Studio air S1 2013 journal 546528 final by Andy Li Liong

ARCHITECTURE STUDIO AIR Semerster 1 2013

Steven Andy Cheng Shin LI LIONG 546528

PAST EXPERIENCE My name is Steven Andy Cheng Shin LI LIONG but you can call me Andy. I am from Mauritius and currently studying my second year of architecture. My previous experience with CAD programs was last year during the studio water and also in virtual environments where I use rhino tin my design. Yet, I am still a very beginner in this software and would like to extend my knowledge. This makes studio air perfect for me with the introduction of grasshopper. I also intend to learn revit which I believe is also a great software. I think I am not a very creative person. Maybe I just need a something to stimulate my creativity and I think CAD programs are good stimulator. Trying and practicing is also the beat way to get work done and the more you work the more you enhance your creativity. I was struggling in the Virtual Environments studio at the beginning in trying to create some forms derived from natural processes but the use of Rhino really helped me to design and create an artefact. In addition, CAD programs make the fabrication of the artefact possible.

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Contents

CASE FOR INNOVATION -

ARCHITECTURE AS A DISCOURSE

COMPUTING IN ARCHITECTURE

PARAMETRIC MODELLING

DESIGN APPROACH -

DESIGN BRIEF AND CONTEXT

- PROTOTYPES

DESIGN FOCUS

- PRECEDENTS

CASE STUDIES

TECHNIQUE PROPOSAL

TECHNIQUE DEVELOPMENT

LEARNING OBJECTIVES

DESIGN INTENTION

AND OUTCOMES

DESIGN CONCEPT

DESIGN PROPOSAL -

RESPONSE TO FEEDBACK

STRUCTURE FABRICATION

CONTEXT / SYNOPSIS

PHASE & PROTOTYPING

CONCEPT DEVELOPMENT

LEARNING OUTCOMES AND

THE DIGITAL WORLD

IMPROVEMENT

Architects today are not only the traditional artist who design building facades or the social worker who defines the urban experience. Richard Williams said that ‘Works of Architecture frame our lives; we inhabit them; they define our movement through cities; they moralise and discipline, or attempt to.’ He also stated that architecture is as much as philosophical, social or professional realm as it is a material one. Yet, architects are today even more than that with the development of digital technologies in the field of architecture.

“Digital technologies are changing architectural practices in ways that few were able to anticipate just a decade ago” -

Branko Kolarevic

“The implications are vast, as architecture is recasting itself, becoming in part an experimental investigation of topological geometries, partly a computational orchestration of robotic material production and partly a generative, kinematic, sculpting of space” -

Peter Zellner

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116

ARCHITECTURE AS A DISCOURSE

A. CASE FOR INNOVATION [

ARCHITECTURE AS A DISCOURSE

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The new role of Architects with Technonology as a new Stimulus “It is the digitally based convergence of representation and production processes that represents the most important opportunity for a profound transformation of the profession and by, extension the entire building industry.” - Branko Kolarevic He also added that the digital technology as an enabling apparatus integrates conception and production in ways that are unprecedented since the medieval times of master builders where masons and carpenters design and build themselves the buildings of that time prior to the period of Renaissance. Architects are today able to provide all the details for the construction process of a building while also distributing all the information to other parties within the building industry, acting like a control tower. Branko Kolarevic further added that by digitally producing, communicating and controlling exchanged between the different parties, architects have a central, key role in the construction of buildings like the medieval master builders. Yet, do architects have the overall control of the construction process? More importantly, do they have the knowledge or are they capable of controlling every aspect of the construction process? They certainly have a central role in the building industry as well as a crucial place in the construction phase today but architects are neither engineers nor masons. They simply have more control over the building process but not the whole control of it. They have a broad knowledge in every aspect in the industry but do not master every one of them. “Architects are jack of all trades but master of none” With new means of conception and production, the product of the digital zeitgeist, the complex, curvilinear surfaces and their corresponding are transforming cultures, societies and economies. Branko argued that while technology enabled them to break the monotony of the orthogonal and the linear, an unknown geometry also emerged. Architects and their works are changing the norms of beauty and function as Eero Saarinen acknowledged that the new forms derived from new advances in the building technology are purely aesthetic driven. Architects are writing a new history and creating new concepts about aesthetics. Branko stated that the new architectural thinking is ignoring the conventions of style and aesthetics.

ARCHITECTURE AS A DISCOURSE

Fig 1. Anti-Smog Project

As the world become more aware of the crucial importance of sustainability, the built environment can play an important role in promoting such concepts. Since architecture has the ability to transform cultures and reform social norms, its practitioners can act as leaders and role models, educators and social reformers. An architect has today the responsibility to tell and advise his client what and how to makes a building energy efficient, non-polluting and thus sustainable. Since the built environment has a great visual impact and can reflect a philosophy, architects must create awareness among the public through their designs. In 2006, the American Institute of Architects wisely adopted Architecture 2030’s “2030 Challenge,” an initiative seeking carbon neutrality in the industry by 2030. We believe we must alter our profession’s actions,” the AIA 2030 Commitment says, “and encourage our clients and the entire design and construction industry to join with us to change the course of the planet’s future.” (Lance Hosey, 2013)

Ali Kriscenski (2008), http://inhabitat.com/anti-smog-architecture-a-catalyst-for-cleaner-air-in-paris/ Lance Hoosey (2013), http://www.greenbiz.com/blog/2013/03/19/why-architects-must-lead-sustainable-design

ARCHITECTURE AS A DISCOURSE

Fig 2. Anti-Smog Project Fig 1 & 2. Anti-Smog Tower project designed by Vincent Callebaut Architectures http://vincent.callebaut.org/ page1-img-ourcq.html

Anti-Smog is a parasite project in Paris dedicated to promote the last innovations of sustainable developments in urban areas in terms of housing and transport. The project aims at inventing a new architecture able to disasphyxiate the area in which Paris is already set up. It consists of reducing atmospheric pollution of the area by capturing the CO2 and thus improving the quality of air. In addition, the Anti-Smog is in osmosis with its surroundings and is an architecture that interats completely with its context that is climatic, chemical, kinetic or social to better reduce our ecological print in urban area. The building offers recreational areas for the city such as gardens, pools, galleries, and commerce while the Wind Tower produces enough energy for the entire neighbourhood. Moreover, the tower adjust itself to a specific parameter which is the direction of the dominating wind. Such design technology will be discussed later in the paramatric modelling chapter. Besides this the building is a museum and a learning centre on renewable energies. Ali Kriscenski (2008) describes the prototype as more than just an example as sustainable design. She stated that Callebaut’s ‘Anti Smog: An Innovation Centre in Sustainable Development’ is a catalyst for cleaner air.

ARCHITECTURE AS A DISCOURSE

Fig 3. Mobius House concept drawing

“Some architects are exploring the spatial reals of non-Euclidean geometries, and some are basing their spatial investigations on topology, a branch of mathematics..” - Branko Kolarevic With new design approaches such as parametric modelling and biological morphogenesis, architects are not artists anymore but rather a mathematician or scientist who design equations using parameters. Architects do not focus in the form making but on the relationships and interconnections between objects or parametric equations which define the resulting geometry. (Branko Kolarevic, 2003) Woodburry (2010) even said that to be able to master the new technological skills together with the new approaches developed, it requires architects to be part designer, part computer, part scientist and part mathematician. Some architectural projects were even named after their topological origins such as: The Mobius House (1995) and The Torus House (2001)

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48 Halldóra Arnardóttir, Javier S. Merina, http://storiesofhouses.blogspot.com.au/2006/09/mbius-house-inamsterdam-by-ben-van.html Fig 3, 4 & 5, http://www.unstudio.com/projects/mobius-house

ARCHITECTURE AS A DISCOURSE

Fig 4. Mobius House concept drawing

Fig 5. Mobius House by UNStudio

Diagram of 24 hours of living The scheme to convey these features was found in the Möbius band, a diagram studied by the astrologist and mathematician, August Ferdinand Möbius (1790-1868). By taking a rectangular strip of paper and marking its corners, A -superior- and B -inferior- in one side, and C -superior- and D -inferior- on the other, the Möbius band is constructed by twisting and joining corners A with D, and B with C. The result is a strip of twisted paper, joined to form a loop which produces a one-sided surface in a continuous curve. It is a figure-of-eight without left or right, beginning or end. By giving the Möbius band a spatial quality, the architect has designed a house that integrates the programme seamlessly, both in terms of circulation and structure. Movement through this concrete loop traces the pattern of one's day activities. Arranged over in three levels, the loop includes two studies (one on either side of the house for the respective professions), three bedrooms, a meeting room and kitchen, storage and living room and a greenhouse on the top, all intertwined during a complex voyage in time. With its low and elongated outlines, the house provides a link between the different features of its surroundings. By stretching the building's form in an extreme way and through an extensive use of glass walls, the house is able to incorporate aspects of the landscape. From inside the house, it is as if the inhabitant is taking a walk in the countryside. The perception of movement is reinforced by the changing positions of the two main materials used for the house, glass and concrete, which overlap each other and switch places. As the loop turns inside out, the exterior concrete shell becomes interior furniture - such as tables and stairs - and the glass facades turn into inside partition walls. The contortions and twists in the house go beyond the mathematical diagram. They refer to a movement that has moulded a new way of life as a consequence of using electronic devices at work. Ben van Berkel has managed to give an additional meaning to the diagram of the Möbius band, where its new symbolic value - characterised by the blurred limits between working and living - corresponds to the clients' way of life. (halldóra arnardóttir) Moreover the spatial concept of the Mobius House was used for further experimentation to be later implemented in the Mercedes-Benz Museum in Stuttgart. This is the typical approach where precedents are used for inspiration.

ARCHITECTURE AS A DISCOURSE

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COMPUTING IN ARCHITECTURE

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It is said that digital technology has changed architectural practices radically but in what way? Many people can only see the creation and also the possibility of manufacturing new and complex forms. It is true that new forms are emerging where the contemporary, complex curvilinear geometries are as easy as the traditional Euclidean geometries to produce. Branko described it as ‘in the realm of form, the stable is replaced by the variable and singularity by multiplicity.’ The question is how does computation impact on Architecture? In fact, digital technology has radically changed the design approach. “In contemporary architectural design, digital media is increasingly being used not as a representational tool for visualisation but as a generative tool for the deprivation of form and its transformation – the digital morphogenesis” Such phenomenon has opened up new possibilities for exploration. Architects and designers are exploring a fourth dimension where the main focus is the relations of the structures and interconnections rather than the form itself. This has triggered new architectural thoughts and new conceptual thinking to be developed during the design processes. “The emphasis shifts from the ‘making of form’ to the ‘finding of form’” -

Branko Kolarevic

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62

COMPUTING IN ARCHITECTURE

Fig 6. The Double Cone of the BMW WELT in Munich, Germany

The BMW Welt in Munich, Germany is a very good example where the design approach is performative towards various aspects of sustainability while also incorporating a metamorphic generation of forms, which is twisting in that case. The aim of this building is to save energy through efficient natural ventilation, heating and cooling. This aim is achieved by minimizing the mechanical apparatus for ventilation, heating and cooling. The gigantic Hall is thus conceived as a solar-heated, naturally ventilated sub-climatic area. The main feature of the building is the Double Cone. Two cones, one inverted on the other, seem to have been transformed, in this case twisted, to form the Double Cone geometry. BMW Group describes it as “Caught in a whirl of glass and steel, the tornado twists upward and ends in a roof that takes on the form of a floating, flying cloud. Generated by the dynamic twists of the two supporting strata, this tornado functions as the main bearing for the roof. Moreover this dimension and shape have been explicitly designed to have the required structural performance. The design process was thus also driven by its structural performance. “This situation necessitated close coordination at a very early project phase between those responsible for structural engineering, the routing of facility services and building technology.” This places Architecture again in a central role in the building industry as the architects have been dealing with engineers during the conceptual phase of the project. Design computation not only helped in analysing and assessing the performance of either structural aspects or sustainable features such as ventilation, heating or cooling, but also allowed a very detailed precision in the construction of the building. BMW Group stated that “The construction of BMW Welt required 4000 tons of steel and that every single one of the steel sections was manufactured with its own special template and every one had to keep within two millimetres of the design specifications.”

COMPUTING IN ARCHITECTURE

Fig 6. The BMW WELT designed by Wolf D. Prix, Coop Himmelb(l)au Woodbury, Robert F. and Andrew L. Burrow (2006). â&#x20AC;&#x2DC;Whither design space?â&#x20AC;&#x2122;, Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 20, 2, pp. 63-82

http://www.bmw-welt. com/en/location/welt/ architecture.html

http://www.archdaily. com/29664/bmw-weltcoop-himmelblau/

Moreover, digital modelling software has offered the possibility to designers to explored new shapes beings formed through transformations such as twisting and bending - metamorphosis. Various forms of analogies have also been developed. One example is the biological metaphors based on morphogenesis where specific data concerning different aspects in a biological object can be digitally represented and creates new forms. Frazer argued in his book Evolutionary Architecture, that architectural concepts are expressed as a set of generative rules and their evolution and development can be digitally encoded. Again different approaches can be developed from such concept. Another conceptual approach is the parametric design where the architect are not designing the specific forms of the building but rather a set of equations and parameters which define the geometry generated. This is the proof where digital technology has produced new architectural thoughts and conceptual thinking and thus leading to different and new approaches. Digital advancement in architecture not also speeds up the designing process and makes it more efficient and accurate but allows the architect and designer to explore design solutions based on precedents and related case studies previously resolved successfully. UNStudio has used the same spatial concept in the new Mercedes-Benz Museum in Stuggart as the one in the Mobius House. Robert F. Woodburry referred it as different commands such as backup, recall and replay in his article Whither design space?

COMPUTING IN ARCHITECTURE

Fig 7. Southern Cross Station, Melbourne, Australia designed by Grimshaw Architects

Southern Cross Station has a performative architectural approach. The design focus of Southern Cross Station is the dune-like roof that covers an entire city block whose form was developed from performative requirements of the station. The roof ’s form plays a crucial role as part of the environmental envelope ensuring that it is symbol of sustainable architecture developed in response to the hot external climate and the internal need for diesel extraction and ambient cooling via natural ventilation. (Grimshaw Architects) Fig 9. The diagram shows the stack effect ocThe peak of each roof vault is designed with integrated louvres to promote ventilation of exhaust fumes and airborne particles. The curing under the roof design uses crosswinds to produce stack effect in the roof. Alex Matovic from Grimshaw Architects acknowledges the use of 3DS Max was a crucial tool in their designing process. It enables them to adjust the form of the roof very quickly. The use of computation in design thus plays a major role in its conception. “It is maybe even more noteworthy because at the time of the design the use of Computational Fluid Dynamics Modeling (CFD) was not sophisticated enough to be used in the project. Despite the lack of CFD the project's stack effect, undulating, double skinned roof is a success.” - Lubetkin Prize Juror This statement explains that the use of today’s more advanced digital technology could have lead to better results or efficiency. The form of the roof can be associated with laws of physics and mathematics and the Lubetkin Prize juror further explained that the roof itself makes much of building physics. It is possible to describe the project in terms of structural forces, prevailing winds, and the ventilation of diesel fumes."

http://www.zigersnead.com/current/ blog/post/train-station-expels-fumespassively-and-wins-lubetkin-prize/ http://grimshaw-architects.com/project/ southern-cross-station/#

COMPUTING IN ARCHITECTURE

Fig 8. conceptual development diagrams for the roof shape showing the effects of a flat roof as opposed as to that of an undulating roof

A new interesting approach has also emerged with the digital technology being able to quantitatively and qualitatively analyse, assess and evaluate the performance of specific aspect in a building where the performance is the driver to designing buildings. This is commonly known as performative architecture. “The processes of design and manufacture are, in some sense, conceptually separable. Yet the design process must be undertaken with an understanding of the nature of the production process. It is necessary, for example, for a designer to know the properties of the materials with which the part might be built, the various techniques by which the part might be shaped, and the scale of production that is economically viable. The conceptual overlap between design and manufacture is suggestive of the potential benefits of CAD and CAM and the reason they are generally considered together as a system” - Encyclopedia of Business, 2nd ed.

Fig 9, Southern Cross Station undulating roof

Architects of today have the ability and capacity through digital means to produce a single, cohesive and complete model contains all the information necessary for designing and producing a building as described by Branko Kolarevic. Such examples are the pre-fab buildings where almost all the parts are built in a factory and assembled on site. This allows better control over the production which results on less wastage. It is obvious that the advancement in computation is linked with the develepment of sustainable design. Despite all these benefits, computation in architecture has also its limitations. Terzidis, Kostas stated that it is possible to claim that a designer’s creativity is limited by the very programs that are supposed to free their imagination. He argued that by using a conventional program, and always relying on its design possibilities, the designer/architect’s work is sooner or later at risk of being imitated, controlled, or manipulated by CAD solutions.

Fig 10. The exploration and generative process of the roof shape in 3DS max.

Digital technologies in architecture will be beneficial according on who controls it and more importantly how its practitioners use it. In some cases, they can be only tools to represent the final design solution while in other cases it is a generative tool. What can be retained from computation in architecture is that they have done more good than bad by creating innovative approaches and also by making what was impossible, possible. Terzidis, Kostas (2009). Algorithms for Visual Design Using the Processing Language (Indianapolis, IN: Wiley), p. xx http://www.referenceforbusiness.com/small/Co-Di/Computer-Aided-Design-CAD-andComputer-Aided-Manufacturing-CAM.html#ixzz2OE4m0R1tw

COMPUTING IN ARCHITECTURE

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PARAMETRIC MODELLING

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New digital advancement in digital technologies within the architectural domain has developed a new generative approach, that of parametric modelling. Such approach develops in the architect new conceptual design thinking which makes the designer to focus more on the concept and logic behind the design. Branko Kolarevic stated that architects are not designing the specific shape of the building set but a set of principles encoded as a sequence of parametric equations by which instances of the design can be generated and varied in time as needed. Woodburry attributed the potentiality and the designer’s ability to explore more ideas to the fact that the system keeps the design consistent with relationships which reduce the tedium of rework. On the other hand, some CAD programs works with the parameters of the standard geometric shapes already found in the libraries of the software. These can offer a limited use of the potential of parametric approach. GenerativeComponents (GC) was thus developed under the leadership of Robert Aish, the chief scientist of Bentley Systems, since it was claimed by many that 3D modelling programs are not enough to enhance the design thinking and capabilities in architecture. (Fulya ÖZSEL AKlPEK) Lawson, Bryan (1999) even stated that CAD might conspire against creative thought... by encouraging fake creativity. Since other CAD software are limiting architects creative thinking by the use of ready-made geometries in their libraries, GC does not provide any library of geometries, but a point. Each element can be created and is associated with the previous element with each depending on parameters defined by the user. This creates a set of elements linked together by specific relations. Changing a parameter will affect the whole system and this gives designers more control both over design and computation. In fact, GC is shifting the mentality and habits in design. It is opening up the potential advancement in computational thinking in architecture where its practitioners are concerned with the understanding of the geometry and its relationships or associative geometry where they will then have higher levels of control over the systems. The SmartGeometry Group (SGG) even stated that architecture is fundamentally about relationships. (Fulya ÖZSEL AKlPEK)

Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48 Woodbury, Robert F. and Andrew L. Burrow (2006). ‘Whither design space?’, Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 20, 2, pp. 63-82 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 Kareem El Sayed Mohammad, A Discussion on the implications of parametric thinking on the Design process and the Designer (2012) http://www.academia.edu/1454680/A_Discussion_on_the_implications_of_Parametric_thinking_on_the_design_process_and_the_designer

PARAMETRIC MODELLING

On the other hand, Branko Kolarevic (2008) claimed that the capacity parametric computational techniques to generate new design opportunities is highly dependent on the designer’s perceptual and cognitive abilities while others are questioning whether the designer is a coder but GC does not require its users to have knowledge of coding and scripting. Despite not requiring any basic knowledge, the cognitive load is increased at the beginning of the conceptual phase. It can even become extremely difficult to manage the complexity of the designed schema when too many different relationships are involved. Woodburry (2010) argued that conventional design tool is easier and quicker in creating models and even in erasing parts of the systems as they are all independent of other objects. It is however more complex to modify as compared to parametric modelling where the system acts as a whole. Yet, the creation phase is time consuming. Woodburry even stated that parameterisation increases complexity of both the designer task and interface as designers must model not only the artefact being designed but a conceptual structure that guides variation. Ipek Gursel Dino further added that the flexibility of parametric modelling is limited to the parameters that define the schema and that a drastic problem reformulation that requires algorithm alteration might cause the parametric model to collapse at once. Parametric modelling has a different approach from other generative systems by allowing a stepwise control over the design process which creates multiple solutions for explorations. Parametric modelling is not only useful in the design process but also during the manufacturing process. In these cases, objects are mass customised thanks to parametric modelling which support multiplicity and variation by allowing the production of many objects with a slight measurement differences while still belonging to the same family. A completed modul can thus be changed, modified and regenerated while conforming to pre-set conditions. The parameters can be changed without changing the relationship. (Fulya OZSEL AKIPEK) Ipek Gursel Dino stated that parametric manipulation of form is particularly valuable in performance-driven design processes while Branko describes it as essential. Through performative architecture, parametric modelling is a leading generative system as it acts as a role model. It integrates the performance analysis and evaluation with the design synthesis in a single process, making the building more efficient and thus sustainable. İpek GÜRSEL DİNO, Creative design exploration by parametric generative systems in architecture (2012) http://www.academia.edu/1821083/CREATIVE_DESIGN_EXPLORATION_BY_PARAMETRIC_GENERATIVE_SYSTEMS_ IN_ARCHITECTURE http://www.referenceforbusiness.com/small/Co-Di/Computer-Aided-Design-CAD-and-Computer-Aided-ManufacturingCAM.html#ixzz2OE4m0R1tw Fulya O.Akipik, Sebnem Y. Cinici, Tugrul Yazar, Computational design, Parametric modelling and Architectural education (2008) http://www.academia.edu/761446/COMPUTATIONAL_DESIGN_PARAMETRIC_MODELLING_AND_ARCHITECTURAL_EDUCATION_Sebnem_Y._Cinici_Fulya_O._Akipek_Tugrul_Yazar

PARAMETRIC MODELLING

Fig 11. The Waterloo International Station designed by Grimshaw Architects.

The Waterloo International Station in London has a particular roof designed from a parametric approach. The design was modelled in the software I_EMS by Lars Hesselgren and afterwards re-modelled by Robert Aish with GenerativeComponents (GC). The roof structure consists of pairs of three pinned bow strings arches with the centre pin displaced towards one side to create the undulation in height from west to east. The structure is a long sinuous plan that narrows from 50m wide to 35m at the platform end. While being formed by two dissimilar curved trusses, the beams make up to 35 modules each varying in dimensions.

Notes: Rodrigo GARCIA ALVARADO, Jaime JOFRE MUﾃ前Z (2012). The control of shape: Origins of parametric design in architecture in Xenakis, Gehry and Grimshaw Fig 12. The Parametric development of the roof trusses.

The trusses were defined by a program that modifies the inner measurements of each module according to the proportional scale factor to the length by means of Pythagorean relation keeping the centres for the radial layout of the smaller pieces. By propagation of the formula, changing the wide of the structure (the chords of curves) and maintaining the central axis like a curved profile. Such produces a continuous surface with a variable section, with proportional heights of the beams according the lights of support. The mathematical description enabled the generation of each design by means of altering the numerical parameters (R. Alvarado, 2012)

PARAMETRIC MODELLING

l w

Fig 13. The Pedestrian Bridge in Rizhao, China by HHD_FUN Architects

Fig 14. A side view of the pedestrian bridge.

Alongside the beach, the key feature of this park is its 50 year old black pine forest and the design challenges are to minimize the construction impact to the natural environment. The curved form was strategically designed to allow the 45 meters long bridge fit into the natural environment while at the same time provide a connection between the city and the beach park. Special steel structure was designed to fit the complex from at the same time create big span. Parametric design technique has been adopted throughout all design process i.e. form finding, structure optimization, facade penalization and construction documentation, which make sure the complex shape can be “made” by local low technology manufacturer. “Low Technology Parametric Design” is our strategy to face China’s current construction situation.

Fig 15. The variations in the bars are all relate by a parametric relationship.

In both situations, architects are acting more like mathematicians with all their parametric equations. However this has enabled them to create a smooth and continuous curved structure with many variations as each part of the curve is connected to each other by a relationshp. Moreover digital technologies has facilitated the manufacturing of such complex structures. Notes: http://www.archdaily. com/293031/pedestrianbridge-hhd_fun-architects/

PARAMETRIC MODELLING

Fig 16. Beijing National Stadium, known as the Bird’s Nest designed by Herzog & de Meuron Architekten,

Fig 17. The Beij

the Water Cube

The Bird’s Nest and the Water Cube in Beijing, China are two buildings whose design, engineering and construction relied entirely on generative design, also known as parametric design. Such approach has enable multiple versions of the design to reach an optimum one. J Parrish, director of ArupSport, the division of Arup at the leading edge of largevenue design, and also a cofounder of SmartGeometry acknowledged the use of parametric being crucial in redeveloping the design. It also opens up new potential for innovations and in a very short time. “Using parametrics, I was able to investigate far more alternatives. We built version 34 because it was better. But version 1 would have worked fine. Generative design allowed us to get better results in a fraction of the time." “I could do in a morning what used to take me a month," Parrish added. The advancement in digital technologies enables more possibilities to be explored. “but to resolve a particular iteration using conventional CAD techniques would take so much time that, at best, just one or two versions would have been considered.” Combined with other new technologies such as real-time rendering and 3D printing, parametrically enabled rapid prototyping amounts to a new way of performing architectural design — arriving at optimum solutions using side-byside comparisons of multiple, slightly different versions, rather than depending on the "flashlight in the dark" of one designer's genius (Angus W. Stocking, 2009). Angus W. Stocking stated: “GenerativeComponents, a relatively new technology that facilitates quick exploration of what-if design alternatives that can result in free-form buildings incorporating innovative materials and assemblies.” The main questions again is how the development of GC technology is changing the approach to building design for many architects.”

PARAMETRIC MODELLING

jing National Aquatics Centre, e designed by PTW Architects

Fig 18. The optimal design for the Water Cube was determined by analyzing multiple configurations of the thousands of steel members and connecting nodes.

A complementary approach also is possible. Rather than using multiple versions to decide what is best based on comparison, architects can instead use computing power to find structural solutions that are self-organizing; that is, not decided on by an individual but arrived at by genetic algorithms that iteratively apply relatively simple rules. The Water Cube's soap bubblelike structure is an example of this approach. Arup used MicroStation, MicroStation TriForma, Bentley Structural, and Bentley's generative design technology for its unique design based on a natural pattern of organic cells and the formation of soap bubbles. To manipulate this complex geometric system dynamically, Arup wrote parametric software that automated the drawing and analysis process. Based on specified design constraints and less than 190 loading scenarios, the algorithm iteratively checked the distribution of forces through the entire structure based on specific member sizes, allowing the team to test different design configurations and receive feedback within 25 minutes. The result was a spectacular building with a sophisticated structure that is optimized in terms of material weight-to-strength ratio, and it was achieved with relative ease. In addition to the structural advantages, Arup estimated that it saved $10 million on design costs alone compared with traditional design methods. Yet Stocking stated that “Generative design proponents agree that it isn't that architects are now using computers to do things that couldn't be done previously. Rather, computers are enabling architects to take on design tasks that would otherwise be inconceivably tedious. Does it mean that computers are now controlling and designing the process? I guess that computers can act as enabling tools to generate more alternatives with the new technology emerging together with new design approach. Angus W. Stocking (15 Act 2009), Generative Design Is Changing the Face of Architecture http://www.cadalyst.com/cad/buildingdesign/generative-design-is-changing-facearchitecture-12948

Fig 19. The ceiling over this pool showcases the Water Cube’s “soap bubble-like” structure, which was designed with parametric software specially written for the purpose.

PARAMETRIC MODELLING

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DESIGN STATEMENT

AND LEARNING OUTCOMES

]

Architectural practices have considerably changed with new roles emerging since the development of digital technologies in the field of architecture. Architects are today back into their central role within the building industry, mainly in the construction department. Architects are often referred as mathematicians or scientist due to the nature of their design approach where today the explorations of the relationships that linked various aspects or objects within the architectural artefact are more important than the generation of forms. Much advancement in the digital technologies has led to new design approaches and design thinking which offer a multiplicity of design alternatives in a shorter time. Since architectural practices are completely being absorbed by the digital world, some concerns have been raised about whether such technologies are beneficial or limit the creative thinking of the architect or designer. Innovative approaches have also led to better buildings being able to address one of the main global concerns the world is facing today, which is sustainability. My design approach to the gateway project will consists of incorporating the fourth dimension, that is, the explorations of relations and interconnections between objects within the system rather than the study of form. In addition, certain equations will be related to a performance criteria so that my approach is performative in the context of sustainability. Biological analogies and morphogenesis will also form part of the design process. The use of parametric modelling and the study of relations will broaden the scope of my research for the exploration of designs. The study of architectural computing helped me to develop awareness of the different architectural approaches and new ways of thinking the digital world is offering to architecture. I have a better understanding of how to use and manipulate digital technologies so that I do not limit my creativity and design skills. I have also a better knowledge of the capacity of some software and what is the difference in the design approach whenever they are utilised. Critical thinking and constant questioning developed in me, a new conception of the role of an architect and those that are emerging. If I was given such information before, I would have a different approach for my design in Virtual Environments Studio where I was only exploring the shape and form of the design while looking only into the physical analogy of a natural process so that it is incorporated in my design. I would have explored biological morphogenesis and other relations which could be linked to my design and natural process.

B. DESIGN APPROACH SPECIFICATION

[

DESIGN BRIEF AND CONTEXT

]

- Sensational and Visual experience - Connection / Network / Bridge from Geelong and South West Coast to Melbourne CBD - Iconic Feature / Identity to Wyndham - Focal point - Eye catching installation - Day and Night Experience - Arrival Experience - Adherence to the regulations imposed by VicRoads in relation to siting, view lines, setbacks, materials - Safety, ease of maintenance, materials and longevity. Environmental pressures Theme

- Wind - Flat and wide open landscape - Sun path - High Speed traffic - Imposing service centre and signage -

Biomimicry principles

RESPONSIVE Sun path / Wind - Pressures Moving Traffic Visual Experience to create senses Light from different sources Day / Night Material DESIGN BRIEF AND CONTEXT

Among these specifications responsitivity is a main criterion on which our design focus is based on. In nature, responsitivity is the action developed by systems in order to adapt to environmental and other external pressures. “It is neither the strongest of the species that survives, nor the most intelligent that survives. It is the one that is the most adaptable to change.” - Charles Darwin “Following the evolutive process of living organisms can lead us into finding better generations for architectural evolution.” - Carlos Ginatta Nature with its equilibrium together with its harmony and balance must be looked as a model for our designs where buildings can react to its environment with the sensitivity of a natural organism. This is why our design focus will be centered around the principles of biomimicry. As discussed before in my discourse, architects are the role model to follow who not only show the way but also apply the principle of sustainability to design. To do so, there is a need to work with nature and act like nature and more importantly to understand nature. To better understand biomimicry and the study of how to work like nature, Ginatta proposed to divide the study in three aspects: products, systems and processes. These three layers analyse the macro

and micro relationships between elements of the design. Biomimicry is the study of how products

connect together to for a network of systems that will process, grow, refine and evolve as one entity. Biomimicry is a design approach which enables architects to express their role model for sustainability. It requires a deep understanding of the relationships involved in the system. Ginatta further stated “To insure practical application, analogies have to be able to touch the real of physics and mathematics where abstract thoughts become tangible forms.” This statement further strengthens my argument for my discourse where architects need to act like physician and mathematician and even biologist to be able to use such methodology. This is where parametric design enters the discourse as it uses the same principles of understanding the relations within the system. By using such technology, specific aspects can be input and associated with parameters so that the outcomes can be computed that will act, vary and evolve similarly as in nature. Technology not only enables us to imitate nature but to also observe nature microscopically. Understanding the internal structures and processes within a natural organism is at the centre of the biomimicry methodology. Without technology, the bionic approach will have been difficult or will not be as efficient as it is today as only the exterior physical aspect would have been analysed while the complex relationship not being considered. As a matter of fact, technology enables different design approach to be used while introducing new roles to the architect who is the practitioner of these different methodologies.

Ginatta, Carlos (2010). Architecture Without Architecture, Biomimicry design.

DESIGN FOCUS

[ CANOPY ]

by United Visual Arts

Canopy by United Visual Artists is a 90-metre long light sculpture spanning the front facade of the building, using mass production and precise fabrication to evoke and reflect nature. Inspired by the experience of walking through the dappled light of a forest, the form of thousands of identical modules were abstracted from the geometry of leaves, are organised in a non-repeating growth pattern. During the day, apertures in the modules filter natural light to the street below. After dusk, particles of artificial light are born, navigate through vthe grid and die, their survival determined by regions of energy sweeping across the structure. This concept is very interesting as our design intention will be focused on creating visual effect through lights patterns created by moving light. Also consideration will be taken to the different light sources during the day and the night. In this installation, different light sources are involved. During the day the sun will be the primary light source while during the night the particles will light up creating an animated pattern being responsive to a specific aspect in its environment.

MOVING LIGHT DIFFERENT LIGHT SOURCES DAY / NIGHT CONSIDERATION

http://designplaygrounds.com/deviants/canopy-byby-united-visual-artists/

PRECEDENT

Initial iterations were developed using definitions given on the LMS and from a definition using magnetic field. The values of the sliders were varied changing only one aspect in the definition. It is impressive to observe the drastic change of form by changing only one variable.

[ THE MATRIX ]

CASE STUDIES

[

NED KAHN’s FACADEs ]

http://nedkahn.com/wind/

Ned Kahn’s kinetic facades are basically made of extremely light-weight hanging panels; somestimes made of small aluminium panels and other times made of metallic fabric. These panels are responsive to subtle change in wind and catch light and colour from the sky to create animated pattern which can produce different sensations and feelings while different interpretations are also generated. From outside, revealing ever-changing patterns of the invisible wind are created while from inside, intricate patterns of light and shadows are created. Based on a response to wind pressures, the opening panels were very informative to our project. The grasshopper definition based on Ned Kahn’s Wind Facades principles was recreated. We used that algorithmic expression to investigate into how we can actually let sunlight penetrate through at specific time and spot while responding to the path of the sun. We tried to use point attractors to represent the sun’s path to which the individual panels respond and open at an angle according to its position from the point attractor.

CASE STUDIES \ TECHNIQUE DEVELOPMENT 23

1. 2. 3. 4. 5.

THE SURFACE IS DIVIDED INTO RECTANGULAR PANELS THE PANELS ARE EXPLODED TO BECOME SEPARATE INDIVIDUAL PANELS EACH CORNER OF A PANEL IS ASSOCIATED TO A COMPONENT AND TWO OF THEM ARE CHOSE TO FORM AN AXIS LINE THE AXIS IS CONNECTED TO THE ROTATION COMMAND WITH THE FACES BEING THE SURFACE TO BE ROTATED ABOUT THAT AXIS WITH A SPECIFIC ANGLE. DEFINED BY A RADIUS THE PARAMETER RADIUS IS MADE VARIABLE FOR EACH OF THE PANELS BY BEING ASSOCIATED TO A SPECIFIC ASPECT OF AN IMAGE. (In this case the colour brightness)

In this case the variable wind is being replaced by the aspect of an image which also varies with the image itself, the colour brightness. however using such variable can result into repetitive pattern while the variable wind is an ever changing parameter. Moreover, the intensity of the wind cannot be compared to the intensity of the colour brightness.

[

CREATING THE DEFINITION

]

CASE STUDIES \ TECHNIQUE DEVELOPMENT 24

Associating an aspect of an image to a variable parameter is very interesting and we are planning to use the same method to associate the sunlight input on the facade of the installation to a similar parameter. Also interesting is the rotating panels which not only reflect light to create animated pattern but also let light in. This gives us an idea of how to create panels with opening angles to control the solar input.

OTHER ITERATIONS ARE CREATED TO FURTHER EXPLORE THE OPENING OF PANELS USING DIFFERENT AXIS OF ROTATION AND ALSO TRYING TO TO MAKE THEM RESPONSIVE TO THE SUN PATH.

CASE STUDIES \ TECHNIQUE DEVELOPMENT 25

CASE STUDIES \ TECHNIQUE DEVELOPMENT 26

Point attractors were used to act as the path of the sun. They were associated with a specific aspect of the definition such as opening angle, rotating or pivoting angle, opening distance. Only the position of the point attractors varies to simulate the evolution of the form according to the sun path.

[

POINT ATTRACTOR // SUN PATH

]

CASE STUDIES \ TECHNIQUE DEVELOPMENT 27

A PART OF ANOTHER DEFINITION IS IMPLEMENTED INTO ANOTHER. IN THIS EXAMPLE, A POINT ATTRACTOR IS ASSOCIATED WITH THE RADIUS OF THE CONE IS INPUT INTO THE DEFINITION OF SkylarTibbits_VoltDom I tried to use point attractors to vary radius of circle in a rectangular grid, first with one and then with 2 point attractors. Then I change the point of centres of the cones in the VoltDom definition and made the points on the rectangular grid become the centres. The circles thus become cones with varying radius. Connecting back the centres of the cones to the points which were populated randomly within a boundary. Finally I tried with two point attractors varrying the radius of the cones. This create interesting pattern as the the cones were intersecting randomly while the surface

CASE STUDIES \ TECHNIQUE DEVELOPMENT 28

[ AN ANALOGY TO THE NEURON ]

Intensity of sense

CLIMAX

s es

g llin e v a e tr the s l Pu rying car age s me

nch ]

er [ Pi Trigg START

Entrance of installation

Trip through the installation

The experience through the installation is based on the analogy of the function of the neuron in a nervous system. In the neuron system, a pinch acts as a trigger which brings about a pulse to travel carrying the message to the brain where the message is received; pain in this case. Three elements of our design are then defined. The trigger in our design will be the user in the car together with the light and the structure while the pulse will be the movement along with the user and pattern of light to create the message which is the visual and sensational experience. Using these elements, we define our design intention:

To passively create moving light, without the use of external devices...

http://youtu.be/2hASOre63Nk A video to better understand persistence of vision

DESIGN CONCEPT

[

DESIGN INTENTION

WE FINALLY COME UP WITH THE IDEA OF

]

PERSISTENCE OF VISION [POV]

DESIGN CONCEPT

[

HOW TO ACHIEVE â&#x20AC;&#x2DC;POVâ&#x20AC;&#x2122; ?] LIGHT SOURCE

SHUTTER

LENS

The concept of a movie projector forms the basis of the structure we want to create. The installation will thus be a double skin structure such as a shutter to filter light while the lens will control the light. Such approach will enable us to achieve our design intention which is the visual effect created by persistence of vision.

Diagrammatic SECTION of the double skin

The double skin will have the function of filtering sunlight based on a responsive approach. It will allow light in only in specific slots at specific time of the day. It will consist of a series of openings so as to create a specific pattern in such a way that the ray of light will be seen moving with the moving car thus creating the persistence of vision. Reflectors placed on the internal skin will redirect as well as refocus the light towards the user.

DESIGN CONCEPT

[

THE BLACK BOX

]

PROTOTYPING THE DESIGN CONCEPT

The black box has enabled us to test the performance of the double skin. The picture on the left shows the the visual effect we want to create, that is a directed focus light which creates a contrast with diffused light so as to be visually distinguishable to create a specific pattern. Consideration will be taken to avoid glare when focussing the light to the userâ&#x20AC;&#x2122;s eye.

DESIGN CONCEPT

The kinetic façade of Soma’s Thematic Pavilion reflects our design intention which is to use sunlight to create patterns to develop emotions, sensations and feelings through visual effect of light movements.

More importantly, the façade provides an insight on the technique of how to control light input through a skin and also, on the suitability of the material used.

PRECEDENT

[

SOMA’s THEMATIC PAVILION in Korea and its KINETIC FACADE ]

SOMA uses a bionic (bio mimicry) principle based on the analysis of natural movement principles found in the floral world to develop the Kinetic Façade in the Thematic Pavilion in Korea. Referred as lamellas, the name for the ribs on the underside of a mushroom cap, the fins control the input of solar energy in the building. Despite being operated by a motorised system, the lamellas use captured energy from solar panels. Moreover, the climatic properties of the building were analysed in depth and simulated by Transsolar to reduce energy consumption and increase efficiency. The lamellas not only control the light input in the building, but also creates a moving, emotional experience with the analogue visual effect of the lamellas. The moving lamellas create animated patterns on the façade which spans from subtle local movement to waves running along the whole length of the building. In such approach, form, material, movement and light are seamlessly interrelated. In fact, the smooth and elegant opening of the lamella is based on elastic deformation of the material, glass reinforced plastic (GRP) which combines high tensile strength and low bending stiffness. Such properties made GRP, the ideal material for construction. “Really it’s based on material performance; it’s not a mechanism moving but the material itself, transforming,” “It’s an idea deduced from plants, how you can configure the geometry and how you can use certain characteristics (of the building) so you use less energy.” said Schinegger. This precedent further supports my argument in my discourse where technology enables the fabrication of the composite material Glass Reinforced Plastic to give certain aspects to material which they did not possess before. However in such cases should the merit go to the engineer or the architect. Very often, projects completely rely on engineers to be successful. Are engineers becoming architects? Architects of today becoming more and more aware of the importance of engineering, mainly in performative architecture. The modern architect has the need to acquire a deep knowledge in the engineering aspects of the project to be able to keep and direct all these aspects towards his design intention. to do so, he should be able to express his intention to the engineers and other trades involved such as fabrication. He must act as the control tower over the project.

http://vimeo.com/60821559 A video to see the animated pattern through the day. http://edition.cnn.com/2012/06/18/world/asia/south-korea-expo-architecture http://www.bustler.net/index.php/article/construction_photos_of_somas_thematic_yeosu_expo_pavilion/ http://www.e-architect.co.uk/korea/expo_yeosu_pavilion.htm http://blog.archpaper.com/wordpress/archives/39629

PRECEDENT

SUN SCOOP CONCEPT

We finally came up with the concept of a SUN SCOOP which will filter lightaccording to the sun path.

DESIGN CONCEPT

HOW IS IT RELATED TO BIOMIMICRY ?

DESIGN CONCEPT

[

Viscous Morphologies

To define the morphology of the pavilion, external pressures, mainly sunlight and prevailing winds have been analysed in order for the project to adapt and have a good performance in regards to the environmental pressures existing on site. Such design approach is very informative to our project as it can be used to optimize not only environmental performance, such as sunlight performance but also structural performance of the gateway, such as good

aerodynamics where the form will offer less resistance to winds and hence less material needed to resist the loads. In a matter of fact, organisms and systems in nature response in a similar way to external pressures so as to better adapt and optimize performance. Such process can be referred as a responsive morphogenesis.

Similar response occurs within self-organising systems such as the bone tissues. The structure optimisation of the design was based on Cancellous Bone Tissues which has a high strength to weight ratio. Most of the bone tissues, especially in larger song bird skulls, are build up from non-directional spongiosa cells, which mean they are configured by pneumatized cells that allow air voids between solid material areas reducing the overall weight of the structure without affecting its strength but in this case the skull of birds has been considered. Andres Harris has also related material investigation to Biomimicry research to achieve similar structural performance both in terms of morphological and material level together. In summary, not only the structural form but also a material with similar properties and performance in terms of tensile strain and compression strain to that of the cancellous bone tissue has been used to produce similar performance outcome. This precedent is very significant to our project as we are aiming to create and develop our structures based on similar approach which is minimising the material while still having the same supporting strength and also on the reponsitivity to external pressures such as wind. Andres Harris has develop his design using aerodynamics where a negative curvature is believed to perform better against the inherrent pressures of the site.

http://www.andres.harris.cl/

PRECEDENT

Andres Harris

]

“Digital Form-Finding based on Evolutionary algorithms and parametric design was developed in parallel to the physical form finding, is an opportunistic use of available software to have a wider design research range on self-forming patterns, that would be informed by the Physical form-finding experiments. On a first instance, we experimented with Real Flow, a software that uses Python scripting language, to study viscous behaviour in a digital environment. Our main goal was to reproduce viscosity in a digital environment, as close to reality as possible. We were able to develop a porous system based on the rules of viscosity, density control, and surface tension. Unfortunately spine formations were not possible to reproduce through this media, hence, a new software was used: Generative Components. On our final project design, a more complex use of GC was developed and viscosity and self-organisation were translated into Mathematical equations in order to reproduce the physical experiments in a digital environment and also inform the design process. Structural Analysis was developed using Ansys Multiphysics (TM) using the “Y” Modulus as an imput and digitizing the spine patterns (self-formed formations). A series of small scale analysis were done in order to investigate the morphology – structure relation of the selfoptimised formations. Viscous behaviour was translated into mathematical equations in order to reproduce the physics and logics behind the selfforming and self optimising patterns and viscous structures A viscous pattern was used as a ‘component’ in order to generate a material system and each single component was part of a parametric mesh, where the component interacts with the rest of the components and with the surface itself.” - Andres Harris

This whole statement express the powerful capability of parametric modelling. Such technology allows to analyse external pressures and test performance and efficiency of structures and their forms while comparing them. Such approach allows the design to be responsive to the external pressures inherrent to the site and thus adapts to the context. This methodology informs the form-finding process both externally at a macro-scale(using aerodynamics) and internally at a micro scale. (using the biomimicry principle based on cancellous bone tissue) The performance optimisation of the material is also possible with the use of analytic softwares which compare specific properties at specific spots within the material.

PRECEDENT

[

MORPHOGENESIS OF THE STRUCTURAL FORM & MATERIALITY ]

Based on the same performative and self-organising concept, we managed to evolve the structure from basic geometry to a more organic and structurally and costly efficient structure to create webs for our supporting structure through the use of grasshopper and exoskeleton and kangooroo. Our approach is not only performative in terms of structural form but also in terms of material. This means that we looked for the material with the optimum properties to resist loads that will exert on the installation. So we looked into GRP which is a composite material made of resin and fibres for our structure. And with this material we have the ability to orient the glass fiber where the maximum stress exerts, thus optimising the strength and weight ratio. Then we looked into the joints. Instead of joints we were thinking of Bonding. As viscous resin blends totally with solid resin, we propose that the way the webs are connected to the each other should be using resin to generate a homogeneous and continuous structure so that is acts as a whole structure instead of several parts fixed together.

PRECEDENT

19 TECHNIQUE PROTOTYPES

[

PROTOTYPES

]

A 3D prototype was printed and the first attempt was a failure as the thickness of the sunscoop was not appropriate. Moreover, it was printed with ribs which were not part of the initial design. It was maybe an error of the 3D printer but it however gives us an idea of strengthening the structure with ribs. Such techniques will be later considered and implemented into our design. The second attempt was a success and the result is two strong sun scoop strogly bonded together. With the help of thino, all the different parts of the structure were connected together so as to act as a whole. Even though our intention is to mould each part seperately and later connecting them together, they will act as a homogeneous and continuous structure since they will be bonded together with resin.

TECHNIQUE PROTOTYPES

THE CONDUIT TECHNIQUE PROPOSAL

A PROLOGUE ... FEEDBACK : “Competing ideas lack a single point of clarity, thus compromising the final product by tempting too many things essentially. There is a need to offset that and choose what we need...” “suggests that we shift emphasis from a multi-prompt attack to something far far more focus and refined.” “You need to find out why you do everything that we do and why we take every choices we make . Only then you can be more selective” “Only have little pulses and there is no message... Only have techniques” “WHY?” by David Lister “Why is that a better idea to have light at a different time and different spot? Why not having light through slot all day long? Having different patterns of lights to create different messages is fine but why? Is there something particular at Wyndham at that particular time?”

I guess that the lack of clarity and the need to refine our approach is due to the fact that we have not really tested the prototype of the overall installation to see what kind of visual effect it creates to actually further develop the design. We have only assume that such effect will be created. In addition, I think our emphasis was too much on structure and its morphogenesis based on a biomimicry principle while not much consideration was given to the ‘WHY’ such visual effect is to be created. We have not embed our design intention into the process of morphogenesis but have left the material’s property and performance to actually lead the morphogenesis precess which is fine but not really convincing when put into context. I think that once we put our design into context which we have not done yet, we will be able to create a message with the pulses that we have. We also need research more on Wyndham and our context to be able to perceive what kind of message and the why we want to create such experience. I think there is a need to further constrain and refine and redirect our design intention towards our contextual realm. “Grasshopper requires a highly iterative process and unless using hoopsnake in grasshopper, real morphogenesis cannot be really done. Any other plug-ins or softwares which work with grass hopper such as VB script will work but will require a huge amount of work and will not happen till the end of the semester.” “Aligning glass fibres to optimise structure is something lost in the detail as the 3D printing is not enough advanced to do such thing.” “Find a way to fabricate the prototype given the constraint of the tools available”

My best reponse to that will be that we can actually experiment and analyse the performance of our design with the use of parametric modeling where we can even compare their efficiencies to further develop it into a better final product. Forming conclusions on the testing of prototypes of this scale is not appropriate for not only this design approach but any design approach as they are not tested in their real context with external pressures actually acting on them. I think that some prototypes are for the sake of visual representation and for a better understanding of how it works only. I sincerely think that parametric modelling is a far better way to test designs within their context and to achieve better performance. However given the knowledge that we need to acquire and the time constraint, it is impossible to use analytical softwares and parametric modelling to produce our final product. Our next step will be to put our actual design into context and refine our design intention concerning the type of experience we want to create and the reason to it. Then we will create the appropriate visual effect and will explore on the ‘how’ to do it. In addition there is a need to convice the jury about the practical aspects and not only the conceptual part of the project. Hence, after assessing the tools and technology at our disposition and the requirements of the design brief such as budget, we will innovate our structure both in terms of forms and material so that it is realistic given the time and tools available.

LEARNING OBJECTIVES AND OUTCOMES

C. DESIGN PROPOSAL [

CONCEPTS

PHYSICAL COMPONENTS

DESIGN TECHNIQUES EXPERIENCE VISUAL SENSORY EMOTIONAL MESSAGE

DOUBLE SKIN STRUCTURE FILTER SUNLIGHT

STRUCTURE & MATERIAL

BIOMIMICRY PRINCIPELS SELF-ORGANISING STRUCTURES BONDING

]

LIGHTS PERSISTENCE OF VISION [POV]

SUN SCOOP STRIPS OF OPENINGS TO CREATE LINEAR BEAMS OF LIGHT

GLASS-REINFORCED PLASTIC ORGANIC WEB STRUCTURES BONDED TOGETHER

RESPONSE TO FEEDBACK

[ [

PART C

]

• CONTEXTUAL ASPECT OF THE CONCEPT? • TESTING AND USING AVAILABLE RESOURCES • PROTOTYPING OF JOINTS • ASSEMBLY ON SITE

A RESPONSE TO THE

FEEDBACK

]

All these techniques were developed without any contextual boundaries, they were all useless and coveying meaningless messages, without any identiy. So, the first and main step after developing all these techniques is to apply them into the design context: Wyndham. A particular aspect or feature needs to be chosen and will form the basis of our inspiration to define and give the city of Wyndham an identity. Based on this idea creating symbolic and iconic feature and using the design techniques developed, the installation will evoke different experiences and emotions and thus convey a specific message to the users of the freeway. Prototypes will be fabricated using available resources and realistic technical details. The prototype will give an insight on the feasibility of the project and will enable us to fully engage with the materiability of the structure and their properties.

RESPONSE TO FEEDBACK

[ CONCEPT INTO CONTEXT ]

SITE BOUNDARIES

RAAF AIR BASE

http://www.airforce.gov.au/ http://www.airforce.gov.au/raafmuseum/ http://www.raafa.org.au/

Given its strategic location between Melbourne and Geelong, Wyndham acts as a bridge connection between these two big cities. The installation will welcome, accompany, provide an emotional sense of belonging among the freeway users in both direction; either going towards or leaving Wyndham to both cities.

POIN Air Ba

The Wyndham council has the objective of making Werribee with its reiver setting the focal point and centre of Wyndham, also called the New West. Werribee certainly play an important role in defining the new identity and culture of Wyndham, but history is crucial in shaping oneâ&#x20AC;&#x2122;s identity. So much effort is being given to attributing a new identity to this growing city and not enough are attributed to look backward into history and trying to commemorate it. We discovered that Wyndham city was named after Sir Henry Wyndham, a British soldier who had distinguished himself in a war at Waterloo. The city not only bears the name of someone related to the war but it actually hosts in Point Cook, the birthplace and spiritual home of the Royal Australian Air Force, RAAF, the second oldest air force in the world. The Point Cook air base is also oldest continuously operating military aerodrome in the world. Many people are unaware of such facts and we thought that reviving such historical facts will give to the people of Wyndham pride and a sense of belonging to their city. Reviving the history of the RAAF is only a starting in shaping the identity of Wyndham and the installation will act as the iconic feature of the city which remembers the citizens of their past.

CONTEXT

NT COOK ase

Our design intent is to revitalise and reinstate Wyndham as the home of the Royal Australian Air Force RAAF, the second oldest air force in the world. We feel that Wyndham has a unique story and a rich history that goes beyond its physical and geographical features and this global identity must be explored and brought forth to the attention of the public. Our focus will be on air shows that promote and enhance the image and culture of the Air Force through different aerobatic formations. AIR SHOW TO LIGHT SHOW

"Through adversity to the stars"

[ Synopsis ] • REVIVE HISTORY of RAAF • SECOND OLDEST AIR FORCE • Point Cook as the birthplace AND SPIRITUAL HOME of the Air Force • oldest continually operating military airfield in the world

We intend to invoke the feeling of excitement and to inject pride, morale, respect and honour by mimicking and translating aerobatic manoeuvres into the language of light. The techniques previously developed such as the double skin, enable us to have control over the light show to create the light experience. So using the resources available on site, The installation will convey a specific message to the users of the freeway using a passive structure by creating moving lights and the effect of persistence of vision. Establishing a temporal element into the design together with its dependency reinforces its organic nature as the effects would change throughout the day. Every aerobatic manoeuvres and formations has a specific meaning and contain certain emotions in relation to the Air Force. Each of them will commemorate a specific formation used in time of war. In time, the installation would indirectly educate the people and stand as an iconic feature that brought back the connection of military and aviation history to Wyndham. What is better than to be escorted by none other than the Royal Air Force, celebrating one’s arrival. LAVERTON Air Base

SYNOPSIS

[ WHY AIR SHOWS ? ] There are many ways to promote and enhance the image and culture of the Air Force. The Air Force Band has the mission to do so through music and ceremony while the Museum situated at Point Cook, the birthplace of the Australian Flying Corps, tells one of Australiaâ&#x20AC;&#x2122;s most important aviation stories, that of the second oldest air force in the world. However we were more interested into the Air Force Balloon and the Air Force Roulettes, the RAAF aerobatic team. Why? I suppose because it has a deeper relationship to the military history of Australia and the war itself. Hot air balloons are in fact, one of the earliest forms of aviation and were even used for surveillance during World War I. The aerobatic air shows offer an opportunity to the public to see the Air Force personnel and the Defence equipment in action such as PC-9/A aircraft. In addition to promoting the image and culture of the Air Force, each team tries to promote a set of values; professionalism, teamwork, integrity, excellence, a sense of belonging, pride and respect. We preferred air shows to balloons because they are more related to the motion of high speed moving cars. Their movements are similar with similar settings such as speed and smooth curves with no abrupt turning and change of direction.

CONCEPT DEVELOPMENT

[ FROM POINTS TO LINES

AND CURVES

]

Our focus has evolved from point sources to lines and beams of lights. Applying our design techniques to the context has helped us to constrain our design space and also to narrow down our focus to a more desirable design. The movements involved in aerobatic manoeuvres have the same paths and similar characteristics as that of a car at high speed. The importance of curves here is to translate aerobatic manoeuvres into messages through different experiences. That is why we decided to depict a convincing motion of the airplanes, using a specific nature those curves that differ to that of other movements. We have progress to a phase where we actually determined that there will be 9 strips of lights; 3 series of 3 strips with one for the morning, noon and evening. Each set of strips with a centre line will mimic a specific formation of the aerobatic manoeuvres of the RAAF Roulettes team.

CONCEPT DEVELOPMENT

A quick summary will point out that we changed focus form the neuron analogy to the concept of air shows. I suppose that the neuron analogy does not fit the context at all and that we were just trying to find a relationship between our design and our theme which is biomimicry. Now we have found a strong link with the context as air shows and its military significance is intertwine in the history of Wyndham. Applying the techniques to the context has helped us to streamline and constrain our design focus and to actually move forward towards the design development of the installation. The installation needs to respond to the site pressures and that is why mainly we have define 3 set of strips to perform at 3 different times. I think that defining the sun path into 3 different phases instead of trying to model an installation which will react to the sun path with more precision, was very important in our design process. Otherwise, the design would have been too complex with many issues to be solved and some of them will even create more problems. The curved lines reflect the notion of speed and dynamism and also gives a sense of direction.

CONCEPT DEVELOPMENT

[ AEROBATIC MANOEUVRES ] The part of the freeway where the istallation is to be positioned is divided into 3 sections. In the first one, the strips of lights will converge to give a sense of welcoming and a semse of direction. In the second part, freeway users will experience the suspense of the Switchblade formation while in the last part of the installation, people will go back deep into the millitary history and have a great thought to the fallen soldiers.

The two formations were chosen according to a set of criteria, one of which was that the movement paths have to follow curves. Some of them did contain loops and it was better to stick with curves as loops could have made the design too complex in shape and could have create issues in the construction phase. Aerobatic manoeuvres are not just for show but actually have a deep meaniWng which involve a lot of emotions. These formations were chosen to represent emotions the installation are to invoke.

THE MISSING MAN This formation is dated since World War I and was first performed as a tribute and showing of love, respect, and camaraderie for a brother pilot. Today it is an aerial salute performed as part of a flyover of aircraft at a funeral or memorial event. It even forms part of traditional events such as Remembrance day in Australia where the country celebrates the declaration of peace between the Allied armies and the Germans at 11am on the 11 November 1918. This manoeuvre is sometimes flown with the wingman spiraling off and with a consistent hole where another should be.

THE SWITCHBLADE This formation creates tension and excitement as planes come into a close formation leaving an illusion of an imminent collision before diverging to safety.

A lot of emotions are involved in this formation and reflects the feeling of remembrance and commemoration. http://www.oldglorytraditions.com/missingmanhistory.htm

CONCEPT DEVELOPMENT

[ FROM CURVES TO FORMATIONS ] The part of the freeway where the istallation is to be positioned is divided into 3 sections. In the first one, the strips of lights will converge to give a sense of welcoming and a semse of direction. In the second part, freeway users will experience the suspense of the Switchblade formation while in the last part of the installation, people will go back deep into the millitary history and have a great thought to the fallen soldiers.

This sketch shows the view of the installation from a car. At this stage, 9 strips of sun scopp modules have been modelled.

This photo shows how the strips have been transformed into the desired formations producing winding and intercepting pattern. The design triggers more reflection and emotions to the viewers.

CONCEPT DEVELOPMENT

[ PHYSICAL AND DIGITAL FORM FINDING ] RESEARCH

I think that our research conducted on precedents has been the crucial phase in our design process. With the discovery of the research of Andre Harris, we were able to move forward towards the form-finding both physical and digital. Various ideas came to our mind when thinking to the support structure for the strips of sun scoop modules [the structure that creates the light effect - beam of light]

Andres Harris Research on Viscous Morphologies and Self-Organising structures. http://www.andres.harris.cl/?page_id=36

Based on the same biomimicry principles of selforganising structures, our form finding process was straight forward which finally resulted into a structure of webs with more material being focussed where more stresses are applied to have a better strength-weight ratio. The research of Andres Harris has driven both formfinding both physical and digital. At this stage as we knew what kind of structure we wanted, we investigated and engaged more into the digital model than doing prototypes. Rhino and Grasshopper by itself was not able to compute the form we wanted. Maybe we did not have enough knowledge in it or maybe it just cannot do it. The use of scripts and plug-ins was necessary. With the help of exoskeleton, weaverbird and kangaroo we managed to develop a more organic form of our web structure.

THE DIGITAL WORLD 53

LIMITATIONS However we did not have much control on it. Again was it due to our limited knowledge of digital technologies? It was most probably the case. So our algorithmic explorations were limited and we could not really alternate its form and play with details through the use of digital software. After we put the components and commands into the software, the self-organising form just turned out by itself. The technologies did not actually help in the form-finding process. The way we use the technologies were more related to computerisation than to computation. The limitations of digital technologies is very obvious here. I am neither saying that they did not have the capacity to do it nor that we, the users do not have the knowledge to use the software, but I am saying that here the limitations were that the software require a certain level of skills

REFLECTION from the user to be able to perform at full capacity and to inform the exploration phase and the form-finding process. Very often it does not mean only to be good at computer but to also have certain scientific, mathematic and engineering skills. The way we used digital technologies did not actually inform our design process. They certainly helped in giving more inspiration to find new forms but we were not able to use them to actually model new forms. We were able to translate our analogue data to digital only at a certain extent. We did not have the ability to master those skills at this stage but I can clearly see the potential of digital technology. The use of software in our design process will not be beneficial unless the user have the required computational skills to benefit from such technological advancement.

THE DIGITAL WORLD 54

This photo shows an analysis of the structural perfromance at a micro-scale made possible thanks to digital technologies.

This photo shows different length iterations of the parametric model illustrating the thicknes differentiation of the middle zone.

‘The analysis clearly show how geometry affects the structural behavior in a system, where the material’s intrinsic properties is less relevant (only determines the system’s elasticity -using resin’s Y modulus- and the overall behavior depends on the orientation and direction of the “components’.

Andre Harris

If I refer to the research on viscous morphologies and the principles of self forming and self optimising by Andres Harris, his final project is very successful thanks to the digital technologies. The latter enabled Andres Harris to actually engage in the material performance and alternate the form and even the material according to specific criteria. His form-finding process was in two phases. The was conducted with the help of analytical software on mainly the form performance of the structure. From these data obtained and based on a performative approach, he was able to develop and determine an optimum form that will resist the load exerted.

THE DIGITAL WORLD 55

REFLECTION â&#x20AC;&#x2DC;Digital Form-Finding based on Evolutionary algorithms and parametric design was developed in parallel to the physical form finding, is an opportunistic use of available software to have a wider design research range on self-forming patterns, that would be informed by the Physical form-finding experiments. On a first instance, we experimented with Real Flow, a software that uses Python scripting language, to study viscous behaviour in a digital environment. Our main goal was to reproduce viscosity in a digital environment, as close to reality as possible. We were able to develop a porous system based on the rules of viscosity, density control, and surface tension. Unfortunately spine formations were not possible to reproduce through this media, hence, a new software was used: Generative Components. On our final project design, a more complex use of GC was developed and viscosity and self-organisation were translated into Mathematical equations in order to reproduce the physical experiments in a digital environment and also inform the design process.â&#x20AC;&#x2122; - Andres Harris

This statement clearly demonstrates how digital components is important in the process of form-finding and how it enables a broader design space. However during his research, he also experienced some limitations of certain software, Python script. He had to use another software, GenerativeComponents to continue his development of the design. Does this mean he has to know all the software to be able to achieve a successful design? Does he need to master the skills required for every software. I think that it is impossible for an architect to master all these different software alone but he does need to know the basics of each software

as these knowledge will give him flexibility in his approach. I guess that with the help of other experts in different areas (mathematicians, engineers and scientists), the architect can benefit from the use of digital technologies, mainly parametric modelling. With today technologies requiring much expertise in every components of the digital system are engineers and other experts becoming architects? I think that they can all have an impact and inform the design process of form-finding and other phases but the architect is the one who should lead the direction of the design process so that their focus is coherent. I suppose that even in the design process the architect needs to ne a jack of all trades but master of none.

THE DIGITAL WORLD 56

[ THE DIGITAL REALM ]

THE IMPORTANCE OF CURVES Translating analogue into digital was not very easy given our limited knowledge in such advanced technologies but having control over their behavior in the software was even harder. After modelling digitally the module of the sun scoop and the connecting web structure, we had to convert the singular modules to strips that will follow the formation curves. These curves were essential in aligning the modules. In fact, we used a script, Armadillo to array all the modules along the desired path of the aerobatic manoeuvre

formation. It also helped to align the connector webs to form the structure. The curves act as the central structure in the layout of the modules. Yet, we did not manage to fully control the behavior of the modules. The webs look elongated and lose its perception of self-organising structure. I am sure that there is another method of modelling our design but we just lacked knowledge at this stage. Perhaps, we only needed more time to figure it out. It was one of our negative outcomes but at the end we were quite satisfied given the time frame we had.

THE DIGITAL WORLD 57

[ MATERIALS ]

Again, we were greatly influenced by the research and tests made by Andres Harris. We were earlier interested in fibreglass as the structural component of the structure. However from some critics from a jury on the reliability of our assumptions, we were about to let go the idea of a structure made of fibreglass. Despite such critics, we were so into the idea of fibreglass and with the support of our tutors, we went for the innovative idea of fibreglass as a structural material with joints bonded together to make the whole structure act as a whole with homogeneity and continuity rather than a common

steel frame structure. The tests made by Harris did not only trigger our idea of bonding and using fibreglass resin in our design but, more importantly supported our choice of material and joint. What I have learned from our research on precedents is its key role in the design process as a starting point. It provides inspiration and inovative thinking while also supporting our arguments and choices with real facts and data.

THE DIGITAL WORLD 58

LEARNING OUTCOMES

To model the design in digital software is essential not only for testing but also for fabrication. The need for precision and quality has triggered the close connection of digital modelling and fabrication. It is crucial in todayâ&#x20AC;&#x2122;s architecture, to translate the design from analogue to digital not only for testing performance of form and material but also, for the feasibility of fabrication and more importantly for non-geometric designs. When we sent our digital file to FABLAB, we had to change the shape of the structure. We were restrained by the minimum thickness of the web as the resin used would not be strong enough to support the load. This alteration did not affect our design as the model was made for the sake of visual representation only. Although we increased the thickness of the structure, the sun scoop broke. Taking this event as testing is not applicable since the material used for the model does not have the same intrinsic properties and does not perform the same way as the chosen material should. At this stage, we have not finalise our choice of material but we were

IMPROVEMENT

3D-PRI

thinking about Glass-Reinforced Plastic. We were at first inspired by the SOMA Pavilion which use GRP for its lamellas. Moreover fibreglass (GRP) is good at resisting tensile and shearing stresses. It is yet an indication that the shape needs reinforcement. We were curious about the broken model as it was modelled with ribs on the sun scoop while it the digital file, there were no ribs in the design. We then considered about modifying the smooth curvature of the sun scoop by adding ribs or changing the form to a corrugated shape.

The first model sent to FABLAB was broken. Ribs were printed even though they were not part of the design.

STRUCTURE FABRICATION PHASE & PROTOTYPING

INTING AND DIGITAL FABRICATION

http://www.structureflex.com.au/PVCMembranes.php

We even considered a change of material. We thus investigated into tensile membrane. The tensile system was providing many advantages such as light-weight structure and more sustainable design involving a smaller embodied energy for production. The material also enables several types of rendering and finishing. For instance, a reflective coating could be applied on the underside of the tensile membrane to produce the required light effect. These ideas were however still at the experimental phase. We have not really engaged into these materials. But I think it was better for the project

that we did not give too much effort in these potential explorations as we had a time frame to follow. Allowing too much time for the research of new oncepts and their experimentations would have compromised the depth of our design exploration. By focussing only on one exploration we had more time to explore it and go deeper in details. The second atempt to reprint the sun scoop model was successful. We were quite satisfied of the result but we were more concerned about the real process of fabrication. We have to engage and investigate into the actual material which is to be used.

The second attempt was successful with the webs showing the concept of selforganising structures.

STRUCTURE FABRICATION PHASE & PROTOTYPING

[ THE STRUCTURE AND ITS FABRICATION ] FROM MECHANICAL SYSTEM TO CONTINUOUS ORGANIC BONDED STRUCTURE After receiving the feedback from the jury on the previous presentation, our first response to it was to look for realistic and feasible methods of construction and fixation. So we actually investigated into spaceframe structures. They involve more mechanical joints such as screwing and also bolts and nuts. Some construction details have been sketched when desiging the sun scoop. Steel tubes and housings were the main structural components. Fabrication would mainly occur on site. The number, sizes and thickness of reinforcement tubes or rods would have been determined by a structural engineer. However we were not very satisfied by the result of this change. We thus tried to find a compromise between the completely organic and the mechanised structure. We then designed a customised joint consisting of the metal housing being embedded into a casted resin to give a stronger

joint. It involves the concept of bonding as well as using mechanical joint system. The customised design more importantly give a more organic shape to the structure. A prototype was modelled using clay and cardboard. The prototype was yet only for visual representation and maybe for investigating the feasibility of the joint but it was certainly not to engage with the material properties. The new design looks more realistic and feasible but we wanted to push our exploration further. With the support of our tutors after lots of consultation we decided to move on towards this more innovative concept of bonding with fibreglass which will be both the material and the material system. GRP will thus be structural component and we then decided to actually engage into the material properties to better understand its behavior. We did a prototype made of foam which acts as the structure support and of fibreglass mat and resin.

STRUCTURE FABRICATION PHASE

The spaceframe model. Constructed with mechanical joints, the structure will allow movement between the joints. It is critical to allow movement in such structure to resist all the loads applied the the pressures inherent on site.

The compromised model Based on a mechanical and bonding concept, a compromised model has been designed to try to find an optimum between performance and appearance. It definitely look more organic but it also uses the concept of bonding where the joints are more rigid.

The organic model Based on the concept of biomimicry principle: self-organisiing strucures and bonding, the organic model was developed to produce continuity and homogeneity in the model.

STRUCTURE FABRICATION PHASE

[ JOINTS THE MECHANICAL SPACEFRAME SYSTEM

The picture shows the typical spaceframe structure.

EASY ASSEMBLY ON SITE LIGHTWEIGHT - ALUMINIUM TUBES

THE COMPROMISED SYSTEM

STRUCTURE FABRICATION PHASE & PROTOTYPING

PROTOTYPES

] A PROTOTYPE OF THE COMPROMISED SYSTEM

This sketch shows the organic joint made of casted resin with the steel housings to which the steel tubes are connected, embedded inside it.

A steel perforated plate is embedded in the casted resin to create a strong bonding between metal and plastic. The steel plate is perforated to increase the contact surface area so that the resin has more grip on the metal plate.

STRUCTURE FABRICATION PHASE & PROTOTYPING

[ BONDING SYSTEM

THE FIREGLASS PROTOTYPE

]

The positive and negative member are connected with the used of a dowel. Then fibres of fibreglass and the resin are applied to the joint to form the strong bonding.

STRUCTURE FABRICATION PHASE & PROTOTYPING

We have to investigate into the materiability of the model to better undertand its intrisic properties to be able to then develop the deisgn towards a better performance. To construct our model we need to engage in the actual material of the model, that is fibreglass. Foam was used to act as a support so that we can shape the fibreglass model according to it. The fibers came into the form of mats and could thus be aligned where most needed. Yet it was still experimental as we did not fully manipulate the alignment of fibreglass fibers.

comparision, the difference is still to be tested. With the fibres being wrapped around the foam model could result into a more rigid model as the fibres are continuous while in the other case they disconnected. This prototype has fulfill the purpose of prototyping. The engagement in materiality allows us to determine issues that could be related to the fabrication and assembly in the real context. The next step will be the testing of the structural performance of the material when the layers of

fibres are placed differently. Does it make any difference to use patches or is it better to use the fibres with a continuous flow? Such investigation will help us to better develop the design both in terms of form and performance. I Another issue that we need to research more on is whether foam can be a structural component or element. Styrofoam has actually melted when in contact with the fibreglass resin. I can however feel the rigidity of the bonded joint compared to a mechanical joint.

In certain part of the model, the fibres of fibreglass were wrapped around the foam while in others patches were placed over the form. The difference between these two methods is that the patches are much easier to placed over the foam and ease the fabrication process. It also allow more precision in intricate areas. Considering the performance

STRUCTURE FABRICATION PHASE & PROTOTYPING

[ SITE PLAN AND RENDERS ]

The installation is to be placed over the freeway that is going in the direction of the centre of Wyndham. Those freeway users will experience â&#x20AC;&#x2DC;The Conduit Experienceâ&#x20AC;&#x2122;. Others form other roads will experience a different light experience from outside with different moving patterns ofshadows created by the headlights of cars. We have not deeply elaborated this idea as well as the night and they require more investigation for them to be apllicable to the actual design. Another interesting area of investigation will be the sound experience. Such structure will certainly create an interesting sound pattern.

FINAL MODEL

Due to time constraint and complexity of the digital model, only a section of the design has been fully rendered.

FINAL MODEL

[ ON-SITE ASSEMBLY ]

The assemblage of the singular modules or web members is very challenging extremely time consuming. This process can even be more difficult than the fabrication process. After much reflection we thus came with the idea of pre-fabrication. Modules and web connectors will be assembled partly in a factory. An example where this has been the case is the Qatar National Convention Centre in Doha, Qatar by Arata Isozaki and RHWL architects. Its 250m-long organic Sidra Tree metal structures were fabricated in Malaysia and shipped for assembly to Doha. The organic structure of that building was in fact made of a steel structure and octagonal tubes with a cladding of metal panels that shape the organic form. Our intent differs from that building as it is not for the aesthetic and appearance purposes where the structure

acts as a symbolic feature. Ours is based on biomimicry principles and imply performance as the defining criterion. Huge segments of the structure will then be brought on site for final assembly. The size of the segments will be restricted by the carrying capacity of the transport. Pre-fabrication not only enables the quick and easy assembly of the structure but it also gives guarantee about quality where more control over the bonding is possible. In addition to quality and being cost effective, there is much more precision in the assembly. Bonding is a permanent joint and hence needs to be very precise as it can be even more expensive to repair an offset component than to fabricate it.

http://www.designbuild-network.com/projects/qatarnationalconvent/ http://www.inhabitat.com/wp-content/uploads/2010/02/qatarconvention-ed01.jpg

FINAL MODEL

[ THE FINAL MODEL ] After finalising the digital model, we decided to 3D-print the model. Due to the time constraint, we could model only a part of the design. It does take time to actually prepare the file for the printer due to its complexity. Moreover we had to split the structure into parts due to the maximum size requirements of the printer. We encounter similar problems that we would have encountered on site; the

precision issue. The printed parts must be very accurate so that they fit perfectly together when assembled. Some members were offset but the overall result was satisfying. Integrating the fabrication in the prototyping and modelling phases really helped us to determine issues so that we can improve it towards a design that will satisfy all the criteria necessary for its realisation in the real context.

FINAL MODEL

[

EXPERIENCE THE CONDUIT

]

The model clearly shows the light effect we want to create. The bottom pictures shows different light effect according to the positioning of the light source. Point lights are coming from the sun scoop and there is a big contrast between the sun scoop and the diffused light. Considering a car moving at 100km/h on the freeway, the point light will be transformed into lines and curves of light which are actually translating the message. Metaphorically, speed combined with point light is translating the message into a language so that the public can better understand.

FINAL MODEL

LEARNING OUTCOMES AND IMPROVEMENT The project is rather successful to my opinion. Maybe, it has not meet all the design brief and the project requirements and may seem complex and unrealistic but it has been successful in several aspects, mainly in terms of innovative design and more importantly it has met the function of the installation. Developing an iconic structure is not always successful. The particular aspect chosen to be the backbone of the city’s identity is very subjective. It can have different level of significance to different people. Yet, I think that the project has met the studio objectives, that is to make use of computational skills using parametric software (rhino and grasshopper with other scripts) to inform our design process and its form-making process. We have also been able to integrate the fabrication process to our digital data while also engaging with and testing the materiality of the structure. I also realised the potential and importance of the research on precedents and how it can direct our design process.

Despite criticism on several aspects of our project, we had still used them in our design and this was beneficial to us. We had pushed ourselves to develop these design techniques with innovative concepts and together with the level of engagement in prototyping and materiality, we have learned a lot of things that will be very useful for the future. The first part of the subject has been quite confusing at the beginning with the research part but at the end, I did understand the whole idea of that research. To reflect on the what, why and how are we designing and on the use of digital technologies in architecture with its benefits and also its disadvantages has helped us to take a different approach, certainly a more mature one with a more open mind. Our design approach was a ‘breadth first’ as described in the article ‘Principles, Theories, and Methods of Computer-Aided Design’ by Yehuda E. Kalay. Using this type design approach

has enabled us to develop many design techniques. Yet, it was also confusing to have so many techniques and we could not determine whether it is related or not. Once we applied them in context and started to develop the techniques in terms of depth, all the reasons for the techniques were justified. Using a broad approach first was beneficial to us and it gave us various options to develop the design into a more elaborated product. using a ‘depth first’ approach would have constrain the design space to my opinion. The studio has enabled me to deepen my knowledge in parametric modelling which will be very useful to me in the future. One thing that I have learned from the use of digital softwares is that whenever the computer and the software cannot compute the digital model, it is a huge indication on the complexity and feasibility of the design.

LEARNING OUTCOMES AND IMPROVEMENT

REFERENCES •

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62

•

Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116

•

Ali Kriscenski (2008), http://inhabitat.com/anti-smog-architecture-a-catalyst-for-cleaner-air-in-paris/

•

Lance Hoosey (2013), http://www.greenbiz.com/blog/2013/03/19/why-architects-must-lead-sustainable-design

•

Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48

•

Halldóra Arnardóttir, Javier S. Merina, http://storiesofhouses.blogspot.com.au/2006/09/mbius-house-in-amsterdamby-ben-van.html

•

http://www.unstudio.com/projects/mobius-house

•

Woodbury, Robert F. and Andrew L. Burrow (2006). ‘Whither design space?’, Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 20, 2, pp. 63-82

•

http://www.bmw-welt.com/en/location/welt/architecture.html

•

http://www.archdaily.com/29664/bmw-welt-coop-himmelblau/

•

http://vincent.callebaut.org/page1-img-ourcq.html

•

Kareem El Sayed Mohammad, A Discussion on the implications of parametric thinking on the Design process and the Designer (2012) http://www.academia.edu/1454680/A_Discussion_on_the_implications_of_Parametric_thinking_on_the_design_ process_and_the_designer

•

İpek GÜRSEL DİNO, Creative design exploration by parametric generative systems in architecture (2012) http://www.academia.edu/1821083/CREATIVE_DESIGN_EXPLORATION_BY_PARAMETRIC_GENERATIVE_ SYSTEMS_IN_ARCHITECTURE

•

http://www.referenceforbusiness.com/small/Co-Di/Computer-Aided-Design-CAD-and-Computer-Aided-Manufacturing-CAM.html#ixzz2OE4m0R1tw

•

Fulya O.Akipik, Sebnem Y. Cinici, Tugrul Yazar, Computational design, Parametric modelling and Architectural education (2008)

•

http://www.academia.edu/761446/COMPUTATIONAL_DESIGN_PARAMETRIC_MODELLING_AND_ARCHITECTURAL_EDUCATION_Sebnem_Y._Cinici_Fulya_O._Akipek_Tugrul_Yazar

•

http://www.archdaily.com/293031/pedestrian-bridge-hhd_fun-architects/

•

Angus W. Stocking (15 Act 2009), Generative Design Is Changing the Face of Architecture http://www.cadalyst.com/cad/building-design/generative-design-is-changing-face-architecture-12948

PART A

The reference list is in the same order as the order of pages.

REFERENCES •

Ginatta, Carlos (2010). Architecture Without Architecture, Biomimicry design.

•

http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/ http://nedkahn.com/wind/

•

http://edition.cnn.com/2012/06/18/world/asia/south-korea-expo-architecture

•

http://www.bustler.net/index.php/article/construction_photos_of_somas_thematic_yeosu_expo_pavilion/

•

http://www.e-architect.co.uk/korea/expo_yeosu_pavilion.htm

•

http://blog.archpaper.com/wordpress/archives/39629

•

http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/

•

http://nedkahn.com/wind/

•

http://edition.cnn.com/2012/06/18/world/asia/south-korea-expo-architecture

•

http://www.bustler.net/index.php/article/construction_photos_of_somas_thematic_yeosu_expo_pavilion/

•

http://www.e-architect.co.uk/korea/expo_yeosu_pavilion.htm

•

http://blog.archpaper.com/wordpress/archives/39629 PART B

•

http://www.andres.harris.cl/

•

http://www.airforce.gov.au/

•

http://www.airforce.gov.au/raafmuseum/

•

http://www.raafa.org.au/

•

http://www.structureflex.com.au/PVCMembranes.php PART C

The reference list is in the same order as the order of pages.