Hallak bilal 641720 finaljournal

DESIGN JOURNAL

BILAL HALLAK 641720

STUDIO AIR

ABPL30048

2015 SEMESTER 1 TUTOR - GEOFF KIMM UNIVERSITY OF MELBOURNE

Table of Contents 6

Introduction

38

Part A: Case for Innovation

ICD/ITKE Research Pavilion at the University of Stuttgart

10

A.1 Design Futuring

- BanQ Restaurant

- The Center for Ideas

12

A.2 Design Computation

- Beijing Aquatics Center

- The Orquideorama

14

A.3 Composition/Generation

16

A.4 Conclusion

A.5 Learning outcomes

18

A.6 Algorithmic sketches

20

A.7 Part A References

Part B: Criteria Design

24

B.1 Research Field (Biomimicry)

25

B.2 Case Study 1.0

Aranda Lasch - Morning Line

28

B.3 Case Study 2.0

Waffle type 2

30

Reverse-Engineered Waffle type 2

32

B.4 Technique development of Waffle type 2

36

Merri Creek Development

Continuation of B.3

40

Continuation of B.4

Geodesic technique development

42

B.5 Technique: Prototypes

Materialization and Dimensions

Further development

NJIT Biodegradable Pavilion for Sukkahville 2014

Model Shots

52

B.6 Technique: Proposal

54

B.7 Learning Objectives and Outcomes

55

B.8 Algorithmic sketches

66

Part B References

Part C: Detailed Design

70

Site context

72

C.1 Design Concept

Re-approaching design

76

C.2 Tectonic Elements

78

Final Design Concept

80

Site Map

82 Renders 88

C.3 Final Detail Model

94

C.4 Learning Objectives and Outcomes

96

Part C References

INTRODUCTION About Bilal Hallak

Status: 3rd year undergraduate in the Architecture Major My name is Bilal Hallak, but most people call me Bill for short.

Growing up as a kid, I never really knew what I wanted to do after I finished my schooling. However, I did take interest into designing and sketching throughout my schooling career. It was only when I wanted to take things seriously did I begin looking into the field of Architecture. Architecture to me is a knowledge we can apply to the real world through our ideas, where there is so much to offer. It feels as if you can never stop learning as an Architect because there are always new ideas and skills that can be developed over time.

Most of the work I’ve created usually consisted of hand drawn images, as digital modelling was never my forte. It was only recently that I was given the opportunity to learn a new design program and took matters into my own hands and tackled the struggles of digital design. Over the summer break of 2014-15, I undertook a 3 week internship at King Abdullah University of Science and Technology, also known as KAUST. This productive experience engage me not only in digital architecture, but also put me in real life scenarios of an architect, where I would be given tasks with specific deadlines, or meeting with other members of the team to discuss iterations of plans. I would say my strength in digital design is only beginning to develop, with AutoCAD being the first design tool I managed to understand during the internship in KAUST. Although it may be basic skills, I have been able to grasp the tools of AutoCAD and create scaled floor plans. It may only be basic, but I think its part of what is known as digital architecture.

Another form of digital architecture I tried to understand was the Rhino5 program. During my 1st year, I studied Virtual environments, where I found it difficult to create 3D objects as it had been the first time I attempted at such design. I managed to get the basics of the program when I attempted at recreating a floating device as part of the inflatable exercise. (fig 2) When I think of digital architecture, I automatically think of designs that have been created using technology. That would only be my broad understanding of this concept, however, there is so much more to digital architecture.

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To me, digital architecture includes a variety of technologies for us to design, which has enabled architects to free themselves from the constraints of drafting. By adapting to these new forms of technologies, it enables designers to explore a wider range of ideas, with the notion of parametric design. The digital designs we create potentially have the power to make a positive impact on our environment. How? I believe with digital architecture at our fingertips, we are able to expand our opportunities with biomimicry and challenge the sustainable problems we are facing in the built world. All of this can be made possible with the use of new programs, which can be easily accessible, and by doing so, the power to decelerate the defuturing process is in the hands of our designs. [Defuturing paper] I do wish to continue my studies in sustainable design, and perhaps one day work in a firm that follow my career path. In order to do so, I must fully grasp the idea of digital architecture and the applications needed to make it possible. Hence why I believe that this studio will be one of the most important classes I take throughout my studies, as my design approach for this semester will revolve around a design that mimics a biological process that can achieve a sustainable project.

IMAGE 1 - ABOVE: PANEL AND FOLD SPIKES

IMAGES 2,3,4 - ABOVE: ATTEMPTS AT INFLATABLE OBJECTS IN RHINO AIR STUDIO 30048

PART A: CASE FOR INNOVATION

A.1 DESIGN FUTURING BanQ Restaurant vs Centre for Ideas

IMAGE 5 - ABOVE: INTERIOR OF THE BANQ RESTAURANT

The BanQ restaurant creates a seamless landscape through the use of geometries that form a relationship between structural systems and services along the longitudinal axis. For example, the wooden striated slats conceal the systems used within the building, such as lighting and plumbing, creating a virtual realm that draws people away from traditional design to parametric design. [1] The BanQ restaurant is somewhat revolutionary in terms of services being partially viewed. Lateral views of the wood slats that form the basis of the interior allow people to observe striated glimpses of the building services. This unravels the illusion the interior has casts.

The BanQ restaurant will continue to be appreciated in terms of its modern design. The ‘virtual canopy’ which has been implemented help to create the seamless landscape, where people may dine under. [2] The design seems to have been inspired and conceptualized around the idea of division, in which there is a focus on placing certain elements between the ceiling and ground, otherwise known as the z axis.

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The BanQ restaurant have expanded future possibilities with their design, by incorporating intrinsic algorithmic processes into the internal spaces of the structure. This process allows for the design to create flexible spaces for different functions, in which the ceiling plays a role in setting the environment for different occasions.

The BanQ restaurant has provided a new and improved venue for social gatherings, in which the spaces built make it seem as if they’re in a natural setting. The selection of material allows people to escape from the industrialised city of Boston, to a more relaxed environment which brings forth a modern appearance. By doing so, several social functions can be held within the spaces provided for inhabitants to utilize.

IMAGE 6, 7 - ABOVE/RIGHT: THE CENTER FOR IDEAS

The centre for ideas can somewhat be seen as radical design due to the usage of material. The building’s façade mainly consists of reflective stainless steel, which may appear compelling; however, the light it would reflect on its surroundings may cause a disturbance.

The centre for ideas building followed an algorithmic process by utilizing the voronoi tessellation of a plane. [3] This algorithm created the basis of the form, which also shows the transition from a virtual model to an actual structure. Digital architecture was an influence in this design, as the voronoi tessellation can be generated on computer programs such as Rhino and grasshopper. The Centre for ideas expands future possibilities of digital architecture, as it is one of its kind to develop a form through the use of an algorithmic processes.

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A.2 DESIGN COMPUTATION Beijing National Aquatics center vs The Orquideorama

Computers have become a large part of our lives and modern society. Without the use of computers in our lives, human civilization would not have progressed this far in terms of modernity and in architectural terms, designing. Computers have affected our designs in a positive way, as the process has become much simpler in terms of determining accuracy and ease of creating. With computers at our fingertips, a huge shift in the design world has taken place, where we are now experiencing ways of creating complex structures as part of parametric design. We can benefit from parametric design, as it develops a new form of design logic and thinking, in which multiple variations of design can be created. [4] How can one say digital architecture is not beneficial for the design process? One may believe it conspires against creative thought, such as Lawson Bryan. He’s belief underlies the statement that computer design encourages fake creativity, which may fundamentally interfere with the process of formulating new ideas from refined sketches. Although some may believe in this thought, I would agree with John H. Freezer , who sees design computation as a mere tool for creative design.

Design computation doesn’t interfere with the design process, it only allows the user to create and process to a more accurate and finer degree, opening up opportunities for new ideas.

IMAGE 8 - BELOW: DETAIL OF BUBBLE FORMATION

IMAGE 9 - ABOVE: EXTERIOR OF AQUATICS CENTER

Engaging with contemporary computational design techniques allows designers to develop structures that have a positive impact on the environment. With biomimicry becoming widely accepted, buildings such as the Beijing National Aquatics center allow for a greater extent in the area of sustainability. This can be made possible by incorporating design computation and biomimicry together. With this, designers can explore an endless amount of possibilities to create buildings that can help slow the process of defuturing.

When looking at the Aquatics center, it can be first noted that the structure represents bubbles, in which is the case, as the bubbles have been formulated to help create a resistance to seismic activity. [5] The design itself also appears to have been derived from computational design programs, as this structure resembles the Voronoi function used on Grasshopper. By using design computation, architects can benefit from this in the pursuit of creating a sustainable environment, as this process allows designers to incorporate other ideas such as Biomimicry.

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IMAGE 10 - ABOVE: THE ORQUIDEORAMA AND ITS INTRINSIC DESIGN

IMAGE 11 - RIGHT: COMPUTER MODEL

IMAGE 12 - LEFT: INTERIOR

Architects are beginning to embrace the idea of biomimicry and incorporating digital design technologies as part of the framework for new structures. The Orquideorama, by Camilo Restrepo, is another example of how computational design was beneficial for the design process. The design follows a series hexagonal panels that help create a canopy over the sites environment. These organic shapes can be understood in two different scales, the microscopic scale and the visual scale.

By digitally designing these concepts, Camilo was able to define geometrical patterns in his works by forming relations with the virtual world to the natural world. [6] This idea of his was to unite both natural and artificial, and wanted to allow architecture to be conceived as a material, spatial, environmental organization that is deeply related to the processes of life. [7] So how does this show benefit of design computation in the design process? By having accessing to digital design, Camilo was able to formulate his structure and incorporate biological processes into modules that he would later put together to develop a canopy which helped develop a sustainable environment.

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A.3 COMPOSITION/GENERATION Generative approaches in technology and sustainability

Over time, the architectural literature has been developing and changing throughout its course of design. Designers are rapidly shifting from the traditional methods of hand drawn images to the technological innovations of computer applications. Any of these two methods are fundamental for a design outcome; however, the way the design approach is generated is different.

Traditional methods of design, which included design by freehand drawing, was the first form design generation and composition used by architects. Through this process, it is believed a design is able to re-illustrate the image through visual cognition, which may trigger an unexpected design outcome. [8] Generally this method is highly regarded by some; however, the more profound method of design comes from the use of technology. Generating a design approach based a computer will disregard the need for sketches and allow for 2D sketches on programs such autocad. This method means it will no longer use the traditional way of approaching a design, as it may not be needed. But what if these two methods were to be combined?

It is believed that the combination of the two methods, hand drawn and autocad, will widen the forms a designer can achieve, as the computer can further develop ideas based on what was sketched in the beginning. [9] This generative process does inspire designs to tackle parametric forms, which is gradually becoming the medium of architectural design. The parametric technique can be understood thoroughly through this process, as it had been mentioned previously, the human mind is able to develop ideas through visual cognition, which can then be translated into 3D modelling and inevitably the final design outcome.

IMAGES 13, 14 - ABOVE: HOW HAND DRAWN IMAGES ARE TRANSLATED INTO 3D DESIGN

In terms of sustainableABOVE: architecture, generative the HOW HAND the DRAWN IMAGES AREapproach TRANSLATED in INTO 3Ddesign DESIGN process is looked at differently. According to Terri Peters, the way in which architects can tackle sustainability is by looking at the local aspects of the site, which include the ecological, social and climate perspective. [10] This approach to sustainability challenges other generative processes, as takes things to a smaller scale in terms of what should be looked at. All three aspects of this approach are equally important, as the local context addresses the community and how it affects the building life-cycle. The Hy-Fi pavilion is an example of this approach, in which it responds to the local criteria, with the use of biodegradable materials and the way it positively impacted the large ecological system in the area.

Through the use of technological aid and efficient sustainable design approaches, architects are able to progress into the design world with a positive impact on the world itself. My challenge would be to take lessons from all of this and produce in my own works.

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IMAGE 15 - ABOVE: HY-FI PAVILION

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A.4/ A.5 CONCLUSION LEARNING OUTCOMES A.4 “Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. The computational way of working augments the designers intellect and allows us to capture not only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a buildings formation.�

- Brady Peters [11] To me, this quote summarizes Part A: Conceptualization, as this part of the project discusses how designers are shifting from traditional methods of design and basic thinking to more complex matters with the introduction of algorithms and parametric design. A key aspect I took from this was the idea of integrating digital architecture and sustainability, and how this can be a process of reducing the defuturing affect we have across the globe. From this notion, I intend to continue my design with the aspect of biomimicry, as I believe this approach of design can have a significant impact in our designs and how it can create sustainable structures. By doing so, the general populous can benefit from these buildings, as they will provide a greener and healthier environment in the way they have been formed.

A.5 From the beginning up until the end of Part A, I can say that my view on computational design has changed dramatically. The way I view design computation, I now believe it is fundamental in attaining designs that can slow down the process of defuturing. My interest in design computation is significantly increased and I hope to further gain an understanding of architectural literature in terms of digital design.

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IMAGE 16 - ABOVE: BEIJING AQUATICS CENTER AKA “THE WATER CUBE”

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A.6 ALGORITHMIC SKETCHES

IMAGE 17 - ABOVE: MAKING SCULPTURE USING THE LOFT FUNCTION

IMAGE 18 - ABOVE: THE VORONOI FUNCTION

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IMAGE 19 - ABOVE: FIRST LOFT

IMAGE 20 - ABOVE: FURTHER EXPLORATION WITH LOFTS USING GRASSHOPPER

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A.7 REFERENCES End of Part A: Conceptualization 1.

Arch Daily, BanQ / Office dA (2009) <http://www.archdaily.com/42581/banq-office-da/> [accessed 8 March 2015].

2.

Ibid

3.

Paul Minifie and Jan van Schaik, Centre for Ideas (2015) php?id=home:projects:victorian_college_of_the_arts> [accessed 8 March 2015].

4.

<http://www.mvsarchitects.com.au/doku.

RIVKA OXMAN AND ROBERT OXMAN, ‘Theories of the Digital in Architecture’, Routledge , , (2014), (p. 3).

5.

Holly Giermann, Architectural Innovation Inspired by Nature(2015) <http://www.archdaily.com/604846/architecturalinnovation-inspired-by-nature/> [accessed 13 March 2015].

6.

Jardín Botánico de Medellín , Camilo Restrepo Arquitectos (2015) <http://www.architonic.com/aisht/orquideoramacamilo-restrepo-arquitectos/5100749> [accessed 14 March 2015].

7. Ibid 8.

YING-SHIU HUANG and JAINYOU LEE , ‘’, The New Combination of Digital Sketching and Modelling Process in Ideadeveloping Stage , , (2004), , in<http://cumincad.scix.net.ezp.lib.unimelb.edu.au/data/works/att/314caadria2004.content.pdf> [accessed 16 March 2015].

9. Ibid 10.

Terri Peters, An Alternative Approach to Sustainable Design (2015) <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/ doi/10.1002/ad.1889/epdf> [accessed 15 March 2015].

11.

Peters, Brady (2013). Computation Works: The Building of Algorithmic Thought from Architectural Design (AD) Special Issue - Computation Works V83 (2), p. 10

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IMAGE REFERENCES

1. Authors own work Bilal Hallak 2. Authors own work Bilal Hallak 3. Authors own work Bilal Hallak 4. Authors own work Bilal Hallak 5. http://www.yatzer.com/BANQ-restaurant-by-Office-dA 6. http://www.peterbennetts.com/project/view/project/centre-for-ideas 7. http://2.bp.blogspot.com/_YhaIbCcptpw/S_Dwgk_xCgI/AAAAAAAADc8/yASWbaN9jYI/s1600/DSC_0618.JPG 8.ht tp://ad009cdnb.archdaily.net /wp - content /uploads/2015/03/54ecd10fe58ece6e4c000015_ architec tural-innovation-inspired-bynature_4071364299_7eaf042b4b_o.jpg 9.ht tp://ad009cdnb.archdaily.net /wp - content /uploads/2015/03/54ecc6f 0e58ece5598000007_ architec tural-innovation-inspired-bynature_3633449081_b5fd34aed8_o.jpg 10. http://www.architonic.com/aisht/orquideorama-camilo-restrepo-arquitectos/5100749 11. Ibid 12. Ibid 13. http://cumincad.scix.net.ezp.lib.unimelb.edu.au/data/works/att/314caadria2004.content.pdf 14. Ibid 15. http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1889/epdf 16. http://wfiles.brothersoft.com/w/water_cube2_38407-1920x1080.jpg 17. Authors own work Bilal Hallak 18. Authors own work Bilal Hallak 19. Authors own work Bilal Hallak 20. Authors own work Bilal Hallak

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PART B: CRITERIA DESIGN

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B.1 RESEARCH FIELD Biomimicry For the remainder of the AIR studio course, the research field in which I have chosen and would like to focus my design on is Biomimicry. It was only recently that I took an interest into Biomimicry because of its relation to sustainability. I feel that Biomimicry is an essential in reducing the impact of defuturing in the build world, and by pursuing a further understanding in this research field, I believe I can be a part of the designers who wish to change the way in which we design buildings.

Not only have I chosen this research field for the purpose of changing course of defuturing, but because I find it interesting in the fact that designers can be influenced by biological processes found from a variety of species, such as learning from humpback whales to improve efficiency on wind power. [1] The influence is around us, we just have to challenge ourselves to learn.

IMAGE 1 - ABOVE: WIND TURBINE ADOPTING WHALE FIN IMAGE 2 - BELOW: CLOSE UP OF TUBERCLES ON FIN

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B.2 CASE STUDY 1.0

The Morning Line - Aranda Lasch

IMAGE 3 - ABOVE: MORNING LINE PROJECT

This piece of work, designed by Aranda Lasch and collaborated with artist Matthew Ritchie and structural designs from Arup AGU, exemplifies the architecture of innate objects through the use of its complex geometry. The 8m high, 20m long monument consists of fractal circular forms which are compiled together to create an abstract form of art in the landscape. The form of this frame has been built to create an open cellular structure, which can be noted as being an anti-pavilion, where there is no such thing as enclosure.[2]

The truncated tetrahedrons have been deconstructed to help create this complex structure, and were made possible by the use of parametric design. Each of the components used in the design were regular shapes being broken down in truncated forms, which helps create complex visual aesthetics. The complexity of designs is becoming much more prevalent in architecture, as the computation process allows for such geometries to be experimented with. In this process, the imagination of the designer is tested, as there is a wide range of forms to create with a variety of computational functions.

IMAGE 4 - BELOW: MORNING LINE PROJECT SECTION

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The overall definition of this recursive process begins with a basic polygon as the main form. For each of different species created, the amount of segments and radius has been deliberately changed as part of the experimental process of identifying new forms of recursion. As shown to the left, each outcome generated undertook minor iterations, yet still created major differences in shape.

Following this process is similar to what Aranda Lasch conducted during her design process, as the truncated tetrahedrons follow a complex technique in which the original shapes could be amended with. Like the different polygons used in my exploration, the shapes created cast symmetry and an intrinsic pattern.

Based on what has been done, the design criterion in which I have decided on is the notion of representing patterns and symmetry. By combining these two aspects, the design can push towards an outcome that is visually appealing in a simple manner, veering away from the idea of complexity.

IMAGE 5 - LEFT: ARANDA CASE STUDY EXPLORATIONS AIR STUDIO 30048

B.3 CASE STUDY 2.0 Waffle type 2

For the purpose of the second case study, I have selected the Waffle type 3 project as part of my research for developing a new algorithm. This project is also interesting to look at in relation to the site I have chosen on Merri creek, as it holds some potential for further design. The Waffle type2 project consists of many different functions, such as brep wireframes, vector lines and path mapping.

Each of these components is part of a large cluster that forms this waffle type. The functions in this cluster can be manipulated to form other types of slabs, such as the waffle type 3. This waffle slab begins with a series of other functions which are then connected to the same set of functions used to create the waffle type 2.

The design intent for this waffle type is quite extensive. This type of waffle may have been created as part of a cladding system used on buildings or as part of the interior design in the building, similar to the BanQ restaurant. It really depends on what scale this definition is being looked at. If the waffle is observed as a whole, it can be understood as being a simple design for a building, however, on a smaller scale, this waffle can be a part of many other small waffle components which form another sort of system.

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The reason why I have selected the waffle type 2 is because of its purpose on my site, which is the Labyrinth. The Labyrinth is a smaller, more enclosed area of the site where people gather to perform the labyrinth walk or simply to just add and gaze at the wishing tree the inhabitants have created. The way in which this waffle has been formed bests represents a sort of shelter or a dome for those on the site, as the area has potential for growth, especially with the area being flocked with school kids and families.

IMAGE 6 - LEFT: ORIGINAL WAFFLE TYPE 2 AIR STUDIO 30048

Reverse-Engineered Waffle Type2

1. Create sphere in Rhino and reference in Grasshopper

2. Add box corners with lines as part of setting up planes to find waffle section

3. Setting up the planes find the section through extruding and number

6. FINAL

IMAGE 7 - ABOVE: COLLECTION

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s to h series

4. Making the final notches for the waffle by adding material thickness

5. Bake different planes to show connections of waffle

L PRODUCT

N OF REVERSE ENGINEER SHOTS

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B.4 TECHNIQUE DEVELOPMENT

IMAGE 8 - BELOW: DIFFEREN

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NT SPECIES AND ITERATIONS

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MERRI CREEK DEVELOPMENT

Location The Labyrinth lies along the merri creek, situated in the middle between two major roads, Heidelberg rd and the Eastern Freeway.

The labyrinth is tucked away along the edge of a small cliff side that runs along the merri trail, making it a known spot for those trailing the path. Its location makes it the perfect environment for a social meeting as the area is surrounded by green vegetation, enclosing the space for the purpose of a labyrinth.

IMAGE 11 - ABOVE: THE LABYRINTH

My Response

IMAGE 9 - ABOVE: THE WISHING TREE

The existing Labyrinth site is also home to a wishing tree, in which people visit to place parchments, notes or gifts, as part of their wish. By observing this part of the site, I found the main stakeholders to be children (predominantly school children), local residents and visitors, as well as including the wildlife that reside in the area, such as birds. In response to the stakeholders at hand, I would propose the idea of creating a more informed social space, which would include a possible shelter that can harbour people visiting the site.

I have also envisaged the idea of creating a geodesic dome that can surround the labyrinth with an oculus, creating an enclosed space for participants. I came across this idea whilst completing the labyrinth. I believe by creating a closure over the labyrinth, allowing fragmented sections of light to enter, will enhance the experience while completing the course.

IMAGE 10 - ABOVE: PATH ALONG LABYRINTH

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The only issue I would possible have with this idea is children using the dome as a playground, in which they will begin to climb, creating a hazard on the site.

IMAGE 12/13 - ABOVE/BELOW: PROPOSED IDEA FOR DOME FORM OVER LABYRINTH

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NJIT Biodegradable Pavilion, Toronto 2014 This pavilion comprised of Graduate students who have challenged themselves to re-imagine the sukkah, which symbolizes the frailty and transience of life during the Jewish festival of Sukkot.[3] The pavilion consists of structural ribs which are made of sawn-timber, as well as incorporating the idea of biodegradable materials for the cladding system, such as a corn-based foam. By doing so, the users of the pavilion are able to feel a sense of connection with nature and to enhance their

experience on the site. This is an idea I would like to incorporate into my own design, but not through the corn-based cladding, however through the usage of foliage which may grow through the system of ribs in my design. By doing so, I believe I will be able to further enhance the experience one would normally achieve whilst completing the labyrinth.

IMAGE 14 - ABOVE: BIODEGRADABLE PAVILION

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IMAGE 15 - ABOVE: INTERIOR VIEW

IMAGE 16 - ABOVE: CORN-FOAM FOR ORGANIC CLADDING

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B.3 (Continued) CASE STUDY 2.0 ICD/ITKE Research Pavilion at the University of Stuttgart

The ICD/ITKE Research pavilion is one of many designs which incorporates the idea of biomimicry into the built form.

The project analysed several types of biological structures which can be integrated into the pavilions modular form.

One key interest of biological structures was the sand dollar, a sub-species of the sea urchin, which inevitably provided the basic principles of the bionic structure.[4] The idea of playing with polygonal plates which link together to create a skeletal form was generally the basis of my idea for Merri creek. The structure I have intended follows a series of interconnected beams, which create a dome like structure. By looking at the Research pavilion, I am able to transfigure my idea of a ribbed type dome to something a bit more elaborate, such as a geodesic dome.

For the dome, I would also like to incorporate Blue Morning Glory flowers for an organic cladding system, as this type of flower is a vine type, which will grow in most environments across Melbourne.[5] These vines do require support for them to twine on, hence why I believe a dome which consists of interconnected beams will allow for growth. By providing an organic material as part of the cladding system, it will provide shade for users participating in the labyrinth and maintain cool environment in the summer.

IMAGE 18/19 - ABOVE/RIGHT: MORNING GLORY FLOWERS

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IMAGE 17 - ABOVE: RESEARCH PAVILION

IMAGE 20- ABOVE: INTERIOR OF RESEARCH PAVILION

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B.4 (Continued)

Geodesic Dome development For the Geodesic domes developed, I looked into the idea of creating openings to allow light to penetrate the interior space. As the interior space will be the labyrinth, I believe penetrating light into the dome will further enhance the experience one will have while participating in the labyrinth activity. With the addition of Morning Glory vines growing allowing the structure, the interior will receive different shades of light in different seasons.

IMAGE 21 - ABOVE: COLLECTION

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N OF GEODESIC DEVELOPMENT

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B.5 Technique: Prototypes Materialization/Dimensions HTTP://INHABITAT.COM/THE-PEOPLES-MEETING-DOMEDECONSTRUCTS-THE-GEODESIC-DOMES-SACRED-GEOMETRY/

Materialization - Structural plywood timber, similar to the material used on the Stuttgart Research Pavilion, can be used as it better suits the natural environment in which it will be placed, similar to the dome designed

by Danish architects Kristoffer Tejlgaard and Benny Jepsen. [6] - The triangular panels can be fixed together with a type of connector, either by tying it or bolting it.

- Prefabrication of the panels is key to the construction of the dome.

Similar to the Research Pavilion in Stuttgart, the plywood panels used were prefabricated for ease of construction on site.

- For the geodesic dome, there are two main structures keeping it in place. The internal skeletal formation will help hold down the exterior skeleton, which will be acting as the main faรงade. The internal skeleton creates the extra support against lateral loads - Assembling the dome with begin with the base, slowly connecting the triangular panels together, which will form the perimeter of the dome. From here on, the panels are attached one by one until the top ends meet.

IMAGE 22 - BELOW: DE-CONSTRUCTED GEODESIC DOME

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IMAGE 23 - ABOVE: THE LABYRINTH

Dimensions - The existing Labyrinth is approximately 15m in diameter from the east side to the west, and approximately 14m in diameter from the north side (entrance) to the south side.

- The dimensions in place for the dome will be set at an approximate of 16m by 14.5m, however, it is still in consideration as to whether I would like to create a flush finish with outer stones of the labyrinth or to create a gap between the outer stone and the interior skeleton of the dome.

IMAGE 24 - ABOVE: DIMENSIONAL DRAWINGS AIR STUDIO 30048

B.5 Technique: Prototypes Further Development

IMAGE 25 - BELOW: FURTHER DEVELOPMENT OF GEODESIC DOME

Here I began applying the recursion script which was used for the Arana Lasch “Morning Line” Project. By doing so, it’ll help create intrinsic patterns and shades of light entering the dome and onto the labyrinth itself.

I continued with the recursion process by modifying different inputs to create different sized triangles, as well as how many would be repeated. In the above case, I have populated a large amount of triangular panels which originated from the former structure. However, this iteration deemed difficult to model and difficult to incorporate into my design intent.

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In the next step, I added more panels for the internal skeletal structure for a more elaborate design. These panels also shared the same recursive functions as the exterior panels.

Lastly, I modified the recursion process for the internal panels to give a different look on the design. Leaving both the exterior and interior different in recursive panels.

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B.5 Technique: Prototypes Model shots

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IMAGE 26 - ABOVE: COLLECTION OF MODEL DEVELOPMENT

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IMAGE 27 - ABOVE: FINA

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AL PROTOTYPE MODEL AIR STUDIO 30048

B.6 Technique: Proposal

IMAGE 28 - ABOVE: INTERIOR AND EXTERIOR PANELS

After a few minor iterations done to both the interior and exterior panels, the design now satisfies my selection criteria.

One of the key aspects that will be mentioned during the interim presentation is the reasoning behind the different openings and how organic material is able to flourish on it. For what I have selected in my design intent, I intend on allowing light to penetrate the dome, as I believe this will further enhance the experience for users who are partaking in the labyrinth activity.

The dome will be an extension to the existing site, hence why

this structure serves no other purpose but to create a stimulating experience, rather than be a distraction to what is already on site. As the site I have chosen is relatively small in comparison to neighbouring areas, I felt my approach to be appropriate in a sense of it being an extension to the site, rather than an additional piece. A shelter may have been possible, but to me it wouldnâ&#x20AC;&#x2122;t be as enlightening as a geodesic dome that changes its organic cladding with every season.

IMAGE 29 - BELOW: FINAL GEODESIC DOME

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IMAGE 30 - ABOVE/BELOW: INTERIOR VIEW AND EXTERIOR VIEW

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B.7 Learning Objectives and Outcomes As part of the learning objectives for the course so far, I believe I have been able to develop a variety of skills regarding digital technologies as well as my understanding of parametric design.

This course in particular has been the first time I have heavily been exposed to digital modelling and parametric design, which now I see the endless possibilities of design that can be created. Over the course I have tested my skills to generate a variety of designs, however, for the purpose of Merri creek, I believe I still have the capability of developing a more extensive design, as well as exploring other design possibilities.

Through this development, my skills in Rhino/Grasshopper have been growing at a steady pace. It may not be sufficient enough to create something complex or unique in its own way, however, I have gained enough skills with the 3D media to be able to explore different types of geometric and parametric modelling. As for digitally fabricating, I will be developing a further understanding of how certain models can be fabricated for the purpose of Part C.

The concept of Air and Architecture come together with the idea of showing dynamism and fluidity in the design and the concept. Trying to tackle this relationship has been a challenge for me in my design concept; however, it is something I am striving to push for in Part C. A main learning objective of this course for me was the development of fundamental and foundational skills of programming through Grasshopper. In the beginning, Grasshopper seemed irrelevant in the course of Architecture and difficult to grasp, however, after challenging myself to complete several algorithmic tasks and design proposals, I believe I have laid down the foundations of design computation and developed a series of computational techniques in which I can further look into in and apply in the future.

IMAGE 31 - BELOW: RENDER OF GEODESIC DOME

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B.8 Appendix Algorithmic Sketches

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References End of Part B: Criteria Design [1] Hamilton, T. (2008). Whale-Inspired Wind Turbines. from http://www.technologyreview.com/news/409710/whale-inspiredwind-turbines/ [2]

Ritchie, M. (2010). The Morning Line. from http://www.tba21.org/augarten_activities/49/page_2

[3] Stott, R. (2015). NJIT Graduates Create A Biodegradable Pavilion For Sukkahville 2014. from http://www.archdaily. com/621551/njit-graduates-create-a-biodegradable-pavilion-for-sukkahville-2014/ [4]

Frearson, A. (2011). ICD/ITKE Research Pavilion at the University of Stuttgart. dezeen magazine.

[5] Phipps, N. (2015). Growing Morning Glories: How to Grow Morning Glory Flowers. from http://www.gardeningknowhow. com/ornamental/vines/morning-glory/growing-morning-glories.htm [6]

Grozdanic, L. (2012). The Peopleâ&#x20AC;&#x2122;s Meeting Dome Deconstructs the Geodesic Domeâ&#x20AC;&#x2122;s Sacred Geometry. Inhabitat.

IMAGE REFERENCES 1. http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2010/07/whale.jpg 2.Ibid 3. https://c2.staticflickr.com/6/5270/5882758562_2ec5a6b118_b.jpg 4. http://www.cambridgeliteraryreview.org/wp-content/uploads/3376593247_e0674d728e_b2.jpg 5 - 13. Authors own work: Bilal Hallak 14 . h t t p : // w w w . a r c h d a i l y . c o m / 6 2 15 5 1 / n j i t - g r a d u a t e s - c r e a t e - a - b i o d e g r a d a b l e - p a v i l i o n - f o r - s u k k a h v i l l e 2014/55341ae8e58ecee0080002a7_njit-graduates-create-a-biodegradable-pavilion-for-sukkahville-2014_image_one-jpg/ 15. Ibid 16. Ibid 17. http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/ 18. https://gardendrama.files.wordpress.com/2012/02/morning-glories.jpg 19. https://interiordesignerparadise.files.wordpress.com/2013/09/good-morning-glory1.jpg 20. http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/ 21. Authors own work: Bilal Hallak 22. http://inhabitat.com/the-peoples-meeting-dome-deconstructs-the-geodesic-domes-sacred-geometry/meeting-dome-indenmark-kristoffer-tejlgaard-benny-jepsen-1/?extend=1 23-31. Authors own work: Bilal Hallak Algorithmic sketches: Authors own work: Bilal Hallak

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PART C: DETAILED DESIGN

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Merri Creek - Site Context

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C.1 Design Concept

Reflecting on Interim Presentation

After completing the interim presentation, it has come to my attention (thanks to the feedback) that I have some crucial points to address and to amend. A general comment that wasn’t just applied to me was the layout of the presentation.

For most, my presentation layout was fine; however, the way in which I presented became an issue, as I didn’t give context to the presentation in the beginning. By doing so, providing context can help develop the design process and give listeners an idea of how I am going about with my project. Another key comment made during the feedback process was my notion of Biomimicry and how it relates to my design. I have found it difficult to figure out a way in which my geodesic dome relates to the Biomimicry. I had incorporated the idea of organic cladding; however this doesn’t seem enough to satisfy the relation between my research field and my design. Perhaps my dome can provide something in return to the community, as I believe it will allow people to grow their own vegetation which can flourish over the dome. This in a sense is revegetating the area in which the existing labyrinth has taken over. It is kind of similar to the way Le Corbusier would design his houses with roof top gardens, by regrowing vegetation that has been removed for the structure to be built.

Other comments made about my project regards the site itself and my project being placed there. What makes the site so significant and how is my dome significant? A site analysis would help give context to the actual site I have chosen, as well as help the design process, which is something I will include in Part C. The significance of the site may have not been presented clearly in the presentation, though I believe the site is significant to me because it is a place in which someone can meditate and connect with the surroundings. The labyrinth has much more potential to provide this idea of a transcendent experience with the adoption of a geodesic dome, which can further enhance the users experience on site.

IMAGE 1: RIGHT - AMENDED GEODESIC DOME IN PLAN AND FRONT VIEW

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C.1 Design Concept

Re-approaching my Design Proposal

Finalizing Concept behind design proposal From the feedback given by the critiques and the tutor, I have also amended my design, in hope of achieving something more elaborate than what I previously had. Previously I had envisaged my dome to be placed on the Labyrinth and act as an extension to the site. However, after revisiting my initial concepts and design proposal, I noted that an extension has no originality and has no uniqueness as to what I would like to achieve. After refining the design and surveying the site, I was able to come across the idea of the dome being the start of a sequence of structures which could inspire others to construct their own domes. This concept is similar to the Drop City of 1965 in Colorado. The Drop City started off as a small community, primarily with structures based on Buckminster Fullerâ&#x20AC;&#x2122;s geodesic domes, in which people would build their own domes to reside in. [1] Construction of these domes involved the use of natural materials and salvaged materials such as culled limber, bottle caps and chopped off car tops.

IMAGE 3 - BELOW: DROP CITY

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IMAGE 2 - ABOVE: TRANSITION IN DESIGN

My design proposal has now been influenced by the concept of a growing community consisting of geodesic domes. I am proposing the idea of my geodesic dome being the start of something new to the site, however, not for people to reside in, but for people to give back to the community by using the supports of the dome to vegetate the area with their own type of plantation. The dome I have designed will allow for people to enter and experience the interior of penetrating light and organic cladding, which is still part of my main concept mentioned in Part B.

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C.2 Tectonic Elements & Prototypes

Construction of the geodesic dome would be basic and consist of recycled aluminium struts which will form rigid joints. The geometric panels will form a triangular lattice of rigidity which will distribute the stress across the structure, allowing for an open interior without the use of columns.

The end points of the struts will be welded together stainless steel bands, which will keep the structure intact.

Due to the joints and detailed panels needed to construct the dome, the fabrication method of choice will be 3D print, as regular methods of fabrication, such as laser cutting, will take a substantial amount of time. 3D printing will also allow me to learn a new fabrication method, as this will be my first project to be 3D printed.

IMAGE 4 - ABOVE: PART OF THE PANEL

IMAGE 6 - ABOVE: PIPE MEMBERS TO CONNECT TO PANEL

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IMAGE 5 - ABOVE: TRIANGULAR PANEL

IMAGE 7 - ABOVE: ONE TRIANGULAR UNIT PUT TOGETHER

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Final Design Concept

A collection of geodesic structures The purpose of creating two other geodesic structures is to bring a sense of design flexibility and variation, which have been influenced by the Drop City mentioned earlier. By doing so, I believe I have made my outcome more elaborate in terms of the purpose each structure serves. The original dome, 1, serves as a space for meditation, an area in which one can enhance their experience on the site with the surrounding of blue morning glory vines. The addition of the blue morning glory vines create an aesthetically pleasing dome as in envelopes the idea of biophilic nature.

Throughout the entire design process, the idea of integrating biophilic elements into my dome has always been key to the notion of designing a structure that can enhance the users experience. By elaborating onto this idea, I was able to incorporate other types of vegetation into the newer structures.

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IMAGE 8/9 - ABOVE/BELOW: GEODESIC DOME / BLUE MORNING GLORY VINE

Blue Morning Glory Meditation

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IMAGE 10/11 - ABOVE/BELOW: GE

Grape vines

The 2nd structure acts as an arch over the merri trail, which will allow for grape vines to intertwine over it. The reason for grape vines is due to my personal interest in the fruit, as well as the notion of it being a snack for those passing by.

As for the 3rd the structure, it is split into two components acting as shelter along the merri path for both by-passers or local fauna. The usage of evergreen vines, which are nondecidious, allow for permanent shelter throughout the cold winters and hot summers.

EODESIC ARCHWAY/ GRAPE VINE

s - snack

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IMAGE 12/13 - ABOVE/BELOW: GEODESIC SHELTER/ EVERGREEN VINE

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Scale of Structures

Geodesic 1

Geodesic 2

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Geodesic 3

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Site Map When walking along the Merri trail, it seemed like the site I have chosen was perfect for me. I felt a sense of enclosure and quality about the surroundings as well as the potential for what may be placed here. I envisaged the idea of the dome to create spaces that would help people connect with their biophilic nature, and to further enlighten their experience on a site that is underrated.

The site was spacious enough for me to place several dome like structures to further help my design intent. I believe by placing my design on this will help create attention and attract a lot of the local community, as I feel the existing site doesnâ&#x20AC;&#x2122;t receive the recognition it deserves. It also felt like no one else in the studio class explored this area of the trail and focused on the southern part of the boundary given to us.

IMAGE 14 - ABOVE: SITE MAP SHOWING SPATIAL ARRANGEMENT OF GEODESIC STRUCTURES

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SCALE 1:500 The spatial arrangement of the domes are as such to show the distinct variation in design, with different scales and recursive processes. Each structure has a different function on the site, however all relate to the main idea of enhancing the experience of the user by connecting nature and human.

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IMAGE 15 - ABOVE: RENDER OF SITE AIR STUDIO 30048

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IMAGE 16 - ABOVE: RENDER OF GEODESIC DOME

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IMAGE 17 - ABOVE: RENDER OF GEODESIC ARCHWAY

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C.3 Final Detail Model Geodesic 1 - The Dome

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IMAGE 20 - ABOVE: DETAIL SHOWING STRUT CONNECTION

ALL MODELS AT 1:20 3D powder print section of Geodesic 1. Additional struts needed to be placed in order to stabilize the model during the fabrication process. The addition of extra struts was needed for of the models printed by the 3D printer, which raised many issues during the digital process. Struts needed to be placed along the vertical member of the panel and spaced evenly to achieve optimum stability for printing.

For the 3rd geodesic structure, otherwise known as the arch way, a 1.5mm surface was needed in order to hold the inner struts together. This doesnâ&#x20AC;&#x2122;t follow my design intent, however, the recursive process is still evident on one side of the panel. The 3D print in some way represents the method of welded, which I have proposed as part of my tectonics. These models may prove to be useful for actual construction as it gives a sense of how the panels can be connected, as well as showing how the domes can maintain structural integrity .

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C.3 Final Detail Model Geodesic 2 - The Archway

IMAGE 21

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C.3 Final Detail Model Geodesic 3 - The Shelter

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C.4 Learning Objectives and Outcomes It has been a long semester, but an insightful one. I feel like I have come a long way in terms of understanding parametric design and how to utilize computational with both Rhino and Grasshopper at a reasonable standard. The skills I developed throughout this course may be basic for now, but it has shown me the shift in focus of architectural design, which is moving away from the traditional drawing methods to computational design.

By working on the design project throughout the whole semester, I look back and see how my knowledge of architecture has changed in terms of how there is much more to computational design than once thought. Being exposed to such complex methods and algorithmic exercises has shown me what is out there to explore and what the world of architecture is moving towards.

At first, I didnâ&#x20AC;&#x2122;t find Grasshopper necessary, however, it now makes sense as to why it is important to understand how to operate it. Understanding Grasshopper made it easier to create, manipulate, and to some extent, design a parametric model. In my personal opinion, I feel like I could have explored a much more complex and unique design for my project, however I felt limited with what I could do due to time and my lack of knowledge in this area.

I would say the fabrication process through digital modelling was quite interesting, as it was the first time I have 3D printed, meaning I was exposed to a new fabrication method. I noticed the difference between the first prototype, which was made by hand, compared to the final 3D models. The detail can easily be shown through the 3D print method, as well easier to fabricate.

My take on architecture and the concept of Air didnâ&#x20AC;&#x2122;t come through in my design, however, my understanding of it now would be the free flow of air and its relation to parametric design. The shift to computational design and new technologies has helped established new workflows, which has led to new concepts and opportunities in design. Computational design can only move forward from here and will continue to establish, which is why it is important for architectures of this generation to become aware of this change and be exposed to computational design.

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IMAGE 27 - ABOVE: LARGE SCALE 3D PRINT BY GAD - RC4

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References [1]

Joan Grossman, About Drop City (2015) <http://www.dropcitydoc.com/#!about/c10fk> [accessed 14 May 2015]

IMAGE REFERENCES 1. Authors own work: Bilal Hallak 2. Authos own work: Bilal Hallak 3. http://www.dropcitydoc.com/#!photo: Clark Richert/zoom/c10fk/i14mb 4 - 7. Authors own work: Bilal Hallak 8. Authors own work: Bilal Hallak 9. http://s.ecrater.com/stores/59305/4d9b57d5ed0c4_59305b.jpg 10. Authors own work: Bilal Hallak 11.http://upload.wikimedia.org/wikipedia/commons/thumb/9/99/Vines_in_the_Okanagan_Valley.jpg/1280px-Vines_in_the_ Okanagan_Valley.jpg 12. Authors own work: Bilal Hallak 13. http://www.glorioushomeandgarden.com/images/ficuspumila.jpg 14. Site map provided by google maps 2015 15 - 26. Authors own work: Bilal Hallak 27. http://www.creativeapplications.net/wp-content/uploads/2014/10/gad-rc4-cover.jpg

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