Grace Qi-Yun Hong Hi, I’m Grace Qi-Yun Hong, I’m a third yr student majoring architecture. I was born in China and grew up in Melbourne. I did Virtual when I was in my first yr of uni, and I did struggle a bit with rhino at the start, but later during the semester I managed to produce a model. However my skill with Rhino is still very limited, so I’m looking forward to have a chance to improve. I’m in group no.3 for my reading group.
1
Precedents of Innovation Architecture to Art Walt Disney Concert Hall
The building, Walt Disney Concert Hall, is one of the best buildings designed by Frank Gehry located in Los Angeles, California. This $274 million project is considered as an innovation which leads the modern architecture to a form of art. With the extravagance of its form the design for this precedent break the rules of harmony and symmetry – the magnificent curvature and irregular sculptural shape, it could be considered as a work of art in itself. The project was convered with approximately
12,500 pieces of unique formed corrugated steel sheets, as the exterior is designed with fascinating complex form, there are no two same shaped steel sheets were used, each piece takes a unique form of agreement to their location. The idea of the architect was to design an interior space with an evocative sculptural form of music, achieving an intimate connection between the orchestra and audience. The interior space of this corrugated metal shell was designed with extreme care in the acoustic quality. Every curve
2
Architecture to Art Walt Disney Concert Hall of the ceiling and internal walls has its own purpose to improve the acoustics spreading the sound. Gehry says his building was designed to ‘catch the light’; his Walt Disney Concert Hall achieved a structure that no earlier architects would have reached. He breaks the concept of classic architecture – equilibrium and harmony by displaying the magnificent curvature and billowing metallic shape. The design could not be achieved without the aid of computers,
the harsh angles and gently flowing curvature make it impossible for anyone to draft the construction plans. On the other hand, the Walt Disney Concert Hall was also criticised, according to EsaPekka Salonen, Music Director – the fancy exterior overwhelmed the visitor and forgot about the original purpose of the building – which is a hall for music.
Hand Sketch of Walts Disney Concert Hall.
3
Architecture to Art Walt Disney Concert Hall
The Walt Disney Concert Hall also fulfils an important role in urban areas. The fascinating sculptural exterior design blends in well with the city of Los Angeles. From my personal opinion, this would be what the Gateway competi
tion is after – the modern and artistic architecture fits well with the urban environment, with the sense of not only architecture we are looking at, but an art.
4
The DaVinci Rotating Tower A Futuristic Innovation of Architecture
5
The DaVinci Rotating Tower A Futuristic Innovation of Architecture The DaVinci Rotating Tower is planned in Dubai, United Arab Emirates, designed by David Fisher. The tower is planned to be 1027 metres tall with 68 floors of moving skyscraper. The floor of the tower will be able to rotate independently, just like the futuristic Suite Vollard located in Brazil – providing it an ever changing form. The entire rotation will vary from 1 to 3 hours, allowing the residents to have a 360 degrees panorama over the course of a day. The rotation of the floor is also designed to not physically noticeable to avoid upset stomachs. Around 90% of the tower will be prefabricated, which allow the tower to be constructed within 22 month. Wind turbines and solar panels will also be installed on the tower to power the entire tower; they will be located on the roof and the top of each floor. This not only would allow the DeVinci tower be the world’s largest and dynamic rotating building, but also selfsufficient building.
6
The DaVinci Rotating Tower A Futuristic Innovation of Architecture
With the prefabricated materials and the solar panels and wind turbines that is going to be installed on the tower, not only the cost to
construct the tower will be dramatically reduced, but also it will provide a much safer environment for the workers.
7
Lofting and State Capture
I lofted curved surface using grasshopper, and baked it out. I started with three curves, as we can see on the grasshopper screen shot below.
8
Lofting and State Capture
I tried using different density of circiles.
9
Computational Design Technique Before 1450, when Architecture was not considered as a professional practice, the way to construct or design a building is by those people called ‘Craftmanship’. Buildings were built unplanned and undersigned in a slow process and also it is hard for those people to adapt new technologies and style. But soon after 1450, when architecture became a profession – scaled drawing and models were produced to gain control over building process. As well as showing accurate detail and proportions and dimension. Also experience the design solution visually and physically - it had become a communication tool between architects and builders. Now days, computer technology had become an important tool in our design life. They fill in what we human are lack of, and never tire or make mistakes, although at the same time they
are lack of creative abilities. Compare to hand drawing and models, create a 3D design using computer allow us to have a more accurate visualisation – material and tectonics. Computational design breaks down the traditional linear and hierarchical design strategies. Compare to the traditional design process, everything is allocated at the beginning – who’s doing what; but for computational design, it is totally the opposite, we are required to have discussions often and agreement have to be made each time.
10
Meseo Soumaya - Form of Complexity
Museo Soumaya – the private museum, located in Mexico City, designed by Mexican architect Fernando Romero. This is a complex building which adopted complex computational techniques. A complex 3D structure were used between the exterior and interior surface of the building, instead of having same structured support, the design team has come up with a structure that does not
have a single repeating structure – as every one of them adapt to their own local surface condition. Around 80% of the surface was considered as the most ‘regular zone’ where similar sized hexagons were arranged. Another 20% of the surface is where unique hexagons were grouped, where the surface is considered as ‘most curved’ zone.
11
Meseo Soumaya - Form of Complexity
We need a simple, integrated process for the builder and client to understand what we are doing. Communication is an important stage within the design process; we need to exchange information and ideas constantly with the people who are involved. For a complex building like
Museo Soumaya, we cannot afford using the traditional linear and hierarchical design process, instead of that we are required to have a more efficient process – the only way to achieve this is through using computational technology.
12
Partricia and Phillip Frost Museum of Science - making Complex Geometry Feasible
Patricia and Phillip Frost Museum of Science, designed by Grimshaw Architects, it is planned to open in 2015, in Miami. Various computer software were used to design this museum, such as, Rhinoceros and Grasshopper and Autodesk etc. The museum is designed with structural framework to hold a 2.3
million litre Gulf Stream tank; the structure is also required to contain the living support systems. The museum is designed with curved, vertical and inclined walls – it is a complex surface to construct, as it will need bent steel grid with curved framing.
13
Partricia and Phillip Frost Museum of Science - making Complex Geometry Feasible With the computational design technology, we can design something that we cannot achieve in the past. The inclined structure of the walls for the museum would be hard to generate without the computation design process. But on the other hand, the fancy gothic or baroque buildings were achieved without any computation help. So we cannot say all the complex geometries buildings only can be achieved through compu
tational design process. Although that’s the case, computational design means to create new structures beyond pre-existing typologies – it is considered as an art which allows new creativity in space making, optimisation and constructability.
14
Explore Curve Menu I explored the surface menu on Rhino through Grasshopper. First of all I created two curved line and allow the two curves to be divided up. Then by using the ARC buttom, I created arcs across the two curved lines. Finally I divided the length of the arcs and by using the IntCrv buttom, I created interpolated curve through points.
15
Explore Curve Menu
16
Parametric Design Mercedes Benz Museum - A Master Piece Expressing Contemporary Porgramming Cultures The Mercedes Benz Museum is located in Germany, designed by UN Studio, and was completed in 2006. The attractive exterior and the geometry structure resulting in a new landmark. The build-
-ing was based on an unique cloverleaf concept – by using three overlapping circles, each level were connected by a ramps around a central atrium.
17
Mercedes Benz Museum - A Master Piece Expressing Contemporary Porgramming Cultures
The parametric design allows the building to be designed in a more complex free form shapes and yet repeating elements are also created. This building is considered as a successful parametric building, as it is a building that is obviously designed using computational process. From the exterior, the smooth curvature and the 360 degrees panoramic windows is very likely to be a parametric design. I agree with what Woodbury Robert mentioned in his book ‘Elements
of Parametric Design’, how some complex building can be only achieved through computer programming technology. The twisted, folded and double curved elements in the M Benz Museum is an obvious example, as the twist and turns around the museum provide a sculpture feeling for the visitors. The flowing design was inspired by trefoil – which is three loops continuously overlapping and returning into themselves – with this geometry shape, there is no mistake allowed.
18
Taichung Metropolitan Opera House A Success in Parametric Design
The Taichung Metropolitan Opera House located in Taiwan, designed by Japanese architect Toyo Ito. The design is an open structure, with several entrances around the building – emerging the interior with the exterior parkland. The smooth continuity of the structure allows the building to engage with art and music performance – Ito calls this architecture as the ‘Sound Cave’.
forms of this architecture with multiple perspective points and fragmented geometry to evoke the chaos of modern life. The main structure of this opera house will be formed with connecting curved interior and exterior walls and floors. The walls are designed to be formed with 58 curved wall units. Although this is a futuristic design, the construction of the 3D curved walls is a challenge.
The powerful curving
19
Taichung Metropolitan Opera House A Success in Parametric Design
The Taichung Metropolitan Opera House is designed using parametric tool – the curvature of the walls and floors. This succeed as the connection between the curved walls are perfect, they
connected continuously and formed a shape of cave. The design engaged both with the purpose of the building as well as the modern urban environment.
20
Parametric Modelling This week I tried using Parametric modelling using Grasshopper. It is quite chanllenging for me, but yet interestingl following the steps on the online video tutorials are very helpful to me.
21
Parametric Modelling I find this very useful as it maximise intersection of the curves, so we can trigulate the structure.
Though, I’m not quite sure whether I did it right, as the grid on my surface are not as neat as the one shows in the video tutorial.
22
PART B - EOI II
23
B1 DESIGN FOCUS
I’m interested in the complexity of repetitive patterns. With our group, Jun, Jess and I, we are interested in Tessellation, and using this technique, to create movement across our structure enhancing the experience of speed on a freeway site, thus accelerating the user into the realm of Wyndham.
24
VOLTADOM - SKYLAR TIBBITS FIG. 1
25
FIG. 2
The VoltaDom founded by Skylar Tibbits, was designed to celebrate MIT’s 150th Anniversary. It is a passage way built between Buildings on MIT campus. This project is one of the recent computational designs. The vaults provide curves within curves which provide an elegant, airy and intriguing feeling for the visitors. The VoltaDom project is an innovative fabrication technique that creates complex double curved vaults construction.
26
B2 CASE STUDY 1.0
I explored with the definition of Volt Dom and Voussoir Cloud by Iwamoto Scott, the repeating patterns of cones intersected with each other to create three dimension geometries. I managed to generate a range of interesting result in terms of tessellation. I started off by exploring the definition by changing the radius of the bottom circle and top circles, as well as the height of the cones. I’m more interested in the complexity of geometry, so as I generate geometries, I’m looking for those that have interesting structures and connections. As the number of points on the grid increases, it also allows me to generate a structure which have patterns overlapping each other and turns out to be a complex form. 27
CASE STUDY 1.0
I then changed the cone with the sephere, geometry. The result turned out to be very interesting, as when I increase the radius for the top circle, the sephere geometries form a ‘bowl’ shape. And as I insert the top circle radius as zero, and increase the bottom, the sephere geomeries form a cloud shape.
28
B3 CASE STUDY 2.0
We are interested in Haresh Lalvani’s work, so we used his work as our precedent to explore tessellation. Our aim is to adopt Haresh Lalvani’s design concept – which is change the overall structure shape without stretch the patterns by applying an external force. Lalvani’s work lies at the intersection of art and nature, he achieved his design by “looking at the nature as the prime source…” – TedxBrooklyn. He often laser cut the material to create gaps between pat
FIG. 3
terns to allow twist and turn to change the overall structure, and pushing the limit. He also applied natural force to scrip the structure, such as tension. Lalvani mainly uses metal as material, as this is not too soft and will withstand the forces without collapsing. 29
CASE STUDY 2.0
We want to adopt Lalvani’s design concept of creating gaps between patterns to allow the structure to be changed and flow accordingly, as well as imitate his Algorithm thinking to generate same shaped repeating patterns. We also tried to manipulate Lalvani’s idea of applying an external natural force to shape the structure without changing the patterns on the surface; in order for us to achieve this, we used Kangaroo plugin to stimulate the natural force.
But the result of this process did not turn out to be very successful, as we discovered that it is very hard for us to gain full control over the generated mesh and errors often occur when we tried to split the mesh – the shape didn’t turn out as dynamic as we would expected. At the end, instead of using Kangaroo, we decided to generate our own overall structure by experimenting with different geometries.
FIG. 4
30
CASE STUDY 2.0
For our Wyndham project, we want to achieve repetitive patterns to articulate form and by changing the patterns we want to create a sense of dynamic movement fluidity across the structure. On top of this, we also want our project to act as a medium between the city and country area, but at the same time allow people to notice and understand the two contrasting environment. In order for us to achieve this argument, we created an overall flowing, smooth and twisted structure by loft two circle perpendicular to each other along x and y axis. Each circle represent urban and country environment. By lofting them together, we want to show that the two environments had linked together and the twisted structure emphasis the contrasting surroundings.
Then we mesh trimmed part of the shape out, so we can generate a more suitable structure to emphasis the connections between the two contrasting aspects. By producing such eye catching and sharp contrasting shape, we want people to notice the difference easily while they drive pass on a high speed, as well as highlight the whole rural area of Wyndham.
31
CASE STUDY 2.0
After decided on our overall structure, we started to look at the patterns for our project. We tried to achieve identical patterns, as it would be efficient to build the model and also following Lalvani’s design concept. Unfortunately we failed doing so, as when we tried to change the overall structure by applying an external force we tend to stretch the patterns.
While exploring with the patterns, we also found another interesting point – extrusion. We discovered that extrusion forms a more dynamic and fluent form in term of 3D patterning. We’ve tried Fabrocity, Point attract and repel, Line attract and repel, Image sampling, Perforation and Grid Pinching. This allowed us to explore the relationship and connections between the patterns between local, regional and global control.
Fabrocity
Image Sampling
Line Attract and Repel
Perforation
Point Attract and Repel
Grid Pinch 32
CASE STUDY 2.0 PATTERNING
We then tried using Voronoi geometry to generate our patterns. We started with setting up a grid using Voronoi geometry to generate asymmetry grids; the benefit to set certain grid is that even the grid is irregular, we can still find the centre point for our pattern and the patterns also aligned along in rows. As well as this, it is also convenient for us to split the overall form into individual pattern.
33
CASE STUDY 2.0 PATTERNING
34
CASE STUDY 2.0 PATTERNING
35
CASE STUDY 2.0 PATTERNING
36
CASE STUDY 2.0 PATTERNING
37
CASE STUDY 2.0 PATTERNING
38
CASE STUDY 2.0 PATTERNING
We decided to use this as our final pattern for our structure, because the first impression that this pattern gives me is that the patterns are monotonous although it is repetitive if we take a closer look. This full fills our original aim to create a sense of dynamic movement and delicacy across the structure. For our final structure, we decided to have two circles interlocking with each other and a twisted double curved surface to represent connections between the two contradictory environments. We remap the surface and project the patterns onto our surface. We think that the repetition of our patterns suits the curvature of our form very well.
39
B4 TECHNIQUE: DEVELOPMENT The final result turned out successfully, we achieved our aim, which is allow repetitive tessellation form to articulate our final structure and create a sense of dynamic movement and delicacy. The two circles perpendicular and interlocking with each other represented contrasting environment; but at the same time the smooth and
twisted shape also emphasis the connection between the two environments. The patterns worked well on the structure, as it creates not only dynamic movement but also delicacy. The size of the patterns is relatively identical, which is what we are expecting.
FINAL DEFINITION
Unroll the form at the begining to obtain the evenly distributed grids on an unrolled surface.
Final choosen pattern.
40
TECHNIQUE: DEVELOPMENT
FINAL DEFINITION FOR PATTERN
41
B5 TECHNIQUE: PROTOTYPES We’ve tried various ways to connect each pattern on the structure. At first we’ve thought about connecting our structure with Waffle Connection. But we’ve realised that using Waffle would give us a sense of roughness and heaviness – this is something we are trying to avoid since the very start of our project. We’ve also tried tabs as our connection, but the result didn’t turn out to be the way we like. As well as Lalvani’s design concept, we’ve also explored into the precedent of ‘Strip Morphology’ by Achim Menges – where he used three steel plates joining the modular together and generate patterns, which allow the connections between struc
tures to be strengthened. Finally, we’ve decided to use the ‘Strip Morphology’ concept, as it full fills our original aim of creating a delicate structure with a sense of dynamic movement across the structure. The whole structure will be constructed with thin steel panels to create a visual impact of lightness. Tab Connection - Failed.
FIG. 5
Imitate ‘Strip Morphology’ connection method to achieve structural rigidity, at the same time allow the structure present a 42 sense of elegant.
The patterns generated by Algorithm involves in cutting edge discourse of architecutre. By having such elegant twisted structure and patterns,it creates a sense of movement. The ‘Strip Morphology’ connection for the structure creates a light weighted effect which achieves eye catching effect. We want our project to be placed next to the freeway to enhace the speed of the Wyndham as people drive pass. 43
ALGORITHMIC SKETCH
Three Dimension patterning
44
ALGORITHMIC SKETCH
Using Kangaroo plugin to imitating natural force.
g - line attract and repel
45
B8 LEARNING OBJECTIVE AND OUTCOMES In conclusion, our group managed to generate a structure that act as a medium between the urban and rural environment, also at the same time creating an eye catching effect to highlight the Wyndham Freeway. In this case, the theoretical research effected our knowledge of architecture very well. For our precedent, the research helped us to adopt Lavalni’s design concept to generate a structure using natural force and apply tension to the surface; although this did not succeed as patterns tend to be stretched when we change the structure, it is interesting to imitate the natural force on Kangaroo. The Voronoi geometry we used for our final patterning, we started with set
ting up grid points, which irregular patterns are formed. Even though the grid points are assymetrical, we can still find the centre point for our patterns and they are arranged in a row. Without the theoretical research, we wouldn’t come up with the idea of ‘Strip Morphology’ connection for our structure, which full fills our intention of an elegant form and high rigidity in joints.
46
REFERRENCE
BOLTADOM INSTALLATION/SKYLAR TIBBITS + SJET, LIDIJA GROZDANIC, http://www.evolo.us/architecture/voltadom-installation-skylar-tibbitssjet/
VOLTADOM, “SKYLAR TIBBITS”, http://vimeo.com/20081288
STRIP MORPHOLOGIES, DANIEL COLL, http://www.achimmenges. net/?p=4395
HARESH LALVANI, TEDxBrooklyn TALK
DIMITRIS KOTTAS, “CONTEMPORARY DIGITAL ARCHITECTURE DESIGN & TECHNIQUE” WYNDHAM CITY COUNCIL, WESTERN GARTEWAY DESIGN PROJECT, LMS BOLTADOM INSTALLATION/SKYLAR TIBBITS + SJET, LIDIJA GROZDANIC, http://www.evolo.us/architecture/voltadom-installation-skylar-tibbitssjet/ VOLTADOM, “SKYLAR TIBBITS”, http://vimeo.com/20081288 STRIP MORPHOLOGIES, DANIEL COLL, http://www.achimmenges. net/?p=4395
HARESH LALVANI, TEDxBrooklyn TALK
DIMITRIS KOTTAS, “CONTEMPORARY DIGITAL ARCHITECTURE DESIGN & TECHNIQUE” WYNDHAM CITY COUNCIL, WESTERN GARTEWAY DESIGN PROJECT, LMS
REFERRENCE
FIG. 1 - BOLTADOM INSTALLATION/SKYLAR TIBBITS + SJET, LIDIJA GROZDANIC, http://www.evolo.us/architecture/voltadom-installation-skylartibbits-sjet/ FIG. 2 - BOLTADOM INSTALLATION/SKYLAR TIBBITS + SJET, LIDIJA GROZDANIC, http://www.evolo.us/architecture/voltadom-installation-skylartibbits-sjet/ FIG. 3 - LALVANI STUDIO, “SCULPTURE, ARCHITECTURE, DESIGN MORPHOGENOMICS”, http://www.lalvanistudio.com/ FIG. 4 - LALVANI STUDIO, “SCULPTURE, ARCHITECTURE, DESIGN MORPHOGENOMICS”, http://www.lalvanistudio.com/ FIG. 5 - STRIP MORPHOLOGIES, DANIEL COLL, http://www.achimmenges.net/?p=4395