Studio Air 2016 _ Ardalan Ed Mastoori by Ardalan Eddie Mastoori

Stud A I R AIR

Studio Ardalan Mastoori 757775 Sem1-2016

STUDIO

AIR

CO NT E NT

Melbourne School of Design Ardalan Ed Mastoori Sem 1_2016 Finnian Warnock

INTRODUCTION PART A. CONCEPTUALISATION A.1. Design Futuring A.2. Design Computation A.3. Composition/Generayion A.4. Conclusion A.5. Learning outcomes A.6. Appendix - Algorithmic Sketches

4 10 12 35 58 78 79 80

PART B. CRITERIA DESIGN B.1 Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique: Development B.5. Technique: Prototype B.6. Design Proposal B.7. Learning Objectives and Outcomes B.8. Appendix - Algorithmic Sketches

80 104 118 134 158 158 170 170

PART C. DETAILED DESIGN C.1 Interim Presentation Feedback C.2. Addressing the Issues C.3. Finalising Concept C.4. Finalising Geometry C.5. Selection Criteria C.6. Interim Proposal C.7. Design Development // Iterations C.8. Successful Iterations // Form Development C.9 Strip Connections - Prototype Modeling C.10. Tectonic Elements - Ribs C.11. Patterning C.12. Enviromental Factors C.13. Weaving - Initial Idea C.14. Joints C.15. Fabrication C.16. Learning Objectives and Outcomes C.17.References

180 182 186 194 204 206 210 218 228 240 246 250 258 270 300 332 333

INTRODUCTION

Hi, My name is Ardalan Mastoori but people call me Ed. I was raised in a very loving and caring Persian artistic family with full of inspration but I was the only kid that was not inpired by this fantastic atomospher. I just wanted to be different from the ardalan I was grown up so I chose architecture as my passion me it meant a high class job with a very good income. Before starting the university, I moved to beautiful city of Istanbul to have a long break and think about the future. Exploring, tasting, thinking and sketching were the only things I did in Turkey. After the break I decided to chase my dream to be an architect. Whole my life changed when I moved to Melbourne. I felt like I was born again. Everything was different, even politic!. Having a background in interior design and studying one year of building design have helped me to have a very good start at university. NOW, Iâ&#x20AC;&#x2122;m third year of bachelor of environement majoring in architecture. I can see myself in one of the well-known firms even before I finish my degree and I think Melbourne University has given me this confidence. I strongly believe â&#x20AC;&#x2DC; Architecture is not a job, it is more a life style â&#x20AC;&#x2DC;. Ciao!

Fig1. Studio Air Algorithmic Sketch Ardalan Ed Mastoori

PREVIOUS WORKS Studio Water

Melbourne School of Design Boathouse _ Yarra Bend Park Ardalan Ed Mastoori Sem 2_2015

Shop Interior Design Workshop Domus Academy of Design _ Milan 2009 Store And More

Fig1. Shop Interior Design Workshop Interior Rendering, Ardalan Ed Mastoori

Fig2. Shop Interior Design Workshop Interior Rendering, Ardalan Ed Mastoori

Fig3. Shop Interior Design Workshop Interior Rendering, Ardalan Ed Mastoori

A .1

CONCEPTUA

LISATION

Fig1. Studio Air Algorithmic Sketch Ardalan Ed Mastoori

A.1. DESIGN FUTURING HYPER MEMBRANE | HIBRIDa Barcelona 2013

Fig1. HyperMembrane by HYBRIDa Source: ‘Hypermembrane Pab Project‘, HYBRIDa Website (Bolivia: HYBRIDa archite

etsture SCP C, 2014) <http://www.hybridarch.net/#!hypermembrane-demo/cr72

Fig1. HyperMembrane by HYBRIDa Source: ‘Hypermembrane Pab Project‘, HYBRIDa Website (Bolivia: HYBRIDa architetsture SCP C, 2014) <http://www.hybridarch.net/#!hypermembrane-demo/cr72

HYPER MEMBRANE HIBRIDa Barcelona 2013

HyperMembrane is a project by the architects Jordi and sylvia Flipe, masters’s of the Architectural Association of Architecture in London. This project is used as a demo for Hypermembrane Sport Studio to demonstrate the highly adaptable fabric as the dynamic structure. The objective was to demonstrate the the dynamic stable formation through the search of flexible active materials that will address multiple technological challenge. In addition, the development of these two systems will allow the hyper membrane to become reality in the near future as a structure forming part of construction system. Also it was updated version of standard consturction system for freedom and adaptable structure in architecture. The project will cover research development in other technological areas. In particular standardised constrcutive reduct for the erection of light weight architeconic structure for short to long spans that need to reproduce free and complex geometry surface.[1]

Fig1. HyperMembrane by HYBRIDa Source: ‘Hypermembrane Pab Project‘, HYBRIDa Website (Bolivia: HYBRIDa architetsture SCP C, 2014) <http://www.hybridarch.net/#!hypermembrane-demo/cr72

Fig2. HyperMembrane by HYBRIDa Source: ‘Hypermembrane Pab Project‘, HYBRIDa Website (Bolivia: HYBRIDa architetsture SCP C, 2014) <http://www.hybridarch.net/#!hypermembrane-demo/cr72

1. http://www.arch2o.com/hyper-membrane-hibrida/

Fig3. HyperMembrane by HYBRIDa Source: ‘Hypermembrane Pab Project‘, HYBRIDa Website (Bolivia: HYBRIDa architetsture SCP C, 2014) <http://www.hybridarch.net/#!hypermembrane-demo/cr72

Fig4-5. HyperMembrane by HYBRIDa Source: ‘Hypermembrane Pab Project‘, HYBRIDa Website (Bolivia: HYBRIDa architetsture SCP C, 2014) <http://www.hybridarch.net/#!hypermembrane-demo/cr72

Fig1-3. HyperMembrane by HYBRIDa Source: ‘Hypermembrane Pab Project‘, HYBRIDa Website (Bolivia: HYBRIDa architetsture SCP C, 2014) <http://www.hybridarch.net/#!hypermembrane-demo/cr72

There is no doubt that our world is going through

The project is a precedent that utilises digital technol-

massive and rapid shifts in every aspects, includ-

ogy of simulation that generates optimum performance

ing social and natural environment, technology and

in response to the environmental change. Also it is a new

in particular, theories of people. It is designers’ re-

approach to the creation of form through knowledge or

sponsibility to take a better design and necessary,

material, and its intelligent behaviour, complemented

futuristic design which response to future needs. In

by the use of parametric software and advance model-

better word, design futuring should become the vi-

ling which is able to adapt to environment. It is interest-

sion and inspiration of designers in sustain the future.

ing how the limit between natural and artificial has been reconsidered the perspective of biomimetic engineer-

At present technology has been linked with environmen-

ing.

tal disaster for human demands and this is the reason, we are moving towards a digital age where anticipation is possible and more important, it is accurate that able us to avoid or improve the final outcome. [2] 2. Fry, T (2008). Design Futuring: Sustainability: Ethics and New Practice (Oxford: Berg), pp. 1-16.

Fig4. HyperMembrane by HYBRIDa Source: ‘Hypermembrane Pab Project‘, HYBRIDa Website (Bolivia: HYBRIDa architetsture SCP C, 2014) <http://www.hybridarch.net/#!hypermembrane-demo/cr72

Fig1. HyperMembrane by HYBRIDa Source: ‘Hypermembrane Pab Project‘, HYBRIDa Website (Bolivia: HYBRIDa architetsture SCP C, 2014) <http://www.hybridarch.net/#!hypermembrane-demo/cr72

A.1. DESIGN FUTURING Al-BAHAR Towers I aedas Abu Dhabi 2012

Fig1. Al-Bahar Towers by Aedas Source: ‘Aedas: Al0bahar towers in Abu Dhabi‘, Designboom website, <http://www.designboom.com/architecture/aedas-al-bahar-towers/

Al-Bahar Towers

Aedas Abu Dhabi ‘12

The Design of Al-bahar towers is highly inspired by Arabian architecture based on concept of adaptive flowers and ‘Mashrabiya” which is the privacy screen also performs as a reducing glare and solar gain barrier. The Architects ‘Aedas’ lists environmental design as their top priority, which has to battle an intense sunshine and destructive factor against structural integrity. Al-bahar towers have intelligent façade, with geometrical patterns that fold and unfold according to sun path and climatic condition of Abu Dhabi. The design of the towers takes our attention to possibilities of digital design and its impact on sustainable design. This idea conforms to the concept of design futuiing where design facilitate conjecture for the more viable future.[1]

Fig1. Al-Bahar Towers by Aedas Source: ‘Aedas: Al0bahar towers in Abu Dhabi‘, Designboom website, <http://www.designboom.com/architecture/aedas-al-bahar-towers/

1. Fry, T (2008). Design Futuring: Sustainability: Ethics and New Practice (Oxford: Berg), pp. 1-16.

Fig2. Al-Bahar Towers by Aedas Source: ‘Aedas: Al0bahar towers in Abu Dhabi‘, Designboom website, <http://www.designboom.com/architecture/aedas-al-bahar-towers/

Computational designing with scripting is define technology differently towards design futuing which works directly with natural forces not against them and architecture as a main tool is starting to challenge our current unsustainable way of life. The following project is the sign of this ability of architecture and in general term, design, to proposes changes and to explore new technologies for future.

Fig1. Al-Bahar Towers by Aedas Source: â&#x20AC;&#x2DC;Aedas: Al0bahar towers in Abu Dhabiâ&#x20AC;&#x2DC;, Designboom website, <http://www.designboom.com/architecture/aedas-al-bahar-towers/

Fig2. Al-Bahar Towers by Aedas Source: ‘Aedas: Al0bahar towers in Abu Dhabi‘, Designboom website, <http://www.designboom.com/architecture/aedas-al-bahar-towers/

Marc Tornes and MANY New York ‘14

Fig1. Al-Bahar Towers by Aedas Source: ‘Aedas: Al0bahar towers in Abu Dhabi‘, Designboom website, <http://www.designboom.com/architecture/aedas-al-bahar-towers/

d THEVERY-

A .2

DESIGN COMPU

TION

A.2. Design Computation Situation Room I Marc Fornes & THEVERYMANY New York 2014

A.2.

Fig1. Situation Room, Shop Front for Art and Architecture Source: ‘Shop Front for Art and Architecture‘, Marc Fornes & THEVERYANY Website, <http://www.theverymany.com/14-storefront/

Situation Room _ Envelope of Expriental Tension Shopfront for Art and Architecture Marc Fornes and THEVERYMANY New York ‘14

Situation room comprises an intricate web of

metrically shapes, undulating and stretching

the exhibition space’s floor to ceiling and colo a near-florescent pink powder coating.

The site specific work reflects upon the conte

rary condition that exist within the built enviro

that surrounds us, specially the adaption of virt ements into the physical realm

Situation room aims to transform the architec

the gallery into an animated and multi-sensory

Situation room is a continuation of fornes stud

work with typologies which unite both forma

technical constraints into an immersive enviro tal whole

Fig1-3. Situation Room, Shop Front for Art and Architecture Source: ‘Shop Front for Art and Architecture‘, Marc Fornes & THEVERYANY Website, <http://www.theverymany.com/14-storefront/

f para-

g from

ored in

empo-

onment

tual el-

cture of

y form.

dy and

al and

onmen-

Fig4. Situation Room, Shop Front for Art and Architecture Source: ‘Shop Front for Art and Architecture‘, Marc Fornes & THEVERYANY Website, <http://www.theverymany.com/14-storefront/

Fig1. Situation Room, Shop Front for Art and Architecture Source: ‘Shop Front for Art and Architecture‘, Marc Fornes & THEVERYA

ANY Website, <http://www.theverymany.com/14-storefront/

Fig1-3. Situation Room, Shop Front for Art and Architecture Source: ‘Shop Front for Art and Architecture‘, Marc Fornes & THEVERYANY Website, <http://www.theverymany.com/14-storefront/

Situation room which is an algorithm-generated

After many years of computation research,

architecture is aimed to redefine the possibilities

digital software had progressed to nake the

for built space. The human-scale form which is

project possible and today computer-de-

technology-driven and the designer defined it

signed rendering, model and animations are

as a real-world application. The sculpture-para-

common practice for architectural firms but

metric form has a harsh lighting scheme and a

with digital advances ceating possibilities for

structure that vibrates with transducer-produced

more intricate designs on a scale larger than

sound which give visitor a sense of engagement

ever before, the resulting projects are often

with the Fornes public space.

elitist, in the vein of architects designing for architects.

As Fornes outlines “the situation room is really about an environment which tries to bring the

Computation enables for a new type of eco-

visitor into some kind of situation which is, on one

logical designing also, where we can now en-

hand very different from their own. On the other

visage materials with modulating condition of

hand, it’s a room. This is the smallest definition of

porosity, control of light penetration and etc.

architecture” he continues.

these concepts are the basis for ecological design in response to environmental condition and has become very common in contemporary practice, to simulate environmental condition and design to maximize benefits of continual factors.[1]

1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Fig1. Situation Room, Shop Front for Art and Architecture Source: ‘Shop Front for Art and Architecture‘, Marc Fornes & THEVERYANY Website, <http://www.theverymany.com/14-storefront/

Fig2. Situation Room, Shop Front for Art and Architecture Source: ‘Shop Front for Art and Architecture‘, Marc Fornes & THEVERYANY Website, <http://www.theverymany.com/14-storefront/

A.2. Design Computation Reaserch Pavilion I ICD/ITKE University of Stuttgart New York ‘13-14

Fig1.Research Pavilion by ICD/ITKE Source: ‘ICD/ITKE Research Pavilion 2013-14‘, Institute of Computational Design, University of Stuttgart, <http://icd.uni-stut

ttgart.de/?p+9952

Reseach Pavilion _ ICD/ITKE University of Stuttgart Stuttgart 2013-14

The new logic of algorithms and computa-

tal model, give designers the ability to explore

tion improves efficiency and performance

different solutions easily, while the computer pro-

of architecture, as well as facilitating incred-

cess technical work. The programming of com-

ible geometries and forms, computation

puters also generated new forms that was im-

enables us to model the structure of mate-

possible or too complicated to realize by human,

rial systems as tectonic systems, which has revolutionized contemporary practice. This

Computers can also replace human labor and

is evident in works such as the Research

perform construction with ultimate accuracy.

Pavilions of ICD/ITKE University of Stuttgart.

For example, the Research Pavilion was entirely constructed by robots and installed by human for

Computers also allow people to focus more

weaving. The precision of the robots saved time

on the creative part of design. The information

and labor for human, as well as creating struc-

presented by the computers, Such as a 3D digi

ture that was impossible before the digital age.

Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42

Fig1.Research Pavilion by ICD/ITKE Source: ‘ICD/ITKE Research Pavilion 2013-14‘, Institute of Computational Design, University of Stuttgart, <http://icd.uni-stuttgart.de/?p+9952

Fig2-3.Research Pavilion by ICD/ITKE Source: ‘ICD/ITKE Research Pavilion 2013-14‘, Institute of Computational Design, University of Stuttgart, <http://icd.uni-stuttgart.de/?p+9952

The

sen

stru

fab

tion al

exp

Fig1.Research Pavilion by ICD/ITKE Source: ‘ICD/ITKE Research Pavilion 2013-14‘, Institute of Computational Design, University of Stuttgart, <http://icd.uni-stuttgart.de/?p+9952

Fig2-5 Source

e ICT/ITKE Research Pavilion 2013-14, pre-

nted by ICT/ITKE team at University of Stutt-

art, is based on biological lightweight con-

uction principles. It demonstrates how the

evelopment of intergrative processes of

esign computation, simulation and robotic

brication enable the simultaneous explora-

n of novel design possibilities, constructioneffectiveness and robustness through the

pression of material charactristics.

5.Research Pavilion by ICD/ITKE e: â&#x20AC;&#x2DC;ICD/ITKE Research Pavilion 2013-14â&#x20AC;&#x2DC;, Institute of Computational Design, University of Stuttgart, <http://icd.uni-stuttgart.de/?p+9952

Fig1.Research Pavilion by ICD/ITKE Source: ‘ICD/ITKE Research Pavilion 2013-14‘, Institute of Computational Design, University of Stuttgart, <http://icd.uni-stuttgart.de/?p+9952

A .3

Composition

Fig1.THE SWARM (Birds Flocking) Source: â&#x20AC;&#x2DC;Grasshopper3d Website, <www.grasshopper3d.cpm/profiles/blogs/the-swarm

Generation

A.2. Compisition/Generation Dermoid velux Guest Professirship I CITA & Mark Burry, SIAL RMIT University, Melbourne 2009

Fig1.Dermoid Source: ‘Dermoid Australia’, The royal Dnish Academy of Fine arts, School of Architecture, design and Conservation, <http://kadk.dk/en/case/dermoid-australia

Fig2.Dermoid , After Strcuture Algorithms Source: ‘Dermoid Australia’, Daniel Davis Website, <http://www.danieldavis.com/thesis-ch6/

Computerisation has caused architects

Although computers can produce countless

themselves from compositional techniques

design and find ultimate solution for specific

which have categorized traditional geom-

design. Computational technologies are

etry, to the programmatic and experiential

broadly used nowadays that greatly impact

thinking.

on our design process and way of thinking, including algorithmic thinking, scripting.

Fig2.Dermoid , Structural Analysis of Dermoid Source: â&#x20AC;&#x2DC;Dermoid Australiaâ&#x20AC;&#x2122;, The royal Dnish Academy of Fine arts, School of Architecture, design and Conservation, <http://kadk.dk/en/case/dermoid-australia

Fig2.Dermoid , After Strcuture Algorithms Source: ‘Dermoid Australia’, Daniel Davis Website, <http://www.danieldavis.com/thesis-ch6/

This is good example of generation design process. This project shows a very insight concept in the process of generating from. This design agent firstly is scripted to have a series of attributes to control their behaviour. Then those responses determine the movement and add the architectural insertion.

Dermoid looks at reciprocal fram systems aiming to develop large span architectural structure from short timber members. designed as aggregates of double beams, the material flex is designed into individual elemt creating a complex layered weave for an architectural installation.

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Fig1.Dermoid Source: ‘Dermoid Australia’, The royal Dnish Academy of Fine arts, School of Architecture, design and Conservation, <http://kadk.dk/en/case/dermoid-australia

Fig2.Dermoid, Installation Source: â&#x20AC;&#x2DC;Dermoid Australiaâ&#x20AC;&#x2122;, The royal Dnish Academy of Fine arts, School of Architecture, design and Conservation, <http://kadk.dk/en/case/dermoid-australia

Fig1.Dermoid Source: â&#x20AC;&#x2DC;Dermoid Australiaâ&#x20AC;&#x2122;, The royal Dnish Academy of Fine arts, School of Architecture, design and Conservation, <http://kadk.dk/en/case/dermoid-australia

A.3. Composition/Generation

HygroSkin-Meteorosensitive Pavilion Achim Menges Architect + Oliver David Krieg + Steffen Reichert

Fig1.HygroSkin-Meteorosensitive Pavilion by Achim Menges Architect + Oliver David Kreig + Steffan Reichert Source: â&#x20AC;&#x2DC; HygroSkin-Meteorsosensitive Pavilionâ&#x20AC;&#x2122;, https://www.archdaily.com/424911/hygroskin-meteorosensitive-pavilion-achim-menges-architect-in-collaboration-with-oliver-david-krieg-and-steffen-reichert

HygroSkin-Meteorosensitive Pavilion_ Achim Menges Architect + Oliver David Krieg + Steffen Reichert France ‘13

Composition versus generation in an ongoing

change design on the fly and view the out-

debate with the advent of parametric archi-

come on the screen.

tecture, which introduces the concept of itera-

Computerisation has caused architects them-

tive generation. Composition refers to the for-

selves from compositional techniques which

mative architectural ideas during the process

have categorized traditional geometry, to the

of designing prior to the emergence of the final

programmatic and experiential thinking.

work. Although computers can produce countWith increasing processing power of comput-

less design and find ultimate solution for spe-

ers, architects can solve more complex de-

cific design. Computational technologies are

sign problems using parametric modelling. The

broadly used nowadays that greatly impact

most apparent benefit of use of generative

on our design process and way of thinking, in-

approach in architectural design process is

cluding algorithmic thinking, scripting.

tied to the word “parameters” itself. T he ability set parameters that are changeable greatly assist designers to

Fig1.HygroSkin-Meteorosensitive Pavilion by Achim Menges Architect + Oliver David Kreig + Steffan Reichert Source: ‘ HygroSkin-Meteorsosensitive Pavilion’, https://www.archdaily.com/424911/hygroskin-meteorosensitive-pavilion-achim-menges-architect-in-collaboration-with-oliver-david-krieg-and-steffen-reichert

In addition, Algorithmic thinking to put it simply, allows us to explore new ideas and frees us from the limitation of the past in regards to our ability to process complex sets of information efficiently. With the discovery of the possibilities of computation came a shift from composition to generation, where design process evolved from beyond the human mind to a critical relationship to include the computer and also nature.[1] The hygroskin is a modular wooden skin that interacts with the environment by adjusting to change in relative humidity, activating the elastic characteristic of wood

Fig1.HygroSkin-Meteorosensitive Pavilion by Achim Menges Architect + Oliver David Kreig + Steffan Reichert Source: â&#x20AC;&#x2DC; HygroSkin-Meteorsosensitive Pavilionâ&#x20AC;&#x2122;, https://www.archdaily. com/424911/hygroskin-meteorosensitive-pavilion-achim-menges-architect-in-collaboration-with-oliverdavid-krieg-and-steffen-reichert

1. Peters, Brady. (2013) â&#x20AC;&#x2DC;Computation Works: The building of Algorithmic Thought. 2. http://www.archdaily.com/424911/hygroskin-meteorosensitive-pavilion-achim-menges-architect-in-collaboration-with-oliver-david-krieg-and-steffen-reichert

Fig2.HygroSkin-Meteorosensitive Pavilion by Achim Menges Architect + Oliver David Kreig + Steffan Reichert Source: â&#x20AC;&#x2DC; HygroSkin-Meteorsosensitive Pavilionâ&#x20AC;&#x2122;, https://www.archdaily.com/424911/hygroskin-meteorosensitive-pavilion-achim-menges-architect-in-collaboration-with-oliver-david-krieg-and-steffen-rei

nges-architect-in-collaboration-with-oliver-david-krieg-and-steffen-reichert

A.4. Conclusion

the design appraoch investigated in this journal involves the direction which we need to take to reverse societies destructive behavior of our planet and its renewable resources. Education is the major driving factor and step toward a sustainable society. it is the responsibility of a miltitude of people in order to creat this awarness and educate people on the issues. Also design is a key which awarness can be generated through the use of algorithmic software, and parametric modelling, and all creative installation beyond the capabilities of the human mind.

Learning Outcomes

A.5. Learning Outcomes

Despite having a background in architecture, Architectural computing was a completely new concept for me. I thought the world of computing is limited to AutoCAD, ArchiCAD and 3ds Max and these software. I had previously worked with Rhino to create preconceived ideas, however grasshopper has drastically changed the possible outcomes as a result. Algorithms and parametric modelling are still relatively new concepts to me, and I slowly understand the basics behind these concepts. After being introduced to Grasshopper and Kangaroo, I have come to the conclusion that these softwares and plugins could have greatly increased the complexity and creativity of my design in addition to being capable for futuristic concepts, which suit the future needs.

Algoritmic Sketches

A.6. Algorithmic Sketchbook

1_ Nurbs, Voronoi and Pop3D were the main component of the shape which allows me to play more to creat a different parametric design. the first concept I had in mind was to transform these shapes and in particluar the final shape (left) to a sustainable building with green facade. Also it can be functioned as a structure of a bridge.

2_ The photo on the right is a snapshot of ‘ Castle in The Sky ‘ by Studio Gibili 1986 which was one of my favorite childhood cartoons. There was a moment when ‘ Laputa ‘ explodes and many cubes separate from the main body in different sizes. This shape reminds me of ‘ Laputa ‘ with the diamond inside it.

3_ Facade l

4_ Facade ll

5_ Facade lIl

6_ Conceptual

PART

CRITERIA

DESIGN

Fig1. Studio Air Algorithmic Sketch Ardalan Ed Mastoori

Selection .1 R E Criteria SEARCH

F IELD

Fig1.A microscopic mite Lorryia formosa _ Microscopic living organism Source: https://en.wikipedia.org/wiki/microorganism

BIOMIMICRY Design inspired by nature

Biomimetic architecture is a contemporary philosophy of architecture that seeks solutions for sustainability in nature, not by replicating the natural forms, but by understanding the rules governing those forms. It is a multidisciplinary approach to sustainable design that follows a set of principles rather than stylistic codes. It is part of a larger movement known as biomimicry, which is the examination of nature, its models, systems, and processes for the purpose of gaining inspiration in order to solve man-made problems.

form. Instead, biomimetic architecture looks to nature as a model to imitate or take inspiration from natural designs and processes and applies it to the man-made. It uses nature as a measure meaning biomimicry uses an ecological standard to judge the efficiency of human innovations. Nature as a mentor means that biomimicry does not try to exploit nature by extracting material goods from it, but values nature as something humans can learn from.[1]

Biomimetic architecture uses nature as a model, measure and mentor to solve problems in architecture. It is not the same as biomorphic architecture, which uses natural existing elements as sources of inspira tion for aesthetic components of

[1] Biomimetic Architecture, What is Biommicry? (Revised April 2016) <http://www.biomimetic-architecture.com/what-is-biomimicry/>

B.1.1

RESEARCH

F IELD I

Fig1.The Morning Line Rendering https://c2.staticflickr.com/4/3267/3213452409_4c19f696d1_b.jpg

CASE

STUDY

PRECEDENT

The Morning Line

Aranda Lasch Seville, Spain I Istanbul, Turkey I Vienna, Austria I Karlsruhe, Germany 2008 - 2013

Morning line is over 8 metres high and 20 metres long. It is built of 17 tons of coated aluminium. It draw its inspirations from interdisciplinary fields, such as, art, music, architecture, engineering, mathematics, physics, cosmology and technology. The structure is built from an idealized from which can be reconfigured into multiple architectural forms. It uses fractal cycles to build a model of the universe that scale up and down. The definition capitalise on how parametric design can be incorporated in real life design. The parameters of this model were explored which resulted in interesting geometry. In addition to the main definition, I managed to download/create new definitions to add to existing algorithms.

Fig1.The Morning Line Rendering https://c2.staticflickr.com/4/3267/3213452409_4c19f696d1_b.jpg

Problems experienced in the use of combined definition was crashing due to having a combined and large sets of definitions. Although this project was an interesting exploration, the form will not directly apply to our site. The morning lines has showed me how two connection of two or more lines in space are able to create a geometry which will enable me to use this principle in my future work.[2]

[2] The Morning Line, Aranda Lasch Website (Revised April 2016) <http://arandalasch.com/works/the-morning-line/>

Fig1.The Morning Line in Istnabul http://farm6.staticflickr.com/5270/5882758562_84ccd143e6_o.jpg

B.2.1

CASE

Iteratio

The Mor

100

S T U D Y 1.0

on Matrix

rning Lines

101

SPECIES

#01

#02

#03

#01

_ _ _ _

Evaluate Curve from 0.5 > 0.1 Jitter from 3 > 5 +Brep to mesh +WbOffset from 5 > 0.01

_ _ _ _ _ _

Evaluate Curve from 0.5 > 0.1 Jitter from 3 > 5 +Brep to mesh +WbCatmullClark +WbTriangles +Wbframe Distance #9

_ _ _ _ _ _ _

Evaluate Cur Jitter from 3 > +Brep to mes +WbCatmull +WbTriangle +Wbframe +WbCatmull

_ _ _ _

Evaluate Curve from 0.5 > 0.1 Jitter from 3 > 5 +Brep to mesh +WbWindows Distance #5

_ _ _ _ _

Evaluate Curve from 0.5 > 0.1 Jitter from 3 > 5 +Brep to mesh +WbCarpet +WbSplitPolygons

_ _ _ _ _

Evaluate Cur Jitter from 3 > +Brep to mes +Wboffset 5 > +WbSplitPoly

_ _ _ _

Further exploration Adding voronoi definition WbTicken WbCatmullClark

_ _ _ _

Further explo Adding voro WbTicken 5 > WbCatmullC

#02

#03

_ Further exploration _ Adding voronoi definition

102

#04

rve from 0.5 > 0.1 >5 sh lClark es

Evaluate Curve from 0.5 > 0.1 Jitter from 3 > 5 +Brep to mesh +WbWindow +WbCatmullClark +WbLoop

_ _ _ _ _ _

Evaluate Curve from 0.5 > 0.1 Jitter from 3 > 5 +Brep to mesh +WbCarpet +WbSplitPolygons +WbBevelVertices

rve from 0.5 > 0.1 >5 sh > 20 ygons

_ _ _ _ _ _

Evaluate Curve from 0.5 > 0.1 Jitter from 3 > 5 +Brep to mesh +WbCatmullClark +WbTriangles +Wbframe Distance #9

_ _ _ _ _ _

Evaluate Curve from 0.5 > 2 Jitter from 3 > 5 +Brep to mesh +WbCatmullClark +WbTriangles +Graft Tree

oration onoi definition >8 Clark

_ _ _ _ _

Further exploration Adding voronoi definition WbTicken 5 > 8 WbCatmullClark Changing PopGeo 50 points > 70

_ Different Exploration _Adding a random definition _WbBevelVertices Distance#11

lClark

103

_ _ _ _ _ _

#05

SPECIES

#01

#02

#03

#04

_ _ _ _

Adding Voronoi Random reduce R #32 Seed #6 MeshBrep

_ Adding Voronoi _ Random reduce _ R #32 Seed #6 _ MeshBrep _ Wbframe D #1.0 _WbTicken D #1.0

_ _ _ _ _ _

Adding Vo Random re R #32 See MeshBrep Wbframe D WbInnerPo

_ _ _ _ _ _

Adding Voronoi Random reduce R #32 Seed #6 MeshBrep WbTriangles WbWindow D #1.0

_ _ _ _ _ _

_ _ _ _ _ _ _

Adding Vo Random re R #32 See MeshBrep WbTriangle WbWindow WbOffset D

#05

Adding Voronoi Random reduce R #32 Seed #6 MeshBrep WbTriangles Wbloop D#5

#06

_ Back to Morning Line Definition _ Apply definition of species #5-#5

104

_ Free form expriement _ Apply definition of species #5-#5

_ Free form _ Apply defi _WbsplitQua

#04

oronoi educe ed #6

D #1.0 olygone

oronoi educe ed #6

es w D #1.0 D#5

expriement finition of species #5-#5 ads + BevelVertices

105

#05

_ _ _ _ _ _

Adding Voronoi Random reduce R #32 Seed #6 MeshBrep Wbframe D #2.0 WbTriangles

_ _ _ _ _ _

Adding Voronoi Random reduce R #32 Seed #6 MeshBrep Wbframe D #2.0 WbOffsetMesh #5.0

_ _ _ _ _ _ _

Adding Voronoi Random reduce R #32 Seed #6 MeshBrep WbTriangles WbWindow D #1.0 WbOffset D#10

_ _ _ _ _ _ _ _

Adding Voronoi Random reduce R #32 Seed #6 MeshBrep WbTriangles WebWindow D #1.0 WebOffset D#5 WbSplitQuads

_ Free form expriement _ Webframe

_ Free form expriement _ Webframe _WbsplitQuads

B2.2

SUCCESSFUL

ITERATIONS

Extrapolation

[Opinion] This form is the alteration of the Morning Line definition which is highly capable of for hanging plants or lights between two shopping malls such as Lonsdale Street which is lack of vegetation is obvious.

[Design Potential] Hanging plants and lights or can be used as a pavilion or type of indication for gathering.

106

107

B.2.2

SUCCESSFUL

ITERATIONS

Extrapolation

[Opinion] I found this shape/definition interesting due to being floaten in the space which was relevent to what I have chosen for case study 1.0 , The Morning Lines.

[Design Potential] T hroughout the design of the shape and with regards to precedents that I looked at, this form could be used as a pavilion in outdoor space. Also it can be used as a study form for self-support structure which I believe with investigating more in this matter and more attempt in designing the structure, this form can be a self-support playground-pavilion.

108

109

B.2.2

SUCCESSFUL

DESIGN

ITERATIONS

POTENTIAL

[Opinion] Voronoi skeleton is a very interesting form which can be used as a design for everything. From bridges, skyscrapers or pavilion to furniture design. I found this form interesting because in recent years, in Melbourne, I have seen many competitive firms/companies proposing a type of parametric shape skyscraper. One of my favourite ones was the Zaha Hadid proposal which is still in design phase.

[Design Potential] Despite having many potential, I have chosen this form to be skyscraper in Melbourne site due to lack of visible parametric design that can be seen in this city

110

111

B.2.2

SUCCESSFUL

DESIGN

ITERATIONS

POTENTIAL

[Opinion] I was surprised with voronoi structure/form because this form has so many capabilities from a large scale (a skyscraper) to a very small scale which I would like to develop it to lead the form to more practical or complicated.

[Design Potential] It has capability of being a organicshaped bench. the site could be a elavted trail such as High line in New York or below skyrail in Melbourne.

112

113

B.3

CASE

REVERSE

C_Wall

114

EN I

S T U D Y 2.0

NGINEERING

Airspace Tokyo

115

B.3.1

PROJECT

I N T RO D U C T I O N

C _ Wall

Matsys Banvard Gallery, Knowlton School of Architecture Ohio State University, Columbus, Ohio 2006

C-Wall fascinate me because it can visually be light and delicate, but contrary to its appearance, it has surprising structural abilities. From Matsys Design: â&#x20AC;&#x2DC;This project is the latest development in an ongoing area of research into cellular aggregate structure that has examined honeycomb and voronoi geometries and their ability to produce interesting structural, thermal, and visual performances.â&#x20AC;&#x2122; The geometry and layering produces an interesting play of light and shadows that enhances a sense of depth. The C-wall dynamic in the sense that the shadow transform depending on the angle of light and vantage point. The perforated wall especially with the zigzag-shaped plan, remind me of folds of lace. Its zigzag shape, the very thing that enhances the feeling of delicacy, actually gives the wall structural stability.

116

Fig2.C_wall by MATSYS http://matsysdesign.com/2009/06/19/c_wall/

117

Fig1.C_wall by MATSYS http://matsysdesign.com/2009/06/19/c_wall/

118

Fig2.C_wall by MATSYS http://matsysdesign.com/2009/06/19/c_wall/

119

B.3.1

PROJECT

INTRODUCTION

Airspace Tokyo Faulders Studio Tokyo, Japan 2007

The Airspace Tokyo by Faulders Studio is double-skin of a four story multifamily in Tokyo. The voronoi-shaped facade gives an architectural-replication to the old-systemfacade. I was interested in how voronoi cells can be transformed to a double-2D shape facade which can distribute light into building in an artistic way. Tough generated through different design methodologies, the final outcome is not conceived as a separation between the proportionally

Fig1.C_wall by MATSYS http://img.archilovers.com/projects/C1CF3F4D-E613-4A9A-B29B-B99645F8B350.jpg

120

121

Fig1.C_wall by MATSYS http://img.archilovers.com/projects/C1CF3F4D-E613-4A9A-B29B-B99645F8B3588.jpg

122

Fig2.C_wall by MATSYS http://img.archilovers.com/projects/C1CF3F4D-E613-4A9A-B29B-B99645F8B367.jpg

123

B.3.2

REVERSE

STEP

124

ENGINEERING I

PROCESS

Rectangular Box within rectangle plan and extrude

Papulate geometry with points _ PopGeo

Volumetric voronoi diagram for a collection pointS_ Voronoi 3D

Co ne hig re w _W

omputes a ew mesh with gher genues esulting meshes with quad faces Wbframe

125

Subdevision _WbCatmullClark

Final Outcome

B.3.3

126

REVERSE

ENGINEERING

LINE

DRA

AWING

127

B.3.4

LINE

DRAWING

F A C A D E _ LINE

AIRSPACE

128

T O K Y O _ LINE

DRAWING

AIRSPACE

129

T O K Y O _ FINAL

OUTCOME

B.4. T E C H N IQ U E

B.4.1 I T E R A T I CASE S

130

E :

DEVELOPMENT

ION MATRIX T U D Y 2.0

131

_ Hexigone Grid _ Changing surface points

#01

#05

_ Hexigone Grid _ Changing surface points

#02

132

Hexigone Grid Changing surface po WbFrame Distance # WbCatmullClark

_ _ _ _

Hexigone Grid Changing surface po WbFrame Distance # WbFrame Distance #

_ _ _ _

Hexigone Grid Changing surface po WbWindows WbFrame

#07

_ Hexigone Grid _ Changing surface points _ WbLapLace

#04

_ _ _ _

#06

_ Hexigone Grid _ Changing surface points _ WbCatMullClark

#03

_ Hexigone Grid _ Changing surface po _ WbLapLace Level #2

#08

oints

_ Hexigone Grid _ Changing points

#13

#09

oints #8

_ _ _ _

Hexigone Grid Changing points WbcatmullClark S #2 WbSierpinski Level #3

#10

oints #8 #5

#12

133

_ Hexigone Grid _ Changing points _ Flip both surface

#14

_ Hexigone Grid _ Changing points

#11

oints

_ Hexigone Grid _ Changing points _ Flip second surface

_ Hexigone Grid _ Changing points

#15

_ Hexigone Grid _ Changing points _ PopGeo _ Construct mesh _Explode

_ Hexigone Grid _ Changing points _ Flip First surface

#16

TOP VIEW 134

#01

#05

#02

#06

#03

#07

#04

#08

135

#09

#13

#10

#14

#11

#15

#12

#16

_ _ _ _

Hexigone Grid Changing surface points PopGeo Delaunay mesh

#17

Hexigone Grid Changing surface points PopGeo Delaunay mesh Wbtriangles

#18

_ _ _ _

Hexigone Grid Changing surface points WbFrame WbcatmullClark

#22

_ _ _ _ _ _

Hexigone Grid Changing surface points PopGeo Delaunay mesh Wbtriangles WebFrame

#19

_ _ _ _

#23

_ _ _ _ _

136

Hexigone Grid Changing surface points WbFrame WbcatmullClark

#21

_ _ _ _ _

#20

_ _ _ _

Hexigone Grid Changing surface points WbFrame WbTicken WbLoop

#24

Quad Grid 20*20 Delaunay mesh Construct Domain A#0 Construct Domain B#0

Surface #1 > Hexigone Grid Surface #2 > Quad Grid Construct Domain A#0.7 Construct Domain B#0.1

_ _ _ _

Surface #1 > Hexigone Grid Surface #2 > Quad Grid Construct Domain A#0.00 Construct Domain B#1.00

Surface #1 > Hexigone Grid Surface #2 > Quad Grid Construct Domain A#0.00 Construct Domain B#0.00

137

_ _ _ _ _

Surface #2 > Hexigone Grid Surface #1 > Quad Grid Construct Domain A#0.1 Construct Domain B#0.2 WbLoop

_ _ _ _ _

Surface #2 > Hexigone Grid Surface #1 > Quad Grid Construct Domain A#0.1 Construct Domain B#0.2 Flipped Surfaces

#30

_ _ _ _ _

Surface #2 > Hexigone Grid Surface #1 > Quad Grid Construct Domain A#1.00 Construct Domain B#1.00 Cull Nth

#29

_ _ _ _

_ _ _ _ _

Surface #2 > Hexigone Grid Surface #1 > Quad Grid Construct Domain A#1.00 Construct Domain B#1.00 Cull Nth

#31

_ _ _ _ _

Surface #1 > Hexigone Grid Surface #2 > Quad Grid Construct Domain A#1.00 Construct Domain B#1.00 Cull Nth

#32

_ Hexigone Grid _ Changing points

TOP VIEW

#17

138

#21

#18

#22

#19

#23

#20

#24

#25

#26

#30

#27

#31`

#28

139

#29

#32

#33

_ _ _ _

Hexigone Grid Changing surface points PopGeo Delaunay mesh

#37

_ _ _ _

Hexigone Grid Changing surface points WbFrame WbcatmullClark

#34

_ _ _ _ _

Surface #2 > Hexigone Grid Surface #1 > Quad Grid Construct Domain A#0.1 Construct Domain B#0.2 WbLoop

#38

_ _ _ _

Surface #1 > Hexigone Grid Surface #2 > Quad Grid Construct Domain A#0.00 Construct Domain B#0.00

#35

_ _ _ _

Quad Grid 20*20 Delaunay mesh Construct Domain A#0 Construct Domain B#0

#36

140

_ Hexigone Grid _ Changing points

#39

#40

_ _ _ _ _ _

Hexigone Grid Changing surface points PopGeo Delaunay mesh Wbtriangles WebFrame

_ _ _ _

Surface #1 > Hexigone Grid Surface #2 > Quad Grid Construct Domain A#0.7 Construct Domain B#0.1

#41

#42

#43

#44

141

#45

_ _ _ _ _

Surface #2 > Hexigone Grid Surface #1 > Quad Grid Construct Domain A#1.00 Construct Domain B#1.00 Cull Nth

Hexigone Grid Changing surface points PopGeo Delaunay mesh Wbtriangles

#46

_ _ _ _

Hexigone Grid Changing surface points WbFrame WbcatmullClark

_ _ _ _ _

Surface #2 > Hexigone Grid Surface #1 > Quad Grid Construct Domain A#1.00 Construct Domain B#1.00 Cull Nth

#47

_ _ _ _ _

Surface #2 > Hexigone Grid Surface #1 > Quad Grid Construct Domain A#0.1 Construct Domain B#0.2 Flipped Surfaces

_ _ _ _ _

Surface #1 > Hexigone Grid Surface #2 > Quad Grid Construct Domain A#1.00 Construct Domain B#1.00 Cull Nth

_ _ _ _ _

Hexigone Grid Changing surface points WbFrame WbTicken WbLoop

_ _ _ _

Surface #1 > Hexigone Grid Surface #2 > Quad Grid Construct Domain A#0.00 Construct Domain B#1.00

_ _ _ _ _

#48

TOP VIEW 142

#33

#37

#34

#38

#35

#39

#36

#40

#41

143

#45

#42

#46

#43

#47

#44

#48

B.4.1

SELECTION

#1 [ LIGHT DISTRUBATION // EFFECT // SHADOW ]

CRITERIA #2

[ ACOUSTIC ]

[ FABRICAB BUILDINGA

Flexiable lighting planning is spe-

In an office conference room, it is

Mitigating the diffi

cially needed for conference and

important to contain sound within

and assembling o

meeting rooms in order to fulfil the

the room while preventing the out-

is important. This m

diverse requirements of ambience

side intrusion. A suspended ceiling

with other criteria

and functionality. Whether for pre-

will block intruding noise and ab-

the structural qua

sentations, business discussions or

sorb sound within the room-minimis-

pearance. It is ha

creative workshops, light colours and

ing reverberation. Good acoustics

form shapes, main

direct and indirect light in various

within a conference room setting

fabrication machi

combinations enable illumination

will deliver clarity to speech, quality

process flat mater

precisely according to needs. Light-

to audio visual presentations, and

complexity increa

ing would maximise the meetings.

privacy from the rest of the building

as soon as we mo

By creating an environment that

outside the conference room set-

Cost is also a big is

aids concentration and well-being.

ting.

tive structures exp

formation of mat

shape and stiffness

intuitive but fascin

144

BLE // ABILITY ]

[ MATERIAL PERFORMANCE ]

[ BIOMMICRY

MORPHOLOGY // BIO-MMIMIC DESIHGN ]

ficulties in building

Choosing the right material is essen-

Along with satisfying other criteria ,

of any installation

tial part of a successful design. Un-

the main focus is designing a ceiling

means that along

derstanding the material properties

for conference room based on a re-

a, it has to satisfy

and reactions to the environment

search field or combination of two

ality within the ap-

to accommodate the functions is

or more which in this project, biomi-

ard to build free-

the key issue of every proposal, es-

metic principles is the key design.

nly because most

pecially in parametric design. The

ines are meant to

focus of the project is to design a

rial stock, and the

ceiling with timber (or any proposed

ases exponentially

material) that would embody the

ove from 2D to 3D.

potential of parametric design and

ssue. Bending-ac-

ploit the large de-

terials to achieve

s, often is counter-

nating ways.

145

digi-tal fabrication.

146 TOP

#15

#02

TOP

VIEW

PERSPECTIVE

SUCCESSFUL

VIEW

PERSPECTIVE

#15

B.3.5 B.4.2 ITERATIONS

M E E T I N G T H E C R I T E R I A // LIGHT ACOUSTIC FABRICABLE MATERIAL PERFORMANCE DESIGN

DESIGN

POTENTIAL

7 5

OVERALL

36 / 50

COMMENT

// Despite this Honeycomb modular design scored 8 in light criteria due to having gap between each sides and 9 in fabrication because of ease in making the shape, the overall design is not able to meet the high standard of the criteria which could be the weak point of the overall score.

M E E T I N G T H E C R I T E R I A // LIGHT ACOUSTIC FABRICABLE MATERIAL PERFORMANCE DESIGN

OVERALL

DESIGN

POTENTIAL

10 6

3 3

25 / 50

COMMENT // [Opinion] Most of the time, a very complicated modular shape with capability to respond to the site and surrounding along with nice-looking appearance would not be considered as a good design unless we put fabrication and the material performance in account. Fabricating this design might be very challenging and time-consuming which is the main reason scoring 25/50.

147

148 TOP

#15

TOP

VIEW

PERSPECTIVE

B.3.5 SUCCESSFUL

#02

B.4.2

VIEW

PERSPECTIVE

#15

zzzzzzzzzzz

ITERATIONS

M E E T I N G T H E C R I T E R I A // LIGHT ACOUSTIC FABRICABLE MATERIAL PERFORMANCE DESIGN

DESIGN

POTENTIAL

OVERALL

33 / 50

M E E T I N G T H E C R I T E R I A // LIGHT ACOUSTIC FABRICABLE MATERIAL PERFORMANCE DESIGN

OVERALL

DESIGN 9

POTENTIAL

8 10

43 / 50

COMMENT // Different sizes of opening and closure built in two different skins [layers] of the design block the sound wave and do not let the noise to reflect from ceiling. // [Self-supporting structure] sufficient numbers of voronoi cells let the volume stand on its own without requiring a further support. ( Self-support in this instance means that the suspended cells support and transfer their loads to each other which prevent collapsing the shape; if fabrication and assembling done properly) // Conference room requires or at least it is better to have in-direct light which can be positioned inside the cells. Also, the effect of the in-direct and dis-order lighting would be pleasant for both clients and employees.

149

150 TOP

#42

#37

TOP

VIEW

PERSPECTIVE

SUCCESSFUL

VIEW

PERSPECTIVE

#42

B.4.2 B.3.5 ITERATIONS

M E E T I N G T H E C R I T E R I A // LIGHT ACOUSTIC FABRICABLE MATERIAL PERFORMANCE DESIGN

DESIGN

POTENTIAL

OVERALL

36 / 50

COMMENT

// [ lower score than #15 ] Different sizes of opening and closure built in two different skins [layers] of the design block the sound wave and do not let the noise to reflect from ceiling.

// [ lower score than #15 ] Conference room requires or at least it is better to have in-direct light which can be positioned inside the cells. Also, the effect of the in-direct and dis-order lighting would be pleasant for both clients and employees.

M E E T I N G T H E C R I T E R I A // LIGHT ACOUSTIC FABRICABLE MATERIAL PERFORMANCE DESIGN

OVERALL

DESIGN 8

POTENTIAL

8 8

39 / 50

COMMENT // [ lower score than #15 ] Different sizes of opening and closure built in two different skins [layers] of the design block the sound wave and do not let the noise to reflect from ceiling. // [ lower score than #15 ] Conference room requires or at least it is better to have in-direct light which can be positioned inside the cells. Also, the effect of the in-direct and dis-order lighting would be pleasant for both clients and employees.

151

152 TOP

#48

#39

TOP

VIEW

PERSPECTIVE

SUCCESSFUL

VIEW

PERSPECTIVE

#48

B.3.5 B.4.2 ITERATIONS

M E E T I N G T H E C R I T E R I A // LIGHT ACOUSTIC FABRICABLE MATERIAL PERFORMANCE DESIGN

DESIGN

POTENTIAL

OVERALL

37 / 50

COMMENT

// The voronoi one-skin-surface is not a good design for ceiling installation unless the lack of sound isolation would be considered. This design is similar to the #15 with this difference that the first (bottom) layer is taken which will decrease the score for acoustic and the overall score.

M E E T I N G T H E C R I T E R I A // LIGHT ACOUSTIC FABRICABLE MATERIAL PERFORMANCE DESIGN

OVERALL

COMMENT

DESIGN 8

POTENTIAL

8 9

39 / 50

// The comments is similar to #15 with thsi difference that in this instance, the cells are Decreased which directly influence the acoustic and lighting score. But overall it is capable of being chosen as one of the design proposals.

153

B.5

T E C H N I Q U E : PROTOTYPE [3D P R I N T]

To fabricate the succesfull iterations, I have looked at three different fabrication approches. Also I have consulted stuff from FabLab at university of Melbourne and discuss each possibility. The three different fabrication method I considered were 3D printing, Lase cutting and manual fabrication.

As nearly all the successful iterations were voronoi-based form, possibly, the best option to fabricate (in small scale) was to 3d print the shape with ZCorp Z450, Up BOX and Up Plus 2 at University of Melbourne. Another possible option was to 3D print the external face (without holes) and considering another method of fabrication to show the details. Zcorp 3d printer which was preferred method, is the additive oriented process that uses resin (powder) to create complex forms. This approach offers high degree of accuracy and high quality in surface finish or detailing. After getting feedback, I decided to cross these options due to its cost and availability of the fabrication machine.

154

[L A S E R R C U T T I N G]

[M A N U A L F A B R I C A T I O N ]

Laser cutter uses a flatbed cutting plotter from 2D line drawings which this approach gives the ability to cut up to 20mm thickness of material.

Regardless of the high-quality of the model, Manual fabrication was the easiest, less time consuming method.

the main issue (for voronoi) in this method in regard to the brief I was given to choose among timber ranges was that voronoi creates random cells which every cells have neighboring shared faces therefore when the cells are unrolled, barely you can find any closed form. after consultation with tutors, I found out that there are a few options which was late to do therefore the best possible choice was choosing closed cells manually. Another difficulty for fabrication was the connection between each face of the cells which was time consuming.

155

Basically, manual fabrication in this instance was to cutting the found closed cell and fabricate them with cardboard or paper. Despite having the capability of showing the concept, the quality was not desirable. As someone not familiar with the methodology of fabrication, in future, I would like to explore more specially in regards to my voronoi-based installation

B.5

156

T E C H N I Q U E : PROTOTYPE

157

B.5

158

T E C H N I Q U E : PROTOTYPE

159

B.5

160

T E C H N I Q U E : PROTOTYPE

[STUDYING MODEL] As I mentioned, fabricationg voronoi has a few difficulties which study modelling will enable you to have better understanding of how connection and the folding work. Also, this was essential in my work to design the clicks properly. Even one wrong click would compeletly waste the whole model.

[FINAL METHOD] My final method for fabricating these vonoi cells would be choosing different closedcells and laser cut them for assembly. Also I would have a 3D print to illustrate the whole installation.

161

B.6

DESIGN

perspective

162

PROPOSAL

TOP

163

VIEW

DESIGN

PROPOSAL

RENDER

B.6

164

165

B.7

LEARNING

OUTCOM E

[G R A S S H O P P E R ]

[F A B R I C A T I O N]

Learning outcome

For me, Grasshopper, at the beginning of the semester was just a design tool to create cool stuff. Although I am still very new in this tool but I can say that grasshopper will take architecture to an unlimited level, from designing sustainable building to even cost estimation.

Despite being 3rd year architecture student, using laser cut and 3D print were new to me. In this limited time I managed to familiarize myself more with the methods of fabrication which I guess is an essential skills within using the parametric tools.

The interesting fact is that you can create a shape/form with different methods. For instance, I asked a question in technical session at University of Melbourne from two different tutors and I was given two different answer which both ended up creating the same geometry.

166

I LEARNING

Having knowledge in fabrication would help me look at the different aspects of a form during using the parametric tools such as grasshopper. Knowing how to use the capabilities of this unlimited plug-in without having enough information in fabrication is useless.

OUTCOM E [S K I L L S]

Learning Objective

D d f s

The production of the journal as well as weekly algorithmic sketchbook requires that we work in different tools and technique in producing wide range of media such as 3D modeling, diagrammatic analysis, page design as well as photo editing. Furthermore, typical typical of a studio based learning, model making was included however new technique of digital fabrication is introduced.

n t e n

167

B.8

168

APPENDIX-ALGORITHMIC SKETCHBO

OOK

[ #1 ] Pavi-Lyon

In producing this form, I was introduced to a couple of components such as subdivision. I have learnt how to produce sets of Algorithms/ components and merge them to create these forms.

169

B.8

170

APPENDIX-ALGORITHMIC SKETCHBO

OOK

[ #2 ] Chrysalis

within exploring the possibilities for the case study 2.0, I combined two different definitions from two different precedents which gave me an interesting shape.

171

B.8.1 R E F E R E N C E S B.8 A P P E N D I X - A L G O R I T H M I C

SKETCHBO

Airspace tokyo, Archilovers (Revised April 2016) <http://img.archilovers.com/projects/C1CF3

Airspace Tokyo, Faulders Studio Website (Revised April 2016) <http://faulders-studio.com/AIR

Biomimetic Architecture, What is Biommicry? (Revised April 2016) <http://www.biomimetic-ar

Conference Room Lighting, Trilux Website (Revised April 2016) https://www.trilux.com/en/app

Conference Room, Sounds of Science (Revised April 2016) <http://www.sofsci.com/conferenc

Fablab, Melbourne School of Design, University of Melbourne (Revised April 2016) < https://ms

Melbourne Skyrail, Domain.com (Revised April 2016) <http://www.domain.com.au/news/mel

Microorganism, Wikiperdia (Revised April 2016) <https://en.wikipedia.org/wiki/microorganism

The Morning Line, Aranda Lasch Website (Revised April 2016) <http://arandalasch.com/works

172

OOK

3F4D-E613-4A9A-B29B>

RSPACE-TOKYO>

rchitecture.com/what-is-biomimicry/>

plications/office/lighting-of-offices/meeting-rooms/

ce-room>

sd.unimelb.edu.au/fablab >

lbourne-sky-rail-what-does-the-city-need-from-new-underpasses-20160211-gmpone/>

s/the-morning-line/>

173

PART

DETAILED

174

DESIGN

175

C.1

INTERIM PRESENTATION

[BIOMMICRY ]

[VORONOI]

The main fundamental issue around the project was the question â&#x20AC;&#x2DC;that how this project is related to the concept of biommicryâ&#x20AC;&#x2122;.

in new part of the design phase. Despite voronoi creates a complex and volumetric form which is desirable and it gives the place a sense of singularity but it does not reflect the main concept.

Issue associated with the concept of Biommicry

In one hand my design intention was to create a geometry/form inspired by nature, for instance, the vessels of a leaf. In the other hand, the main idea of bio-mimic design is the imitation of the models, system and elements of nature for the purpose of solving complex human problems, not just a design that looks like an element in nature. This was a fundamental issue that need to be addressed in new part of the design phase.

176

FEEDBAC

Issue associated with the form

In addition, although voronoi is a very volumetric form but its mass is not an appropriate form for a ceiling installation that can be fitted into a 24 square metres meeting room unless it would be a combination of voronoi surface and volume.

CK [FABRICATION ]

Issue associated with the concept of Biommicry

Regardless of any other issue, one of the selection criteria was build-ability of the form in a limited time and budget as this project was a real project for Hachem office. As it was mentioned in learning outcome, fabrication of voronoi is very timeconsuming which need to be more investigated in terms of connection between each voronoi cell and the way these cells can be suspended as a ceiling installation.

x e t

a s g a -

177

C.2

ADDRESSING

ISSUES

[BIOMMICRY ]

[VORONOI]

To solve the issue,the team decided to focus more on one of studentâ&#x20AC;&#x2122;s geometry and pick-up the positive aspects of other projects.

The selected project was a dif ferent geometry which basically pick up the logics from Serouss Pavilion 2007 and the ICD/ITKE Research Pavilion 2010. Also the volume of voronoi applied to the geometry to create the flow.

Idea of flow in nature

Despite the chosen geometry need to be developed more, but it optimizes he design of the concept around the flow of idea in a meeting room located in architecture firm. Also by focusing on between spaces that exist, we could create better experimental flow for our site occupants. This will help us tie our design ideas together to support the overarching design concept, which ultimately leads to more functional, beautiful and meaningful poetics.

178

THE

Issue associated with the form

[FABRICATION ]

Issue associated with the concept of Biommicry

fy si E o d e

179

In regards to build-ability, fabricating this geometry seems to be easier and less time-consuming than voronoi.

C.2.1

180

STRATING

POINT

After the completion of part B, our studio decided to merge into a big tutorial group with more detailed work for each section of the project. Two projects were selected which show the conceptual basis of this design revolves around the ideas of flow and growth.

The design embodied the values that are core to the space of a meeting room, as an area that facilitates discussion, creativity, conceptualisation, the expansion and development of ideas, and the growth of relationships between clients and amongst designers.

The first projecy ba Clair Lin was a combination of many strips forming a sussage-shape design. The second proposal by me (Ardalan Mastoori) was a voronoi shape ceiling installation with too much compelexity in terms of fabrication.

The design proposal for the ceiling installation stories therefore to engender a physical expression of flow. It is in this way the design is reminiscent of, and interconnected with, its context.

181

C.3

FINALISING

CONCEPT

F 182

FLOW T H E C R E AT I V E S TAT E

183

C.3.1

184

FINALISING

CONCEPT

FLOW BIOMIMICRY AND PARAMETRIC DESIGN

rather than stylistic codes. It is part of a larger movement known as biomimicry, which is the examination of nature, its models, systems, and processes for the purpose of gaining inspiration in order to solve man-made problems.

HydroScope: Meteorosensitive Morpholy. Achim Menges in Collabration with Steffen

ICD/ITKE Research Pavilion 2013-14

Reichert. Institute of Computational Design, 2012.

http://www.designboom.com/wp-content/uploads/2014/08/icd-itke-research-pavilion-stuttgart-2014-designboom-01.jpg

http://www.fastcodesign.com/1670629/a-no-tech-ventilation-system-that-changes-with-humidity

Projects such as research pavilion 2013-14 by ICD-ITKE and HydroScope by Achim Menges and Steffan Reichert demonstrate the integration of biommicry with parametric design. They are both parametrically designed sculptures which demonstrate the application of biomimetic explo

ration with computation design, to produce a design outcome with complexity.

ICD/ITKE Research Pavilion 2013-14 http://www.designboom.com/wp-content/uploads/2014/08/icd-itke-research-pavilion-stuttgart-2014-designboom-01.jpg

185

C.3.2

FINALISING

+ L-SYSTEMS BOIDS

186

CONCEPT-CONSEQU

ENCES

SYSTEMIC MOTION 1 The exploration of BOIDS algorithm and L systems looked towards as a guiding influence in exploring the articulation of the curves, the interstices, and the separations of the tubes throughout the design. Both of these algorithmic rules sets were developed through research into natural systems such as flocking the birds, producing strangely compelling visualisations.

187

By altering the parameters integrated into the algorithms, different forms arose in the process. The first study (below) of these alterations was focused on the two-dimensional experiment s based on systemic growth with the factors including the spawn location and count of the agents, behaviour and their bounding geometry.

C.4

188

FINALISING

CONCEPT-CONSEQUEN

CES

SYSTEMIC MOTION 2 Katerina Karadimas who was responsible to explore the concept, Also expriement second and final study followed the same laws as the previous, while this time functioning in three dimension. Surprising variations came o being from the same parameters as previous. The design team deems the

189

second set of iterations to be most relevant to the tube-like form in development. Due to the nature of the original ceiling installation algorithm and time constraint, this agent-based definition was not able to be integrated into the final design.

C.4

190

FINALISING

GEOMETRY

191

ITERATI

C.4.1

192

FINALIS

IONS ING

193

GEOMETRY

194

195

196

197

198

199

C.5

SELECTION CRITERIA

#1 [ LIGHT DISTRUBATION // EFFECT // SHADOW ]

200

[ FABRICABLE // BUILDINGABILITY ]

201

[ MATERIAL PERFORMANCE ]

[ BIOMMICRY

MORPHOLOGY // DESIGNWISE ]

C.6

202

INTERIM PROPOSAL

203

C.6.1

INTERIM PROPOSAL-GEOMETRY

GRID SPREADING+ TWO SETS OF ATTRACTORS TO CHANGE THE RAIUS OF THE CIRCLS AND THE INTERFERENCE EFFECT+ CIRCLES SIT ON THE POINTS ON THE LINES

204

ORMATION

GRID PINCH+ ONLY ONE FACTORS CHANGE THE RADIUS OF THE CIRCLS AND THE INTERFERENCE EFFECT+ CIRCLES SIT BETWEEN THE CURVES

205

DESIGN

DEVELOP

C.7

206

ITERATI

P M E N T // I T E R A T I O N S ON MATRIX

207

208

#01

#05

#02

#06

#03

#07

#04

#08

209

#09

#13

#10

#14

#11

#15

#12

#16

210

#17

#21

#18

#22

#19

#23

#20

#24

#25

#29

#26

#30

#27

#31

#28

211

#32

#33

#37

#34

212

#34

#38

#35

#39

#36

#40

#41

#42

#43

#44

213

SUCCESSFUL

ITERATIO

C.8

ITERAT

+ I S S U E S AND

These form were selected by o best possible options for the con tures, some were erratical, ano tually we came up w

214

O N S // F O R M

TION MATRIX HIGHLIGHTED

FEATURES

our design group which illustrate the ncept of flow. each has its own feaother option was to linear but evenwith the final geometry.

215

DEVELOPMENT

Very Flat Less quality Cutted edges

Very refined Complex

216

Aesthetically embodies the conceptual design the flow of the curve

Highly complex geometry with negetive spaces sharper bends the low elegency for meeting-room

217

FINAL

C.8.1

B.4.1 I T E R A T I O N

218

T UTD ICTA ES ER SA

EOMETRY

N MATRIX

TD IY O2.0N M A T R I X

219

220

221

222

223

C.7

224

STRIPS+CONNECTIONS

STRIPS + CONNECTIONS 225

C.7.1

STRIP CONNECTIONS -

BASE GEOMETRY

STRIPS APPLIED TO BREP

WEAVING STRIPS TO INTERSECT

FINDING THE MID POINT OF INTERSECTIONS TO CREATE POINTS FOR FABRICATION.

226

PROTOTYPE

MODELING

227

C.7.2

S T R I P/ M A T E R I A L

T E S T I N G // POLY

// Initial Prototype: Polypropyleme | Tabs

228

YPROPELEME Initial Prototype I Polypropyleme

The prototype test begins with the final grasshopper definitions. In this stage the responsible group for testing the material and prototypes start investigating to find the cost effective and minimal way to produce the geometry. Clinton Birad who is responsible explains this stageâ&#x20AC;&#x2122;s goal to determining if the weaving pattern wold be substantial in acting on its own without the inclusion of any kind of interior support.

229

C.7.3

S T R I P // M A T E R I A L T E S T I N G // PAPE

Prototype: Timber Veneer Laminate Back | Rivets

230

ERBACKED

231

Prototype: Timber Veneer Laminate Back |

Members

fabrication

team

sourced timber veneer which most likely was the desired material for this purpose but the only concern was that the material seemed to be rigid therefore they started exploring the bending capacity of the material to satisfy the curvature bend of the final geometry. unfortunatelty the material was too rigid and snapped easily when joining together with rivets. for moving forward, we as a whole group decided to use a thiner and less rigid material such as paperbacked venner for the final geometry but there was still concern for breaking points.

232

Press Studs

Rivets

TIMBER VENEER LAMINATE BACK

TIMBER VENEER PAPER BACK

BREAKING POINT

233

C.7.4

Engineering

Contour Brep #1 _Divide Surface Brep _Fit Circle // Calculate Area of Brep _Calculate Area _Perpendicular Frames

Weave

_Shift list of Divide Curve Compondent _Cull List _Connect Weave Component

Divide Brep Intersection #9 _Solve Intersection Eevents for two Breps _Divide Curve _Determine Number of Segments to divide

234

Strip

Developme

Loft Brep Surface #2 _Brep Plane I Solve Intersection Evenets for Brep Surface _Connect to Loft Surface

Interpolate Curve

_Interpolate Curve through Weaving Pattern _Data inside parameter is graphed

Evaluate Surface #10 _List Item I Divided Curve points _Find Closest Point on the Surface _Evaluate the surface properties at UV coordinates

ent

Strip Measure #3

Divide Contour Length #4

_Series I Create a Series of Numbers _Construct Domain _Extract Isoparametric Subset of Surface

Lofted Surface I Final

_Merge Interpolated Components _Loft Surface together _Extrude Component with Number Slider Variable

Circle Centre Point #11

(CNR)

_Create Circle Defined by Centre Point _Create numberic slider for radius Size

235

_List Item into two measurment _Divide Length of Curves _Number Slider I Determine amount by which curve is divided

Explode Brep _Patition lofted surface _Explode Data Tree _List Brep Surface

C.8

TECTONIC

ELEMENTS - RIBS A group of three in the tutorial were responsible for investigating the posibilities of internal strucutre. To ensure the elegant sholistic of the design, the ribs required a detailed design superior to simply a flat hollow circle, and due to the scope of students working in the project, such detail was enabled. The precedent that was selected was South Pond Pavilion designed by Studio Gang architects due to the soft eyelet shape that is repeated throughout the pavilion and the group belived that the similar method is applicable to our design.

236

South Pond Pavilion, Chicago 2010 by Studio Gang Architects http://landscapevoice.com/wp-content/uploads/2012/08/8122446988_e7004e1203_b.jpeg

237

C.8.1

THE FORM-

DESIGNING WITHIN PARA

TH DESI

238

AMETERS

HE FORM

G N I N G W I T H I N PA R A M E T E R S

239

C.8.2

THE FORM-

240

DESIGNING WITHIN PARA

A M E T E R S // PROTOTYPE

241

C.9

242

PATTERNING

PATTERNING 243

C.9.1

PATTERNING-THROUGH

The initial exploration of the patterning before considering light explosure. Pattering was also assigned to a group, responsible for exploring the best possible and fabricable option in terms of density and complexity for weaving the strip.

244

MATERI

245

EXPRESSION

C.10

E N V I R O N M E N T A L F A C T O R S - INFLUE

rat[LAB] Cellular Morphology Facade prototype

246

ENCING FORM + PATTERN DISRIBUTION

Environmental feedback within the design process creadit: Nick Dean

• Workflow that narrows the gap between 3d modeling and analysis • Creates a feedback loop that allows for iterations to occur with reference to real-world parameters (i.e. light exposure & distribution) instead of in isolation • Exploration into design potentials and performance at a very early stage within the design process • More time to reach the optimum performance of the building/installation

Ladybug plug-in (creadit: Nick Dean) • Whilst it is a plug-in that analyses sunlight exposure and distribution, there is quite a high level of control that allows the user to pinpoint exact locations for the sun • these locations ‘acted’ as lights within the meeting room (4 different locations/ positions were input into the SUNPATH COMPONENT) • RADIATION ANALYSIS component was used in order to analyse the distribution of light within the meeting room • Areas of most light exposure were located • A point was set at each of these areas • Points then used as ATTRACTOR POINTS in order to vary the thickness of the strips throughout the geometry • Closest to attractor points = thinner strips Note: Still had to retain the overlap of the strips in order for the rivet connections to be possible

247

C.10

E N V I R O N M E N T A L F A C T O R S - INFLUE Contribution/relevance to the design (creadit: Nick Dean) • • • • • •

248

Works towards creating context-dependent parameters Design is somewhat unique to the meeting room site Different ‘lighting plan/layout’ would contribute to different effects, theref Although the effect is not overly noticeable due to fabrication restrictions strip thicknesses vary within each bulb In a general sense, working with Ladybug establishes a workflow that draw throughout the semester

ENCING FORM + PATTERN DISRIBUTION

fore, the grasshopper definition is quite flexible & responsive in that regard (had to retain the overlap of the strips), the strips no longer all perform in the same way

ws upon both generative design and analysis ď&#x192; a little bit different to how we designed

249

C.10.1

250

CONTEXT DEPENDANT-PARAMET

T R E S // ESTABLISHING A FRAMEWORK

251

C.10.2

252

LIGHT

EXPOSURE -

EVALUATION WITHI

IN THE METTING ROOM

LIGHT EXPOSURE E VA LUAT I O N W I T H I N T H E M E E T I N G R O O M 253

C.11

WEAVING-INITIAL

IDEA

WEAVIN INITIA

254

NG L IDEA

255

C.11.1

L I N E A R P A T T E R N S - DIRECTION CHAN

INITIAL IDEA

LINEAR PATTERNS DIRECTION CHANGE #1

256

NGE #1

257

C.11.2

P A T T E R N I N G O N S T R I P S - DIRECTION

PATTERNING ON STRIPS DIRECTION CHANGE #2

258

N CHANGE #2

259

C.11.2

P A T T E R N I N G O N S T R I P S - DIRECTION

PATTERNING ON STRIPS DIRECTION CHANGE #2

260

N CHANGE #2

261

C.11.3

PARAMETRIC TEST-PATTERNING

The strip configuration chosen has an aerodynamic and linear quality that exists in harmony with the overal geometry. The simplicity of this otion enables a realistic fabrication, and further patterning articulation on the strips.

262

ON STRIP

263

C.11.4

264

FINAL PATTERN-CURVED

STRIPS

265

C.12

266

JOINTS

JOINTS 267

C.12.1

268

EXISTING GEOMETRY

269

C.12.2

270

MATERIAL + PRECEDENT

271

C.12.3

272

MATERIAL

273

C.12.4

274

JOINTS

275

C.12.4

C.14

276

JOINTS

277

C.12.4

278

JOINTS

279

C.12.5

280

J O I N T S - RIB

P R OTOT Y P E 1 JOINTS

P R OTOT Y P E 2

P R OTOT Y P E 1

281

P R OTOT Y P E 3

C.12.6

J O I N T S - CANE

P R OTOT Y P E 1

P R OTOT Y P E 2 282

JOINTS

283

C.12.7

284

J O I N T S - R IB-CANE

JOINTS

285

C.12.8 C E I L I N G

286

CONNECTIONS: JOINT

287

C.12.8

288

CEILING CONNECTIONS: JOIN

289

C.12.8

290

CEILING CONNECTIONS: JOIN

291

C.12.8

292

CEILING CONNECTIONS: JOIN

293

C.12.8

294

CEILING CONNECTIONS: JOIN

295

C.13

296

FABRICATION

FABRICATION 297

C.13.1

298

DIGITAL

FABRICATION

Study Model for Fabrication CARD CUTTER 1:10

RIB SUPPORT 299

C.13.2

300

FABRICATION

S E Q U E N C E - FROM

RHINO TO REALITY

301

C.13.2

302

FABRICATION

S E Q U E N C E - FROM

RHINO TO REALITY

303

304

305

C.13.3

306

FABRICATION

CONNECTIONS

// MAKING THE CONCEPT

307

C.13.3

STRIP/STRIP

Pro t o t y p e 1

Pro t o t y p e 2

308

CONNECTION

FA B R I C AT I O N P R O C E S S DA MAG E

DIFFUSED TENSILE PRESSURE

309

C.13.4

RIB/STRIP CONNECTION

H O M O G E N E I T Y O F M AT E R I A L EMPHASIZED

310

SEWN RIB/STRIP CO N N E C T I O N

311

C.13.5

STRIP/ROD

CONNECTION

Pro t o t y p e 1

312

Pr o t o t y p e 2

313

C.13.6

314

MASS

MODEL

PROCESS

315

C.13.7

316

FINAL MODEL

317

318

319

320

321

322

323

324

325

326

327

C.14

328

OBJECTIVES AND LEARNING OU

TCOMES

Studio Air was a good experience for me. Since the starting point I have difficulties to work with InDesign and now, I am really good at it. Grasshopper was a weird plugin to me but now it has become something that I would use in my future work, in particular, my next year subject, studio Fire. Before studio Air, I never used Rhino but at the moment it is the only software I want to use and developed because it is very dominant in job industry. This project ( ceiling installation ) started as individual at very first, continued as small groups and ended up with the whole class. Despite we were told in final presentation that there a few boxed that cannot be ticked but I personally, tick all the boxes for this project. We had this chance to work as a team of 13 fantastic students, each with unique personality, unique skills. We had this chance to choose to work as a whole class which other tutorial did not and this shows us that we are willing to learn from each other, we are willing to share our knowledge. This is how it would work in future in the firms and companies and we already gained this experience in 12 intensive weeks. 329

C.15

REFERENCES

• Cui, Xiaohui, Jinzhu Gao, and Thomas E. Potok. (2006). ‘A flocking based algorithm for document c

• Menges, Achim, “Achim Menges Design Research Architecture Product Design’, Achimmenges.ne

• Rinaldi Marco, “Research Pavilion 2013-14 By ICD-ITKE”, A As Architecture, 2014 <http://aasarchite

330

clustering analysisâ&#x20AC;&#x2122;. Journal of Systems Architecture, 52(8), pp. 505-515,

et, 2016 <http://www.achimmenges.net/?p=5083> [accessed 1 June 2016]

ecture.com/2014/07/research-pavilion-2013-14-icd-itke.html> [accessed 1 June 2016]

331

Ardalan Ed

2016 Melbourne Sch 332

d Mastoori

Sem 1 hool of Design 333