Liegent andre 813813 finaljournal Studio AIR by Andre Liegent

S T U D I O A I R J O U R N A L ANDRE LIEGENT 8

S T U D I O

8 7

( J A C K )

INTRODUCTION

Hi, My name is Andre Liegent. I was born and raised in Pekanbaru, Indonesia. I am now in the 2nd Semester of my 2nd year, doing double major (Architecture and Construction). To be honest, unlike some others, I have just considered architecture about 2 years before finishing high school. Originally, I was very passionate about music since I started learning guitar in elementary school. I love how music can bring emotion and feeling to the people. However, since musicians seems to be less appreciated, I try to seek for another â&#x20AC;&#x2DC;betterâ&#x20AC;&#x2122; career option. Not until the end of my high school, I finally decided to take architecture as my career option. I discovered that Architecture is more than just an art. It is how art collides with science to bring not just an emotional impact but also a solution. It is a better option for me since, it is the combination of what I am passionate about (art;music) and what is appreciated by the society (the job title). At first, my view about architecture is limited to designing beautiful houses and other buildings. Later in Melbourne University, I am exposed to the fact that architecture is more than that. It involves a careful design process on a larger scope to ensure the well-being of humans. Now in Studio: Air, I am once again exposed to the future of designing that embraces the technology. I have known that computer has helped architects and designers in drawing, drafting and communicating their design. I have been exposed to software such as AutoCad, Sketchup and Rhino which are very helpful. However, I am amazed that technology can perform designed task far more complex than just drafting. For example, the Grasshopper 3D that we mainly learn in this studio can helped designing a complex structure that is beyond humansâ&#x20AC;&#x2122; imagination using algorithm. Although it seems difficult, but I am excited to learn and be involved in the 21st century design era, which embraces the presence of technology.

Previous Work in University

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CAO AL

N CEPTUI SATION 5

A1. DESIGN FUTURING A1. TEXT Within just a few decades after the modernist proposing change, the world has started to question itself for another shift. The urgency to move on is driven by the self-made condition that challenges our existence. The individualism and ignorance of humans itself is the account for this issue of existence . The universe being is treated as if it is an infinite resources.1 For example, with just 1-1.5 metre rise of sea level by the global warming may results in 40 per cent of land loss in Bangladesh, displacing around 60 to 80 million people. By 2100, as many as 500-750 million refugees is projected by the World Bank and International Red Cross. Not to mentioned that the rapidly growing population will lead to land scarcity in the future. Ironically, on some parts of the world, we are still debating about these things. When this unwanted condition happened, we are supposed to be designing more speculatively to counter this problem. Fortunately, the advanced technology nowadays starts to allow us to dictate our future. The growing number of easily accessible design tools has created many â&#x20AC;&#x2DC;newbornâ&#x20AC;&#x2122; designers.x Although some argued that this will diminish the value of design, but it appears that the design democracy has also allowed more possibility and speculative outcomes. 2 The democracy also provides constructive feedback of what is good and bad. The demand of more advanced and accessible tools forces technology to grow rapidly. Now that technology has been proven a great tools for solving problem, including design. It will facilitate our speculative thought to solve our problems. However, it seems that the ease of using technology cause some design processes to be done individually rather than collectively. People can now easily design without consulting with other stakeholders. We sometimes see buildings that are architecturally good, but poor in structure or environmental impact. This seems to be one of the reason behind the problems we have. Therefore, since design is a complex problem, I believe that Architects and other expertise should be embracing each other. And with the aid of technology, we can begin speculatively thinking together about the sustainability of the future.

Tony Fry, Design Futuring: Sustainability, Ethics and New Practice , (Oxford: Berg, 2008), pp. 1â&#x20AC;&#x201C;16. Tony Fry

THE FUTURE IS NOW

Source: Architizer

National Olympic Centre, Beijing Architect: CSEC + PTW + CCDI and ARUP

One of the urgent issue of the world that we need to address is about sustainability. With technology bec ture is facilitate to have new features that not only provides aesthetics but also solution for any problem. aquatic competition venue is an energy efficient and ecologically friendly, design from a collaboration of ronmental consultant, structural and so on. The Bubble-like ETFE cushion envelope is considered an inn helps maximising natural light and capturing solar energy to heat the interior spaces and the pools. It acc consumption of the leisure by 30 per cent. 3 By varying the translucent and transparent foils on the enve ing is controlled reducing the need for artificial lighting. 4

The need to preserve the energy and money has forced designers and other expertise to think of a new m ically friendly. The Watercube may seems costly, but in a long run, the successful passive design is pref building, the watercube does not compromise with the social aspects. It also provides public multi-funct this building, I notice a careful thought and design process that really embraces other aspects such as e aesthetic that should be modelled by other designers.

Architizer, Watercube â&#x20AC;&#x201C; National Swimming Centre (2017), < https://architizer.com/projects/watercube-national-swimming-centre/>, accessed 28th J Architizer, Watercube â&#x20AC;&#x201C; National Swimming Centre (2017).

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coming more advanced, architec. For example, this visually unique many experts such as the envinovative product of technology. It counts for the reduce in the energy elope, the level of natural daylight-

method or material that is ecologferrable. Being an energy efficient tion space and fitness centre. From environment, economy, social and

July 2017

Source: Architizer

Al Bahar Tower, Abu dhabi Architect: AHR

Another example is the Al Bahar Tower in Abu dhabi. The 25-storey building is another convincing precedent that blend the cultural aspect into a contemporary design while still addressing the sustainability issue. The adaptive facade is inspired by the “mashrabiya” - a local traditional wooden lattice shading screen. The dynamic façade comprises of kinetic structures which adapt to sun. Each elements closes and opens according to the sun movement to protect occupants from direct sun rays while enhancing the use of natural light. 5 Sustainable feature in Architecture is becoming more common today. Buildings compete to achieve great reputation through this achievement. Looking at the watercube, Al Bahar Tower and others, it is fair to speculate that the future of architecture is sustainability.

Architizer, Al Bahr Towers (2017), <https://architizer.com/projects/al-bahr-towers/>, accessed 28th July 2017

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A2. DESIGN COMPUTATION After the revolutionary industrial age, here comes technology, which started to replace. Most of our everyday aspects are driven by technology as evident by the common products such as iPhone, tablet, VR etc. I believe architecture field is also conscious about this. On the dark side, some might argue that robots could be taking most of our jobs in the future. However, it seems that architects are less prone to this, since architects as a proffesion are mainly fueled by a creative force which is not possessed by the robots. On the bright side, architects have the opportunity to embrace technology and engage in a collaborative relationship with computers. This was supported by Kwinter who stated: “If in contrast, we begin to view the computational realm not as separate from the physical domain, but instead as inherently related, we can overcome one of the greatest yet most popular misconceptions about the computer in architectural circles, namely that it is just another tool”. 6 Before doing Studio: Air, my view towards technology in architecture is limited to drafting, rendering and other types of CAD (Computer aided drawing). I am now aware that technology can help more than that. In the 21st century, technology has allowed architects to explore with algorithmic thinking and parametric design, which is believed to provide solution for complex problems in the World today. With algorithm and parameters being input to the computer, architects are able to achieve unconventional geometry and spatial composition to help solve design problems. Not to mention that according to Kalay, computer nowadays are able to help humans not only with generating solution, but also analysing the problem. 7 This is really powerful since design is a complex process. Kalay opposed Louis Kahn “Form follows function” because there is no such linear design process. Instead, design is rather a combination of intuitive step and calculation of many and complex elements. There are not many architects that are utilizing technology this way, especially in my country, Indonesia. However, I can see a popular trend and demand towards this practice. I believe that in the near future, design computation is getting more common as being an advance tool to problem solving.

Sanford Kwinter, ‘Cooking, Yo-ing, Thinking’, Tarp: Not Nature, Pratt Institute (New York), 2012, p 108. Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25 8. Patrik schumacher, ‘Parametricism 2.0: Rethinking Architecture’s Agenda for the 21st Century’, Architectural Design Journal, 86.2 (2016) p. 16 6. 7.

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â&#x20AC;&#x153;Only Parametricism can adequately organise and articulate contem-porary social assemblages at the level of complexity called for todayâ&#x20AC;? 8

Source: Architizer

Research Pavilion 15/16, Stuttgart by ICD/ITKE

The semi-exterior pavilion was designed to respond to site-specific conditions on the campus. It incoporated the ground topography into seating landscape. The pavilion comprises of 151 segments that were prefabricated by robots. They are fastened by textile connections, omitting the need for metal connection.9 The complex design would not be easily done without computation. There is a continuous involvement of computation in the process, including studies, analysis and solution. The form was first achieved by studying sea urchins and the incorporated its morphological features into the design.10 Then, it is followed by synthesising material, form, biological principles and robotic fabrication using computation. Consequently, it innovates the way we construct timber. Not only this research lead to a lightweight structure, it also explores unique form and expands the possibility of composition in timber. ICD/ITKE has done a series of research pavilion before and it shows that computational design is starting to be important.

Architizer, ICD/ITKE RESEARCH PAVILION 2015-16 (2016), < https://architizer.com/projects/icditke-research-pavilion-2015-16/>, accessed 4th August 2017 10 . Architizer, ICD/ITKE RESEARCH PAVILION 2015-16 (2016) 9.

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Source: Architizer

Elbphilharmonie, Hamburg by Herzog de Meuron

The concert hall designed by Herzog de Meuron was just recently open to the public (Jan 2017). ONE Herzog de Meuron was commissioned to fabricate the cell-shaped acoustic panel. They started by co diffusing pattern in that area. Using the data, the panelsâ&#x20AC;&#x2122; are made to have a random wavy surface to prevent unwanted acoustic properties.11 The panels consisted of approximately one million cells whic conventionally. This was achieved with the development of custom algorithms with parametric definiti were then sent to CNC machines that milled each panel individually.

This perfectly design acoustic wall is an evidence of design computation. It highlighted a new method intangible data. Acoustic was not the only one technology is capable of helping with. For example, in A grammed to analyse data of the sun. The feedback given is then utilize to synthesis a design solution nology nowadays, it seems that more and more complex problem can be solved by designers and arc

Architizer, Architectural Details: Herzog & de Meuronâ&#x20AC;&#x2122;s Spectacular Elbphilharmonie (2016), < https://architizer.com/blog/architectural-details-herzog-de-meuron-elbphilharmonie/>, accessed 4th August 2017 11 .

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E TO ONE who was contracted by ollecting digital data of the sound provide more diffusion which can ch is nearly impossible to be done ions for the cells. 10,000 digital data

d of collecting complex or almost Al Bahr Tower, computers were pron. With more improvement of techchitects.

A3. COMPOSITION / GENERATION Prior to the contemporary architecture, buildings were mostly symmetrical. For example, the typical gothic cathedral, Greek temple were built in the balance proportion. However, since the modern era, architects have been challenging the old norms of symmetrical composition. The conventional rule is broken to explore more forms in architecture. As a result, architecture is shifting from composition towards generation. The generative approach was much driven by the computation in architecture. We have seen AutoCAD or Sketchup helping architects in drafting and communicating their design. However, it is software like Rhinoscript or Grasshopper that has offered more influence the shift. As the softwares work based on parameters an algorithm, architects are able to construct more complex forms by setting mathematical rules, information and instruction. Although difficult to master, Schumacer stated that parametricism or algorithmic thinking is the key to solving complex problems of the world today.12 Not only being able to generate complex form computation also allows architects to analyse building and material performance and also gain more knowledge about the tectonics and the parameters of production machinery in their design drawing.13 The aid given by computation is evident from the works of contemporary architects such as Heydar Aliyev Centre by Zaha Hadid and Walt-Disney Concert Hall by Frank Gehry. It is becoming more popular that today, computational designers are even separated from the design teams in firms such as Fosters + Partners and Herzog de Meuron. 14 On the other hand, Lawson maintained CAD might conspire against creative thought by encourage fake creativity.15 Nevertheless, it appears that computation has helped architects in being more speculative and efficient by generating more outcomes.

Patrik schumacher, ‘Parametricism 2.0: Rethinking Architecture’s Agenda for the 21st Century’, Architectural Design Journal, 86.2 (2016) p. 16 Bradley Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 14. Bradley Peters 15. Bryan Lawson, ‘Fake and Real Creativity Using Computer Aided Design: Some Lesons from Herman Hertzberg’, in Proceedings of the 3rd Conx . ference on Creativity & Cognition, ed. BY Ernest Edmonds and Linda Cndt (New York: ACM Press), pp. 174-179 12.

13.

Source: Iwan Baan & Hufton+Crow

Heydar Aliyev Centre, Azerbaijan by Zaha Hadid

This cultural centre by Zaha Hadid very much challenge the conventional composition. The undulating roof and internal space provoke a great admiration. This composition would be very difficult to achieve if it is without computer. As representative from Zaha Hadid Achitects stated: “Our ambition to achieve a surface so continuous that it appears homogenous, required a broad range of different functions, construction logics and technical systems had to be brought together and integrated into the building’s envelope. Advanced computing allowed for the continuous control and communication of these complexities among the numerous project participants”. 16 Hence, it is inevitable that computation has aided us in exploring new and complex form which is difficult in the past.

16.

Archdaily, Heydar Aliyev Center / Zaha Hadid Architects (2013), <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/>, A

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Accessed 8 Aug 2017

Source: Duccio Malagamba

Dalian International Conference Center, Da by Coop Himmelb(l)au

Slightly different from Zaha’s Heydar Aliyev Centre’ clean undulating form, Coop Himmelb(l) introduces a more ‘violent’ composition by having sharp geometry and triangulation on its design. Likewise, the rapidly growing technology has helped the form finding process of this project. It also helps the firm in analysing different aspects such as climate analysis, urban and pattern studies. This complex project seems difficult to design without computers. With algorithmic softwares, architects are able to set rules that generates this kind of complex and unique structure that is beyond man’s imagination.

17 .

Architizer, Dalian International Conference Centre (2013),https://architizer.com/projects/dalian-international-conference-center/, accessed 8th Augu

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alian

ust 2017

A4. CONCLUSION Architecture practice is inevitably changing. The powerful computation age has facilitate this movement. The term CAD that we usually known as Computer Aided Drawing is starting to shift to Computer Aided Design. 18 Computer is no longer used only for translating analog design by architects, but its intelligence involves in the whole process of design. The so-called algorithmic thinking has allowed man to control complex problems and generate countless possibilities of the solution. Forms and features are no longer conventional. As a result, architects can be more speculative towards the future. Many possibilities of the future means that we can select the best solution out of many. As for now, the design outcomes tends to speculate a sustainable architecture in the future, which attempt to adress the trending issue of humansâ&#x20AC;&#x2122; existence. Nevertheless, the important part is the computation age has opened a door for many possible future. Whether it is sustainability or something else it is interesting to be able to predict the future.

A5. LEARNING OUTCOME Throughout these 3 weeks in Studio: Air, my perspective about computer in architecture has changed. I always thought that I need to fill my University break with learning softwares like Sketchup, Revit or V-ray to be able to show a very cool graphics. But it seems that it is not enough for the 21st century architects. It does not mean that the softwares are not good, but I have just realised how powerful a computer is to be able to generate complex design. To keep up with the fast-paced of the world, I need to equip myself with the demanded skills such as algorithmic thinking and parametric design. While doing the algorithmic sketchbook, I was frustrated and excited at the same time. The grasshopper software is difficult to learn but I am amazed of the outcomes. I started to see how the complex design out there are generated. However, I believe that the analog process should not be entirely neglected. Hand drawing can not be left from design process as I believe it helps us in designing intuitively. Great architects are still using sketches to conceptualise their design. No matter how advanced the technology is, drawing using pen or pencil is still essential. After knowing how powerful computation is, I am looking forward to engaging with this approach. As Schumacher mentioned parametricism is the solution for the complex problem nowadays. Therefore, I hope that through this studio I will equip myself with the knowledge needed for a great architect.

. Bradley Elias, â&#x20AC;&#x153;Lecture 2â&#x20AC;?, Studio: Air, Melbourne University, 1st August 2017.

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A6. ALGORITHMIC SKETCHBOOK Design brief: The internet is a space where success is measured through the metrics of views, likes, comments, shares and retweets. It is a space in which taste is defined and disseminated to the largest audience in history, a space where celebrities control style. This studio operates under a predicted future where architects no longer have an authority over style, a future where the tastes of @kimkardashian, @mileycyrus, @justinbieber, @lilyachty dictate architectural styles and trends. This studio will borrow from historical architectural canons and blend in popular tastes, either directly or via abstraction, to create a ‘viral’ architecture through different scales and modes of designing. Using the popular architectural phenomenon of tiny houses, our client Dope Developments, has proposed a number of sites along the merri creek bike trail that will operate as a mixture of; ‘escape accommodation’ for young affluent professionals that offers luxury accommodation, in the form of off-the-grid, tiny-houses, and pop-up style fashion hot spots. Dope Developments hopes to achieve an instagram following that can eventually compete with the extremely popular @cabinporn. (Quoted from the tutorial synopsis given). This sketchbook includes my attempt in using grasshopper following the bried of the studio.

WEEK 1

Text LOFTING 2 CURVES

LOFTING 3 CURVES

LOFTING 4 CURVES With more curves being lofted, I can have more possibilities of the shape. By rotating, scaling and moving the control points, I have a lot of possibilitoes. However, I have not tried lofting closed curves.

LOFTING

PENDANT DESIGN

DELAUNAY + BAKE + RANDOM SUBTRACTION

POPULATE GEOMETRY + SPHERE

FACET DOME + DIVIDE SURFACE + PIPES

TRIANGULATION 29

LOFT X TRIA

LOFT + DIVIDE SURFACE + PIPES

ANGULATION

LOFT + DIVIDE SURFACE + VORONOI 3D

LOFT + DIVIDE SURFACE + DELAUNAY EDGES

WEEK 2

BREP EXPL

Taking Le Corbusierâ&#x20AC;&#x2122;s cabanon as reference, I try to explore with new uniq These sketches are intended to create an alternative skin f

LORATION

que form using Grasshopper. 3 curves are lofted to form this curvilinear form. for Le Corbusierâ&#x20AC;&#x2122;s cabanon with Pop-culture as the reference.

BREP EXPL (EXPLORING

After the surface is taken from the loft process, it is then subdivided and deconstructed to its constituent points. The vertices is then becoming the base for these cones. It resembles the dope fashion like found in Louboutin Urchin-lik shoes. The sharp cones can gives a sense of danger and provocative feeling. It could functionally perform as a priva statement in a building.

LORATION VERTICES) Vertices obtained from the deconstruction of the surfaces are becoming the base for voronoi 3D. The outcome is the most doable design. I could imagine stacks of timber blocks or bricks making this unique shape.

e ke acy

BREP EXPL

(BOX MORPH AN

The surface from the lofted curves is panelled with a geometry that is made in Rhino. I personally like the outcome on the left more. The distortion of the box morphed seems to more organic. The distortion on the right sort of provoke a disgust feeling. The 2 outcomes could possibly extend further to b ventilated skin that allow passive design.

LORATION

ND PANELING)

become a

BREP EXPL (EXPLORIN

LORATION NG FACES)

Deconstrucing BREP gives me faces, vertices and edges. I select certain faces and extruded them. This outcome seems a bit similar to the style of Sei Watanabeâ&#x20AC;&#x2122;s design for Aoyama Technical College.

Refering to Vide The points from as the bench w

eo 2.03, I try to create a skin for the cabanon using curves. Curves are divided into the same number of points. m different curves formed arches which are then lofted. I started to see this outcome besides being the skin, also act with its convex shape on the inside.

Image Sa

ampling

B 44

CR D

R I TERIA E SIG N 45

B1.

RESEARCH FIELD TESSELATION

Computation has allow more and more complex design nowadays. The parametric approach to design makes the complex design becomes more feasible. The tesselation research field is chosen to investigate how complex design is broken down into simpler elements. Tesselation is a covering of an infinite geometric plane without gaps or overlaps by congruent plane figures of one type or a few types.1 In nature, honeycomb and lotus are the examples of tesselation. A series of simple elements (Hexagon and Petal) are tesselated to form more complex form. Traditionally, tesselation is often seen in facades and decoration which is more of a 2D exploration, such as . However, with the aid of computation nowadays, designers are able to explore spanning capabilities to explore with 3d space. By intergrating structural performance into it, tesselation is no longer a decorative surface, but a definition to spatial quality. The fabrication is relatively achievable by the help of technology such as laser cut and physics simulation software like kangaroo. This section aims to explore the possibility of tesselating simple elements to produce complex design.

Merriam Webster, Tesselation, https://www.merriam-webster.com/dictionary/tessellation

(Top) Lotus Flower Photo: Moti Hadis (Bottom) Decorative tesselation Photo:Daniel LafredoRota (Left) Polyp.lux by SOFTLab

B2.

CASE STUDY 1.O

Voussoir Cloud by IwamotoScott Architecture

Voussoir Cloud is a project by IwamotoScott Architecture exploring the possibilities of light weight structure using petal-like thin wood laminates.The traditional masonry blocks that make up a vauly is redefined in Voussoir Cloud using a tesselated timber laminates.2 The timber layers are laser cut and folded along the curved seam into wedges. The curvature outcome is produced by providing tensional capability on the internal surface tension to hold its shape, which could be simulated in Kangaroo software. In this case study, I intended to explore the possibility of this technique by replicating and changing the parameter on grasshopper.

Rob Ong, Voussoir Cloud by IwamotoScott (2008), https://www.dezeen.com/2008/08/08/voussoir-cloud-by-iwamotoscott/, Accessed 23th Aug 2017

Photos by: California College of the Arts & James Diewald

SPECIES

ITERATION 1

ITERATION 2

F= 0.4

F= 0.5

ITERATION 3

Scaling the voronoi offset F= Scale factor F= 0.65

Modifying applied load by changing the vector force parameter

Z= -3

Z= -25

Z= 5

CASE STUDY 1.O

Voussoir Cloud by IwamotoScott Architecture

ITERATION 4

F= 1.3

Z= 10

ITERATION 5

ITERATION 6

F= 1.7

F= 2

X= -24 Y= -4 Z= -18.42

X= 20 7= -4 Z= -4

SPECIES

ITERATION 1

ITERATION 2

ITERATION 3

Rest Length of the springs N= Rest Length

N= 1

N=6

Anchor points on perimeter wall only

Anchor points on 2 columns and perimeter wall

N= -10

Releasing Anchor Points

Anchor points on 4 columns and perimeter wall

Modifying mesh output using Weaverbird plug-in

Bevel mesh edges

Thicken mesh

Weaverbirdâ&#x20AC;&#x2122;s stellate

ITERATION 4

N=8

No anchor point on perimeter, only at columns

Weaverbird mesh window

ITERATION 5

ITERATION 6

N= -12

N= 15

Anchor points on random points

No anchor point

Facet Dome

OctTree

Successful Iteration Out of 30 iterations, there are 4 successful species. Success is measured from its fabricability, novelty, complexity. For example, the species on the top left corner seems to have the most distinct design while maintaining its fabricability. We can see some negative space that begins to define the spatial composition. This species has a tesselation potential in which we can start imagining how it is going to be fabricated. The repetitive sharp cone elements could be fabricated by robot, laser cut or 3d Printer. Similarly, the second species on the top right mimic the tessalation technique the most, as we can see repetitive hexagon defining the shape. The species on the bottom left has the most distinct design from its original. The original hollow space has disappeared, cover by the complex lines and geometry. However, this complicated design needs more refining to make fabrication more possible. The bottom left species has been successful in exploring the possibility of not only axial load but also the lateral load. This then results in this wavy structure, which potentially act like a pavilion or an extension to existing structure.

Fabricability Novelty Complexity

B3.

CASE STUDY 2.0 Arboskin Pavilion by ITKE

Arboskin is a project done by students and proffesors of ITKE Stuttgart in 2013. It is clear that tesselation of triangular pyramids helps form the facade. But what is more interesting is that it uses 388 bioplastics pyramids. The pyramids are fabricated by extruding bioplastic granules into sheets which are then thermoformed into pyramidal shapes. Apertures are cut off in some of the pyramids by using CNC Mill. Excess material could then be regranulated and reused for future project. Pyramids are tesselated and braced with rings and joists to create a load-bearing and undulating facade. Not only the project is successful to explore free form structure, but also to implement a renewable and sustainable material.3

Griffiths, A, ArboSkin pavilion made from bioplastic by ITKE (2013), https://www.dezeen.com/2013/11/09/arboskin-spiky-pavilion-with-facade-

56 made-from-bioplastics-by-itke/>, Accessed 1 Sept 2017

Photos by: Rollan Halbe, basural.com & lightsniper.de

CASE STUDY 2.0 (REVERSE ENGINEERING) Arboskin Pavilion by ITKE

Curve

Loft

Isotrim

Bounding Box

Construct Mesh from vertices extracted from the sub surface

Redefine surface by changing rectangular subsurface into triangular subsurface

Move centroid of each faces

Panelling

Using weaverbird plug-in to mesh stellate

Create new surface using the new centroid

*Most Successful Attempt

From the 3 attempts, it appears that the third one give a more accurate representation of the pavilion. The first trial using box morph and paneling does not resemble the pavilion closely because the definition use rectangular subsurface. The second attempt, using triangulated mesh is slightly better. Using Weaverbird plug-in, I can almost mimic the form of the pavilion. However, due to a few number of parameter, the possibility of further iteration becomes limited. The third attempt although more complicated is the most successful one. It gives a similar outcome to the second attempt, but due to its complexity and amount of control, there are room for further technique development. However, I am still struggling to recreate the aperture of the pyramids. It could have been better if I was able to use attractor point or other component instead of manually cutting it in rhino.

B4. SPECIES 1: Dividing into subsurface in various range of UV numbers

SPECIES 3: Extending the thorn

TECHNIQUE DEVELOPMENT

SPECIES 2: Triangulation and grid on the surface

SPECIES 4: Modifying panels

SPECIES 5: Form Finding with Kangaroo Plug-in

SPECIES 7: Rearrange panel by deconstructing mesh vertices and reconstruct mesh with different order

SPECIES 6: Image sampling and sectioning

SPECIES 8: Advance exploration of formfinding using kangaroo plug-in, and construct it as a mesh

SPECIES 9: Cull pattern

SPECIES 10: Mesh transformation using weaverbird plug-in

Successful Iteration Fabricability Novelty Complexity

Fabricability Novelty Complexity

With the help of Kangaroo plug-in I came with an unpredicted outcome. The first two are the most intersting as it extends the tesselation technique the furthest, compared to others. It extends the capability of tesselation to form more complex form rather than just a surface. However, this form will require more careful detail in fabrication. The other two iteration does not offer much change in terms of the shape and form, but they introduce other way of panelling. For example, the second iteration shows different arrangement by analysing the reciprocal direction of the original mesh, which results in this bird-nest looking structure. 65

B5.

PROTOTYPE

As a group of three, we try to use tesselation technique for our design task. We were assigned to make a prototype as a container. The prototype aims to examine fabrication method for further design. From technique development, the paneling and morphing technique of surface are the most relevant technique. Hence we obtain the form on the left. As a prototype for container, we are examining the strength and rigidity. We want a strong structure, but avoid full rigidity. It is expected that the structure can allow tolerance and adaptability. The form was achieved by generating kangaroo simulation. After having the form, we panelised the surface with different types. The most interesting outcome is chosen.

Fabrication 01 03 Unrolling surface

02 Interlocking system Designing Tabs

04 Job sent to laser cut

Assembly

0 1 Separating panels based on labels

pieces using interlocking tab, having labels as 0 2 Assemble reference

gold spray finish to achieve lumi0 3 Applying nous efect

Testing Strength To test the strength, we put different weight on the surface to see the carrying capacity of it.

Carrying one iphone

Carrying two iphones

Carrying three iphones

The prototype are still in form

few deflections noticed

Significant deflection, few tabs are disconnected

Outcome Initially, we want to have tabs that are interlocked independently without involving glue. At a glimpse, the tabs works perfectly in holding pieces together. However, After some loads are applied, it seems that the tabs are not designed strong enough to hold together. On the third attempt of putting weight, few tabs are loosen, some are disconnected.

Rigidity

To test the rigidity, load of different maginitude and direction is applied to the prototype.

Outcome The prototype achieve the desired fluidity. Our expectation is to have a structure that allow some tolerances. However, when more loads are applied, the shape distorted excessively, going too far from its original shape.

Conclusion Success: (Adaptability/Fluidity) The technique is successful in creating an independent conncetion without using glue. The tabs are designed to also function as ornaments. There are rooms for the tabs to move, making the structure more adaptable. It suits for tensile structure. Failure: The prototype does not succeed in providing a strong structure. Besides from the thin material we chose, it is difficult to imply tabs without additional reinforcement (e.g pin, strings, connector, nail, glue). In addition, while it works for tension, the connection does not really work for compressive load. Improvement: The problem of this prototype is mainly about the tabs. Tabs need to be reinforced by other components such as connector, pin, string or nail to strengten the connection. With this adaptable and flexible system, we can almost get any form. However, we also need structural frame to strengthen its shape integrity. By putting strutural frame such as steel, timber, or wire mesh, the prototype will be able to achieve more strength and desired rigidity in different shapes.

B6.

C l i e n t : Do pe De ve lop m en t

PROPOSAL

In the world where celebrities control style, architects no longer able to dictate style and culture. The tastes of celebrities ‘dope’ figure such as kimkardashian, mileycyrus, justinbieber, lilyachty dictate architectural styles and trends. Our group, representing Le Courvoisier, is assigned by our client to design an extension to Le Corbusier’s cabanon. The extension is expected to provide a ‘life style’ influenced by the celebrity trend

Product Analysis: Versace 2014 Summer Black Leather High-Top Sneakers In designing the extension, we try to look for a successful and ‘dope’ product in the market. We analised the product and try to extract the quality into our design. Our product selection landed on the Versace 2014 Summer Black Leather High-Top Sneakers. The expensive shoes has been used by famous celebs like Ludacris and Fetty Wap.

K ey Pe r fo rma nc e Indic at o r :

Gold

I O ULSeather R U LUX

Black

Expensiv

CONSUMERISM

Unnecessary

N E O - Decoratives B Ornaments A R O Q U E N

SOCI

AL S TATU S Ric

h and poo

IC EO-CLASS

Iconic medusa r

Grandeu

E L E rGyA N T t

Ambition:

Symme

To design a space that promotes an elite lifestyle and high consumerism culture. A lifestyle that is idolised by the rich, but despised by other since it is intimidating for them. Therefore, we propose..............

JACOZY DIP IN LIKE A SIR Introducing.....J A C O Z Y. INSPIRED BY THE NOBLE AND ARISTROCRATS' HABITS OF DIPPING IN HOT JACUZZI, WE BROUGHT IT RIGHT BESIDE YOU. PLACED HIGHER THAN GROUND LEVEL, COATED IN GOLD COLOUR, YOU CAN EXPERIENCE THE LUXURY AND RELAXATION WHILE ENJOYING MERRI CREEK'S VIEW. say no more to quick, boring shower. SPOIL YOURSELF WITH JACOZY.

ELEV



PLAN 

shape extracted from the symmetrical flowery ornaments on versace product.

VATION 1 GOLD COLOUR COATED ARCYLIC WITH WATERPROOF MEMBRANE

JACOZY

Poster

From our interim presentation feedback, we try too bleâ&#x20AC;&#x2122;. Therefore we made few iterations to introduce

Product Catalogue

look for refinement since our design is told to be too â&#x20AC;&#x2DC;hummore grandeur form.

B7.

LEARNING OUTCOME

Throughout these few weeks after part A submission. I got exposed to more computational approaches. With many grasshopper definition on LMS & Internet, I got more chances to familiarize my self with grasshopper, not only of tesselation technique but also others. Although still having many things to cover in grasshopper, I started to understand the parametric and algorithmic thinking by reverse engineering a precedent and creating unexpected iteration. Interestingly, while I am still learning grasshopper, I discovered many cool plug-ins for grasshopper such as Kangaroo, weaverbird, lunchbox and anemone which makes me more aware how computation can have unlimited possibilities. Not only in terms of design, computation also helps the fabrication process. With the aid of computer and machine such as laser cutter, we are able to create a quick and precise prototype which would have been difficult if done by hand. Besides technical skills, I was also taught to create a strong and convincing proposal. By being told to refer to certain KPI and highlight successful iterations, I was challenged to be more critical about my design. It was difficult at first, since I tend to criticize design based on the looks and aethetics only. Through discussions and feedback from guest crits, I started to consider other aspects such as style, sustain-ability and experience, which slowly developed my critical thinking. Now, it is my task to apply what I have understood about computation into design. My knowledge about grasshopper may still be limited, but having passed through these few weeks, I started to have references and will continue to have more. Lately, after the interim presentation, I have been interested with the work of Michael Hansmeyer. He raised an interesting question: “if we had no bias or preconception, what kind of free form will we make? He answered the question by talking about computational approach that has countless possibilities. “I think this project (subdivided column) give us a glimpse of the unseen object that awaits us if we as architects begin about designing not the object, but a process to generate objects.”4 His talk raised my curiosity and interest in the power of computation. Finally, having completed part B, I am looking forward for further development of our design.

Michael Hansmeyer, ‘Building Unimaginable Shape’, Ted Talk (2012), https://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes

78 accessed on 14th September 2017.

â&#x20AC;&#x153;But in each case, I didnâ&#x20AC;&#x2122;t design the form, I designed the process that generated the formâ&#x20AC;? -Michael Hansmeyer (on Ted Talk 2012) 4

B8.

ALGORITHMIC SKETCHBOOK

Fractal Tetrahedra

Field & Attractor point

Field evaluation inspired by Seroussi Pavilion

PARACITE Designing sleeping cocoon for Le Cabanon

This iteration is chosen because it matches the sleeping cocoon function. The holes function as natural ventilation.

Fabrication using strips and folding method

TESSELATION EXPLORATION OF TESSELATION DEFINITION FOR LE CABANON

The Playground o come dear boys and girls. Come play with me in this playful place

No Trespassing!! â&#x20AC;&#x153;What is yours is mine, what is mine is not yoursâ&#x20AC;? - Anonymous

TESSELATION EXPLORATION OF TESSELATION DEFINITION FOR LE CABANON

The Canopy

- Just a shed, Thatâ&#x20AC;&#x2122;s it

The hierartree A treetop house only for the aristocrats. â&#x20AC;&#x153;Par t of the beauty of me is that I am very rich!â&#x20AC;? - Donald Trump (2012)

C 92

DE D

TA I L E D E SIG N 93

C1.

DESIGN CONCEPT

Brief : In the world where celebrities control style, architects no longer able to dictate style and culture. The tastes of celebrities ‘dope’ figure such as kimkardashian, mileycyrus, justinbieber, lilyachty dictate architectural styles and trends. Our group, representing Le Courvoisier, is assigned by our client to design an extension to Le Corbusier’s cabanon. The extension is expected to provide a ‘life style’ influenced by the celebrity trend.

FF EE EE DD BB AA CC KK RR EE FF LL EE CC TT II OO NN The feedback from guest crits during the interim presentation were really constructive: 1. Our idea of having the extension as a bench does not really match the studio agenda following celebrity’s luxurious trend and style. Our thought were too rational that it restrain our design. We need to be more courageous in introducing unexpected and fun things. Our design is too humble for a luxury goods. 2. Our prototype works quite well by having a system that can adapt to any form. Therefore, to further develop our design, firstly, we have to find a different concept that is more than just a humble idea like bench. Secondly, we refine the technique we had by trying different materials, panels and tabs.

We conclude that our technique is more suitable for surface application. We try to incorporate the technique into the brief by referring to one Product ‘God’. The overpriced Versace Product ($1000) is still bought buy a certain people eventhough it is arguably not more comfortable than $100 Adidas shoes. Since only a few people can and willing to buy the shoes, we see the product as a tool to communicate and a certain image to the public. Wealth, high status and popularity wants to be declared by using product like this. Therefore, With the technique that we have at the moment, we are proposing a luxurious porch that can act as shading and platform to extend outdoor luxurious lifestyle. The aim is to exhibit client’s glamorous lifestyle to gain admiration and affection from the public.

Precedents The installation of arboskin that seems like a tumour or parasite is something that we are interested in. This similar relationship, when translated to our concept, is able to symbolise the extreme desire (e.g narcissism) that gradually grows from inside and wanting to overtake the host.

Similar idea of parasitic relationship

Arboskin Pavilion by ITKE 95

DESIGN CONCEPT By changing the number of curves, length, position, slope and curvatures, we get different lofted surface. From these iterations, we analised the most suitable outcome.

BEST ITERATION 1 FORM EVALUATION Domination |||||||||| Attractiveness |||||||||| Complexity |||||||||| Dynamicm |||||||||| Fabrication |||||||||| SPACE Spatiality Privacy Shading

|||||||||| |||||||||| ||||||||||

The organic and violent form is very provoking. It easily catches attention from others, However, the complexity of this iteration makes fabrication becomes less feasible. Panels collides and overlapped each other which makes it difficult to produce.

BEST ITERATION 2 FORM EVALUATION Domination |||||||||| Attractiveness |||||||||| Compexity |||||||||| Dynamicm |||||||||| Fabriction |||||||||| SPACE Spatiality Privacy Shading

|||||||||| |||||||||| ||||||||||

Unlike the first iteration, The end of this surface is bent lower towards the ground that allow shading function. Fabrication feasibility is more possible as panels does not overlap each other. However, the angle is too large and the canopy seems to be too long that it extends andtouches the ground. The side effect of this is the front side, which we want to exposed is blocked by the extension.

BEST ITERATION 3 FORM EVALUATION Domination |||||||||| Attractiveness |||||||||| Compexity |||||||||| Dynamicm |||||||||| Fabriction |||||||||| SPACE Spatiality Privacy Shading

|||||||||| |||||||||| ||||||||||

The structure sits across the exsisiting cabanon without enclosed it totally. Its presence is subtle and ambiguous. The transition from wall cladding to a canopy demonstrated the growing nature of parasitic architecture. The dynamic shape is a balance between complexity and fabrication. The hovering canopy answers the previous issue, where in this iteration, shading effect and the separation between spaces is achieved. However, this final form is just a selection from the exisiting iterations in the form finding process. Although it does not have one stunning feature, it balances through the parameters. The form finding process stops at this point as we reckon this design shows a quite successful results. Definitely, this form can be further developed

C2.

TECTONIC & PROTOTYPE

ISSUE FROM INTERIM PRESENTATION 1.Materiality Problem: The 1mm boxboard that we use for the first prototype is vulnerable and fragile. It is also prone to tearing especially when sprayed. Then, we tried different materials in a hope to find stronger material.

REFINEMENT a. Polypropylene Expectation : having panels that are not easily torn apart especially when sprayed Result : panels are not easily torn Problem : too fluid that it is hard for the tab to hold the connection Fluidity: Strength:

The test failed at the first place because of the poor performance of the material for our technique

100

b. MDF Expectation Result Problem

: having panels that are strong enough to hold the tabs : panels are very strong : - too rigid - sharp angle - losing the desired adaptability and flexibility of our previous prototype

Fluidity: Strength:

c. Mount board Expectation : having panels that are strong and flexible Result Problem

: panels are strong and flexible :-

Fluidity: Strength

101

2. Tabs Problem: The rotate & lock system that we have on the first prototype can not connect firmly. Any excessive movement will cause the panels to gradually rotate and unlock the connection. Consequently the panels are separated due to excessive force.

Insufficient mechanical connection makes panel prone to separation. Tabs are too open.

Rotate and lock system

REFINEMENT Closed Tabs Expectation

: Tabs can interlock more firmly, panels does not fall off

Result

:- More firm connection between panels - Can only have tabs in one direction due to angle constraint - Decorative tabs become visible from inside or outside - Tabs need to be forced to interlock. Hence, rigid material like MDF or plywood will not work well. More elastic material like mountboard will work. Connection: The research by Christopher Robeller about timber structures has influenced us to have the same joint that can act as decorative element as well.

102

Closed tab with more rigid connection between panels.

Baroque Floral ornament

-Has baroque quality, but ornaments is not evident in the shoes. -Expensive

Mushroom-like tab

-Simple, easy and not expensive.

Square with ornaments

-Less expensive - Visual quality of shoes evident from the ornaments

-Does not represent the quality of shoes

We Can only have tabs in one direction due to angle constraint, thus additional connection needed in the other direction. Cable tie on two panels: Result: Ugly and weak

Shoe lace: Result: -Stronger bond -Bringing the shoes quality

103

Prototype on week 12 Our design on week 12 seems to lack an appealing relationship to the host. The rectangular panels also somehow restricted to only one direction. Therefore, the week after, we refine the design and technique 104

Final Refinement Finally, after agreeing with the use of interlocking tabs and material similar to mountboard, we use triangular panels to have more dynamic. Unlike the rectangular panels, there are more option of fold direction and tabs direction. By using triangular panels that have tabs in every direction we can also eliminate the use of tie components which seems to be blocking the perforation.

We did the similar test that we conduct for the first prototype. The result is more satisfying as the panels are more strongly locked to each other. Hence, it can endure more force.

105

C3.

FINAL DESIGN porsace A COLLABORATION OF LE CORVOUSIER X VERSACE

106

We believe that affection and admiration from the public, whether consciously or not, is part of human desire. Attention and admiration from others may come from what you have or what you are capable of, Including your glamorous lifestyle. Therefore, we are, Le Corvousier company, in collaboration with Versace summer shoes brought to you the PORSACE, an outdoor extension to your house where you can display your admirable lifestyle to public. Our partner has been successful in selling its summer collection shoes. Their exclusive product is successful in declaring status and wealth. Therefore, this collaboration creates a product that wants to satisfy the same natural desire.

107

108

â&#x20AC;&#x153;The surface is to be extended outside your house to accommodate luxurious lifestyle underneath. Whether you want to have a cigar, afternoon jacuzzi, fancy dinner or just very confident with your outfit, you can now boast it outside under this luxurious porch.â&#x20AC;? - CEO of Le Corvouisier

109

110

111

FABRICATION

A series of cuves are lofted

112

Surface is analised and transformed into folded diamond mesh by using Plug-in (Timber plate structures)

Labelling panels for fabrication

Generating tabs using the same plug-in.

Unrolling panels for laser cutting

113

FABRICATION

114

MATERIALITY

Versaceâ&#x20AC;&#x2122;s famous ornaments

Leather coated with weatherproof coating.

Excessive Gold plate on perforations

The material is leather and gold, perfect luxurious material to display elegance, just like how our partnerâ&#x20AC;&#x2122;s product is made. 115

116

Our recent client has assigned us to design this porch for a 3.6 by 3.6 cabanon. It is installed on the embankment across Dight Fall Reserve. The strategic place made the cabanon and its extension a dope photobomb as many cyclists, joggers, walkers and visitors flow through the main trail across. It is expected that this upgraded cabanon can be a popular and iconic photo object that fits into the dope culture. #Porsace #LeCourvouisier #Versace #dope #likesforlikes #instafamous #swag

117

MARKETING STRATEGY

118

119

120

121

C4.

Learning Objectives and Outcomes

Having done this subject, I became mo with parametric approach. In Part C esp that computer has. Besides digitally hel in part B, it also helps until the fabricat

Besides the technical knowledge, th me has intrigued a question that I ca sign, that is about the idea of sust the current emerging culture require tionality, but also other aspects suc

In conclusion, the early introduction o in this fast-paced culture, computatio design outcome that fits. Although is slow, I am interested to learn mo

Thanks to my groupmates Linsey & N

122

ore familiar with computation, particularly pecially, I discover another powerful skills lps us in generating design outcomes like tion process (tabs, detail, laser cut, etc).

he challenging brief that was given to an ask myself again for my future detain-ability. The brief that responds to es me to think more than just funcch as style can sustain in the culture.

of computation has made me aware that onal skill is very demanded to produce my progress of learning grasshopper ore of this valuable skill in the future.

Nesia and My tutor, Jack

123

References A Architizer, Al Bahr Towers (2017), <https://architizer.com/projects/al-bahr-towers/>, accessed 28th July 2017 Architizer, Architectural Details: Herzog & de Meuron’s Spectacular Elbphilharmonie (2016), < https://architizer.com/blog/architectural-details-herzog-de-meuron-elbphilharmonie/>, accessed 4th August 2017 Architizer, Dalian International Conference Centre (2013),https://architizer.com/projects/dalian-international-conference-center/, accessed 8th August 2017 Archdaily, Heydar Aliyev Center / Zaha Hadid Architects (2013), <http://www.archdaily. com/448774/heydar-aliyev-center-zaha-hadid-architects/>, Accessed 8 Aug 2017 Architizer, ICD/ITKE RESEARCH PAVILION 2015-16 (2016), < https://architizer.com/projects/ icditke-research-pavilion-2015-16/>, accessed 4th August 2017 Architizer, Watercube – National Swimming Centre (2017), < https://architizer.com/projects/ watercube-national-swimming-centre/>, accessed 28th July 2017 Fry, Tony,Design Futuring: Sustainability, Ethics and New Practice , (Oxford: Berg, 2008). Kalay, Yehuday E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004). Kwinter, Sanford, ‘Cooking, Yo-ing, Thinking’, Tarp: Not Nature, Pratt Institute (New York), 2012, p 108 Lawson, Bryan ‘Fake and Real Creativity Using Computer Aided Design: Some Lesons from Herman Hertzberg’, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. BY Ernest Edmonds and Linda Cndt (New York: ACM Press). Peters, Bradley, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2. Schumacher, Patrik, ‘Parametricism 2.0: Rethinking Architecture’s Agenda for the 21st Century’, Architectural Design Journal, 86.2 (2016)

B Griffiths, A, ArboSkin pavilion made from bioplastic by ITKE (2013), https://www.dezeen.com/2013/11/09/ arboskin-spiky-pavilion-with-facademade-from-bioplastics-by-itke/>, Accessed 1 Sept 2017 accessed on 14th September 2017. Merriam Webster, Tesselation, https://www.merriam-webster.com/dictionary/tessellation Michael Hansmeyer, â&#x20AC;&#x2DC;Building Unimaginable Shapeâ&#x20AC;&#x2122;, Ted Talk (2012), https://www.ted.com/talks/michael_ hansmeyer_building_unimaginable_shapes Rob Ong, Voussoir Cloud by IwamotoScott (2008), https://www.dezeen.com/2008/08/08/voussoir-cloud-by-iwamotoscott/, Accessed 23th Aug 2017