Kwek_Amanda_939562_FinalJournal (A+B+C)

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Tu t o r : M oy s h i e E l i a s

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Introd u c t io n

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A M A N DA KW E K Born in Year 1997 Singapore

Amanda also believes having a good balance work & play lifestyle is one of the important values in her life. Being actively involved in various kinds of sports has helped shape much of who she is today.

Sports has also made Amanda a very determined person, to always have a tenacious attitude to persis even in the face of adversity & to always stay optimistic despite the outcome, wanting to get back up even stronger.

Amanda is currently a third year student majoring in Architecture at the University of Melbourne. She graduated with a Diploma in Architecture at Singapore Polytechnic (Singapore) in 2017.

Since young, Art has been her passion; particularly passionate in sketching & desigining houses. This piqued her interest on the World of Architecture.

Upon entering polytechnic, her interest in architecture was augmented by the process & concepts of projects, especially in functional art; how spatial layouts can be further pushed beyond its limits; enthusiasm for overcoming challenges & wanting to learn more.

Living in this digitsed world, Amanda believes that technology is the way in to go; thus the importance of being able to keep up in order to still be relevant in this industry.

Her education in Singapore Polytechnic the last 3 years and working experiences has familiarized herself with softwares such as AutoCAD, Revit, Sketchup, and rendering softwares such as Vray and Podium. “ Architecture is an expression of Values.�

-Norman Foster

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Final Ye a r P ro j e c t:

Co -Wo r king S paces

S o f t wa res Use d : Ske tch up , AutoCad, Photoshop, Vray

Prev iou s Wo rk s

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S eco nd Ye ar P ro j e ct :

M ulti- Sto rey Resid ential

S o f t wa res Use d : Rev i t , AutoCa d, Photoshop

First Ye ar P ro j e c t :

D welling

S o f t wa res Use d : Rev i t , AutoCa d, Photoshop

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Conten t s

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CO N TE N TS

PART A. Conceptualisation 12

A.1 Design Futuring

20 A.2 Design Computation 26 A.3 Composition / Generation 32 A.4 Conclusion 33 A.5 Learning Outcomes 34 A.6 Appendix - Algorithmic Sketches

PART B. Design Criteria 46 B.1 Research Criteria 52 B.2 Case Study 1.0 79 B.3 Case Study 2.0 82 B.4 Technique: Development + 42 B.5 Technique: Prototypes 96 B.6 Technique: Proposal 106 B.7 Learning Objectives and Outcomes 108 B.8 Appendix - Algorithmic Sketches

PART C. Detailed Design 120 C.1 Design Concept 135 C.2 Tectonic Elements & Prototypes 145 C.3 Final Detail Model 165 C.4 Learning Objectives and Outcomes 168 Reference List

PART A:

CONCEPTU

A L I S AT I O N

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Conten t s

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CO N TE N TS

PART A. Conceptualisation 12

A.1 Design Futuring The Plug-In City The Pod City

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A.2 Design Computation Heydar Aliyev Center Vaulted Willow

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A.3 Composition / Generation The Green Void Metropol Parasol

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A.4 Conclusion

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A.5 Learning Outcomes

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A.6 Algorithmic Sketches Human Figures Contours

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PART A.1

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DESIGN FUTURING

Our world is at a point where ‘we have reached a critical moment in our existence’1.

The Earth’s resources are slowly depleting and is becoming insufficient, seeing the way we humans are taking it for granted these days. ‘Many of the challenges we face today are unfixable’2 ; overpopulation, shortage of natural resources, climate changes,etc.

However, the only way in which we can still ovecome this problem is to change ‘our values, beliefs, attitudes, and behaviour’2.

Sustainable design is the key to sustainability.

Through sustainable design ; we need to address the issues in which we face today, and yet at the same time still be able to adapt to the future.

As designers, we need to use our knowledge to help us implement new ideas; not only aesthetically, but also environmentally. To continue to preserve the remaining resources of our Earth for future generations.

1. Tony Fry.(2008).Design Futuring : Sustainability ,Ethics and New Practice. 1st ed. Oxford : Berg, Pg 1 2. Anthony Dunne and Fiona Raby (2013). Speculative Everything: Design Fiction , and Social Dreaming (MIT Press) : Pg 2

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A.1 D esig n Fut u rin g

The Pl u g - I n C i t y Pe te r Co o k

Figure 1.1. A section of The Plug-In City showing the different type of towers and how it works together.4

The Plug-In City, designed by Peter Cook , who was part of a collaborative British group called the ‘Archigram’. His work was one of the many ‘visionary creations’ 3 of the 1960’s, addressing the issue of overcrowding in the future and how he would overcome it as shown through his design. Compared to other ‘mainstream architecture’ that ‘resolved this by turning to cookie-cutter suburbia, Cook embraced the change’3 ; ‘to encourage change through obsolescence’ 4.

The concept of his project starts of with the idea of having a ‘Megastructure’ 4, also known as the ‘central machine’3, which consists of ‘nodes and cells that could accommodate any type of architectural components’ 5; access routes, residential/housing, transportation, offices , entertainment areas, etc were ‘all accessible through plug-in towers’.

On top of that, each building is a has a crane on top. This helps the ‘Megastructure’ to be able to that constantly change the modules to suit the city and it’s community’s ‘ever-changing needs’ 3.

3. Christopher Muscato, Archigram: Plug-in-City, The Walking City & Instant City <https://study.com/academy/lesson/archigramplug-in-city-the-walking-city-instant-city.html> [accessed 29 July 2018].

4. MoMA, Plug-in City: Maximum Pressure Area, project, Section (1964) <https://www.moma.org/collection/works/796> [accessed 29 July 2018].

5. LAURENT HUBEEK, Cities of the Future (2012) < http://themobilecity.nl/2012/02/14/cities-of-the-future/> [accessed 29 July 2018].

The Plug -I n C i t y

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The importance of able to adapt and keep up with change is one of the strong message that Peter Cook is trying to bring across in this project that he has designed.

This can be seen in one part of his illustrations, where a ‘Megastructure’ has been built on top of an existing old building (Refer to Figure 1.2). It showed how ‘progress has overtaken the old ways of the world’6 and how ‘permanent architecture will become irrelevant’6 .

Figure 1.2. A close up image to show how old buildings will be built on top of.5

Similarly in the architecture industry, it brings across a very strong and important message not us humans as well; that if we do not continue to upgrade ourselves and learn how to be adaptive to our surroundings, but instead choose to remain in our comfort zone and continue living the way we live, we could very quickly become irrelevant.

Which links to the next point on how we can be adaptive to be to keep up with the future.

The ‘Crane’ in Peter Cook’s design is the main core structure of the building, showing how it is ‘meant to keep up with the fast changing wants and needs of the community that resides in it’ 6.

Once again, it brings us back how adaptive we humans must be to change. We need to learn how to be able to keep up with the needs of the future just like the ‘crane’. Not only does it ave reference to us humans in general way of life, but it could also be related to those in the architecture industry. Learning nly how to do things the old fashion way will not be sufficient to survive in the future, nd instead end up lagging behind by a lot. Thus it is important for us to keep improving ourselves, by keeping this open mindset in wanting to learn and, to ensure that we will continue to be useful and relevant, just like the ‘Crane’.

Figure 1.3. A cross section showing the purpose of the crane.5

6. Jed Matthew Paz, Plug-In City Photo Essay Final Draft (2013) <https://prezi.com/ncvbhevnvujg/plug-in-city-photo-essay-finaldraft/> [accessed 30 July 2018].

7. moderneRegional, Living like in the space capsule <https://www.moderne-regional.de/?s=the+plug+in+city> [accessed 31 July 2018].

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A.1 D esig n Fut u rin g

The Po d C i t y Pl a n n i n g Gro up (Se o ul ,Ko rea )

Figure 2.1. Rendered Image of how the Pod City is envisioned to be.8

The Pod City, designed by Planning Group, a Seoul-based Architecture group, who ‘envisioned L’air Nouveau de Paris (the new air of Paris)’ 8. The design of this project is an ‘egg-shaped development’ 8 , which ‘features a series of interconnected pods elevated on stilts, which each pod housing a variety of residential, retail and office units’ 8 .

The design of this project was ‘inspired by organic forms of complex micro-organisms’ 8. The pods are then ‘interconnected to promote relationships and collaboration throughout the development’ 8 as well. The pods are also ‘almost fully glazed to provide 360-degree panoramic views over the city’ 8.

The Pod C it y

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The Pod city is also trying to be future proof through its design by addressing the issue of overcrowding and their ideas of how they can overcome it.

Firstly, the idea of having these pods raised on stilts is one of the ways to address the existance of existing roads and human paths in the area, overcoming the problem of overcrowding due to the lack of land space. New paths are also created vertically above the existing ones to overcome the problem of over congestion for future larger populations.

Similarly to architecture, though we all already have a certain set of skills, we must continue to build on what we have ; our knowldge and skills, to use our â&#x20AC;&#x2DC;pastâ&#x20AC;&#x2122; to help shape and define us in the future.

Figure 2.2. A close up image to show how the project adapts to its existing condition.8

Figure 2.3. Internal view of an apartment , show casing nautral daylight entering the space.9

The use of glass all round the pods helps to visually lighten the massive structure of the design, maximizing daylight entering the spaces. The space also uses the colour white alot to help brighten then space.

Not only does this helps to conserve energy during the day save cost in terms of lighting in the day time. However, it may overheat the house during the day time, requiring the energy saved on lights to be used for airconditioning instead.

Relating back to technology, we should always work with what we have and always push ourselves and continue to be adaptive to changes.

8. Lucy Wang, Planning Korea unveils plans for futuristic pod city in the middle of Paris (2015) <https://inhabitat.com/planning-ko rea-envisions-futuristic-pod-habitats-in-paris/> [accessed 31 July 2018].

9. Image Source: Lavinia Gather-Stammel, Futuristic Pod City in Paris <http://materialsinnovation.myblog.arts.ac.uk/2017/11/21/specu lative-design-projects/> [accessed 31 July 2018].

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A.1 D esig n Fut u rin g

“Sustainability can’t be like some sort of a moral sacrifice or political dilemma or a philanthropical cause.

It has to be a design challenge.”

-Bjarke Ingels

Com p ar is on

Co mpar i s o n Th e Pl u g- In C i t y & Th e Po d City Overcrowding has always been a main issue which has been in discussion through many decades, resulting many architects to come up their own concepts and versions of how they envision the future would be like to tackle this continuous growing population by having future proof ideas.

The Plug-In City and The Pod City are 2 of the many visions that are rather similar on how they would think could overcome this problem.

Similarities are similar that they both show the importance of being adaptive and relevant in our world.

This can be seen through both projects, where they adapt to its existing site and building on top of fixed old architectures and make use of the remaining spaces they have to create a more future proof scheme.

In addition, they are also similar in the ideas of creating ‘connections’ from one building to another. This helps to address the problem of road conjestion by providing alternative routes for users.

We should continue to aim and be like these two projects, not only in the way we think when designing buildings or homes, but also when it comes to ourself; aiming to continue equipting ourselves with technology skills and knowledge to help us ensure that we will still be relevant in our society ; to be sustainable.

Differences However, despite the similarities, The Plug-In City seemed like a more feasible compared to the Pod City.

The Plu-In City is more sustainable compared to the Pod City, being able to keep up with the needs of the users, by being able to replace and built to match the needs of the people. It also takes into consideration the presence of its existing buildings and works around it.

Whereas the Pod City, though it is future proof in terms of its concept of vertical connections and being able to try to meet the user needs by having everything in one pod, is not as adaptive compared as it requires an empty piece of land without any existing buildings to be able to work out. It is not as sustainable compared to the Plug-in city.

In conclusion, technology is something we cannot live without. It is constantly progressing, slowly taking up people’s jobs because they are more efficient in terms of skills and the ability to reduce the number of man power doing a task. Thus, it is an important message to us, that if we do not keep learning how to be adaptive and be up to date with what is around us, technology like robots will soon be taking over our jobs.

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PART A.2

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DESIGN COMPUTATION

Technology has been advancing very quickly through the years ; allowing many people to benefit from it in their own ways; be it at home, school or even in the office.

In the architecture industry, we still need to have a clear distinction between these two terms: Computerisation and Computation.

Computerisation is the use of softwares to aid our design intention. We usually use this after the design as been decided.

Computation is the use of softwares to help us decipher our design from the start ; parametric design, algorithmic design, etc.

However as a whole, we should continue to use these softwares to our advantage. Not only to help us work more efficiently, but also to explore new possibilities to share with other designers and with the world.

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A.2 D esig n Co mput ation

H eyda r A l i yev Ce nte r Z a h a H a d i d A rchi te ct s

Figure 3.1. Image showing the unique form of the Heydar Aliyev Center through the use of parametric computation software. 11

The Heydar Aliyev Center, in Baku, Azerbajin, was designed by Zaha Hadid Architects in 2013, upon entering the competition in 2007.

forms – the more striking and unorthodox the better -rather than its social or humanitarian role’13.

The center was ‘designed to become the primary building for the national’s cultural programs’ 10 , breaking away ‘ from the rigid and often monumental Soviet architecture that is so prevalent in Baku’ 10.

Thus, resulting many of her designs to have ‘aggressive geometric designs’a that ‘are characterized by a sense of fragmentation, instability, and movement’ 12. In other words, using these complex looking forms and façade to deceive people’s thoughts into thinking that it is good architecture when in fact it is not as what they expect; being

Hadid’s design philosophy was that ‘the meaning and power of architecture lies in its

10. Heydar Aliyev Center / Zaha Hadid Architects (2013) <https://www.archdaily.com/448774/heydar-aliyev-cen ter-zaha-hadidarchitects> [accessed 4 August 2018].

11. Image Source: BEGA, Heydar Aliyev Centre, Baku <https://www.bega.de/en/references/heydar-aliyev-center-baku/ > [accessed 4 August 2018].

12. Encyclopaedia Britannica, Zaha Hadid <https://www.britannica.com/biography/Zaha-Hadid> [accessed 9 August 2018].

13. CHRISTOPHER HAWTHORNE , A critic’s take on the power of Zaha Hadid (2016) <http://www.latimes.com/entertainment/arts/ la-et-cm-zaha-hadid-appreciation-20160401-column.html#> [accessed 9 August 2018].

Heyd ar Aliyev Ce n te r

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Interior image of the centre showing how the facade design has been translated inside as well.

Throughout the design, ‘the most critical yet challenging elements’ was the building skin.

They aimed to ‘achieve a surface so continuous that it appears homogenous’ 12 .

Many would have thought that the form of the building was derived through computation methods because of the misconception of the term ‘Parametricism’ (a name for what their firm does) ; which means that ‘the algorithms on which the designs are based’13 .

However, it was computerisation that was used instead, as the form of the centre had already been more or less decided through site analysis and was later translated into MAYA, a 3D software, to help digitise their design. From there, other building elements such structure, services, lighting, etc had to work around the form.

Thus, this project is a good example of how computerisation allows more flexible compared to computation.

14.Image Source(Top): Paul Steele , AZERBAIJAN – THE HEYDAR ALIYEV CENTRE OF BAKU (2018) <https:// www.baldhiker.com/2018/05/03/azerbaijan-the-heydar-aliyev-centre-of-baku/> [accessed 4 August 2018].

15.Image Source(Bottom): EOI, Hokuma Karimova, Project Management: Heydar Aliyev Cultural Center <http://www.eoi.es/blogs/hokumakarimova/2012/01/14/heydar-aliyev-cultural-center/> [accessed 4 August 2018].

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A.2 D esig n Co mput ation

Vaulte d Wi l l ow M a rc Fo r n e s / Th e Ve r y Many

Figure 4.1. Overall look of the Vaulted Willow Pavilion and how it is relating to its surroundings.11

The Vaulted Willow is a public art pavilion located in Borden Park in Edmonton ,Canada.

It was designed by Mark Fornes, from TheVeryMany, which his studio mainly focuses on ‘the computational design and digital fabrication of geometrically complex, self-supporting structures that consists of thousands of flat pieces that are joined together to create organically curving surfaces’16.

The design was inspired with the concept

having ‘2D geometry of catenary curves by exploiting a computationally derived dynamic spring network with behavioural attributes’16. This is rather similar to the structural principal ‘borrowed from Gaudi chains model’17 , where he uses ‘ hanging chain model made out of weights on strings that would serve as an upside down version of the arched forms he sought’18. The 2D geometry then resulted into its finalised 3D form with the help of algorithms; that made it easier to make changes if one decides to

16. The New Stack ,Kimberley Mok, The Stunning Bio Forms of Auto-Updated Architecture (2015) <https://thenewstack.io/the-stunning-bio-forms-of-auto-updated-architecture/> [accessed 5 August 2018].

17. MARC FORNES / THEVERYMANY STUDIO , PUBLIC ART VAULTED WILLOW (2014) <https://theverymany. com/public-art/11-ed monton> [accessed 5 August 2018].

Vau lted Wil l ow

Figure 4.2. & 4.3. Use of Computation softwares to colour code the pieces to differentiate them.15

make changes as all will be updated.

In Fornes’s example of the Vaulted Willow pavilion, it shows that computational design The pavilion is made up of ‘721 individual is a tool in which designers can use to help aluminium “shingles” ’17 that are ‘custom them experiment the many possibilities with made with the help of computation software, algorithms, breaking away from conventional customized to suit the design intention’17. symmetrical forms. At the same, they are With the help of computation, the shingles also able to easily change the form’s size when fixed together becomes ‘self supportand materials without having to redesign the ed shells’ throughout the whole pavilion’17. whole thing from scratch again.

Colours are also used to identify the different pieces and where it is to connect with each other, making it easier during installation.

18. MEMETICIAN , A different kind of string theory: Antoni Gaudi (2007) <https://memetician.livejournal.com/201202.html> [accessed 10 August 2018].

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PART A.3

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COMPOSITION | GENERATION Through the years, computing techniques have constantly been developing and recently rather quickly.

Computation has been ‘redefining the practice of architecture’19 as not only by creating ‘opportunities in design process, fabrication and construction’19, it also allows ‘designers to extend their abilities to deal with highly complex situations’ 19, compared to computerisation ; which computers are just used for drafting out presentation

boards virtually and digitsing ideas designs and forms that have already been confirmed.

Through the 2 precedents in this portion, we will be able to understand how each uses the method of generation design and what are its advantages and disadvantages.

19. Brady Peters and Xavier De Kestelier, ‘’Computation Works: The Building of Algorithmic Thought, ed. by Brady Peters( 2013), p. 8-13

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A.3 Co mpo sitio n /Generation

The Gre e n Vo i d L AVA ( Th e L ab ato r y o f Vi s ionary Arc hitec ture) The Green Void, an installation that was designed by LAVA, is one example which shows ‘a new way of digital workflow’20 through using generative mediums to their advantage, allowing them to achieve such complex outcome with ‘minimum surface’22 and ‘use of minimal materials’20 .

The aim of this project was to ‘renounce on

Figure 5.1. Internal of the installation showing the parts of the fabric and aluminium tracks coming together. 20

the application of structure in the traditional sense’21 and was inspired by ‘the relationship between man, nature and technology’21.

The design process began with the architects who determined the five ‘connection points within the space’22 and the rest was ‘mathematical formula’22 within the 3D parametric software. The finalised form ‘was

Figure 5.2. Overall view of the whole Green Void and its 5 connecting opens.

20. Spec-Net Building News, MakMax Australia and LAVA Green Void for Sydney Customs House (2017) <https://www.spec-net.com.au/press/0109/mak_070109/MakMax-Australia-and-LAVA-Green-Void-for-SydneyCustoms-House> [accessed 9 August 2018].

21. Green Void / LAVA, Green Void / LAVA (2008) <https://www.archdaily.com/10233/green-void-lava> [accessed 9 August 2018].

22. Arch2O.Com, The Green Void | LAVA <https://www.arch2o.com/the-green-void-lava/> [accessed 9 August 2018].

23. Image Source: Designzens, LAVA - Laboratory for Visionary Architecture (2011) <http://www.designzens.com/article/2011/09/21/ green-void> [accessed 10 August 2018].

The G reen Vo i d

then structurally engineered by fabricator MakMax and subjected to a computercontrolled material (CNC) cutting and mechanical re-seaming’24 .

Lycra; ‘which is specially treated high-tech nylon’24 that is light weighted, along with aluminium track profiles that were ‘suspended using stainless steel cables’24.

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Generation influenced the design of the project, it has also help bridge better understanding between the architect and the structural engineer involved in this project.

With the right amount of data, the structural engineers were able to better understand the design intention of the architect and want was needed structurally to overcome this complex design.

Figure 5.3 & 5.4. Showing how algorithms resulted in the final form, of which colours were used to decipher the different pieces of the installation that was used as a guide when producing it.

24. Anuradha Chatterjee, Green void (2009) <https://architectureau.com/articles/exhibition-14/> [accessed 9 August 2018].

25. Image Source (Left): Rose Etherington, Green Void by LAVA (2008) <https://www.dezeen.com/2008/12/16/ green-void-by-lava/> [accessed 10 August 2018].

26. Image Source (Right): igreenspot, The Green Void 100 Percent Transportable and Reusable by Lava <http://www.igreenspot.com/the-green-void-by-lava/> [accessed 10 August 2018].

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A.3 Co mpo sitio n /Generation

Met ro p o l Para s o l J ü rge n M aye r He r mann , J. MAYER.H a rc hitec ts

The Metropol Parasol is also another example of how this project was made possible with the use of parametric design; generation. It is also known as the ‘world’s largest bonded timber structure’ 27 , is a contemporary urban centre located in La Encarnación square in Seville, Spain. It was designed by German Architect Jürgen Mayer Hermann and was completed in April 2011.

The design was inspired by ‘vaults of Cathedral of Seville and the ficus tree in

the nearby Plaza de Cristo de Burgos’27 .

The overall consists of six parasol that forms into a large ‘mushroom’ like structure, breaking away from the traditional architecture surrounding this once run down square.

Though not stated clearly as to how it was designed, we can roughly assume from the finalised form that the architect probably used 3D computation software like

27. Australian Design Review, Metropol Parasol (2011) <https://www.australiandesignreview.com/architecture/metropolparasol/> [accessed 7 August 2018].

28. Image Source: Besta Rod Systems, Metropol Parasol, Seville, Spain <http://besista.com/en/references/timber-construction/> [accessed 7 August 2018].

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Me t rop o l Pa ra s o l

Grasshopper to design this urban centre.

The use of computation design can be seen as a useful tool when designing such complex and organic forms through the play of contours. Such structures also requires a lot accurate data for it to be constructed; especially when the most important part was knowing how to connect the ‘3000 connection nodes at the intersection’29 of the micro-laminated timber structures.

engineer on the same page, saving time and quickening construction period.

Computation design also has its flaws, known as having no sense of its surroundings.

However, it somehow still manages to bring people together, providing ‘a series of new urban activity to evolve’29.

This also help to place the architect and

29. ARUP, Metropol Parasol, Seville One of the largest timber structures ever built <https://www.arup.com/projects/metropol-para sol> [accessed 7 August 2018].

30. Image Source(Top): ESPANIA, METROPOL PARASOL <https://www.spain.info/en/que-quieres/arte/monumentos/sevilla/ metropol-parasol-setas-sevilla-encarnacion.html> [accessed 7 August 2018].

31. Image Source(Bottom): Hector Beade, Metropol Parasol <http://www.hectorbeade.com/bridge/ metropol-parasol/> [accessed 7 August 2018].

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PART A.4 CONCLUSION

In conclusion, Part A has allowed me to experience and see how parametric is slowly evolving and changing the way we do things.

In todayâ&#x20AC;&#x2122;s world of advanced technology, computation is another medium and tool in which we can use as an alternative when to the architecture industry as it is fast and effective; helping us produce be able to produce accurate and efficient designs, which are usullaly very crutial.

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PART A.5 LEARNING OUTCOMES

In the last three weeks, my exposure parametric computation softwares like Rhino and Grasshopper, was a rather eye-opening experience.

The challenge in which I faced initally when using the softwares was the lack of knowledge which did not allow me to express what I had in mind intentionally.

algorithms is about ‘accidents’ that we make that causes us to want to be even more curious and explore what other variations we can or could come up with.

Despite computation method being the ‘way in architecture’ designing , I believe that we should still be sustainable in being able to have a good balance between knowing when to be in charge and when to let the computer However, it was through these obstacles that be in charge.

I actually learnt that the beauty of parametric

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PART A.6

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ALGORITHMIC SKETCHES

Part 2a.

Part 2.

Part 3a.

Part 3.

Part 4.

PA RT A.6 Append ix - Algo r ithmic S ke tch es

Part 1.

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Human Figures

S et t i n g u p t h e Bas e S o f t wa res u se d : G rassho p per and Rhino

Part 1.

Start of by forming Curves that mimics the curvature of a human body as the base.

Afterwhich, using Loft to join these curve lines otgether, forming a surface.

Part 2.

Connecting the formed curve surface to Populate Geometry to create random points on the surface of the model.

Part 2a.

Adding Number Sliders to control : (i) Seed , referring to the number of boxes formed within the same form. (ii) Count plays around in with the configuration of the different sized boxes and cuboids.

Part 3.

OcTree is used and connected to form cubes/cuboids using the random points, which was created by the Populate Geomtry.

Part 3a.

Toggle is used to transform the rectangular shaped forms into squares instead to create more variety.

Number Slider for Group is used again to play around with how the size cubes formed; it ranges from being congested and large, to small and widely spread out.

Part 4.

Finally, Boxing it so as to ensure that all the components are â&#x20AC;&#x2DC;gluedâ&#x20AC;&#x2122; together. Followed by baking the finalised product back into Rhino and rendering it.

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PA RT A .6 Append ix - Algo r ithmic S ke tch es

P ROC ESS

1st Model

2nd Model

3rd Model

Human Figures

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MOD EL S

4th Model

5th Model

6th Model

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PA RT A .6 Append ix - Algo r ithmic S ke tch es

CO N TOUR

Top View - Contours

Contours

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DRAWING

Birdâ&#x20AC;&#x2122;s Eye View - Contours

PART B:

CRITERIA

DESIGN

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Conten t s

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CO N TE N TS

PART B. Design Criteria 06

B.1 Research Criteria The Serpentine Gallery Pavilion Situation Room

128 B.2 Case Study 1.0 (A) L-Systems & Loops 5 Families - 50 Iterations (B) The ‘BLOOM’ Project (C) Component Design & Manual Recursion

384 B.3 Case Study 2.0 42 42

B.4 Technique: Development + B.5 Technique: Prototypes

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B.6 Technique: Proposal

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B.7 Learning Objectives and Outcomes

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B.8 Appendix - Algorithmic Sketches (A) Gradient Descent (B) L Systems / Basic Looping

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Reference List

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PART B.1

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RESEARCH FIELD Through the years, Digital Technologies have constantly been ‘changing architectural practices in ways’, impacting the way buildings are being designed and construction practices. These digital driven design processes are ‘dynamic, open-ended and unpredictable but consistent transformations of three-dimensional structures’ that are ‘giving rise to new possibilities’, enabling designers to expand their design opportunities by ‘allowing production and construction of very complex forms’.

The field of Genetic algorithms, in a design perspective for generating architecture, is

the use of ‘bio-inspired operations (mutation, crossover & selection)’ to generate high quality solutions to resolve the problem, producing a large amount of random and unexpected possibilities. This often involves the use of recursive aggregation.

However, this is unlike simple recursive aggregation which uses recursive algorithms to generate intricate sculptural shapes, by beginning with a simple definition, of which the result has already been more or less determined. One example of simple recursive aggregation is The Serpentine Pavilion.

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B.1 Researc h Field

The S e r pe n t i n e Pav ilion B j a r ke I n g e l s G ro u p (B IG )

Figure 1.1 Overall design of the Serpentine Pavilion.3

The Serpentine Pavilion is an example that uses recursive aggregation in its design. It is an ‘unzipped wall’ 1 that transforms ‘from a straight line to a three-dimensional space, creating a dramatic structure’ 1 .

The design process begins with the ‘most basic elements of architecture: the brick wall’ 1 .

The flat wall is then pulled apart, forming ‘cavity within it’, creating this interesting three-dimensional environment that can be ‘explored and experienced in a variety of ways: inside and outside’ 2. (Refer to the diagrams below in Figure 1.2)

Figure 1.2 Design Process of the Pavilion overall form.

2

1. The Serpentine Galleries, Serpentine Pavilion and Summer Houses 2016 <http://www.serpentinegalleries.org/exhibitions-events/ serpentine-pavilion-and-summer-houses-2016> [accessed 20 August 2018] 2. BIG, Serpentine Pavilion <https://www.big.dk/#projects-serp> [accessed 21 August 2018].

3. Image Source (Figure 1.1) : TOMO TAKA, Designs revealed for BIG’s Serpentine Pavilion and four summer houses (2016) <https://thespaces.com/2016/02/24/designs-revealed-for-bigs-serpentine-pavilion-and-four-summer-houses/> [accessed 20 August 2018].

The S er p en t i n e G a l l e ry Pavilio n

49

Wall Structure

Wall Components

Spatial Wall

Boxes & profiles are arranged in an orthogonal grid.

The wall consists of 1802 glass fibres boxes (400mm x 500mm) with 2890 cruciforr aluminium extrusions.

The boxes slide inwards & outwards in a checkerboard pattern, unfolding in two layers.

Figure 1.3 Detailed Stacking of the Fibreglass Frames.

2

Due to its massive form, ‘Pultruded fibreglass frames’ 1 , a lightweight material was is to create this pavilion rather than bricks. The shape of fibreglass frames are uniform and identical, which are fixed together using ‘cruciform aluminium extrusions’ 2 .

From this project, we can see some similarities in its design process and the process of recursive aggregation. The final outcome of the form and shape of the beginning definition has been determined from the start. Also, it uses a simple definition, the design of a piece which is being used consistently throughout the form. This design technique is different from Genetic Architecture, which can be seen in the next example of the Situation Room.

Figure 1.4 An example of Recursive Aggregation to compare with Figure 1.3 to show its similarities. 4

4. Image Source (Figure 1.4) : echoechonoisenoise, aggregations (2010) <https://echoechonoisenoise.wordpress.com/tag/rhino script/> [accessed 22 August 2018].

50

B.1 Researc h Field

S i t uat i o n Ro o m M a r k Fo rne s, Th e Ve r y Many

Figure 2.1 Internal Shot of the Installation, showing its organic form.

The Situation Room by TheVeryMany is one of the examples that is rather similar to how genetic architecture works through its process.

The overall form of the installation is ‘created out of Boolean operations merging the spheres and lending rigidity through the inherent double curvature, while best allowing for storage through nesting of incremental radii’ 5 .

‘Perforated pink aluminium panels’ 6 is used for the installation due to its ‘light-weight, ultra-thin self-supported shell structure’ 5 that was required. Not only did it make it easier

5. TheVeryMany, SITUATION ROOM (2014) <https://theverymany.com/14-storefront> [accessed 20 August 2018].

6. Dan Howarth, Marc Fornes creates pink “envelope of experiential tension” for Situation Room installation (2014) <https://www.dezeen.com/2014/10/15/marc-fornes-pink-aluminium-situation-room-installation-storefront-art-architec ture-new-york/> [accessed 20 August 2018] 7. Image Source (Figure 2.1) : ARTINDOORS, SITUATION ROOM IN NYC BY MARC FORNES <http://artindoors.altervista.org/situa tion-room-nyc-marc-fornes/> [accessed 21 August 2018].

Situat ion Ro o m

‘Perforated pink aluminium panels’ 6 is used for the installation due to its ‘light-weight, ultra-thin self-supported shell structure’ 5 that was required. Not only did it make it easier to create such unique forms, it also blurs the boundaries of ‘spatial envelope, acoustic-membrane, structural performance, assembly-parts and distributed lighting’ 5 with the help of the ‘coat of neon-effect’ 5 .

From this project, we can see some similarities in its design process and the process of genetic architecture. The end result of this project is not determined from the start by the architect, but instead it was derived from experimentation of many iterations to create many random possibilities through the use of recursive algorithms, resulting in best of the many to be used for the final product. Through genetic architecture, it enables them to be able to produce a variety of pieces that are unique in their own ways that has different purposes that benefits the outcome, of which only the ‘fittest’ will be used, similarly to human DNA.

Figure 2.2 List of process works to show the parameters of the project and its finalised form.

8. Image Source (Figure 2.2) : TheVeryMany, SITUATION ROOM (2014) <https://theverymany.com/14-storefront> [accessed 20 August 2018].

51

52

PART B.2

53

CASE STUDY 1.0

54

B.2 A L- systems & Loops

L- Syste m s Hi sto r y an d The ory The L-systems, also known as the Lindenmayer systems, was designed and developed by ‘Hungarian theoretical biologist’10, Aristid Lyndenmeyer in 1968. Its purpose is to be able to create a ‘mathematical theory of elementary plant development’ 9. The emphasis of this system ‘was on plant topology’ 12 , to study the ‘spatial relations between cells or larger plant modules’ 9 ; ranging from ‘ biological simulation, mathematical formalisms, theory of computation , artificial life and visualisations’ 13.

The main concept of the L-systems is about ‘parallel rewriting’ 13; a technique which is used for ‘defining complex objects by successively replacing parts of a simple initial object using a set of rewriting rules or productions’ 12 .

In other words, it consists of a set of symbols which are ‘rewritten (replaced, changed) according to some set of rules ’ 13 . This process happens ‘over the entire set of symbols simultaneously, simulating parallel development of components’ 13 , which is draws similarities in the way which cells develop in an organism.

9. PROCEDURAL COMPOSITION TUTORIAL, L-Systems: Some History <http://www.avatar.com.au/courses/Lsystems/History.html> [accessed 24 August 2018].

10. Wikipedia, L-system <https://en.wikipedia.org/wiki/L-system#L-system_structure> [accessed 24 August 2018].

11. Paul Bourke, L-System User Notes (1991) <http://paulbourke.net/fractals/lsys/> [accessed 24 August 2018].

12. Algorithmic Botany, L-System <http://algorithmicbotany.org/papers/abop/abop-ch1.pdf> [accessed 26 August 2018].

13. JON McCORMACK, GENERATIVE MODELLING WITH TIMED L-SYSTEMS (2004) <http://users.monash.edu/~jonmc/research/Pa pers/McCormack_DCC04.pdf> [accessed 26 August 2018].

5 Fa m ilies - 5 0 I te rat i o n s

55

5

Fa milie s

Growth

Direction

Dispersion

Twist

Irregularity

56

B.2 A L- systems & Loops

Axiom : B A= AB B= AC C= ABC

Axiom : C A= AB B= CD C= BC D= AD

x5

x8

A x i om : C A= EAB B= AB C= BCD D= DA E= BC

A x i om : A B A= AB B= CDB C= BC D= AD

x4

Ax io m : ACE A= ABE B= BC C= ABC D= AD E= CB F= ED

x7

Ax io m : CD B A= BC B= CDA C= DA D= CD

G row t h The iterations are similar as they all start out from a singular ‘branch’ , which slowly grows outwards and upwards , similar to a plant and tree; thus resulting in its family name , Growth.

5 Fa m ilies - G row th

x5

A x io m : B A= ABG B= CB C= CDB D= DE E= EFC F= FGA G= GAD

x7

A x io m : B A= BCD B= AC C= DB D= CA

B

57

x6

x6

Axiom : C A= EAB B= AB C= BCD D= DA E= BC

Axiom : CD A= BCD B= AC C= DBA D= CA

x8

x6

The iteration which best reperesents the family of Growth would be the 10th iteration because of its best shows the progression of growing, which is a fixed cycle.

58

B.2 A L- systems & Loops

Axio m : DA A= ABC B= CDA C= BAD D= CAD

Axio m : BA A= AC B= BA C= CDA D= DA

x10

x10

A x i om : B C A= ABC B= AC C= CAB

A x i om : C A A= ABC B= CDAB C= BAD D= CAB

x6

Ax io m : AB A= ABC B= ACB C= BA

x10

Ax io m : CD A= BC B= BDA C= DA D= CDAB

D irect i o n A sense of direction is what categorises these 10 iterations together; where they all have a similarity of this uniform curved structure form which seems to be going in a similar direction.

5 Fa m ilies - D i re c ti o n

x10

A x io m : C A= AC B= BA C= DCA D= CBD

x5

A x io m : A D A= ABCDE B= BC C= CD D= DE E= EA

59

x7

x8

A x i om : B A= BD B= CA C= ADB D= DABC

x7

A x i om : AC D A= ABCD B= ACD C= DBC D= DABC

x9

The iteration which best reperesents the family of Direction would be the 10th iteration because of its never ending loop effect, giving us a continous sense of direction.

60

B.2 A L- systems & Loops

Axiom : C D B A= ABCD B= ACD C= DBC D= DABC

Axiom : AC A= AB B= BC C= CA

x9

A x i om : A E A= BDE B= ACD C= ABED D= BECA E= ACED

x9

A x i om : B A= ACB B= BA C= CA

x5

x8

D isper s i o n These models share a similar idea of Dispersion. They all began with a focal point being the centre (where the lines are more dense and closely formed together), and then ‘explodes’ outwards (lines are less congested and more spread out).

Ax io m : AB CD A= AB B= BCD C= CD D= DEB E= EA

Ax io m : B C A= DA B= CAD C= ABD D= B

5 Fa m ilies - D i s p e rs i o n

D

x3

x8

A x io m : A A= AB B= CD C= BC D= AD

A x io m : BE A= ABDE B= ACD C= ABED D= BECA E= ACED

61

x8

x4

Axiom : B A= BCD B= BD C= DAC D= CB

x8

Axiom : B A= C B= BA C= CDB D= DA

x10

The iteration which best reperesents the family of Dispersion would be the 6th iteration because of its ttrong core where the lines are more concentrated and the ends being more free and away from each other.

62

B.2 A L- systems & Loops

A xio m : A B A= ABC B= ACB C= BAC D= CA

Axi o m : B A= AD B= ABCD C= ADB D= CADB

x10

Axiom : CD A= ABC B= ACB C= BAC D= CA

x10

A x i o m : C DB A= ABCD B= ACD C= DB D= DABC

x10

Ax io m : A A= BCD B= CDAB C= ADB D= CAB

x7

Ax io m : A A= AB B= CD C= BC D= AD

Tw i st The iterations made all consists of this notion of twisting; where the form seems to be going in two opposing directions, turning and moving away from each other.

5 Fa m ilies - Tw i st

x10

x8

A x io m : B A= AB B= BC C= CA

A x io m : B A= BD B= CA C= ADB D= DABC

63

x9

x8

A x i om :B A= AC B= BA C= CD D= DA

A x i om : C B A= ABC B= BC C= CA

x10

x7

The iteration which best reperesents the family of Twist would be the 5th iteration because of its strong turning effect where we can see the forms moving away from each other.

64

B.2 A L- systems & Loops

Axiom : C B A= AC B= BCA C= CA

A xiom : A BC D A= CAB B= C C= ADC D= B

x 10

x5

Axiom : BD A= CAD B= BD C= AC D= DB

Axiom : BCD A= CABD B= C C= ADC D= B

x7

Ax io m : B D A= BA B= CD C= AB D= DC

x7

Ax io m : B CD A= CABD B= A C= ADC D= D

Irregul a r i t y These forms all are rather irregular as they all are very different in their own ways, thus the similarity draws because of their difference.

5 Fa m ilies - I rre g u l a ri t y

x8

A x io m : B A= DA B= CB C= AD D= BC

x7

A x io m : C A A= D B= ABCD C= B D= CBD

65

x8

A x i om : B C A A= DA B= CB C= AD D= BC

x7

x7

Axiom : D A= D B= ABCD C= B D= CBD

x6

The iteration which best reperesents the family of Irregularity would be the 1st iteration because of its rather interesting how symmetrical form could form something irregular.

66

B.2 B C ase Stu dy 1

The ‘Bl o o m P ro j e ct ’ A l i s a A nd rase k and Jo se Sanc hez

Figure 3.1 Close up Shot of the Installation, showing its unique form produced using a ‘cell’ that is used recursively. 16

The ‘Bloom Project’ is a project that was design in celebration of the London Olympics and Paralympics in 2012. The aim of this project designed to be very ‘interactive’ 14 ; by conveying and embracing the ‘creativity of everyone that encounters it’ 15, allowing members of the public to alter and dismantle the pieces , creating their own unique designs.

LEGO was the main driving concept of this project; a ‘generic and universal, and other toys that could be assembled in different ways’ 15. The project consists of 60,00 neon pink pieces, made up of ‘recyclable plastic cells’ 15.

14. Plethora Project, Bloom <https://www.plethora-project.com/bloom/> [accessed 3 September 2018].

15. Urbanista, Bloom: Alisa Andrasek and Jose Sanchez <https://www.urbanista.org/issues/issue-1/features/bloom-alisa-andrasekand-jose-sanchez> [accessed 3 September 2018].

16. Image Source (Figure 3.1) : BLOOM - A Crowd Sourced Garden / Alisa Andrasek and Jose Sanchez, BLOOM - A Crowd Sourced Garden / Alisa Andrasek and Jose Sanchez (2012) <https://www.archdaily.com/269012/bloom-acrowd-sourced-garden-alisa-andrasek-and-jose-sanchez/img_3588> [accessed 3 September 2018].

The ‘Blo om P ro j e c t ’

The pieces are designed as such to allow a ‘reconfigurable system’ 15 , where there are many ‘possible connections between the cells’ 15 by ‘recombining the connections in each cell’ 15.

Not only does this teach them the idea of generative, it also the many possibilities it could have despite its pieces being the same. Another interesting part of this project is that it is also ‘ a never finished structure in constant fluctuation, finding moments of stability and moments of failure’ 14.

Similarly to recursive/ Genetic architecture as seen in the Serpentine Pavilion, it consists of a main ‘element’ that is to be multiplied recursively, producing a broad variety of possible outcomes. These outcomes will then be sorted in accordance to its determined perimeters; deciding which fits best and which does not. All in all, recursive/genetic architecture is ‘a game, and, as in complexity theory, the simplest generic element can recombine.’ 15

Figure 3.2 Showing the of process of one of the many interesting possibilites the ‘cell’ could make, an abstract bench using the pieces recusrively.

17. Image Source (Figure 3.2) : Atonio Pacheco , London’s Other Distributed Social Game: A Collective Gardening Experience (2012) <http://www.evolo.us/londons-other-distributed-social-game-a-collective-gardening-experience/> [accessed 3 September 2018].

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68

B . 2 C Co mpo nent D esig n and M anual Rec ursion

6 Co mpo n e n t s

Fluidity

Twist

Edgy

6 Co m p o ne n t s

Tumour

69

Tentacles

Overlap

fl u i d ity.

Axiom = BCD A = ABCD B = ACD C = ABC D = BAC

e d g y.

Axiom = ABCD A = ACD B = ABD C = ABC D = AC

t umour.

Axiom = ABC A = ABD B = ABCD C = ABC D = ACD

te n t acl es.

Axiom = ABCD A = ABD B = ACD C = ABC D = AC

78

PART B.3

79

CASE STUDY 2.0

80

B.3 C ase Study 2.0

Aggy-At t ac k Co mp one nt Ag g re g at ion Th e co n cep t o f t he ste p s b e l ow t akes re fe re n ce to R e c ursi v e A g g re g at i on, bu t in an a u to m at ic a p p ro ach t hro ug h t he he lp of grassh oppe r de fin ition s . Th e main pe r ime ters of t h is a re t he rul e s e t s , num b e r o f ge n e ration s an d its or ie n tation .

1.

Create an axiom handle; polylines that are joined at a right angle. (a) Reference it as a Curve component (select One Curve) in grasshopper. (b) It is important that the polylines are joined at a right angle as it helps specify the new plane and to orient the future branches.This also applies to the dummy branch polylines.

5.

Design a Component , which will be used as the main component of the aggregation. (a) Orient and place the component on the axiom handle. (b) Reference the Component as a Brep in Grasshopper. (c) The dummy branches that were created earlier will then have a component each, which takes reference from the main component.

2.

Using the axiom handle as the reference point, create several dummy branch with right angled polylines (similar to the axiom handle). (a)The number of branches, direction and location varies depending on the design of the component as these will affect the way in which the aggregation grows later. (b)The length of the polylines should be fixed as the component used throughout will be the same. (c) Reference these branches a Curve component (select Multiple Curves) in grasshopper. Each will then have an alphabet to differentiate each branch.

6.

Ensure that the branches are not colliding with each other. (a) In grasshopper, use Cull Pattern to get rid of any recursive components that are colliding with each other.

‘Aggy-At t ac k Co mp o n e n t Ag greg atio n’ D efinitio n

3.

Create a point in which determines where the aggregation shall start its growth from.

4.

Create some geometries; a platform and volumes as ‘obstacles’. This affects the rowth of the aggregation; by growing around these ‘obstacles’, allowing each ruleset to have vary in form, depending on the ‘obstacles’. (a) Reference the obstacles as a Brep Component (set Multiple Breps) in grasshopper.

7.

Adjust the rulesets and the number of generations by increasing or decreasing it, to generate and develop the aggregation till you obtain desired results.

81

82

PART B.4 + PART B.5

83

TECHNIQUE : DEVELOPMENT + TECHNIQUE : PROTOTYPES

84

B.4 Technique: D evelo pm en t B.5 Technique: P ro to types

axiom B axiom A

Secondary component

Parent Component

Com p o nen t 1

85

Ru l e s e t 1 Axiom = AC A = ABC B = AC C = AB

Ru l e s e t 2 Axiom = B A=A B = BC C = CA

axiom C

Fa b r i c at i on Me t hod The fabrication method that would be most ideal for these components would be Laser Cutting (CNC). This is because the components are of a flat surfcae, with less complexitiy to it other than the slits on its boundaries.

In addition, since all the components are of the same design. Thus all we need to do is lay the outline of the components laid out on the size of the cut material in the digital software and import it into the CNC software for cutting. Thus multiple pieces can be cut at the same time.

90

B.4 Technique: D evelo pm en t B.5 Technique: P ro to types

axiom B axiom A

Secondary component

Parent Component

Com p o nen t 2

91

Ru l e s e t 1 Axiom = AC A = BC B = BAC C = BA

Ru l e s e t 2 Axiom = B A = CBA B = ABC C = AC

Fa b r i c at i on Me t hod Due to the complex form of these components, 2 fabrication methods would be most ideal for these components; Subtractive manufacturing (CNC) and Injection Moulding.

axiom C

The components will first be produced using subtraactive manufacturing; by having a volume of a material. The volume will then be put into the CNC machine and the volume will be reduced to the shape of the components design. These fabricated components will then be used to create a mould.

Once the mould of these components are created, it will then be used as a â&#x20AC;&#x2DC;frameâ&#x20AC;&#x2122; for Injection Moulding. Injection moulding would be more ideal rather than using CNC for all the way as it is much faster in terms of production.

96

PART B.6

97

TECHNIQUE: PROPOSAL

98

B.6 Technique: P roposa l

Aggy-At t a c k @ M S D

Figure 4.1 Internal Shot of MSD showing how the space is not being fully utilized in term of the seating spaces and instead seems like its designed more for aesthetics.18

Melbourne School of Design (MSD) is like a second home to many design students, where they spend many hours doing their work and assignments; be it alone or with a group of friends.

The building has gained lots of popularity because of its aesthetics; through social media, architecture websites and sometimes even considered as a tourist spot. However, the practicality of the school has been questioned by many students, on whether it was really designed to meet the needs of the students or the needs of the media?

Agg y-At t ac k @ M S D

Figure 4.2 and 4.3 Close up Shot more awkward placing of study seatings in the MSD Building despite the large space it has that is not being fully utilized. 18

Thus, the aim of the installation is to protest against the schoolâ&#x20AC;&#x2122;s priority over the welfare of the students, mocking the design of the school; where they put aesthetics before practicality.

The design of the parent component is a design of an arm, representing the unity of the students, coming together protesting against the school. The secondary component is a torn, which represents anger and frustration; larger at the points with more human contact, vice versa. The colour red was used to portray anger and is able to stand out the most.

18. Images Source (Figure 4.1-4.3) : Archdaily, Melbourne School of Design University of Melbourne / NADAAA + John Wardle Archi tects (2015) <https://www.archdaily.com/622708/melbourne-school-of-design-university-of-mel bourne-john-wardle-architects-nadaaa> [accessed 11 September 2018].

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106

PART B.7

107

LEARNING OBJECTIVES & OUTCOMES Through the weeks process of research and design development, I felt what I have learnt so far was and is indeed very useful, especially since we are in computation method is ‘the ‘way in architecture’ designing. Though it is not as flexible as compared to manually method of designing; through hand drawings with more control and ‘authority’ when designing, it has indeed opened a whole new ‘world’. With the use of computation softwares to design, not only has it eased the workload for many people, it also creates new challenges and opportunities, allowing us to push beyond our boundariesand even producing outcomes that we never expect or thought of ourselves.

With technology advancing so quickly, it could and will continue taking over people’s jobs, because they are so much faster and cheaper. Thus it is important we constantly stay ahead to make ourselves useful and relevant; to be deemed as ‘fit’ to continue ‘fighting’ in the architecture industry.

Rhino and grasshopper were the main 2 softwares that used for this portion of the journal. It was rather frustrating at the start as I lacked basic knowledge, causing many difficulties and issues during the tasks at the start. However, with the help of tutorial videos and even more self-learning and exploration with the software, not only did it help me to better express my thoughts.

108

PART B.8

109

ALGORITHMIC SKETCHES

112

PA RT B.8 Ap pend ix - Algo r ithmic S ke tch es

G RA D I E N T

Gradient D escent (Basic Flow Simulation)

DESC ENT

113

114

PA RT B.8 Ap pend ix - Algo r ithmic S ke tch es

L- SYST E M S /

G row t h A xiom : C D A= BCD B= AC C= DBA D= CA

x6

Tw ist A x i om : A A= AB B= CD C= BC D= AD

Direc x8

Ax io m : ACD A= ABCD B= ACD C= DBC D= DABC

L-Systems / Basic Looping (Recursion)

115

BASIC LO OP I N G

c t ion

D

x9

D i s p e r sio n A x io m : AC A= AB B= BC C= CA

x9

I r reg ular ity A x i om : C B A= AC B= BCA C= CA

x 10

PART C:

D E TA I L E D

DESIGN

118

Conten t s

119

CO N TE N TS

PART C. Detailed Design 120

C.1 Design Concept Individual ( Refinements from Part B) Group Work: A Breach into Space

135

C.2 Tectonic Elements & Prototypes

145

C.3 Final Detail Model

165

C.4 Learning Objectives and Outcomes

120

PART C.1

121

DESIGN CONCEPT INDIVIDUAL CONCEPT

GROUP CONCEPT

This is a refinement after the feedbacks given from Part B. - Finalised Ruleset - Finalised Fabrication Method - Renders

A Breach into Space, a group project produced by Amanda, Megan and Yijing.

An installation to protest against the wasted space in MSD.

121

PART C.1 D esign Co ncep t (I nd iv idu a l)

axiom B axiom A

Secondary component

Parent Component

F inalized Co mp o n e n t D e s i gn

F i n a l i s e d R ule s e t Axiom = ABC A = ABC B = BCA C = CAB

Fa b r i c at i on Me t hod Due to the complex form of these components, 2 fabrication methods would be most ideal for these components; 3D Printing and Injection Moulding.

The components will first be produced using 3D Printing Method. The design of the component will be sent to MakerBot (3D Printing Software) for it to be printed. Once the components are printed, it will be sand down to smoothen the surfaces using Sandpaper.

Once the mould of these components are done, it will then be used as a â&#x20AC;&#x2DC;frameâ&#x20AC;&#x2122; for Injection Moulding. Injection moulding would be more ideal rather than using CNC for all the way as it is much faster in terms of production.

axiom C

122

C.1 Des ig n Co n ce p t (G ro u p)

A B reac h i n to Sp a ce

by A ma n d a, M e g an an d Yi Jing The site chosen for this project is the Lovell Chen Lounge (also known as the Red Bridge).

Having shortage in the amount of working spaces in MSD, the Lovell Chen lounge is one of the feature spaces which we felt could have been potentially create more study spaces for the students in MSD. Thus, the purpose of this installation is a protest against the wastage of 5-storey height feature space, disregarding the needs of the students of MSD; extreme lack of workspace in the building, especially since most of the MSD students spend most of their time there.

The colour Red is chosen to match the interior colour of the Lounge, expressing the language of a violent intrusion into the pure white void, like a voice trying to be heard.

Hence the installation aims to have these characteristics: - Aggressive - Intrusive - Violent - Razor-Sharp

132

135

PART C.2

136

TECTONIC ELEMENTS & PROTOTYPES

137

PA RT C.2 Tecto nic Elements & P ro totypes

Secondary Component

Se Co

Primary Component

Component Design (Group)

econdary m ponent

Prima ry Comp one nt The design of the Primary component was to express Dynamism through the directional form and aggression through the sharp ends and edges.

Se cond a ry Comp one nt The design of the Secondary component is shaped like a thorn; to further enhance the violence of the aggregation as a whole.

138

139

PA RT C.2 Tecto nic Elements & P ro totypes

250mm

axiom A

Parent Component

axio

30

0m

m

Component Design (Group)

om D

140

axiom B

Axiom = ABCD A = ABC B = BCD C = CDA D = ABCD axiom C

141

PA RT C.2 Tecto nic Elements & P ro totypes Connection Design (Group)

650mm

Co nne c to r D e s i gn The Connector is designed to attach seamlessly on the edge of the bridge, with a form of the same language as the primary component.

It is fabricated in the same method as the component, with the same material and colour as well, in order to achieve maximum seamlessness.

142

Pro to type ( M e t h o d 1 ) 3 D Pr i n t ing + C l ay M o ul d i ng

1.

3D Printed Components - Primary and secondary components are modeled on rhino and sent for 3D printing.

- The components are sanded for a smoother surface so that the print lines wouldnâ&#x20AC;&#x2122;t appear on the resin component.

3.

End Result - Problem: silicone mould was not rigid enough for the clay to be shaped.

- Hence, a more rigid mould would be more suitable for a tough material like clay.

2.

Material - Casting technique is used with Clay.

- The same silicone mould is used however, the outcome appears to be not what we anticipated.

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PA RT C.2 Tecto nic Elements & P ro totypes

Pro to type ( M e t h o d 2 ) 3 D Pr i n t ing + In j e ct i o n Mo ulding

1.

Materials -

5.

Barnes Pinkysil Silicone Barnes Easycast fast set polyurethane Petroleum Jelly Red Pigment Plasticine Measuring Cylinder and Mixing Cups Stirrers Rubber Gloves and Rubber Bnads Foam Board (Mould Box) Blade Sandpaper

Pouring the Mix - A block of plasticine is attached to the bottom of the component, allowing it to be elevated and acting as a pour hole later.

- It is then left to be fully cured at room temperature (optimum temperature and humidity) for approximately 20 minutes.

2.

3D Printed Components - Primary and secondary components are modeled on rhino and sent for 3D printing.

- The components are sanded for a smoother surface so that the print lines wouldnâ&#x20AC;&#x2122;t appear on the resin component.

6.

Hardened Silicone Mould - Mould walls are then removed.

- Blade is used to cut the mold into equal halves so that the 3D printed component can be removed from the cured silicone mould.

Prototypes

3.

Building a Mould Box - Mould box is built around the parameter of the component.

144

4.

Making the Mould - Material used : - Barnes Pinkysil Silicone - Parts A & B are premixed thoroughly in separate mixing cups with wooden stirrers.

- Seams of the box have to be sealed.

- Mix ratio is 1A: 1B by volume

7.

Casting Resin into the Mould - Material used : - Barnes Easycast Resin - The mould box is pieced together & secured with rubber bands & plasticine to avoid spillage of resin.

- Mix ratio is 1A: 1B by volume - Red pigment is then added in & stirred well - The mould has to be shaken while the mix is being poured - It is then left to cure for 20 minutes at room temperature

8.

Demoulding & Refining - Material used : - Barnes Pinkysil Silicone - Parts A & B are premixed thoroughly in separate mixing cups with wooden stirrers.

- Mix ratio is 1A: 1B by volume

145

PART C.3

146

FINAL DETAIL MODEL

FLOOR PLAN

ELEVATION

SECTION

ISOMETRIC VIEW

166

PART C.4

167

LEARNING OBJECTIVES & OUTCOMES Studio Air has been a really enjoyable module. Throughout this whole semester, the tasks that were given has pretty much covered the learning objectives that were set for this studio; exploring the impact of computation on architectural design.

Ranging from Computational geometry, parametric modelling, analytic diagramming to digital fabrication.

Despite struggling with Grasshopper due to the lack of knowledge of the software, it did not stop me from pushing myself to doing the design I wanted to do. As weeks passed, I became more confident with the software after meddling around with it.

To my surprise, not only did I manage to push through, I also ended up producing something I never imagined myself being able to do from the start.

In conclusion, I am really satisfied with the knowledge and skills gained during Studio Air. It has also reminded me the importance of being up to date with softwares in order to still stay relevant; to be deemed as ‘fit’ to continue ‘fighting’ in the architecture industry.

168

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