STUDIO AIR JOURNAL
2016, SEMESTER 2, MATTHEW. LEONG WENG SUM (AMELIA), 683650.
CONTENTS SELF - INTRODUCTION A
CONCEPTUALISATION A1 DESIGN FUTURING A2 DESIGN COMPUTATION A3 COMPOSITION / GENERATION A4 CONCLUSION A5 LEARNING OUTCOMES A6 APPENDIX - ALGORITHMIC SKETCHES
B
CRITERIA DESIGN B1 RESEARCH FIELD B2 CASE STUDY 1.0 B3 CASE STUDY 2.0 B4 TECHNIQUE: DEVELOPMENT B5 TECHNIQUE: PROTOTYPES B6 TECHNIQUE: PROPOSAL B7 LEARNING OBJECTIVES & OUTCOMES B8 APPENDIX - ALGORITHMIC SKETCHES
C
DETAILED DESIGN C1 DESIGN CONCEPT C2 TECTONIC ELEMENTS & PROTOTYPES C3 FINAL DETAIL MODEL C4 LEARNING OBJECTIVES & OUTCOMES
BIBLIOGRAPHY
LEONG WENG SUM • AMELIA MALAYSIA • 21 ENVIRONMENT • ARCHITECTURE • THIRD YEAR I’m a third year student in bachelor of environment, majoring in Architecture. I have always been interested in arts, design and architecture since high school. Therefore, I decided to major in architecture to pursue my interest. Im always blown away by the innovative and creative structure produced by different artist and designers, which I hope I am able to create someday. I’m also find design studio and architecture ideas subjects intriguing. This is because it engages me to explore different existing design ideas and practices. Hence, it also pushes me to think beyond the boundary and adapting different computatioal skills to improve my design. Therefore, I am looking forward to the learning process of Studio Air, which encourages me to adapt to algorithmic design thinking that I not yet to come in contact with.
A. CONCEPTUALISATION
A1. DESIGN FUTURING
HARBIN OPERA HOUSE / MAD ARCHITECT LOCATION : HARBIN, CHINA DESIGN : 2010 CONSTRUCTION : 2011 - 2015 The Harbin Opera House, also known as the Harbin Cultural Centre, is the centerpiece of an ambitious new “culture park” in the city of Harbin.1 This design idea behind this project is radical in a positive way as it aims to challenge the language of architecture used in their country, by using architecture to shape society for the better, which would contribute changes to the pattern of living in Harbin and ways of thinking about architecture for the country.2 The new opera house is intended to reinstate some of the city’s identity in the denatured urban periphery, and creating something people will accept as part of Mother Nature.3 Therefore, it aims to preserve the existing wetland thus creating a harmonious flow and relationship between the architecture, people, and nature. This is achieved by the organic nature designed for the building and it’s interior. It mirrors the sinuous curve of the marsh landscape and the Songhua River, and blending seamlessly into the neighboring topography and terrains. Thus, the smooth white exterior aluminum panels and glass pyramids reflects the billowing snow and ice of the frigid climate in Harbin.
http://www.dezeen.com/2015/12/16/mad-sinuous-harbin-opera-house-completes-north-east-china/
This design has expanded the future possibilities of architectural design thinking. As Fry argued, “the presented focus of change is upon the processes of redirection rather than of form”.4 Therefore, This new opera house has marked the beginning of a new kind of architecture that would shape the country for the better, by redirecting the practice of architecture towards a different approach. This is obtained through attracting more users into the space, to encourage users to interact and appreciate more with the nature. Hayano mentioned that the citizens of Harbin are widely utilizing the natural space even though the opera house is still under construction.5 Therefore, this space could still be used in the same way as a part of everyday life for existing users and attracting potential users, which would be continued appreciated by the people now and in the future. The new opera house enriches the idea of design futuring by thinking about the future of the society and the nature, through preserving the nature hence encouraging the people to appreciate it as well.
1. Julian Worrall, ‘Harbin Opera House’, < http://www.iconeye.com/architecture/features/item/12384-harbin-opera-house> [accessed 1 August 2016] 2. Julian Worrall, ‘Harbin Opera House’, < http://www.iconeye.com/architecture/features/item/12384-harbin-opera-house> [accessed 1 August 2016] 3. Yosuke Hayano, ‘Harbin Opeta House’, GA Document, 134 (2015). 4. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, (Sydney: Univercity of New South Wales Press, 2009), p. 15. 5. Yosuke Hayano, ‘Harbin Opeta House’, GA Document, 134 (2015).
http://www.dezeen.com/2015/12/16/mad-sinuous-harbin-opera-house-completes-north-east-china/
THE HIVE ARTIST ARCHITECT LOCATION COMPLETION
: : : :
WOLFGANG BUTTRESS BDP INGRESSON EXPO, MILANO, ITALY. 2015
The Hive, is the UK Pavilion for the World Expo 2015 in Milan. The core theme for this pavilion is ‘Feeding the Planet, Energy for Life’, which aims to highlight and rise awareness to the most pressing challenges of our time – how to feed and sustain an expected rise in the world’s population to 9 billion by 2050.1 Therefore, the concept of this project is developed around the idea of the beehive due to the decline of the world’s bee population and the importance of pollination of the production of food.2 Thus, it also aim to explore how new research and technology are helping to address food security and biodiversity. The design of the pavilion consists of five experiential areas: the orchard; the meadow; the terrace; the architectural program; and the ‘hive’ – a cuboid lattice that forms the centerpiece of the design.3 The pavilion is designed to allow visitors to “follow the dance of a bee” through a series of different landscapes. Thus, it displays information about the lifecycle of bees and their rile in pollinating food crops.4 The hive is also embedded with illumination and sound to reproduce the effect of insects’ activity.
http://www.archlighting.com/design-awards/2015-al-design-awards-uk-pavilion-milan-expo-2015-milan_o
This project is radical, as it offers a sensible and unique experiential journey by using audio and visual scheme that would induces users to stop and interact with the architecture and landscape. Through interacting with the project, the message embedded within the concept could then be delivered to the users. Therefore, it will continue to be appreciated as this architecture interacts with the users through implementing the emotional change in them. However, the pavilion is not used in the same way after the end of the 2015 expo, the hive is the only element retained from the entire pavilion. Design futuring aims to slow down the rate of defuturing, this project achieved this through attracting users to experience a piece of nature hence rising awareness in the problem of food production. The UK commissioner general Hannah Corbett mentioned that we need to bring together disciplines, about the way that science and art and business and nature and technology all need to combine of we are to find solutions to the problems of the future.”5 This project expand future possibilities by inducing people to redirect architectural thinking to multidisciplinary to resolve global issues. 1. GOV.UK, ‘UK Pavilion at Milan Expo2015’, < https://www.gov.uk/government/topical-events/the-uk-pavilion-at-milan-expo-2015> [accessed 5 Auguest 2016] 2.BDP, ‘UK Pavilion, Milan Expo’, < http://www.bdp.com/en/projects/p-z/uk-pavilion-milan-expo/> [accessed 5 August 2016] 3. Designboom.‘The UK Pavilion Presents a Giant Aluminium Beehive at Expo Milan 2015’, <http://www.designboom.com/architecture/uk-pavilion-expo-milan-2015-wolfgang-buttress-05-01-2015/> [accessed 5 August 2016] 4. Dezeen Magazine,‘First Image of the UK’S Beehive-Inspired Milan Expo Pavilion Released’, < http://www.dezeen.com/2015/04/15/wolfgang-buttress-bdp-uk-pavilion-milan-expo-2015/> [accessed 5 August 2016] 5. Dezeen Magazine,‘First Image of the UK’S Beehive-Inspired Milan Expo Pavilion Released’, < http://www.dezeen.com/2015/04/15/wolfgang-buttress-bdp-uk-pavilion-milan-expo-2015/> [accessed 5 August 2016]
http://www.archlighting.com/design-awards/2015-al-design-awards-uk-pavilion-milan-expo-2015-milan_o
A2. DESIGN COMPUTATION As digital design software being constantly redefining over the years, it has enhanced design processes in many ways. This is because we humans have limitation, which the computer is able to compensate. Therefore, with computer contributing their superb rational and search abilities, whereas human contributing the creativity and intuition needed to solve problems, we could create a very powerful symbiotic design system by creating a relationship between these two.1 With this, computing can be used to redefine design practice towards adapting a more constructed and variable design process.
MUSEE DES CONFLUENCES / COOP HIMMELB(L)AU COMPLETION : 2014 LOCATION : LYON, FRANCE. http://www.designboom.com/architecture/coop-himmelblau-musee-des-confluences-lyon-france-06-21-2015/
Computation impacts on the range of conceivable and achievable geometries through parametric design, which is a new form of the logic of digital design thinking.2 Complex “free-form” geometry is de-emphasized as a theoretical precondition, and viewed as one possible formal result.3 Design and construction industries are gradually adapting to digital design based to perform from design to production and from form generation to fabrication design, where complex geometry derived from parametric design could come into construction and production. The achievable unique and interesting building design would produce different visual and experiential quality that would induce changes in human emotions when interacting with architecture. One of the example work of computation presenting unique opportunities and innovations is the Musee des Confluences by Coop Himmelb(l)au. The design of this building consist of a giant, shaped-edges cloud suspended in the air and geometrically sculpted out of an alternating combination of clear-cut and blurred facets making the alignments must clearer and stylized.4 The reflection on the project theme of contrast and divergence using the materiality difference between glass and aluminum is made possible by digital design software to create executive forms very similar to the machine instructions required for the automated cutting of individual sections and glass panes or aluminum paneling used for cladding purposes.5 Computation has proven to produce complicated geometrics that twist and fold in astonishing precision as seen in figure to create an innovative design, that expand the possibilities of computational design. The second example is The Board art gallery.6 The design concept is described as “the veil and the vault”, the vault is enveloped by the “veil,” a porous, honeycomb-like, exterior structure that spans across the block-long building and provides filtered natural daylight.7 The result of the exterior concrete is given a softer effect compared to Brutalist building use of concrete, which is achieved using digital materiality. Other than that, the unique honey-comb-like pattern is also achieved using digital fabrication. This project has proven digital design and fabrication could produce customization that has variability.
1. Yehuda E. Kalay. Architecture’s New Media: Principles, Theories, and Methods of Computer Aided Design. (Cambridge, MA: MIT Press, 2004), p.3. 2. Rivka Oxman and Rober Oxman, Theories of the Digital in Architecture. (London; New York: Routledge, 2014). p.3. 3. Oxman and Oxman, p.2. 4. Joseph di Pasquale, ‘Musee des Confluences’, I’ARCA International, 123(2015), p. 27. 5. Joseph di Pasqualem p. 28. 6. Johnny Tucker, ‘Thinking Inside the Box’, Blueprint, 342 (2015). 7. The Board, ‘The Building’, < http://www.thebroad.org/about/building> [accessed 7 Auguzt 2016}
http://www.designboom.com/architecture/coop-himmelblau-musee-des-confluences-lyon-france-06-21-2015/
THE BOARD MUSUEM / DILLER SCOFIDIO + RENFRO COMPLETION : 2015 LOCATION : LOS ANGELES, CA http://www.archdaily.com/772778/the-broad-diller-scofidio-plus-renfro
http://www.archdaily.com/772778/the-broad-diller-scofidio-plus-renfro
A3. COMPOSITION / GENERATION Architectural design practice has gradually adapting to generative design approach with computational design software offering new possibilities towards design solution. Generative design approach mimics nature’s evolutionary approach to design that generates high-performing design alternative, where form generation is based on algorithmic rules.1 This design approach has shifted physical model and drafting tools to parametric modeling and algorithmic scripting. Although generative design approach has improve the design thinking and practice process, it still has it’s strong point and shortcomings.
LOUVRE ABU DHABI / JEAN NOUVEL COMPLETION : 2016 LOCATION : ABU DHABI, UNITED ARAB EMIRATES http://www.archdaily.com/793182/in-progress-louvre-abu-dhabi-jean-nouvel
Generative design offers a wide range of design alternative to one single approach, where designers could choose which would perform best with the design approach. Thus, it makes impossible design possible as it allows designers to create optimized complex shapes and internal lattices. The production of impossible form is also made possible with the integration of generative design and fabrication. Other than that, this design approach optimizes material, manufacturing methods and cost.2 This is achievable as the software allows designer to set goals and parameters, where the design results produced would based on those set constraints.3 An example of the strong point being realized in a project is the Louvre Abu Dhabi. The primary architectural feature of this project is an expansive and perforated dome hovering above the man-made archipelago.4 It consist of four internal and external layers with lattice structure that allows sunlight the permeate the heart of the complex.5 The layering and texturing effect obtained is made possible with the use of generative design approach, where different lattice patterns are formed within the 180 meters diameter domes by setting parameters for the design. In contrary, generative design has its shortcoming as well. Although generative design provides alternative design solution, however, not all design solution is able to bring into production since the construction technologies are not as advance. Therefore, generative design produces design solution that may perform well for a concept, but would be unrealistic to produce. Therefore, this approach has somewhat became a architectural design fantasy. An example of the shortcoming in generative design is winner of eVolo’s 2015 skyscraper competition – Essence Skyscraper. This building aims to create a non-architectural phenomenon in an urban fabric, which consist of 11 different natural landscapes within this vertical structure.6 With the help of generative design, it is possible to achieve the scale and design easily. However, this idea is not conventional, as society now does not own the technology to build this project however great the idea is. Therefore, technologies need to be enhanced to keep up with utopian building idealism of the people.
1. Autodesk, ‘Generative Design’, < http://www.autodesk.com/solutions/generative-design > [accessed 11 August 2016] 2. Autodesk, ‘Generative Design’, < http://www.autodesk.com/solutions/generative-design > [accessed 11 August 2016] 3. Autodesk, ‘Generative Design’, < http://www.autodesk.com/solutions/generative-design > [accessed 11 August 2016] 4. Paul Keskeys, ‘Rendering to Reality: Jean Nouvel’s Domed Louvre Takes Shape in Abu Dhabi’, < http://architizer.com/blog/jean-nouvel-louvre/> [accessed 11 August 2016] 5. Paul Keskeys, ‘Rendering to Reality: Jean Nouvel’s Domed Louvre Takes Shape in Abu Dhabi’, < http://architizer.com/blog/jean-nouvel-louvre/> [accessed 11 August 2016] 6. eVolo, ‘Winners 2015 eVolo Skyscraper Competition’, < http://www.evolo.us/category/2015/> [accessed 11 August 2016]
http://www.archdaily.com/793182/in-progress-louvre-abu-dhabi-jean-nouvel
ESSENCE SKYSCRAPER / EWA ODYJAS, ANGLESZKA MORGA KONRAD BASAN, JAKUB PUDO COMPLETION : 2015 LOCATION : POLAND
http://www.evolo.us/category/2015/
A4. CONCLUSION
A6. APPENDIX
The concept of design futuring is pursued with redirection of practice, adapting to an approach that would address or improve the defuturing future of our society. Redirecting the architectural practice leads to wide usage of computational design to create architecture forms which is more complex and innovative compared to before in order to induce the concept of future designing into the projects. The complex and innovative architectural design is achieved using generative design approach of computational software that creates new design possibilities and solutions. Since retaining nature environment is the priority to sustainable design in response to the defuturing future of buildings nowadays. After doing research on various architectural projects, I realized many designers are gradually responding to the crisis of the future for human and nature. Therefore, I intend to approach my design thinking and idea that is based on the concept of nature or system of nature. Although there is a growing awareness among designers regarding the problem of unsustainability, however, many people are still disassociating themselves with the environmental crisis. By integrating the concept or system of nature with architectural design, I am able to induce sensibility and experiential to the users using innovative architecture, in order to deliver the importance of the existence of nature in sustaining the future of human kind.
These sketches experiment the technique of lofting using a open curve to generate one free flow form.
As Fry argued, â&#x20AC;&#x153;nature alone cannot sustain us: we are too many, we have done too much ecological damageâ&#x20AC;?.1 Therefore, us human have to find a way to sustain ourselves to retain the existence and future or human kind and Mother Nature.
A5. LEARNING OUTCOMES After having deepened my knowledge and skills on architectural computing, I am able to enhance my design practice and skill. Although the process of understanding and learning these designing software is struggling and complicated, however, these processes is required to gained desired complex design outcome. Overtime, I am able to derive design variability in short amount of time, which is unattainable by using compositional approach. Besides that, the understanding of the readings has answered my questions to the importance and benefits of the process of architectural computing in relation to design futuring and integrating with fabrication. These theory and practices has opened my eyes to the future possibilities of architectural design that would shape society, which I could implement in my future design approach. Before being introduced to architectural computing software, I would only produce strict geometry forms, however, I was able to create more fluid and sensible form after acquiring computation design skill.
1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, (Sydney: Univercity of New South Wales Press), p. 3.
Whereas this sketches experiement the technique of lofting using closed courve or geometry to create a form. By just simply twisting each closed curves, I am able to obtain different design outcome. This has shown that generative approach design produced multiple design solution.
Through using lofting to engage with this exercise, I understand how to insert different geometry or curve to gain one complete form. Thus, then it could be engaged to used in multiple way. The idea of form ever follow functions is obtained here, where the flexibility of the form produced flexibility in the function.
BIBLIOGRAPHY Autodesk, ‘Generative Design’, < http://www.autodesk.com/solutions/generative-design > [accessed 11 August 2016] BDP, ‘UK Pavilion, Milan Expo’, < http://www.bdp.com/en/projects/p-z/uk-pavilion-milan-expo/> [accessed 5 August 2016] Designboom. ‘The UK Pavilion Presents a Giant Aluminium Beehive at Expo Milan 2015’, <http://www.designboom.com/architecture/uk-pavilion-expo-milan-2015-wolfgang-buttress-05-01-2015/> [accessed 5 August 2016] Dezeen Magazine, ‘First Image of the UK’S Beehive-Inspired Milan Expo Pavilion Released’, < http://www.dezeen. com/2015/04/15/wolfgang-buttress-bdp-uk-pavilion-milan-expo-2015/> [accessed 5 August 2016] eVolo, ‘Winners 2015 eVolo Skyscraper Competition’, < http://www.evolo.us/category/2015/> [accessed 11 August 2016] GOV.UK,‘UK Pavilion at Milan Expo2015’, < https://www.gov.uk/government/topical-events/the-uk-pavilion-at-milan-expo-2015> [accessed 5 Auguest 2016] Johnny Tucker, ‘Thinking Inside the Box’, Blueprint, 342 (2015). Joseph di Pasquale, ‘Musee des Confluences’, I’ARCA International, 123(2015). Julian Worrall,‘Harbin Opera House’, < http://www.iconeye.com/architecture/features/item/12384-harbin-operahouse> [accessed 1 August 2016] Paul Keskeys, ‘Rendering to Reality: Jean Nouvel’s Domed Louvre Takes Shape in Abu Dhabi’, < http://architizer. com/blog/jean-nouvel-louvre/> [accessed 11 August 2016 Rivka Oxman and Rober Oxman, Theories of the Digital in Architecture. (London; New York: Routledge, 2014). The Board, ‘The Building’, < http://www.thebroad.org/about/building> [accessed 7 Auguzt 2016} Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, (Sydney: Univercity of New South Wales Press,
B. CRITERIA DESIGN
B1. RESEARCH FIELD
BIOMIMICRY Biomimicry is an innovative method that seeks sustainable solutions by ‘mimicking the functional basis of biological forms, processes and systems’.1 The biomimetic approach to design brings attention to the unique capacity of nature to work in a systematic way.2 Given our existing challenge of resource depletion, peak oil and climate challenge, it seems a worthy goal to try to emulate nature’s efficiency in our manufacturing processes.3 Biomimicry is the logical conclusion of a shift that has gone from attempting to conquer nature, then trying to preserve it and now to striving for a reconciliation in which, using biomimetic principles, we can retain the many wonderful things that civilization has developed but rethink the things that have proved to be poorly adapted to the long term.4 By using nature as a design tool, we can learn how to make things and do things the way nature does. The disciplines of design and architecture can extrapolate knowledge from the biological world in order to improve the way human lives.5 In architecture we are accustomed to thinking of elements in isolation, whereas everything in nature is interconnected as a single ecosystems. The study of interconnectivity of individual elements in nature can lead to a significant shift in contemporary architectural thinking. Learning from nature’s efficient interconnectedness allows designers to consider opportunities for multifunctional uses and streamlined design solutions.6 Other than that, understanding the aesthetic and practical qualities of natural products, the synchronization of natural processes and the functionality of natural systems the design of this project hopes to achieve the adaptability of natural organism that adapts to the environment.7 Imitating nature also take in consideration diversity and how each element interacts within the whole biosphere in order to perform well.8 Followed by the advance in design and digital tools, this ideal can be investigated and achieved in more depth compared to before.
1. Plawyn, Michael. Biomimicry in Architecture. (London: RIBA, 2011), p.1. 2. Mazzoleni, Ilaria. Architecture follows Nature: Biomimetic Principles for Innovative Design. Boca Raton CRC Press, 2013). p.xix. 3. Plawyn, p.35. 4. Plawyn, p.114. 5. Mazzoleni, p.29. 6.Mazzoleni, p.xix-xx. 7. Plawyn, p.39. 8. Plawyn, p.18.
B1 (A). RESEARCH FIELD CASE STUDY 1.0
THE EDEN PROJECT / NICHOLAS GRIMSHAW LOCATION : CORNWALL, UNITED KINGDOM DESIGN : 2010
Moreover, the hexagons and pentagons shape of the structure is inspired by pollen grains and carbon molecules, which is the most efficient solution to create a large spanned biomes structure.2 Other than that, this project utilized 3 layers of ETFE (Ethylene Tetrafluoroethylene Copolymer) to replace glazing, which is able to span 7 times the size of glass and 1% weight of double glazing.3 This is created a beneficial feedback effect to the project. With lightweight steel pillars, more sunlight is able to penetrate into the space hence producing less heating in winter.4 Savings on the cost and material on the foundation of the project is also achieved by having less overall weight in the superstructure.5 Therefore, ideas from biology can lead to radical increase in resource efficiency, where Michael Plawyn claimed that The Eden Project is a perfect example of this resource efficiency.
The Eden Project is a large greenhouse nestling plants that are collected from many diverse climates and environments. The design is built on a clay pit, an irregular and continually changing site. Therefore, this project utilized a biomes shape inspired by soap bubbles that would be able to generate building form that would work regardless of the ground level.1
B1 (B). RESEARCH FIELD CASE STUDY 2.0
ICD/ITKE RESEARCH PAVILION / NICHOLAS GRIMSHAW LOCATION : . DESIGN : 2011
The complex heterogeneity morphology form has two spatial entities: one large interior space with a porous inner layer and a big opening, facing the public square between the University’s buildings, and a smaller interstitial space enveloped between the two layers that exhibits the constructive logic of the double layer shell.4 The design of this pavilion is achieved by means of novel computer-based design and simulation methods, along with computer-controlled manufacturing methods for its building implementation, where the plates and finger joints were produced with the university’s robotic fabrication system utilizing 6.5 mm thin sheets of plywood only.5 Therefore, it needed anchoring to the ground to resist wind suction loads. Therefore, a high load bearing capacity lightweight structure is achieved by the particular geometric arrangement of the plates and their joining system.6
The Institute for Computational Design (ICD), the Institute of Building Structures and Structural Design (ITKE) and students of the University of Stuttgart have realized a temporary, bionic research pavilion made of wood at the intersection of teaching and research. The project explores the performative capacity of biological structures into architectural design and at testing the resulting spatial and structural material-systems in full scale.1 After further research, the plate skeleton morphology of the sand dollar, a sub-species of the sea urchin (Echinoidea) is realized to provide the basic principles of the bionic structures. This morphology of the plate structure is the integrated into the design of the pavilion. The skeletal shell of the sand dollar is a modular system of polygonal plates, which serves as a most fitting model for shells made of prefabricated elements.2 Similarly, the traditional finger-joints typically used in carpentry as connection elements, can be seen as the technical equivalent of the sand dollar’s calcite protrusions.3 1. “ICD/ITKE Research Pavilion 2011,” Universitat Stuttgart, accessed September 6, 2016, http://icd.uni-stuttgart.de/?p=6553 2. “ICD/ITKE Research Pavilion 2011,” Universitat Stuttgart, accessed September 6, 2016, http://icd.uni-stuttgart.de/?p=6553 3. “ICD/ITKE Research Pavilion 2011,” Universitat Stuttgart, accessed September 6, 2016, http://icd.uni-stuttgart.de/?p=6553 4. “ICD/ITKE Research Pavilion 2011,” Universitat Stuttgart, accessed September 6, 2016, http://icd.uni-stuttgart.de/?p=6553 5. “ICD/ITKE Research Pavilion 2011,” Universitat Stuttgart, accessed September 6, 2016, http://icd.uni-stuttgart.de/?p=6553 6. “ICD/ITKE Research Pavilion 2011,” Universitat Stuttgart, accessed September 6, 2016, http://icd.uni-stuttgart.de/?p=6553
B2. CASE STUDY 1.0
THE MORNING LINE / ARANDA LASCH, MATTHEW RITCHIE & ARUP LOCATION : SERVILLE, SPAIN; ISTANBUL, TURKEY; VIENNA, AUSTRIA; KARLSRUHE, GERMANY. DESIGN : 2008 - 2011
Therefore, each bit of the structure is interchangeable, demountable, portable and recyclable, allowing the piece to change and adapt physically over time along with its sonic content.4 To date, the Morning Line has travelled from Seville, Spain to Istanbul, Turkey to Vienna, Austria, constantly adapting its form to its new site.5
Thyssen-Bornemisza Art Contemporary is celebrating Istanbul’s art program, European Capital of Culture 2010, with the anti-pavilion The Morning Line.1 The project is a collaborative platform to explore the interplay between art, architecture, cosmology and music.2 The team of collaborators challenges architectural convention by designing the first semasiographic buildin. It is a non-linear architectural language based on fractal geometry and parametric design that directly expresses its content through its visual structure. The fractal building block grows and scales by a fixed ratio in three dimensions to produce the lines, spaces and structure of the piece. It is a structure that is simultaneously generating itself and falling apart, enclosing an interactive environment inside which a possible future can be seen and changed.3 1. “The Morning Line in Istanbul,” Artpulse, last modified May 22, 2010, http://artpulsemagazine.com/the-morning-line-launches-in-istanbul 2. “The Morning Line,” Aranda/Lasch, accessed September 5, 2016, http://arandalasch.com/works/the-morning-line/ 3. “The Morning Line by Matthew Ritchie with Aranda/Lasch and Arup,” LeeJi Choi, Designboom, last modified April 5, 2009, http://www.designboom.com/art/the-morningline-by-matthew-ritchie-with-aranda-lasch-and-arup/ 4. “The Morning Line,” Aranda/Lasch, accessed September 5, 2016, http://arandalasch.com/works/the-morning-line/ 5. “The Morning Line,” Aranda/Lasch, accessed September 5, 2016, http://arandalasch.com/works/the-morning-line/
B2. TECHNIQUE: DEVELOPMENT SPECIES 1: RANDOM
VORONOIS
Variation is achieved by changing number of points and seeds within a square, and the size of the voronoi geometry.
SPECIES 2: WB PICTURE FRAME
Variation is achieved by changing the thickness of the picture frame.
SPECIES 3: WB LOOP MESH
Variation is achieved by changing number of points and seeds within a square, and the size of the voronoi geometry.
SPECIES 4: RANDOM
VORONOI
Variation is achieved by inserting different numbered voronoi geometry, and the number of points within a square.
SPECIES 5: VORONOI PIPING AND VOLUMES
Variation is achieved by inserting different numbered voronoi geometry/pipes, and the number of points within a square.
SPECIES 6: FRACTAL GEOMETRY
Variation is achieved by scaling and trimming different geometry shapes.
B2. TECHNIQUE: DEVELOPMENT SUCCESSFUL ITERATIONS
This iteration achieved a distinct voronoi geometry stacking. The overhanging section of the geometry could create various overshadowing and shading effect that enhances the experiential espect of the project.
This iteration provides a more transparential effect compared to other iterations. However, it would enhance the userâ&#x20AC;&#x2122;s experience by allowing them to interact within the structrue. This is achieved when they travellinf and exploring from one voronoi frame to another.
This iteration achieved the most similiar effect as the original project where fractal lines rules the installation. Although similiar, this iteration portrays a different interlacing pattern that could create different interplay of light and shadowing compared to the original project.
This iteration provides a solid yet fractal effect compared to the original project. By adding, removing or slotting different volumes within the voronoi frame, different spatial experience could be achieved. This is tranalated by exploring the in-between space of the volumes.
B3. CASE STUDY 2.0
VOLTADOM / SKYLAR TIBBITS LOCATION : MASSACHUSETTS INSTITUTE OF TECHNOLOGY DESIGN : 2011
The Voltadom, is designed by the multidisciplinary research base practice SJET, founded by Skylar Tibbits. It is one of the many installation constructed for the Festival of Art, Science and Technology (FAST), which is an event featured to celebrate MIT 150th anniversary in 2011. The Voltadom falls in the FAST Light category of the festival that focuses on how technology, invention, and fantasy transform the physical environment in unexpected ways.1 This installation fills the space of the MIT concrete and glass passageway with hundreds of vaults. The project aims to revisits a historically paramount structural element – the vaulted ceilings featured in ancient Gothic cathedrals. It attempts to find its contemporary equivalent through computational design, with various assembly and fabrication techniques.2 1. “Voltadom,” Arts at MIT, accessed September 9, 2016, http://arts.mit.edu/events/skylar-tibbits-voltadom/ 2. “VoltaDom Installation / Skylar Tibbits + SJET,” Lidija Grozdanic, eVolo, last modified November 22, 2011, http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/ 3. “VoltaDom: MIT 2011,” SJET, accessed September 9, 2016, http://sjet.us/MIT_VOLTADOM.html 4. “VoltaDom: MIT 2011,” SJET, accessed September 9, 2016, http://sjet.us/MIT_VOLTADOM.html
Thus, it also attempt to expand the notion of the architectural “surface panel”, by intensifying the depth of a doubly-curved vaulted surface, while maintaining relative ease in assembly and fabrication. This is made possible by transforming complex curved vaults to developable strips.3 The vaults provide a thickened surface articulation and a spectrum of oculi that penetrate the hallway and surrounding areas with views and light.4 This project is successful in addressing the concept of a contemporary version of the historical vault, where various ribs of the ceiling is featured using aluminium strips that interconnect one panel with the other. Hence, the web of the ceiling is then achieved by using the polypropylene diaphragm cell.
VOLTADOM REVERSE ENGINEER An extruded central voronoi surface is achieved by baking the coding in grasshopper.
The mesh surface is turned into surface using mesh-toNURB command in Rhino. The hole of each voronoi cell is then achieved using boolean differences between the surface with a geometry.
A voronoi-cell surface is gained after boolean difference . The reverse engineering process of the Voltadom is achieved by first populating points within a rectangle shape. The voronoi component will then be connected to create voronoi shapes surrounding the points populated. After that, the centroid of the voronoi shapes is gained by evaluating the area of each voronoi cells. The centroid point is then moved towards the z-axis direction to achieve the extruded effect of the cells. The moved centroid point is merged with the discontinued voronoi points after that, to create Delaunay mesh. The mesh created is then join using Weaverbirdâ&#x20AC;&#x2122;s join mesh and weld component. The Weaverbirdâ&#x20AC;&#x2122;s catmull-clark subdivision component is also used to create a more smooth and flowing surface that interconnects from one voronoi cell to another.
The cell surface is then flow along the surface of a lofting curve surface to achieve the dome-like form as Voltadom.
THE FINAL PRODUCT
The final product achieved the cell-like panel with non-uniform cell size of the dome. However, The uniform four-sided connection between one panel to another was not achieved. This is because I could not work out how a four-sided base could create a smooth edged cell-panel that flows, rather than having straight and sharp edge cell panel. Therefore, this reverse engineer created a similiar yet not identical version of the Voltadom project.
B4. TECHNIQUE: DEVELOPMENT SPECIES 1: CELL PATTERN
Variation is achieved using different cell patterns.
SPECIES 2: INVERTED CELLS
Variation is achieved by inverted different cell patterns.
SPECIES 3: WB LOOP MESH
Variation is achieved using different cell patterns.
SPECIES 4: ROTATE BOX MORPH
Variarion is ahcieved by changing the scale of the max morph.
SPECIES 5: BOX MORPH
Variarion is ahcieved by changing the scale and height of the max morph.
SPECIES 6: RANDOM BOX MORPH
Variarion is ahcieved by changing the scale, height and domain of the max morph.
SPECIES 7: GRAPH MAPPER BOX MORPH
Variation is achieved by chaging the graph mapper.
SPECIES 8: SCALE BOX MORPH
Variation is achieved by changing the scale of the box morph.
SPECIES 9: SURFACE
Variation is achieved by changing the height of the base curve and the ectruded curve.
SPECIES 10: LATTICES PIPING
Variation is achieved by changing input that interconnect different pattern lattices.
SPECIES 11: GEOMETRIC SURFACE
Varaition is achieved by integrating cell surface to different geometry shapes.
SPECIES 12: ORGANIC SURFACE
Variation is achieved by input to increase or decrease the amount and effect of the flowing surface.
B2. TECHNIQUE: DEVELOPMENT SUCCESSFUL ITERATIONS
This iteration achieved the four-sided cell panel similiar to the original project of Voltadom. However, it could not provide the variation in cell panel sizes. This is a more organized cell panel surface structure.
This iteration is able achieved the variation in cell panel sizes, which resulted in the variation in the sizes of the oculus. The variation in oculus sizes would provide an unique interplay between light and shadow for the users.
This iteration achieved an organic and natural surface that resemble the form of a shell. This would sit harmoniously wihtin any site, as it would grow organicly out from any given surface.
This iteration provides a more secretive and enclosed structure, where the oculus on the cell panels is the only connection between the inner and outer space. Therefore, this would create an uncommon spatial experience for the users, compared to the open structure.
B5. TECHNIQUE: PROTOTYPE 1 This prototype explore the voronoi cell panels in a strip connecting system. In order to laser cut fabricate the prototype, I first extracting a single cell geometry from the voronoi surface. After that the geometry is then unroll into a flat surface using Rhino Unroll component. Mushroom connection are then added to the outer edge of the flatten surface to create a slotting connection between the cells and the strips. In contrary, rectangle holes are then created on the strips in conjunction with the mushroom connections on the cells. Other than that, various holes are also added to the strips to create a screw connection from one cell panel to the other. The material chosen to fabricate the prototype is Polypropylene, this is because it is a flexible material that would allow my prototype to achieve that curved and extruded effect of the cell surface. Whereas box board is used for the strips. This is a bad material choice, as it tends to break when folding occurs. Therefore, I have to be extra careful when folding the strip to achieve that rectangle strip shape, so that it would that break too much. Overall, this is a successful prototype, despite the wrong material choice for the strips. However, this prototype does not achieve the variation in cell panel sizes as the original VoltaDom project. This system only work in a uniform cell panel size system, this is because I have yet to come out with a system that would be able to connect different cell panel sizes. This is a more rigid type of connecting system, but it would still allow that rotation motion to occur for the cell panel system as a whole.
B5. TECHNIQUE: PROTOTYPE 2 This prototype explore the voronoi cell panels in a screw connecting system. I first unrolled the cell geometry in Rhino to gain a flatten surface for fabrication. Various strips are then added to the outer edge of the surface to create connection from one panel to the other. Hence, holes are also added to the surrounding strips to allow the screws to go through. The material chosen for this prototype is Polypropylene as well, as it is a flexible material that would allow me to achieve that curve and extruded cell effect. After the completion of fabrication process, the flatten surface is then connected using screw to create that cell-like effect. Overall, this prototype is a success as well. However, it is a system which does not provide the variation in cell panel sizes as well. This is more flexible connecting system in comparison to prototype 1, as it provide that rotating motion in between panel connections.
B6 (A). SITE INVESTIGATION DESIGN BRIEF
BRIEF SITE OVERVIEW
LOCATION : Abbotsford Convent – Sacred Heart Courtyard CLIENT
: Abbotsford Convent in collaboration with Shadow Electric.
PROGRAM
: Mixed mode event space including outdoor cinema, music stage, food and beverage offering + high level pedestrian bridge.
- The Convent of the Good Shepherd established in 1863 - Site chosen by four Irish Sisters from the Good Shepherd’s mother house in Angers, France, arrived in Melbourne 1863 - Gothic Revival styling buildings - Site accommodates the Magdalen Asylum from the late 1860s. - Convent closure in 1975, the whole convent site was sold to the State Government. - Part of the site is served as a campus for higher education (for the Lincoln Institute of Health Sciences and the University of Melbourne) - Other largely flood prone land fronting the river served as the Collingwood Children’s Farm. - Victoria Heritage Register as registered place H0951 in 1993. - The Abbotsford Convent Foundation (ACF) was created in October 2001 to manage the Abbotsford Convent Project for Arts, Education and Tourism (ACP).
B6 (B). TECHNIQUE: PROPOSAL
MULTI-USABLE DOME The design proposed is a multi-use dome, which is designed to house different function as required. It could either house the stage, the bar, or the sitting area etc. Many voronoi cell panels is connected up to form different structures and forms, for example, a dome, a canopy or a wall etc. Therefore, all the panels could be assemble or disassemble to be used or kept away. Moreover, the number of panels used could be varied depending on the functions it is intended to house; where more panels would be needed to house the stage, whereas less panels are needed to house a bar area. This design proposal reflects on the reusability aspect of the biomimicry concept, where nature is able to regenerate itself overtime. By demonstrating the natural system, I could display the sustainability aspect of my design. With the structure being reusable, it could reduce the cost design and material construction process overtime as it decrease the needs for new design for every different functions. Hence, this design would not bring damage to the surrounding heritage building on site, by not involving in the demolition of the buildings or the need to modify them to address the structural needs of the design intend.
It would be built on plastic material which is flexible and light-weight, which serve the purpose to be easily taken out, assemble and kept away. Thus, it is also a water-proof material, which better serve the function of an outdoor structure that would be rain resistance. Other than that, this design would provide a different aesthetic and experiential effect to the users. As sunlight would be able to penetrate through the oculus from outer into inner surface to create an interplay between light and shadow. In contrary, the lighting in night could penetrate from inner to outer surface to create a unique lighting effect on the structure. Therefore, the proposed design structure is intended to sit and connect harmoniously with the people and the site rather than creating intensity within the surrounding and the atmosphere.
B7. LEARNING OBJECTIVE & OUTCOME Throughout the criteria design process, I have learnt lots of new concept and skills. One important new concept I have learnt is the concept of biomimicry. I am inspired by how the integration of natural system within the design solutions would be able to address the contemporary problems. Therefore, I am interested of reflecting the idea of biomimicry within my proposed design. Exploring this idea, expanded my knowledge in the biology field, as I am needed to understand how nature works in order to implement it into my design. Other than that, I have also improved my computational design skill and learnt a new design software â&#x20AC;&#x201C; Grasshopper. Grasshopper allows me to create generative design that provides a variation of design solutions. This allows me to pick out the few best solutions out of many solutions. Hence, this process has encourage me to explore and experiment with different design component to gain unique structures and forms, within a short span of time. The hardest part of this process is to form a design solutions that would interlink between the concept, the design and the brief; where I am facing complication in creating connectiosn between these categories. After further exploration and research within biomimicry, I have derive with a design concept that response to the reusability and regenerative aspect of the nature system. My design intend is to create a dome that is reusable, where each panel can be assemble and disassemble to form different structure and house different function. Overall, this design process has improve my architectural design skill in general where I could implement into my future design development. Since the criteria design serve as an exploration stage for the design, it is a process critical for the generation of the final design.
B8. APPENDIX - ALGORITHMIC SKETCHES KANGAROO DOME ITERATION
BIBLIOGRAPHY “Architecture at Eden,” Eden Project, accessed September 6, 2016, http://www. edenproject.com/eden-story/behind-the-scenes/architecture-at-eden Ginatta, Carlos. Architecture without Architecture: Biomimicry Design. Saarbrucken: VDM Verlag Dr. Muller, 2010. “ICD/ITKE Research Pavilion at the University of Stuttgart,” Dezeen magazine, last modified October 31, 2011, http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/ “ICD/ITKE Research Pavilion 2011,” Universitat Stuttgart, accessed September 6, 2016, http://icd.uni-stuttgart.de/?p=6553 Mazzoleni, Ilaria. Architecture follows Nature: Biomimetic Principles for Innovative Design. Boca Raton CRC Press, 2013. Plawyn, Michael. Biomimicry in Architecture. London: RIBA, 2011. “Sacred Heart,” Abbotsford Convent, accessed September 12, 2016, http://abbotsfordconvent.com.au/about/history/buildings/sacred-heart “The Morning Line,” Aranda/Lasch, accessed September 5, 2016, http://arandalasch.com/works/the-morning-line/ “The Morning Line in Istanbul,” Artpulse, last modified May 22, 2010, http:// artpulsemagazine.com/the-morning-line-launches-in-istanbul “The Morning Line by Matthew Ritchie with Aranda/Lasch and Arup,” LeeJi Choi, Designboom, last modified April 5, 2009, http://www.designboom.com/art/themorning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/ “The Eden Project,” Grimshaw, accessed September 5, 2016, http://grimshaw-architects.com/project/the-eden-project/ “VoltaDom: MIT 2011,” SJET, accessed September 9, 2016, http://sjet.us/MIT_VOLTADOM.html “VoltaDom Installation / Skylar Tibbits + SJET,” Lidija Grozdanic, eVolo, last modified November 22, 2011, http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/ “Voltadom,” Arts at MIT, accessed September 9, 2016, http://arts.mit.edu/events/ skylar-tibbits-voltadom/