Material Literacy: Digital Fabrication in Architecture by Fernando Pizzani by Chris Mewburn

Curtin University — BAppSc (Architecture) — Architecture Methods III — Fernando Pizzani # 20408082 — MMXXI

Touch to know Memories of a Haptic Journey

“The elements of architecture are not visual units or gestalt; they are encounters, confrontations that interact with memory.”

–Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses

! Pinecone/Diamond

Randomly scaling and multiplying the diamond shape from the pinecone closed scales was the direction chosen, which ended with a concept that in itself features repetition and contrast as well as a rich haptic experience.

@ Honeycomb weathered sandstone

# Tesselations from gneiss metamorphic stone

The honeycomb pattern of a single block is scaled up and reproduced to create one single unit that is the structure of the whole wall. The voids become the main element and house plants mimicking nature and providing an extra layer of haptic experience.

Isolating the pattern from the background provides the design and structure building element. The background then becomes translucent providing permeability the clear membrane adds weather protection.

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Design Rationale !

The four selected materials evolved from very different elements, a closed pinecone, honeycomb weathered sandstone, a small gneiss metamorphic rock and cracked earth. As a result, all the textures feature unique and contrasting haptic qualities. For example, the back wall's rounded void shapes strongly contrast with the sharp edges of the front wall extrusions and its translucent internal and external sections. The same applies to the screen robust linear design approach and the roof complex geometric volumes. These contrasting qualities further enhance the haptic experience of the building and contribute to the development of a complementary harmony where contrast becomes the unifying element of the whole.

Materiality is another design device used to unify the concept. The exterior walls and screen feature rusty corten with the copper roof, setting an analogous colour palette, which, together with the repetition of the screen element, creates a unified theme. The choice of a neutral colour on the internal wall complements the metal-based palette and adds a soothing element of contrast.

Metal

Corten Translucent Copper Concrete

Neutral

$ Cracked Earth b

On close inspection the cracked earth voronoi pattern becomes apparent. Replicating it and transforming the cracks into a structural element provides the building block of this concept. A concrete structure (a) supports the copper superstructure (b) that makes the openable roof

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Scale 1:50

WEST ELEVATION

SECTION 1

BAS 205 Architecture Methods 3 – Assignment 3 – Process & Material Catalogue Fernando Pizzani | #20408082

Contents The Process

Material: Ripples & Waves

Material: Tessellations

Material: Pinecones and diamonds

Material: Honeycomb weathered sandstone

Material: Bark

Material:Trunks 14 Material: Petals and Scales

Material: Rocks

Material: Cracked earth

Material: Leaves

Material: Fronds

Material: Marguerite

Bibliography 28 Image Credits

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

The Process Stage 1 The design process commenced with an extensive exploration of materials and their relevant precedents. A preliminary shortlist provided a broad direction

that, after a further selection, determined the starting point for the development of the concepts that would eventually develop into the final materials.

is no straight course but rather a constant revision process and direction adjustment.

These phases can be likened to sailing because there

Precedents

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Stage 2

Stage 3

Stage 4

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Final iteration

Concept Development - Iterations

# Concept Development - Iterations

Finished product with material

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Material: Ripples & Waves The main attraction for me is the organic, random nature of the sand ripples, yet they display mathematical rhythmic precision. Moreover, this rhythm translates into a constant relationship that unifies the whole as a design work reminiscent of fingerprints The crests appear equidistant, even close to the point where they converge into one. Fig 1 - Wavy sand dunes

Folded wall — Tween curves + Loft + manual edit It may grant further exploration of possible use as roof material.

Fig 3 - Casa Milà – Antoni Gaudí Boolean difference between the “baked” version of the Rippled wall and a solid produces a “negative” or an “impression” of the original volume offering a softer tactile experience.

Fig 4 - Casa Milà – Antoni Gaudí

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

External Wall 1

Front elevation and transversal section Isometric view

Two point perspective view (Low angle)

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Two point perspective view Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Material: Tessellations

For this assignment I am focusing to explore the random patterns instead of a lattice style repetitive pattern as in the previos stage.

Fig 1 - Gneiss Metamorphic rock

Assignment 1 sketches

Solid wall option | Two point perspective

Solid wall option | Front elevation Fig 2 - Tesselated Pavement: Caloundra coastal wonders

Fig 3- Federation Square: Lab Architecture Studio

Like the images above, the rhythm of the “lines” on this tessellated pavement formation offers an exciting visual and haptic experience. This pattern transferred into an architectural environment can provide the same experience of wonder as the original made by nature.

Solid wall option | Isometric view

Fig 4 - Cellular Tesselation — Bond University pavillion at at Sydney’s 2014 Vivid Light Festival.

Assignment 1 render .

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

External Wall 2 & Hybrid Wall/Screen option

Internal membrane can change opacity according to intensity of light (Photochromatic) the areas exposed to light become darker in the same fasion as transition lenses. Alternatively a heat responsive membrane (Thermochromatic) would became darker preventing solar gain in the interion during warm weather while allowing sun gain during cold weather.

Cage hybrid wall/screen with Photochromatic or Thermochromatic membrane option | Isometric view

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Transversal section Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Material: Pinecones and diamonds

While the pine cones is not the inspiration for the building selected the sharp and hard appereance of the closed scales reminded me of the diamond-shaped ashlars. Fig 1 - Closed pine cone

The ashlars follow a rigid pattern of rows and columns, very probably because of design trends at the time.

Like the “Palazzo dei Diamanti” in Ferrara; or the “Palazzo Punta di Diamanti” in Rome as cited by Rasmussen in Experiencing Architecture (1959), La casa de Los Picos utilises texture as a device to provide the building with a specific appearance. In the examples mentioned, the scaled up diamondshaped ashlar has been incorporated to achieve a hard and sharp appearance, which translates into a masculine and robust quality.

The band flows continuously through the different walls,

Variation on the scale of the texture can add interest and provide for a richer haptic experience

Fig 3 - Casa de Los Picos (XV C -Segovia - Spain)

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

External Wall 3

Incorporated a translucent section to add permeability and variety to the haptic expericence

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Perspective view (1.70 m Camera height)

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Material: Honeycomb weathered sandstone

Fig 1 - Carvings by the sea

Perspective view Extruded option

The blocks seem to oddily breaks the grid; however there seem that the individual units of concave and convex elementsfollow their own grid

Fig 2 - Mercat de la Barceloneta (Detail)

Fig 3 - Mercat de la Barceloneta - Architect: Josep Miàs

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Internal Wall 1

Front Elevation and Section

Isometric view

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Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Material: Bark The dominance of the verticals makes this natural pattern very dynamic and that is where resides its appeal for me.

Fig 1 - Pine Bark

The emphasis appear to be in the material,concrete, as a show of its capabilities more than anything else Exploring HeightField utilising previous model to find a more effective solution to achieve the pine bark inspired texture

Fig 5 - Yale Arts and Architecture by Paul Rudolph

Fig 2 - Nefs Brewery — Arch.:YKH Associates

Of the three precedents this is the most stylised example of expressing the nature of the tree’s bark

Fig 4 - Bark studies used by Dake Wells Architecture in the design of the textured facade of the Student Recreation Centre

Fig 3 - MSU, Student Recreation. Center — Arch.:Dake Wells Architects

The images above illustrate very different approaches from different architects; however, their all have a common theme, the emphasis of the verticality of the textures.

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Internal Wall 2

Front Elevation and Section

Isometric view

Perspective view (Low angle)

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PLAN

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Material:Trunks

Fig 1 - Palm Trunk

The faceted surfaces and the rock like texture of the palmtree trunk are very pleasing, they seem to attrack attention away from the cilindrical form prompting a closer inspection

Assignment 1 Sketch

Fig 2 - MONA — Fender Katsalidis Architects

Fig 4 - Tree inspired columns Parc Guell — Architect: Antoni Gaudi

Gaudi is considered one of the pioneers of biomimicri, introducing into architecture ideas that were domain of the decorative arts

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Internal Wall 3

Grasshoper exploration to create different sized pattern

Front elevation and section

Isometric view

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PLAN

Two Point perspective view

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Material: Petals and Scales Like in the pine cone what I find attractive is the radial symmetry and the resulting pattern of the alternated rotation of the leaves.

Fig 1 - Echeveria Succulent

Orignal model

Fig 2 - Pinecone

Fig 3 - Perspectives 2016- Pavilion by Giles Miller

Fig 4 - Perspectives 2016- Detail

First assignment sketches and render

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Current iteration for implementation on concept

Roof 1 | V2.0

Internal view Isometric view

Section

Roof closed

Roof open

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PLAN

Perspective view (1.70 m Camera height)

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Material: Rocks

There is something that something like a “man made” quality in this rock formations that I have always found interesting.

Iterative process of creating the rock like texture Fig 2 - Basaltic rock formation

The pattern of the stone wall mimicks the geological patterns prevalent in the area

Fig 2 - Teardrop Park, NY — Arch.: Michael Van Valkenburgh

First assignment sketches and render

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Roof 2 V2.0

Drone view

Isometric view

Section

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Perspective view (1.70 m Camera height) Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Material: Cracked earth

Cracked earth creates natural voronoi patterns as the mud dries and separates into patterns

The randomness of the patterns and the cracks is a feature that I find has the potential to provide a design direction as demonstrated in the project by Thomas Heatherwick Studios Material exploration and development

Fig 1 - Cracked earth

Section

The individual “crust” pieces are scaled up to form a separate roof unit

Internal view

Fig 2 - Cracked Earth Oasis by Thomas Heatherwick Studios

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Roof 3 | V2.0

Isometric view

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Perspective view (1.70 m Camera height) Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Material: Leaves

Evolved to wistand heavy rainfall the leaves of this plant are scuptural and unique in their beauty, they are a natural screen.

Fig 1 - Monstera deliciosa

The design doesn’t attempt to replicate any particular plant but rather express a organic form reminiscent of nature

Fig 2 - Monstera deliciosa aka “Swiss Cheese Plant”

Fig 3 -Diocesan Museum Door (close-up)

Fig 4 - Diocesan Museum Door (Barcelona) – José Plandiura

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Screen 1 | V 2.0

Isometric view | Closed screen

Isometric view | Open screen

As the precedent, the aim here was to create an stylised organic form that is not figurative but rather an abstraction of natural forms

Section

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Two point perspective view Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Material: Fronds Clearly inspired by nature much of the design is determined by the material and the technology available at the time

Fig 1 Unfurling fern frond

Fig 3 - Wrought iron

Rotating screen sections provide the ability to adjust angles to maximise sun/visual blockig for different seasons. ortimes of the day.

Fig 2 Unfurling fern frond II

Fig 4 - Wrought iron

Often associated with the Fibbonacci sequence in all sorts of popular online sites, ferns have a long and rich history, with fossil records dating back to the Paleozoic era(Smith 1972).the attraction for me is much straighforward and has to with the transformation of the unfurling frond shape that start as an almost perfec circle that evolves into a spiral and then transforms into a beatiful frond.

Fig 5 - Polish Expo Pavilion — WWAA Architects

A modern reinterpretation of traditional craftwork using Digital design is an innovative way of restoring old decorative traditions. Even though the final concepts results in these quasi-abstract shapes, the inspiration in nature is evident behind the design

First assignment sketches

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

First assignment render

Screen 2 | V 2.0

As in the precedent of the Polish Pavillion the goal was to stylise the natural forms and pay homage to the traditional craftworks of yesteryears

Elevation and section

Isometric view

Two point perspective view | Closed screena

Two point perspective view | Open screena

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Two point perspective view Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Material: Marguerite

Radial symmetry is the element most salient for me in this flowers. Fig 1 - The humble Daisy

Hexagon tile

! The flower has been stilised and simplied to eight petals. Fig 2 - 20 C. Daoiz St. Segovia – Facade detail

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Assignment 1 proposal

Assignment 1 sketches

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Pattern/module development

Modular tile

Screen 3

Pattern iteration

Pattern based on pipes and filleted edges

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1.00m

Elevation and section

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PLAN

Isometric view

Two point perspective view

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Bibliography Architizer. 2012. “Federation Square by Lab Architecture Studio.” Architizer. https://architizer.com/projects/federation-square/. Balık, Deniz, and Açalya Allmer. 2017. “Simulating Craftwork in Contemporary Architecture.” The Journal of Modern Craft 10 (1): 37-57. https://doi.org/10.1080/17496772.2017.1294324. Chronicle, Design. 2015. “Cellular Tessellation by Abedian School of Architecture.” Design Chronicle. https://design-chronicle.com/cellulartessellation-by-abedian-school-of-architecture/. Daily, Arch. 2019. “Gallery of Nefs Brewery / Ykh Associates - 1.” ArchDaily. https://www.archdaily.com/931863/nefs-brewery-ykh-associates /5e1d867a3312fd68450002f4-nefs-brewery-ykh-associates-photo https://www.archdaily.com/931863/nefs-brewery-ykh-associates/5e1d879b3312fd68450002f7-nefs-brewery-ykh-associates-photo?next_ project=no. Daily, Arc. nd. “Gallery of Yale Art + Architecture Building / Gwathmey Siegel & Associates Architects - 2.” ArchDaily. https://www.archdaily. com/123171/yale-art-architecture-building-gwathmey-siegel-associates-architects/5013dbde28ba0d3b450000ab-yale-art-architecturebuilding-gwathmey-siegel-associates-architects-image https://www.archdaily.com/123171/yale-art-architecture-building-gwathmey-siegel-associates-architects/5013dbd528ba0d3b450000a9yale-art-architecture-building-gwathmey-siegel-associates-architects-image?next_project=no. Dake, Wells. nd. “Student Recreation Center.” Dake Wells Architecture | Springfield MO + Kansas City MO, nd. https://www.dake-wells.com/ project/recreation-center/. Dist Solutions. 2017. “The Influence of Nature on Modern Architectural Design.” LIME Architecture Inc. https://limearchitecture.com/2017/11/ the-influence-of-nature-on-modern-architectural-design/. Foundation, Paul Rudolph Heritage. nd. “1958.02 Art & Architecture Building — Paul Rudolph Heritage Foundation.” https://www. paulrudolphheritagefoundation.org/195802-art-architecture-building. Gagg, Russell. 2011. Basics Interior Architecture 05: Texture + Materials: A&C Black. http://ebookcentral.proquest.com/lib/curtin/reader. action?docID=4654156. Google. 2019. “Google Maps.” Google Maps. https://goo.gl/maps/Wb4zqL8R95PPB9ns9 MVVA. nd. “Michael Van Valkenburgh Associates, Inc.” https://www.mvvainc.com/project.php?id=2. Taylor-Hochberg, Amelia. “Student Works: Cellular Tessellation Pavilion Lights the Way in Sydney.” Archinect. https://archinect.com/features/ article/117185429/student-works-cellular-tessellation-pavilion-lights-the-way-in-sydney. Urbanist. 2014. “Cracked-Earth Desert Canopy Shelters Underground Oasis.” WebUrbanist, 2014. https://weburbanist.com/2014/04/24/ cracked-earth-desert-canopy-shelters-underground-oasis/. Zapartan, Teodora. 2016. “An Organic Pavilion Inspired by Messages Etched by People in Public Places | Inspirationist.” 2016. http:// inspirationist.net/an-organic-pavilion-inspired-by-messages-etched-by-people-in-public-places/.

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Image Credits Page 2 Fig 1 - Wavy sand dunes — Fernando Pizzani Fig 2 - Wavy wall — Fernando Pizzani Fig 3 - Casa Milà — Fernando Pizzani Fig 4 - Casa Milà — Fernando Pizzani

Page3 Fig 5 - Rippled wall — Entourage (People) licenced form mrcutout.com

Page 4 Fig 1 - Gneiss Metamorphic rock — Fernando Pizzani Fig 2 - Tesselated Pavement — Fernando Pizzani Fig 3 - Federation Square —Lab Architecture Studio Fig 4 - Cellular Tesselation — Bond University Fig 5 - Honwycomb wall — Lime Architects

Page5 Fig 1 - Tessellated wall— Entourage (People) licenced form mrcutout.com

Page 6 Fig 1 - Closed pine cone — Fernando Pizzani Fig 2 -Closed scales — Fernando Pizzani Fig 3 - Casa de Los Picos — Fernando Pizzani

Page 7 Fig 1 - Textured Wall — Entourage (People) licenced form mrcutout.com

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Page 14 Fig 1 - Echeveria Succulent — Fernando Pizzani Fig 2 - Pinecone — Fernando Pizzani Fig 3 - Perspectives 2016 - Richard Chivers Fig 4 - Fig 4 - Perspectives 2016- Detail - Richard Chivers

Page 16 Fig 2 - Basaltic rock formation — Fernando Pizzani Fig 2 - Teardrop Park, NY — Michael Van Valkenburgh

Page 18 Fig 1 - Cracked earth — Fernando Pizzani Fig 2 - Cracked Earth Oasis — Thomas Heatherwick Studios

Page 20 Fig 1 - Monstera deliciosa — Fernando Pizzani Fig 2 - Monstera deliciosa aka “Swiss Cheese Plant” — Fernando Pizzani Fig 3 -Diocesan Museum Door (close-up) — Fernando Pizzani) Fig 4 - Diocesan Museum Door — Fernando Pizzani

Page 22 Fig 1 Unfurling fern frond — Fernando Pizzani Fig 2 Unfurling fern frond II — Fernando Pizzani Fig 3 - Wrought iron — Fernando Pizzani Fig 4 - Wrought iron II — Fernando Pizzani Fig 5 - Polish Expo Pavilion — WWAA Architects

page24 Fig 1 - The humble Daisy — Fernando Pizzani Fig 2 - 20 C. Daoiz St. Segovia – Facade detail — Fernando Pizzani

Fig 1 - Carvings by the sea— Fernando Pizzani Fig 2 - Mercat de la Barceloneta (Detail) — Fernando Pizzani Fig 3 - Mercat de la Barceloneta - Google Maps Street View

Page 10 Fig 1 - Pine Bark — Fernando Pizzani Fig 2 - Nefs Brewery — Dongwook Jung Fig 3 - Missouri State Univestiy, Student Recreation. Center — Dake Wells Architects Fig 4 - Bark studies — Dake Wells Architects

Audio Credit Title: Charangos. Artist: Latasha. Sourced from Youtube Studio. https://studio.youtube.com/channel/UCc15_ QvutSWqwcglZiV3aDg/music.

Entourage 3D Model entourage (people) used in this project sourced from: Humano 3d. https://humano3d.com/. Xoio air. https://xoio-air.de/.

Fig 5 - Yale Arts and Architecture — Paul Rudolph Heritage Foundation

Page 12 Fig 1 - Palm Trunk — Fernando Pizzani Fig 2 - MONA — Fernando Pizzani Fig 3 - MONA II — Fernando Pizzani Fig 4 - Tree inspired columns Parc Guell — Fernando Pizzani

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

BAS 205 Architecture Methods 3 – Assignment 3 – Models 3D Prints Booklet Fernando Pizzani | #20408082

Tessellations

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Pinecone

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Honeycomb weathered sandstone

Fernando Pizzani | BAS 205 – Architecture Methods 3 | Assignment 3

Material Literacy: Digital Fabrication in Architecture by Fernando Pizzani

Articles inside

Image Credits

Material: Tessellations

Material: Pinecones and diamonds

Material: Rocks

Material: Bark