Yip_Rebecca_641155 journal pdf by Rebecca Yip

ARCHITECTURE

DESIGN

STUDIO

2015

SEMESTER

ONE

A I R

j o u r n a l

TUTORIAL

FOUR

TUTOR:

GEOFF

KIM

REBECCA

YIP

641155

CONTENTS

PART A A.0 A.1 A.2 A.3 A.4 A.5 A.6

INTRODUCTION DESIGN FUTURING DESIGN COMPUTATION COMPOSITION & GENERATION CONCLUSION LEARNING OUTCOMES APPENDIX - ALGORITHMIC SKETCHES REFERENCES

1 3 9 15 21 22 23 25

PART B B.1 B.2 B.3 B.4 B.5 B.6 B.7 B.8

RESEARCH FIELD CASE STUDY 1.0 CASE STUDY 2.0 TECHNIQUE: DEVELOPMENT TECHNIQUE: PROTOTYPE TECHNIQUE: PROPOSAL LEARNING OBJECTIVES AND OUTCOMES ALGORITHMIC SKETCHES REFERENCES

27 29 45 53 65 73 85 86 87

DESIGN CONCEPT TECTONIC ELEMENTS & PROTOTYPES FINAL DETAIL MODEL LEARNING OUTCOMES REFERENCES

90 108 140 153 154

PART C C.1 C.2 C.3 C.4

A.0

INTRODUCTION

My name is Rebecca and I am commencing my third year of

studying Architecture in The University of Melbourne. I grew up in Malaysia before migrating to Australia in 2011 to pursue my studies. Having always known throughout my childhood and teenage years that I had an interest in the creative industry, my journey through school in Malaysia where the science oriented streams were more favourably looked upon has been very stimulating. It placed me in a position where I had to really think about my passions and aspirations for the future. 1

Built environments always fascinated me. As I come from a family that loves to travel, I have been blessed with the opportunity of being exposed to many different cultures and architecture. Through the exposure to different architectures and construction, I have come to realize the significance of design and its impact on human experience. From as far back as I can remember, I have examined the relationship between my experience and the environment around me, sometimes deliberately, other times subconsciously. I loved discovering what it was about the environment that made me feel the way I did. Although the decision to study architecture comprises of many different reasons and insights, studying architecture had and will always be something I would love to pursue. Correspondingly, my love for the environment and interest in sustainability has prompted my aspiration to delve into the expanse of sustainable and passive architecture. My first contact with Rhino was through Virtual Environments in first year where we had to familiarize ourselves with the commands and capabilities of the software. However due to the gap of time between then and now, my recollection of the software has definitely faded. Although I am both excited and overwhelmed by the software, I look forward to discovering the potentials of Grasshopper in Studio Air this semester and for the opportunity to enhance my digital programming abilities. 2

A.1

DESIGN FUTURING

In the past, the restraint of technological capacity has controlled the

impact humans have impressed upon the environment. However, with technological advances and the intensification in scales of projects, resources are being extracted at a rate so fast that is unsustainable, all in hopes of satisfying the unappeasable needs of human beings. As such, it demands desperately for a new nature of the future, also the search for new innovative designs in order to bring it to existence. While architecture originated with the purpose of defense against the natural environment and seeing to the fundamental needs of human beings, over time, it has developed to a form of meeting the requirements of civilization for one to own a space, extending beyond a protective structure but also becoming representations of cultures. However, in more recent times where design in the design community is territorial, architecture has gradually become an investment for design, a competition.

As change has to be by design rather than chance, design has to be in the front-line of transformative action. [1] Tony Fry

The understanding that our actions are generating immense strain on the environment calls desperately for new designs for the future. This includes strategies for decelerating the pace at which we are damaging the environment and also redirecting towards more sustainable forms of habitation. In order for design to generate change, the approach to design in architecture has to be revolutionized. With the development in technological competence, resources can now be employed in response to slowing defuturing and moving towards more sustainable resolve. Not only that, digital computation design also provides the opportunity for a transformation in design approach, allowing designs to be virtually verified before its realization. In the two subsequent architectural precedent projects, notions of intelligent design in accordance to sustainability is explored. 4

[a]

BanQ Restaurant Office dA

A . 1.1

The BanQ Restaurant designed by Office dA has certainly incorporated principles of parametric design in its construction. Because the ground space for the restaurant has to be flexible in order to accommodate the restaurantâ&#x20AC;&#x2122;s variety of activities, attention was shifted towards the ceiling as the locus for design. This ability to design parametrically has greatly revolutionalized the way designers think, enabling architects to expand their design thinking to harvest greater solutions and ideas.

Furthermore, as designs are able to be tested and trialed as a benefit from technological advances, the architects are able to be more creative and innovative in their designs.This led to its final design where the architects were able to use planes of plywood, each different in size and shape while still holding the structureâ&#x20AC;&#x2122;s continuity in order to achieve their design interest of creating something simple that was at the intersection between the extraordinary and the conventional. Not only were they able to deliver something that changed the entire aesthetics of the place, they were also able to combine that with the practicality of hiding unsightly objects and imperfections in the ceiling. Design software involvement is evident in the restaurant, enabling the possibility for the architects to do so much more, using repetitive twodimensional planes to resolve the design problem and illustrate the balance between simplicity and complexity. This restaurant design still continues to be appreciated, and have inspired many other designs, employing similar characteristics. 6

Minifie Van Schaik Architects

[b]

[c]

Centre for Ideas 7

A . 1.2

An example of the incorporation of digital design in architecture can be seen in the Victorian Collage of Artsâ&#x20AC;&#x2122; Centre for Ideas designed by Minifie Nixon. Here, architects are able to design complex intersecting conical facades which are implemented in the external facade of the building, through the use of modeling softwares. Construction using differences and repetitions in its fabrication and design that would have formerly pose as a challenge has now become a lot more feasible, allowing architects greater freedom and enabling new forms of designs. The form and spatial qualities fo this building was derived from algorithmic generative processes and spatial propertices. This new form of architecture design has significantly revolutionized design thinking as a whole.

With the use of computer softwares and greater understanding of the materials used and the spatial properties of the site, architects are able to be more efficient in delivering their design intent and using it to solve ther design problems. In this architecture, the use of textured, reflective material of the facade is able to be utilised to convey the designerâ&#x20AC;&#x2122;s idea of movement flow, something that would have been challenging without the help of Computer Aided Design. Furthermore, in the atrium space, sculpted stairs cut through section of the building, the inclined ceiling plane that permits natural sunlight to enter the building divides the spatiality of the building. With these new understandings, the way architects design has definitely been revolutionalised. Not only are buildings able to serve greater aesthetically, the use of technology also aids in meeting greater needs, providing innovate ideas to convey messages, portray ideas, and finding solutions. 8

A.2

DESIGN COMPUTATION

With the development of architecture over the years, design has

transitioned from traditional design methods, to the use of Computer Aided Design (CAD), and now to Computational Design. This has also led to a shift in designer thinking, bringing about contradictory opinions on design computation. This is evident with Bryan Lawson where he mentioned that CAD conspires against creative thought, thus encouraging “fake” creativity. As the outcome of computer generated designs emerges from hidden decisions that have been implemented by other professionals like software engineers, who are not in the domain of creative design, Lawson argues that these outcomes result in “fake” creativity that is predesigned by another person. However, while it is true that outcomes from computational softwares do come from predestinated choices, it is undeniable that this new approach to design has opened up new possibilities in designing, enabling designers to greatly expand their innovation and capabilities.

Though designing on paper brings about limits of things such as pencil thickness, and the two dimensional limitation of a single plane, design computation allows designers to work with parametrical design and explore more in tectonics, allowing greater understanding and freedom of form. Thus, this provides itself as a greater tool in the exploration of better and more innovative design solutions, assisting in the search for better design futuring. The usage of computation also helps to reduce wastage that would have otherwise been generated by physical fabrication in exploration of design, providing greater flexibility to implementing changes after changes in a proposal to find the best possible solution. Computation has enabled design to be explored in ways that werenâ&#x20AC;&#x2122;t possible before. In the following precedents, computational benefits are seen in the architecture field where design computation facilitates the move toward more efficient and sustainable design.

[d]

Catalyst Hexshell 11

A . 2.1

This project by the professor and students at University of Minnesota and

help from MATSYS is a great example of design that uses computation. This structure explores the fabrication of shell structures using computational practices and softwares, allowing the designers to better grasp its form and parametric properties. The mundane material of cardboard that is often only used for ordinary construction of boxes was chosen as the material to be used in this structure. Although the material is weak in contrast to other structural materials such as steel, timber, and concrete, with the knowledge of its properties, with greater understanding of the material, a solution is generated that allows for compensation in its weaknesses, employing techniques of folded plates to provide structural integrity. This allowed the design to be greater enhanced in its aesthetic nature and design intention of using the cardboard material while still retaining its structural erquirements. In addition to that, this hex shell structure incorporates significant parametric designing in its design process. Though monitoring the traffic flow and usage density of the site, a design is generated in response, altering the movement of students and teachers. This resulted in a thin shell structure with carefully placed structural supports to produce a responsive walkway installation in the school. Here, design computation is employed to explore innovative ways in responding to the sustainability and reusability problems that are being faced in the world of today, also bringing new solutions to architecture and its design processes. 12

[e]

Museo Soumaya Fernando Romero EnterprisE

A . 2.2

This building by Fernando Romero EnterprisE is another example which

demonstrates computational use in architecture design. From an exterior perspective, the building in its organic and asymmetrical form is perceived very differently by each visitor, demonstrating its complexity in design and detail. As the envelope of the building is constructed with columns of various diameters and differing geometry, it involves great care in ensuring that the envelop of the building wraps around seamlessly. With a project of this scale, it is impossible for one to construct, design, and fabricate it without the use of computational softwares. This seamless surface is made possible with the usage of Computer Aided Design (CAD) softwares, algorithmic principles, parametrical properties and the understanding and manipulation of forms. As a result, the repetitive hexagon plates allows the surface to respond organically in its threedimensionality to its underlying form. Architects are much better equipped through design computation to respond to the challenging geometrical forms of buildings, providing a leap in designing methods and realization. Through computational software, new forms of solutions can be explored in parametrical domains, enhancing the ability of designers, in this case, architects, to discover greater and more effective resolutions to the pressing sustainability issues of this and the future generation. 14

A.3

COMPOSITIO

Architectural design has gone through many phases as discussed

in the previous entries. Over the past years, computation has been redefining the way architects design, creating more opportunities in the design, fabrication and construction processes through the use of digital technologies. In Brady Peterâ&#x20AC;&#x2122;s book â&#x20AC;&#x153;The Building of Algorithmic Thoughtâ&#x20AC;?, he talks about the importance of algorithms in computation. Algorithms are recipes, methods, and are made up of rules. The use of algorithms in computers has allowed designers to transfer ideas from two-dimensional forms of design to parametric space, enabling a new era of designing through the implementation of predesigned decisions. By providing architects the capacity to design more complex forms and structures in a much greater detail, it also allows for more efficient fabrication and construction. However, the discourse of architectural creativity in reference to the use of computation still endures.

ON / GENERATION

Here, Peters suggests that â&#x20AC;&#x153;when architects have a sufficient

understanding of algorithmic concepts, when we no longer need to discuss the digital as something different then computation can become a true method of design for architectureâ&#x20AC;?. [2] When architects are able to employ parametric design such that its capacity is not only utilized to finding forms to apply to designs, yet is utilized instead to generative new forms through their understanding of algorithmic concepts behind the program, only then will generational and compositional design emerge.

[f]

CHANGI AIRPORT “JEWEL“

A . 3.1

The revelation of computational programs has brought about great

advancement in architecture, enabling complex and intricate designs to be realized. However, the discourse of creative architecture has challenged the way architects design, questioning its conformity to employing set algorithms and encouraging generative design in architecture through manipulating algorithmic rules. A great example of this generative approach to architecture is Singapore’s Changi Airport’s upcoming “Jewel” construction. On the surface, the domelike form of the structure does appear relatively simple and rigid, however evidence of problem solving parametrical design can be seen, generating form that is able to respond to their design intentions. Through experimentation and use of Computer Aided Design programs, the architects are able to incorporate the world’s tallest indoor waterfall into the structure of the building. In Singapore where the climate is incredibly humid and hot, the thermal mass of water serves as a passive cooling system, bringing the outdoors into the building. Rather than incorporating the waterfall separate form the envelope of the building, the architects were able to incorporate both seamlessly through the shape of the structure, caving inwards at the top for the waterfall. This advantage of parametrical design has provided the architects with the ability to test and fabricate solutions and outcomes. 18

[g]

[h]

AL HAMRA TOWER 19

A . 3.2

The Al Hamra Tower designed by Skidmore, Owings & Merrill Architects is

another great example of the use of generation in the architectural design process. The 80-story concrete structure was a product of parametric study, its geometry based on a set of criteria that integrated the clientâ&#x20AC;&#x2122;s needs of space and size and also the environmental factors of wind loading and solar exposure. Furthermore, through usage of computational fluid dynamic (CFD) software, the architects were able to combine the knowledge gained from the computational software together with studies obtained from wind tunnel testing on physical models. This resulted in the resulting shape of the tower, as a slightly irregular profile was deemed most effective for the climate and location.

â&#x20AC;&#x153;The tower responds to its context and cannot be repeated elsewhere,â&#x20AC;? Farid Abou Arraj Through parametric and computational Computation studies, the form of the structure was generated to best suit its location and climate. Computation in this instance allowed for a greater understanding of the structural properties and requirements for the structure, providing greater solutions in design, generating a best-suited form, its contribution to the tower prominent from the start of the design process. 20

A.4

CONCLUSION

Technological advancement has transported architecture into new realms of potentials, enabling greater innovation and design capacity. Although the existence of Computer Aided Design (CAD) software is far from recent, their use were mainly concerned with more efficient documentation. However, with the aid of technology, architecture has moved towards a more algorithmic and parametric form of design. Through the use of computational software and parametric design, building systems have become a lot cleverer, responding better to the people and environment. The ability to experiment and analyze designs prior to construction definitely aids in greater efficiency, opening up doors of opportunity to experiment with different concepts and ideas for more efficient solutions to design problems. As such, architecture is increasingly designed to cater to specific environments and requirements, creating architecture that is unique to its site. By doing so, efficiency is maximized and also allows for a move towards a more sustainable design for the future, benefiting not just those directly involved with the project, but also future generations. In my opinion, computation has impacted positively on architecture. However, in its discourse, it is crucial to find the equilibrium between finding a form, and generating one. The ability to integrate aesthetics and productivity in a design is definitely something that I intend to explore as I delve further into the course, also something that I anticipate. 21

A.5

LEARNING OUTCOMES

Itâ&#x20AC;&#x2122;s only been three weeks into the course, and I have been greatly

enlightened by a whole new world of design thinking in architecture. It was only after completing part A of this journal that I realized how narrow my perception of architecture was. Computerization, parametric, algorithms, all these terms that previously held no meaning to me has definitely transformed my perspective of architecture and their design processes. Now, I feel that I am able to to look beyond the surface of architecture and delve into exploring the complexity and innovation of design and its relation to sustainability, on whether the design is able to integrate aesthetics, material and structural properties, and function in a sustainable manner.

A.6

APPENDIX ALGORITHMIC SKETCHES

Grasshopper has definitely been a challenge thus far to maneuver through. However, it has also been a door of opportunity for me to develop algorithmic design thinking, something that I have never considered before. Through my research and exploration of the precedents, I have come to realize the importance of integrating form and function in a design. As such, I have tried to design my algorithmic sketches in relation to the function it brings to the site, where the curves and folds all play a role.

These selected algorithmic sketches reveals part of my journey through exploring grasshopper. Although these sketches may appear elementary to someone who has a better grasp of the software, it is definitely an achievement for me. I look forward to exploring more of grasshopperâ&#x20AC;&#x2122;s endless possibilities in design and receive a better understanding of the algorithms behind it so that I may move start to generate design.

TOP VIEW

SIDE VIEW

BIBLIOGRAPHY

[1]

Fry, Tony, Design Futuring (Oxford: Berg, 2009), p. 6

[2] Peters, Brady, ‘Computation Works: The Building Of Algorithmic Thought’, Architectural Design, 83 (2013), 15 <http://dx.doi.org/10.1002/ad.1545> [3] Gonchar, Joann, ‘Sculpting The Skyline: Architects, Engineers, And Contractors Tackle A Challenging Geometry To Build A Supertall Tower With A Striking Silhouette For A Desert City.’, 2015 <http://archrecord. construction.com/projects/portfolio/2012/05/Al-Hamra-Firdous-Tower.asp#sthash.WRC16PWf.dpuf> [accessed 20 March 2015] [a] Horner, J, 2015 <http://www.australiandesignreview.com/interiors/661-banq> [accessed 9 March 2015] [b] McGrath, S, 2015 <http://www.abc.net.au/radionational/programs/bydesign/vca-centre-for-ideasmelbourne/3228326> [accessed 9 March 2015] [c] Bennetts, Peter, and Derek Swalwell, 2015 <http://www.mvsarchitects.com.au/doku. php?id=home:projects:victorian_college_of_the_arts> [accessed 9 March 2015] [d] MATSYS, 2015 <http://matsysdesign.com/2012/04/13/catalyst-hexshell/> [accessed 12 March 2015] [e] Evolo, 2015 <http://www.evolo.us/architecture/completion-of-museo-soumaya-mexico-city-freefernando-romero-enterprise/> [accessed 12 March 2015] [f] Kaur, K, 2015 <http://www.straitstimes.com/news/singapore/transport/story/work-changi-airportsjewel-project-and-t1-expansion-begins-20141205#8> [accessed 18 March 2015] [g] SOM, 2015 <http://archrecord.construction.com/projects/portfolio/2012/05/Al-Hamra-Firdous-Towerslideshow.asp> [accessed 18 March 2015] [h] Turner, 2015 <http://www.turnerconstruction.com/experience/project/2D/al-hamra-tower> [accessed 19 March 2015] 25

B.1 RESEARCH FIELD

B I O M I M I C R Y

B. 2 C A S E 0S T U D Y 01 . 0

VoltaDom by Skylar Tibbits was an installation that was constructed for the celebra of the 150th anniversary of MIT and the Festival of Arts, Science, and Technology. This installation consists of series of vaults resembling the characteristics of Gothi cathedrals where the articulated vaults create a perception of boundary. This desi of the installation takes after the design of cell group formations, examining its multiplication and growth in relation to the cells, which creates an external border. VoltaDom installation explores the combination of biomimicry and parametrical des in architectureâ&#x20AC;&#x2122;s ability of self-replicating elements within boundaries.

This idea of boundaries in height and size, and the multiplication of cells became foundation of my experimentation with the grasshopper definition. As such, I explo with the height at which the cones are intersected, along with the number of cone and its radius, as I was interested to see how the manipulation of a single input w alter the other cells in the equation, ad how this may be add to the potential of fu architecture. 29

[a]

ation . ic ign

. The sign

the ored es would uture

MATRIX ITERATION 31

V1 POINTS CONE RADIUS

1 S S

V1 POINTS CONE RADIUS

1 S S

V1 POINTS CONE RADIUS

1 S S

V1 POINTS CONE RADIUS

1 S S

V1 POINTS CONE RADIUS

1 S S

V1 POINTS CONE RADIUS

S E L E O U T C

When evaluating the success of the iterations, t ability to be transferred into a potential design fo that stood out among the others.

ITERATION ONE

Iteration one was chosen because of the large a increase coverage. This iteration was interesting roof where the centers of the shapes are cluste determines its spread.

I found Iteration two interesting, and included it achieved rather than for a specific design situat this iteration, a potentially exciting idea could be heights that formed a structure; achieving the sa perceived in the iteration.

Iteration three and Iteration four were chosen fo iterations on a whole, the play on light and shad explorations appeared the most fitting in its inco transferred to a design exposed to sun is bound four also appealed to me, as the small openings is used to construct it would produce very differ light rays through the points very sharply where ITERATION THREE

However as I felt that my exploration for the Vol to explore with another definition. I decided then Pavillion to see how I can improve my exploratio

C T E D O M E S

the iterations were chosen in the context of its or the site. These four outcomes were the ones

area of the cones where its shape spans out to g and could be incorporated into a design of a ered together, and the area of coverage needed

more because of the complexity that it tion that it can be incorporated in. Inspired by e the stacking of individual cones at different ame complexity of layering that can be

ITERATION TWO

or similar reasons. When evaluating the dows were on my mind, and these two orporation. Iteration threeâ&#x20AC;&#x2122;s interlacing rings, if d to create shadows that are dynamic. Iteration s in the cones in relation to the material that rent outcomes. The usage of metal may direct eas plastic may create a more diffused light ray.

ltaDom definition lacked in variation, I wanted n to retrace me steps and explore the ZA11 on with the iterations.

ITERATION FOUR

[b]

B.2

CASE STUDY 1.0 #2

[c]

The pavilion designed by the Foreign Office Architects (FOA) represented Spain in the Aichi International Exhibition that was held in Japan. This pavilion consisted of a hexagonal lattice envelope, which enclosed series of vaulted spaces, reflecting the hybridization of the Christian and Islamic culture that is evident in the history of Spanish architecture. The lattice envelope consists of six different hexagons, where each hexagon is either a solid form or an opening. These ceramic hexagonal pieces were coded in the colours that resonated with the Spanish culture while the use of ceramics correlated with the Japanese. Because of the innovative design process that the architects performed, the lattice pattern ensured that when assembled, the hexagonal tile pieces on the facade would never repeat itself, as such maximizing the visual outcome of the pavilion. 36

TYPE ONE

DISPERSION PIPE SIZE

TYPE TWO

DISPERSION PLANE SIZE X Y

TYPE THREE 39

INTENSITY OF POINTS TURNING

INTENSITY OF POIN TURNI

INTENSITY OF POINTS TURNING

INTENSITY OF POIN TURNI

INTENSITY OF POINTS TURNING

INTENSITY OF POIN TURNI

INTENSITY OF POINTS TURNING

INTENSITY OF POIN TURNI

NTS ING

INTENSITY OF POINTS TURNING

NTS ING

INTENSITY OF POINTS TURNING

NTS ING

INTENSITY OF POINTS TURNING

NTS ING

INTENSITY OF POINTS TURNING 40

TYPE THREE 41

INTENSITY OF POINTS TURNING

INTENSITY OF POIN TURNI

INTENSITY OF POINTS TURNING

INTENSITY OF POIN TURNI

INTENSITY OF POINTS TURNING

INTENSITY OF POINT TURNIN

INTENSITY OF POINTS TURNING

INTENSITY OF POINT TURNIN

NTS ING

INTENSITY OF POINTS TURNING

NTS ING

INTENSITY OF POINTS TURNING

TS NG

INTENSITY OF POINTS TURNING

TS NG

INTENSITY OF POINTS TURNING 42

S E L E O U T C

Within my exploration of the definition, I wanted to explore hexagonal shapes would be situated right next to each o from the or

Type One included applying different sized pipes arou complexity, amplified by the decision to develop the line components. These iterations were primarily to experim simple way. As seen in the first line of the iterations, alth the alteration of pipe size were able to create beautifull significance of com ITERATION ONE

As I intended to stray away from the hexagonal shapes of understand the principal movements of the dispersion tech can be seen

Type Three of my iterations were dedicated to investigate being extracted from the plane. However it was not an ex were evident in

As such, my selection criteria for the outcomes involved exploration. The beautiful complexity in my chosen Itera results I wanted to achieve from my

ITERATION THREE

I found Iteration Three a rather interesting outcome of m appearance of a more organized dispersion that still res breaks the dispersion down to its plane movement, and re

Although my Type Three explorations were not entirely s which I can explore my techn

C T E D O M E S

e the architectâ&#x20AC;&#x2122;s intention of ensuring that no homogenous other, along with its possibilities when extracting it away riginal form.

und the different dispersed forms to create an added works in exploring the relationship between intersecting ment and test the ability of introducing complexity in a hough the underlying forms hold very minute complexity, ly complex geometries and patterns, demonstrating the mputational design.

f the definition, I decided to lay out the planes involved to hnique to facilitate my understanding of the technique, as in Type Two.

ITERATION TWO

e if the dispersion technique could be applied to line work xceedingly successful exploration as not many variances n the iterations.

the ability of the iterations to address the purpose of its ation One and Iteration Two were unerringly the type of exploration as per mentioned above.

my exploration. In my Type One iterations, they had the sulted in an enclosed polygon. However, Iteration Three eveals to me the different flows and movements involved.

successful, Iteration Four suggested a new possibility for nique on later in the Journal.

ITERATION FOUR

B.3

CAS

CLJ02 ZA11 PAVILION

The ZA11 Pavilion was a temporary student project endeavoring to Cluj, Romania. The design brief of the project included aspects suc building, its ability to use the space for unfolding of the varying eve as a showcase for the possibilities that can be done through compu

Not only was it able to fulfill its initial objective by attracting spectato process of fitting together the pieces involved, and after the constru intention of aiming to make legible the ontology that is increasingly using the pavilion as a showcase for the processes behind its eme designing of its structure. The use of deep hexagonal pieces of plyw were clear evidence of the parametrical and computational software

SE STUDY 2.0

[d]

attract passersby to the ZA11 Speaking Architecture event in ch as its integration into the historical context of the surrounding ents that were to be held at the architecture festival, and also the utational design.

ors of different ages and backgrounds during the construction uction of the pavilion, it also manage to achieve another design defined by computational architecture. This was achieved by ergence where computational processes are prominent in the wood which are connected together by smaller hexagonal joints e involved in producing the design.

[e]

The designers for the ZA11 pavilion developed their design with the use of Grasshopper, providing diagrams of their process. Although they used a different process in achieving their design, that is, applying hexagonal grids to the lofted surface and subsequently extruding the grids to form their overall shape, my exploration with the hexagons and its results were not as successful as the results I had with the voronoi diagram. Therefore, I chose to reverse engineer this design using this method instead.

R E V E E N G I N E

Create two base curves

Move and scale the curves for the inner and outer skin

Loft between the surfaces

Voronoi co points on lof

E R S E E E R I N G

ommand for fted surface

Solve brep intersection

Move and scale the brep for the inner and outer skin

Loft between the surfaces

[f]

Prior to developing my iterations, I felt it was crucial to have an idea of my design direction for the project, so that my technical developments could relate and add to my exploration. As such, I went back to the brief and my chosen site to identify the course I wish to undertake in terms of my design. When choosing my site, one of the key aspects that I took note of was the fact that the site was prone to flooding. Because of that, the inclination to producing something above ground and suspended led me to my research field of biomimicry to see how nature has dealt with the idea of water and suspension. This inevitably led me to research on spiders and their spider webs, especially how dew drops are able to suspend on the string of silk which appears delicate when in actual fact has the tensile strength five times stronger than steel. [1] Thus, the idea of the suspension of water and the revealing of strength in the fragile become the direction to which I decided to head towards.

BIOMIMICRY

B. T E C H N I Q U E 0D

4 EVELOPMENT

TYPE TRIANGULATI

E ONE ION SURFACE

TYPE ONE

INTENSITY OF POINTS 5

INTENSITY OF POINTS 10

INTENSITY OF POINTS 35

INTENSITY OF POINTS 25

INTENSITY OF POINTS 45

INTENSITY OF POINTS 55

INTENSITY OF POINTS 90

INTENSITY OF POINTS 70

PLAN VIEW

TYPE TWO

INTENSITY OF POINTS 5

INTENSITY OF POINTS 10

INTENSITY OF POINTS 35

INTENSITY OF POINTS 25

INTENSITY OF POINTS 45

INTENSITY OF POINTS 55

INTENSITY OF POINTS 90

INTENSITY OF POINTS 70

PLAN VIEW

NUMBER OF FACETS

TYPE THREE NUMBER

OF POINTS

ITERATION ONE

S E L E C T E D O U T C O M E S 61

ITERATION TWO

ITERATION THREE 62

ITERATION FOUR

Going back to the definition from my Case Study 2.0 reverse engineering, I decided to develop the definition by extending it beyond its original definition in order to attend to my new design direction. As such, rather than exploring within the fixed geometries present in the original definition, I decided to combine the relationship of complexity and lines as explored in the different iterations from Case Study 1.0 of the VoltaDom and Spanish Pavilion into my iterations. The significance of my Type One exploration of triangulation surfaces in relation to the boundaries of the original definition was to discover the idea of lines and connections. After experimenting, Iteration One in particular stood out to me, as I saw it as a possibility for my idea of suspension in regards to the framing. Type One and Type Two iterations were explored with boxes and different intensities of boxes created within the boundaries. While boxes are generated within a clear boundary for Type One, the boxes in Type Two were not restricted to the inside of the margin, but were also created along the exterior. My reason for exploration had to do with looking at the interrelationship between the organized and the disorganized. Type One appears more organized when in plan view in comparison to Type Two, however the results are reversed when looking at the perspective line work. These differing perception as seen in Iteration Two and Iteration Three insinuates an interesting path I can take with my design. The resulting explorations in Type Three were the result of the combination of my interest in complexity, lines, perspectives, and the organized relationship with the disorganized. Iteration Four also presented a possibility for the arrangement of suspended modules in my design. 64

B.5

PROTOTYPE ONE

TEC PRO

CHNIQUE OTOTYPE

STRING PROTOTYPES

PROTOTYPE TWO

[g]

MARK DORF DIGITAL IMPOSITIONS

[h]

YASUAKI ONISHI FLOATING MOUNTAIN

SUSPENSION PROTOTYPES

In light of my explorations, I moved on to thinking about the materiality and fabrication techniques that I could implement for my design. As my exploration revolved a great deal on lines, I decided to explore the possibilities of thread in my design and how that could embrace suspension.

Prototype One was a result of studying the possible relationship between poin connections, and also on how the threads could interlink with one another. This was of visualizing my iteration exploration of triangulation and thread connections. Altho appreciate the result, the two dimensional restriction of my prototype prompted me t how a structure using threads will express itself. Thus, Prototype Two was bu

However, my prototypes were not successful in conveying the suspension of mate wanted to convey in my design. Thus, this led me to exploring how thread can be used an object, or a series of objects.

Mark Dorfâ&#x20AC;&#x2122;s and Yausaki Onishiâ&#x20AC;&#x2122;s digital and fabricated creations represented the id I have, the Floating Mountain employing the use of threads and hot glue gun to co the installation.

In Prototype Three, I implemented the idea of suspending threads from flat plan to hold up the glass particles. This prototype was made to test the fabrication method. I further experimented it with my iteration explorations and fabricated it in grasshopper.

nts and s a result ough I did to envision uilt.

PROTOTYPE THREE

erials that I to suspend

deas that onstruct

m a t

IMPLEMENTING T E C H N I Q U E

B. 6

TECHNIQUE PROPOSAL

[i]

SITE LOCATION

SITE VISIBILITY

SITE CHOICE The site I chose is located on the northern segment of the vast Merri Creek site we were given to design on. It is situated on a flat piece of land just along the stream with the sound of rushing water due to the large rocks that are situated in the stream, and is in close proximity to a bridge further up North and a college nearby. One of my main reason for choosing this site is the fact that it is a piece of land that can be very easily seen, especially by the users of the Merri Creek trail including cyclists, and joggers, and also the children and parents who crosses the bridge on their journey to the college. Although it is easy for one to access the site, because of its position that is out of the way of the general movement flow, it results in a piece of land that you see but generally donâ&#x20AC;&#x2122;t go to. Because of its visibility, I feel that the site has significant potential, relating to the ZA11 case study example where the pavilion was placed in a location where it was visibility significant. Another aspect of the site that stood out to me was the fact that the site is prone to flooding, even having a devised alternative route for the users of the trail when a flood occurs. As such, I decided that I did not want to design something that is on the ground due to its propensity of getting wet and muddy, but rather, design something that is above ground, and suspended. As such, my design proposal revolves around the interests of suspension and water. 76

This design is a floating installation of glass cylinders, where each of the glass tubes contains water and has a plant that grows from it. Rather than a place for users to lounge and relax, because of the siteâ&#x20AC;&#x2122;s inclination to flooding, I have decided to design a plant and water installation that gives back to the environment and utilizes the water to facilitate a floating â&#x20AC;&#x2DC;gardenâ&#x20AC;&#x2122;. This also can reveal new ways of planting which is enabled through computational and parametrical design. In this case, in the form of a floating garden.

[j]

[k]

TOP VIEW

FRONT VIEW

PERSPECTIVE

HOW

WORKS

Water will be drawn up the pipes through pressurized pipes, which are also the structures of the installation, gathering at the top plane of the structure before being distributed through the threads into the cylinders. The plants, which are situated within the cylinders, then draw from this water source. 80

COMPONENTS BREAK DOWN

Water collector/ Filter

Connecting threads

Glass Cylinders

Pipes

B.7

LEARNING OBJECTIVES &0OUTCOMES

Part B has been an entirely different journey from the previous theoretical basis of Part A. Now that we are required to explore the grasshopper definitions in a greater depth, there is a need for increasing our understanding and being confident in the software. The ability to see and practically experience how parametrical design, as analyzed beforehand, can be integrated into design and modeling has been incredibly exciting. My initial stance on grasshopper and rhino was not entirely optimistic because of the doubts I had in its usage in the real world. However, at this stage, I have begun to enjoy and see the potential that algorithmic software can contribute to the ease of designing. The vastness of parametric designâ&#x20AC;&#x2122;s ability at times can be incredibly overwhelming, especially when paired with the lack of software abilities. However, the journey so far has been enjoyable, and I look forward to continuing my exploration with the subject.

APPENDIX ALGORITHMIC SKETCHES

B.8 86

BIBIOGRAPHY

[a] SJET, Http://Sjet.Us/MIT_VOLTADOM.Html, 2015 <http://sjet.us/MIT_VOLTADOM.html> [accessed 1 May 2015] [b] AZPML (FOA), 2015 <http://www.ceramicarchitectures.com/obras/spanish-pavilion-expo-2005/> [accessed 1 May 2015] [c] Architecture Library, 2015 <http://architecture-library.blogspot.com.au/2013/12/spanish-pavilionexpo-2005-haiki-aichi.html> [accessed 1 May 2015] [d] Archdaily, 2015 <http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarfbogdan-hambasan/110423-facade/> [accessed 1 May 2015] [e]

<http://designplaygrounds.com/deviants/clj02-za11-pavilion/> [accessed 1 May 2015]

[f]

<http://wallpaperscraft.com/tag/web/240x320/page4> [accessed 1 May 2015]

[g]

Dorf, Mark, 2015 <http://mdorf.com> [accessed 1 May 2015]

[h] Crest, Russ, 2015 <http://beautifuldecay.com/2012/05/15/yasuaki-onishis-floating-mountain-madeout-of-plastic-sheeting-hot-glue/> [accessed 1 May 2015] 308a603a98cf3ae5b99b377486948470.html#.VUMgFrplnKY> [accessed 1 May 2015] [j]

<http://www.aliexpress.com/popular/vase-glass.html> [accessed 1 May 2015]

[k] <http://www.notonthehighstreet.com/newtonandtheapple/product/hanging-test-tube-vase-for-mum> [accessed 1 May 2015] [1] Naturalsciences.org, â&#x20AC;&#x2DC;Spider Silk Is 5 Times Stronger Than Steel | North Carolina Museum Of Natural Sciencesâ&#x20AC;&#x2122;, 2015 <http://naturalsciences.org/nature-research-center/how-do-we-know/spider-silk> [accessed 1 May 2015]

C.1 DESIGN PROPOSAL

Addressing feedback from Presentation

FRAMING Ensuing the interim presentation, a need for a more resolved design response was clear. The most conspicuous aspect of my design that required addressing was for a more refined framing. For the suspended cylinders to extend from a rigid plane, the solidness takes away from the intended aesthetics of weightlessness and fragility. As such, rather than restricting my parametric exploration within the fixed geometries of the frame and only limiting it within the suspended cylinders, the rigid supporting structure should be reevaluated and redesigned to maximize its potential and use of parametrical elements. FORM An advice from the presentation that I was quite fascinated with was the idea of manipulating the installation in such a way that the form itself would gather water, relating back to my research field where the spider webs are able to capture and suspend the dewdrops using nothing but its form, rather than relying on external help. SITE Furthermore, comments from critics have also suggested for the expansion of my installation such that it is not restricted to only one area of the site, but rather providing the possibility of employing them all throughout the site. These are all valuable feedbacks that I intend to take on and implement in my exploration for a new finalized design.

[a]

Concept

My final design proposal is to create a floating light installation that harvests rainwater, using it to generate light play which engages with the environment of the site.

[b]

LIGHT PRE Tunnel o

Based on the feedback, I explored for other possible functions that can be implemented in suspended glass. Following my revisit to the site, I have concluded that the lack of street li strives to solve. As such, I looked towards precedents of lighting installations that could aid

In the Nabana no Sato botanical garden on the island of Nagashima, Japan, a seven millio botanically inspired light bulb. The array of lights envelop around the visitors as they

â&#x20AC;&#x153;If you can shut out the noise of the hundreds of people around

This installation succeeded in evoking an experience for the users journeying through the sits on the side of the walkways at a site that people usually do not venture out into. Prev creating an experience for the users of the site, which

While succeeding in creating this experience for its visitors, the installation however use broadened my research to look at innovative and m 95

ECEDENT of Lights

my installation for it to be useful, replacing my idea of growing plants within the ighting along the path of the Merri Creek trail could be a problem that my installation d in my new design direction.

on light installation was opened to welcome visitors to the gardens, each LED encased in a y walk through the bright tunnels, emulating rainbows, auroras, and even a sunrise.

d you it really does feel like youâ&#x20AC;&#x2122;re stepping into another worldâ&#x20AC;? [1]

e installation solely with the use of lights. In my previous design proposal, the installation viously, my focus on creating something that would utilize the site led to my ignorance of h is something that I aim to address in my final design.

es an incredible amount of energy, which I do not want to impose on the site. As such, I more sustainable ways in which lighting can be used. 96

[c]

[d]

LIGHT PRECEDENT Glow Road Lighting

Fascinated with glow in the dark technology and its ability to sustain itself using sunlight, which is abundant in Australia, I wanted to see if there were any successful projects that instigated this technology as a source of lighting. This led me to the glow in the dark road markings on a highway in Netherlands. Due to the shutting down of streetlights at night to save on money and energy, interactive artist Daan Roosegaarde teamed up with Dutch civil engineering firm Hejimans to work on the idea of using “photo-luminising” powder that charges up in the daytime and slowly releases a glow at night. Furthermore, what really interested me about this project was their aim for an interactive road where the technology reacts with the temperature to reveal different symbols that was reflective of the environment it is in. Although this area of the project hasn’t been realized, I wanted to carry that idea of interactivity into my project.

INTERACTIO

NIGHT Aside from water harvesting, the most crucial aspect of my design is its ability to utili collected water to generate light play on its surrounding and create interaction with th

Assured from the success of the previous design precedent of glowing roads, the gla containers of my installation will be infused with photoluminescent particles, giving of night while not changing the materialâ&#x20AC;&#x2122;s translucent and clear characteristics during th

Originally intending to coat the containers with photoluminescent paint, the results I h my experimentation with liquid from glow sticks, while satisfactory, was something th could be pushed further. By disbursing glowing particles throughout the installation, it add more than thinly coating the glass in a film of paint to the complexity of my inten interacting with its environment. Representing the star particles in the night sky, its ap of glow in the installation as users of the Merri Creek jog around the site signifies the of dusk, reflecting its environment.

The picture of the Trap Light vaguely depicts the direction that I want my design to he photoluminescent pigment added to the glass lamp allows the glass to store light and softly for hours after exposure to illumination.

ON WITH SITE

ize the he site.

ass ff a glow at he day.

had from hat I thought t can ntion in ppearance beginning

ead. The d glow

[e]

TRAP LIGHT

100

[f]

SOLAR WATER BOTTLE

101

DAY Illuminating thousands of houses in many countries especially among the under-privileged, Alfredo Moserâ&#x20AC;&#x2122;s invention of using simple plastic bottles to create solar water bottle bulbs has impacted and been used in more than 20 countries. [2] Comprised of a plastic bottle full of water and two caps of bleach to prevent o growth of bacteria and algae, the invention utilities the simple principal of refraction. The sunlight, which falls on the exposed surface of the water bottle, gets refracted within the bottle and also to its surroundings, illuminating the space around it. While its effect will not be very prominent in the installation, it would generate some bursts of light due to its redirection. This idea of refraction can be implemented in the design to create light play, especially when coupled with prisms.

102

RAIN Sunlight usually travels in straight lines. However when interrupted with a transparent substance such as glass or water which are denser than air, the light rays will bend. In prisms where its shape has been predetermined, light can disperse through its form to create the separation of visible light. These different colors making up white light travels at different speeds, as such revealing the colors in the order of: red, orange, yellow, green, blue, indigo, violet. On normal sunny days when no rain is captured within the capsules, sun shines through the glass normally, not having enough density from the water to disperse the light spectrum. However, just like rainbows that light up the sky after a rain, the installation, filled with rainwater containing prisms also splays out colors of the rainbows, creating juxtaposition between the natural and artificial.

103

[g]

104

TECHNIQUE water collection Prior to anything else, the form of my design required significant alteration. Going back to the spider webs and its suspending dewdrops, I studied its technique of collecting and suspending droplets of water off such a delicate thread, hoping to mimic its ability within my installation. Many biological surfaces posses the ability of controlling their interaction with water, spider webs being one of them. A spider webâ&#x20AC;&#x2122;s ability in collecting water from air lies predominantly with the material of the spider silk. Its unique fibrous structure that forms after wetting, along with the â&#x20AC;&#x2DC;wet-rebuiltâ&#x20AC;&#x2122; fibres characterized by periodic spindle-knots (a) and separating joints (d) made of random nanofibrils enables water collectability. The spindle-knots and joints, which form a surface gradient and difference in Laplace pressure act together to enable the achievement of condensation and directional collection of water, creating a space within the silk structure that facilitates water gathering. [3] However, researched by many material scientists over the years to recreate the materiality of spider silks, its complexity and difficulty that defines life long research is not something that I intend to delve in. Instead, I aim to reconstruct the underlying techniques of its water collection. 105

[h]

C.2 TECTONIC ELEMENTS & PROTOTYPES

Moving away from the microscopic properties of the spider silk in condensing water vapo dewdrops to gather. While the structure of the material allows for water to gather essentia formed amasses the water d

As my design revolves more around the collection of rainwater, rather than harvesting mois water droplets is something th

MATER we

MATERIAL ONE To apply these findings of water gathering, I formed a number of prototypes for a cle cotton threads, due to my directed concentration on the structure of the artificial web role in its success. When it came to applying water unto the prototype and observing for no formation of water droplets. Although this material allows for water to soak and it would create immense load on the installation and may cause failure in its structura favorable as it can reject access water, and teaming with the number of glass contai

109

or, the construction of the spider webs also reveals its use of gravity and manipulation for ally along the whole length of the silk, the meeting of threads in the web where knots are droplets to form larger ones.

sture from the air around it, looking towards spider webs for its competency in manipulating hat I will resolve in my design.

RIALITY eb

earer understanding of its procedure and natural rules. In my first prototype using b and its ability to direct water, I failed to remember that materiality played a crucial g its reaction, the cotton threads absorbed majority of the moisture and allowed d gather within the material, potentially transferred down the connecting threads, al integrity. As such, a non-porous material aiding in the direction of water is more iners, controlling the amount of weight the installation will hold.

110

This led me to raffia strings d its interaction tracked across a length, gathe gaining in wei droplets dr

Further experim meeting the nee a number of int

111

MATERIAL TWO o my search for another material that can aid in my technique observation. Selecting due to its impermeability and superior scale as compared to an incredibly fine thread, n with water can be better studied. This proves to be true as water movement can be a longer width. Proving the theory, water droplets caught on the string runs down the ering at intersections before naturally dropping off or when other droplets add on to it, ight. However, due to the flattened nature of the raffia strings, Iâ&#x20AC;&#x2122;ve realized that some rop off at different portions of the web due to the change in direction of the string, its surface unable to provide a continuous surface for water to run.

MATERIAL THREE mentation with poly strings revealed it to be the best material thus far of those tested, eds of impermeability and rounded properties. However because it was composed of tertwined strands, it enable water droplets to form along many surfaces of the string. As such, I opted for nylon strings for my final model.

112

SITE L

As mentioned previously, rather than containing my installation within one part of th Because the installation has a lot to do with the interactivity with its environment, th The site with its frame bolded black is the site I 113

LOCATION

he site, I have decided to place them along different areas of the Merri Creek trails. he site that it sits on pays particular importance in regards to its shape and design. am working with to exhibit my design proposal. 114

SITE

TREES ON SITE

One great factor of the design installation will make use of the s the environment and all

Another aspect determining the of the users to be as persona PATHWAY ON SITE 115

WEB SHAPE

n is the points at which the webs hang from. As no framing was created, the surrounding trees for support of the web. This allows for flexibility in adapting to lows for the installation to virtually be placed anywhere along the site.

e form of the installation is the pathway that it sits above. For the experience al and relevant as possible, information on the shape and use of site will be transferred into the design. 116

INITIAL FORM

117

Initially having the thought of significantly lowering the suspended containers along the sides of the path for the glass to encase around the path, I altered that decision and opted for a higher installation. On certain sites where there is not much land on the sides of the pathway, enclosing the path will further reduce the use of these lands as they become more inaccessible, which was a problem I had identified at the start of the project. Concerned with the regeneration of site, the trail is dotted with many revegetation plots. Rather than putting a wall between the path and the restoration works, there is greater need for shorter thread lengths so that users are able to see the work of the community, not ignoring the efforts made to improve the site and its environment. As such, when looking for the ideal form of the suspended containers, these are the selction criterias I will refer to.

118

FABRICATION web

To create my web structure based on the technique explored, any web containing the intersection and knotting of right material threads can successfully capture and direct water droplets to the glass containers. In search for a suitable web, I decided on employing the voronoi pattern as opposed to using a standard net pattern as it emulates the nature of organically structured spider webs.

CONTSTRUCTION PROTOTYPE ONE Identify intersection points on the voronoi diagram and hammer nails for construction Line poly thread around the nails, mimicking the voronoi pattern beneath. Wrap around length of intersecting threads

Because of the lack of thought and organization behind how the threads meet to form the web, it resulted in many stray ends of strings with no place to go. While this prototype proved the threadsâ&#x20AC;&#x2122; ability in forming the shapes of the voronoi, I constructed another prototype to apply more order in its construction and outcome.

119

120

Rather than using many different threads, I opted for the insides of the web to boundary of the web. Although spider webs consist of various number and le appearance of fragileness. Regardless of attachments used for my installation, th of my interim design proposal, the fragileness and weightlessness of the design. need for co

121

CONTSTRUCTION PROTOTYPE TWO Identify intersection points on the voronoi diagram and hammer nails for construction Line side boundaries Thread around nails, wrapping around the length of intersecting threads

o be made entirely out of one strand, held by two separate threads forming the engths of silk, its ability to seamlessly attach to one another contributes to its he appearance of any connecting elements will take away, as with the rigid frame . As such I wanted the web to be constructed in a way that does not require any onnections.

122

PROTO techn

WATER DROPLET FORMATION

123

OTYPES nique

OUTDOOR GLOW STRENGTH

124

KANGA we

PARAMETRICS As the web is to be interactive with the siteâ&#x20AC;&#x2122;s activities, I opted for using kangaroo in determining its form. As most of the activities occurs along the center of the pathway, applying unary forces to the web with the sides of the pathway as anchor will result in greater height along the middle of the form to accommodate these activities, lowering around the sides where less people walk along. Using the same amount of forces but altering the stiffness of the web allows for different variations in form, while still staying true to the underlying principle.

125

AROO eb

126

127

FORM EXPLORATION After experimenting with the different tensile properties from kangaroo and scale in creating my design, I settled down with this chosen form as it holds the most potential in realizing my intentions. Not only does it provide enough height for users to walk beneath it, its shape also envelops the users without extending down to hinder the side views. 128

SUSPENDED GLASS PRISMS

SHAPE From studying the basics of light refractions using prisms, I applied this knowledge to my suspended glass. Forming two triangles, the cube provides greater surface area for light to be captured and refracted. While a cube filled with water will successfully serve as a prism, an empty glass cube will lack the density needed for light bending to occur. As such, on any sunny day, light will shine through the glass, creating simple light effects on the surroundings. However, after a rainy day, the water that stays encapsulated within the cube will provide for dances of color around the site.

129

WITHOUT WATER

WITH WATER

130

DIGITAL FAB

KANGAROO FORM

FRONT VIEW

SIDE VIEW

POINTS ON INTERSECTION

BRICATION

PROJECT LINE TO ABOVE WEB

CREATE POINTS

BOX ON POINTS

PERSPECTIVE

FABRIC

Similar to the above construction guidelines, fabricat a single thread to create the inner web, intertwining b elimination of connectors in the fabrication, the asp through in t

131

CATION

tion of the model follows the same principle of using between existing threads. As a result of the complete pect of fragileness and transparency is able to carry the design.

132

INITIAL FABRICATION METHOD IMPROVED FABRICATION METHOD

TEMPORARY SUPPORT

LIGHT PLAY - COLOUR

134

LIGHT PLAY day

135

TRANSPARENCY

136

FABRICATE

The end product, I feel has successfully conveys fragility and transparency. In created out of perspex. The lines connecting to the frame all c 137

ED MODEL

n an effort to not take away from that characteristic, a supporting frame was correspond with the location of the trees on my selected site. 138

C.3 FINAL DETAIL MODEL

REAL WORLD C WEB

115

111

64 63 62

25 6 43 42 110 88 86 66 24 7 26 84 114 46 109 89 23 141 40 41 113 5 108 90 91 83 85 67 68 60 27 117 118 48 8 61 59 47 22 119 107 9 139 93 92 82 58 39 28 120 70 69 10 4 104 29 95 132 49 122 72 81 21 20 11 57 106 105 94 134 133 121 38 80 71 73 30 56 96 19 12 123 135 3 103 138 131 129 79 75 55 97 37 74 50 18 99 124 102 31 13 2 130 98 77 76 54 51 36 137 125 101 32 128 52 35 17 14 136 126 33 16 15 78 100 53 1 127 34 140 116

112

Independant threads Single thread Intersections As with the fabrication of the prototype, the real world construction will also follow the same rules to achieve the web. Running the threads through the numbers, the nylon voronoi web will require fabrication machines to follow the sequence and instructions. However, if wanted, it could also be constructed by the residents of the area, creating a potential community project.

141

CONSTRUCTION GLASS CONTAINER

String

Photoluminescent particles imbeded into the glass material

Middle of cube contains holes for water to go into the prisms

String attatched to glass by knotting under a thin glass plate on the bottom

142

SITE LOCATI

IONS

MATERIALS USED Clear nylon strings Glass prisms ATTACHMENT Clear nylon strings attached to web and trees on site 143

CONSTRUCTION diagram

CLEAR NYLON WEB

CONNECTING THREADS

SUSPENDED GLASS PRISMS

10cm

GLASS PRISMS 10cm

144

145

WATER diagram

Water is gathered on the voronoi web above, naturally forming droplets at intersection points in the web before flowing down the connecting threads into the suspended glass containers. 146

DAY

DUSK

POST RAIN

C.4 LEARNING OUTCOMES

Studio AIR has definitely been an interesting learning curve for me. Initially hesitant about the subject and extent of technological capabilities, I found that my skills in using computer programs have improved significantly. These include other softwares aside from Grasshopper. As this subject relies a lot on visual presentational skills in journals, time spent altering and improving my journal has unquestionably taught me a lot. Furthermore, studying different precedents to gain insight on how computational skills has been implemented in their design has put architecture in a new perspective for me. Although there are many areas in which I would have liked to improve, I am satisfied with the overall conclusion of the subject. It has been an eventful journey.

153

BIBLIOGRAPHY

[a] Naturalsciences.org, ‘Spider Silk Is 5 Times Stronger Than Steel | North Carolina Museum Of Natural Sciences’, 2015 <http://naturalsciences.org/nature-research-center/ how-do-we-know/spider-silk> [accessed 1 May 2015] [b] <http://www.123inspiration.com/japans-spectacular-tunnel-of-lights/japans-tunnel-of-lights-4/> [accessed 15 June 2015] [c]

<http://www.bbc.com/news/technology-27021291> [accessed 15 June 2015]

[d]

<http://www.bbc.com/news/technology-27021291> [accessed 15 June 2015]

[e] <http://www.envirogadget.com/lamps-and-lights/trap-light-photoluminescent-glass-lamp/> [accessed 15 June 2015] [f] <http://permaculturenews.org/2014/03/14/solar-water-bottle-bulbs/> [accessed 15 June 2015] [g] <http://www.pstcc.edu/departments/natural_behavioral_sciences/Web%20Physics/Chapter036.htm> [accessed 15 June 2015] [h] Zheng, Yongmei, Hao Bai, Zhongbing Huang, Xuelin Tian, Fu-Qiang Nie, and Yong Zhao and others, ‘Directional Water Collection On Wetted Spider Silk’, Nature, 463 (2010), 640-643 <http://dx.doi.org/10.1038/nature08729>

[1] Tocher, Joanna, ‘Step Into Christmas With Nagoya Area Winter Illuminations | Wide Island View’, Wideislandview.com, 2009 <http://www.wideislandview.com/2009/12/ step-into-christmas-with-nagoya-area-winter-illuminations/> [accessed 14 June 2015] [2] Krishnamurthy, Ravindra, ‘Solar Water Bottle Bulbs’, The Permaculture Research Institute, 2014 <http://permaculturenews.org/2014/03/14/solar-water-bottle-bulbs/> [accessed 14 June 2015] [3] <http://www.nature.com/nature/journal/v463/n7281//pdf/nature08729.pdf> [accessed 15 June 2015]

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