 LEARNING OBJECTIVES & OUTCOMES

62

PROJECT PROPOSAL

C.4. ____Learning Objectives and Outcomes

learning objectives and outcomes

Looking back from where I started, I definitely had learned a lot from this program; and not just the skills, but I also gained a lot of valuable experiences from my own project, tutors and various feedback from people around me. Studio AIR for me was like riding a roller coaster ride; sometimes it went too fast that I started to feel sick, but sometimes it took me to places so high up that I canâ&#x20AC;&#x2122;t help but to open my eyes and take in the wonders of the architecture world that I am currently divulging in.

Itâ&#x20AC;&#x2122;s better to fail fantastically than to succeed in mediocre -One of my guest judge panel feedback

That particular quote struck me the most on my final class presentations. It was not directed to me personally, but I think she (guest judge) spoke for everyone else in the room: donâ&#x20AC;&#x2122;t be afraid to fail. One of my biggest obstacle in every studio class is that I am always too safe and indecisive because of that fear of failing. That attitude effected me throughout this design process and at the end it failed me during my final presentation when I was asked about my design concept. I was so engrossed with getting the form right that I ignored the essence of an architectural design itself. In respond to that feedback, I tried to suggest a new proposal that unintentionally changed the form itself. This is only one of the few lessons I learnt from doing studio AIR. At the beginning of the program, I was introduced to the world of parametric design where I was so excited to finally be able to fabricate from Grasshopper. However, as the program ran, I experienced first hand that parametric design involved so much bigger than to fabricate models by laser cutter. My own design took me to forms that primarily explores on materials, what the material is capable of, and utilizing materials to create spontanious forms.

I had chosen geometry as my design approach at the beginning of the subject, and to be honest, I would probably pick other approach such as sectioning or biomimicry if I were given the chance because both approach began to interest me after seeing projects from my peers. However, it does not mean I regret choosing geometry; it challenged me to force me doing things outside of my comfort zone.

The most difficult challenge for me in doing this project was to finalize my form and design concept. At that time, I always felt like meeting a dead end for ideas even though at the same time I know the possibility of generating forms with Grasshopper is endless. It frustrated me that I struggle so much for ideas, and not knowing anything about Grasshopper beforehand also added to my frustration. Fortunately, my tutor, Brad was patient enough to guide me with my process and to give very helpful insights onto exploring materials really is.

At the same time, I also found excitement at exploring different iterations with logical programming. It was very different with any form-finding method in other studios and I personally found this method from Grasshopper produced far more interesting forms than manual brainstorming (exceptions in some cases).

Furthermore, using computational aid makes life easier especially for simulating various conditions; especially for my design where the shape itself depended highly on natural forces such as spring force and gravity.

It also gives me an idea of how my design will respond to natural conditions such as wind or sunlight.

At the end, I believe there are still so many things that I can improve for my design. However, due to time constraints I am only able to develop it as far as it gets now. Learning is never ending and I know that the knowledge I learned in AIR will not only take me this far, but rather it is still the beginning to a very long but exciting journey ahead

PROJECT PROPOSAL

63

C.7.1 ____END OF PART C

reference list Designboom, 2006, Ernesto Neto: the malmo experience, viewed in 10th June 2015, <http://www.designboom.com/contemporary/neto.html> Laboratory for Visionary Architecture, 2008, GREEN VOID viewed in 22th April 2015, <http://www.l-a-v-a.net/projects/green-void/> Kroll, A. 2011. AD Classics : Munich Olympic Stadium / Frei Otto & Gunther Behnisch, viewed in 27th April 2015, < http:// www.archdaily.com/109136/ad-classics-munich-olympic-stadium-frei-otto-gunther-behnisch/> Garcia, A. 1968. 1968: Olympic Stadium - Munich. Germany, viewed in 27th April 2015, < https:// aehistory.wordpress.com/1968/05/06/1967-olympic-stadium-munich-germany/>

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PROJECT PROPOSAL