Final journal 526115 aliciachan

ARCHITECTURE DESIGN STUDIO AIR

Alicia Chan sem 1/2013 Daniel & Kirilly

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introduction

Virtual Environments ‘Bodyspace’ project design.

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Hello. My name is Alicia Chan, from Malaysia. I am now in my final year in Architecture.

Throughout my 2 years in this course, I had learnt to use Rhino and Autodesk Revit. In the first year, I was introduced to Rhino in Virtual Environments in which I had to design a ‘Body Lamp’using parametric design. However, I did not have the time to explore Grasshopper; so, I hope to experiment with this plug-in as much as I possibly can.I then carried on to use Rhino in designing and modeling buildings for studio projects. Constructing a building model on Rhino was tough and I had to watch many tutorials. Till today, I find rendering to be a difficult technique to handle as lighting and material appearance has to be adjusted exceptionally well in order to obtain a good render. The overall experience was an eye-opener with the multitude of possibilities in generating new forms as I was introduced to Paneling Tools, a beginner tool for parametric design. As for Revit, I am familiar with the basics of constructing a building and have yet to explore further. Other tools I had used include AutoCAD, Adobe Photoshop and Indesign.

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In Schumacher’s, ‘The Autopoiesis of Architecture’, he theorized that architecture is an autonomous network of communications, involving artefacts, knowledge and practices, which sparks a discourse within the society1. Similarly, Richard Williams describes architecture as a ‘field which is better regarded as a network of practices and debates about the building.’ For a building to be a topic of discussion, it must possess a significant or unique quality that piques the interest and curiosity of the viewer’s mind; causing them to question the relationship of the building with art, history, culture, landscape, etc2.

It is an inherent characteristic of architects to constantly revolutionise architecture; and what more with 3D modelling creating even greater opportunities for them to churn extraordinary designs. Two case studies will be explored in-depth based on their crucial role as a type of architectural communication.

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case study:

Metropol Parasol Seville, Spain

by Jurgen Mayer H. Architects

Metropol within the urban context.

Walkways on the roof. Experience of a 360-degree view of the city.

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Scalar comparison between Metropol and users and surrounding buildings.

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Designed by J. Mayer H. Architects, Metropol Parasol is the largest wooden structure situated at Plaza de la Ercarnacion, Seville, Spain.

It was completed in April 2011 as part of a redevelopment project of the Plaza. The structure consists of an array of sequential undulating parasols which form a waffle-like canopy. The wooden panels intersect at two perpendicular axis, rising high from a concrete base reinforced with steel. The design approach for the Metropol Parasol utilized contemporary digital software in the generation of a form enveloping a space within a built environment.

Mayer was very interested in how technology shapes the design process and the people’s understanding of the built environment.

Hence, he proposed the parametric form created by digital software as an innovative solution to a new, iconic landmark for Seville.3

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“the form of this building was inspired by the vaults of Seville expansive cathedral -I wanted to create a “cathedral without walls”that would be “democratic”-and also by the handsome tree already in the square.”

-Jurgen Mayer H. Mayer’s vision was to create an ‘urban, democratic, open cathedral that is held together by the people and the life in the center of the city.’ Sustainability was also another fundamental concern in Mayer’s design for the Metropol.

Not only does sustainability do good for the environment and the community, it focuses architecture towards designing for a better future. Hope and idealism is thus created, and the Metropol serves an inspiration for all designers to get on the right track and think forward. Jurgen encourages to move away from Post-Modernism and Deconstructivism, styles that will always anchor buildings in the

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past, like a tradition that repeats itself endlessly. Initially, the project was well-received by the public; yet, some were sceptical as a different architectural language was used. Nevertheless, its popularity was remarkable since its opening.

An estimated 1,700 visitors roam below, around, within the structure every day, making it more and more a part of the city. The Metropol Parasol now offers museums, a market, an elevated plaza and a restaurant on it. It is also a hot-spot for protestors to gain media coverage due to its aesthetic notoriety. It has been viewed as a work of art and architecture, inspiring new ideas for change in infrastructure; ‘a brave experiment in the potential for architecture to catalyze a heightened sense of awareness.’4 Besides acting as Seville’s new landmark, the Metropol Parasol functions as an organic urban space amongst the dense city center where public congregation and various

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activities take place. People walking below the canopy or along the walkways are treated to amazing views of the surrounding city, while those looking at the structure from far are intrigued by the unique relationship of this contemporary landmark with the historical and medieval city. Metropol Parasol is suitable as a case study for the design of the Wyndham gateway because the architecture of the structure commands discourse on its role as a contemporary sculpture and the spatial experience of users who perform activities below and around it. Mayer married art and sculpture to produce a relationship between human and space. And he utilized computerized design to create complex forms with non-repeating elements.

Similarly, algorithms can be used in the design of the gateway to enhance its complexity that either reflects or stands out from the urban development around the site5.

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case study:

Harpa Concert Hall & Conference Centre Reykjavik, Iceland

by Henning Larsen Architects & Batteríið Architects

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Reflective facade of Harpa inspired by the northern lights.

View of Harpa at the harbour front

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The Harpa Concert Hall and Conference Centre is part of an extensive harbour development project in Reykjavik, Iceland. The building’s role is to revitalise the city’s historical eastern harbour; to generate life and connect the city centre with the harbour. Harpa is also designed to be a significant icon of Reykjavik that is visually attractive to visitors6. The city hopes that the new hall will become a symbol of renewed dynamism that will energize and strengthen the capital with its mix of concerts, exhibition, conventions, public programs and receptions7. Located at the waterfront, Harpa’s faceted glass scatters reflections of the dramatic Icelandic scenery of the sea and mountains, the changing harbour sky in kaleidoscope and the vibrant city life, similar to the northern lights.

At night, more than 700 LED strip

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lights embedded in the building’s facade are lit to create a glittering effect. The building displays dynamism and gives an impression that it is ‘alive’.

The Baroque theatricality and cinematic architecture of sequence and frame is a key visual feature of the concert hall. In the words of Henning Larsen’s principal architect, “The building itself poses a... question: What is art and what is architecture?”-a question that the city of Reykjavik hopes visitors will come to Harpa to answer8. The architect-artist collaboration stirs up confusion in the façade features as the design aspect seems to be the artist, Eliasson’s own rather than the architects’. Is the facade considered a work or art or architecture when the architects contributed significantly lesser than

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the artist? However, this question applies to the building façade exclusively.

The concert hall is not only a major contribution to Reykjavik’s cultural scene, it is showcasing a new architectural language in which technology was used to find solutions for the building’s design.

The team encountered a challenge of designing a modular structure in a way never seen before. Due to the artist’s vision, the structure is highly unconventional; it was a combination of a beam, a truss, a grid, and a vierendeel beam. The structural analysis was conducted using the most sophisticated software available, allowing the whole steel structure to be designed as solid components. Further, in order to achieve a fully coordinated design and ensure all geometric interfaces

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were well managed, all disciplines were designed in one 3D model, which resulted in the largest 3D model ever developed for a building at that time. Therefore, Harpa’s design was made successful with the help of technology, and it is proudly telling that to the world9.

In regards to the Western Gateway design, this precedent promotes the idea of colour and transparency, light and nature-inspired geometry to not solely enhance visual attractiveness and prominence, but to form a dialogue between the building, city and the surrounding landscape.

The organic approach dematerialises the building as a static entity by responding to its surroundings and giving it life.

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reference 1

Patrik Schumacher, ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), p. 1

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Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Cultural:Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), p. 105

3 Lucy Humphrey 2011, ‘Metropol Parasol’, Australian Design Review,

published 1 December 2011, <http://www.australiandesignreview.com/ architecture/14290-metropol-parasol> 4 Marcia Argyriades, ‘Metropol Parasol - The World’s Largest Wooden

Structure”, in Architecture (28 April 2011), <http://www.yatzer. com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H- Architects> 5 Diane Pham 2012, Video: Inhabitat Interviews Metropol Parasol Architect

Juergen Mayer H., accessed 2 April, <http://inhabitat.com/video- inhabitat-interviews-metropol-parasol-architect-juergen-mayer-h/2/> 6 Harpa Reykjavik Concert Hall and Conference Centre 2013, About Harpa:

The Project, accessed on 2 April 2013, <http://en.harpa.is/about-harpa/ the-building/the-project/> 7 Diane Pham 2010, Iceland’s Luminous New Harpa Concert Hall Nears Completion, accessed on 2 April 2013, <http://inhabitat.com/icelands luminous-new-harpa-concert-hall-nears-completion/facade/> 8 Hanley Wood 2013, ‘Harpa - Reykjavik Concert Hall and Conference

Centre’, in Architect, accessed on 10 March 2013, <http://www. architectmagazine.com/projects/view/harpareykjavik-concert-hall-and conference-centre/594/>

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9 World Architecture News 2012, HARPA - Reykjavik Concert Hall and

Conference Centre, Reykjavik, Iceland, accessed on 2 April 2013, <http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln. projectview&upload_id=20164> Metropol Parasol photos are taken from:

Fernando Alda in Marcia Argyriades’, ‘Metropol Parasol - The World’s Largest Wooden Structure’, <http://www.yatzer.com/Metropol-Parasol- The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects>

Harpa Centre photos are taken from:

World Architecture News 2012, HARPA - Reykjavik Concert Hall and Conference Centre, Reykjavik, Iceland.

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“The term ‘computation’ means the use of the computer to process information through an understood model which can be expressed as an algorithm. This then allows the exploration of new ideas: computation augments the intellect of the designer and increases capability to solve complex problems.” —Brady Peters

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The digital approach invites the designer into a realm based on logic, mathematics, precision and artificial intelligence. The interaction with a computer compels the design cognition -the receiving, manipulating, and processing of information -to change in terms of addressing design issues. The designer is introduced to a design space where the exploration of ideas and solutions is infinite; an all-new perspective of the physical world experienced in the virtual realm.1 Computational design is ‘dynamic, open-ended and unpredictable’ but constant form-changing of threedimensional structures result in new architectonic possibilities.

The production and construction of very complex forms originally very difficult and expensive to design, produce, and assemble using traditional construction technologies can now be achieved with the emergence of digital modelling software such as Rhino NURBS, algorithms, and CAD/ CAM technologies that facilitate the designer’s search for new tectonics to create undulating, sinuous skins buildable within reasonable budgets. The processes of describing and constructing a design can be now more direct and more complex because the information can be extracted, exchanged, and utilized with

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far greater facility and speed; in short, with the use of digital technologies, the design information is the construction information.

“What unites digital architects, designers and thinkers is not a desire to ‘blobify’ all and everything, but the use of digital technology as an enabling apparatus that directly integrates conception and production in ways that are unprecedented since the medieval times of master builders.”2 In architectural discourse, the identification of master of controlling information is debated. The ultimate goal becomes to construct a fourdimensional model encoded with all qualitative and quantitative dimensional information necessary for design, analysis, fabrication and construction, and timebased information for assembly sequencing. The result is a single, cohesive, complete model that contains all the information necessary for designing and producing a building. This single source of information would enable architects to become the coordinators of information among various professions and trades involved in the production of buildings.4

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case study:

Walt Disney Concert Hall Los Angeles, California

by Frank Gehry

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“CATIA provides a way for me to get closer to the craft,” said Frank Gehry referring to the software that was implemented in his practice. “In the past, there were many layers between my rough sketch and the final building, and the feeling of the design could get lost before it reached the craftsman. It feels like I’ve been speaking a foreign language, and now, all of a sudden, the craftsman understands me. Flat drawings of curved surfaces can be beautiful, but they are deceptive; with CATIA you can see how to build it.”

—Frank Gehry (May 2001)

The Walt Disney Concert Hall, proudly designed by Frank Gehry, shall be explored based on the architect’s level of contribution as the master builder equipped with digital modelling technology.

Buildings of complex forms were initially very difficult and expensive to design, produce and assemble using traditional construction technologies. Without the use of CATIA (ComputerAided Three-Dimensional Interactive Application), construction of the concert hall would have been impossible. After a physical model is built, the model is scanned by a laser device that transmits coordinates to the CATIA program. CATIA then shows a 3D section of the model, which can be viewed as a movie that gives structural coordinates as well as a time schedule for project completion. These paperless plans are more easily understood by a contractor and construction crew and allow Gehry’s unconventional forms to take shape.6

Four dimensional model of the concert hall.5

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case study:

Beijing National Stadium Beijing, China

by Herzog and de Meuron

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Figures (clockwise-direction): 1) The framework of primary structural steel members.7 2) Control points of the roof.8 3) The addition of the roof onto the framework.9

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Computation softwares have been developed as generative tools for the derivation of forms and its transformation. This process is known as ‘digital morphogenesis’, and it has radically changed the range of achievable geometries compared to conventional design techniques of sketching and physical modeling. With digital design technology at hand, designers can now articulate an internal generative logic, which then produces a range of possibilities from which the designer can choose an appropriate formal proposition for further development. Complex curvelinear geometries can be generated easily by constant dynamic transformation of the surface shape. Indirectly, design methods have shifted to ‘form-finding’ rather than ‘form-making’ through manipulation.

Generative design techniques are popular in the form-finding approach as in can deal with massive amounts of data to be programmed, using algorithms, for the customization of various designs and patterns.10 The Beijing National Stadium, a collaborative design effort by Jacques Herzog, de Meuron and Li Xinggang, fashions the ‘Bird Nest’ design produced by generative design. Algorithms were used to evaluate the design of the ‘bird nest’ framework capable of adapting within a set of specific parameters and hence, enhance the performance capabilities of the main structural members. Genetic algorithms were programmed to ‘choose’ a more desirable result, in which genetic evolution and the mutation process were emulated so that the algorithm could ‘evolve the solution over time as it runs through iterations to learn, grow, and adapt, while converging towards possible optimal solutions.’ The stadium’s framework, thus, consists primarily of an array of structural members organized in a uniform radial configuration, and a second layer of interweaving web pattern optimized to have a uniform opening distribution to minimize localized stresses on the structural framework.11

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reference 1

Porter & Hanna, ‘Methods for Investigating architecture: from the physical to the digital.’

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Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp.4-7

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Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 8

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The Economist 2008, From blueprint to database, accessed on 18 March 2013, <http://www.economist.com/node/11482536>

5 David Balian & Kristina Ferris 2004, University of Southern California,

accessed on 18 March 2013, <http://illumin.usc.edu/177/curves-of-steel catia-and-the-walt-disney-concert-hall/> 6 Kara & Georgoulias 2013, Interdisciplinary Design: Eroding Borders and Boundaries, ACTAR (2013), p.171 7 Alex Olivas 2012, ‘National Stadium in Beijing, Beijing, China’,

accessed on 19 March 2013, <http://moreaedesign.wordpress.com/author/ olivas1591/> 8

Ren, Wen, Chen & Shi, ‘Modeling of irregular structures for the construction simulation in virtual reality environments based on web,’ in Automation in Construction, Vol. 13 (5), September 2004, <http://dx.doi. org/10.1016/j.autcon.2004.04.007>

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Ren, Wen, Chen. Shi, Automation in Construction.

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Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 18

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Munsey & Suppes 2013, 2008 Chinese Olympic Stadium, accessed on 18 March 2013, <http://olympics.ballparks.com/2008China/index.htm>

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With the use of parametric software, architects are able to study relationships and incorporate basic aspects of the actual construction including material, manufacturing technologies and structural properties into the design process. It has allowed for architectural design to become an iterative, generative and reactive process rather than one of evolution1. During the design process of the Gateway, parametric designing software like Grasshopper can be heavily utilised to generate designs with varied and unique geometric designs. The human mind, though it is the main imaginative tool for designing, is still limited if not presented the opportunity.

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case study:

AA Membrane Canopy Architectural Association School of Architecture, London

by EmTech Programme 2006/07 & Buro Happold

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Mark Anderson, Associate Professor in UC Berkeley emphasized the importance of parametric modeling as a potential tool to utilize the immensely resourceful environmental data. A particular precedent that exemplifies the practicality of parametric modeling in architectural design is the Architectural Association Component Membrane Canopy Project for the Architectural Association School of Architecture in London. The membrane canopy was designed for the Projects Review (an annual public showcase of excellent and innovative work) of the Architectural Association (AA) by the Emergent Technologies and Design MSc/MArch Programme in collaboration with Buro Happold, one of London’s leading engineering firms.2 The design intent of the canopy was a lifespan of 2 years, and to act as a shelter for the roof terrace of the school. The canopy’s main objective was to operate both as a design research exploration of material and construction experimentation, and as a project for the school’s interactive open space with a restricted design and manufacturing period of only seven weeks. The entire design process relied on the parametric software, GenerativeComponents which enabled a significant level of control over an intensely complex structure through a hierarchical build-up of parametric relationships in tandem with certain control mechanisms.3

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The left figure4 above shows the design development GenerativeComponents.

A component-based design approach was used for this project in which this software partakes in varying the design as iterated analyses were conducted to determine the best spatial and environmental adaptations. The final digital model was translated into manufacturing data so that the membranes could be laser-cut while the steel elements were fabricated manually by students. The establishment of the associative parametric framework proved to be highly indispensable for such a differentiated and precision-demanding structure.

The model was continually updated using interpolated data from the engineering analyses regarding global geometric strategy, local and global population densities, force vector paths and structural depths. The changes in design were facilitated by the use of the parametric software which addresses as the basis of its operation the interrelation between elements rather than simply fixed measurements. Hence, a change in one parameter can be adjusted and incorporated within the system as a whole.

This capability allowed the Emergent Technologies team to adjust the angles of the membranes in the structure and, as a result, the sun shading provided and the structureâ&#x20AC;&#x2122;s morphology.5 With high-tech computer-adied programs like GenerativeComponents in the educational environment, digital architecture may have a long live span as the society is moving forward to more complicated designs. However, there is an extent as to how long it will take architecture students to develop master skills ito produce complex avant-garde designs.

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case study:

Voussoir Cloud Southern California Institute of Architecture, LA

by IwamotoScott Architecture & Buro Happold

Voussoir Cloud close-up view

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‘Voussoir Cloud’ is another precedent that glorifies the use of parametric scripting to design an optimized geometrical pattern suitable for a lightweight material to withstand the compressive forces.

This installation that ‘explores the structural paradigm of pure compression coupled with an ultralight material system.’ Its design was derived from the works of Frei Otto and Antonio Gaudi, who experimented with the hanging chain models for an efficient form.

Similarly, computational hanging chain models were used to refine and adjust the profile lines as pure catenaries, and form finding programs to determine the purely compressive vault shapes.

The project started with the physical modeling of folded models to test geometric relationships of bending along a curved seam, the design and construction process that followed focused on calibrating the relationship of digital model to physical corollary through iterative empirical testing of four different cell types -with zero, one, two or three curved edges. Each cells had different behaviourial characteristics in terms of size, edge conditions, and position relative to the overall form6.

Voussoir Cloud’s different perspective views

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A computational script was developed in Rhino to generate the unique curved petal geometry pattern. In order to achieve the curvature of each petal edge, a tangent offset function allowed for the adjustment of the curvature â&#x20AC;&#x201D;the larger the offset, the bigger the curvature. The script is then programmed to proportionate the amount and size of petals to the plan curvature (as shown in Fig. 1).

In the design, the petals are defined with less offset, and are therefore flatter towards the base and edges where they gain density and connect to purely triangulated cells. They have greater offset, and more curvature at the top to create the dimpled effect on the interior (as shown in Fig. 2 and 3).

The Rhinoscript instantiated each of the 2,300 petals according to these criteria. After the 3D model of the petal geometries were made, a second batch process was developed to unfold each petal for laser cutting. Finally, the petals were pieced together by folding along the curved score lines, and simply zip tied together.7 Through this precedent, it is evident that with parametric design, the range of materials to choose from is broaden and the fabrication process is simplified for easier installation, and thus making the design more sustainable which is one of the current concerns in architecture now.

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Fig. 1

Fig. 2

Fig. 3

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Corresponding to ‘architecture as a discourse’, parametric modelling has indeed stirred mixed reviews amongst the architectural society.

Not everyone is inclined to accept the promises of computer design and parametric scripting. At the conference at the BAC in 1965, Christopher Alexander, then an assistant professor at UC Berkeley, expressed his concern that architects might “fatally distort the nature of design by restating design problems solely for the purpose of using the computer.”

He did not believe that there were design problems—environmental or architectural—so complex that they required a computer to solve, and he was not convinced that architects would not oversimplify design complexity to meet the limited input and operational capacities of their computers.

The computer could not keep pace with the facility of human intuition for inventing architectural forms and deriving design solutions for complex problems.8 I strongly think that parametric modeling tools are intrinsic for designing within the limits of certain specifications. The capability of the design to adapt to environmental, cultural, spatial, material, and budget conditions increases the potential for future building designs to possess logical yet absurdly wild and cool new types of spaces , forms and experiences.

In essence, the future will always necessitate change; and parametric modelling appears to be the major innovative ‘change’ sweeping across the world today.

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reference 1 Tim Culvahouse 2012, ‘Parametric Voices’, accessed on 25 March 2013, <http://aiacc.org/2012/06/26/parametric-voices/> 2 Tim Culvahouse 2012, ‘Parametric Voices’, accessed on 25 March 2013, <http://aiacc.org/2012/06/26/parametric-voices/>

3 Bentley Systems 2009, ‘Case Study: AA Component Membrane Canopy for

the Architectural Association School in London’, accessed on 25 March

2013, <http://ftp2.bentley.com/dist/collateral/docs/case_studies/cs_ aa_component_membrane_canopy_for_architectural_association_in_london. pdf> 4

Bentley Systems 2009, ‘Case Study: AA Component Membrane Canopy for the Architectural Association School in London’

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Bentley Systems 2009, ‘Case Study: AA Component Membrane Canopy for the Architectural Association School in London’

6 Triangulation Blog 2011, ‘Voussoir Cloud’, accessed 26 March 2013, <http://www.triangulationblog.com/2011/06/voussoir-cloud.html> 7 Triangulation Blog 2011, ‘Voussoir Cloud’, accessed 26 March 2013, <http://www.triangulationblog.com/2011/06/voussoir-cloud.html> 8 American Institute of Architects California Council 2012, ‘Parametric

Design: A Brief History’, accessed 26 March 2013, <http://aiacc.org/2012/06/25/parametric-design-a-brief-history/> Voussoir Cloud photos are taken from:

Triangulation Blog 2011, ‘Voussoir Cloud’, <http://www.triangulationblog.com/2011/06/voussoir-cloud.html>

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The driftwood surface is indeed a in handy for fabrication later in the more complex a model becomes, possible to reduce cost of labour

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helpful method of sectioning which comes the design process. In my opinion, fabrication should be made as easy as and material.

The spaceframe truss that was generated by a definition downloaded from the Grasshopper website had taught me on how to create my own definition. The most interesting part about it is that I can link similar functions together to others in order to generate a more complex yet controlled form. I believe that an architect should be wellequipped with sufficient knowledge on parametric scripting and techniques when using the software. In that sense, the architect has full control of his/ her design; holding the power to vary form and function.

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Architecture is a compelling language or style that defines how a particular building sits within its site context, as well as the former functional and aesthetics ambitions. These criteria cannot be solely achieved by the architect; other professions must be gathered to form the entire design team. In the two case studies, Metropol Parasol and Harpa Concert Hall & Convention Centre, it is apparent that in order to achieve such avant-garde buildings, construction engineers have to be brought in to provide insight and structural solutions.

Digital technology in architecture is gaining lightning-speed momentum worldwide. All of the case studies had utilized computer software in one aspect or another but, mainly in the three-dimensional modelling of the building which includes the analysis of the structural capabilities, fabrication solutions, geometry optimization etc. However, if architecture is regarded as art; a building as an individualâ&#x20AC;&#x2122;s masterpiece, digital modelling can definitely achieve innovative and creative solutions that could not possibly exist with traditional design techniques. Referring to the precedents, Walt Disney Concert Hall and the Beijing National Stadium, they offered a revolutionary style for the 21st century. The former introduced Frank Gehryâ&#x20AC;&#x2122;s innovative use of CATIA technology to achieve the concert hallâ&#x20AC;&#x2122;s curvelinear facade. The latter, on the other hand, relied on computer softwares to construct an optimized nest of structural frames. As art, these buildings are aesthetically attractive and considered different than buildings of preceding centuries.

Lastly, parametric modelling is currently an advanced design technique that does so much more than enhancing the visual aspect of a building. It forms a debate within the architectural community and the public about the suitability of parametric style in this era, the adaptability of form to spatial context, and the vast amount of opportunities for form exploration.

It is questionable about the extent parametric design will develop over the century as it is currently implemented in architectural education.

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Before this semester, I was not keen to explore digital modelling in terms of using Grasshopper and experimenting with algorithms. I had the idea that when I start working, I would be using AutoCAD and Revit for projects.

That idea has now changed after my eyes were opened to the vast range of possibilities that parametric modelling can offer. Even the research process for precedents, especially the Metropol Parasol, increased my hunger to explore Rhino and Grasshopper. I admire how architecture is able to fit a modern-looking structure into a completely different urban context; and yet, it connects beautifully with the people moving around or within it. Unaware of how much architectural style has changed, I begin to question myself, â&#x20AC;&#x2DC;What is a modern building?â&#x20AC;&#x2122; There are numerous answers, to list a few -contemporary techniques (the use of computer software and parametric modelling) in the design approach for the building, or visually different from past architectural styles.

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examples Eastgate Centre by Mick Pearce and Arup Associates The building is inspired by the self-cooling mounds of African termites. It has a ventilation system that operates similar to the vents in the termite mound that regulates temperature.1

Bowoos Bionic Research Pavilion by Saarland University School of Architecture.

A bionic-inspired wooden structure that references the material-efficient construction methods found in nature. The perforated design is inspired by the shells of marine plankton and the beehive. It focuses on the development of sustainable, flexible and lightweight solutions2.

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what is biomimicry?

BIOMIMICRY STUDIES NATURE AS A SOURCEBOOK. “Biomimicry is an emerging discipline that consciously studies nature’s best ideas and imitates these designs and processes to solve human problems.”

The term was coined by Janine Benyus in 1997 with the release of her book, “Biomimicry: Innovation Inspired by Nature.” Bringing nature into the design table in architecture is not something new; neither is it widely applied. Within the built environment, biomimicry is still in its infancy with only a few building projects in the world that have truly been integrated with biomimicry at the macro scale3 The progressive step towards the future in architecture involves designers constantly searching for unconventional ways of producing innovative outcomes, in which nature becomes a source of inspiration. This is so because architecture and biology are inter-related and interdependent.

Designers aim to solve design problems through the study of nature’s timetested solutions; and such attempt to incorporate concepts and techniques such as morphogenesis is increasingly accepted among designers.

Biomimicry is concurrent with the discourse on the development of a new architectural language which utilizes computational software as ‘generative tools for the derivation of form’ and to ‘evaluate and simulate complex physical performances.’4

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case study:

Canopy Toronto, Canada

by United Visual Artists

Collage of biomimicry designs and its nature reference

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View of the Canopy at night. The lights blend perfectly to the cityscape.

Micro view of the cellular module grid.

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Our group was instantly amazed when we saw the ‘Canopy’ and found the structure to be a perfect example of the biomimicry approach. There are two aspects in which this structure has been designed in relation to the study of nature.

Design. The structure acting as the front façade of the Maple Leaf Square building in Toronto, Canada is inspired by the experience of walking through the dappled light of a forest. Thousands of identical modules, their form abstracted from the geometry of leaves, are organized in a nonrepeating growth pattern.

Experience. The concept conceived was to create a momentary lapse in time where people walking beneath the sculpture could experience the feeling of escaping the busy and harsh urban environment. The United Visual Artists had thus created the Canopy which evokes man-made rationality, natural irregularity, and blurring the distinction between them. During the day, apertures in the modules filter natural light to the street below. After dusk, particles of artificial light are born, navigate through the grid and die; their ‘survival’ is determined by regions of energy sweeping across the structure. The result emulates cellular activity within a leaf , an imagery of leaves in a forest canopy or even an analogous city seen from above (where the particles of lights are people and vehicles on the streets, and the blinking lights represent the changing lights from buildings.

The Canopy is a meditation on the essential commonality between our perception of the ‘artificial’ and ‘natural’ processes, in both cases, the action of multitudes of short-lived entities creates a large long-lived complex system -the’city’ and the ‘forest’5.

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case study:

Bloomberg Pavilion Museum of Contemporary Art, Tokyo

by Akihisa Hirata

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The Bloomberg Pavilion is an intriguing structure which appears to be a growth at first glance. The pavilionâ&#x20AC;&#x2122;s form is inspired by the structure of a tree and its functional quality as a shelter and shading mechanism. White metal panels in the shape of isosceles triangles are laid collectively into a planar surface that unfolds and bends from the roof plane into a series of pleats.

The pleats -by studying the way tree branches are spread out in order to allow for maximum absorption of sunlight -emulate the treeâ&#x20AC;&#x2122;s functional design to create a bright exterior reflecting sunlight.6

Progressive generation to complex-looking form.

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Bird’s eye-view of the sculpture.

Day view. The uneven reflects sunlight, creating a myriad of shades.

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Built structure of Morning Line

Parametric diagram of Morning Line.

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Design space. Starting off from the fractal definition, we were able to change the parameter values of polygon sides to create a variety of tetrahedras, which were then fractalised repeatedly to produce a range of fractal blocks. We were particularly fascinated by the projection or growth-like surfaces generated which naturally displayed an organic characteristic. In a sense, there was an immediate relation to fractals in nature.

The next step was to explore the menus in Grasshopper. Our goal was to achieve a smoother organic forms. “What other nature precedents can we recreate with fractals?” we questionedeach other Initially, we realised that our design possibilities were limited as we had constrained ourselves to the boundaries of the tetrahedra. Thus, we switched the role of the fractal tetrahedra as the building block of other definitions. Only then was our design space broaden.

Architectural possibilities. We considered the dimensionality of the forms generated. The modularity of the combination of fractal blocks exhibit potential three-dimensional capabilities, such as the fractal voronoi.

We were essentially drawn to the combination of fractals with cellular or other other organic-like geometries and patterns which sought to be a potential design connecting to Wyndham’s concept of a forward-moving community.

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The truncated tetrahedron -the ‘bit’.

A larger, complex structure created from the ‘bit’.

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Design Concept. The Morning Line, designed by Benjamin Aranda and Chris Lasch, showcases fractile geometry and parametric design. Expression is emphasized in the representation of structure and space through the lines generated. The Morning Line is conceived as an infinitely modular construction, built from a single shape named “the bit”, that assembles with other similar bits to build space. The “bit” is used as a universal brick that is mapped in drawings produced by artist-in-collaboration Matthew Ritchie to produce pictures in and of space; essentially, focusing on expression through parametric design.

The bit’s shape is derived from a truncated tetrahedron that shrinks or grows and then attaches back onto itself to produce three-dimensional fractals. “Generations” are created from bits of successive sizes, with Generation 1 being the largest.

“Our own designs at Aranda\Lasch tend towards crystallographic contructions of space, using its language of lattices and cells to describe growth. This language of modularity has useful affinities to architecture at large since it describes the ways solid state matter (like a metal or a diamond) is structured. It’s possible to imagine both crystal structures and architecture structures as modulated assemblies where simple low-level rules and unfolding symmetries determine large-scale organizations...crystals are specific, shaped by circumstance; they each carry a shadow of the universal tucked into their idiosyncrasies. There is no more vital and organizing force for architecture than the productive dis-symmetries of crystallographic structure.” —Aranda and Lasch7

Analysis. “Expression through parametric design.” The built form clearly represents the combination of artistic and structural intentions. Though the curve lines appear to spread randomly, it is also apparent that they carry and transfer the structure’s load with an increased density at the base.

Points to note about the Morning Line and Aranda\Lasch’s design approach is the forward thinking of creating something that can be a part of nature, but is built by humans, not nature itself.

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step-by-step re-creation pro

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ocess

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exploration #1

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Similarities.

Morning Line. A modular form that looks like an agglomeration of replicated blocks shaping itself according to various designed paths. The result is very complex, organic and dynamic. The fluidity that can be achieved from rigid blocks was hard to re-create due to time constraints.

Reengineered outcome. The design combined the use of fractal blocks and the Bezier curves formed within the blocks’ boundaries. This approach was used to soften the rigid appearance of the result form.

Differences.

The concept of a form derived from a single basic building brick or idea.

In our reengineered project, we applied the concept of ‘growth and change’ or a sort of ‘DNA structure untwisting itself; a biomimicry approach we thought was possible to be expressed in our design.

Figure above: An atomic structure deconstructed to its chemical bonds.

Figure to left: Pratt’s Institute Exhibition of wireframe modular structure of a tetrahedra.

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exploration #2

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The Sierpinski triangle algorithm was used to perform variations to a single triangle geometry. The only similarities inherent in this outcome to the Morning Line was the modularity, but on a planar surface rather than a three-dimensional crystallite structure, We thought that this outcome was like an abstraction of the curves that make up the structure of the Morning Line but we had expressed it in a simpler and linear framework.

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analysis

Both explorations were very different. We experimented on the dimensionalities (2D and 3D) of fractal patterns. The first exploration, we concluded, was too similar to the Aranda\Lasch Morning Line project. The second outcome was a different concept with planes and frames showcasing the Sierpinski fractal pattern. We could explore different patterns that could be incorporated into the triangular fractals. in other worlds, combining other geometries to generate a complex mixture or fractal patterns that would look like a cohesive image of the various patterns in nature. Furthermore, we weighed the fabrication options. The first exploration could not be fabricated as the curves was three-dimensional, unless 3D printing was used which was inconvenient at the stage of exploration. We wanted a more hands-on modelling process. Hence, we agreed to settle for the second exploration. Frames that are modeled can then be reconstructed with connection tools. We also thought that fractal screens could have design potentials.

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Patterning Creating solid frames

Offset curves

Extrude curves

Solid difference

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Fabrication layout prepared for laser cutting

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Laser cut model. Material used: P

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Plywood 2.7mm

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Model pieces assembled

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Goals • Introduce the Wyndham community to a whole new realm of bio-design as well as informing them of the importance of biodiversity and the urgency to conserve nature.

• Reflect Wyndham’s natural environment -Werribee River and K Road Cliffs -and eco-centres such as the wildlife sanctuaries (Point Cook Coastal Park and Heathdale Wetlands).

• Incorporate the idea of sustainability through materials and structure which reflects Wyndham’s strive for sustainability.

Use of fractals in architectural design • Utilises parametric tools to produce repetitive patterns generated from a single geometry shape, as well as efficient fabrication in a short period of time.

• Innovative design, in the sense that it is more ‘decorative’ compared to plain Euclidean geometry.

• Fractal patterns inherent in the design represents its natural and organic quality, which makes the design appear as part of the natural environment.

Proposed design on the site The fractal screens -as the proposed design - will sit within the context of Site A. Vehicles heading towards Wyndham will see a myriad of changing fractal patterns which starts from the basic triangle to a more complex pattern that ‘breaks out’ from its 3-sided boundaries.

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“Our lives and architecture fuse as a continual metamorphosis of being and becoming: a journey of destruction and creation - a joyful dance between polarities and paradoxes; a way of transformation and understanding.

—George Burgees

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reflection To improve on: 1.

Stronger argument points.

2.

- How are we approaching the design through biomimicry?

More visual content to describe the biomimicry approach and specifically, fractals.

To address critically: 1.

Design lacks ‘life’ and ‘love’.

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- -

The experience that we want the freeway users to have during that 4-second interval when they pass by the Gateway structure.

A good precedent - the Rokko Shidare project in Japan.

Should apply the techniques learned from explorations - had more complexity and ‘content’.

2.

Concept of fractal is not clear

- Study nature - how is fractal showcased in nature?

- Built precedents - what other designers have successfully used

the concept of fractal that is aligned with out group’s goals and argument.

- Consider working on the idea of a basic geometry form to create an

organic form; support with precedents.

Personal Reflection After the mid-semester presentation, the critical feedback received was a harsh wake-up call to seriously reflect on the relationship of the design proposed to the biomimicry concept. Our group realised that we have strayed from our goals by a large margin. Thus, we had an intensive revamp on our project to steer the proposed design in line with our goals first developed in earlier weeks of EOI II.

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biomimicry thinking In attempt to reformulate our argument, we had to backtrack to the very beginning of EOI II -Biomimicry as the design focus. Initially, we had adopted the â&#x20AC;&#x2DC;Biology to Designâ&#x20AC;&#x2122; approach where we looked into a particular design in nature -fractals -as a biological insight to manifest our design. Upon critical reflection of the feedback received by our peers and guest critics, we had dealt with the approach at a wrong angle.

Hence, we reconstructed our plan from the concept to the proposed argument.

Currently, we are designating the design at site A where presence is balanced at both roads of the freeway and there are minimal trees.

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The idea of unraveling a cluster of 3D blocks into its surfaces or frames is a concept my group would like to go for. We are metaphorically uncovering nature’s designs to understand the fundamentals such as structure and design. Further, we plan to liven the structure by adding an illumination experience at night where by users can relate to the transition from a busy cityscape to a more peaceful and mellow suburban area —Wyndham.

Rokko Shidare

Pratt’s Institute

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rokko shidare observatory Designed by Sambuichi Architects, Rokko Shidare Observatory invites visitors to witness nature and its shifting states.

“Water and life are in a remarkably sophisticated relationship that is mediated by the sun. If architecture exists to serve our needs, then water should influence architecture’s form and appearance.” —Hiroshi Sambuichi The perforated dome-like enclosure is composed of an intricate structure of wooden sticks within hexagonal frames, which are designed to attract frost in winter in the same way as the surrounding vegetation does.

Sambuichi has always made sustainability a pre-condition for architecture and applies a certain ‘less is more’ concept to his designs. He seeks to draw inspiration from nature, conceptualizing architecture as ‘details of the earth’.8 Likewise, the freeway leading to Wyndham is surrounded by an open landscape which should definitely be appreciated by drivers. Visual experience is also an aspect that my group would like to contrast between the CBD and Wyndham.

Exterior view of the observatory.

Perforated dome -twigs on hexagonal frames

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pratt’s institute 2013 exhibition The 2013 exhibition showcases a hanging installation of over 250 unique cells forming clusters cladded with colour-coded images of works by Pratt Institute students. The cell structure looks as if it is a growth rather than an organized form. The cladding creates a solid landscape of images at various angles for visitors to explore like a cave, finding images in crevices as they walk around each cluster. The bottom is similar to a continuouc solid, and the structure above is very porous allowing the ceiling light to penetrate into the gallery.

Overall structure within exhibition space.

Zoomed in view of the cellular frame.

The structure is exceptionally light while still being very strong and taking up a large volume of space. It relies on redundancy, many connections, complexity and irregularity to produce a light, unique structure that has the ability to grow further; ‘a living organism’.9 My group originally proposed to achieve a lightweight structure that could withstand the high wind speed around the Wyndham area. This precedent provides valuable insight to achieve our aim. We are also aiming to achieve a growth-like form to revive our design and explore the three-dimensional properties.

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learning outcomes My group’s biggest flaw was the ability to present a strong case for our design. The concept was poorly constructed. However, feedback given pointed out the clear arguments on our goals for the proposed design. We have to commit more time and effort in developing a design which demonstrates our goals clearly and strongly like Aranda\Lasch’s Morning Line.

Grasshopper has certainly taught me a great deal of computation techniques such as creating organic forms by lofting, meshing, and patterning with voronoi and triangulation. The most important process of learning this parametric tool is the ‘trial and error’ of various definitions to achieve the intended design. That stage is the period where 1 had explored scripting (though still unsuccessful) and creating my own definitions.

Admittedly, Grasshopper offers a whole new range of design possibilities to expand my design space, but it is also constrained to a degree due to time constraints and limited technical capabilities. Hence, case studies were fundamental in offering new design ideas and tutorials to explore on my own and contribute to my group. The exchange of techniques was also crucial, especially during studio hours.

Our exploration outcomes are different. We have definitely discovered several Grasshopper tools that can generate organic forms through the exploration of other definitions in the Grasshopper website and variation techniques by studying case examples. For instance, we have learnt to combine a voronoi pattern into a complex modular structure, create a random string of fractals with the Hoopsnake tool, generate an exoskeleton with meshes, and etc. Designing organic forms was difficult and frustrating with plenty of failures; yet we have managed to pull through with successful outcomes. The complexity was a reason why we had opt for a simpler twodimensional design as our group was too focused on design techniques until we had allocated less time for developing a proper design. After the midsem presentation, I realised that the group should be more driven towards the complex three-dimensional forms constructed during the exploration phase.

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references 1 Jill Fehrenbacher, Green Building in Zimbabwe Modeled After Termite

Mounds, last modified 29 November 2012, <http://inhabitat.com/building modelled-on-termites-eastgate-centre-in-zimbabwe/> 2 Lidija Grozdanic, Bowoos Bionic Research Pavilion, last modified 18

September 2012, <http://www.evolo.us/architecture/bowoos-bionic-re search-pavilion-is-inspired-by-marine-biodiversity/> 3 Dayna Baumeister, The Darwinism of architecture-How Biomimicry will

evolve architecture, accessed 10 April 2013, <http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln. commentview&comment_id=162> 4 Stanislav Roudavski, ‘Towards Morphogenesis in Architecture,’ in

International Journal of Architectural Computing, Issue 3 (7), pp.348, http://www.academia.edu/208933/Towards_Morphogenesis_in_Architecture 5 Nico Saieh 2010, ‘Maple Leaf Square Canopy/United Visual Artists’ in

ArchDaily, <http://www.archdaily.com/81576/maple-leaf-square-canopy united-visual-artists/> 6 Design Playgrounds 2013, Bloomberg Pavilion by Akihisa Hirata, <http://designplaygrounds.com/deviants/bloomberg-pavilion-by-akihisa hirata-architecture/> 7

Aranda & Lasch 2012, “The Morning Line: Design - Fractile Geometry and Parametric Design,” in Thyssen-Bornemisza Art Contemporary, accessed 15 April 2013, <http://www.tba21.org/pavilions/49/subarticle/2>

8 Jakob Harry Hybel 2013, ‘Rokkō Shidare Observatory,’ in Arcspace.com, <http://www.arcspace.com/features/sambuichi-architects/rokko-shidare- observatory/> 9 Design Playgrounds 2013, Pratt institute’s graduate architecture and

urban design exhibition 2013, <http://designplaygrounds.com/deviants/pratt-institutes-graduate architecture-urban-design-exhibition-2013/>

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references Canopy photos are taken from:

James Medcraft 2010, ‘Maple Leaf Square Canopy/United Visual Artists’ in ArchDaily, <http://www.archdaily.com/81576/maple-leaf- square-canopy-united-visual-artists/>

Bloomberg Pavilion photos are taken from:

Design Playgrounds 2013, Bloomberg Pavilion by Akihisa Hirata.

Case Study 2.0 Morning Line photos are taken from: 1 Design Playground 2013, The Work of Matthew Ritche, <http://designplaygrounds.com/deviants/the-work-of-matthew-ritche/> 2 Aranda\Lasch 2009, The Morning Line Rendering, <http://www.flickr. com/photos/arandalasch/3191703998/in/set-72157612286717885> Rokko Shidare Observatory photos are taken from:

Jakob Harry Hybel 2013, ‘Rokkō Shidare Observatory,’ in Arcspace.com, <http://www.arcspace.com/features/sambuichi-architects/rokko- shidare-observatory/> Pratt Institute’s Design Exhibition photos are taken from:

Alan Tansey 2013, Pratt institute’s graduate architecture and

urban design exhibition 2013, <http://designplaygrounds.com/deviants/pratt-institutes-graduate architecture-urban-design-exhibition-2013/>

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Restart.

After the mid-semester presentation, we evaluated our design process.

The panel had suggested to create a dynamic form that provided a natural experience like the Rokko Shidare project, and relate closer to biomimicry and fractals.

We knew we were in for a rough 3 weeks.

Week 9 Proposal #1: Retracing our design process, we may have chosen the wrong path which led us to an over-simplified 2D concept. Hence, we can opt to explore the other path (refer to ‘Exploration #1’, page 61) which expressed a 3D fractal structure.

Proposal #2: Fibonacci sequence. We started playing around with a different fractal pattern. The Fibonacci algorithm in Grasshopper was rather interesting yet limited in the sense that we could only manipulate the radius of sequence arrangement and the shape of the reiterative pattern. It then occurred to us that the zooming effect of the Fibonacci sequence was rather interesting and different.

Conclusion: Proposal #1 was too similar to the Aranda/Lasch ‘Morning Line’ project. Proposal #2 was different and could potentially be developed to provide a unique spatial and visual experience for drivers. We chose the latter.

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inspirations from nature & architecture

Bamboo Tunnel by Akio Hizume1

Spiral aloe following the Fibonacci sequence.2

Phyllotaxis

A linear spiralling phyllotaxis pattern3

Meaning â&#x20AC;&#x2DC;leaf arrangementâ&#x20AC;&#x2122;, phyllotaxis is a term in which each new leaf on a plant stem is positioned at a certain angle to the previous one and that this angle is constant between leaves.4

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The Wyndham Project Public art and the natural environment are key unique features of Wyndham.

Over the years, the community has built a strong relationship with the arts and nature as the City continues to upgrade the condition and aesthetics of the urban environment. The proposed installation should encourage an ongoing interest and further reflection beyond first glance. Time and space are important factors to consider to enhance user engagement.

Public art work in Wyndham

The flora and fauna in Wyndham

Our proposed design for the Western Interchange installation intends to capture transition in motion, which is basically the expansion and contraction of a longitudinal tunnel-like structure, inspired by the interchanging zoom in and out of a fibonacci pattern. Further, structural performance is optimized through research on plants that exhibit the fibonacci pattern.

We aim to stir up the discourse on harmonizing nature and Manâ&#x20AC;&#x2122;s designs to not only produce an innovative design, but to encourage an understanding of biological processes and the complexities of it.

The proposed design is modeled digitally and prepared for fabrication with computatational software -Rhino and Grasshopper. The stages of design development and physical modeling will be discussed in the next page.

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Fibonacci as an ANALOGY In the macro environment (perspective of Victoria), the CBD is the focal point of Melbourne while the suburbs extend like a radial network. Wyndham is located south-west of the CBD, in the suburbs of Werribee. Thus, the concept of transition can be represented by the CBD as the centre of the Fibonacci pattern and Wyndham as a representation of the broader pattern.

We then utilised this idea as the basis to further develop the final form.

Wyndham • Macro scale • Irregularity • Dispersed Melbourne • Micro scale • Regularity • Consolidated

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Fibonacci as a FORM FINDER We decided to create an enclosure; an isolated space stretching a certain span along the freeway road towards Wyndham, where drivers will experience a chaotic journey of ‘expanding and contracting’ spaces. Essentially, we are exploring the visual and psychological experience within a dynamic space. At the end of the day, we hope that the design is one that is emotionally engaging, leading one to reflect upon his or her experience and consequently, talk about it with others within his or her social circle.

How is the Fibonacci fractal pattern an innovative design approach?

Though we strived for a form inspired by nature we adopted a different approach of biomimicry thinking which contrasted the ‘Seeds of Change’ mimicked form of a leaf. With the Fibonacci pattern in mind, we researched nature’s systems for structural and aesthetic solutions. We stumbled upon various Fibonacci objects in nature that influenced the further development of the design’s form and significance as an icon for Wyndham (discussed in the next page).

Screengrabs of the driver’s view along the tunnel.

Screengrabs of zooming on a Fibonnacci pattern

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Design Development A basic hexagon was drawn in Rhino, arrayed and oriented repeatedly every 45-degree.

Scaled from 0.5-1x, the resulting shapes are then arranged vertically from large to small. The first arrangement was selected as it expressed a satisfactory degree of complexity from the frontal, side and internal perspective The arrangement is mirrored thrice horizontally. Each frame is 1 metre apart, though it is not the confirmed width.

As we intend to create a tunnel, the frames are cut into half.

The frames are set as curves in Grasshopper and lofted with triangular panels. Note the shading that enhances the dynamism and aesthetic appeal of form.

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DESIGN

Measure the span and width of road between site A and B.

Determined Width of tunnel: 11m Span: 250m Width between rib range from 5m, 4.5m, 4m, 3.5m, 3m, and 2.5m to create ‘expanding and contracting’ intensities.

Research on minimum tunnel height under VicRoads regulations. We found that minimum height clearance is 4.3m

Final design form

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BUILT STRUCTURE

Determined height of: lowest panel 4.4m highest panel 6.6m

Extrude the design to certain thickness, taking three dimensional support system into account.

Divide span between each rib: 5m

Fabrication tools used: Making Tabs

Scale of models: Two 1:500 using black card and Perspex One 1:50 using reflective paper for panels and 3mm boxboard for ribs

Build model

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Where to place the site?

Proposed location of design on site.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

In order to achieve the zooming visual effect desired, our choice of location depended strictly on any site that stretches far enough along the freeway. Essentially two sites had to be selected as we wanted to design a structure that encloses the entire width of the road leading to Wyndham. Naturally, Site A and B fit the bill. Next, the length of the structure along the XY-axis had to be determined.

Measuring from one end of Site B to a point near the petrol station, 250 metres seemed appropriate.

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Material We are interested in using aluminium. It is light, resistant to corrosion and is recycleable5.

These properties of aluminium are beneficial for: 1) Quick installation on site in the case of a high-speed traffic zone.

2) Environmental friendly - immune to corrosion, aluminium does not

pollute the natural environment. Also, less maintenance is required.

3) Sustainability - recyclable aluminium can be sourced as a building material.

Rendered internal view of design with aluminium.

We were introduced to Robofold as a practical option for constructing a full-scale physical model of the design. Industrial robots are simulated and controlled in CAD (Computer Aided Design) to fold 1.5mm aluminium sheets6. For our physical model, we substituted aluminium with a different material.

Industrial robots folding aluminium sheets

ARUM for Zaha Hadid & Patrik Schumacher utilised Robofold to fabricate the panels.

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Fabrication As the design spanned 250 metres, building a prototype at 1:50 would be extremely lengthy -500 centimetre long. We were constrained with time so we decided to fabricate two-thirds of the design. Each strip was colour coded to keep track of the strips when unrolling with Grasshopper. Next, tabs are made for each strip. Grasshopper hasten the process as we could adjust the width and tapering of every tab through number sliders.

The strips are then laid out on a 900x600mm layout, labeled and colour coded according to the FabLab requirements. Although we intend to use aluminium, we could not find aluminium sheets large enough to send to FabLab. Hence, we opted for polypropylene to experiment with a semitransparency, and a black optix card to explore the night view when driving under it. In order to support the structure, we manually cut slits on a foamboard to insert the end tabs of each strip.

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Polypropylene is an interesting material. Only of 0.6mm thickness, it is quite strong and rigid. We were thankful for preparing etch lines on the strips before sending them off to FabLab. Polypropylene cannot adhere to normal adhesive glue, therefore we resorted to superglue and stapling. We considered using Chicago screws but the tabs were too narrow to punch holes through them.

Optix card is much easier to model with.

The material is also relatively hard when compared to polypropylene. The black colour is also an extreme contrast to the translucent polypropylene and delivers the effect of suspense of driving within a darklitted tunnel.

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Fabrication To our dismay, the prototypes were slightly smaller than we had imagined.

Hence, we attempted to build a 1:50 model. Again, we modeled two-third of the original design. As we could not send the fabrication layout to FabLab for laser cutting in time, we had to manually print the layout and cut on selected materials. We had learnt, from the previous prototypes, that glueing tabs was a rather tedious and time-consuming process. Thus, we considered creating ribs where each strip will attach to them with connectors.

For the ribs/ frames, we selected a 3mm thick Boxboard, and foilboard for the aluminium panel strips.

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In summary, Concept : Scalar transition of a Fibonacci pattern

Case studies

Design Development

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Tectonics & Light effects

Final words...

We believe that our design captures the visual experience of the two-dimensional F contrasting concepts -regularity|irregularity, order|chaos, simple|complex, micro| the driverâ&#x20AC;&#x2122;s feelings of anxiety and excitement, but encourages multiple interpret a living organism that is capturing and swallowing its prey, or one may wonder wha still be thinking about that particular overwhelming experience that has stirred u

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Fibonacci pattern in a three-dimensional space, that assimilate the transition of |macro. The compaction of these concepts into an isolated space not only develops tations of what the structure is. One may feel that the structure is comparable to at lies ahead at the end of the tunnel. After leaving the tunnel, the driver will up emotions and thoughts.

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reflection From the final presentation, we noted that our proposal still lacked critical analysis on our research and modeling process. Our research was merely on the surface and lacked depth and understanding of the underlying systems or methods. I acknowledged this criticism to be very true. Unlike other coursemates in the studio, we did not commit as much time and effort in experimenting the tectonics of the physical structure. We also received feedback about the form of the design, which appeared to emulate the fibonacci leaf arrangement of a plant. Though we did not have the intention to mimic natureâ&#x20AC;&#x2122;s form compleletely, we realised that our design had some resemblance to the phyllotaxis leaf arrangement found in several types of flora species (refer to page 84 for image examples).

In response to the learning objectives of the course, Studio AIR was certainly an eye-opening experience. Using digital technology to create an innovative design broadens the design space for extensive exploration.

Even as a designer, digital technology can be utilised to analyse a site and create construction joints for a real-life structure. However, during this semester, I had not explored as much design possibilities as I had intended to during the first few weeks of the semester. Time constraints and heavy workload from other course subjects were factors limiting my effort spent on this course. Still, I believe that I was able to deliver in terms of utilising the basics of Grasshopper though I regretted not maximising the numerous techniques I had painstakingly learnt in tutorials for the final design. Furthermore, I have developed skills in producing good quality images of physical models and vector images from Rhino with Adobe Photoshop. Fabrication was a particularly interesting as I managed to use different materials and cutting methods. My group had modeled with plywood, polypropylene, optix card, foilboard and cardboard, and each of them informed us of the structural rigidity and constructability of actual building materials. For example, the folding of panels was tested on various materials to define the basis of our research for real building materials that were malleable yet strong in compression and tension. Our options included aluminium, steel and timber (not mentioned in journal).

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Constructing a proposal for the design was a difficult task, as criticised by the guest panel during the presentations that my group lacked critical analysis of the design process. It is important for every architect to be able to relate the design to the concept and not stray from that focus.

I believe I was weak in this area due to the constant changing of design ideas until our group was slightly confused with the actual focus of the design -using biomimicry as an approach to create an innovative design that identifies Wyndham. I felt that we were caught up with trying to relate the design to nature that we ended up with a very similar copy of a phyllotaxis plant though it was not our intention from the start. While the group was seriously disadvantaged by this, we were constantly amending our design proposal to fit the brief and it is reflected in our individual journals.

Even though, our proposal is not as strong, we are definitely progressing towards that direction. At the end of the final presentation, I have a stronger sense of why my group members and I are designing for Wyndham and how we want drivers to visualize and think of as they pass through the structure. Personally, biomimicry informs the community of nature through architecture, and the building or structure invites people into a â&#x20AC;&#x2DC;man-made natural environmentâ&#x20AC;&#x2122;. Thus, there is no distinction between nature and the concrete urban environment when biomimetic buildings are in their way, a representative of nature.

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references 1)

Tari Brand, Yokokuji Bamboo Fibonacci Tunnel Akio Hizume, last modified 11 December 2011, <http://celebrationofnow.com/2011/12/03/ inspirational-bamboo/yokokuji-bamboo-fibonacci-tunnel-akio-hizume/>

2) Inspiration Green, The Fibonacci Sequence in Nature, accessed 20 May

2012, <http://www.inspirationgreen.com/fibonacci-sequence-in-nature. html> 3)

Griffin Masster Genysus, Phyllotaxislast modified 11 September 2011, <http://www.flickr.com/photos/rainyneptunus/6140652547/>

4)

Tung, K.K. Topics in Mathematical Modeling. Princeton: Princeton University Press. 2007, cited in Nick Seewald, The Myth of the Golden Ratio, accessed 20 May 2013, <http://goldenratiomyth.weebly. com/phyllotaxis-the-fibonacci-sequence-in-nature.html>

5) AALCO 2013, Technical Information, accessed 20 May 2013, <http://www.aalco.co.uk/datasheets/Aluminium-Alloy_Introduction-to- Aluminium-and-its-alloys_9.ashx> 6) RoboFold 2013, Technology, accessed 20 May 2013, <http://www.robofold.com/index.php?DOC_INST=23>