Architecture Design Studio: Air by Albertus Magnus Yudhistira

ARCHITECTURE DESIGN STUDIO

AIR

Journal

Albertus Magnus Yudhistira Josh and Jules Studio, Sem. 1 2017

CONTENTS O | Introduction

C | Detailed Design Design Concept

A | Conceptualisation Design Futuring: Towards a Speculative Manner Design Computation: Human and Computer Symbiosis

Tectonic Elements and Prototypes Final Detail Model

From Composition to Generation

Learning Objectives and Outcomes

Conclusion

Appendix

References

B | Criteria Design Research Field Case Study 1.0 Case Study 2.0 Technique: Development Technique: Prototypes Technique: Proposal Objectives and Outcomes

LEFT: John DeMaioâ&#x20AC;&#x2122;s Concept for an International Museum of Form and Design (unbuilt)

Introduction

Since I was a kid, I always excited in seeing the way something is planned and designed. I always seek the motivational background and reasons for every design. Initially, my process of designing things were purely imitate the final product of a design. But after I started my study in university, I began to develop my skill to understand the reasons and concepts behind each design. Using precedents, the reverse-engineering method of peeling the final product into its initial step and sketch was then developed in the studio classes. These studios help me to critically analyse and have a better understanding in every design process and why must be this and so on. My name is Albertus Magnus Yudhistira and people usually call me Albert or Adhis. This is my third year of studying Architecture in The University of Melbourne, currently under the Bachelor of Environments. Architecture for me is something where imaginative and speculative thought collides with a rational way of thinking, in which this driven the innovation of form and keep challenging the meaning of form and ideas. I always like the fact that architecture is ultra-flexible in its own way, which is keep challenging me to rethink and reflect the meaning of what architecture is. Well, for me the definition of architecture is subjective on what the situation is demanding for. I do not want to say that architecture is a market-driven knowledge, but it is subjective to the sociocultural, technology and environmental issue that are arising in where the definition of architecture is present.

In Studio Air, I am introduced to the digital process of architecture, which for me is a totally new concept and technique. I never had any experience in algorithmic logic of design process. What I did in the previous studios was totally only a computerisation process instead of using computer as my “design partner”. I never thought of having computer as actually something that you can collaborate with and realise that the Grasshopper and friends are really that powerful so you can even feel amazed with yourself. To end this long introduction, I would say that technology is again will disrupt the definition of architecture. History has proven that technology and design would change the way architecture is defined and how it will affect the environments and societies’— as the end user—responds to design.

RIGHT TOP: Studio: Earth first design project. RIGHT MIDDLE: Studio: Earth fourth design project. Digital drawing using Illustrator. RIGHT BOTTOM: Studio: Earth fourth project. 4

CONCEPTUALISATION

CONCEPTUALISATION 5

CONCEPTUALISATION

A Conceptualisation

CONCEPTUALISATION 7

Design Futuring Towards a Speculative Manner

Throughout the history, people have been trying to predict what the future is going to be look like. From tarot cards, zodiacs, witchdoctors, and even to animals (like Paul the Octopus) are the tools that used to predict the future in an intuitive manner. However, most of the methods are scientifically irrational and thus could not be use as criterion to really determine what the future is going to be look like. Architecture as a rational discipline must not rely on unscientific process of thinking when looking into the future. One thing that must take into account is that there is no certainty of what is going to happen in the future. Therefore, scientifically there is no such thing as prediction. What exist is only a set of scenarios of possible future.1 The framework of possible future is formulated through the understanding of the present and discuss the kind of future that people want and do not want. This way of describing of future is set through series of scientific researches which then connect the present and the future itself. These series of scientific researches are ultimately a system, in which in this digital age, architects need to have a deep understanding of the system in order to speculate the future.

Modern computer and algorithmic software development have allow us to have a more deeper understanding of the system framework and critically using that as a tool to speculate the outcome in an intuitive way. Fry states that design democracy allow more access and opportunities towards speculative and surprising outcomes. 2 Speculative design in the past had restricted by economic constraints. However, now software and computer have become easily accessible by everyone, which this design democracy lets speculative design developed rapidly and become less constrained by economical barrier. New ideas and concepts then rising and people are using speculation to critically research and design systems to produce a more predictable outcomes and have a better observation or study of the possible future. Therefore, technological advantages in the present world would create a disruption in how design should be approached. Should we stay in the orthodox way of designing or use a speculative approach to discuss the possible future?

System as a part of design process is critical to understand as this algorithmic process will determine what the outcome is. This approach creates series of possibilities and shape how design could determine the future.

1 2

Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming, (Cambridge, MA: MIT Press, 2013), p. 44. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, (Oxford: Berg, 2008), pp. 7-10.

CONCEPTUALISATION

ON THIS PAGE T4T Lab, by Austin Madrigale, Christian Stiles, Yssac Bustamante. Texas A&M University, 2017. CONCEPTUALISATION 9

ZCB BAMBOO PAVILION

The Chinese University of Hong Kong School of Architecture, 2016

This pavilion in Hong Kong by The Chinese University of Hong Kong introduces the collaboration between modern and traditional technology, by combining and exploring the value of traditional materials and digital fabrication.3 The interesting part is their concept of speculating whether bamboo can be used and create value in this modern world, which is usually seen as a traditional kind of material and currently not optimised as a main building structure.

This radical approach towards communicating different technological era challenges assumptions on how we should treat traditional norms and values. Furthermore, the pavilion also proves that bamboo as a renewable material provoke current assumptions of how the potential of this material is mostly underrated. Moreover, this pavilion reminds us that bamboo as the future of sustainable material should be studied more and experimented to help designing the future.

By having a deep understanding of the bamboo system and materiality, they â&#x20AC;&#x153;investigates how computational design tools can be strategically inserted into existing construction methods to allow for a more engaging and innovative architectural outcomeâ&#x20AC;?.4

Eleanor Gibson, Arching Bamboo Events Pavilion in Hong Kong Schowcases Digital Fabrication (2016), <https://www.dezeen.com/2016/11/22/zcb-bamboopavilion-students-chinese-university-of-hong-kong-world-architecture-awards-small-project/?li_source=LI&li_medium=rhs_block_1>, [accessed 17 March 2017]. 4 Ibid. 3

CONCEPTUALISATION

FRIEDRICHSTRASSE SKYSCRAPER PROJECT Ludwig Mies van der Rohe, 1921

This unprecedented concept of fully glass covered skyscraper was designed by Ludwig Mies van der Rohe in 1921. During that time, this kind of speculative design is almost impossible to build. It is then become the leader and trendsetter of what today’s typical international style of office building design.

His idea was to allow a building to express its translucent characteristic by maximising the load bearing ability of steel skeleton and get the mass idealisation—which was common at that time—out of his design.5

Mies’s deep understanding of construction and materiality pushed him forward to this radical proposal of what modern skyscraper should looks like. By synchronising of optimising the algorithmic thinking of construction methods and material potentiality, he was able to interrogate the concept of skyscrapers at that time and propose something that is beyond the generic architectural norm.

Artist Rights Society, Friedrichstrasse Skyscraper Project (2017), <https://www.moma.org/collection/works/787>, [accessed 17 March 2017].

CONCEPTUALISATION 11

Design Computation Human and Computer Symbiosis

Computer Aided Design or CAD has challenge people’s opinion on whether we should see CAD as killing designer’s creativity or actually part of the creative process itself. The former suggests that CAD with its limitations restricts how we could design and the end result of CAD is not a pure humanist process and sketches of creativity. However, these arguments seems to underestimate the power of CAD and make it as a scapegoat of the process. In contrast, the latter sees CAD as the tool to enrich the design process. Similarly, Oxman suggests that CAD is a tool that “enables the creation and modulation of the differentiation of the elements of a design”.1 This absolutely would widen the opportunity to generate a more exciting and intricate designs. As computer is used to help people producing outcomes, a question about human-computer relationship hierarchy is arising, whether (1) human fully exploits the computer, or (2) human and computer are equal in the process, or even the extreme one that (3) human is exploited by computer. To answer this we have to understand the process and motive behind using the technology. The first one is computerisation, in which the author suggest that computer is only a tool for human to help realise ideas or concepts. It only making things faster and more efficient. In this concept, the creative process is only come from the designer’s mind and the computer contributes no innovative outcome in the process. There is less speculative process in this concept. Here the human-computer design hierarchy is limited to the exploitation of the computer without letting it to generate ideas and suggestions. The second one is computation, which in this concept the computer is optimised to let it generate multiple design opportu-

nities using digital process. While design process often surrounded by uncertainties, 2 computation would help designers as an investigation tool to solve design problems. A question might arise, is computation an intuitive process? The author’s answer would be: yes. As the creator and computer are still surrounded by uncertainties, intuition and creativity will always be needed to solve the problem. Computer as a logic and rational system lacks any creative abilities or intuition,3 and thus it will need human to present the creative and intuitive process. Therefore, the human-computer relationship here is changing which both are at the same level, where one needs a deep analytical process and the other one needs a creative process of thinking. They then created a collaborative and mutual symbiosis between each other by sharing each other’s knowledge. Optimising design process by computer is not merely telling the computer what to do, but sometimes the computer also telling the user what probabilities, outcomes or things that can be optimised or avoided.4 By using algorithm or a set of instructions, human is entering the process of finding a form, instead of just making a form.5 Thus design possibilities are generated and the computer is optimised using its analytical way of thinking. The last one where human is exploited by the computer. The author would not suggest that this is true as the computer still need human to be involved in generating the algorithms and parameters. Computer is truly not having any creative capabilities unless someone put some algorithms in. In other words, the creative and intuitive process of a computer is not a pure creativity as there has to be one who writes the set of instructions. Therefore, the hierarchy which human is ruled by computer does not exist.

Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture, (London; New York: Routledge, 2014), p. 3. Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, (Cambridge, MA: MIT Press, 2004), p. 1. 3 Kalay, Architecture’s New Media, p. 2. 4 Robert A. Wilson and Franck C. Keil, ‘Definition of Algorithm’, in the MIT Encyclopaedia of the Cognitive Sciences (London: MIT Press, 1999), p. 11. 5 Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing, (New York; London: Spon Press, 2003), p. 13. 1 2

CONCEPTUALISATION

ON THIS PAGE Bloomberg Pavilion parametric design process. CONCEPTUALISATION 13

LOUVRE ABU DHABI Jean Nouvel, 2007

This project is interesting which it mixes the computerisation and computation concept. The computerisation part is when the architect uses computer to help him realise his sketching and conceptual drawing. Similarly, the computation part helps the architect to optimise and create the ceiling structure as the most exciting part of the design. The orthogonal geometry of the ceiling dome represents the Arabian and Islamic culture, in which it is a precedent of an intuitive and analytical process of thinking.

the rules and instructions which the computer would serve information such as building performance and suggestion in how this dome is possible to be built without leaving the creative part of the concept. Using computation, it is also possible to introduce the pattern of the dome in which it inspired by the interlaced palm leaves traditionally used as roofing materials.6

The optimisation of computation and algorithmic process in this project offer opportunities of what the dome is going to be look like. Architect as the creative source of the project determines

Louvre Abu Dhabi, An Island of its Own, a Museography of Dialogues (2014), <http://louvreabudhabi.ae/en/building/Pages/architecture.aspx>, [accessed 17 March 2017]. 6

CONCEPTUALISATION

BLOOMBERG PAVILION

Akihisa Hirata Architecture Office, 2011

As a symbol for the Museum of Contemporary Art Tokyo, this outdoor installation intends â&#x20AC;&#x153;to increase exposure to culture and art by allowing young artists and performers from the city to hold solo exhibitsâ&#x20AC;?.7 The use of computation process is evident which computing process affects how the pleated surface would look like. A system of algorithmic and parametric process lies in the manipulation of simple triangle geometry into a complex set of triangles which then form into an intriguing and intricate kind of pleated surface.

between both process and also the judge for the outcome. Ultimately, there must have be several design outcomes from the algorithmic process and the architect decided to use the geometrical from that is buildable with the current technology.

This innovative way of thinking enables a collaboration between creative way of conceptualising the idea and mathematical logic of angles. By this, the algorithm would behave as the mediator

Lauren Grieco, Akihisa Hirata Architectural Office: Bloomberg Pavilion (2011), <http://www.designboom.com/architecture/akihisa-hirata-architecture-officebloomberg-pavilion/>, [accessed 17 March 2017]. 7

CONCEPTUALISATION 15

Composition/Generation From Composition to Generation

The norm of architecture is always changing time to time. There was era in which set of aesthetic rules like symbolism, geometry, etc. that had become a fixed doctrine in the practice and retrieved as the base for every architectural creation. Modernism then came deny all those doctrines and introduced a more simplified idea of architectural creation. However, the ideas were still somehow sticked to the classical idea of symmetrical balance of form. In contrast, contemporary architectural practice tries to reject the idea of symmetrical aesthetic in creating forms. This practice encourages more genuine organic and intricacy qualities of architecture where digital platform is optimised to generate these qualities.1

Using computation as the research method, this allows designers to have a deeper understanding of natural forms and geometries. Computation has the opportunity to add tons of new information in the design process.3 Moreover, generative behaviour of computation also allows designers to deal with highly complex situation4 that generates new ideas and thoughts. Computation-generated design somehow create a more intriguing, intricate and organic forms. However, in generating this kind of architecture, designers must first understand the complex set of information, rules and algorithms. It is necessary to understand the logic behind this to prevent designers to just copying forms without any knowledge about it.

Symmetry as the most orthodox norm of architecture now has become a question that challenge which way architectural philosophy and practice should follow. Whether stick to the idealisation of proportional series and numbers, or tries to learn the system of natural form in which we currently could only generate it using computation. The classic idea of symmetrical composition, however, does not offer space for further flexibility for searching and exploiting new geometrical forms. Similarly, Lynn argues that “symmetry was the absence of information”. 2 This idea of absence information questioned the system’s opportunity of symmetrical proposition in how it could produce the research of new typology of form and the encouragement to understand more the system of natural forms. Nevertheless, the method of compositing the idealisation of proportional series and geometric forms somehow limits the generation of forms and geometrical flexibility.

Generative architecture then is a new type of creative process which it involves not only creativity and intuition, but also logical and analytical characteristic of the algorithmic thinking. Algorithm as the framework for thinking offers wider set of rules and instructions that does not bounded within norms or ideal proportion of design process. It allows extraordinary parametric geometries outcome and different type of form finding which would become the new typology of creativity process.

Greg Lynn, ‘Organic Algorithms in Architecture’, TED Talks (2005), retrieved from <https://www.ted.com/talks/greg_lynn_on_organic_design>. Lynn, ‘Organic Algorithms in Architecture’. 3 Ibid. 4 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, in Special Issue: Computation Works: The Building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013), p. 10. 1 2

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ON THIS PAGE The complexity of Spanish Pavilion material detail CONCEPTUALISATION 17

DESERT RESEARCH INSTITUTE CONCEPT John DeMaio, 2016

There is no further explanation found about this concept. However, from the pictures it is seen that advanced parametric modelling and the response to site is outstandingly astonishing. 5 The computational method in this concept is genuinely produced by understanding the system of the desert itself. By having this adequate method and understanding, it is then possible to manipulate existing geometries into a set of form which response the need of the concept. Contemporary architectural design is in need to study natural form and the best way (so far) to mimic this is to generate a complex set of information and rules which computation process would help to achieve the best and predictable outcomes of design mimicry.

John DeMaio, - (2016), <http://www.john-demaio.com/>, [accessed 17 March 2017].

CONCEPTUALISATION

SPANISH PAVILION at SHANGHAI EXPO 2010 Miralles Tagliabue EMBT, 2010

Aimed to bridge the language of material works between East and West,6 the parametric modelling and algorithmic concept is also used in this project, which to generate curves and setting point for the panels. By having those, the architects then could create a most interesting outcomes rather than just squary typology of structure. This allows for a smoother surface and create a dynamic effect of the whole pavilion. Computing process has the power to change and inspire a lot of people by generating series of intricate curves and lines and accordingly create thought-provoking structure.

The future of design trend is lies on the computing process and algorithm which it creates the opportunity of new kind of form outside the orthodox platonic solids. Moreover, the learning process that now needed is the understanding and research of how structural components and construction methodology could coop with this kind of architectural innovation.

Macus Fairs, Spanish Pavilion at Shanghai Expo 2010 by EMBT (2010), <https://www.dezeen.com/2010/04/26/spanish-pavilion-at-shanghai-expo-2010-byembt/>, [accessed 17 March 2017]. 6

CONCEPTUALISATION 19

Conclusion

Speculative Behaviour

Learning Outcomes

Architecture is a dynamic and flexible kind of discipline that encourages an environment full of ideas and innovation. Throughout history, many architects have been trying to publish manifestos and conceptions in a speculative manner which again disrupted the way peopleâ&#x20AC;&#x2122;s think and behave toward their surroundings. Being speculative is both intriguing and exciting as speculation gives the chance to create scenarios of some possible futures, also no one knows exactly what the future is going to be look like.

I used to have a scepticism towards the use of computation in part of design process. I did not realise that computation is so powerful that it could speculate and connecting the present possible future.

Computation is an exciting method of connecting the present and speculative future, which allows the generation of ideas and innovations. By computation, a more intricate outcome is possible in which it gives more answers and possibilities to the uncertainties. More possibilities mean more chance of creating efficiency and effectiveness in design. With this, the sustainable future is then not just a utopian dream that is untouchable. Moreover, creating a positive mutual symbiosis between designers and computers is how we would create the future. A future of innovations and thoughts that disrupt the lies and create change for a sustainable future.

CONCEPTUALISATION

My understanding has been developed so much that I now could understand the opportunities and power behind computational process, the opportunity to produce amazingly multiple outcomes that give more solutions of a problem. Without computation, I do not think we could produce so many solutions within this uncertainty of design problem. I hope, my view and thinking framework in computation and skill will help me creating more sustainable outcomes in my future design and improve my ideas.

References

Artist Rights Society, Friedrichstrasse Skyscraper Project (2017), <https://www.moma.org/collection/works/787>, [accessed 17 March 2017]. DeMaio, John, - (2016), <http://www.john-demaio.com/>, [accessed 17 March 2017]. Dunne, Anthony and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming, (Cambridge, MA: MIT Press, 2013) Fairs, Macus, Spanish Pavilion at Shanghai Expo 2010 by EMBT (2010), <https://www.dezeen.com/2010/04/26/spanish-pavilionat-shanghai-expo-2010-by-embt/>, [accessed 17 March 2017]. Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice, (Oxford: Berg, 2008) Gibson, Eleanor, Arching Bamboo Events Pavilion in Hong Kong Schowcases Digital Fabrication (2016), <https://www.dezeen. com/2016/11/22/zcb-bamboo-pavilion-students-chinese-university-of-hong-kong-world-architecture-awards-smallproject/?li_source=LI&li_medium=rhs_block_1>, [accessed 17 March 2017]. Grieco, Lauren, Akihisa Hirata Architectural Office: Bloomberg Pavilion (2011), <http://www.designboom.com/architecture/akihisahirata-architecture-office-bloomberg-pavilion/>, [accessed 17 March 2017]. Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, (Cambridge, MA: MIT Press, 2004) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing, (New York; London: Spon Press, 2003) Louvre Abu Dhabi, An Island of its Own, a Museography of Dialogues (2014), <http://louvreabudhabi.ae/en/building/Pages/ architecture.aspx>, [accessed 17 March 2017]. Lynn, Greg, ‘Organic Algorithms in Architecture’, TED Talks (2005), <https://www.ted.com/talks/greg_lynn_on_organic_design>, [accessed 12 March 2017] Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture, (London; New York: Routledge, 2014) Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, in Special Issue: Computation Works: The Building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013) Wilson, Robert A. and Franck C. Keil, ‘Definition of Algorithm’, in the MIT Encyclopaedia of the Cognitive Sciences (London: MIT Press, 1999)

CONCEPTUALISATION 21

CRITERIA DESIGN

B Criteria Design

CRITERIA DESIGN

Geometry By Muchen Yan

VOLTA DOM

Skylar Tibbits. 2011.

The VoltaDom, designed by Skylar Tibbits for MIT’s 150th Anniversart Celebration&FAST Arts Festival, is the example of using doubly-curved vaulted surface as the form of each cell in the structure. The installation lines the concrete and glass hallway with hundreds of vaults, reminiscent of the great vaulted ceilings of historical cathedrals Design Implication and Opportunities VoltaDom provides a parametric interpretation of conventional vault form, attempting to expand the notion of the architectural ‘surface panel’ by intensifying the depth of a doublycurved vaulted surface. It understands and reproduce the traditional geometries in a new typolgy with digital tools.

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Fabrication In the research field of geometry, fabrication of the undevelopable multiple curve surfaces has always been an obstacle. The fabrication of VoltaDom was realized by transforming the 3D vault surface to developable planes and roll up. This is a process sublimating planar material limitations and can be a inspiration for fabricating our future generating geometries.

Minifie Van Shaik . 2001.

Schoenâ&#x20AC;&#x2122;s unamed 12 features an investigation of surfaces where each element is of least area, held in an equipoise of tensions. The surfaces are evolved by continually subdividing a precursor, gravitating the gradients to their lowest energy configurations. Yet they retain their ability to develop, to link and extend continuously, establishing the extents of a field. The unnamed 12 is constrained by the threshold beyond which continual offsets collapse to a self-intersect, and each building is a different vesicular instance of the virtual unfolding of the surface.

Design Implication and Opportunities The notion of triple periodic minimal surfaces is used for the overall formal concept can gives the building an astoning geometric perception. The digital tools facilitates these methmetical medelling and processing .

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MAGENTA = Margin/Safe Art Boundary

Case Study 1.0 the Green Void The Green Void is featured by a 3-dimensional lightweight-sculpture solely based on minimal surface tension, freely stretching between wall and ceiling and floor. The design and fabrication procedure uses state-of-the-art digital workflow; beginning with 3D computer modelling, that is engineered structurally before undergoing a process of computer controlled (CNC) material cutting and mechanical re-seaming.

The plug in â&#x20AC;&#x2DC;Kangarooâ&#x20AC;&#x2122; component for grasshopper is used for surface relaxition . It works by defining the anchor points and the applied forces, and analyzing the state of each points on the surface under the forces. The simulation uses base geomotry formed by ellipses and cube edges, and uses spring forces to simulate the natural evloving system of finding minimal surface.

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A01. Changing the relaxation factor

A02. Generating new base geometry

A03. Changing the base geometry and relaxation coefficient

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After playing with the defination of case study, I started to explore more variation with the kangaroo plugin and use differen force elements for relaxition.

B. Tension Shelter In this defination, kangaroo plugin is used for simulation tension elements. The gravity and spring are both used as force element. The Base geometry is derieved from a spiral matrix generated by sin and cosin expressions. The anchor points were selected and moved upwards in the simulation

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C. Growing organic system

with the base element of developable ortho structure, this defination has a potention of infinite growing. With the kangaroo relaxition, the geometry looks like a growing organic (urban) structure.

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D . Origami in wind In this defination, the forces from windmesh and spring mesh are used collectively to simulation the state of a origami plane under the wind. Different anchor points and wind vector were adjusted for iterations.

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A. Tension relieved A short spring rest length is set with indicates a large deforming. Tension was simulated with the summits on the spiral base.

B. Relieved Throughout the history, people have been trying to predict what the future is going to be look like. From tarot cards, zodiacs, witchdoctors, and even to animals (like Paul the Octopus) are the tools that used to predict the future in an intuitive manner.

C. Growing structure With the base element of developable ortho structure, this defination has a potention of infinite growing. With the kangaroo relaxition, the geometry looks like a growing organic (urban) structure.

D. Origami in wind This is the form derieved from the maximum relaxition within the range of the origami in the wind simulation.

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GEOMETRY- Robot foam cutting

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Casting with plaster

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Understanding Patternisation in Nature By Albertus Magnus Yudhistira

One of the purposes of design computation is to search and invent new forms speculatively. By computation, one could generate a more complex form which at the same time it also challenges the way we seek for inspiration. Understanding the form of nature is one of the method to search for new design opportunity. The objective of understanding the system of nature is not to mimic its shape or form, but rather challenging the way we conceive things.1 Thus the aim is to find how nature is behave and study it to produce efficiency in design and construction. Nature in its own way has found methods and strategies to construct itself and by using its adaptive methods of living it could develop forms and patterns that surprisingly behave to adapt to its surrounding. Patterns are not something that is completely random or grow organically. Rather, it is a set of complex systems in which already have sets of “algorithms” in its own. These patterns are having similarities in forms which are actually can be applied to design and construction methodologies. They both are act in the similar manner. 2 Accordingly, computational process could help in recreating these natural norms and behaviours by using “the logics of generative computational systems that integrate material, form and performance in the design process”.3 In conclusion, the understanding of natural behaviour will be used to drive on how design innovation and form finding are created as the solution for design problem.

Achim Menges, Lecture on “Computational Material Culture”, 26 April 2017, (Melbourne: 2017). Philip Ball, Nature’s Patterns – Shapes, (Oxford: Oxford University Press , 2009), p. 17 3 Achim Menges, Material Computation: Higher Integration in Morphophonemic Design, Architectural Design, 2012, 82, 2, pp. 14-21, p. 20 1 2

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ON THIS PAGE Sunflower in Neon, by Lloyd Goldstein. https:// lloydgoldstein2003.files.wordpress.com/2014/07/ sunflower-macro-on-black.jpg, 2011. CRITERIA DESIGN

40 BOND ST

Herzog and de Meuron, 2007.

Design Implication and Opportunities

Fabrication

Sometimes, graffiti on city walls can be used as an inspiration. The project tries to recreate and reform the existing pattern in graffiti to produce something new and exciting. Natural form somehow can also be found in something that is actually man-made (like graffiti) and merely not always from plants, insects or othe living things.

Inspired by the graffiti on the city walls, the architects took photos of it and then scanned it and converted into vectors. These vectors then digitally combined to create pattern and depths were added to generate a three-dimensional model. A CNC milling machine was used to cut foams which will be used as a mould for aluminium casting.4

Wikiarquitectura, 40 Bond Street (2016), <https://en.wikiarquitectura.com/building/40-bond-street/>, [accessed 28 April 2017].

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ICD/ITKE RESEARCH PAVILION ICD/ITKE University of Stuttgart, 2011.

Design Implication and Opportunities

Fabrication

This pavilion is a result from a process of understanding natural behaviours. By testing and fabricating it into a whole structural and material system, it proves that it is worth studying the natural patterns of living organisms that actually could produce efficiency and effectiveness in construction and design During the analysis of different biological structures, the plate skeleton morphology of the sand dollar, a sub-species of the sea urchin (Echinoidea), became of particular interest and subsequently provided the basic principles of the bionic structure that was realized.

The idea was to create a modular typology of form which allows a high degree of adaptability and performance due to the geometric differentiation of its plate components and robotically fabricated finger joints.5 Using robots, it enables the opportunity to mass produce 850 different plywood panel geometries simultaneously which creates an economical benefit for construction production.

Amy Frearson, ICD/ITKE Research Pavilion at the University of Stuttgart (2011), <https://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-theuniversity-of-stuttgart/>, [accessed 28 April 2017]. 5

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Case Study 1.0 Exploring Patternisation

By using computational technology, Herzog and de Meuron generates an exciting wall facades that is created using patternation technique. Each facade has a unique kind of form in which produce a particular image if one see it from distance. In this museum, the facade features a three different layers of copper in which it will slowly become green due to oxidation and thus blend to its natural surroundings. The hierarchy of a wall is challenged here where usually wall is fully enclosed, but here it works as an art object and with its hollow perforation it lets natural lighting and wind to enter.

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Project name: M. H. de Young Museum Location: San Francisco, CA Architect: Herzog and de Meuron Year of completion: 2005

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A. Minimum Radius

B. Maximum Radius

C. Outer Radius

D. Inner Radius

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E. Maximum Radius

F. Maximum Radius with Sphere

G. Lofted Height

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Selected Outcome Selection Criteria As the design intention is to follow the organic characteristics of natural form, the selection criteria is then something that is sprawled and seems chatoic, but actually has a particular pattern and formation inside it.

Speculation upon Design Potential As it is a complex form, it is decided to divide the whole design into set of modules which would be easier to cut using the robot.

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A3. Minimum Radius The shape of an echidna is more obvious in this iteration.

B2. Maximum Radius The shape that shown inside the frame is produced from a process of understanding the negative and positive space. This iteration could become the negative space for casting process.

C3. Outer Radius The middle part of this interation serves as a contrast which at the same time blend into its nature.

F4. Maximum Radius with Sphere This is the most exciting iteration that produced as it provides complexity of a natural form yet the simplicity of each pattern. The idea of sprawl will be developed further for the next design proposal.

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Hand Cut Blocks

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Robot Cut Blocks

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Strips and Folding By Henry Kurniawan

Strips are modular and linear architectural design feature used by architects to create various forms. Strips work in accordance with many different architectural technique, one of them is folding. Folding is a technique that change the direction of an element by defining a clear edge. By applying folding to modular strips, the direction of the strips itself could be changed in various ways, which create a very broad possibility of outcomes. In pre-contemporary era, strips is not commonly used due to the limitation in production technology, material and stylistic matter. The art nouveau era might represent an early brief use of strips. The use of cast iron as main material allow this style to create a type of decoration that is not attached to the surface of a building. However, the use of strips in the art nouveau era is solely for decorative purpose. The possible manipulation to the module is also very limited due to the characteristic of the cast iron and limitation in technology. This might be one of the reason why all art nouveau decorations are in curvy figure, apart from the stylistic purpose itself. Art Nouveau Decoration, Source: https:// en.wikipedia.org/wiki/Art_Nouveau

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ON THIS PAGE Paris Metro Station Entry Source: http://toothpicnations.co.uk/my-blog/?p=23433

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SOURCE: HTTP://ICD.UNI-STUTTGART.DE/?P=4458

ICD/ITKE RESEARCH PAVILION

This pavilion display how individual strips could be used as sturdy structural members. The form generation is also unique in term how those strips is inputted in the design computation.

Design Implication and Opportunities This case study shows that the ceiling for exploration using strips element is very high. There are various form that could be produced from design computation using strips. Design with strips also allow many possible technique of form generation, such as by material behaviour and structural performance that is done in this pavilion.

Fabrication This pavilion is constructed of individual thin plywood strips. The fabrication process is quite simple since it is produced in small modular strips. The strips is then processed by bended and stretched to test its behaviour. The concern of this technique is that the material must be produced within a controlled environment. Difference structural integrity between material in different modules could be a problem.

ICD/ITKE Research Pavilion 2010 | Institute For Computational Design And Constructionâ&#x20AC;?, Icd.Uni-Stuttgart.De, 2017 <http://icd.uni-stuttgart.de/?p=4458> [accessed 28 April 2017]. 6

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SOURCE: HTTPS://INSILICOBUILDING.WORDPRESS.COM/

CURVED FOLDING PAVILION (In Silico Building)

I consider this pavilion very interesting in term of strips and folding exploration since it displays how wide the material range this technique could be applied to. This case study also has a different approach in applying strips element compared to the previous one, since it generate a closed envelope using these modular metal strips.

Design Implication and Opportunities These small modular strips with interlocking connection could have a similar performance with a single unit structure. However, these smaller strips is easier to

produce and easier to manipulate. The interlocking part and the shape of individual element could be modified in order to speculate different outcomes. Fabrication Although this case study displays a creative use material in strips and folding, the characteristic of the material is comparatively similar, which is high tensile force material. I am wondering if these techniques could be applied for a heavier and compressive material such as concrete. I am looking forward to explore it further in this journal.

IN SILICO BUILDINGâ&#x20AC;?, IN SILICO BUILDING, 2017 <https://insilicobuilding.wordpress.com/> [accessed 28 April 2017].

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Case Study 1.0: Strips and Folding Seroussi Pavilion Biothing, Paris, 2007.

SOURCE: HTTP://WWW.BIOTHING.ORG/?CAT=5

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About this project: Seroussi Pavilion is the product of design computation in self modifying pattern based on electromagnetic fields (EMF). The form is generated from two dimensional layout and then logics of attraction/repulsion is applied on the geometries located on these layout.

Seroussi Pavillion ÂŤ Biothingâ&#x20AC;?, Biothing.Org, 2017 <http://www.biothing.org/?cat=5> [accessed 28 April 2017].

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A. Multiple Curves

B. Triangle

C. Ellipse

D. Sin Function

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E. Hexagonal Grids

F. Box Boundary

G. Hyperbolic Paraboloid

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Selected Outcome Selection Criteria I plan to made my design based on the geometry existing on the existing natural environment of the site, for example, the surface of a tree stump. This precedent really suits my design agenda since it creates interesting form based on a basic two dimensional path. I chose these four iterations since I think these are the most successful in term of evaluating interesting base geometry and create unexpected natural form from it. These forms still have the character of its base, but at the same time also creating something mimicking natural shapes.

Speculation upon Design Potential There have been a lot of experiment trying to mimick natural shapes. However, human does not have the capability of creating its complexity. Therefore, rather than creating it, we could take existing natural form as a base for our design and put our design in correlation with it.

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D2. Sin Function I feel this iteration is successful since it is only based on simple geometry, which is circle, but it unexpectedly produces natural looking shapes.

E2. Hexagonal Grid I choose this iteration since I feel it succeeds in imitating the natural form of tree stump when it is generated from geometric form.

F5. Box Boundary This iteration is very interesting since it moves on from a two dimensional surface into a more abstract three dimensional form. This result gives the feel of denying gravitational force, with parts of it dragged onto the four boundaries.

G3. Hyperbolic Paraboid This iteration is interesting seeing how this technique could be applied not only onto even surface since in the nature, the ground is not always even either.

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Hand Cut and Cast

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First Robot Cut

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Case Study 2.0 Reverse Engineering

Project name: Palacio de los Deportes Location: Mexico City, Mexico Architect: Félix Candela Year of completion: 1968 Mexican-Spanish architect Félix Candela (Jan 27, 1910 – Dec 7, 1997) was known for redefining the role of the architect in relation to structural problems,. The standout feature of many of his projects is the use of the hyperbolic paraboloid, a geometric shape that became a staple of Candela’s projects. Our case study the Palacio de los Deportes is made of a dome of copper-covered hyperbolic paraboloids supported on metal arch trusses.

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plaster casting

plaster bandage

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Variations 1.0 1

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Variations 2.0

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In this group of variation, we put the hyperbolic paraboloids on other base surfaces. The variations were derieved by changing the base hyperbolic surfaces .

We also looked at positive space and negative space in this iterations: the upper row is looking at the positive hyperbolic paraboloid while the lower row is reversed to see the cut off created by the paraboloid.

With the multiplying effect of two hyperbolic surface, the cutting angle becomes very deep at some points which bring a lot of â&#x20AC;&#x2DC; out of rangeâ&#x20AC;&#x2122; in robotic cutting. We also started to try to use a double sized foam block to cut, but it has the similar prblem of cuuting in deep angle.

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Variations 3.0

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In this group of variation, we changed the straight line ruled surface to curved edge ruled surface . Variations are generated by changing uv grids and arc angles. With a similar overall form, this variation however needs to be cut in other direction (flip matrix)

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Echidna Research

The Fireproof Spiny Anteater Echidna could protect itself from predators such as dingo and dog using its spike and bury its vulnerable stomach to the soil. It also could stay alive under extreme condition such as bushfire by hibernating under the soil and minimize its metabolism. After the fire gone, this animal will wake up from hibernation. Echidna is also a good swimmer, so the increase of water level due to high rainfall rate will not be a problem. Its ability to swim also make it possible to appear at any part of the Merri Creek.

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Site Analysis Merri Creek is a natural environment located on an urban context. Therefore, human is an element that could not be separated from the site. The human activity arround the Merri Creek is quite dense, especially along the Merri Creek Trails. There are also residential developments all along the river.

Problem on the site: Echidna is an independent animal that actually does not need our help to live. However, human activity in the Merri Creek, such as throwing trashes and removal of tree stumps might harm its habitat. Some obvious impact of these activities might be the decrease of insects such as termite and ants, which is the main source of food for echidna.

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Technique 01 COMPONENT A From the previous cuttings, I found interesting forms in the cutting off elements of the hyperbolic paraboloids. So I developed two types of components as module to construct a braches-like structure

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COMPONENT B

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Prototypes and Reflection 01

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01. Component A / Concrete This prototype is to test the proposed component A using concrete. The outcome is very brittle because of the following reasons: a. Too much aggregate in the concrete mix leads to the failure in the delicate connecting parts. b. the geometry is too thin at some points which cannot stand the gravity and sheer force.

02. Component B / Plaster This prototype is to test the proposed component B using plaster. Following problems and outcomes are found: a. too thin at the connecting point which leads to failure. b. the shape of the curvy ruled surface is intrigating and successful c. will change to a stronger material

03.Negative space / Concrete After the failure on the connecting points in prototype 01 and 02, we decide to use the negative space of the component B to cast, so it retains the same curvy rules surface , and is stronger as a panel. Also, we picked up most of the aggregates in the concrete mix, so the outcome is more fine and detailed

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Technique 02 Electric Magnetic Field (EMF) acting on an existing surface

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Combining concrete with natural material, i.e. moss, that will deteriorate over time. After the moss rots, it will leave hole on the surface of the concrete and creates a natural pattern.

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Technique 03 Replicating the Pattern of Roots

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Prototype Development

We tried to produce natural forms (replicating tree branches and roots) by using natural material that will deteriorate by the time. After the material deteriorate, the final form of the modular parts will show.

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Design Proposal

Echidna hotel concept:

How it supports the concept:

To give an awareness about the importance of echidnaâ&#x20AC;&#x2122;s habitat, i.e. tree stumps. Tree stump is usually considered insignificant and many of them are removed from the nature. However, for echidna, tree stump is their ideal habitat since it provides food, such as termites and other insects, for them.

Building a structure around the tree stumps will increase its value towards human, so they are not considered unimportant anymore. By increasing this design, we hope that human consider this thing as important as how echidnas see it.

Form/compositional strategy:

Post processing strategy:

Creating modular form concrete combined Evaluating the surface of the tree stump and generate with natural material, e.g. leafs, branches, a form with it as the centre. We will also use various jelly, etc., connected to the tree stump. organic material combined with concrete in order to integrate our structure into the nature itself.

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References

Ball, P, Nature’s Patterns – Shapes, (Oxford: Oxford University Press , 2009), p. 17 Frearson, A, ICD/ITKE Research Pavilion at the University of Stuttgart (2011), <https://www.dezeen. com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/>, [accessed 28 April 2017]. ICD/ITKE Research Pavilion 2010 | Institute For Computational Design And Construction”, Icd.UniStuttgart.De, 2017 <http://icd.uni-stuttgart.de/?p=4458> [accessed 28 April 2017] IN SILICO BUILDING”, IN SILICO BUILDING, 2017 <https://insilicobuilding.wordpress.com/> [accessed 28 April 2017] Menges, A, Lecture on “Computational Material Culture”, 26 April 2017, (Melbourne: 2017). Menges, A, Material Computation: Higher Integration in Morphophonemic Design, Architectural Design, 2012, 82, 2, pp. 14-21, p. 20 Seroussi Pavillion « Biothing”, Biothing.Org, 2017 <http://www.biothing.org/?cat=5> [accessed 28 April 2017] Wikiarquitectura, 40 Bond Street (2016), <https://en.wikiarquitectura.com/building/40-bond-street/>, [accessed 28 April 2017].

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Learning Objectives and Outcomes

Throughout the semester, we learn how to fabricate things using robots and understand the constraint within the robot fabrication. The robots allow us to cut in a better precision and smoother curve. Furthermore, we have to set some rules before we can fabricate things as there some limitiations in cutting the foam using robot. Moreover, we also get the chance to do some experimentation using various materials and propose something that is new for us. During our experimentation with the robot, we tried to double sized the foam block to achieve a longer section. However, the tool collided with the foam. Sometimes, the robot joint were also out of range and hit the boundary so we had to redo our simulation and recreated the code. We also used different size of foams and tried multiple cuts on it. So far, this has push us to use new materials and also understand the advantages and disadvantages using robots as a fabrication tool.

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DETAILED DESIGN

Detailed Design

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Design Concept An Overview from the Interim Presentation Our design concept in the interim presentation were about creating an awareness of echidna’s existence through numerous structures along the Merri Creek Trails, where there are many people passing by. We came to this idea by realizing that the problem with Echidna is human activity, such as throwing trashes and unleashing pet dogs. Because the site is in the urban area, we realize that we could not remove human’s activity totally, therefore, we want to create an awareness about Echidna’s habitat in the site. Also, we choose tree stumps as the core of our design because tree stump is Echidna’s source of food. However, after the presentation, we realize few problems with our concept. Firstly, there is no certainty that people who see the structures along the Merri Creek could directly relate those to Echidna. Secondly, we were not tackling the problem specifically since our design does not solve the problem of the specific human’s activity.

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In the Interim presentation, we were creating a cantilevered structure supported by a tree stump. However, there are some problem with this approach. Firstly, the tree stump will rot as the time goes and will cause the structure to collapse. Secondly, the bolted connection from the tree stump could not support the heavyweight concrete structure hanging on it. We got the overall shape of our design in the interim presentation from analysing the shape of a tree stump and straightforwardly use it as our base. Therefore, the shape looks fairly a circle from a plan view. We decide that the circular encaging shape does not match with our new concept due to some reasons. First, the circular shape looks to geometric and does not represent the adaptability of the design towards the site. Secondly, the circular shape gives a sense of protecting the tree stump denotatively instead of connotatively.

ON THIS PAGE Final design concept from the Interim Presentation. Produced by Henry Kurniawan. DETAILED DESIGN

Legend Stumps are not prone to removal Stumps are prone to removal High human activity area Built environment Natural environment

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Design Background: Tree Stump After the interim presentation, we research tree stump further and realise that it is a very important aspect in echidna’s life since it is a place rich of insects such as termites, which is the main source of food for echidna. However, these rotten tree stumps that contain termites is often seen as pest to human and commonly removed. By removing the stumps, human terminates echidna’s source of food without knowing. We realise the problem is human does not know that tree stumps are important for some animals. Therefore, we would like to create a design that could raise the importance of the tree stump towards human’s perspective, just like how echidna consider it important.

Site Analysis

Precedents

The area of Merri Creek Trails near Ceres is chosen because it is the point where there are a lot of human activities. Also, there are a lot of tree stump along the trail on the open area, which is more prone to removal since it is exposed to human.

Religious architecture such as shrine, cathedrals and temples create a sense of importance of its directed subject, i.e. gods, through formal language in architecture. For example, temple use multiple level with higher level getting smaller creating a sense of direction towards the sky, which is a representation of gods. In our project, we would like to use this kind of approach to raise the importance of the tree stump.

LA SAGRADA FAMILIA

http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/ uploads/2013/10/52544190e8e44eff020006cf_ad-classics-lasagrada-familia-antoni-gaudi_sfpassio-908x1000.jpg

PRAMBANAN TEMPLE

https://api.ezytravel.co.id/images/package/20170214/oneday-tour-jogja---prambanan-%E2%80%93-city-tour-krebe-0-10892.jpg

STONEHENGE

https://tallbloke.files.wordpress.com/2015/01/stonehenge.png

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After doing research about problems in site and precedents, we come up with the idea of raising the importance of a tree stump by creating a celebratory structure with stump as the focus. With the structure projected towards the stump, people who observe the structure will realize that the stump is the important thing about this structure, just like an altar in a Cathedral or a stupa in a Buddhist Temple.

We believe that this formal language of a religious architecture will bring importance to an object, just like people in the past who praise natural features such as tree or rocks. We also use modular elements to create the whole structure so it is adaptable to other type of echidnaâ&#x20AC;&#x2122;s habitat e.g. tree logs. Computational design will be used to produce the modular elements so that we could come up with a shape that give a sense of gothic cathedral.

We are creating a modular design incorporating the formal language of a cathedral or temple, with multi-level projected towards the sky.

Modular Form Finding Process

Construction Process The construction process is quite straightforward in this project. We are creating the whole structure using computational design. Then, we divide it into modular elements and create interesting shapes using comptational design software i.e. grasshopper. Then, we produce a formwork of the modular elements using hot wire cutter mounted on to a robotic arm. After that, we cast the modular elements with joinery features for further assembly. CREATE THE WHOLE

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DIVIDE INTO MODULAR

PRODUCE MODULAR FORMWORK

CAST

ASSEMBLE

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Tectonic Elements and Prototypes Our Next Strategy After confirming the design concept and sketch digital design, we decide to use a modular strategy for the form generation. In this section, we will be testing several forms of modulars and keep refining the final design. The restrictions of robot are critical in the production, so our development process was accopanied with robot cutting prototypes.

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Prototypes 1.0

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Pursuing the twisting shape in the sketch design, we wanted to make two cuts from upper and lower part of the foam perspectively for variations. The middle straight cut was initially came up with the idea of interlocking joints. But later we found that the strainght cut is cut though the twisting surfaces and creats interesting holes on that.

Success: 1. Sharp edge, free form holes 2. Elegant, thin colomns 3. The sense of weightless

Problems: 1. The columns would be too thin to take the weight and would be problematic in casting 2. Shape of the holes are not controlled 3. Have not figured out the way of connection 4. The sense of lightness

Next step: 1. Make the prototype in a larger scale: cut the upper and lower parts perspectively. 2. Use parametric tools to control the holes and columns. 3. Developing individual joints.

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Design Development Taking the strategy of using an outer surface and an inner surface to create holes through intersecting, we tested several ways of generating the surfaces. For the outer surface, the basic strategy is using shifting list to create the twisting form. The point is to make the middle part thinner so that the inner surface can cut through.

with an attraction point to generate zigzag variations on the surface For the base curve of the twisting form, we tested with squares and hexagons. We found that the square base lacks of variation, but combined with hexagon, it would have a obvious twisting effect as well as volume change.

Based on that, we also tested the form by manipulating planes

Grasshopper diagram for Test 01

Test 01

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Test 02

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Test 03

Curve

Divide

Curve

Divide Midpoint

Shift list

line

Shift

Line length Attraction Point

With the base form decided, we were trying to use parametric tools to control the holes and twistings, so that the system will have a logic to follow and grow. The main idea is to relate the distance from the modular to tree stump to the steps of twisting and the size of the holes. An attraction point is used to achieve that by remapping the distance to the number of shifting list, and to the moving vector the the points on the base curve of inner surface.

middle square

Planes

Magnitude graph mapper vector

Divide Attraction Point

Move

Planes

line length remap

middle square Closest point outer curve line outer curve middle square

Direction

Closest point

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Prototypes 2.0

outer surface cut

inner surface cut

cut the block in different direction

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Problems:

Next step:

1. The entering angle and exit angle are different, which leaves unwanted part

1. Make route from the approach point to the actual cutting to control the route

2. After casting, the foam inside cannot be taken out

2. Split the inner cut into half so the entry and withdraw can be clean 3. Use acetone to take the foam out

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Prototypes 3.0 Cut Step 1

Cut Step 2a

Cut Step 2b

Success:

Next step:

1. Clean edge

1. Cast with bolts and screws for connection

2. Appropriate size of holes to be casted

2. Cast with concrete and the tested material

3. Appropriate scale

Material Behavior Concrete Fluidity

Plaster

Jelly (agar-agar)

Dried Moss

Medium

High

Very High

Low

Time to set

Slow (2 days)

Fast (1 day)

Fast (30 mins)

n/a

Durability

High

Medium

Very low

Very low (will rot)

Rough

Smooth

Rough (natural)

High

Low

Very low

n/a

Cost

Cheap

Medium

Cheap

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Finish Strength

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Cast-in male & female joints

Hexagonal Joints could be attached to up to four modules

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Joints could be attached to various direction of modules to create curved overall form

Joinery As we decided to use hexagon and square as base surfaces, we found that there could be a composition which allows the connections to be in different angles with simple variation in joint. DETAILED DESIGN

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Final Detail Model An Overview This section of the journal examines how we produce a final model that represents our designâ&#x20AC;&#x2122;s agenda. We will display the details of our final model from digital modelling, foam cutting using robotic arm, casting to assembly and joinery details.

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ON THIS PAGE Robot foam cutting process. DETAILED DESIGN

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Final Model Plan The final model that created did not represent what the whole big model on site would look like, but rather only a part of it. However, it already showed the complete design system and idea such as joinery, beamed module, column and pivot. The final model was divided into parts and modules, which consisted of 8 modules and 4 joints. This technique was easier to accommodate the limited foam and cut size of the robot. After all modules and joints are casted, they then were connected between each other using either glue, cement or bolt. 112

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Cut Process The cut process is basically divided into two steps. The first cut is cutting the basic geometry, which is hexagon and square. The second cut is cutting the abstract geometry that will intersect with the basic geometry cut and create a hole on the surface of the module. When the inside geometry is too complicated, cutting the geometry in full cycle will cause a problem later when we take out the foam. Thus, we divide the second cut into two step that divides the foam into two.

Joints Cast Refining Foam

As the load bearing columns are comparably thin, and there is overhanging elements, we have to manage to reduce the weight of the higher structure. So we casted a block of foam into the joint to reduce the weight as well as keeping its function. Also, we used screws and bolts acting as female and male joints connecting the modular elements.

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1. Robot-cut mold

2. Moss was put inside the the side of it before pour

4. Applying acetone for the inner foam part

5. Playing with disintegrate create an organic kind of

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mold and sticked to ring the concrete

3. Taking out the foam

ed foam to f texture

6. Polishing

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Final Result The assembly of our model delivers successfully the design intent of the whole model in term of how the formation follows formal language of religious architecture and creating a curvy overall shape with the tree stump as its focus. The final model also create an unexpected pattern on the modules resulting from the texture of the concrete combined with organic material. The holes on the module may be not as smooth as in the plan, however, it creates a different kind of aesthetic that is more organic and brute. DETAILED DESIGN

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Learning Objectives and Outcomes Feedback from the Final Crit The final model is successful in term of producing interesting parametric form of the modular elements with the holes on its surface. It is also successful in term of its texture and material use. However, the level of the overall assembly is not as high as expected due to limitations in fabrication process. Inaccuracy in placing male-female members in the joints create awkward blocks between each module that create a sense of discontinuity on it. The complete form also needs more polishing in order to show the formal language of religious architecture used. 120

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There are also broader possibilities could be explored from this idea and fabrication method. Joint with a more flexible shape could create a more fluid overall model that would emphasize the aesthetic of the modular elements. Moreover, making the hole continuous between each module could create functional features since insects could mobile on the interior of the structure.

ON THIS PAGE The Dialogue of Materials. Photo by Albertus Magnus Yudhistira DETAILED DESIGN

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Opportunities Machine and Tool When we created our final model, we were using robot as tool to help us cutting a precise mold. However, the foam mold that cut could only be used once as it is very prone to breaking. This method thus is inefficient as we have to redo the robot cutting process again if we want to produce another module.

CURRENT METHOD

Foam Cut

Therefore, there are two alternative methods that we think it could work to make the production process more efficient. The first probable method discovers the possibility of creating a reusable mold. Alternatively, the second one focuses on the production of the end product, which is the module itself.

Mold

Cast

Tool: Robot Material: Foam Est. time: ± 8 mins

Material: Concrete Est. time: ± 2 days

Finish

Material: Acetone Est. time: ± 15 mins

/ Slow / Mass produce: need lots of robots and labour-intensive / Cannot reuse the mold once it is used / Limited 3 dimensional cut when using hot wire cutter (limited robot arm axis movement to sculpt the foam)

PROBABLE METHOD 1

Mold Production

Mold

Tool: - 3D print (divided into parts) - liquid 3D print

reuse

/ Faster / Reusable - multiple use of one mold / Robots only needed during the production of the mold / More possibilities to produce and fabricate 3 dimensional form

PROBABLE METHOD 2

Module Production Tool: - cement 3D print - stone/concrete cut using robot

/ Faster / Simpler / Final model, no need for mold 122

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Cast

Finish

Fluidity and Materiality In our design, we were trying to create a dialogue between natural and man-made material. We intended to integrate our design to the natural environment. Our method in achieving that is by casting moss on to the concrete surface. Hence, as the moss rots, it would leave holes on the surface, creating natural patterns.

Biomaterial

One that is longlasting, mixed with one that will decompose to attract insects (something that contains cellulose) Organic e.g. fungi (mycelium)

With the help of computer software, we could predict how the shape of our design would look like. Moreover, this also allows us to control and create interesting forms which in this case trying to be adaptive to the site. On top of that, computation helps us to achieve a desirable outcome.

Computation

To set the parameters of how the biomaterial would behave Control the shape of the biomaterial

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Relatable Pieces

By making the whole model first digitally before dividing it into pieces

However, not adaptable Inflexible when on site Must know where the model is going to be put

Making each moduleâ&#x20AC;&#x2122;s edge identical. The idea of adaptability still evident in the design.

Adaptable Sets of edge shapes which can be connected between each other

continuous casting between two modules

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Reflection In this studio, we learned how to use computer software not only as a tool to help us visualize our design, but rather as a part of our creative process in creating a form. The outcome of the design that we achieve is not something that we already have on our mind when we started designing, however, it is more of a form finding process through adjusting the parametric tools and come up with a form that would maximize the vision of our design. Moreover, the robotic arm allowed us to produce the form that we come up in the computer precisely. We realized that what we learned about parametric design tool and robotic arm is still very limited and there is still a very broad possibilities of method that could be explored. Experimenting with different tools, materials and forms with the robotic arm will allow us to produce a design with a much bigger scale and greater impact.

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Appendix

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FOR SALE: TREE STUMP *FREE ECHIDNA INSIDE!

albertus m yudhistira henry kurniawan muchen yan

josh & jules studio, sem 1 2017

TREE STUMP WORSHIPPING?

URBAN vs NATURE As a natural environment that located on an urban context, the human activity arround the Merri Creek is quite dense, especially along the Merri Creek Trails.

SITE ISSUE ? Human activity in the Merri Creek, such as throwing trashes and removal of tree stumps might harm its habitat. The impact might be the decrease of insects such as termite and ants, which is the main source of food for echidna.

creek greenery human-intervened landscape

WHY TREE STUMP?

RELIGIOUS?

A place where various living organisms live and one of echidnaâ&#x20AC;&#x2122;s favourite spots to find their food.

The idea of religious spaces to raise awareness of the importance of tree stumps.

DESIGN DEVELOPMENT

IDEA FORMULATION

PROTOTYPES

8 Curve

Divide

Curve

Divide Midpoint Line length

Attraction Point

Shift list Shift

line

middle square

Planes

Magnitude graph mapper vector

Divide Attraction Point

line length remap

middle square Closest point outer curve line outer curve middle square

Closest point

Direction

Move

Planes

FABRICATION

CUT STEP 1

CUT STEP 2

CUT STEPS

Cast-in male & female joints

Joints could be attached to various direction of modules to create curved overall form

Hexagonal Joints could be attached to up to four modules

JOINTS

1. robot-cut formwork

2. concrete casting

3. taking out the foam

4. applying acetone

5. playing with disintegrated foam

6. polishing

FABRICATION

END PRODUCT

FIN.