Chan polun 722911 partb part 1

potential of nature. Evolution has forced organisms to be highly efficient.

Fig 1: Aqua Tower, Chicago, USA, Studio Gang Architects, 2009

Opportunities

Patterning gives freedom to building design in the way that Form follows performance an inspiration is drawn from a particular form in nature but how the design achieves Patterning is a technique used performance is flexible to to achieve two things. First is performance , aligned with the idea executed. In Aqua Tower, although it mimics limestone in of biomimicry, such as structure, nature, the performance is not thermal and acoustics. restricted to how the structure The design of Aqua Tower was inspired by the striated limestone of limestone does the job. outcroppings common in the Great The architect is free to design Lakes area. But this sinuous shape how the pattern of limestone achieves performance. In this is not just a mere formal gesture, case, it is extending the views but it is also a strategy to extend and sun shading. the views and maximize solar shading. And by looking at the plans we see a rational structure, Fabrication concerns true to the Mies legacy in the city. 2 However, it also presents some problems in the realm of We can see how the building fabrication and construction. As mimics natural form of limestone the building is big in scale, how to achieve building performance. the building is assembled can be an issue.

Design implications

The sinuously curved concrete Patterning as a technique to mimic decks on each floor assume different configurations where nature allows maximized floor Biomimicry balconies extend anywhere space and easy to construct to from 2 to 12 feet. Although achieve the effect. If we look at Biomimicry is can be the driving force the architects used computer the typical floor plan, only where behind generative architectural design modeling to create the rippling the peripheral of the building is in the contemporary architecture. 1 contours, the fact that each occurring change. Basically, all This is because building design look floor slab is unique in shape floors are identical. Not only does for inspiration in nature to respond meant calculations had to be this means the use of space is dynamically to changing environmental maximized, the construction of the done separately for each floor. conditions, just like organisms do, pattern is also made easier, as only An edge-form steel plate was since nature optimize by achieving reused to guide the concrete the balconies are changed. highest efficiency with minimal means. pour: The steel form would bend In addition to mimicking complex for a pour and then spring back Fabrication can be made easier appearance, organization of patterned into a straight line, ready to be because of the repeating skins and structures in nature, their components of the whole structure bent again for another curve. 3 behavior is also investigated for as illustrated in P-wall later, where possible new ideas about performance Aligning different floor slabs to the wall is divided into repeating of building skins and structures. The be precise to follow the curved modules and assembled. impulse is to harness the generative Fig 2: Typical floor plan of Aqua Tower

1 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 10 2 See http://www.archdaily.com/42694/aqua-tower-studio-gang-architects/

produces affects and resonance. 4 In the p-wall project, Andrew Kudless used elastic fabric to cast a series of plaster panels, arranged in a large field. This project is based on a cloud points generated from the grayscale values of pixels in a digital image. The points are used to constrain the elastic fabric in the formwork, as it expands under the weight of poured plaster. It tries to resonate with the human body as it sags, expands and stretches in its own relationship with gravity and structure. The resulting supple surface invites visitors to touch it, to sense its smooth undulations. 5 Fig 3: P-wall, Columbus, Ohio, Andrew Kudless, 2006

The sensate affect it creates also attracts audience and they relate themselves to the p-wall project. Patterning ornaments are not just superficial but carries a sensual meaning.

It mimics the natural human body in the way the body ages and lose elasticity and forms this pattern. The fabrication involves fabric mould penetrated by rods and then liquid plaster is poured into the mould and left to set. Then, the tiles are assembled to form a wall according to a predetermined order and pattern. Thus, the fabrication process is simple.

However, since it is assembled by hands, and it is not done by machines, such as a CNC machine, the accuracy of the location of the points may not be accurate . The process of letting the plaster set also incurs time. It can be a problem to mass produce the tiles to apply to a bigger scale for larger effect.

Patterning opens up opportunities for designers to create interesting, efficient structures that achieve both environmental and societal goals.

Fig 4: Algorithmic patterning

Conceptual limitations

form can be difficult due to the number of slabs in this scale, but not impossible.

Due to the fact that patterning relies on a system of repetitive elements, the form must evolve by a set of rules, be it Ornament inspired by nature to geometrical or not, that limit the freedom of its form creation.

Also, some forms that derive from patterning are just made of create affect geometrical patterns such as triangular grids, that the form is too simple and not surprising, and therefore, not completely The second function of patterning ornaments making use of the potential of parametric design, to create is to create sensate affect to the building. It spectacular effects. is through ornament that material transmits affects. Ornament is therefore necessary and inseparable from the architecture. It is capable of generating an unlimited number of resonances. Ornament is necessary and 3 See http://greensource.construction.com/green_building_projects/2010/1001_Aqua-Tower.asp 4 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 8 5 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 18

B2 Case Study 1.0 Spanish Pavilion

Manipulating internal points

Manipulating internal points of different grid species

Image Sampler

Mapped on different surfaces manipulated by graph mapper

Lofting between offsets and grid

Mapped on different surfaces manipulated by graph mapper

Successful iterations a)

Selection Criteria 1. Shading a) allows creating custom size openings to achieve the level of shading needed. b) is successful in creating shading at areas where they are needed as I could just change the image to map on the grid. The pattern of the shaded areas are evenly distributed across the surface.

b)

2. Ventilation b) is capable of allowing ventilation through the openings Sufficient ventilation is distributed across the surface evenly.

Custom openings made by a) also allows controlling of the amount of ventilation through.

3. Strong structure d) is a loft between the offset and the grid which it offsets from. The downward manner can be excellent in creating a structure, be it a pavilion, acting as supports.

The arching geometry of c) allows a strong structure to be erected.

c)

d)

Speculate

a) could be used to create an interesting facade pattern that also suggests some shading. b) could be used as a suspended structure that spans over an area where it could create shading patterns. c) could be used as a pavilion where the middle part where it is projected upwards creates a space for people. d) could be used as a rain collection device, where the top openings can collect water and channelled down to the ground. Space at ground could also serve as a circulation space.

Reverse Engineered

point on 0,0,0, moved in XY directions, Line between two points.

Move lines to X and Y direction respectively

Tween curves and create 6 curves inbetween.

Curve / Cruve intersections to find points.

a)

b)

Cull pattern to find and separate rows of points in true, false manner

Cull pattern to find and separate rows of line in true false manner. The points are also culled in true false manner. Break lines in segments according to points.

Scale down surface on center point of each surfaces and draw nurb curves on the 4 corner points of the scaled surfaces.

Join a) and b) curves and loft between curve segments.

Move the nurb curves in Z direction.

Same process repeated for the second row of grid, except that the first and last item on the list must be culled so that the loft can start to loft on the second row and ends on the second last row.

Loft between the nurb curves and the original grid pattern.

B3 Case Study 2.0 Iwamoto Scott - MoMA/Ps1 Reef

Introduction

Comparison

This project is produced by a finalist entry in the MoMA/PS1 Young Architects Program by iwamotoscott Architecture. This project aims at creating an atmosphere of light, shadow, shade and movement similar to coral reef underwater.

My reverse engineer was successful in creating the following similarities. They are lofted surfaces from the grid to the closed curve at the center point. The grid is also the same that it is shifted on every second row so that the grid is different from a standard rigid grid.

It aims at creating atmospheric conditions of shade, sunny, misty, dry and rainy by creating anemone clouds that float over the courtyard by suspended cable trusses. 6

They are different in the way that the curves in the project follow a wavy pattern that I think is created by deforming the grid with a field. My pattern may follow the curvature because it is derived from tweening two curves.

I think it is successful in creating the design intent because as seen from below the suspended anemone clouds, it provided a shaded environment but at the same time does not block the sky or sky. Since it is hanging, the clouds could move by the wind force. This enhances the atmosphere of anemone clouds floating.

6 See http://www.iwamotoscott.com/MOMA-PS1-REEF

I would like to take this definition in part C where I could create some shading or noise barrier structure that spans over a space that requires the attention. This pattern is also good at being deformed and adjusted to any geometries to be applied to the site. So I would like to see how this pattern evolve in the site.

B4 Technique: Development

Applying attractor points

Split by brep surface at different levels

Changing number of cells in X and Y

Changing curvatures

Using different geometries to loft with

Split the grid by rows and jitter

Changing cull pattern

Image sampler

Recursive scaling of openings

Different graph mappers

Different graph mappers

Controlling shape of openings by internal points

Overlay different grid types and create voronoi

Selection Criteria The selection criteria have been revised from B.2 and included some new items.

a)

1. Shading a) allows creating custom size openings to achieve the level of shading needed. The twisting of the lofts also create interesting aesthetics. b) allows shading at places where I want by image mapping. Openings were significantly smaller and thus better shading effect.

b)

2. Controlling pollution a) is also capable of shielding away any visual or audio pollution since the faceted surfaces of the lofts could block and hence reduce the overall pollution emitted from the source.

Custom openings made by d) also allows controlling the amount of pollution, smaller opening for greater level of control.

c)

3. Strong structure The arching of c) is allows the creation of a strong structure against vertical loads. Thus may allow spanning over a large area.

4. Flexible pattern to apply on site All these patterns can be adapted to site forces since they have different input parameters. ie, the attractor point may be able to track the sun path, image sampling of areas of the site where there are not enough shading.

Speculate

d)

a) could be used as a component in a pavilion that creates shading or hang along a path for shading for people walking by. b) could be applied to a facade of a building where behind the larger openings can house rooms such as meeting room where the smaller openings can house utility rooms or more private rooms. c) could be an arching bridge over a river where people can walk across on top. Or it can be a furniture which is spongy to lay down. d) could create even more interesting shapes(deformed circles) of openings of a pavilion for shading or aesthetics considerations.

B5 Technique: Prototypes

B6 Technique: Proposal

I want to use the cells I have created in my technique to create a pattern on a surface that wraps around a bridge structure, with the aim of reducing the noise pollution of the traffic and creating shading if possible (fig. 6, 7).

I want to look at the how the bridge (fig. 5) creates a form with the overhead that creates shading. Except that I will focus on using the cells I have developed to apply on a structure like this. Not only does this bridge creates shading, it also creates scenic viewing for pedestrians and cyclists. 7 Maybe it can be something worth looking at also.

Fig 5. South East Asian Crossing Project, IJP Corporation, Landscape Architects

B7 Learning Objectives and Outcomes .

Fig 6. Noise diffusion by cell developed in patterning technique

Fig 6. Noise reflected on the facetted surface.

7 See http://www.e-architect.co.uk/singapore/singapore-bridge

B8. Appendix - Algorithmic Sketches

In this sketch, I have used graph mapper to distort the lofted surfaces created by field lines. The field lines are created by merging several fields together and evaluated.

I have used extensively the field in my technique exploration and the graph mapper to create shapes that inform my proposal at the end, a bridge system.

Points on a surface are used as inputs for the image sampler and then circles are drawn at these points and the radius according to the image.

What is different here is the radius of the circles are further controlled by replacing the radius with 4 numbers, thus enabling a higher degree of control.

I have used this to explore my iterations to create different shading areas with an image of my choosing.