Final Journal

c h a n g e + patterns calvin yong

architecture

design studio: air

Content

Case For Innovation

Cut Case Study

Expression of Interest

Final Presentation

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Reflection

contents

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Hi! My

name is Calvin.

I love things about design.

And that is one reason why I study architecture.

I like to make things beautiful and make things work, especially through new and creative ways.

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I enjoy designing with I love editing pictures with

computers.

Photoshop and laying out with InDesign.

However, I would like to know how computers can aid in generating designs for architecture rather than just being a drafting tool like AutoCAD. 7

I first encoun

ntered digital architecture through Virtual Environments in first year of university.

I designed a headpiece using Google SketchUp.

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The design concept

behind the headpie

This concept was relevant because a headpiece acts as a mediator between the head and the environment. For example, as a shading device from the sun or an symbolic expression of the wearer to the environment.

I executed the concept by abstracting a form for the headpiece by capturing the movement of a dove landing on my head. I was interested in the graceful movements of the dove as an expression of the peaceful interaction between humans and the environment.

ece was to express an interaction between the wearer and the environment.

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The final result was highly expressive!

The elegant curvilinear curves captured the graceful landing of the peaceful dove.

During an accidental lighting arrangement, I captured the photograph on the left. It was highly expressive of the design intent. I wish to explore lighting effects further in this course.

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I have not explored

much of d

digital architecture yet.

I have learnt Rhino and Grasshopper.

However, I have very limited understanding and technique in using it for design.

I think digital architecture, in the future, will be a major discourse in architecture.

And so, I think it is worth exploring further.

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case

for innovation

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Architecture as a Discourse

“Architecture needs to be thought of less as a set of special material products and rather more as range of social and professional practices that sometimes, but by no means always, lead to buildings.”

Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116, p. 108) 19

Blur Building

“No walls, no roof, no purpose...”

Swiss Expo 2.0, Yverdon-les-Bains, Switzerland Diller + Scofidio, 2002

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I like this architecture becau people's ideas of what is a b

use it challenges building.

The Blur Building, a building if you could call it, has no dimensions, no scale, no form and no function.

And it is also a building that you can drink! And these generate a conversation about what is architecture.

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I find the building even more how we experience architectu

The building is a reaction against exposition. It challenges our depe building "absolutely nothing to se I believe this architecture pushes think hard again what is architec

e interesting in how it explores ure.

t the overwhelming visual simulation normally in an endence on vision and our want of activity. Here is a ee and nothing to do" as quoted from the architects. forward what architecture can be and makes us ture.

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Computing in Architecture

“For the first time perhaps, architectural design might be aligned with neither formalism nor rationalism but with intelligent form and traceable creativity.�

Terzidis, Kostas (2006).

Algorithmic Architecture (Boston, MA: Elsevier), p. xi

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New technology has always been used to create new architecture. The advent of the computer brought about changes in the architectural design process.

Kalay suggested there are three aspects of architectural design process: problem analysis, solution synthesis and evaluation. This is then brought together through various communication media, which includes now the computer.

Idea 1: (quick and efficient) In view of these design processes, computers can bring about many benefits. In terms of problem analysis, the computer is a great tool for analysis and can work out tedious methods without getting bored like humans.

Besides analysing, a variety of design solutions can be generated quicker and complex geometry that is difficult to be produced manually are much easier to be generated. Evaluation, just like problem analysis, can be done more thoroughly and quicker. Finally, computers facilitate communication as they are quick and easily transferrable in a virtual format.

However, I think Ideas of artificial intelligence integrate conception + production Computerisation vs computation new architectonic possibilities digital continuum kolarevic ch1 modelling geometry of complex forms kol18 exploration of infinite variable potentialities Benefits of using computer in design process Kalay great analysis tool can help fabricate and construct manage the building artificial intelligence - search computer facilitate communication data driven approaches Agent-Based Systems swarm agents like ants building bridges advantages - responsive shortcomings - what agents? distinction from planned structures complex 3d structures than 2d planning, which reflect the real world better retrofitting SWARM URBANISM 2008 Project Design Partners: Roland Snooks + Robert Stuart-Smith This speculative proposal posits an urban design methodology based on the emergent capacities of Swarm Intelligence in rethinking of the current redevelopment of the Melbourne Docklands.Swarm systems involve the local interaction of autonomous agents, which give rise to emergent behavior and the self-organisation of

structures. An application of swarm logic to urbanism enables a shift from notions of the masterplan to that of master-algorithm as an urban design tool. This shift changes the conception of urban design from a sequential set of decisions at reducing scales, to a simultaneous process in which a set of micro or local decisions interact generate a complex urban system. Rather than designing an urban plan that meets a set of criteria, urban imperatives are programmed into a set of agents which are able to self-organise. Consequently this conception of urbanism generates systems that are flexible to respond to the constantly changing political, economic and social pressures of urban development.

The decentralized structure of swarm, or multi-agent, systems changes the nature of hierarchy in urbanism. Hierarchies of scale and intensity are of course imperative to urbanism, however with the swarm logic developed for the Melbourne Docklands flattens the hierarchy within the design process. All elements of the urban fabric are conceived of as possessing agency, enabling them to interact without a sequential design hierarchy, instead the hierarchy of intensities at a macro scale are an emergent outcome of their self-organising operation.

Agency operates through two main processes within this proposal: firstly by using design agents to self-organise urban matter and secondly encoding intelligence into urban elements and topologies.

Agents within this system are not generic, instead there is an ecology of agent systems which interact, each set of agents programmed with their own desires and information. In this first category agents operate to self-organise program through a process of stigmergic growth. This type of collective behavior is similar to the logic of termite colonies in aggregating matter to form termite mounds.

The second category of agents work in a similar manner to the processes which govern the self-organisation of slime mold cells into minimal path systems or the collective organization of ants to create bridges. These urban agents are primarily used to generate infrastructural and circulatory networks. Consequently this project isn’t an attempt to map the motion of swarming agents in creating an urban plan, but instead to create a system capable of generating a collective intelligence in self-organising urban structures.

The shift from plan to algorithm challenges the primacy of the two dimensional plan. Swarm systems are capable of generating complex three dimensional urban structures and networks.

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Parametric Modelling

“Parametric design is such that it is the parameters of a design that are declared, not the shape...

Equations are used to represent the relationships between objects. The ability to define, determine and reconfigure geometrical relationships is of particular value.”

Mark Burry, ‘Paramorph’, 1999 31

Parametric Modelling Advantages: Allows for change allows for complexity previously might save cost on otherwise using conventional met

Disadvantages: Steep learning curve to define new relationships all a Overwhelming work tend to be form-making rather than form finding cur what is parameters?

two parametric projects: Toyo Ito Cecil Balmond’s Serpentine Pavillion 2002 Antonio Gaudi’s Sagrada Familia work furthered by M

thods

at the start.

rrently

Mark Burry

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Serpentine Pavillion “Structural Design” London, United Kingdom Toyo Ito and Cecil Balmond, 2002 35

Sagrada Familia “Continuing the rules” Barcelona, Spain Antonio Gaudi + RMIT SIAL, 1883-present 37

The Sagrada Familia was a huge project that the architect knew he could not complete in his lifetime and so he devised rules and made scaled models so that future architects can carried out his plans.

Digital parametric techniques are now used to analyse these rules and models. Most of the models were destroyed during a civil uprising. So, parametric techniques were used to create digital models that are as close as possible to the original models.

These techniques allowed for faster manipulation to find the original forms the architect intended. And also it allows better teamwork as this involved research teams from as far as Melbourne to Barcelona. Variations are able to be produced quickly and be discussed online to be checked. Finally, communication between the stonemasons were facilitated as the digital models provide more accuracy and had taken into account the real building scale.

I think parametric modelling is highly useful in dealing with complex works like the Sagrada Familia. It allows faster design manipulation and building execution which would probably take way much longer using conventional software. Finally, it allows the architect to be able to return to role of medieval master builder - design and construction

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cu

ut case studies

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Learning Experience I find digital architecture still rather alien, as in I feel I can’t design anything in it. However, I’m interested in how more efficiently complex systems can be dealt with. I like the idea that parameters are set up earlier and the flexibility of changing small parts and the whole design updates rather than starting from scratch. However, having to set up the parameters.

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expressi

ion of interest

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We are inte

Patterns

that produ experie

and engage the viewer with th

The freeway is a uninterrupted space where the subjec The art project must therefore not only catch the su engaging at th

Our proposal is to use patterns in producing the vi repetitive nature, have the ability to represe

We add depth to this pattern with the use of multipl signage by providing glimpses of a common s

erested in

uce visual ence of

Movement

heir surrounding environment.

ct can only spend milli-seconds at a designated point. ubject’s attention but also be thought-provoking and he same time.

isual experience of movement. Patterns, with their ent movement by creating optical illusions.

le layers while also critiquing the typical freeway art sign instead of being obvious to the viewers.

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John Lewis Departmen

nt Store Facade “layered transparency�

Leicester, United Kingdom Foreign Office Architects, 2008

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Idea of panels Double skin to create different transparencies Pattern sensitive to context

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Arrangement of tiles to a larger pattern basing on needed shading function in store

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Galle

eria Centrecity Facade “Creating an optical illusion” Cheonan, South Korea UN Studio, 2008-10

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Moire effect produced by double skin and lines going at different angles. Interesting lighting effect

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Eastlink

Melbourne, Australia Wood Marsh Architects, 2009

“How to make the journey an engaging experience�

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Design language getting from the palette of things normally seen on a highway, the signs, the landscape, the trees

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Technique: Double skin, moire effect, signage Wall panel with multiple layers with varying materiality designed through a parametric model induced by a mathematical equation of the notion of movement, producing a pattern

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Initial Concept Matrix

Grid Surface Extrusion Attractor Point Attractor Curve Image Sampler Maths Function Multiple Maths Function

Rotati

e

ion

Overlapping Pattern Extrusion

Rotation

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Refining Concept Matrix

Equation

(sin(x))^y

sin(x*y) * cos(y*z)

cos(x) * cos(y)

sin(x) + y

Geometry

Signage

circle

blue

hexagon

brown

square

green

rectangle

grey

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Further Exploration Our group have a good concept, but we didn’t use Grasshopper to its full potential in our technique definition..

The resulting model was too simple and boring.

I think we need to look more precedents that deal with the concept of movement and patterns.

I think our current technique with sit well on the site as a wall.

Site B is probably the best to continue as it is flatter. I think we need to develop the multiple screens idea further so that the effect will be stronger and will interest the drivers more as well as fulfilling the aspirations of Wyndham City Council on the gateway.

Using parametric technique has become more interesting, if I had more time, rather just producing what is needed, I would love to explore more complex methods that can generate more interesting results

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Final Presentation

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We are interested in the influence of patterns through aspects such as v of natural phenomena’s such as the movement of a flock of birds. We be relationship with how one experiences movement in relation to anothe

We believe that the freeway is a unique space where the spe to be travelling as the surrounding environment is usually co s of movement is dependent on its speed and one more thin bypasses you, it triggers an instinctive sense of slow movem

So we whole-heartedly believe that man effective way of providing entry into Wy into an altered one and then back to the

We are interested in the relatio movement. The technique is to to generate the experience of m from an understanding of the st which utilizes three points. The motion that can create a landm as inspiring symbolic gesture fo

varying frame rates/densities and trajectory elieve that these patterns have an intrinsic er object.

eed or path of the vehicle determines how fast or slow one perceives onstant in being still. We believe that the viewer’s relationship in term ng, the speed at which objects that surround it are travelling at. If a car ment and vice versa.

nipulating this experience of movement is a strong, clear and yndham city. In providing a transition from a typical experience ordinary leading to Wyndham.

onship between patterns and use a series of patterned panels movement. The form evolves tructural concept of tensegrity e pattern results in a graceful flight mark point on the freeway, as well or the city of Wyndham.

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D R I V E R ’ S

V I E W

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A E R I A L

V I E W

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C O M P O N E N T S

O F

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D E S I G N

DENSITY The frames that human eye sees per second determines the escalation in movement, just like in a stop motion video.

Determining the key to this is the spacing between each surface that is seen which creates varying densities. This is a key element that encapsulated our design process.

Technique: We experimented with various techniques to create patterns of variable density such as maths function, manual calculation, attractor points, and association with another curve. Association with another curve proved to be easiest visually to create dense and sparse areas of panels CURVE/PATH This led us to investigate what the most engaging and influential path would be for such an installation. We felt that that this must be done in a graceful way to ensure safety and to reinforce the idea of a new start, a new place, a new beginning.

And what is more graceful and smooth than movement of birds in a single file.

Technique: At first we just tried to draw randomly, but it does not look like how birds would fly and it is difficult to draw in 3d space. Then we looked at trying out agent based systems, but grasshopper is not the digital tool to do those sort of thing, so we decided against it. Then we used a grasshopper component build by others called FlowL to generate trails of wind which looked much more like bird gliding through.

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PANEL We felt that the surface or panel must reflect this mobile and tentative motion path. It led us to explore a series of configuration.We felt that they contrasted the gracefulness of the curve that imitated a flock of birds. We looked at the relationship between the flapping of the bird’s wings and its consequent effect on the overall change in the path it takes.

Technique: At first our panel was just random shape that we were able to make using grasshopper such as polygons. Later when we knew we wanted to use tensegrity structures, the idea came of making the shape more efficient for the most basic tensegrity structure we know (a three rod system with two triangles and three diagonals). The triangular shape made us pushed our design concept to more concrete terms, such as a boomerang flying over and finally it came to the idea of birds.

TENSEGRITY Affectively we had designed an installation that would contain individual panels suspended in mid-air at certain points. The structural exploration was crucial in the outcome of the design.

Tensegrity allowed us to achieve exactly what we wanted.

Technique: We generated the flight of bird panels first and then using data matching, we created a series of lines that represent the compression members. Grasshopper is able to systematically list measurements of the components of the tensegrity structure. With the measurement of compression members, their position and the diagonal tension members, we were able to fabricate part of the model.

OVERALL every step of our design is made upon constant referring to our argument of using patterns to generate movement.

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DESIGN DEV

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2

OVERLAPPING PANELS

BRIDGING PANELS

Overlap to create moire effect of motion

Bridge to stablize structure

RESHAPING PANELS

ROTATING PANELS

Reshape to a more interesting geometry

Rotate to generate perception of motion

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VELOPMENT

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SECTIONING PANELS

DISTRIBUTING PANELS

Section laterally to create smaller, stabler panels

Distribute to create difference in frame rate

EMPHASIZING PANELS

RESTRUCTURING PANELS

Emphasize a part of geometry to emphasize degree of motion

Restructured the geometry more effeciently according to tensegrity structures

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DEVELOPMENT O

01 First Base Circle

02 Base Angle Line

03 Rotate Angle Line

04 Bottom Wing Tangents

05 Second Base Circle

SIMULATION OF

OF FINAL PANEL

06 Upper Wing Tangents

07 Blend Curves

08 Bisect Angle Circles 1

09 Bisect Angle Circles 2

10 Structural Points

WING FLAPPING

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emb into the rig ht position and then with t emporaryp rops STRUCTURE

rs d be hol em d m n . n n a ops sio tio pr es si ry pr t po ora om gh p ll c ri tem t a he h Lif to t wit in en th

Put tension wires ar points of compressi 1 Lift all compression 2 Put tension wires around members into correct the end of form a compression triangular sh position and provide members to form a Conne Lift all compression members the length sides b temporary support through triangular shapedof loop, secured by bolts at the points into removable the rightprops position and hold Put tensionlength of sides then with temporaryprops. wires aroun d the en points of co mpression members form a trian gular shape loop, fixe the length of sides by using bolts

Conne two ad three h

all ng ts si ec y u nn s b Co int po

nd to e e rs th e ed d mb fix s. un e p, olt ro n m loo b s a io e ing ire ss ap s w pre sh by u r n io om la es

Put tension wires around the end points of compression members to form a triangular shape loop, fixed the length of sides by using bolts.

bders d hold s.

points by using tension wires.

Connects a ll adjacent d iagonal points by u sing tensio n wires.

Connects all end adjacent wires from of end point 4 Connect es 3 around the Connect wires diagonal points by using end points to adjacent ression members to two adjacent structural thr tension wires. compression members the three ar shapeallloop, fixed diagonal through three holes on the panel. onnects adjacent perforations in the panels des by oints byusing usingbolts. tension wires. d Connect wires of end points from nto d two structural through the Conadjacent nect wires o s to ed three on thef epanel. nd points fr two aholes om d j a c e n e t d s t ructural thr s. three holes ough the on the pan s. el.

onnect wires of end points from o adjacent structural through the ree holes on the panel.

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Model showing structural details of the tensegrity system.

The aluminium rods act as compression members and the transparen

nt craft line as tension members.

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Model showing an ascending flight of birds in various frame intervals.

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Play of light in the model simulating a night view with yellow street lamps.

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Kenneth Snelson's Soft Landing, 1975-77

Idea: Possible support of the whole structure by making the entire structure a single tensegrity system.

Ideas Idea: Instead of using rods as compression members, the designed geometry itself can be the compression members

Kenneth Snelson's Sleeping Dragon

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WILKINSON EYRE, TENSEGRITY BRIDGE

Idea: Incorporating light into tensegrity structures

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Reflection Throughout the course semester, I found digital and parametric tools to be more and interesting. Although I had to retake this course as I failed it last semester, I must say I did not regret taking it, considering I learnt much more about grasshopper as this time my role in the group work allowed me to play with Grasshopper more often.

GRASSHOPPER I see the potential in using parametric tools to create more complex designs and having a more organised workflow. For example, I learnt how to really figure the systems for my design and this forces me to find ways to represent the system. In trying to represent the system using Grasshopper, I have been able to refine the design much better which otherwise is not possible through conventional design techniques.

GROUP WORK I enjoyed the group work much more this time too as we decided to persevere through some ideas and keep refining it, rather than tossing between many different ideas and avoiding some because it is difficult. Nonetheless, time management is still an issue for me. I find the cure to get a project well done is to be excited about it. And our group finally got excited over the idea of tensegrity structures and that really drove our design to a much higher level. Within a week we managed to really push our design and I can see that it given more time, there is much potential in the project.

MODEL MAKING Model making in this course at first was not interesting to me, but once we got intrigued by the tensegrity structure, model making suddenly became so interesting. During the first half of the semester, we treated the model as just something to hand in and the model reflected badly our design. For the final presentation, I decided with the group that we need to make a really good model. I tried finding all sorts of materials that would make the tensegrity system work as well as looking good. The model really informed how the structure can possibly stand in real life. It forces us to think a lot more about tweaking the structure, especially when working in digital environments where one can easily lose track of the structure while focusing on the design.

PRESENTATION I was glad the presentation turned out well as we had to spend a lot of time with the model. The key to presentation for me is to really know the project well and present in a way that is clear. And also not to fake the design process to one that we are supposed to follow in the guidelines, as that complicates things and we will have fake things out, meaning extra work. As I was afraid that our design is not clear to the crits, it proved to be a really wise decision to put the design upfront in the presentation. This allowed curiosity to build and drive people to be interested in knowing how one comes to the design. This is something that I will definitely implement in the future.

DESIGN Overall, I learned a lot about architecture - the power of digital architecture, the need for persistence in ideas and keep on refining it although it is hard, as well as the need to communicate ideas clearly.

Would really like to thank you Alison and Paul for being patient with me and contribute many helpful hints along the way.

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